Step 10 - Finishing up

More rusts, reds, and purple hues were added to foreground. Shadows were glazed as cast from trees using ultramarine blue and quin gold, from right to left across the bottom. A final splattering of pale orange done up in the foliage and a bit at the bottom for balance. Softening edges with a damp brush will complete the backlit aspens.

Step 8 - Middle ground plus a few greens

Adding warm colors to base of trees, still on dry paper, I went across this area to set the trees down. A few warm greens mixed with Arylide, ultramarine, Midnight, and Vitruvius blues were set side by side. Light yellow green areas show just a touch of summer we've left behind. More glazing on backlit trees, each tree being different from its neighbor, was done. This is a design principle called variation that I use a lot with each piece and keeps them from being boring.

Step 7 - More golden foliage

Layering yellows and golds over pale yellow poured wash allowed this much foliage to appear, plus beginning hot colors of alizarin crimson and Poppy, an orange-red.

Step 6 - Full view and distant background

As you can see in this image (minus the golden foliage detail) I'd placed dark green distant tree line, upper middle right, using quin gold and ultramarine blue.

Step 5 - Begin aspen foliage

Using #10 round brush, I began laying in golden autumn colors, still wet paint on dry paper. You can now see more branches and twigs in this detail. Paint used is Arylide, quinacridone gold, raw sienna, gamboge, and Halloween Orange.

Step 4 - Continuing aspen trunks/branches

As I kept working I would lightly glaze over the light trunks as they are backlit.

Step 3 - begin tree darks

To get the darkest color for the aspen markings, I mixed Midnight blue with Copper Kettle by American Journey. Continue on with each area to establish tree trunks.