I've accomplished a little more with this painting, mostly through the week, later at night when the working day and the usual activities that follow it are out of the way. If your TV viewing options are as dismal as mine usually are, there are probably few excuses for not putting in a couple of hours of painting before bed time! If there's a danger in painting at night, however, it's that my judgement of colour is skewed somewhat by the artificial lights I paint under; viewed in daylight conditions the following morning, there are noticeable differences.
Without really planning it that way, I find myself using glazing techniques almost exclusively, in much the same way that I've come to handle acrylic paints. As the photo shows, I'm painstakingly building up colour, tonal values and texture in the rocks, still using only ultramarine and burnt sienna over the initial raw umber underpainting. The daunting prospect of painting the egret itself is looming ever larger!