What would be your workflow?

Hello,
This is my first post, and I am a new photoshop user (CS2 ), so please be patient with my "noobness. "
I am reasonably computer savvy (program in several languages) and have done graphics work sparsely in the context of developing a video game, but I am not very experienced with photoshop per se (my work has been a combination of gimp, trial photoshops, etc.) Most of what I accomplish has been through combining textures generated by my game engine with high level shader language.
I have a project now that I need to do in the next two weeks which is "simply" to create a booklet cover- it may be beyond my capability, but it looks relatively simple and I am seeking general advice, and specific direction on a couple of issues.
I need to make a graphic after the style of the attached .jpg.
It looks to me relatively simple- but not being that familiar with making things like this I really do not know. I have perhaps bitten off more than I can chew in the next two weeks given that I will be learning as I go.
The way I would proceed would be to create several layers for each element (e.g., bushs, beach, ocean, mountains, buildings) and then go about drawing items. (I am using a Wacom Bamboo pen & touch- which I am also learning on the fly)
My more specific questions have to do with
1) gradients
2) spackling (for lack of knowing the correct term)
3) texture
1) How can gradients be achieved? I have used the gradient tool in the past to fill a selection with a gradient between two colors, but is there a way to create gradients that flow between two colors as you draw with a brush?
Consider the areas circled in red, especially around the blue mountains. That is where I am assuming some gradient function might be used, but if there is some other function by which to obtain that type of fading between colors I am completely open to suggestions.
2) in the circled bush, as the green fades into the darker brown, there is what I would call "spackling" or discrete points of the brown on the green (as opposed to what might be obtained with a smudge tool). How would one obtain that effect most efficiently? is that just a matter of playing with brush scatter settings and so forth?
3) As the original is an artwork created on a physical canvas with physical brushes, it has a texture. How are such textures accomplished with photoshop?
I realize that my questions may be relatively "big" but what I am looking for is starting points.
If someone would take a look at the attached picture and think about how you would do it yourself, I would appreciate a general description of your workflow and a listing of any techniques/tools/settings that I should investigate further.
All the best,
Byron

Hello!
Here a few "starting points" for the some of the questions that you have above.
How to achieve a gradient background:
You will want to create the gradient and place it on a background layer. For the mountains, you can create a custom shape and apply a gradient. 
Create texture:
You will want to use blend modes and textures for the mountain and possibly other areas.
Hope this helps give you a starting point with your project, and please post back as you proceed with your project.
Janelle

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    Unfortunately, the basic google search does not reveal specific info about how your camera does this stuff. I think I actually had to talk to Canon tech support to find out why it wasn't working the way my google searches indicated PF24 and PF30 should. Check it out, get specific info for your camera. These Canon's are consumer cameras and don't do things the way a "pro" HD camera does. In spite of that, I've been very pleased with the projects I've done with them.
    It was my experience in the end, that with Final Cut Pro 7, it worked better just to shoot in 60i, using the same resolution and data rate settings for all clips.
    It might be different with FCP X, so I'd suggest shooting 60 seconds in each format, importing them into FCP X, and seeing if you can use them and how they look. With a standardized length you can compare file size, etc. to extrapolate for a bigger project.
    The MTS file thing doesn't affect your workflow if you use the "Create archive..." button when the you import from the camera. It will save the video files (and all the folders and files related) together on a specified hard drive so that FCP X can see the files as clips and import only your chosen clips into your specified event. This also allows you to immediately back up the camera archive to a second drive.
    MTS files are only a problem if you drag the MTS files off the camera to a folder on your Mac, you will no longer be able to import them directly. FCP X needs the folder structures and databases included in the folders.
    For my orphaned MTS files that must be converted, I use the Turbo HD.264 from El Gato. It is less than optimal for editing, but it is a tool I have in my kit. Fortunately I learned to "archive" my cameras early enough that I don't have many of the MTS files hanging around.
    Best wishes. Joel.
    Message was edited by: Joel Hall- clearer description of the archive import.

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