On overcast days, I often look for water, since the reflections of the sky help light up the painting. Beyond the swamp water, there were a couple other thins that attracted me to this scene.
The was a great sense of distance and the “aerial perspective” would challenge my ability to mix the variety of greens needed to express the distance and keep the painting from being to monotonously green.
The forlorn tree, desperately hanging on to its foliage in the midst of a group of already dead ones also made the scene compelling.
I like to mix my greens rather than rely on a tube green. This method usually results in a better, and more expressive variety of greens in any landscape painting. For this painting, there were four different blues (ultramarine, cobalt, cerulean and indigo) mixed with three different yellows (raw sienna, quinacridone gold, areoulin). So, there are likely six or seven different greens mixed and mingled throughout the painting.