Greetings to all dear friends, especially to the hivers of the prestigious HIVEARTE community. Below I present my fourth painting from this November. It is an illustration-type landscape, where nature is exalted, radiating a certain enchantment through a playful and poetic air. I have titled this painting "Clear Night", referring to the thoughts of a night observer, who can contemplate the essence and beauty of things revealed by the influence of lunar light. In it I have represented nature in its maximum splendor: distance, horizon, mountains, clear sky with moon and stars, rivers, a bird, trees, among other elements and details of Mother Earth. It should be noted that this is a genuine creation and of an imaginary nature. Furthermore, I spent a large part of yesterday getting to work, inspired by the fact that I want to show, step by step and in detail, a simple and viable way to make an illustration of a landscape. I have enjoyed the entire creative process and I am very pleased to reveal the tips or recommendations that I have used to achieve this artistic work. Below, I briefly explain and illustrate with photographs the entire creative process. Yes, I loved the result. And without further delay I move on to the didactic phase. However, if you like this artistic work please share, your comments are welcome. Receive sincere thanks to all who support my creative art work.

Mainly, in relation to the materials used, consider that this is a work made with the acrylic painting technique on canvas. I began by creating a stain with variegated colors on the fabric, with a certain degree of control, in terms of the distribution of the tones, with the idea of ​​achieving a more or less homogeneous surface. This base, once it has completely dried, is the main reference, which from the beginning will be influencing the finish of the work. Since later, the creation has been wet, almost without allowing the colors to dry completely, trying to merge them with the tones of the background or initial base. That is, painting and mixing the tones directly on the surface of the canvas, at the same time, pursuing a fusion with the previously created background. This is possible because certain water-based paints continue to distill once they have completely dried, when the solvent is used, and also because of the overlapping brushstrokes, and the degree of considerable pressure used with the brushes on the canvas. And on the contrary, depending on the intention, in other cases, the aim is only to fully cover the fund in question. On the horizontal format, with a marker and the help of a square, I have drawn a horizontal line.

After drawing the horizon line, the objective was to paint the sky. The idea was to achieve a gradient with three tones (yellow, magenta, deep blue) to represent the night sky. In this case, it required only covering, not merging with the background tones. And the way I did it was ascending. That is, from the horizon upwards. Obeying the intention that I needed to see the horizon of the painting more defined, which was placed higher than the center or middle of the format, thinking of giving more space to the earthly part, rather than the celestial part.

Here you can see that I had already integrated or degraded the yellow with the magenta. As a preventive measure, I stretched the latter to the maximum, almost taking it to the top of the format, given that the intense blue, in this case, tends to predominate, and the goal was for the three tones to be harmoniously distributed. The amount of magenta had to be higher so that later, when it came into contact with blue, the desired balance was achieved.

In this photograph you can see that he had already conceived the sky. Additionally, with the paint residue from this first achievement, I worked from the horizon to the bottom, intervening in the space of what was going to be the earth, and created the shape of a river that crosses the painting from side to side. Here the idea was to leave traces of the brush and also of the background stains, it was not necessary to cover completely. And for the river the initial fund would be used, for the purposes of the river fund itself.

Next, I painted the moon, located almost at the zenith of the composition. To create the moon I used the circumference of an object, drew it and then proceeded to paint using a process similar to the gradients achieved in the sky. Only, in this case, the degradations were concave in shape, not straight.

In this image what can be seen is that I tried to make a kind of border on the side of the river that is furthest from the viewer's point of view, and respectively, closer to the line horizontal. An almost imperceptible detail, but which is added to the rest of the details, and together, they make up the criterion of verisimilitude of the artistic or plastic work, based on reality.

At this point I implemented the plastic composition, the mountains. From the beginning, I had predetermined that the work would have good depth of field. And in that sense, the concept of remoteness is enriched. It must be considered that the mountains have a faint appearance in terms of color, they almost integrate with the sky, in addition to their tiny proportion, on the horizon line.

Here, it is noted that I introduced a second river to the composition, which would increase the visual effect of distance and depth of field. It must always be taken into account that what is further from the viewer's point of view may be less detailed, more concise, and represented with colors of a lower degree of intensity. Therefore, larger sizes are not required; Just keep in mind, in this case, that water tends to have a shiny or luminous appearance in a landscape of this nature. In addition, I began to shape the trunk of an aged tree, which would represent the most important plane of the composition: a foreground that requires greater attention and dedication regarding details and definitions.

Another aspect that can be seen achieved in this photograph and also in the previous one, is the reflection of the moon in the rivers. Furthermore, here I had already stained what would be the space corresponding to the leaves of the new bushes that I added to this painting, to complement the effect of greater visual depth. It is recommended to stain these green areas with a mixture of intense or darker blues and greens; and then detail with several shades of greater clarity, with the intention of achieving a better contrast that allows the ideal visualization of the leaves of the bushes.

The previous idea can be seen illustrated in this image, where the leaves of the trees can already be seen represented and well detailed. Note that in the crown of these bushes the light that is supposed to come from the moon predominates, and towards the opposite side the shadows accumulate.

Finally, I added decorative elements to the composition: a lotus flower, on the tree in the foreground, and also a bird that enlivens the entire landscape.