山和云怎么涂色

今天啊，我们来看一下这样的山要怎么画。首先呢，我们需要把前后的两层山给他画出来啊，简单的找一下这种起伏的感觉。起稿呢，主要要强调了是这些山的形状和他山脊的位置啊，里面的一些这种细小的肌理呢，是不需要去勾勒的。 天空泼了水之后呢，先用一点这种偏黄的浅的灰色啊，和一点黄褐色，先画出云的亮面，然后再去用天蓝去画天空的颜色。最后用这种紫灰色呢，去收拾一下云的暗面就好了。 画山的时候呢，我们先从远处的山开始画，远处的山呢，先浅一点点啊，稍稍带一点点这种浅的褶色。铺完亮面吹干之后呢，再用这种蓝紫灰呢，去勾勒这种暗面的形状。然后呢，我们再用点这种偏土黄啊，带一点点褶石的颜色呢，去 去丰富这个山上面的肌理。前面一座山的道理啊，他是相同的啊，只不过说亮面的颜色呢，他会更加的重一点，暗面呢，也会更加的浓郁啊，更加的偏蓝色一些。不过相对的啊，我们近处这座山呢，你可以把它刻画的更丰富啊，包括这种亮暗面的这种冷短对比呢，也可以 更加的强调转两座山的这种前后的空间感呢，也更加的足。那这个非常哇塞的山，你学会了吗？

hey， my friends welcome back！ yeah！ as you can see today we're gonna do a little now kind of cloud and escape and mountain tutorial yeah！ i was studying with the mixing of the background colour wires last guide i'm using the hdf plate pressed wood basically then i oiled out before i apply the colors says if amongst of oils are yeah web dogs then let's start with the darkest bluish color on top and yeah more or less work my way down to the lightest color on the sky area yeah！ you can take a big brush very big soft brush to that kind of fine blend sky area now i'm mixing a very dark luggish color for the yeah first layer of the water um yeah mixed of lamplike and phillip blue lemon yellow very dark but still you know in top creamish color to it and then i mix the next you know set of colors and start to now feel spilled up the sun there we have here i took forever as you can see here i kind of place it and then i kind of dry brush it in to the painting service perhaps you would like to see this video here in the full time pollution as these eight or ten minutes， it's not long enough for you then you should check out my patreon here links somewhere down below here where we have mingual over seventy full time petrius including this one here after this little commercial break we start to yeah building up the clouds yeah， very simple， straight forward， more or less you have this light color here very light， one and basically interchange it mix in some greenish um non operation some yellowish reddish colors to to really have those subtle variations and the clouds don't appear very they are not just white we have those merry light variations deeply kind of repeating the color of the sun， mollus and natita shot how i bloody i'm kind of fading out clouds here with a very fine soft brush it's very simple technique by just letting fitting out the color into the background color they'll be a black before first layer and it's very straightforward process smaller but you need to make sure that the background color is really completely， pone dry very important， minutes sticky it's too early then really let it rest a couple of days more and then we build up the clouds on the upper interior we have some reddish color to it again this fitting out character on the outside this is also very companion technique when you don't want to mix fifty five thousand colors now you just let the color fade out on the edges and but this thinning down of the color you will basically achieve some different colors that you don't have to mix separately and then we start to pull up the big clouds body on the left side by establishing the highlights happy half year yeah， i'm kind of i'm building up the deeply rough shape of the cloud body itself first by they're putting in this now bright color then comes the very man time consuming detailing process of fine blending those areas of them altering this whitish color here it appears to be having the same brightness all over the place， but it's not the case when you look close， we have some areas that's little brighter some areas that are dark are different， bit， more radish toncy and they are very important tool to make it look realistic and then i start to build up those kind of fading clouds on the low end again we have this very kind of blurry character and also this this color switching thing going on here yeah and the mountains are basically also build up in a very straightforward way we have different colors here british ones， bitma， blue ones， greenish ones yeah， what kinds of different colors that we need to make it look just a bit more realistic it's not just one color it's yeah a lot of different colors when you step close， you will realize that these colors really are different they look pretty much the same when you are a bit more far away but when you step close， it's really as you can see those different colors in there and after the main parts， the seed having a very flat small brush holding it horizontal and start to build up those distant waves partium yeah， i go back the soft brush and yeah kind of blend the edges a bit more and they are i work my way forward and the more you come to the front the bigger those waves need to be to make it look realistic and you also have some color switching going on here also， the colors are blight a bit more thick you can see yeah and yeah just now here the part where we kind of build up those waves in a bit of you know larger way on those darker colors from the first layer of underpainting are getting large on as you can see this basically fakes the um yeah kind of um yeah， perspective and distance and dispenting here by applying the waist and background very small kind of blurry moles and getting large and larger towards the front can see you now we have those yeah basically kind of seeing the waves that'll be painting now， it's just the first you know kind of puff， establishing point or way of building up this area and then i went back when we rework real brooke， i realize where we just need some more um he had some more larger yeah classes of waves or parts where the water service is very very flat and yeah and then i'll go back and it was a very fine blush that i fled out even more details some more waves， some more little yeah little freaker， some more smaller ways that need to be the young and yeah this was a pretty time consuming process just can imagine busy going back or the whole thing just trying to add some more realism by adding more final details， more smoked loud wave bodies in there and after you know finishing this process i start to do the first layer of color and for the reflection from the sun see you have a few mixed yeah kind of vanish colors and maybe getting lighter in there and yeah basically prepared the waves for the now， incoming very strong reflections that we have here now and again we have a very fine plush very pointy start to basically dot the background， molars， those waves in the background up i mean it's obvious they are much smaller than the ones in the foreground and you want to yeah show this to the viewer to the people that see the painting and therefore you need to really go tiny， tiny tiny on the background with those highlights on the wave bodies and you see it starting to take to build up， shape and now this is a very convenient way of building up waves and to do this way by just adding those colors in layouts instead of trying to get them those in and just one sitting i think it's much less time consuming than when you try to put those colors inside beside in the top， you don't have to and to worry about those colors intermixing with the color that you apply now this very light one here imagine you would have those dark colors put in first and then you put in this lighter colors here it would now end up in a mess kind of yes， yeah， i'm partially going back i'm adding those brownish radish colors in there to like any even more i'm of this color switching i'm effect now we have here and there and on the right side i needed to apply even more of this those lighter patches the behavior my work in the center， we have um yeah this very plight color and be careful also try to imply those those well is between those waves here that they don't just put in kind of a whitish flat amount of color really try to hint those waves between those waves and of course， also we need to get in those reddish colors the bag areas in there， as we have i can just areas where the reflection is not completely kind of white and yeah so i'm working my way towards the fronts i'm getting more narrow then i also try to get in this blurry effect that those flexions basically have when they are larger it's also the reason why i grabbed this larger brush and kind of blur down those white color areas here of course， on the right side， the same principal applies like on the online on the left side just getting more mo details going back again adding， even tinier spots here to really make it kind of look even more realistic and that's small painting but it took now quite a while i've to admit yeah that's the finish painting so that's about it for today please do make me a favor smash the like button hit that subscribe button and come back next time see ya bye。

日照金山怎么画，看完你就会了。先用铅笔勾画出山脉的形状， 接下来用填蓝色加白色画天空， 淡黄色加白色。华山的最亮处， 橘黄色画山脉背光面，用这十色画上的暗部，然后黑色直接画出下面的山脉， 下面山脉的亮面用湖蓝色加淡紫色，再用小笔沾黑色画一下山脉的细节，继续小笔沾着紫色画上面山脉的细节转折，然后 用淡黄色加橘黄色加淡紫色画三麦背光衔接部分，淡紫色加湖蓝色加白色提亮下面三麦的亮面。 最后把上面的山脉和下面的山脉的细节稍微这么画一下，亮的地方提亮，按部手画点细节， 一副简单又好看的日照金山，就这么简简单单的画完了，是不是很简单？你学会了吗？

今天来一个详细过程，首先用普兰加点古兰画夜空， 再加点深红画下面过渡，再依次用大红、中黄加一点白，继续往下过渡，最下面用橙色过渡，用深红和黑色画出三和地平线，等上面沿着杆头再画火， 用橘红和大红画出火烧云的亮度，慢慢画，不要着急， 用深红加一点绿色画出火烧云。暗布。火烧云就像排骨一样，一条条的遵循暗布在上，亮布在下的原则。 再加一点点细节，用柠檬黄加白画有亮光处。好了，完成了，你学会了吗？

我知道你每天都看，就是不愿点赞。网红山水怎么画？干货分享，一定要收藏，有几个重点麻烦你仔细分析。第一，云的渐变怎样才自然？ 记住一点，先画匀的白色眉干的时候用山的颜色平扫，做出柔和渐变。山石怎么画？做好大块渐变，然后加深色，最后勾线，就这么简单。 瀑布也是一样，先做深浅渐变，然后用扇形笔点出水，画桦树同样铺出渐变，再用一笔两侧点出树叶高光。

今天我们来学习如何画远处的山。使用朱宗山形笔在山和天空边界处竖向刷出山顶树木起伏的状态，这些笔触可以模拟山顶上树木的形状， 在山顶位置和背景天空的颜色稍作混合，以创造山顶被云雾笼罩的效果。完成底色后，使用略浅的颜色，用竹棕扇形笔画出密集的点状笔触，以体现树叶的效果。对于近处的山，使用相同的方法刷上底色，但颜色要更深。 为了营造清晰的效果，越靠近的位置饱和度和对比度要更高。山的底端是最近的区域，所以底色要更深，高光要更亮，同时饱和度也要更高，颜色更鲜艳，浅色树叶的笔触间隔也要更大。此外，还需要额外添加一层高光， 以更好的体现颜色亮度的变化，这样远处的山就画好了。

二零二二年春晚，一支舞蹈值此青绿，将王希梦的千里江山图重新呈现在大众的眼前。今天，驻美艺术将带你用几种颜色和几张卫生纸 来创作青绿山水。所需材料纸巾、国画颜料胶水、丙烯、马克笔、毛笔、剪刀、 sep、 一头黄。和这十条合作底色 sapper。 在画纸上涂抹胶水，沾上加了水的卫生纸，做出山体的形态和机灵。 三、先后用三清三滤上色 sex， 然后用花青这时进行局部刻画。 夏普最后在另一张纸上画出金色祥云。粘贴好 一幅精美的青绿山水图就画好了。

一分钟教你学会粉紫色的星空雪山，拿出画纸开始吧！群青子往两边涂色，黄柿子接着涂，旁边珊瑚粉涂天空下部分 永久凝环往中间涂色，群青子覆盖叠加混色，手指轻轻揉匀，擦干净再继续揉黄色部分，紫罗兰涂色，手指轻柔拍开，少量多次的叠加，手指轻轻揉一下就很有感觉。 浅亮黄，轻柔白墨水弹出星空黑色华山几个三角形的组合揉擦笔涂抹边缘浅灰色用尖头刮刀抹上去，靠前面的山用刮刀抹黑色，接着再用尖头刮刀抹灰色，水面用深灰色 和浅灰涂色，再用刮刀画一些浅灰色的石头，这样就完成了。是不是超简单的，快来评论区交作业吧！记得点赞关注哦！

今天教你用经典色画一幅雪山，拿出正方形画纸，贴上胶带开始吧。先用普兰涂天空的颜色，接着用古兰从下往上叠加涂色， 手指抹匀浅灰色涂山的颜色边缘线要画干净一点。灰色涂山的暗部就像画个三角形填色，再轻轻叠加一些灰色，黑色涂下部分的山，黑色涂完，接着用灰色叠加普蓝色画暗部的山脉。 油画棒不好叠加，就用刮刀吧，用刮刀背面蹭上去白色用刮头刮刀叠加化白雪就是这样，用刮刀抹上去，有种在做蛋糕抹奶油的感觉。整个刮刀背面贴在画纸上拖动，可以有不同的方向叠加白色， 增加山的快面感。接着用黑色轻轻蹭上去，画出山脉的感觉。黑色不要太多，往轻一点拖动刮刀方向就是从上往下，可以往左拐，也可以往右拐，靠下部分也可以横着上下 再随意叠加一些灰色。灰色叠加完成，接着用普兰叠加暗部用黑色叠加，顺着山的方向叠加，接着用浅灰色从上往下戳动刮刀，力度要轻一点， 还是黑色轻轻蹭上去。画出山脉一定要顺着山的方向去画，再画一些白色的雪，都是一样的方法。靠下部分抹一些黑色上去， 接着用灰色叠加一下，增加体积感，最后用黑色涂近处的山，这样就完成了。学会了吗？评论区等你交作业，记得点赞关注哦！

教你五分钟画青绿山水，先用勾线笔画几座山的轮廓，用马克笔涂色，画出渐变效果。 平图睡眠，花闪的倒影加深睡的暗部， 随便画些水纹。天空中飞翔的鸟，这是么？加高光的效果这是加上高光的效果。如果你喜欢花花，一定要选好花材， 我用的高光笔就在下方。小黄车容量大，一支笔能用一年，三支只要九块钱，来看看最后的效果吧！