朝霞的云怎么画

来吧，我们天天画晚霞，今天画朝阳，很耀眼的那种。先把画面一分为二，用群青色从上到下渐变渐变到天蓝色，不用全部画， 留一部分。然后用老纸笔快乐潇洒的把它揉均匀。用淡橙色在下面 涂点朝霞，剩下的部分用淡柠檬黄平铺朝阳，再用浅橙色把上面的阳光和天之间过渡一下。用奶茶色画点云彩，颜色好像不对，用老纸笔揉一揉，让颜色过度均匀。 用蓝莓色画一点深一点的云彩。用雾灰色画云彩的亮面，用海洋蓝吧阳光 与天之间过渡一下，再用白色在太阳周围打圈，画出光晕效果。撕下胶带，先不要扔，反过来再贴上去。用草绿色画远处的草地，阳光下的草地用黄绿色让颜色亮一点。 导直笔继续揉一揉，让颜色均匀。阳光下的草地用黄色提亮，再亮一点，用刮刀刮深绿色，在草地上点点草， 点缀一下，最后再画一朵小白花，接受阳光的滋润。哎呀，一朵太孤单了，我们多画几朵，排着队一起晒暖暖。好了，先这样吧，私下交代，哎呦，好像不太对， 不够刺眼。我们用白色再牵点阳光射出的光线，下面的草地用淡柠檬黄再提亮一下，要和上面的阳光有个融入感，这样就不错。早上的阳光很刺眼的，装饰一下，大家学会了吗？

有同学问，朝霞这么多颜色怎么也画不好？其实想要画好朝霞是有技巧的，首先蘸取黄色铺出整体的背景，烘托出氛围感，然后蘸取橙色和粉色画在四周。画天空的时候有个很关键的一点就是要从颜色最干净的开始画，慢慢过渡到深色，这样天空画出来就会很通透， 不会脏兮兮的。然后蘸取蓝色去画云层的背光处，画的时候也是从四周向中间慢慢过渡，越到中间面积越小，颜色就会越浅，像我这样就可以了。 最后用笔上的颜色画一个小小的远山，丰富一下画面，用海绵拍一下山脚，这样一副简单的朝霞就画好了。喜欢的话记得点赞评论加关注，导画时德成带你轻松学画！

马克笔画山顶日出风景，一学就会，先用浅绿色在下方画出花的位置，用紫红色和各种绿色开始点点点，就这样不停的点点点。 黄色画出天空，蓝色画出远山，山的颜色由远到近越来越深， 橘黄色画出朝霞的云彩，蓝色涂一下天空， 再完善一下山河花丛的细节， 最后高光笔画个太阳就完成了。

太阳升起暖洋洋。画个半圆，画两条弧线，画上表情， 画椭圆和圆， 挂白云和树枝，画各种形状的小花。 开始涂色了， 画好了。

in this video i'm gonna walk you through how to paint a bright， realistic and beautiful looking sky like the one i've been working on in my recent oil painting， so to get started let's jump back all the way to when i begin this thirty by forty， inch landscape at the beginning of every piece that i do it's important to me to tone the canvas with a little burnt， sienna and then through washes of thinned down burnt， sienna， no medium i scrub in the shadows and then try to reveal some of the light areas and establish a good overall composition once that composition is established i'll go to my palette and start mixing colors i'm using gambling artist oils with some liquid， empasto， medium and a little bit of thinner as well， i don't want my paints to be too thick i want them to flow very nice， nicely， especially at the beginning of this process the colors i'm using are burnt sienna， ultramarine， blue， phala， blue， green shade， titanium， white， quinacromogenta， cad， orange and some indian yellow， which i occasionally use from time to time i mix some darker blues all the way to some lighter blues and this will be the color of the bright， blue and smoothly transition sky up in the left portion of the painting， i like to use the darkest color first and apply that to the canvas i'm not worried about blending just yet i want to get all of the colors established now this is why i particularly like to use oils especially when i'm tackling something this difficult to get these nice smooth transitions it's very very hard and so i'll do my best with a smaller brush like this dagger striper to establish a pretty good gradient from dark to light then i'll use this fan brush to start to blend it out and i'll repeat this process a lot as you'll see moving forward the goal here in the beginning is to get as much of the canvas covered for the portion that i'm working on and trying to get the colors in each given area to be as accurate as they can be i don't go throughout the entire sky because this thirty by forty inch canvas can be intimidating so i try to chunk it off into pieces and i decide to divide the painting into the clouds to the right and the blue sky to the left i'll work on the blue sky for now and then once i feel comfortable with that i'll move to the clouds this allows me to really work this area to perfection at least as much as i can before moving on which helps me overall in the end with not only being efficient with my time but i think it helps with the quality of my work as well working with wet paint can really be helpful and again it's why i like to use oils for things like this because allows you to really work it and take your time until you feel like you've done the best job you can and then you can move on to the next portion of the painting so you can see i apply a lot of the paint initially with a smaller brush and then use something like this fan brush to blend it out now that i've got a good idea establishing a nice smooth gradient on the left side of the painting where the blue sky is now i can start thinking about those clouds to to the right so i kind of use the same colors and i mix just some darker shades some dark blue， medium blue they're not very saturated they have a lot of gray in them， so i'll start again with usually the darkest colors and i'll start thinking about where those dark colors should exist and i try to block in those colors and then fill in the areas in and around those with the next tone and that's a little bit of a lighter blue this is going to allow me to provide depth in my clouds allows you to sort of visualize and imagine that light just being able to peek through some of these darker areas， these big clouds and again i'm not focused on making sure everything is nice and smooth and the way i wanted to look in the end i'm focusing on getting the colors as accurate as i can and i try to blend and keep my brush strokes direction in the right direction as much as i can overall to try and get myself as close to the finish line as possible so after i've got some of the dark colors established i moved towards the lighter colors and i try to tie it in a little bit with the blue that i finished on the left that blue on the left is still a little bit tacky i had finished it the evening prior and so i'll try to tie that in together it still blends together to some degree， but not much and this is why i like to divide especially when it comes to larger works my canvas into different portions because to try and tackle this entire sky and one go is difficult especially in the beginning so i try to block in some of those orange colors where i know the highlights of the clouds are gonna be i try to blend that into the blues， but the problem with creating bright beautiful skies like this as oftentimes you have bright orange and yellows and you're trying to blend those into darker blues the problem with that is in the middle， it can become green so this is a heavy challenge on myself every time i approach a sky like this so what i do and what you can kind of see is on a smaller scale i divide the clouds up into sections so i have the areas that are orange and red and yellow and the areas that are blue and i don't do a lot of blending in between you can use some gray to try and blend those two together but again it's very difficult so i do my best and the result is adequate， but you don't see a lot of blending so it's beautiful you can see what i'm trying to accomplish but i'm not worried about blending all of that out yet， so as long as the composition looks good to me as long as the colors look good to me i know that with a second layer of paint i can get myself to the finish line where i want the painting to be in the end so when it comes to showing light like a bright light where the sun actually exists i use a lot of cad yellow i like to use some bright cad， orange as well and then simply titanium white and in the beginning here i'm not worried about keeping the sun as white as possible， i'm worried about establishing those bright gradients of yellow and orange around the sun and around my source of light a lot of this is going to come into play once， i get towards the finish and i add the actual white to where the sun's going to be so it's important for me to not establish the brightness of the light quite yet， but rather establish the appropriate color around the sun and around the area because the key with creating a bright light source is not the light source itself it's how the light interacts with the things around it and so the clouds and the sky that are leading up to where the sun is going to be that surrounding area that's what's important and it's important for things to get brighter as you get closer to the sun， but then it's also important to have an object that contrast the light and that allows you to see how bright the light is so i like this cloud that's down low on the left right on the horizon because it contrasts that sun very well and i can put some nice bright oranges and reds in that cloud which really amplifies the feeling of that light source that sunlight now that i've got the sky overall i've kind of finished the rest of the painting which i'll talk about in a future video i'm ready to do the second layer of paint so now is where the magic happens so i go back into the bright blue， sky up above and i basically mix the same colors apply those same colors and you can see that i'm not worried about blending just yet i just want those colors to be represented on the canvas and then once all those colors are applied to the sky i go in with my fan brushes and i start to blend it out with the underlying paint being pretty accurate this is actually quite easy for me at this point because that first layer of paint really makes things easy for me to blend over the top so i usually use a couple different dry fan brushes to blend this out and once that's established before it dries i start thinking about some of the details that i want in this sky， so i go right into some of these light fluffy clouds that i want kind of drifting up into the blue here， so i add some white little bit of orange and i start to apply this paint right into the work that i just did so all of this is wet this is the second layer of paint and you can see i fanned out some lighter areas and now i'm going back into those areas and getting more aggressive and actually revealing the clouds so as i go i like to use this dagger striper brush sometimes a fan brush or something softer to blend it out with， but you can blend fairly well with some of these small brushes and i just try to apply some some bright spots of paint and then i just kind of fan it out， blend it out so the bright blue sky is starting to look good now and the paint still wet， but now i'm ready and feeling comfortable to tackle the clouds again， so i go back into the clouds and i start this time with the highlights so once i'm looking to really finally something like clouds these bright areas and when i'm facing a difficult type of blend oranges to blues like i was saying earlier i like to start with those oranges and lighter brighter tones because if you start with the blues and the darker colors that's where it can start messing you up and you can get a lot of muddiness can start to turn green so i usually start with the bright once i'm into the final layer i usually start in the opposite direction starting with the very bright brightest colors， so i get those highlights established and then i start working my way into some grays and some warmer tones that represent some you know in between shadows i don't want to get into the dark blues yet， but i want to start to transition my way to those blues so i like to use some warm grays or even just some very neutral grays and that helps me bridge the gap between the blues and the yellows so as i go here there's all sorts of little tedious things that i'm paying attention to i'm trying to blend out the leading edge of this cloud i want it to really be in harmony with that blue turquoise sky behind so i try to blend certain areas i want to leave some hard edges and other areas so there's just a lot of little just personal nitpicking and a lot of this is personal but once i feel pretty good about that i go right into the dark areas of the clouds again and you can see as i get close to these bright oranges and these reds it you can see the warmth in those darker tones， so i'm using more neutral grays rather than blue grays and that again helps me blend the reds into the blues so i'm trying to in the same way that i'm doing that i did the bright blue and smooth sky to the to the left i'm trying to get the canvas completely covered with colors that i feel like are accurate to those specific spots and once i have all the colors and all of the clouds covered in paint then i start to go in with some more softer brushes and i start to fan some of these colors out and i start to blend out some of these areas and so as i blend them out it starts to provide a little more realism to these clouds and then after i do that i can start thinking about some of the harder edges and some of the thicker paint that i want to exist so i try to blend and then i try to add some of those hard lines because it's important to have hard edges in your clouds as well， it's not always going to be soft if you really pay attention to clouds there's there's usually a couple hard edges that exist throughout the composition so now i'm really starting to blend all of my work that i just did i'm trying to really create a flow and i want that flow to be from the light and sweep into the shadows and a lot of this is the idea of composition i had for this painting but when i'm doing this it's important to start to increase the intensity of the lighter color so now that you've got a lot of these blends now at the leading edge of these blends is when i start adding more saturation to the colors i'm applying so you can see i'm adding the brighter oranges and i'm i'm trying to emphasize those highlights and that starts to take away attention from some of the transitions that you have and it really starts to focus your eyes on the things that stand out in the clouds and so you don't have to have perfect blends everywhere i think you need to have more of a focal point and something that really pleases your eyes and then the rest of the sky the parts that maybe you weren't satisfied with quite satisfied with some of the blending in certain areas those start to just disappear and you the viewer really starts to focus in on the areas that are bright and the areas that pop out at you so this is the time when i start to forget about those areas high up in the shadows and i start to really focus most of my attention on the highlights so after that second layer of paint is about dry it has a little bit of tackiness left to it i go back in to where the sun is going to be and i start adding pure white because it's a little bit tacky it allows me to layer over the top little bit it still allows the paint to adhere to what's on the canvas and i get away with just two layers rather than having to complete a third layer and now is what i'm thinking again about thicker paint so i'm starting to apply some thicker orange， some thicker yellows and i'm keeping that thicker paint specifically for and reserved for the brighter and more colorful spots in the sky， i think that that really again brings the focus to those areas and is really when you start seeing it as a bright， light and working the landscape around the sun is also just an important so if you have things like mountains or trees or a horizon line right next to the sun it's important to brighten some of those up as well because that helps you visualize how bright that light coming through really is so now just like the area around the sun i'm going back into those clouds as that starts to dry and tack up and i'm just finalizing a few more things and particularly with the highlights， so i wanted there to be a little more pink and reds especially as you get further away from the sun， so i go back and start to mix， i want to say muted pinks and oranges things that are a little more gray not quite as punchy and that'll help me blend into the blues and the shadows so i start out by just softly adding some of these tones and then blending and fanning them out as best as i can and then once that is established i go in and brighten the highlights a step further so now i've got some orange and white a little bit of yellow and i'm starting to make the brightest part of the highlights really pop even further so in these last stages i'm really just focused on adding texture to the canvas and emphasizing these highlights and i get into this in a couple of seconds here at a further stage in the painting， where i really add a third layer and more thick paint， but i'm just focused around the highlights so at this point in time it's all about the highlights the shadows even though maybe there might be some imperfections in those they kind of melt away and especially once i get the subjects in i get the birds in the sky all of that really starts to just kind of fade away into the background， but the highlights are what stands out so i keep my focus on the highlights， i keep trying to improve the oranges and the yellows and the whites and if i had one recommendation for a sky overall it's to make sure that you focus most of your attention on the bright areas use some thicker paint when you get into those bright areas and just take your time in general blending colors warms into cools it's one of the most difficult things that i run into into painting and when you feel rushed when you try to tackle the whole sky without a plan in place which segment you're gonna approach at what time if you just go add it without a plan that's when i find myself at least in a place where i think i've messed up so to prevent myself from screwing up and going down a path that i'm not happy with i like to have a very strict plan when i approach an intricate bright， beautiful colorful sky so i hope that this video overall kind of just help explain a little bit how i approach this and maybe you can find ways that this can apply in your own work here in the end you can see me adding that thicker paint to really bring the focus not only on the the highlights in the sky but the brings the focus to my subject matter and that's these birds that are flying through thank you so much for watching i hope you enjoyed this and i hope that you got something out of it if you're interested in learning more i post the real time footage of all of my processes my paintings to the members portion of my channel so check out my youtube memberships either the blue join button or in the description down below in the next video i'll be going over some of the other portions of this painting like the water， the mountains and the birds themselves so until then thank you so much。 关注密文，更多精彩艺术视频。

教你用手机画出晚霞火烧云，先找到填充里面的线性填充，然后拉出渐变，然后先点击小圆点，再点击顶部色环选色， 把三个小圆点的颜色都改变，渐变就出来了，最后拖动小圆就可以改变颜色位置。 笔刷，找到撒盐水彩笔，笔刷笔刷颜色找暗一点的紫色，笔刷透明度掉百分之三，然后新建图层，来回涂抹，就会有云的感觉。 这里不要想着一步画好，要耐心一点，慢慢涂抹出云的形状。接着点击云图层缩略图的小锁，锁定图层 笔刷颜色，找到浅粉色，直接在云涂层上涂抹，因为我们已经锁定涂层了，所以颜色不会画出去，可以大胆涂抹。 注意光照的方向，涂抹云的高光，右边的云是加了粉色的，感觉比左边多了立体感。接着把左边的光也加上， 找到一个鲜艳的红色，继续加多一点笔刷换成斑点笔刷，来回涂抹出星星，还要把月亮加上。最后新建图层混合，改成光晕，用撒盐水彩笔加上光的感觉， 然后晚霞火烧云就画好了。

云要怎么画？首先的呢，我们就把云彩分为三个小球弯，照进来的话，他肯定会形成光面还有暗面，因为云不像食物啦，他肯定有透光性，所以橙色的那部分呢，就是透光的部分。 找到破败石灰笔刷，然后大概勾勒出云的一个形状，再用浅蓝色呢铺一层阴影的部分， 再用白色来铺亮光的部分， 选择涂抹工具，用柔光笔刷板交接处涂抹的更自然。 再用滚轴笔来修饰一下圆的边缘，圆的边缘肯定是崎岖不平的，没有一定的轮廓性，再将里面的细节再刻画一下， 用软关云笔刷来画一下高光。 好了，那有没有更简单的画法呢？当然有，那就是我们自己创建一个笔刷，你看，这就是我自 自己创建的圆层笔刷，轮廓勾出来之后，只需要用浅色来勾画一下阴影就行了。 下期将会教大家来怎么样去创建自己的一个笔刷。本期就到这里啦，下期见。

都说小子画不了油画，当风点画，今天我用捡来的十厘米乘十厘米的卡片，画一幅冬天里的朝霞，上来先吐霞光， 换的颜色，一层一层一层的涂，放心的涂，大胆的涂。画画就是画心情， 拿出我珍藏多年的纸巾擦擦擦，来回擦， 为了衬托我的心情，画上黑土地，画一棵歪脖树。话说不用刻意去想，你就直接往上了。给树干涂下色，给我们的霞光补补妆， 用铅笔画上整幅画的灵魂。大黑鸭子在不点东易的阳光 玩火看成品，哎，我那无处安放的艺术天赋啊！

今天来教大家用一个十分简单的方法来画素描当中的云朵。首先呢，我们用蘸着铅笔灰的海绵球呢，在白色的纸上去涂抹。 没有海绵球的同学呢，可以拿纸巾沾一点点铅笔灰进行涂抹。我们给白色的纸张呢打一个浅浅的底色。接下来我们拿出尖尖的橡皮，打小圈圈的方式呢，去擦出亮色的云朵，尽量不规则的去擦，这样擦出来的效果呢会比较的自然。 下来。我们拿出纸擦笔，把云朵的暗面颜色呢去稍微的加深一点。把一朵云朵呢看成上下两部分，上面一部分呢是亮色的，下面一部分呢就是深颜色的。通过亮暗呢，我们就把云朵的体积关系给他画出来啦。 现在呢，我们在左上方呢，给他增加一个小太阳，增加一个光源的方向。素描风景当中的云朵呢就完成啦。今天简单云朵的画法大家学会了吗？

在画云的时候，要先把背景蓝色天空刷上，在大块云的位置要留出白色底色，先用浅蓝的颜色画出云整体的形状。用珠棕扇形笔的一角在云和天空的边界画小圈， 体现于边缘柔和的状态。在要画高光和阴影的区域可以空出来，减少后续混色的影响。第二层用更深的颜色在云中间和光源的反向加上阴影，笔触不变，和第一层颜色要略微融合在一起，体现于柔和的状态。两层颜色基本能体现于立体的效果。 继续用更深的颜色加上最深的阴影，深色的要画的薄一些，与底色略微混合即可。最后在光源的方向加上高光，笔上的颜料要多一些，画的尽量厚一点，这样才能遮住底色，得到更高的亮度。接近地平线的云距离更远，形状变得更小，更扁平， 颜色的深浅差距也更小，这样天空中的云就画好。

教你怎样画国画云的四种画法一、泼墨法单泼浓泼墨法是国画里常见的用墨方法，也是我们每一位画画学者所必须掌握的技法。 常见的破沫方法有四种，忌浓沫破淡沫、淡沫破浓沫干破湿、湿破干。以上的第一种化法，我用淡破浓的方法做以示范， 先用较浓的墨以点作画，却做出云的造型。在浓墨未干时，即加淡墨加以渗破，使其浑然交融，变化丰富。 此时我用的浓墨胶干干墨，教师也可以起到是墨破干墨的效果。这种以点排列做银的组合形式与我们新手朋友交易掌握，同时也是我们学者常用的方法。 路演上先生及单词法同学们在用铺墨法的时候，一定要控制好笔里的水分，当湿则湿，当干则干，切莫干湿不分，不做一团。 二、浓墨破淡墨我们先用干净的毛笔蘸清水或者清末，画出匀的大致形态，这时的毛笔里的水分可以多一点。 当云大至有了安排之后，同样在清末或清水未干之际，用较浓的末加以破枝，这里干比湿笔皆可用之。用干笔就是干破湿，也可以用湿墨层层浸染，也叫积墨法。这种 种方法的优点是虚化效果好，有滑丝质感，缺点是不容易掌握，画不好就容易腻。以后我会在画山水的寂寞法中给大家讲到 以上两种。化云的所用的方法为泼墨法，我们在华山石丛林里也经常用到。 唐代王维、张枣等人的山水画改单线平图的方法为墨色有深浅层次的画法，当时成为泼墨山水。有人教学用喷壶喷水，纸面用大墨化银的方法，在此我不提倡 三、钩云法，这种画法我们在北派山水里或者小写一山水里经常见到，具体方法是先用线条去勾勒云的形态， 互用弹幕背景加以烘托。我在前几节课一直有强调用笔的线条，在这里的勾匀法里面也是通用的，勾匀时线条要圆润饱满且有力度，且不要用笔尖去描 画。国画线条是我们最基本的掌握要素，大家下来一定要勤加练习。 四、泼墨法泼墨法 济南话是指用笔蘸墨汁泼洒在纸上，或者卷上纸落笔，大胆点化淋漓，气势磅礴的写意画法。画泼墨法是笔上的墨一定要饱满，随着墨音开的状态及时调整，做到一气呵成， 该破的地方破一破，让我随着你想要的状态晕下来， 要出现墨汁像泼上去的一样，墨水丰富，肆意挥洒，滋润而生动。泼墨画法是中国美术里独有的绘画技巧，其对画家的基本绘画功底要求是较为严苛的， 必须要有深厚的画质几次以及对于图形感官的艺术创造力。泼墨与泼墨容易为人混淆，我们当多练多去体会方可辨识。 好了，今天的四种话语方法学会了吗？如果不会的话，赶紧收藏起来，下来一定要勤加练习哦！

在绘制半碗云的时候，我们从离太阳最远的位置开始。首先使用朱宗善性笔的一角在画布上绘制小圈，以突出云边缘疏散的状态。我们要从这个位置开始画出云最深的颜色。 接下来，用笔轻轻扫过云，让云的颜色与天空底色稍微混合，这样做可以使颜色更柔和，更贴近云的效果。随着接近太阳的位置，云的颜色会逐渐偏向橙色。除了在天空底端会吃更多的云外， 还要用这个颜色在顶部靠近光源的方向画出顶端云的浅色部分。通过增加颜色对比度，我们可以为云朵增添更好的立体感。接下来，我们使用更鲜艳的橙色填充云朵边缘，这样可以在绘制高光之前形成更丰富的颜色过渡。最后，使用较厚的笔触画出云高光部分， 以遮住底色并增加对比度，这样傍晚的云就画好了。