plate no. 7810

Six O'Clock, Winter

John French Sloan, 1912

oil, canvasNew Realismcityscapecityscapetraincrowdbuildingsnightstreetlights

experienced study

Recreating this painting will help students develop skills in atmospheric perspective, capturing the effects of light at night, and rendering complex urban scenes with many figures. It also provides practice in creating a sense of depth and distance using value and color.

technical profile

palette complexity

brushwork visibility

value contrast

compositional simplicity

study guide

est. 15 hrs

approach — 8 steps

step 01
Sketch the basic composition, focusing on the placement of the elevated train, buildings, and crowd.
step 02
Establish the overall value structure with a thin wash of dark colors, paying attention to areas of light and shadow.
step 03
Block in the sky with varying shades of blue and gray, creating a sense of depth and atmosphere.
step 04
Paint the elevated train and buildings, focusing on the details of the structure and the warm light emanating from the windows.
step 05
Add the crowd in the foreground, using loose brushstrokes to suggest the figures and their clothing.
step 06
Refine the details of the streetlights and other light sources, paying attention to the way they illuminate the surrounding areas.
step 07
Add final touches and highlights to create a sense of depth and realism.
step 08
Step back and adjust the overall composition and color balance as needed.

color palette

primary · ultramarine blue · burnt umber · yellow ochre · titanium white

secondary · cadmium yellow · alizarin crimson · ivory black

Achieve the atmospheric blues by mixing ultramarine with white and a touch of burnt umber. Create the warm light by mixing yellow ochre with cadmium yellow and a touch of alizarin crimson. Use burnt umber and ivory black for the dark areas.

techniques

·scumbling
·dry brushing
·atmospheric perspective
·broken color
·alla prima

common pitfalls

→Getting lost in the details and losing the overall sense of atmosphere.
→Making the dark areas too flat and lacking in depth.
→Failing to capture the subtle variations in color and value.
→Overworking the painting and losing the freshness of the brushstrokes.

materials

surface · stretched canvas

required

·stretched canvas 18x24
·oil paints (ultramarine blue, burnt umber, yellow ochre, titanium white, cadmium yellow, alizarin crimson, ivory black)
·palette
·assorted brushes (round, flat, filbert)
·linseed oil
·turpentine or odorless mineral spirits
·palette knife