Sunday

A solitary figure in dark clothing sits on a pale sidewalk, dwarfed by the massive geometric facades of storefronts receding behind him. Sunlight from the upper left casts sharp shadows: the storefront windows become nearly black voids framed by crisp architectural edges, while the yellow building facade on the right catches warm directional light. The eye enters through the contrasting white shirt and pale flesh tones of the figure, then reads the strong horizontal rhythm of the shop windows and their mullions. A red vertical element on the left foreground provides a discrete color note against the overwhelmingly warm-neutral palette.

The painting operates in three clear value zones: the very dark window interiors and shadowed recesses (nearly black), the middle-tone facades and sidewalk (pale warm tans and ochres), and bright accents in the figure's white shirt and upper building edges. Squint and the storefront becomes a rhythmic pattern of dark rectangles against lighter frame elements, with the figure's silhouette holding the focal value contrast. The deepest shadows are reserved for the window interiors, creating visual depth; no element in the lit foreground approaches that darkness.

• #211c14

  Ultramarine blue + burnt sienna + touch of titanium white, darkened to near-black

  Interior shadows within storefronts and deep recesses between frames

• #807252

  Raw umber + yellow ochre + titanium white

  Building facade frames, door frames, and architectural trim

• #cdb06e

  Yellow ochre + raw umber + titanium white

  Mid-tone facade surfaces and window frame divisions

• #eed68f

  Yellow ochre + cadmium red light + titanium white

  Bright sidewalk, pale cream tones in lit building surfaces

• #a68752

  Raw umber + yellow ochre with slightly more umber

  Shadow sides of architectural elements, warm mid-dark accents

• #8b3a1a

  Burnt sienna + cadmium red light

  The red vertical element (fire hydrant or post) on the left

Hopper uses crisp, deliberate edges on all architectural elements—the frame lines are clean and shadow-defined, emphasizing geometric precision. The figure and foreground have slightly softer handling, though still controlled. Within the dark window shadows, vertical brushstrokes follow the interior depth, suggesting form without detail. The overall effect is one of technical restraint: no decorative flourish, every stroke serves the architecture or light logic.

1. 01

   Composition and Proportional Drawing

   Lightly sketch the horizontal division of the storefront facades—establish the mullion grid and the relative heights of the frames. Position the figure sitting on the sidewalk in the lower third, off-center to the left of the composition's middle. Mark the vertical division between the gray storefronts (left/center) and the yellow building (right). Use a ruler or straight edge if needed; Hopper's architecture demands precision.

2. 02

   Establish the Light Direction

   Block in directional light using a large wash: apply pale yellow-ochre to the upper building surfaces and right side facade, indicating sun from the upper left. Paint the sidewalk in warm cream tones. This establishes your light map before adding shadow.

3. 03

   Render the Window Shadows

   Mix a deep shadow color (ultramarine + burnt sienna, nearly black) and block in the interior of each storefront window as a solid dark rectangle. These are the darkest elements in the entire painting—don't hold back. Keep edges clean and architectural. Vary the shadow tone very slightly window-to-window to suggest atmospheric depth receding into the storefronts.

4. 04

   Develop the Yellow Building Facade

   Paint the right-side building in warm yellow ochre and pale cream tones, layering to show form and subtle surface variation. The facade catches full sunlight, so it should be among the lightest warm elements. Observe the shadow beneath the roofline and add cooler mid-tones where the wall turns away from direct light.

5. 05

   Define Storefront Frames and Trim

   Paint the window frames and door frames in warm-neutral tan and gray-tan tones (yellow ochre + raw umber mixtures), darker than the bright facade but lighter than the shadows. These linear elements create the rhythm and structure—render them with clean, confident edges. Pay attention to shadows cast by the frame edges themselves onto the facade.

6. 06

   Paint the Foreground Sidewalk

   Apply warm pale cream and tan tones to the open sidewalk, working around the figure's placement. Note the subtle shadow cast by the storefront overhanging (a thin dark line across the pavement). The sidewalk should feel planar and calm, supporting the figure rather than competing with it.

7. 07

   Render the Figure

   Block in the figure with careful attention to proportions and value. Paint the white shirt carefully (warm white, not pure white—add touch of yellow ochre), the dark vest and pants (nearly black with warm undertone), and the flesh tones of the head and hands (yellow ochre + small amount of cadmium red light + white, modeling for light direction). The figure is surprisingly small within the composition—resist the urge to enlarge it.

8. 08

   Add the Red Accent and Final Refinements

   Place the red fire hydrant or post on the left foreground in burnt sienna or cadmium red light. Refine edges throughout: sharpen architectural lines, soften the figure's transitions slightly. Check that shadows are consistent with the light direction from upper left. Add any final atmospheric or reflected light touches in the window shadows if needed.

• Painting the window shadows as uniform black—they actually contain subtle tonal and color variation; look for cooler (bluer) shadows deeper inside the windows and warmer tones near the frame edges
• Misplacing or misproportioning the figure—it's smaller and more to the left than intuition suggests; use your initial composition line to anchor its position
• Softening architectural edges—Hopper's edges on frames, mullions, and rooflines are crisp and sharp, essential to the geometric feel; resist the urge to blend
• Mixing dull or greenish shadows instead of warm-neutral ones—the shadows contain burnt sienna and ultramarine, which produces a rich dark brown, not gray or greenish-gray
• Making the yellow building compete with the storefronts—it should read as the brightest, warmest major element, separate from the complexity of the facade windows
• Losing the downward light logic—shadows beneath horizontal ledges and overhangs must be consistent with sun from above and to the left

beginner friendliness

value contrast

palette complexity

compositional simplicity

brushwork visibility