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The Black Hat by Julian Alden Weir

plate no. 1088

The Black Hat

Julian Alden Weir, 1898

oilImpressionismportraitportraitwomanhatclothingfigurehands
some experience helpful

Recreating this painting will help students develop skills in portraiture, specifically capturing likeness and subtle tonal variations in skin tones and clothing. It also provides practice in rendering textures with visible brushstrokes.

technical profile

palette complexity
3
brushwork visibility
4
value contrast
3
compositional simplicity
4

study guide

est. 15 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the basic shapes and proportions of the figure, focusing on the head, shoulders, and hands.

  2. step 02

    Establish the background colors, blending the blue patterned area and the warmer brown tones.

  3. step 03

    Block in the main values of the face, using thin washes of color to build up the skin tones.

  4. step 04

    Develop the details of the hat, paying attention to the texture of the feathers and the shadows within the hat's form.

  5. step 05

    Paint the clothing, focusing on the folds and creases to create a sense of volume.

  6. step 06

    Refine the hands, capturing the subtle forms and the texture of the cloth being held.

  7. step 07

    Add highlights and shadows to enhance the three-dimensionality of the figure.

  8. step 08

    Make final adjustments to the colors and values to achieve a cohesive and harmonious composition.

color palette

primary · raw umber · ivory black · titanium white

secondary · ultramarine blue · yellow ochre · burnt sienna

Mix various shades of brown and gray by combining raw umber, ivory black, and titanium white. Use yellow ochre and burnt sienna to warm up the skin tones. Add small amounts of ultramarine blue to darken shadows.

techniques

  • ·scumbling
  • ·dry brushing
  • ·tonal layering
  • ·blending
  • ·glazing

common pitfalls

  • →Overworking the details too early
  • →Failing to establish a strong value structure
  • →Using colors that are too saturated
  • →Ignoring the subtle shifts in skin tone

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·raw umber oil paint
  • ·ivory black oil paint
  • ·titanium white oil paint
  • ·yellow ochre oil paint
  • ·burnt sienna oil paint
  • ·#4 round brush
  • ·#6 flat brush

optional

  • ·palette knife
  • ·linseed oil
  • ·turpentine
  • ·medium gloss

Use a medium-textured canvas to allow for visible brushstrokes. Consider using a limited palette to simplify the color mixing process.

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related guides

oil painting for beginners →color theory for painters →how to learn by studying the masters →
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