Marvin,

As long as were waiting for Mr. Tyler I wonder if you would answer a question.

There are so many important components to a successful portrait. My method(?) of learning has been to try and focus on what I thought were the most important first. As I have continued to think through these matters I always come back to the conclusion that "color" is one of the least important on this list.

I suppose in an academic environment it is incumbent upon the teacher to expose the student to all components within the time alloted.

Would you agree with my assumption regarding color?

Stanka, What exactly is a balanced ego?

Mike, You are correct and incorrect. Frank Reilly said that the success is based on 80% value and 20% chroma with color being a very minor component. That said if I deliver a portrait with green skin my client, unless I'm painting Kermit, would not be amused. So in the end the color once again becomes the most important. It needs the other things, chroma and value to work properly. Most people separate painting from drawing which Reilly did with his little aphorism. Drawing, however, is by far a more critical aspect of painting and where most paintings fall apart.

So when teaching, it is incumbent upon the teacher to cover what the students think is important and incorporate that into the more essential truths.

It means not having one.

I'm not sure if this is the appropriate spot to post this painting but it is a product of a pallette without cads and I offer it here for critique or to submit another sample of Marvin's pallette.

Cynthia if you think it should go under the critique section as a stand alone let me know or feel free to move it. Thanks.

John,

Could you share what was used on your palette? There's a nice harmony of muted reds with the blouse and background.

Garth

Sure Garth. The flesh tones are all made with Marvin's pallette, white, yellow ochre pale, yellow ochre, indian red, terra rosa, raw umber and black. See Marvin's post for how it is mixed and laid out.

For the blouse and background I simply incorporated alizarin crimson and I believe a little cobalt blue. I did this painting about a year ago so I am having some difficulty remembering all of my moves regarding the blouse and background.