Cadmium free and loving it.
 

For the past two years I have eschewed the presence of cadmiums from my palette and have never been happier. Of course my palette is geared towards painting naturalistic and not electric skin tones.

Although I was successful using cadmium colors in my own work, my students struggled to control them. There seemed to be a fine line between controllable color and the gaudiness on one side and muddiness on the other, so I decided to look for a better alternative.

I equate trying to mix the colors of flesh with cadmiums to be like learning to parallel park in a Boeing 747. It can be done but I think it's overkill.

I was drawn to the palette of William McGregor Paxton, who in my humble opinion was the greatest colorist of flesh. Paxton theorized that if we come from dust and return to dust we should use dust (earth colors) when painting flesh.

The effects upon my student's work has been nothing short of phenomenal, not to mention my own. It's almost impossible to paint a bad looking flesh tone if you approach it intelligently.

My complexion colors are Venetian Red, Indian Red, Yellow Ochre, Raw Umber, Ivory Black and Flake White. This array of colors is more than sufficient to capture the subtle variations and nuances found in human skin. I may introduce some other colors into the shadows based on reflections from the surroundings areas.

In addition to my flesh colors I listed above, I always put out Ultramarine Blue, some sort of Permanent Alizarin, and Viridian Green. On very rare occasions, if I need a more chromatic hit, I use Michael Harding's GENUINE Naples Yellow Light (not to be confused with the dull variety of naples yellow most manufacturers offer) and Michael Harding's Vermilion.

I also use neutral grays to reduce the chromatic intensity of my colors. Finding the proper complement for each pigment I use would only serve to increase the number of colors on my palette reducing the potential for a harmonious painting.

I offer the portrait I recently posted of Sylvia http://forum.portraitartist.com/show...3&pagenumber=1 as an example of the kind of rich color that can be achieved without resorting to the use of cadmiums.

Dear Marvin,

Thanks for the information. The cads are electric! So your color choice is much better and that portrait of yours is legendary already.

Marvin,

I have to thank you from the bottom of my heart for your post.

I have been tearing myself inside at the fact that my paintings always have, what I call "lobster people". It never dawned on me that its an inescapable outcome from "CADMIUMITIS"! Your comments were so very persuasive and explanatory that I tried the Paxton Palette today and I am in seventh heaven. It's like having a revelation in painting with soft color subtlies - that are truly so much more stunning that all that intense color!

I see differently how Cads fit the mix - they now seem to be more a condiment than part of the meal.


Merci Mille Fois!
Linda

p.s. amd thank you Mister Paxton !

Shhhh! Somebody may hear you.

No mo cad
 

Hi everyone,

Ever since studying with Marvin I at first reluctantly threw out my cadmiums - but after nearly a year of painting without them - and using his palette exclusively - I will never add them to my flesh palette again.

I can honestly say I had a hard time at first - but now that I've stuck with it and learned to mix the right values - his palette saved my painting life! My paintings are totally different now - believeable colored skin and I can adapt the colors to virtually any skin tone. No problem. I can't believe now that I ever used cad red.

I am not saying I have mastered this palette yet - who could say they mastered it when we have Sylvia to put our work beside! My, that is a painting!


Cheers again to Marvin Mattelson,
Denise

I'm trying it and I'm really liking this Marvin. Everyone that paints portraits needs to know this. Has this information ever been in print?:)

Also, Marvin, do you have any cd's or tapes on your portrait painting techniques?

Sorry to say Celeste, at this time I don't have a video. I'm waiting for someone to come along and bankroll a series of video tapes. Someday perhaps.

My instruction is centered around a very specific arrangement of these colors. I believe, however, that it is my strategy for using the palette is the most unique aspect of my approach.

I do offer workshops though. I will be conducting a portrait painting workshop at The Durham Arts Council, Durham NC from May 16-22. For more information you could contact Haleh Mallernee at [email protected], or call her at 919-403-9472.

I have posted an online brochure for this workshop on my site at http://www.fineartportrait.com/oil_p...rkshop_nc.html

Dear Marvin,

Some day I hope to take one of your workshops. What a present that would be. :)

However, due to my teaching schedule I'm booked up except Dec. and Jan. of each year till 2006.
So I sure hope that one day you will make that video. I'll buy the first one.

You are, in my opinion, one of the best portrait artists that I have seen anywhere.

Wow
 

This is a quite a modern and original idea Marvin. I just wish the results proved the practice. When I see powerful color by these means then and only then will I be impressed. Until then it's just talk.

It's an idea that has been in practice since people figured out that by mixing berries or dirt with oil you can make a mark on a surface that will last.

The results fill museums around the world.

I feel that I am perfectly able to create any color effect I desire using about ten colors. On the odd chance I need to make a particular color outside the range of my palette I will add the appropriate color. This hasn't happened in the last four years since I've devoted myself to portrait painting. I certainly haven't had the desire to reach for Cadmium anything.

A good chef uses less ingredients not more.

I try to create timeless and tasteful paintings. I myself am not attracted to gaudy, loud or overstated artworks. Why would I want to create something against my very nature? My palette serves me very well and my clients seem quite happy.

In terms of my participation here, I believe I have a valid point of view to express based on my thirty plus years as a professional artist and teacher. I enjoy participating in a forum environment and hope that my insights could potentially be useful to others.

I think that expressing an opposing opinion for the purpose of clarification is healthy. I would never just jump into the middle of things for the sake of merely bandying my name about or trying to give myself exposure. Almost every post I have contributed here contains solid information.

I don't understand how the number of paintings I do has relevance in this discussion. I hope the quality of the work I produce speaks for itself.

Dear Marvin,

Your paintings speak loudly and clearly. :)

Your work is unparalleled for its unity, beauty, realism, etc..

Thank you Celeste. You are too kind. I'm very touched by your heartfelt praise and I really appreciate it.

Dear Chris,

These should be deleted anyway in my opinion as personal attacks are very offensive to those of us who read this. Decorum is always the victor in any debate.

Truth
 

Celeste, contradictions are offensive too. Yet, this is a sharing and learning site. Through fair exchange and conversation we artist can work through the many styles, forms and methods employed. Truth is good, knowledge is good. If I attend a lecture by an expert, I'd expect to see his credentials.

Everyone is entitled to an opinion
 

The opinions I express are those of my own. I'm entitled to have them and express them. The thing that is both wonderful and baffling about painting is that there are multitude of approaches and paths to follow.

In my thirty plus years as a teacher I have developed a method of working and teaching that has allowed both myself and others to feel they have reached levels of competence that at some point seemed inconceivable. That's a pretty exciting thing, as far as I'm concerned.

Generally my students are very loyal and appreciative based on their appreciation for the knowledge they've received from me and the growth it has spurred.

My methods may run counter to the theories and philosophies of other very successful and talented artists. It is my theory that its the tremendous innate talent of most successful artists which allows them to succeed in spite of their technical and theoretical approaches.

More importantly, I see the vast majority of artists struggle, to a large degree, because they use too many and too powerful pigments on their palettes. So I have devised a teaching strategy based on giving the greatest number of people a the best chance to succeed.

There are obviously other aspects of painting that come into play so what I've tried to do is break down every area involved in painting into what I call an "idiot proof" approach.

I really don't care if I am perceived as someone marching to the tune of a my own drummer. Many of the truths I've found have come as a direct result of seeing what most people do and then looking the opposite direction for a better answer. I see that a great number of what artists do today fly in the face of what previous master artists seemed to do. I take nothing for granted in my quest for the best answers. I also don't care to play the gallery game and be in who's who or anything else. I let my work speak for itself. I'm only interested in being the best artist and teacher I can be.

Just a side note, this past summer Steve Assael, one of the most respected realistic gallery artists in America (Forum Gallery) sent his son to my workshop to "get him started on the right track."

I do, however, enter portrait competitions because it gives me status in the portrait community and most importantly, with clients. I am, after all, a portrait painter first and foremost, which is why I participate on this forum. Even though I have been one of the top award winning portrait artists in the last four years it doesn't make my paintings one drop better or worse. At the end of the day my work is what it is.

Dear Tim and Marvin,

I really appreciate all that both of you do on this forum. You make it interesting to us because you have a very definite opinion and that is refreshing and welcome. I also enjoy all of your paintings.

Color theory and individual palette styles are just that. No one is right and no one is wrong. Each has their own way and each will promote the one that they prefer.

People also have preferrences as to color. Some like not so much color and others love nothing but color. So you are both right.

We like and respect both of you very, very much. And we love hearing both of your opinions because they often conflict though usually very fun and entertaining for us, the audience. It's a vivid contrast of opinions. It would be rather dull if we did not have both of your input.

The fact that both of you are brave enough to speak up frankly makes it so delightful for the rest of us. And it helps in education. We will test all theories and then see what works best for us. But we for sure want to hear both sides so please, both of you, keep giving us your opinions about all things relating to painting.

Each of you will never know how much the rest of us really appreciate the sharing of knowledge that both of you give to this forum.

Re: Truth
 

Dear Tim,

This forum wouldn't be half as much fun for me if you didn't confront or disagree with a lot that I have said. :)

I am learning from you by your confrontation. It makes me study more. I very much appreciate it when you don't agree with things that I might say. I love it, in fact.

Why would I say them on a forum if all I wanted was, "you're correct in that assumption, Celeste." That's no fun. It doesn't make me see another person's point of view. Your disagreements with me have been very educational. Thank you for each one that you posted. :)

Both of you are very much fun for the rest of us in the forum. Like I said, you both will never realize how much we all appreciate both of your input.

Thank you Chris for stepping in. I agree with Celeste that ALL offensive posts should be deleted. Not just the ones in this thread. I disagree with Celeste in saying that she finds this 'debating' refreshing and delightful. I find it revolting and immature. Many people have stopped coming to this forum, much less posting on this forum because of the numerous refreshing delightful debates. This statement is supported even more after reading the emails I've received. Different views are fine and even passionate ideas can be discussed in a civil way. Everyone can learn from different views, but not when they're served with a side of sarcasm and insults.

Renee Price

Another Freed From Cads
 

I am so pleased with my palette. It may only be oil that is mixed with ground up, dirt, rocks, and sometimes vegetable matter but it serves my purpose.

For years I searched for a palette that was kind to my sensitivities and sensibilities. I went to museums and read books.... but alas, to no avail. It took one demo with Marvin to convince me to place my cads in a drawer until needed for a flower or a fabric color. My search is over.

The search is never over for better compositions, subject matter, and draftsmanship, but for the time being it's nice not struggling like I did before with my flesh tones. There will be room to expand on my new palette later, but as it is, I haven't enjoyed painting like this in years.

Just had to pass that on and maybe get back on track to where this thread started.

Marvin's direction has helped me a lot. It may not be for others but the results I am creating now in my paintings are so very pleasing.

Lynn

Dear Renee,

Up to the point that the discussion turned offensive, then I have found them refreshing and delightful in previous threads that I have participated in or read.

After that happened then I stated that it was 'very offensive'. Personal attacks by anyone have no place in a professional atmosphere.

Some people do not like debating, but because I grew up with brothers who did it, I found that sometimes someone will come up with something unexpected and great for all that listened. Something that no one could have imagined or learned without the debate.

The most brilliant people that I have ever been around love to debate. But it's always been with a spirit of civility. I don't like to watch fights of any kind. Debating or other.

However, seeing two very talented artists that offer differing opinions allows the onlookers a great insight to their knowledge and techniques.

Marvin has been quite the gentleman in his replies. That demands so much more respect when one acts as he has.

But, I certainly know that you are right in saying that many people do not like any kind of debate at all.

I understand that and I'm very respectful of your opinion.:)

Celeste,

Thank you for clarifying your position about liking the banter before it turned nasty. I misinturpreted your replies and I apologize for that.

I love a good debate--a debate without passive aggressive comments and snottiness. Too many threads go into that realm of childishness and vindictiveness. I would love to see all debates maintain professionalism without attitude. There is a difference between questioning sources and knowledge, and personally assaulting someone. But until everyone can voice their opinion without concern of being crucified, we won't be able to have true debates.

Renee Price

Amen to that Renee. :)

Well, I have found the discussion between Tim and Marvin to be refreshing and insightful. It's not every day that we novices will get to hear the reasoned and passionate opinions of two such respected talents. Nor, I suspect, will we frequently get to hear their opinions on the criteria for commanding respect. What makes a good teacher? What makes a good artist? The only people I care to hear discuss it are good teachers, and good artists.

And just as I was about to suggest we rename this place the Snorum, too.

I'll take some growling and snorting by experts over the gratuitous gladhanding of mediocre works any day of the week. And "mediocre" was the nicest word I could think of.

Decorum is no excuse. Stiff upper lip everybody! Take sides in private.

Au contraire. Member participation in this Forum is valued and appreciated, but only so far as members act respectfully towards other members, their work and their approach. Explaining bad behavior away as "passion" doesn't make it acceptable behavior.

Please keep in mind that the Forum exists primarily as an educational arena, and secondarily, to foster constructive philosophical debate about art and all of its attendant issues. There exist written etiquette guidlelines that are a condition of continued membership here, and to which we all agreed when we became members. Courtesy and respectful behavior in this Forum are not optional.

Well said . . .
 

Marvin:

Well said.

I judge each painting based on its inherent beauty. Just because I may not agree that the way a painting is created is the best approach for me or my students to follow, I can still have great respect or admiration for the artist who created it.

Not using cadmiums in flesh mixtures works for me and has produced fantastic transformations for the vast majority of my students. I often refer to my students in my posts because I want to emphasize that I don't offer up any information that hasn't been battle tested, first by me and then by them.

Having a continuing group of students gives me the opportunity to see where problems can arise and this motivates me to try to invent or discover solutions. So what I do and what I teach is an ever evolving process based on producing results. If I discover a better way, then everything I teach goes right out the window. I am results oriented. My only allegiance is to the production of the finest paintings within one's ability.

If someone could show me that by using day-glo green I could achieve better results, I'd be teaching my students the Mattelson Day-Glo palette tomorrow.

Once people have control over what they do, they can incorporate whatever colors they see fit. I feel that my method gives the greatest number of people the best chance to successfully paint lifelike complexions. In addition I don't intend to create an army of Mini-Mattelsons. I'm sure all will agree one is more than enough. Therefore I encourage each student to express themselves fully. Understanding the broad principles that govern painting only serves to enhance individual creativity.

Having spent some time with Marvin, I have found him very open and supportive of each individual

Thanks Carl, it looks like the brainwashing took.

HAH! Oh, good! May I have that scrap of food now master?

Seriously, as Marvin full well knows :D , if I didn't feel as per my post about his palette, I'd say so in a heartbeat, or at the very least, say nothing.

Boys, BOYS!

We all see the value of an honest debate about materials and methods, even a spirited one, and welcome it. That often creates the opportunity to learn about another's approach. I think the objection here is when the discussion is a thinly veiled excuse for personal attack. None of us here is so dumb that we can't perceive the difference.

Speaking for myself, I find it extremely tiresome to wade through three pages of essentially "Nyah, nyah, nyah!" to reach a small kernel of usable information. So again, I think we all know the difference between a passionate discussion of technique and materials and saying, "If you use THIS color, I have serious problems with your mother." I find the former illuminating, the latter boring.

To Marvin's defense, I think he gets a bad rap in this forum for being merely opinionated. In his workshop, he wasn't oppressively militant about his palette vs. another, and didn't require that we use it. But he's very outspoken about how useful it's been for him, and why, and that it might be so for us. A position about which I find nothing offensive, as it springs from personal experience. In his posts here, he says nothing in regard to the character of those who use brilliant cads, or other palettes. He's also never asserted that his palette is a groundbreaking Mattelson innovation, merely his personal refinement of what's come before from Paxton and Reilly. I see no self-aggrandizement or ego there.

To me, the finest paintings have a tension or interplay between passages of brilliant color and more muted tones. From lesser hands, paintings veer wildly between either screaming, oversaturated hues or dishwater-dull tones. But in the hands of an artist, every modulation and nuance imaginable is skillfully played off the others. Sargent was a master of the brilliant color notes, but also the most sumptuous grays and off-whites you'll likely ever see. Knowledge of the actual components of his palette, though interesting and worthwhile, won't make us Sargent.

The palette either assists or it thwarts, but it has no implied value in and of itself. And the choice of its components says nothing about the artist one way or the other. What matters is the result.

Peace--TE

No argument, here . . .
 

Goodness. I certainly hope that I have not said anything that sounds like sniping. I find it fascinating to read about the colors other artists use.

After reading Marvin's list of colors, and his thoughts on red, I dug out some old tubds of Venetian and Indian Reds, and playe with them all one morning. I was fascinated by how closely I could approximate the very colors I get with my cad red light, which, because of its sharp nature, I find necessary to cut with something like raw umber, cobalt, viridian, etc. Made me think that I'll add some Venitian (it's warmer than Indian) to my palette since it automatically mixes NOT SO HOT as does cad red.

Richard,

I don't believe that Tom was referring to you. He was referring to people who, rather than joining into the discussion and sharing their own insights based on their experiences, as you have, try to attack the validity or the character of the person posting.

I would show you an example of this but to the best of my knowledge those offending posts have been removed. The fact that your posts remain intact speaks volumes.

Being that this is indeed a forum, debate and discussion of different points of view should be embraced and considered for their own merits. We can then accept, reject or question what we read and respond if we wiish.

We as artists are very passionate, by nature, about our beliefs and well we should be. However it is easy to get drawn into things too far, however, so we all need to count to ten, evaluate the content of what we say and review it's intended purpose in order to make sure we aren't debasing others.

I too have succumbed at times, usually in responding to an attack from another, but overall I have really tried to avoid being sucked into less than gentlemanly behavior.

Umfortunately some never seem to learn their lessons and so their words, like stones, have been cast aside.

Chris,

I am putting forth great effort in the attempt at being well behaved. My second grade teacher warned my mother about this. Now you want me to stay on topic as well? My linear right brained orientation makes this a near impossibility, you know. But I wiil try.

Shouldn't their be some sort of exemption for the thread starter, however?

Everyone should take note of my new conduct warning post in the Posting Guidelines & Proper Conduct section.

http://forum.portraitartist.com/show...&threadid=3774

Back on track
 

For those who have been following this interesting polemic, I happened to be one of the the first replies in this thread. I stated that I had been frustrated with the "lobster people" I would paint. I would feel there was this level of "acidity" sometimes.

Well I have some examples to show from the change already. Here is the painting I started a week or so ago after reading this thread and deciding to give the cad-free Paxton palette a shot. I have been impressed with the ability to get more subtlety, and therefore luminescence in my skin tones. For finishing touches, I did some tint layers with mixing transparent reds, yellows, and blues.

Sorry for the quality of the snapshots.

Here is a close up - It's at a severe angle when photographed, so the face looks distorted - i.e. the eyes slant. This was so to avoid the glare from the canvas (photographed hastily with bad light). I'll post the digital scan photo later under unveilings in a week or so.

I think using cads to acheive the same is "doable", but I think I "got there" faster with the Paxton palette (altered slightly - I didn't have Venitian red, and I added dioxazine violet and kings blue, and Old Holland turquoise).

Can you guess which it is?.....


At the time Marvin started this thread I was finishing this large painting - it is 7 1/2 feet tall and has 7 kids ( photos I took last summer). So to try out this paxton pallette, I stopped before finishing this painting, and started the painting of Olivia (shown in above post). Once almost completed with Olivia last week, I went back to this painting of 7 kids and finish it.

Just for yuks I painted one of the kids entire face and body in the paxton pallette. The rest were all done with my pre-paxton pallette - which I think was - naples yellow, cad yellow, cad orange, cad red, scarlet red, al crimson, yellow ochre, pale green, sap green, terre verte, ultra. blue, kings blue, turquoise, diox. purp. and black.

I just quickly took this photo at night tonight in incandescent light - sorry for the bad image. I'll post one with close ups tomorrow with better lighting.

I think, like I said in the painting of Olivia, that I completed the face faster with the paxton pallette than what it took me in time for any of the other 6 faces ( in general). I still used cads, but as a tweak here and there, not as part of the main "attack"

I thought I'd post this as I think it's rather fun to think that one face is painted with a completely different pallette.

the main reason this original post from Marvin interested me is because I was about to embark on my first Corporate Commission, and was having anxieties over having the skins tones having a more "professional" quality. I like the color of the cads, but that's not what I envisioned for this painting.

So I was really interested in trying out this paxton pallette, but not with the corporate commission at first. That's why I did the Olivia commission with the paxton pallette (shown above). Having good success, I finished that large family painting, then started the Corporate Commission with the paxton pallette.

This is after 3 days work, and I am enjoying the "flow" so far. I will probably expand what I paint with as the painting gets completed, but paxton pallette (adding a few colors as noted above) has felt comfortable so far.