Cadmiums versus No Cadmiums.

[Geri Comicz]

Hi all,

Marvin,
Lovely palette! Do you premix, then tube your colors for future use or do you mix fresh with each session?

Just curious as I was wondering how tubing maintains the freshness of the paint.

geri

[John Reidy]

Thanks Marvin for clearing up my reference to Reilly's pallette. I was taught by Jay O'Meilia who was instructed at the Reilly institute at the NY Artists League (I probably have mislabled them too from a poor memory for those details).

My beginning pallette was in value tones and included cads, red light and yellow. We broke each color down three levels, darkest on top. The colors were laid out by value as well starting at the left with white, then cad. yellow, yellow ochre, cad red light, cerulean blue, cobalt blue, burnt sienna, alizarin crimson and finally black (which we were taught to treat sparingly).

Having learned to create flesh tones with cads and then learning your pallette, Marvin, I feel qualified enough to speak of the merits of Marvin's pallette. I am much happier without the cads in my flesh and am still learning the dpths of this pallette.

Each teacher has their own philosophy and each student must judge everything they learn, try what they dare and learn where ever they can.

I am looking forward to Tims participation when he gets back from Raleigh as he is very talented and equally passionate on this subject.

Again, thank you Marvin and I will be more careful in the future when referencing your pallette.

[Mike McCarty]

I predict this will go to ground quicker than an egg from a short bird.

[Marvin Mattelson]

Cynthia, I think the direct comparison is a good thing. Tim and I both have our own way of approaching both painting and teaching. I think it will be enlightening for people to see the differences.

Alan, thanks for the compliment.

Gerri, when I first developed the palette I would mix it fresh every day. Eventually I tubed my paints to save time. Mixing the palette up is a great way to become sensitive to seeing value changes. In addition once the values are mixed out the actual painting time becomes much faster since the correct value has already been achieved. Only hue and chroma need to be arrived at. If there are no air pockets in the tube it should last indefinitely.

Thanks John. You are a great example of what I'm saying here.

Mike, thanks for your insight.

[Stanka Kordic]

A Hot Yoga class will do wonders for clearing out toxins, and balancing the ego. I highly recommend them.

[Mike McCarty]

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?

[Marvin Mattelson]

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.