In the matter of color: the Hon. James T. Giles

[Jean Kelly]

Yoou push the envelope wery well, Garth! Those reds are to die for. This has so much "punch", but is still dignified and says a lot about this judge. I like it very much.

Jean

[Garth Herrick]

Thanks Jean!

I was striving for a calculated, measured punch. If you are interested, I will list the extended range of pigments needed to acheive some of the colors. Some were new for me.

Garth

[Jean Kelly]

I'd be very interested, please list away. I learn so much from your pigment demos!

Jean

[Jane Bradley]

Garth,

This one takes my breath away. Absolutely brilliant!!!

[David Draime]

In the matter of extraordinary talent: The Hon. Garth Herrick.

Garth....Garth....

Garth...I'm speechless. This is an amazing portrait. I think you've outdone yourself....as if any of us thought that was possible. I think what Alexandra has said is exactly what I would say - so I won't repeat it. I certainly would have been inclined to shy away from the intensity (brightness, chroma) of the background color and certainly the red in the flag, if I were painting this (my wimpy side) - I would worry that it would overpower the face as a center of interest. Yet, as Alexandra has pointed out, it is all so carefully orchestrated and considered, that the opposite is true. The exquisite subtlety - of color and modeling - and values - that describe the face (there aren't any hot, bright highlights in the face - not any of the higher contrast that we see, for instance, in the flag) is the very thing that draws our attention like a magnet. Amazing. I wouldn't have thought it possible. If the flag were even a tad brighter or more intense - I think that the balance would be lost and it wouldn't work. That you have managed to make the most quiet, most subtle area of the painting the most attention-grabbing, captivating part.... what an accomplishment. This is a work we should all be studying for a long time.

Dangit!! He raised the bar again!

[Garth Herrick]

Thanks Jane and David, now you have me feeling speechless!

Here's the essential colors that were used on my palette; of course some were more necessary than others, but I think I needed them all. The surprising thing is when colors like Burnt Umber, and Caput Mortuum appear way too light in value, out of the tube, and have to be fortified and darkened! That happened a lot in this painting.

Corresponding with the photo, first row:
1. W&N Cadmium Orange (very old)
2. Vasari Cadmium-Vermilion Red Light
3. Mussini Kadmiumrotton (no cadmium but a great replacement for cadmium red deep, and it's more versatile)
4. Old Holland Vleesoker (fortified flesh ochre)
5. Vasari Terra Rosa
6. Vasari Caput Mortuum
7. Vasari Burnt Sienna
8. Vasari Capuchine Red Deep (essential!)
9. Vasari Alizarin Crimson
10. Gamblin Dioxinine Purple (to darken the Capuchine Red Deep)
11. Vasari Ultramarine Blue ( for further darkening the above combination to black)
12. Vasari Vandyke Brown (this is really dark)
Next row:
13. Vasari Genuine Naples Yellow Light (the brightest highlight in the flag tassle at the top)
14. Vasari Tuscan Yellow (Chrome Titanate PBr-24)
15. W&N Indian Yellow
16. Vasari Naples Orange (Chrome Titanate PBr-24)
17. Vasari Capuchine Red Light
18. Vasari Brown Ochre Light
19. Vasari Burnt Umber
20. Norma Raw Umber Greenish
21.W&N Sap Green
22. Blockx Cadmium Green Pale
23. Vasari Ivory Black
Bottom row:
24. Vasari Flake White
25. Vasari King's Blue Light
26. Gamblin Indanthrone Blue
27. Vasari Cerulean Blue
28. Blockx Turquoise Green.

Hope this helps!

Garth

[Garth Herrick]

I went somewhat over the top in a cataloging effort to know what the color was that I was using on my brush. I did a number of test swatches on sheets of mylar showing progressive color mixing as i blocked out the flesh tones, robe, and flag. I don't know if anyone else does things like this or not. It's perhaps one of my technique secrets.

Garth

[Garth Herrick]

Here is a website for Vasari paints:

http://www.shopvasaricolors.com/

I like their products. There is never anything wimpy about their pigment content and tinting strength.

Garth

[Chris Saper]

OH, MY.

Garth, what a gorgeous job I love the reds! The chair and background are beatifully constructed - what a great job on everything. Such a handsome guy, wonderful face, and you've conveyed such an elegant approachable persona.

[Allan Rahbek]

Hi Garth,

It is always such a pleasure to discover new paintings from your hand.

I am amazed how you have developed the judge theme into bloody reds without loosing the harmony to the former down-to-earth-colors, please tell something more about your new experienced knowledge in the field.

The textures are so rich, from the woolen coat to the silky necktie and flag and from the red leather chair to the human skin, and all things are treated with equal rights.

I feel Wowwww and second all that is already said.

Congratulations with a job well done, Allan