Neal I wish I knew where the orginials for these photos maybe hiding, I know I have them somewhere and then I could make them much easier to view.
I don't know if Scott wants to chime in here as a student like myself, but there are so many of the same things from what little I know of Graydon's system.
For students Marvin's is simple. There are no chips because he limits his skin palette to very few colors:
Mixture of titanium and flake, ivory black and raw umber for the neutral greys.
His complextion colors (again for students - no telling the magic he spins), are Yellow Ochre , Yellow Ochre light, Terra Rosa and Indian Red.
Also on your set palette or not... I think this comes once a student get's control of above, he told me often that I didn't get it and maybe below is why:
Naples yellow, burnt sienna , raw umber for neutralizing reds, ultramarine blue, vermillian hue (cadmium scarlet -gawd forbid :) - and viridain.
Outdoors he adds a cerulean blue, he also mentions a cad yellow light and permanetn alizarian Crimson.
It seems that he makes sure that the values come first and using his neutrals help contol the hue and chroma.
Now I have pretty much paraphrased a workshop sheet so I know better insight can be added.
I don't know if you can tell he isn't very found of cads! :)
I also think he has humbled himself as Graydon would. I know Marvin has spent years perfecting HIS set palette and theory, it does go back to those Art League guys, but it is soley his and he should take credit when credit is due. It is the Mattelson palette - not to be confused with the Masterson box, which I was LOL... but he will likely tell you I am confused about many things here.
:) Beth
1 comment:
Beth,
This list of colors is very similar to Aviano's. The simplest flesh palette follows that can hit at least 98 percent of all flesh of any race.
white
black
alizarin crimson (perm)
yellow ochre
burnt umber
(One can augment this with burnt sienna, english red light or viridian, although viridian is too chromatic. This usually, that is, almost never, needed for accuracy)
String 1: Take black up with white, values .5-9.5
String 2: Take Al. Crimson up with white values 2-9
String 3: Take Burnt Umber up with Yellow Ochre value 2-5 and then take Yellow Ochre up with white from 5-9.
There is some loss of chroma at 8 and 9 here. One can always adjust with higher chroma pigments. However, flesh ranges locally from values 3-6. Few, very few are at 7, and rather low in chroma at that when skin is this pale.
It seems like the black plus yellow ochre is sufficiently greenish for the veins. Black is, really, a low chroma purple-blue. The alizarin crimson is chromatic enough for the ruddies and when a bit of the yellow string is added, one can achiever 5R-10R. When the two strings, with yellow ochre and al. crimson are mixed together, one gets a very satisfactory 2.5YR-7.5YR, the range of flesh. Mix all the strings together, in varying proportions, and one can get a perfect neutral for lowering the chroma of any mixture.
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