Cadmium free and loving it.

[Marvin Mattelson]

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.

[Celeste McCall]

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.

[Linda Nelson]

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 !

[Marvin Mattelson]

Shhhh! Somebody may hear you.

[Denise Hall]

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

[Celeste McCall]

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?

[Marvin Mattelson]

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

[Celeste McCall]

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.

[Timothy C. Tyler]

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.

[Marvin Mattelson]

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.