I found myself knee deep in color theory and found that the color theory I was taught in graduate school is not the one that Mattelson used to define skin tones so well. I also found myself jumping from blog to blog from different artists who also, like Mattelson, were seeking information on how color really works and how to achieve the delicate nuances of skin tones. One blog that I found most helpful was called Underpaintings and is a forum posted by Matthew W. Innis which celebrates excellence in Representational Ar - past, present, and future. The link to his blog can be found here http://underpaintings.blogspot.com/. I highly recommend reading it and he has a whole section on Mattelson's palette.
It really ignited a fire in me to understand palette choices better. It was fun to read how each artist from Munsell to Reilly to Mattelson to Innis each has a slightly different take on the information and how it found it's way into their own palettes in each artists unique way. At this point what I know is that I have a lot of research to do to understand munsell's color theory better and also Mattelson's palette. It made me think about my own color choices and how I came to them. Here is my palette as it currently stands, before I begin experimenting with Munsell/Reilly/Mattelson's revelations. Not all of these are used for achieving skin tones, but they are my go to colors that always wind up on my palette. Let's see how it changes over time as I learn more...
Brillant Yellow Green
It also got me thinking about famous artist's palettes whose work I like, and wondering what theirs looked like. I found a few thanks the website thatslikewhoa.com. (See below) They seem remarkably muted and neutral....