When Thk Beginning student makes his initial venture into the realm of portrait painting, several problems are likely to impress him as particularly formidable. First, he may be apprehensive as to his ability to obtain a satisfactory likeness of his sitter. Second, he wonders whether he can so vary his technical handling as to interpret competently such diversified types as the man, woman and child. And can he catch the coloring, both in light and shade, of the blonde, the brunette, the sun-tanned individual? And what of the distinguishing facial characteristics of such races as the Caucasian, Mongolian and Ethiopian?

Of all such problems, one in particular stands out as far more vital and puzzling than the rest. This is the mixing of tones to represent the many living colors of human flesh. Once the student has tried his first portrait, he realizes the difficulties in this direction. I, too, long ago came to recognize these difficulties, not only through my own work as a portrait painter, but also through my many classes and demonstrations where I have met hundreds upon hundreds of struggling neophytes in the portrait field; almost invariably they have asked as their opening question: "How, Mr. Pratten, does one mix flesh tones?" Most of them have previously tried again and again and have failed. Some have attended a number of portrait classes conducted by renowned portraitists and still have not found the answer.

This question of mixing flesh tones is so pertinent, yet is so seldom successfully answered in most books and art classes, that I am devoting much of this entire volume to it. I know that by thus concentrating on this basic essential, firmly resisting any temptation toward digression in less urgent directions, I shall best serve my reader. I assure him that if he will but study and practice assiduously what I shall offer on the following pages he will secure the open sesame to mixing flesh tones. As he mixes and applies these, following the given directions, most of his other problems will simultaneously solve themselves. A few which might not, such as the means of drawing the head and obtaining a likeness, will be covered as we proceed.

As to a method of presentation, in early chapters I shall briefly discuss my development of three separate yet closely related "palettes" or groups of colors—"keys or "key palettes" is a good term—from which the painter can always choose the one containing the precise hues needed for portraying his selected sitter, according to his age, sex, race or coloring. Subsequent chapters will demonstrate in a step-by-step manner the application of these three keys to the painting of typical individuals.

The entire book has been arranged as a substitute— so far as the printed page permits—for the actual demonstrations which I have performed so many times for my students and other audiences, and which have been productive of gratifying progress on their part.

Illustrations, expressly made for the purpose, clarify every step. The key palettes themselves—with all the mixed colors for the reader to study, compare and copy —are faithfully reproduced in full color, as are the finished demonstration portraits. For those ready to explore more advanced portraiture, a few suitable reference books will be mentioned as we go along. Various supplementary offerings, including a group of my own portraits, notes on color compatibility and permanence, and a question-and-answer section round out the whole.

The materials needed are hut jew, hut they should be of excellent quality.

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