Now We Come to the listing of the actual colors comprising each of the three key palettes. In some brands of paint you may not find exactly the names used below, for among manufacturers there is no absolute uniformity in nomenclature. But if you will turn to the reproductions on pages 42, 62 and 82, each picturing in full color one of our key palettes, you can see how each color should appear; then you should have little if any difficulty in buying paints to match. (A slight allowance can be made for the fact that printers' inks and artists' colors seldom possess precisely the same hues.)

Note that each key palette has for convenience been given a descriptive name: Green, Three-color, Blue.

1. Green Key Palette (Seven colors plus white and black)

Titanium White             Cadmium Red Deep       Ultramarine Blue

Yellow Ochre               Alizarin Crimson             Deep

Cadmium Red Light      Viridian Green                Cerulean Blue Ivory Black

This palette should be selected for painting the dark-complexioned types; i.e., the brunet, Negro, Indian, Chinese, etc. (See color plates, pages 42 and 43.)

2. Three-Color Key Palette (Three colors plus white and black)

Titanium White             Light Red*                     Viridian Green

Yellow Ochre                                                    Ivory Black

*"Light red" is the trade name of the color you need. Be sure: not to confuse this with any other red.

This palette was especially developed for painting the outdoor type of the white race—individuals bronzed by sun and wind. It is suitable also for almost any masculine type. Women may use it for painting their husbands! (See color plates, pages 62 and 63.)

3. Blue Key Palette (Six colors plus white and black)

Titanium White             Cadmium Red Deep       Cerulean Blue

Cadmium Yellow          Alizarin Crimson             Ultramarine Blue

Light                                                                  Deep

Cadmium Red Light                                           Ivory Black

For painting the light high-complexioned types—the blonde, children, elderly people, etc. (See color plates, pages 82 and 85.)

The mixing of the colors of each palette to form a wide variety of additional hues will be dealt with fully as we go along.

As to the differences in the three palettes, a word may be in order. The green key palette has the largest number of colors because brunette types often reveal an unsuspected variety of coloring. Yet blondes, too, vary, so the blue key palette has but one less color than the green key palette. Here, in place of viridian, which we drop, we use the cerulean blue which is in both palettes; and for yellow ochre we substitute cadmium yellow light. The cadmium gives a higher tone to the flesh and, mixed with cerulean, makes the green tones; therefore we can do without the viridian.

The three-color palette not only has far fewer colors than the other two, but, until white is added, they are very deep and dull—so much so that the range of colors obtainable from this limited group is almost unbelievable. Don't be tempted to add the cadmiums to this palette; you'll be better off without them.

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