Mike's skin tones were painted almost entirely with burnt sienna, ivory black, and white. I used a touch of Venetian red in his mouth and cheekbones. Italian earth colors for his Italian complexion. Also some of Natural Pigments' Velazquez Medium for some of the really subtle value shifts, translucency, and impastos.
I had a terrible time photographing this painting and, as always, it looks better in person. There is something about the direction of the brushstrokes that gives his likeness much better in person. It's painful when a photo eats your painting's je ne sais quois.