@Jeff - Haha, yes! I actually studied very briefly with Faragasso here in NYC. Wonderful person- I wish I could have studied with him longer. This is essentially the same palette he teaches, though he usually teaches a limited version geared specifically towards portraits. He told me once that for more complicated pictures he would mix up several extra strings like this.
@Gwenevere - yes, it sure is organized. Believe it or not, I'm actually not a very organized person. Nobody believes me but it's true. It's just that I realized years ago that if I wanted certain results in a painting I would have to get organized or it just wouldn't happen. So, I learned to turn the organized on when necessary.
Also- once the palette is set up I actually find it quite intuitive. I stop thinking about all the numbers and rows and columns and instead it just becomes physical. Need to go lighter? Move to the right. Darker? Move left. Warmer? Move up. Cooler? Move down. Too chromatic? Add gray from the top of the column. Actually, the only time I have to stop and think is when I want to mix complements together instead of using gray to modify chroma. I have to do a bit of calculus of what color I'll end up with.
The good part is that all the strings are in a sealable box, which has some cotton squares in the lid where I put a few drops of clove oil at the end of each session. This keeps the paint from drying out, which means next time I want to paint I just pop the lid off and I'm ready to go. The down side is that if you leave the paint in the clove oil fumes too long it can affect the drying time of the paint on the canvas.