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...my misunderstanding that the next step should consist of thin glazes that allow the value range to show through.
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Actually, the value range will show through the thin glazes, but it is only the halftone that counts here. As you glaze and scumble on the upper layers, the halftone will show through as cool and delicate.
When you finally add a dark accent within a shadow area, you should keep the paint very thin (transparent) and warm. By doing this in the upper layers, you will avoid "mud-like" shadows.
When you have a darker area within a lighted area, you allow the halftone (underpainting) to show through by painting light on either side. By doing this, you will avoid "black holes" or harsh shadows.
I see an underpainting as beginning with the middle {halftone} and painting in two directions...toward light and toward shadow. If you look at my example again, you will not see white, nor will you see black - even though the subject is a black dog on a white cloth. I chose this extreme on purpose in order to depict the correct narrow range of value in an underpainting.
As to the texture of "imperfect" skin, I like to handle this in the very top layer with a cool tone detail (of a similar value) on top of an area where the warm light is strong. You only need a "suggestion" and not a full rendering to give the illusion that it is reality.