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Originally Posted by Richard Budig
. . . I often don't have a clear idea of which gray, blue or green to use, especially out there on the lighter end when, for example, I'm trying to alter a very light flesh tone.
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?? I don't think I understand the problem. Full light on or through flesh is usually warm, and "high chroma" . . .
I don't see raw umber tints as "grey" . . . "neutral" as flesh in shadow areas, yes, but pretty colorful yet. Ivory black and a wee bit of alizarin and white makes a lovely muted violet that's often useful at the hairline.
Greys as "grey", I use "plain ol' grey" white and mars or ivory black, depending on the layer.
I like "optical" greys too, raw siena & ultramarine, and raw umber and ultramarine, and I'll send either mix warmer or cooler as I see fit. Sometimes I use a wee bit of sap green to "cool" one of these grey tones in preference to adding more ultramarine.
As the apocryphal quote goes, (Delacroix or Bouguereau, depending on who's telling the story) "I can use 'mud' for flesh if you let me choose the colors that surround it !"
I also feel that as with most painting problems, color is far less important than correct value.