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Those pesky grays, again
I'd love to read a thousand replies dealing with your grays, or your neutralizing methods, and the paint you use to do the job.
I've run into Sanden's "neutrals," which are basically black, white and yellow ocher in combinations that produce three values (3, 5, and 7).
I've run into the combination of black and raw sienna, lightened with white, and the simpler raw umber, lightened with white, and, finally, plain old black, lightened with white.
And then, there is the graying technique of using complements.
It may seem picky, but how too-brilliant colors are toned down is immensely important, and these grays are all different
Can anyone add to my knowedge on this subject?
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