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I come late to this discussion but after much trial and error over about 6 years, I keep coming back to some specific colors that seem to work the best for flesh. I have boxes of paint around here but keep returning to some old colors that seem cleaner and more life like.
One major change that I have taken recently is the discovery of Williamsburgs flake white. Since I have started using this I no longer am using medium. I am using it thick and rough. Think Rembrandt or Freud. I was using Old Holland cremnitz, but the Williamsburg is more so. I haven't tried Michael Hardings paint, but would like to.
It has recently occurred to me that I can use lots of oil with the darks, but not with the lights, Darks are thin, lights are built up.
I keep returning to an old tube of Doaks vermilion for my flesh. I have tried everything else . I keep Williamsburgs pyrelene crimson on my palette but often when I use it the painting gets too cold. Vermillion and ivory black make a cleaner crimson substitute. Also I eliminated raw sienna and replaced it with yellow ochre . Naples yellow genuine is good for lightening dark areas without getting cooler. I like Williamsburgs terra rosa for a brown instead of burnt umber.
In short at this time for portrait and figurative I guess my palette would be
Pyrelene crimson (maybe)
Genuine vermilion( the warm variety)
green ochre(dark cool ochre)
yellow ochre
naples yellow
raw umber
terra rosa(Italian earth brown)
viridian
ivory black
cerulean blue or cobalt turquoise
ultramarine (if I needed it)
flake white
flake/ titanium white(only for the brightest white highlights)
I have shifted away from using anything cold, away from crimson and blue. I try to use the vermilion and the ivory black instead of the crimson and blue as my coolest colors. Vermilion mixed with black for my deep shadows. It seems to make a cleaner brown.
In short I am using mostly vermilion, yellow ochre, ivory black, raw umber, terra rosa, and flake white.
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