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Grays
I use both Tom and Marvin's method.
I premix two or three neutrals using a string of five values using black and white; raw umber and white, and a curious greenish/yellowish gray from raw sienna, black and white. I do this most of the time.
However, as Tom points out, eventually, my palette is full of the most curious puddles of gray and I often fetch some neutral color from one of these.
Sometimes, the random little piles of neutral colors seem to work best because they are already composed of colors I've applied to the portrait somewhere, and it seems to give a sort of unity to the work.
Both the "Tom" and "Marvin" method work well for me.
By the way, Marvin, this whole discussion has led me to use less and less cadmiums, and now, my palette much quieter, and I seem to be doing better. Thanks for kicking me off the cadmium pile.
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