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Kreutz instructs at the Art Student's League? He has instructional DVDs out, what little I can see of his work is great. (anyone have some links?)
Here's some thoughts that may help, generally.
1. A lot of painters use titanium white, not realizing that it is very opaque, and tends to make "chalky" color mixes. Raising the value of any color decreases intensity, but moreso with tit white than with zinc or flake.
2. Color intensity is a function of value. The "bump" (i.e. that transitional area between light and shade, or "penumbra") is where the local color of any item is most intense.
3. Oddly, intense red easily recedes. This is one reason why the "thin red line" often used by illustrators (and others) to "turn" flesh is a useful "trick".
4. Forcing local complimentary contrasts will work to intensify chroma, e.g., a "red" apple will seem far more intense against a "green" background.
5. Consider Munsell's "5 primary" basic color wheel rather than the traditional red, blue, yellow system. The relationships thus gained often solve your apprehension of local color and its relative intensity more easily.
6. Greys make the picture! (our world is not as colorful as we imagine it . . . that's why we gravitate to items that do have intense coloration, like the iris of the eye, flowers, etc.)
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