Giovanni,
I'd love it if you would tell us about your fleshtone mixes, how you applied them and how you rendered the other colors. It is very difficult to get so much depth in a 54. But you have not only done that you did it at an expert level.
Cheers,
Mark
Hi Mark,
Here is what I do.
I put on my palette: Ivory black, raw umber, burnt siena, golden ocher, napel's yellow deep, and titanium white.
aside I put a shade of red (alizarin crimson) a violet.
I then add red and violet to the center mixed colours.
I put the colours on my palette starting from the black finishing to the white in a semi circle (the red and violet are placed in the center of this semi circle).
I then start to mix/blend all the colour starting from the raw umber to the white making an inner circle (therefore left to right) and then, in an even inner circle from the burnt sienna to black (right to left).
I've now all the shadow and highlights I need and I pick and choose mid tones as well.
I almost never use pure colour, specially never pure black or pure white.
As for the five o'clock shadow, I mix the flashy tone on my palette (usually on the far right mix) with a grey (made with black, ochre and white tones) I now have a grey with pink hue, that's what I use.
I promise you is easier than it sounds.
I really raccomand you to get a copy of the Danilo Cartacci's book, if you can, is wonderful and a great help, I'm learning a lot from him!
If you click on the link you find the pics of the palette from Danilo, taken from his book, I only add some ochre, to the mix to have a more tan tone, not that really matters.
http://3.bp.blogspot.com/_L-G6en8GRMc/SyBXnNo0EcI/AAAAAAAAAVs/o2-y58Qwuyw/s1600-h/Palette.jpg
Ciao
Giovanni