I use a flesh tone that is a general, overall color. Then I sculpt the three dimensionality with white or Naples yellow. This is only the first of numerous layers and it always looks blotchy. Use your best sable brushes and follow the patterns of light as you work the entire flesh area. You should only work on one area at a time, such as the face or an arm or other flesh part. The idea is to only begin as much as you can finish while wet. As you apply the brighter areas, keep in mind that you should also go over the shadow areas with a feather light touch. This practice will unite the light and dark areas of a portrait creating a natural and believable appearance. Remember, this is not a finished layer. You will perfect this flesh area with each pass and also refine it with glazes of color appropriate to the reference or sitter. Painting this method is a concept you can only learn from doing. Don’t let it stop you in your tracks. If you paint with intent and patience, you should gain skill with each attempt. Shalom, Diana