In winter I’ve noticed that the colours I use become more restricted and I favour earthy colours like yellow ochre, indian red, vandyke brown. I suppose this is a reaction to the colours around us, as winter drains the landscape of colour.
Grey tones can be beautiful in winter. Mists and cool landscape tones are very atmospheric.
Mixing grey tones is a skill that I’ve had to practice over a long period of time. It should be easy, and you might expect that a black pigment with varying degrees of white would do the trick nicely. But colour mixing is rarely that simple: black pigments are often poor mixers in greys, leaving them dull and uninteresting. So I try to mix them using a warm and a cold colours, a brown and a blue perhaps. Or a green and a red. The best greys are mixed from bright and intense pigments at opposite ends of the colour wheel: pthalocyanine turquoise and alizarin crimson are one of my favourites or try ultramarine blue and one if the dark earth colours: raw umber, burnt sienna or umber.