That's because you're thinking about it totally backwards.

Gray doesn't have an undertone. Gray is achromatic - gray is colorless.

Thinking in terms of gray having an undertone is how you -- and many others these days -- get into the situation you describe.

It isn't a matter of all the grays you've tried so far look too blue.

Rather all the colors you've tried so far ARE blue.

They belong squarely to the blue color family but it's hard to tell because they have been grayed down so far, so close to a true achromatic gray, that they look *just* gray. So, they aren't gray with a blue undertone, they are GRAYED BLUES.

This category of colors, grayed down so much that it's hard to tell what color family they belong to, are known in the architectural paint industry as near neutrals and chromatic grays.

You say that you want a "light gray with green undertones". From a color consultant perspective, that makes it easy to put my fingers on exactly the color you want.

Instead of rounding up all the grays and trying to figure out which one has a mythical green undertone, I'd start looking at the colors that are already organized by color family in the paint store/fandeck. The green color family to be precise. And then I would find the green that is grayed to the degree you want and also the lightness that you want.

It's far easier than you would think because the color order systems that all paint stores use, have already done the work for you. You just have to know to use the order systems.

Yep, all the colors in the paint store racks are organized by color family. They're not organized by undertone because not all colors have undertones. Furthermore, manipulating undertones (of the colors that do have them) is what fine artists do on canvas. Undertones, unless it is a decorative finish, have no function in architectural paints.

People find that hard to believe and it needs more explanation.

Can't have an undertone without masstone. Undertone is what you see when you spread a color at different rates (or thicknesses). In other words, paint can be applied or spread anywhere from thick to thin. When it's spread thinly, that's when color undertone is revealed (if there is one). Fine artists apply their paints at different thicknesses to get multiple effects out of one color.

In architectural paints, the manufacturer states optimal thickness. It's called spread rate. The intent is to spread the paint at one even thickness. Unlike fine artists on canvas, at no point is the paint manipulated on the substrate (the wall) to reveal undertone (if there is one).

Architectural paints, with the exception of decorative finishes, do not utilize undertones. Rather, they revolve wholly and totally around masstone organized by color family.

Try Benjamin Moore Coastal Fog 976

I've tried BM Sag Harbor, Duron Rugged Road and Stone Lion, and finally found a Valspar color that doesn't turn turquoise in my natural light. I'll have to look it up for you.

It's from a green palatte.

I'll look tomorrow.

Is there a reason it needs to be BM? I have used CIL Wexford Fog in a few rooms and find it to be a soothing grey with a green undertone. I love it and had planned to use it in my MBR and DR in the new house. I've used it in rooms with both south and east exposure and it worked nicely.

It is shown on this color card on page 2.

Here is a link that might be useful: CIL wexford fog