Which should be used first?

The best workflow would probably be to edit all the raw footage together first, then add all the compositing work (effects, titles, etc) because then you'd only be in each program once. However, it very well may not work that way for you, you might need to have all your effects in place before doing the edit. I would highly suggest though, not doing any titling or credits until your at the final edit stage, or composite them after (with combustion or similar) if you're not doing them within the editor, that way you've got clean footage should any of the titles or credits need to change... for whatever reason.

There are many instances where I add effects to a scene before bringing it into the editing station.
My next short will really test my skills. There will be multiple layers of VFX in each scene.

I'll trim up each scene by doing a rough cut then add the FX to each scene...

Never hesitate asking simple questions. I just went through figuring out my workflow and scheduling more than one person to work in post. Needed to see what needed to be done in what order for the next job to be shipped away for completion elsewhere.

I usually make a sequence per scene which gets nested in a master sequence.

I then get the footage cut into a workable scene (mostly with audio timing) and adjust the cuts for watchability. I'm pulling on my years of extemperaneous comedy training to be able to tell when the timing of the scene is working. I'm having to adjust my understanding of the audience though due to the fact they aren't in front of me.

After I've locked the timing of the delivery.

Then I worry about the effects and inserts.

After that, I color each clip to balance inside the sequence, then do any color grading I want for the scene overall on the whole scene sequence. I nest the master sequence into another sequence for overall effects like widescreening it or overall desaturation. It then gets exported to DVD for screening, and repeated until the timing of the movie screens well.

I ship off to the sound folks...chicago for sound, across town for sound design and foley and a copy here for sound sweetening. At this point any changes I make have drastic consequences on everyone else in the project so no changes can be made in the edit.

Titles are last for me.

Knightly,
Is your foley shop in Chicago?

Anyone have any foley suggestions as well?

We're in pre-pro right now and would need a great sound and foley for this project. And having a reference in a local area would be great.

no, it's in my den As I'm able to do all my foley myself (was in bands...have recording equipment and software), we didn't preplan any of it, we'll be watching through and determining what foley we need after the initial cut or 2 then gathering those and also determining if we need lines adr'd.