How to Mix Skin Tones with Watercolor: A Real-Time Guide for Beginners

Mixing skin tones can feel tricky at first, but it doesn't have to be complicated. In this tutorial, I'll guide you through a real-time watercolor exercise using just three colors.

I keep things simple, affordable, and beginner-friendly. If you've asked me how I mix my skin tones, this post is especially for you. Grab your supplies—we're going to paint together step by step.

Materials and Painting Setup

Before we begin, let me walk you through the exact materials I use for this exercise. I keep things minimal on purpose so it's easy for anyone to follow along.

We'll be working with just three professional-grade watercolors:

• Quinacridone Gold Hue (by Schmincke Horadam)
• Permanent Alizarin Crimson (by Winsor & Newton)
• Payne's Gray (by Winsor & Newton)

These are powerful and versatile. If you're on a budget, I recommend buying smaller tubes but go for artist-grade if you can. You'll feel the difference right away.

Here's what else I use:

• A porcelain palette
• 300 gsm cellulose paper: student grade, but good enough for this tutorial
• Two jars of water: one for rinsing, one for clean mixing
• Tissue paper: always handy for spills or softening edges
• A spray bottle: helps keep paints moist on the palette

For brushes:

• A detail brush (synthetic, with a sharp tip)
• Two Silver Black Velvet brushes: sizes 6 and 8
• A Da Vinci brush: just for backup

I try to use supplies that most people already have. This keeps things realistic and budget-friendly.

Primary Colors Used in This Skin Tone Exercise

Let's take a closer look at these three colors. Knowing how they behave will help you get better results while mixing.

I love Quinacridone Gold Hue because it's incredibly versatile. Use it thick, and it looks like raw sienna. Water it down, and it becomes a soft, transparent yellow. That's what makes it perfect for skin tones—it gives warmth and glow.

Permanent Alizarin Crimson is my go-to for portrait work. It's rich, deep, and beautiful when diluted. It brings that rosy base most skin tones need.

Then there's Payne's Gray. Winsor & Newton's version is bluish and very dark. It's semi-transparent, but it has strong tinting strength.

I use it for shadows, backgrounds, and even hair. It's also a great alternative to blue, which is why it works as a primary in this limited palette.

I mix these three to build every skin tone I need.

Exercise 1: Creating a Basic Skin Tone Mix

Now, let's start mixing. I always begin with a simple combo of yellow and red.

I take just a bit of Quinacridone Gold Hue, water it down, and then add a small amount of Permanent Alizarin Crimson. 

I test the color right away on a scrap of watercolor paper. This is important. You need to judge it with your eyes, not just the mix.

At first, the tone is too yellow. That might work for some skin tones, but not for the reference I'm using. So, I add more crimson slowly.

The trick here is to go little by little. It's safer to build up color than to overpower it with red and waste paint. 

Eventually, I reach a lovely, rosy tone that I like.

You should create your test sheet as you go. Mix a line of colors—each with a little more red added—to build your visual library.

I keep mine beside me when I paint. Sometimes, I cut the test swatches and compare them side-by-side with my reference image. It helps.

Exercise 2: Adjusting for Darker Skin Tones

Let's say you want to paint a darker skin tone. Here's what I do next.

I start with the same mix of Quinacridone Gold and Alizarin Crimson. 

Then, I slowly introduce a touch of Payne's Gray. Be careful—too much, and the mix turns muddy fast.

When I go darker, I also increase the pigment. That means I use less water and more color. This gives the paint more coverage, which is what we need for deeper skin tones.

I like to make a second swatch line, just like the first, but this time adding a bit of Payne's Gray each time.

• A yellow-heavy mix gives you a warm brown

• A red-heavy blend gives you a reddish-brown

• More Payne's Gray turns it into a cooler, Van Dyke-like brown

Eventually, you can reach a near-black mix, perfect for shadows or dark hair. 

Just keep layering and testing. I add all three colors gradually until I get the exact tone I want.

Exercise 3: Mixing Custom Black with Three Primaries

Now, here's something fun—you can mix your black using just these three colors.

I combine equal parts of Quinacridone Gold, Alizarin Crimson, and Payne's Gray. Adjust the balance as you go:

• Add more Payne's Gray for a cooler black
• Add more crimson for a warmer black
• Add more yellow if you want a softer tone

This kind of mix gives you a black that's not flat. It has richness and life. And when I dilute it with water, it becomes a lovely warm gray. I often use this custom black for painting features, hair, and shadows in portraits.

Exercise 4: Creating Vibrant Violets

Let's explore violets next.

I begin with Permanent Alizarin Crimson and slowly add in Payne's Gray. This part needs a bit of patience and a systematic approach.

Here's how I do it:

• Start with pure crimson on the left of your swatch line

• Add small amounts of Payne's Gray in steps as you move to the right

You'll see the mix shift from red to a beautiful violet and then to a bluish shade. 

If you keep going, it'll start resembling Payne's Gray again.

I love this range of purples. When watered down, they look gorgeous and are great for soft shadows or undertones in portrait painting.

Exercise 5: Mixing Fresh Transparent Greens

Now, let's try mixing greens. It's not usually a portrait color, but it's helpful for cooler undertones and background elements.

Start with Quinacridone Gold, which is very light. 

Then, slowly add Payne's Gray—just a tiny bit at a time. This part can be tricky because the gray is so strong.

At first, I'm too cautious, and nothing happens. Then I add a touch more and start to see soft green shades appear. Add more Payne's Gray, and you'll get deeper olive or forest tones.

When I water these mixes down, they look lovely and transparent. It's amazing how much range you can get from just three colors.

My Final Thoughts and Practice Advice

By now, you've probably seen how versatile this simple three-color palette is. That's why I always recommend it—especially if you're on a budget or just starting.

Here's what I suggest:

• Make a full test sheet for every color combination
• Keep it beside you while you paint
• Compare it directly with your portrait reference
• Practice slowly and adjust as you go

This palette gives you everything you need:

• Warm skin tones
• Deep browns
• Vibrant violets
• Transparent greens
• And even custom black!

Mixing becomes so much easier when you understand your colors this way. And honestly, it's a lot more fun than dealing with 12+ tubes of paint and not knowing what to use.

We don't need more—we just need to know our tools better.

The Bottom Line

Mixing skin tones doesn't require dozens of colors. With just three high-quality paints, you can create a full range of natural tones for any portrait. I hope this real-time guide inspires you to practice and experiment.

Which mix surprised you the most? Let me know—and don't forget to keep your swatches nearby for future paintings!