If you’re like me, you put a lot of pressure on yourself to get your color right when mixing skin tone for a portrait and, if you’re like me, you fail a lot at first.
I should note that things like the type of light the person is under will affect how the color of their skin looks, so, technically, there’s no such thing as a perfect or “correct” skin color.
Nevertheless, you’ll probably find that something’s look off to you. What now? Do you just throw the whole painting out and start over? Of course not. There’s always something you can do.
Most art teachers, and I agree, would probably tell you to add color in slowly a little at a time because, well, you can always add more, but you can’t take the color out once it’s in there, they say. They’re right, you can’t take a color out once it’s mixed in. But you can neutralize it by mixing it with its complement. Red is an easy color to mix too much of, because it’s so strong and when that happens, I mix green in with it. I do agree with trying not to add too much in the first place, but mistakes do happen despite out best efforts.
If you mix too much blue into your skin tone, the effect it can have on it is making it look gray. To counteract this, I mix a bit, just a bit, of red, to liven it back up.
What if you don’t notice anything wrong until your paint is on the canvas? Don’t worry. You can still use complementary colors via glazing.
If you’re looking at your reference photo or model and just can’t figure out what colors to use, I encourage you to just come up with the best approximation you can. Once you see what you’re working with, it’ll be much easier to know which of the tricks above you need to employ to improve it. You can edit a rough draft, after all, but you can’t edit something that doesn’t exist.
Painter of portraits and wildlife