Stage 11 · January 8, 2026
I’m in the later stages of my mermaid painting, though there are still a few key areas to resolve before it’s truly finished. The most important figure in the composition—the mermaid on the left—has been my main focus this week. For some time, I struggled to articulate the scales of her tail in a way that felt natural, fish-like, and convincingly three-dimensional. I think I’ve now arrived at a solution. Rather than using a more complex, double-turning S-curve, I simplified the form into a single, broad, sweeping curve—something more in line with how you might expect a mermaid’s tail to move. Along with that, the approach to the scaling has evolved.
There’s still work to be done: adding highlights, subtle glints, sparkles, and clearer color separation to fully bring the tail to life. That said, it feels like I’m on the right track. I also made several anatomical adjustments to the upper body—tapering the rear deltoid, allowing the tricep to assert itself more, and unifying the clavicle plane so it feels more convincingly lit. I repainted the hand, which will later be glazed, and rethought the hair to better convey an underwater environment. Instead of hanging downward, it now flows outward, giving it a lighter, more buoyant feel.
Altogether, I think these changes significantly strengthen the figure. The reference photo I have is just a quick iPhone snapshot, so it doesn’t fully capture the nuance of the surface, but I’m confident these refinements will have a meaningful impact on the finished painting. The remaining challenge is resolving how the lower fin settles into the sand—finding a way for it to rest naturally and integrate seamlessly with the seafloor.
