Greetings friends of the art of painting, I share with you my first imaginary artistic work of this incipient October, it is an illustration with an expressionist tinge. This work is titled, simply, "Mermaid." I will tell you step by step how I created a landscape from scratch. First I must highlight that this creation has been quite spontaneous; I spent approximately three hours this morning to complete all the work. Everything was flowing exquisitely well. I'm charmed with the result. However, I have also quite enjoyed the creative work. Reflecting a little, I insist that I can see in my most recent works that I am expressing quite faithfully what I see in my mind. I like that because that's something I wasn't doing very well. Constant practice, in this Hiveblog ecosystem, is giving satisfactory results. That's why I thank everyone who has supported my work so far. If you like what comes next, please buy it.

I will start by mentioning that the support I have chosen to paint the work in question is a vinyl material. As you can see in this image, the support was more or less cured, that is, covered, ready to start the creative work. However, more consistency was needed to completely cover the surface and achieve the desired film. So, the plan was to achieve that consistency with different layers of paint that were all applied, with a different intention. On the contrary, the idea was not to cover it all at once. Otherwise, achieve different effects and objectives with each new layer.

In order to achieve the proposed consistency, and since I knew I would paint a marine sunset, I decided to implement a yellow layer, certainly uniform, but still with a certain degree of transparency because, remember, that the idea is not to cover with a single attempt. And rather, the idea lies in incorporating those "background details" into the work presented as a final result. I knew that the plasticity offered by stains, dots, and lines would give great richness to the work. That's why I wasn't going to cover it all at once. I would rescue the flashes of warm tones to create beauty and harmony in the work.

And, since ultimately the idea is to cover, from yellow I went to red. Literally, I traced from top to bottom, a wash of red, using a fan brush to leave marks of wavy, almost horizontal lines, which would serve to highlight particular features of the design: stretched cloud shapes, stretched lines of water. As I descended with the red I tried to make it lose intensity. That is why the bottom part of the support always retained a lighter appearance; that would serve to create the beach or the sand of the sea.

What I did not mention in the previous section is that superimposing red on yellow results in the appearance of an orange tone, which is and was perfect for the purposes. In itself, it had to establish order, give shape to the issue. That is why I placed a horizontal line, to differentiate the sky from the sea. And at the color level I began to suggest the tones and nuances that would correspond to them. In this aspect, it was important to leave a well-marked contrast between the sky and the sea, since this creates a very interesting visual appeal.

Here, I continued to layer the tones. In this case, over the red, in the sea part, I placed intense blue, using a similar technique: horizon lines, deepened to a certain degree, trying to leave spaces so as not to completely cover the background tones. It is important to let the background tones dry well, if you want them not to mix completely. For the sky part I used a simple gradient for the warm tones.

Next, I stretched the blue fusing with white, creating the effect of some incipient concise waves, which I would later detail, with a brush that offered me greater precision of details.

Continue creating the criteria, with the blue tones I also created some cloud effects in the sky, and with fuchsia, red and brown I hinted at a look for the sand part. Always using gradients and additionally creating contrasts between tones.

In this section, I further detailed the plans I had achieved, especially including thin line features of the different tones used previously. Additionally, create rock shapes in the sand, so that later, create the effect that they look underwater. The idea was to leave all the background planes ready, to start with the model in the foreground, the mermaid.

During this stage of the artistic work, I began to sketch a mermaid freehand, using white lines for the outlines. The idea of ​​using white is that if you make a mistake you can cover it more easily or naturally.

Here I began to give more shape to the mermaid, on the stone, on the seashore. It was no longer just about drawing, I began to pursue lights, shadows and volumes.

At this point I drew the face, carefully detailed, defined the skin tones and hair of the model.

From here on, you can see the finished work from different angles. The detail that the mermaid holds in her hand gives greater drama to the painting, and makes me think a little.

This image, in particular, was achieved with a photograph of my original work and the "Dream" effect available in version: 10.3.46 of Adobe Photoshop Express, with a Redmi 9i cell phone .

Thank you for reading, see you soon, I wish you all the best.