In this mermaid painting tutorial, I will show you the full process of my illustration The Porcelain Mermaid.

I focus on my digital painting techniques and how I build up a whimsical illustration in many layers through an organic development process. There is a great deal of discovery in the process, combined with a basic structure. I work in Adobe Photoshop CC, on a Wacom Cintiq 27HD Touch tablet.

Step 1: The Sketch

Sometimes I begin my sketches directly on the tablet, other times I like to start them in my sketchbook.


For this piece, I began in my sketchbook. I didn’t have a clear vision of where I wanted to go with it when I began the sketch but as her face formed, ideas started forming as well.

Once I had a good base for the figure, I scanned the drawing and pulled it into Photoshop.

Step 2: Color Block In

The next step is adding the base color.

I begin, in Adobe Photoshop, by filling the background layer with a deep blue color. This layer lies underneath my sketch layer.

Then, on another layer above the background color (but still under the sketch) I add lighter colors in on top to form the overall mood I am going for, for the illustration.

I also extend the canvas, as I realize I would like this to be a longer portrait styled image, this allows me to add more of the figure to the sketch and really show she is a mermaid – tail and all.

I (prematurely) begin adding some detail to her face, just to toy around with the idea of porcelain face paints.

Tip: To balance all the blue I make her floaties orange. Orange is the complementary color to blue and will help balance the colors & make the image pop.

Step 3: The Detail Trap

I am now painting on a layer above my sketch.

It is so much fun to work on details in an illustration, and it is easy to get lost in doing so prematurely.

The first thing to focus on in an illustration is the large shapes. If the large shapes are not correct, no amount of noodling on details will save your artwork.

I got lost in the detail trap here.

I begin rendering her face, detail her ear and gills and render the hair.

Again, you should always focus on getting all your big shapes and rough colors in, before doing detail work.

This will save you time in the long run, as you run the risk of having to erase and repaint.

It’s so important to have a strong foundation first.

Step 4: The floaties

Now I begin working out the anatomy of her arm and the shape of the floaties (Still getting a little lost in details).

With the bright orange color the floaties will draw the eye. I need to balance that with the details of the face.

As human beings, we are naturally attracted to faces before anything else, but bright orange is a color that puts our lizard brains on alert, therefore it’s important to find a good balance.

I am using Grzegorz Rutkowski’s Photoshop brushes that I downloaded from Gumroad.
I really like these brushes because of the painterly texture they give.

Kiri Leonard working on her Cintiq tablet

Kiri painting on her 27″ HD Touch Wacom Cintiq,

Step 5: Getting the base down.

Now I begin doing what I should have done in step 3.

Working out the base structure of her body and of the diving helmet, which helps to really make the image come together.

I use reference photos I have shot myself, using my husband as a model, to get the pose right.

I also begin playing around with some of the textures of the before-mentioned brushes.

They offer a lot of potential for getting that painterly finish I like so much.

Step 6: Adding the details.

Now that I have her body worked out, I can dive in to the details.

I love this stage! This is when the illustration really begins to come together. This is also the time where I begin looking for reference photos for all the different elements, to make sure I paint everything correctly.

For the patterns on her body, I’m looking at photos of old blue and white porcelain cups.

For the diving helmet and the barnacles, I look at old photos of shipwrecks.

Tip: Always paint light on dark and dark on light.

Watch your values and make sure each part of the image reads clearly on a small scale. By having light on dark you ensure things read clearly.

Step 7: The Light Source

Now I begin to consider where my light is coming from and add in shadow areas accordingly.

I am not going for 100% realism here, my work is always a mixture. I add cast shadows on the teapot and from the helmet onto the mermaid.

I also begin detailing out her hair more, to add motion to the piece. You can do so much fun stuff with hair!

Step 8: Refining

At this point, I start refining some of the details of the illustration.

I spend some time detailing her goggles and letting the colors of them blend with the colors of the surroundings.

I also begin finding my highlights to give her skin that glossy porcelain feeling.

Then I add some bubbles coming from the teapot to show she is under water.

I also raise up the sprout of the teapot to give it a more dimensional shape and add some red bounce-light underneath the diving helmet.

The benefit of painting digitally is you can always make changes to an illustration, but sometimes that’s also what’s problematic about painting digitally.

Step 9: Darkening Shadows

For this step I add a ‘multiply’ layer in Photoshop, it’s a layer where the colors will darken what is underneath, and begin to darken up some of my shadows with a grayish blue tone.

I find that once I darken the shadows the illustration show much more depth.
It’s about finding the right balance though, you don’t want to go too dark either.

I also refine the light on her hand, I’m not sold on how that hand rests on the helmet though. I will need to work on it.

Step 10: Texturing and Final Pop!

Now I pull in some photos of paper texture and overlay on the image to really get more of that traditional painting look I love.

This also darkens the overall image so I can pop the lights.

I have a collection of images of papers with various coffee stains and the like that I have scanned, which I use for this purpose.

You can also search for free paper textures on Google to use for this purpose.

I sneak in my name on the label of the diving helmet. I like to hide my name in my illustrations. It’s something I picked up from the Disney artist Don Rosa.

Finally, I go in with a light splatter brush and mess up some of my edges, especially around the floaties. I like it when the colors blend together a bit.

Illustration of a porcelain mermaid with orange floaties by Danish artist Kiri Leonard

Step 11: Push the light and Fix the Hand

For my last step, I shoot some new photo reference for the hand and repaint it.

I also adjust the face and render out the barnacles in detail and add final touches to her bottle cap necklace. It’s a difficult gesture just because she’s holding onto a rim.

I go over the image one last time with a soft brush on an ‘Overlay’ layer, a layer that allows you to brighten lights, and just add some final high lights and radiance to the orange and with that, I am ready to call this piece finished!

I hope you enjoyed this look into my process.
If you are interested in more tutorials I have a wide selection available on my Patreon page.
For $5/mo you get full access and along with welcome package with some postcards and a double-sided print.
Thank you for reading!