Aveline

Lady Aveline

as tumultuous as the seas to which she is bound

30" x 40" oil on wood panel
(click image to see it larger)

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It felt so different to paint a background this time. It definitely changes the piece. As did adding the stars. Somehow they brought her to life, she was no longer just a figure on a dark background, she became Aveline. I actually started to dream about her and we swam through icy waters together. Her hair doesn't often dry, but I caught it on a rare occurrence and tried to recapture it to the best of my memory.

Her octopi and jellyfish would hardly sit still as they caressed her neck and danced on her arms. Even the sails on the boat seemed to gently ripple in a phantom wind. She once referred to ships "stains on the sea". (I shudder to think of the fate that fall on the ships she meets)

One compass spun wildly, but she never looked down. I could sense her chestnut eye longing to look, as it often betrays her. Ophelia's skull is the only part of her that remained motionless. Somehow frozen over her heart.

"el mar conoce nuestro amor"

the sea knows our love

Tattoos made of squid ink and urchin needles (she couldn't escape the sea if she tried)

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And now for a few progress pictures:

At one point I was using tweezers to pick off cat hair. It was pretty ridiculous. I think I'm done using oil mediums, everything sticks to it. Everything.

drawing her tattoos

ahahaha this was in the early stages of Aveline. The night I drank too much wine and got silly. by myself. on a friday night. (i'm really cool) and texted way too many work in progress pictures to my best friend (sorry morgan)

I didn't use a primer this time as I usually just use it on the exposed portions. There wasn't any exposed wood on this piece, so I opted for no primer. For some reason this particular piece (cherry wood) was being really difficult. The oil wasn't soaking in properly, like the wood was way too smooth and just wouldn't grip the paint. I had to repaint her face like FIFTY TIMES. It was all very irritating. But it was all worth it in the end.

Next up, the sea witch La Femme Naufrage // Lady Shipwreck, mother of Aveline and Ophelia.

But first, got to finish three illustrations for Volcom, two for a canadian magazine, get ready for a show on the 15th and my solo in february! Goodness gracious I need a clone / assistant.

Hope your holidays were lovely!! Etsy shop will be reopened next year.

xx

C

NAUTICA

She's all done, for the moment. Minor tweaking is inevitable.

click to see it larger 

24" x 30" oil, watercolor pencil & ink on wood

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Here's a song for you to listen to while I go in to far too much detail about my painting process:

The Innocence Mission - Rain (Setting Out in the Leaf Boat)

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Finished her up yesterday. I'm a big fan of the size, it's a little larger than my normal oil paintings, but still manageable. I had a lot of fun playing with nautical elements, as that world fascinates me so much. The mermaid tattoo is inspired by art nouveau designs. The quote says "fair winds and following seas", which is a traditional mariner's phrase, it's like a farewell/blessing. It gives me chills a little bit.

Throughout the painting process I go through many emotional ups and downs. Mostly switching from "this isn't working, you've lost your touch, Charmaine" and "you know you'll get it eventually, just keep at it". Well, eventually it gets to a point that I'm comfortable with and I take it to the next step.

Here's a little bit about my painting process: the longest part for me is the conceptualizing. I spend a lot of time on the computer sketching in Photoshop, playing with colors and themes. Since I work from photo references I generally draw on top of the photos so I can change the hairstyles, clothing (or no clothing), etc. Once I feel good about the image I'll start sketching it on the wood. Even though my paintings are highly planned out, I leave a lot of room for changes and improvising.

After I'm happy with the pencil sketch, I start with the skin. I guess you could consider my technique more like "finger painting". I like to blend the colors together with my fingers, I find it's a much smoother result than using a brush. (My flesh color palette consists of Yellow Ochre, Alizarin Crimson, Burnt Umber, Titanium White and Ultramarine Blue.)

Once I am satisfied with the skin, I start the hair (my favorite part). I start by blocking in most of the color and shape with flat black oil paint. Once the black dries a bit, I bust out my India ink and draw in individual strands, just to give it more life.

The tattoos are predominately black watercolor pencil. I know, water and oil don't mix, but somehow the pencil works great on top of the oil paint (once it has dried a little bit). To get the color hues, I mix a lot of paint thinner with the oil so it's nice and transparent. I suppose some linseed oil would work too. If I feel like it needs more definition then I'll go in with my ink to get some darker lines. 

For the blue halo, I was in a bit of a predicament. I felt like it really needed it and I wasn't going to be happy if it wasn't there, but it's difficult to get a smooth and even color when painting with thinned-down paint directly on the wood, as it soaks in so quickly. Then I found an old bottle of Bleached Linseed Oil buried in the depths of my art drawers. It adds a nice gloss and transparency to the oil, which made it really easy to use directly on the wood. It's also thin enough where I could paint directly on top of the hair to get the blue behind it.

Anyway. Yeah. It works wonders. I wish I had used it for the skin! I'm going to experiment with it on my next painting that I'm starting tomorrow. Yes, more tattooed ladies coming up!

Well, thanks for looking, hope you like her.

xo

C