About Lynne Furrer Art

it's all about the journey...

Pets in Watercolor

Last week, my neighbor stopped by and asked by a commissioned piece with her poodle as the subject with a bird flying overhead and the dog looking up and…and…and. I paused for half a minute listening to the expectations and thinking to myself, could I do this? I could not remember if I’ve ever painted a dog, much less a complicated scene. I didn’t want to over commit and get her hopes up. I like a challenge, but I don’t always say yes.

Quickly responding, I said, we’ll I’ve never done a dog in a scene before, but I love a challenge! I tell you what, you send me photos of your dog and I’ll work on it and let’s see what happens. Sounds good, she said.

After a week of studiously trying to create the expected scene on the preferred 6x8inch size, I realized it was just too much information to put into a small piece of art, especially when I don’t do realism. My art need room to breathe!

When I finally let go of trying to meet her expectations, I was free to explore painting the dog in watercolor, in my way. That’s when I reached a point where the fun returned.

I painted two that I sent back over to my neighbor and she said she loved both and it’s exactly what she wanted! Go figure, right?


I’m trying every way to notify any of my followers on FACEBOOK – unfollow me. My account was hacked on 25 Jul 2021 and I DO NOT CONTROL THAT ACCOUNT. I reported it immediately to FACEBOOK SECURITY. Today is 6 Sep 2021 and they have DONE NOTHING.

IF i ever get my Facebook back, I will delete it, so unfollow and just BLOCK that Facebook account because its not me anymore.

My other accounts are double protected and I’ve no problem there (so far), only FACEBOOK is doing nothing.

What do the hackers want? Well, they already tried to buy FACEBOOK ads. How do they do that? Here’s how…IF YOU EVER agree to buy or sell ANYTHING on FACEBOOK and paid thru Paypal, FACEBOOK sets up an automatic, no questions asked open access to your Paypal for any future payments. They say this is so its EASY for you to buy anything else you want quickly and easily. Well, when the HACKER got in, he/she EASILY bought FACEBOOK ads – I had no idea. Luckily PAYPAL UNLIKE FACEBOOK dealt with the hack THE SAME DAY – FACEBOOK still has done nothing.

What else do the hackers want? They will probably now take any art I posted on FACEBOOK, copy it, steal it and sell it to some person or country who will duplicate it and SELL it behind my back. Anything I can do about that? Yes, if I had a gazillion dollars, I could sue them, but I don’t have that, so I am SOL as they say.

THE ONLY PLACE I SELL ORIGINAL ART is ETSY and EBAY. Prints are through Fine Art America. All those places have double security now, but what the hacker has stolen from me can not be protected because FACEBOOK gave away my account to the hacker and HAS DONE NOTHING to stop the breach. By the time I got the email from facebook that my password and email had changed, the hacker had already gotten in. I couldn’t say “no, not me” to those emails as FACEBOOK had already allowed the HACKER to TAKE OVER.

When FACEBOOK corrects the hack that a leak in their system allowed…I will delete this post. Until then, nothing has been done by FACEBOOK.

What should you do? I seriously recommend changing your password on FACEBOOK to something you DONT use on any other account – and adding 2 step authentication. Because FACEBOOK does not have your back. #reality #hackingsucks #facebooksucks

Think Art Journaling is Easy?

I know you’ve seen posts from veteran art journalists where their worst art journaling is probably my best…but it’s time to take a deep breath and say that miracle mantra “everybody is on the road, only in different places”. Okay, maybe that’s my variation of some famous saying… The point is, we just have to keep going!

What Makes it Seem Hard?

How is it just slopping paint on a page and making something look good is so challenging? For me, it’s because there are basic rules about composition, design, color, values, subjects that are important and won’t be denied their day in the sun.

When I create in a journal I have the intention to make it look great because that’s when it feels satisfying to me. I’ve been playing around with steps in a process that lead to a creation I love. Like a puzzle, there are many pieces that need to come together.

I’ve figured out Step 1 and Step 2 (for me). Step 3 is trying to defeat me, but I’m still standing, still fighting… Here’s my typical process:

Split complementary Palette

Step 1

For art journaling, I find or draw an image that inspires me. To be honest, I’ve ruined so many drawings that I’ve moved to magazine images which give me the opportunity to take less risk, stay out of deep depression, and most times it give me a color palette to start with. Black and white is never a stumbling block as it goes with just about any color.

With the palette almost given to me (from the magazine image), I pick colors I have on hand that might work straight from the tube, or mix up a shade close enough. I’m looking for light, medium and dark values, but I don’t have to pick black, Payne’s gray or umber! I can mix a dark value if I choose complementary colors, like blue and orange.

So, I have my subject/inspiration/focal point, my palette (it’s good to check the color wheel on this one) and paints I have on hand to make that palette. If I’m unsure of mixtures, I just test them out now on a scrap piece of paper (which might even find its way into the composition). My palette is a split complementary of red-orange, yellow and blue from my favorite Online Palette Maker.

The last thing I did was take my darkest, coolest value (blue) as a light wash across the page to integrate both sides. I don’t cover up all the white because I anticipate I’ll need some areas of “calm” later on. We’ll see…

Stage 2: Composition and Design

Step 2

This is all about composition and design. First, I run white gesso over the whole page and dry it. Just a thin coat to strengthen the pages. Then, where to place my subject? I move her around, turn her, fold part of her back, and just use trial and error until I find what I like.

I grab those bags of loose papers, snippets of yarn, cloth, lace and all those things I’ve put in my stash. Everything you see in my composition photo came from leftovers in my stash.

Whenever I’m rummaging through the bags and some little piece falls out right in front of me, I take a second look. I like the idea that it’s special somehow. The sash of her dress is a bright red-orange piece of washi paper that jumped out and said “hey, use me”!

Nothing is glued down at this stage. I’m constantly moving pieces around, adding, substracting; it’s all trial and error until I get a pleasing picture. The only “intention” I have is stay in my color palette and use different textures. While most pieces are paper, the pattern on each is different, and the feel of each paper is different. I also try to vary the “shades” of each color in my palette which adds interest. Everything in this stage is a shape and I have to decide if it stays or goes.

When I get a pleasing composition I take a picture because I want to remember where everything goes. More times than not, when gluing, I’m so into it, I forget to look at the photo! So I just go with whatever it is becoming. That photo is still a document of my process which helps when analyzing where something went wrong in step 3.

Step 3: Integration

Step 3

Full disclosure… this stage is still my toughest nut to crack. It’s still a struggle…if there were a time limit, I’d probably scream. I call this the integration stage and “top layer” design.

If I had the answer, I’d share! I suspect it’s practice, experience, learning anything and everything about design, composition, elements of each, lots of classes to stretch yourself and just showing up. In other words, the art journey. I’ve started a Pinterest board on art journaling integrations – feel free to follow it. One of these integrations was the white outline you see in my Step 3. A thin outline separated her from the background and defined her as the focal point versus some other strong piece in the composition.

Do you have a favorite art journaling integration method? Please post them in the comments below! And happy Journaling!

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Inky Loose Iris Flower

I’ve always thought watercolor with its ephemeral nature was ideal for painting flowers. I’ve used that medium for years to create a loose style of floral art. Then ink entered the picture with her saturated hues and tempting transparency. But, what to paint?

I thought a bearded iris flower might be a good subject. It stands tall with petals called standards. Then, there are draping petals folding away from the standards, dropping downward like a frilly skirt. They act as landing strips giving insects a can’t miss runway directly to the pollen container called a beard. It’s that fuzzy little shape that’s usually a bright color like radiant orange! Lastly, there’s a strong stem with translucent paper-thin decaying spurs which at one time were green and protected the petals until they were ready to bloom. These dying buds are full of texture and color, key ingredients for loose paintings!

Bearded Iris Photo by Principeiris on Pixabay.com

I started with a quick, loose sketch of these 4 main parts which form the essence of the flower. Then the moment of truth…to paint her! To be honest, it took me 3 tries before I found the style I like. I tried it on watercolor paper in small (5×7) and medium (8×10) size, but the winner was a 9×12 inch sheet of mixed media paper. I think this flower needs room to strut her stuff! The larger format allows for more expressive paint strokes and happy accidents.

I used 4 colors of ink and lots of my favorite additive – water. I treated the ink just like I do watercolor. The difference? With ink, it’s super saturated color and you only need one or two layers. To get this kind of saturation with watercolor you need to build up several layers. Both the ink and watercolor paintings I create are done alla prima, i.e. giving it all I’ve got in one try. Waiting overnight for drying and such is just not my style. Of course, we always go too far at times and it gets muddy, so learning when to feel that nudge and stop is worth listening to.

This was such a fun challenge to myself, I videotaped painting her and I think there might be a course coming soon… Are you in?

Inky Iris by Lynne Furrer on 98lb mixed media paper 9×12 inch

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Art Journaling? What for?

I ended 2019 scratching my head wondering what’s this art journal craziness? The main question I had was why do they do it?

Don’t go looking for answers on Youtube. You’ll get bombarded with videos that take 20 minutes to finally get to the point of what they want to say and then they forget what they wanted to say. Or those that never get to the point. I wish Youtube had a noise meter with each video…

I continued hearing this buzz on social media with journal this, journal that images; everyone seemed to have one. Some were actually quite nice, but then I ran into junk journals…why would someone call their art junk?

Purposeful Journaling

I use a journal now and then to try out color palettes, like a recipe book of combinations I liked and those I wanted to forget. At least I had a record! I like my journals “dedicated” to one thought, concept, exploration…a way to categorize and find stuff (you know, like with a purpose). Using a square journal, I test pigment combinations with an inspiration photo on one side and then draw and paint using those colors on the other side.

inspired by one of my fav artists Charles Dwyer


This type of journaling has a defined purpose; learn something. But other people were having fun with no purpose at all. To me it looked like going in circles. What’s wrong with just creating something for no reason at all? I was about to find out.

When in Doubt, Learn

When in doubt about the value of something, dive deeper into it. Now I needed to find a course. Wanderlust 2020 on the Kasia Avery network, is a year long, weekly challenge in art journals. Weekly seemed plenty fast enough for me so I joined.

Two months into the course, it’s amazing! Not that I’m pumping out great art, but that the nasty critic in my head has finally quit screaming at me to produce a pretty and perfect piece of art. Now I can really just PLAY!

Ok, it is not that easy or simple, although it should be. I’m not there yet, but I’ve collected a bunch of attempts. But I’m learning that it’s okay to collect failures. I’m challenged by wonderful teachers with all sorts of new ways to make art and be creative. And isn’t that really the bottom line? We just need to create, no matter what it looks like? Don’t we learn something every time, even if the paper goes in the basket? I do, I learn what I like and what I don’t like. And I take a piece of every lesson to my next piece of “pretty” art.

When One Door Opens

Now here’s the funny thing. When you open one door, yep, another door opens. I hear about a class called The Down Deep with Fonda Clark Haight on the Art is Magic site. Here’s the hook line: “Mining your truths on the creative journey”. Is it calling you? It did me.

In this month long class, we created art in search of our “true” art calling…digging deep down there…in our internal psyches to find authenticity. Scary? It was kind of…at first… but Fonda provides such a wonderful, safe place to share it was never scary. We learned to create animals, creatures, people and stories from what she describes as ugly backgrounds. We shared those stories and it was inviting to do so. I don’t want to give away any more lest I get in trouble, but it was a game changer for me! I was now mining something out of a blank page that I’d never even considered before.

here’s my ugly background and finding something…

…here’s my finished piece “The Third Eye Door”


In the final project for the month there’s a challenge to create a piece connecting with our shadow sides. The course really was perfect for me…just the right instruction just when I needed it. This work was my favorite.

“Embrace the Shadow” by Lynne Furrer

What’s Journaling for? For anything! Make a background and just leave it for something you don’t even know you’re going to do yet. Try new things, new artists, new instructions, explore, test and fail with abandon. Remove intentions, rewrite how you create art. Keep it categorized in separate journal books or just mess it all up into 50, it doesn’t matter. What matters is that you show up and do it. This is the way art thrives. Go for it!

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Picking a Floral Color Palette

One of my fans suggested I paint more small florals as the Holiday season is approaching and they make great gifts. I intended in 2018 to paint more daily paintings, but too many other things drew my attention away. Now, it’s October and it’s time to start doing more of these little ones.

Toward that effort, I wanted a small, consistent color palette to work from. A year ago, I’d ordered Charvin French Fine Art Acrylics for a class, but knew little about values and transparency at that time. For that class, we were told “just pick a warm and cool color of each of the primary colors”. Who can resist buying new toys from the art store? So, I chose:

  • Cad Yellow Lemon – Opaque
  • Hansa Yellow Medium – Semi-transparent
  • Azure Blue – Semi-transparent
  • French Blue – Transparent
  • Oriental Red – Semi-transparent
  • Alizarin Crimson – Semi-transparent

Almost a year later, I’m revisiting this “set” to see if it fits my need for a small, consistent floral palette. Nice and floral looking, right? So far, so good…

Well, here’s the values after color was removed in Photoshop.
EEEEEK!!! I have absolutely zero pure “lights” and no real dark values and almost all medium values!

Of course, I can add white to get lighter values, but then I have an opaque, diluted color, not a pure one.

To get my darkest darks, I could try Alizarin and French Blue, which gives me purple. That might work, but I think I prefer a dark, opaque blue to “sink” those darks into the background. Maybe a little black…I’ll have to experiment…but in the end purchasing an opaque dark blue (or warm red) may have been better.

So, lesson learned: Analyze values and opaque vs. transparent when you’re picking colors from that glossy catalog. It can really save you when you want a limited palette and have limited funds.

Will I buy Charvin again? maybe. Things I hate about this brand are the caps which are hard to screw back on, especially if there is any paint left on the opening…and when is there not, right? Secondly, 3 of the tube labels had absolutely no info on the transparency vs. opaqueness! I had to search online for a brochure…and sadly the Charvin website didn’t even have their own chart to look at! Three strikes for Charvin…

On the plus side, these acrylic paints are rich and buttery, very similar to oils, but also pricey. Pigments are saturated and intense. The paints moves well with the brush and coverage is good. Quality is very high.

I say maybe I’ll buy more, because I haven’t evaluated the Holbein acrylics. Maybe next year…

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Blue Stabilo Sketch Experiment

“Drawing removes the gates holding back the tide of experimentation”…(yea, I said that).

In these 2 pieces, I sketched out the face loosely with a blue Stabilo pencil. If I hadn’t spent the last 2 years learning to draw a face, she would look more like a 3 year old drawing. That said, I don’t think I could get to this level / confidence of experimentation without having learned to draw first. After sketching, I threw a handful of water at each and watched the pigment try to hold its ground as the water ran its course. The watercolor paper was prepped with white Gesso many months before. That may have helped the water sit on top of the paper vs. immediately soaking in.

In the 1st piece (left), I went back in to define her more after letting the water dry.

The 2nd piece (right) was left alone to dry on its own, without redefining.

Walking the line between abstract and realism…which one calls to you? 

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Use Photoshop Elements to Analyze Your Favorite Artist

My favorite artists change all the time. One I’m enamored with right now is Erin Gregory because she uses a lot of color, and I love color too! When I paint with watercolors, I arrange all my colors in a really large palette and just intuitively pull and mix on the fly.

I’ve never seen Erin’s palette, but I imagine she might do the same thing with acrylic. You don’t have to stop and “think” about creating a color, you just pull 2 or 3 colors and mix! Don’t like it? Wipe it off in the palette and go again. It’s very intuitive and liberating to work this way.

When I look at Erin’s art (right), I see a huge mass of color – it’s crazy chaotic looking, but it works and is very appealing. I want to see if I could clarify the madness using Photoshop Elements (PSE). I found a lovely floral of hers to use in my test.

Just for fun, I reduced the black and white layer to 3 values: black, white and gray by using the Posterize filter set to 3. Viewing the histogram, I calculated the percentage of black, white and gray.

In this piece, Erin had 21% black, 35% white and 45% gray. You could almost say each value is about 1/3. Interesting, but this is just one piece of hers. I might have to look at a few more before I can really learn anything. All I know right now, is that the art looks good to me, in color and in black and white!

I used PSE’s Hue/Saturation panel to isolate colors (all steps below) to find the darkest (it was magenta) and lightest (it was a white yellow). It didn’t take long…maybe 30 minutes, but it was very informative. So, I gave my own art a test… I already know I like the ratio of lights and grays to be far more than Erin’s test. Here’s an acrylic I did – color version and “removed color” version. My values are mostly light, some medium and very little dark. I’ve been told I’m a high key artist – that is, I like to see lots of light values, some grays and very little dark.

See how the pinks and green are almost the same shade of gray? That’s something I noticed by playing around with Erin’s image too.  I’ve heard other people say that if you look at your art and can’t figure out what’s wrong, look at it in black and white!

Art by Lynne Furrer

Steps using PSE to make an animation:

Note: all commands are Windows. For Mac users, I guess you already know how to convert. I count “Layer 1” as the bottom most layer.

  1. Find an artist’s image you want to analyze and open it with PSE. Click the Expert layout from the middle of your screen. Note: you can do this with the Big Daddy Photoshop too, but I don’t have that software, so you’ll have to figure you’re own way thru it.
  2. If not already open, use F11 to open the layers window. Create 6 copies of the original.
  3. Rename the top-most layer “original” – this is now Layer 7. Note: You’ll be modifying all layers underneath it, so be sure you don’t accidentally modify this layer. You can click the eye icon to turn it off if you want to be safe.
  4. Click the bottom layer (Layer 1) to activate it. Click Enhance>Adjust Color>Remove Color. You want this to be a value study layer. Rename the layer: B&W. Analyze the photo by toggling on/off the layer to see where the darkest colors are. This will give you a hint which color you want to isolate on the next layer.  Note: Do not use Enhance>Convert to Black and White… because PSE will modify values using its pre-built vignettes. You don’t want those. 
  5. Activate Layer 2. Use Ctrl-U to bring up the Hue/Saturation panel. In the drop down, there is a Master (all colors) and 6 individual colors. You won’t use Master in this process. You have an idea from the previous step which color was the darkest value. In my analysis, it was magenta. So I leave magenta at Saturation: 0 and move all other colors to Saturation: -100. Click OK. Rename Layer 2 as the first initial of your color. I renamed my layer M. Click the EYE icon to turn off this layer (very important).
  6. Activate Layer 3. Bring up the Hue/Saturation panel and leave Magenta (or your first color) at Saturation: 0. What do you think is the next darkest color? Don’t know? Hint: PSE puts the darker valued colors at the bottom of it’s drop down list! So it’s probably blue, but if not, use the saturation slider for every color and observe which color is being used in the level that’s a little bit lighter than the darkest color you did in Layer 2. Once you decide, leave that color and your first color (mine was magenta) as saturation: 0. Move all other colors to -100. Rename the layer M+B (your first color initial + second color initial) and turn the eye icon off.
  7. Repeat the last step for all other steps until you only have yellow left to do. I chose not to do a layer for yellow OR white because I know those are the lightest value colors and they show up on Layer 7 which was my original image.
  8. Save your file as a .psd but leave it open in PSE. Now, let’s make the animation…
  9. Click File>Save for Web… In the panel, select GIF, check the animate box, reduce your file size to something that’s not too big, use Forever as the loop, and change the timing to 0.9. At right is how my panel looked.
  10. Now, the fun part! At the bottom of the panel is a recorder menu. Click the play arrow (solid black triangle) and watch what you made! Click SAVE and store it somewhere so we can get it again.
  11. Is your animation too small? You can drag your panel window to make it bigger and there is a -+ button in the lower left corner which will resize your image in the window. You can also preview it in a browser, BUT you need to have your browser setup first. You’ll need to get that help from the Photoshop site. (if the link doesn’t work, you’ll have to research it on your own)
  12. You have already saved your .gif animation file. Anytime you want to revisit the animation, use the last 2 steps.
  13. Optional: Some colors may be really hard to see, which means they were not heavily used in the artwork. Cyan was not heavily used in the artwork I analyzed, but I wanted to see it in my animation. I went back to the layer where I added cyan and moved the saturation to +50 (it was zero) which really made it easier to see in the animation. Funny thing happened when I did – I liked it better than the original artwork! Now there’s an idea…*wink.

Painting Outside Perfect

Wow, where did January go? I have been painting almost daily and doing some larger works too and revisiting Encaustics! Watercolor is where I began and I go back to it like seeing an old friend…so January was full of those. I especially love using a Stabilo pencil with water – magic happens!!

While sketching, I pushed myself to draw outside the “perfect” features of a woman’s face. To tell the whole truth, I was actually getting tired of striving for “perfect”. So, I elongated this woman’s nose quite a bit and made her eyes more expressive. Look at that mole! I loved her in the sketch, so decided to make a large, 18×24 canvas of her …mostly so I could go crazy with color! And I did.

I started “Annabelle” with ephemera papers, adding marks and color. I sketched her on the canvas and played with some color leaving her to dry while I went out to eat.

We chose a Chinese restaurant which was auspicious. I received a wonderful fortune and couldn’t resist adding that to her background the next day. The fortune says “We can not change the wind, but we can adjust the sails”. Since I had originally adjusted her from a “perfect” face, I felt the sentiment belonged to this portrait.

As a last bit of excitement, I added a transparent red oil paint over her background and complexion. What a wonderful way to make her skin look like antique porcelain. The transparent oils really add a deep, saturated color and also added a vintage feel overall. If applied very, very thinly over acrylic, it works! I will use this technique again. SOLD!

Annabelle – SOLD!

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Tutorial Review: Artist Lynne Hoppe

I’ve admired some of Lynne Hoppes’ art for awhile. First, because I love painting faces. Second, because the simplicity of her art is divine and third the color combinations!

The artist has written out the steps for her face painting process in her blog “how I paint faces” so let’s give it a try! (I won’t repeat her steps here, you can read her on your own.)

Artwork by Lynne Furrer

The Start

Any mixed media artist has lots of old books, probably too many. To start, I decided to go small…this page is from a book called “The Letter” and is about 4×6 inches.

Following the artists’ directions, I drew the outline of a face similar using hers as a reference. I’ve been practicing faces, so felt good about being able to draw my own. I didn’t have a lot of the supplies she listed, but I had a 4B pencil and turns out that is just fine. Next comes the creamy oil pastel…didn’t have her color, so I used white.

Next, she adds some earthy yellow to the shadow areas and rubs in some spots. At this point, I realized I covered up too much with the oil pastel and the watercolor just sits on top of it. Easy to remember to fix next time, but she also rubs in the watercolor and that worked well for the rosy cheeks.

I added watercolor for the turban, lips and eyes in the colors she suggests (or best substitute I could find). Rubbing in the watercolor really worked to tint the white oil pastel. I liked this technique so much, I used it a lot!

The picture at right shows all these steps and one more that was not in the tutorial that I dreamt up myself. The paper is very thin and of course it has very straight edges. I tore the edges to create a deckled edge, then I used matte medium to glue it to a piece of 300 lb. watercolor (very stiff). I used a hairdryer for a quick 2 minutes and then set it under a heavy board for about 10 minutes to make sure it dried flat.

For some reason, I thought it was a good idea to “fix” the top side with matte medium (and I still do). So, I put a thin layer on top of all that wonderful watercolor…and yes, it ended up muted and diluted. No worries, it’s easy to fix.

Artwork by Lynne Furrer

The End

I loved the deckled edge, but she needed a darker background – and I knew I had to re-energize the colors in her face and turban from my matte medium faux pas. The artist doesn’t go into creating the background, but read her blog, it’s pretty easy to figure out. I used some purple and gray on the darker, left side. and some rose and white on the opposite side. I let that dry and then re-saturated other colors and added some more white oil pastel to help her face pop out.

I’m really happy with the result! Final size is 5×7 and fits beautifully behind a 5×7 white mat or frame.

Go Again

After a successful first start, I wanted to go again, but with my own style this time. I chose a larger size and glued a few extra papers on top to create more texture. Since it had matte medium on it, I made sure it was dry with a hair dryer. Then, I pulled a reference photo from unsplash.com (great place to get free photo resources) and drew my face on. Here’s a closeup of the papers from the finale shot (sorry I forgot to take pics all the way through)…click it to enlarge. That line coming down from her left eye is all texture and some watercolor smear…but I LOVE it. Embrace these happy accidents and forget about perfection (yuck!).

Artwork by Lynne Furrer

You can see I love color and went a bit crazy adding greens, pinks, blues as well as the colors from the first try. After painting, I felt I needed another coat of matted medium, but I lost a lot of the color…again. I’ll have to remember to spray fix the watercolor or go gentler with the matte medium. But it’s easy to fix by adding another layer of color and oil pastel, so don’t sweat it. Layers to me are a record of your journey and I like them. Without smearing the watercolor with the matte medium, I’m not sure that line down her left eye would exist. Rubbing the oil pastel can rub off a layer and that’s what happened at her neckline. All good, just leave it or fill it in with white or color.

When I applied the matte medium, the underlying page buckled (it was really thin!) and I got some folds at the edges. I ended up liking that effect and didn’t try to fix it.

I added more watercolor, more rubbing, more white oil pastel to “lift her face”. The oil pastels were really luscious, and I needed more saturation in her hair, so I added them there as well, rubbing in some of it so I had hard and loose edges. I thought her eyes were a bit dark, so I added a mixture of cobalt blue and white and just dotted the lower pupils. Using a bright, lime green, I rubbed it on the edges of some of the papers to help the texture stand out and decided her cheek needed a bit more punch, so added some green there. Finally, I used a dark charcoal pencils to go over some of the contours of her face and added some strands in the hair to give it more contrast overall. I could have softened the charcoal by rubbing or with water, but I liked it as it was. Maybe next time.

Artwork by Lynne Furrer

I adhered my music paper to a 140 lb. piece of watercolor paper just to see if it would stand up. It’s perfect for when you want the piece to go behind a mat. If you want to use the artwork by itself, no mat, in frame, I would recommend the 300 lb. paper. I didn’t deckle the edges because I plan to put this behind a white mat.

I might purchase the creamy color oil pastel that Lynne has in her tutorial supply list. It’s a pretty, special color, but white works too, especially if you are into color like me. The charcoal pencil left really yummy dark lines that I love. Maybe try a stabilo pencil next…

I hope you give her tutorial a try to get the hang of it and then venture out in your own style…these are really fun to do!

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