The image was printed out in grey scale to the size I wanted the drawing to be, around 6” x 8”.  I traced the basic outline and key features onto tracing paper with a graphite pencil then covered the reverse side of the tracing paper with white pencil.  Having positioned the traced image, right side up on the support, I then retraced the image taking care not to press too hard so as not to indent the support.  I included some of the whiskers at this early stage because they were part of the ‘road map’ of the face.   The support I chose to use was Sennelier La Carte sanded pastel card in Dark Blue Grey as this would act as the base colour for the black fur.  I find that I can get more rapid coverage with pencils on sanded supports than on traditional papers and also a more painterly look to the drawing.  An added advantage with the darker coloured sanded paper is that lighter pencil colours can be easily applied over darker colours.

I worked up the drawing from the image on my computer screen.  I used the grey scale printed copy I had traced from as a guide to make sure the tonal values on my drawing were on track, it’s easier to see the value variation in a black and white image.   I was able to look at the actual cat too to check out the true colours in his eyes and the way his fur grows, for example.

I started with the eyes using Indigo to define the pupils.  I used Jasmine and Limepeel for the irises with a light layer of Tuscan Red over the Jasmine for the shadow.  The highlights were drawn with Cloud Blue and White.  I then started to render the black fur with strokes of Loganberry, Indigo and Petrel Grey taking care to follow the direction in which the fur grows and leaving gaps for the lighter tonal areas.   I also started modeling the ears using Warm Greys and a touch of Rose and Pink.   I used Blu Tack (sticky putty) to remove the white outline strokes as I went along.  A kneaded rubber eraser could have been used instead but the Blu Tack is softer and more easily kneadable, especially good for removing fine lines and lifting colour generally.

Having covered the image (except the background which would be left alone) with the basic colour scheme, I had an idea of the whole picture and could now go ahead adding and modifying colours, taking into account the different tonal areas as they relate to each other.   I added more Jasmine, Sand, Tuscan Red, Limepeel and Cream to the eyes, White and Cloud Blue for the highlights. To the white fur I applied French Grey 10% (excluding the very lightest bits), Warm Grey 20%, 30% and Putty Beige modeling the tufts of hair as I went. I have learned to reserve the pure White pencil for only the very lightest highlights to achieve maximum contrast.  Paying attention to the jaw line and cheek bone was particularly important because these indicate the facial form and structure.

I used Petrel Grey, Mid Grey and Warm Grey 20% on the ears.  I did not use any blending tools as I find that pencil colours blend together quite easily anyway on sanded papers and I also like to allow some pencil strokes to remain visible.  The nose shadow looked too pink and rough-looking so I carefully remodeled it with Pink Lavender and Warm Greys.