Some while ago, I bought a bunch of long, narrow canvas boards. Until now, I hadn't been able to figure out a composition that worked on that size. Well, here is one. Isn't he gorgeous? Got attitude, I reckon.
A complex scene of light and shade, cool and warm colours, soft and hard edges, I was a bit non-plussed how to tackle it without creating a muddy mess. I looked at his eyes and even they were totally different from each other (one in the light, one in the shadow) so I started in a different way to usual: the method Richard Schmid calls "the full colour block-in". Because I am the most impatient person ever, I did the block-in using acrylics so that by the time I had popped downstairs to fetch more coffee and got back up again - it was dry and good to go. This is what it looked like:
The abstracted background was, in real life, some sort of flower bed with grassy and flowery things in profusion. I have fudged it all because I wasn't interested in that, only in the cat, and the quality of the light.