I started by "wall-papering" my linen board with the map and started with his eyes. Then, I blocked in the warm, middling sort of tone in his fur and the pink of his inner ear. I let this stage dry:
Next, I painted his nose and began adding some of his darker fur:
At this stage, the white you can see is the white of the linen board. I let this stage tack-up and then took a big breath and began to add white. I used Gamblin Flake White ( a lead white replacement) because it behaves nicely and is much less like to turn to mud on the surface if I am a bit heavy handed
The paint went on nicely but I had forgotten how long this white takes to dry.
So there was a longer than normal pause before I could finish the piece. The difference between this stage and the finished painting at the top of the post is a glaze of Raw Sienna to warm him up a bit and then a re-stating and softening of his white fur.
I continue learning how best to achieve different effects. Sometimes the pressure - wholly artificial - I put on myself to complete daily paintings is counter-productive. I can't achieve the sort of effects in this painting in one session. Brindle coats or any dark coat with light ticking (or vice versa) needs to be worked in layers, I find (unless you are willing to dump the detail in favour of a more impressionist result).
Sometimes I try to achieve both: detail, and completion in one sitting. The outcome, for me, is not likely to be success.