freehand, in pencil, on a board which was sort-of toned because I am recycling the first version of this painting which was a wiper. Then I started work on the eyes: the book sternly says to start with the darkest darks and the lightest lights but I decided that the pupils of the eyes fitted that criterion
Then it was a question of building up the fur and trying to overcome too much cutsiness. I am not sure I have entirely succeeded but I put a final glaze of raw umber over most of the painting when it was dry, which added some green-ish, cool-ish notes into the shadows and I think that knocked back the cutsey element a bit.
In fairness to the author of my new book, my struggles with lines over mass are a sign of how much I have to learn. Richard Schmid has a demo of a portrait of his wife Nancy (where the positioning of eyes is also very important!) here:
artists networks and his painting starts like this:
and finishes like this:
Isn't it beautiful? Richard Schmid is my hero.