I used Black, Dark Umber, Clay
Rose, Black Grape and Indigo Blue.
STEP FIVE
Then I started to overlay the colours I
used in the base layout from the top to
the bottom of the drawing, defining
details, adding more pressure and
smoothing texture (burnish) where I
don’t need it, and always following
the direction of hair. The portrait
started to look more realistic now.
STEP SIX
I finished overlaying the colours on
the cheeks, neck and nose. I added
more White on the neck fur, defining
shade and light areas. I left some of
the paper’s texture to be visible on
the nose and added highlights with
Clay Rose and Lavender Grey. Then
I carefully examined the drawing and
added more details, individual hairs,
contrast and shading where needed.
Then I lightly wiped off all the dark
and middle tone areas with soft paper
tissue to remove “wax bloom”, and
brushed the artwork with a wide soft
watercolour brush to remove all the
waxy dust, so it will not smear and
ruin the artwork. I sprayed it with
Workable Matt Fixative to prevent
“wax bloom” to reappear and also
to prepare the surface for the final
“gouache” stage as a water-based paint
will not adhere to a “waxy” surface.
FINAL STEP
This is the most enjoyable part as the
subject comes to life! I used Lucas
White Gouache paint and a 1/0 round
synthetic brush and put highlights on
the eyes, nose and fur. I painted lighter
whiskers and drew darker whiskers
with sharp Dark Umber and Terra
Cotta pencils. Acrylic white paint also
could be used for this stage instead
of gouache, but I prefer gouache
because it could be fixed easily if a
mistake is made – I just wet it with
the brush and blot it with the tissue.
I let the paint to dry, signed
STEP FOUR
STEP THREE
