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STAGE 2 MASKING
I applied blue masking fluid with a mapping pen to areas where I wanted to preserve the
STAGE 1 THE DRAWING white of the paper—borders, and individual hairs mainly. I’ve also made some marks
After completing preliminary work from sketches, the with colored pencil, where I don’t need to mask but I do want to define certain areas. I’ve
drawing was traced on to watercolour paper, and tentatively put on some light tones and colours in paint, after finding the appropriate
I reestablished the lines with a 2B pencil. mixes by testing them on a spare piece of paper that I’ve taped to the side of my board.

STAGE 4
BUILDING THE TONES
I’m building tones and values layer by
layer, feeling the three-dimensionality
of Delfin’s face in my mind as I work. The
noseband is initially painted in Indian red
and Winsor violet—a mix I use often for
shadow areas. The black in the nostrils
gives me a taste of the darkest value of
this artwork, and it will help me judge
other values as I build my layers. In the
photograph is the only brush I’m using at
this stage.
Looking at the eyes, the lashes and
highlights have been masked. The edges
of the eye are burnt umber and the pupil
is deepest black (cadmium red with
STAGE 3 STARTING TO PAINT Winsor blue).
Winsor blue).
The eyes are underpainted with burnt umber,
and inside the ears I’ve used quinacridones
and a mix of burnt umber and shadow violet.
The front of the neck has a mix of quinacridone
gold and deep gold, reflecting local colour from
Delfin’s surroundings when I photographed
him. I’m starting to find and define the
anatomical features with quiet mixes.

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