Lightening the sunlit portion of the carpet helped bring out both the light and shadow, I think. Actually, I only lightened the background color, not the pattern.
It was so much fun to finally begin detailing Bonnie. I began with her head and neck, then proceeded to her front right foot. I generally like to work the areas farthest away from the viewer first. This means that on the edges between farther and nearer sections – the neck versus the back, for instance – the nearer fluff will overlap the further fur.
Strictly following that rule would have meant that I would have worked the right front foot first then proceeded to the head and neck. So, since I worked the head and neck first, I left the front edge of the neck until I had finished the foot.
Anyway, today I worked all with Rembrandts with the exception of a few white hairs for which I used NuPastel. The Rembrandts release more pigment onto the paper, so the colors are richer. This is the fun stage.
Several times as I worked today I was appreciative of having found Hahnemuhle’s velour paper. Without it, I’m not sure I would have stuck with pastels. It just suits my style better than gritty paper. Plus, I really don’t like all the dust, and there is virtually none with this paper.
I am hoping to be able to use this painting for my next application to the Society of Animal Artists. But one thing bothers me about it. Little Bonnie is declawed, so her front paws look a little too short. Will the jurors think I’ve made an anatomical error? I only realized today, as I observed Bonnie (declawed) and Zeke (not declawed) laying together how different their front paws look.