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Stage 1:-
Unlike many other artists, I do not tend to map out the work in progress beforehand. Rather, I collate the necessary reference material and try to imagine the finished piece. Once I have a clear objective in mind, I will choose an initial starting point, usually the eye, and begin by drawing this in graphite. I always do all the black and white work conscientiously, adding all necessary detail almost as if the image was intended to be B&W and not colour. Once I have drafted a reasonable amount, I will begin by adding the colour.

Stage 2:-
This stage shows how, as the colour is added, the image begins to take on a more realistic semblance of the subject. I work primarily in primasorb watercolour pencil, adding the colour delicately and always with a sharpened pencil. It is important to analyse the reference material fully to discern the huge array of colours on display, as the more of these that are hinted at in the final representation, the more realistic the picture will be.

Stage 3:-
By this stage the head of the leopard cub was more or less completed. This included a number of yellows, oranges, reds, greens, browns and greys as well as the more obvious black and white. After each tiny segment of colour has been added, I use a fine brush to add tiny amounts of water, thereby bringing the colour to life and ensuring it stands out sufficiently. Should it be necessary to over emphasize a certain part, the pencil can be dipped directly into the water and used on the paper, but always ensure it is sharpened beforehand to ensure fine application.

Stage 4:-
I now moved on to draft the leopards body in graphite, once again ensuring as much detail was added as possible. The advantage of following this particular method is that any errors that are made are easily rectified prior to adding the colour by using a putty rubber.

Stage 5:-
The body penciled in, I again switched to colour, ensuring I added sufficient shadow under the neck. Once the overall colouring was in place, I was able to directly add white tufts using the white pencil, giving the impression of soft fluff on the animals back.

Stage 6:-
Switching back to graphite, I sketched in the paw. At this point their was an amount of uncertainty as the image appears somewhat off-balance, but at times like this, you've just got to have faith.

Stage 7:-
Sure enough, once the paw was coloured, the image began to regain some of its balance. I was again able to use various shades to attain a three dimensional look to the paw, particularly by adding shading to the underside of the limb

Stage 8:-
I went on to sketch the rear paw, using the same process as mentioned above. The addition of the colour began to give the picture a more finite feel.

Stage 9:-
The addition of the branch was important in that it grounded the whole image. Their is always an urge to rush this part of a picture, the main focal point being completed, but it is necessary to take a step back and pace oneself. A picture is only as strong as its weakest part, and to neglect this section would be stupid!

Stage 10:-
The graphite sketch of the branch is complete, and with it the use of graphite in the picture should be complete.

Stage 11:-
Here is the branch completed, using a variety of browns, greens, yellows, oranges, greys and black. Only the tail to do.

Stage 12:-
And finally, the picture is finished with the finalisation of the fluffy tail. A little white pastel was now used to fluff up the outlines and shape a little, and then it was ready for framing.