Tortoiseshell Fur

This reference photo reveals the complexity of tortie patterns - the random distribution of golden flecks, varying densities, and subtle colour temperature shifts in the ‘black’ fur. Study how light affects different areas of the fur and how colours transition between sections.

Reference photo by Herman Delgado, Unsplash

I suggest working in a bounding box roughly 6 cm by 6 cm.

Surface: White Pastelmat

Note: As this approach doesn't rely heavily on light-over-dark techniques, most of these colours and methods will transfer well to other surfaces such as hot press watercolour paper or Bristol Vellum.

I've grouped pencils by purpose to help you understand their role in creating realistic tortie fur. While my exact brand selections are listed, focus on the colour relationships rather than specific pencils. The principles transfer across brands and can be adapted to your collection.

Apply an initial sketch with light directional strokes - no formal line art needed. Use Ivory and Burnt Ochre for lighter/orange-leaning areas, and Sepia 10% as a neutral for transition areas. Mark key anatomical features like whisker follicles and areas along the cheekbone where golden tones will appear.

Continue light mapping of different colour zones. Use Caput Mortuum Violet for areas illuminated from below with warmer light, and Silver Grey (or Cold Grey II) for cooler areas. Maintain very light pressure and follow the fur direction.

Apply Cold Grey III in all main black areas using light pressure and following fur direction. Use Sepia 10% as an underlayer where black meets orange. At this stage, we're refining our mental map of the fur patterns for reference later. Add more Caput Mortuum Violet in the chin/neck area, flicking in from the main dark areas into the paler fur.

Add Silver Grey over black fur reflecting light from above. Apply another layer of Cold Grey III over most black areas, including the neck and chin. Begin adding Payne's Grey for initial shadows - think about drawing the depths or spaces between fur strands rather than the fur itself. Maintain light pressure throughout.

Apply Caput Mortuum Violet in main black areas, using rounder sketchy strokes on the bridge of the nose (where fur is shorter) and directional strokes elsewhere. Add Brown Ochre with light pressure as a glaze in patches of palest fur on the muzzle, and medium pressure in the flecked areas on the cheekbone. Continue building shadows with Payne's Grey, including non-directional rounded strokes on the nose. Blend and smooth black areas with another light layer of Cold Grey III.

Use Brown Ochre 10% around the whisker pad, aligned with fur direction but against growth direction, to create depth in the pale fur. Keep application loose and sketchy with uneven coverage, leaving some Ivory showing. Add flecks of Charcoal Grey into orange/pale fur areas with super light pressure, extending to the neck and chin areas.

Apply Silver Grey across main black areas to smooth and subtly push back the Payne's Grey (we'll rebuild intensity later). Use Warm Grey III to flick into pale fur under the chin with tapered strokes, and in the neck area using small circular motions for an out-of-focus effect. Extend directional strokes into the cheekbone area. Add flecks of Brown Ochre 10% on top, embracing the "mucky" brown that results. Apply Burnt Sienna in the richer brown areas of the pale fur.

Apply Dark Sepia with very light pressure in the neck area, central region, and lightly into pale fur on the whisker pad. Darken black areas with Payne's Grey. Use Sepia 10% in transition zones where pale fur meets dark, starting under the whisker pad (to build confidence) before working into more challenging areas. Maintain plenty of untouched ivory and pale Brown Ochre.

Alternate Warm Grey III and Dark Sepia in warmer areas, and continue with Payne's Grey in black regions. Maintain light pressure and directional strokes throughout (except on the nose). Add depth to whisker follicles with Burnt Ochre. Introduce Black selectively in the darkest shadows, being careful to follow fur direction.

Glaze Caput Mortuum Violet over blacks illuminated from below and Cold Grey III over other black areas. Add another layer of Dark Sepia in the neck area and flecked cheekbone region, flicking into paler fur. Darken some pale fur lightly with Brown Ochre to build richness. Place selective Black flecks in the darkest areas to maintain fur texture.

Darken blacks with Pablo Black. Add Pablo Cocoa in the neck area, flicking into paler fur and around the whisker follicles. Apply sharp, confident strokes of Brown Ochre in the cheekbone area, noting how it creates vibrant colour when applied over Ivory. Use Ivory pencil to cover any remaining untouched paper.

With a very sharp Pablo Cream, add flecks of pale fur into darker areas. Include some stray hairs that cross the main fur flow direction. At the roots of pale fur, flick over some Sepia 10% to soften transitions. Optionally, add vibrant pops to orange tones with Lightfast Mars Orange and Yellow Ochre. Add slivers of sharp black between the lightest fur at the top of the whisker pad, focusing on darkening fur that appears "behind and underneath."

Add delicate details with sharp Charcoal Grey, looking for shapes behind and between paler fur. Weave shadows into the flecked fur on the cheekbone and whisker pad using varied strokes. Apply Cold Grey III for smoothing if needed. Glaze Burnt Sienna into transitions and follicles. Use Museum Aquarelle Warm Earth 50% or Pablo Brownish Beige to moderate areas where colour becomes too intense.

Add depth to the whisker pad with Brown Ochre 10% and Pablo Brownish Beige. Add further flicks of palest fur with sharp Pablo Cream if desired. Create whiskers with sharp Pablo Silver Grey or White, starting from the whisker pad and sweeping outward with confidence. Focus on natural flow rather than exact replication of the reference.