Using a 2B pencil, sketch the basic shape of the profile. Add the shape of the mane and the ear.

Add details such as the nose and refine the form, erasing some of the line work with an eraser so you don't mix the graphite with your paint making it grey and smeared.

Using burnt sienna and mineral spirits, smear the diluted paint as a ground on your canvas. The paint should be very transparent. This technique is called Imprimatura and is used to tone the canvas, providing optical unity.

Start adding mixes of cadmium yellow and titanium white over the face, mane and ear. You can add your own orange hue. To keep the underpainting slightly visible, wipe down any heavy areas of paint with a paper towel.

To add the darker tones of the mane and face, add the magenta and phthalo blue to neutralize the yellow and orange.

Start Painting the Background along the profile of the lion with a mix of cadmium yellow and Phthalo blue, titanium white and permanent Geranium.

Fill the remaining background by adding titanium white at the upper right. Blend in an orange hue that you have created as you work down and to the left. Use a filbert brush to make narrower brushstrokes for this step.

Develop the effects of light (shadows) on the lion's face by adding mixtures of cadmium yellow, titanium white, your orange hue, cadmium red, magenta, phthalo blue, burnt sienna and yellow ochre to the face, ear and fur.

Continue to develop the colors of the lion by building in the darker colors. Try adding color to the lion to darken the shadows and distinguish the direction of the fur growth.

Start adding details to the eye, nose and mouth and darken the facial contours. Do not use black, try mixing neutrals on your palette and then adding them to the canvas.