21 mins : 720p version, not top quality but it should play without buffering.
And it's best viewed at full-screen.
Riley was drawn and filmed (for our LindasPencils) over a period of 6 months, in any spare time I could find. That was usually in the evening just after I'd bedded down the animals and poultry.
It was also my first attempt at filming video. It improves in quality as the video progresses - honest!
In the second half I'd learned to set the white balance correctly, and to switch to manual focus instead of relying on auto. I'd also purchased a coupe of additional video lights by that time.
Something I must mention: I'm often asked why I constantly rotate my pencil. That's because I use a chisel point (go to the video section to learn about that), and I use the edge for sharp detail. As the edge wears, I rotate it slightly to a fresh, sharp section.
There are also two bits of silliness. When I'm filming my wife Jenny refers to me as Cecil B DeMille
- and the "breakdown" sequence was just me having a little editing fun 
Finally, there is no narration - just me drawing. But I often find watching another artist at work to be quite instructive. The speed and sequence of coverage, for example, can only be gained by watching the artist.
ON THE BOARD:
I was working from two copies of a photo of Riley's head - one with standard contrast and the other lightened to expose the detail in the shadows. About half-way through the video you'll see a photo on my drawing board with a red background - that's a pastel of Riley drawn by Linda. Knowing what she thought was important about Riley was really helpful.
Grades: 2B, HB or F, and 2H.
I'm a great believer in only working on one texture at a time, and drawing a small section to completion. By working that way I can fully understand everything I'm working on - its three-dimensional form; the texture and the way it feels under my fingers; and, because I'm concentrating on only that one element, I can recall all past experiences and build in everything I know about it.
In the final minute you'll see that I completed the drawing, stood back from it, and realised it needed a little additional balance, so I turned the base of the neck out to the right. Then signed I it. Job done!
Click to view: RILEY : THE VIDEO!
, but you had a sense for where to best use detailed shading to give depth and realism impossible to create with just general, global shading in larger sections.