This cat was never meant to look like a photograph. It is built from blocks of saturated colour, a face split into turquoise, magenta, ochre and violet, with green eyes holding the middle of the composition. Think of it as pop art with whiskers. It works beautifully in a room that already has some colour in it, a child's bedroom, a home office, or a gallery wall where everything else is quiet and this is the loud one. Why it paints differently to a realistic animal There is no blending here and no subtle tonal work. Every shape is a flat, confident area of colour with a hard edge against its neighbour, and the pleasure of the design comes from keeping those edges crisp. The difficulty is not in mixing or matching, it is in control. A wobbly boundary between the magenta and the turquoise is immediately visible in a way it never would be on a fur portrait, so this design rewards a steady hand more than a practised eye. How long, and which colour count Six to ten hours at 40x50cm is typical, and it moves quickly because the shapes are large. Go for the 36-colour option. This design is entirely about colour variety, and the 24-colour version flattens some of the more interesting transitions across the cheeks. Difficulty sits comfortably in our easy paint by numbers bracket. Size guidance Bigger is genuinely better with this one. A bold graphic image at 20x30cm loses its punch, while at 50x60cm the flat colour blocks read cleanly from across a room. The composition is upright and centred, so it hangs happily on its own. Technique for flat colour Work one colour across the whole canvas before moving to the next, rather than finishing area by area, so you are not constantly rinsing. Two thin coats beat one thick one for flat blocks, as a single heavy coat dries with visible ridges. Cut in the edge of each shape first with the fine brush, then fill the middle with the broad one. More designs like this live in animals, and a coat of varnish afterwards keeps the brights bright, which the sealing guide walks through.