y abstracted portraits always begin with an intense live study of my subject from all angles. I sketch out notes during this examination, then work out a preliminary 2 dimensional design that utilizes the 3 dimensional information I've gathered. My goal is to deliver more information about the subject than can be gleaned from a traditional portrait created from just one point of view and yet, still deliver an intriguing image that captures audience interest across multiple viewings.
While my design is based on the likeness of my subject, once I've gathered information for the abstraction, I've little concern about my painting looking like the individual on which it's based. Once I have a preliminary design, it all becomes about composition, value and color, seeking stylized
textures and patterns to represent those real characteristics, plastic orchestration and edges. Ironically, since all the shapes and forms for my abstracted design are based on the sitter, in spite of the abstraction, there usually is a likeness.