The beginning of a painting often determines whether it will be a success or not. On the one hand the drawing must be reasonably accurate, at least within 90%, and on the other you mustn't be so concerned with the drawing that it inhibits the spirit. Technique should be the liberator of compelling expres-sion, not a shackle that suffocates and pro-cures timid and tentative work.

The first, and most important, task is to strike the large shape, the arabesque, of the head. This is where both the likeness and expression reside. Accurately establishing the arabesque—how high, how wide and the angles—is an acquired skill. Once you have acquired that skill door-upon-door is flung open allowing entry into the more wondrous modes of painting expression.

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