Paintings such as "Lucas," which depicts fellow artist Lucas Samaras, are representative of Close's later, more colorful and painterly style. They go beyond the hyper-reality of his earlier portraits and elaborate on his pictorial investigation of the act of perception, breaking down the visual information into component parts that describe the actual process of seeing, not just the end result. To create these portraits, Close begins by taking photographs of the sitter, then draws a grid over the photo, from which he methodically reproduces the contents of each tiny square on a magnified scale with small dashes, dots of pigment, thumbprints, or applied pieces of colored paper. Viewed close-up, the elements of the picture are seen as separate abstract markings; from a distance, they coalesce into an illusionistic portrait. In order to assimilate all of the multi-hued daubs of color on an eight-foot-plus canvas, the viewer is forced to stand quite a distance from the work. From this perspective, the subject stares coolly, anonymously, and unwaveringly at the viewer.