I approach each painting in stages as you can see in the example provided. The initial sketch and first stages are done relatively quickly. At this point I am capturing the subject's physical features in it's totality and making sure the proportions are correct. Working quickly also serves as infusing the oil painting with energy. At this point the initial underpainting may not be one hundred percent accurate, but I find that working this way is paramount in capturing the physical and energetic feel of the subject. With the following stages I begin adding details, honing in on the most important qualities I'd like to bring out of the subject. At these stages, I also make sure the subject naturally sits in the painting by developing the background whether it's in a certain setting or whether it's atmospheric. At this point I make sure that the proportions and features are correct. Since I quickly go through the first few stages, the painting can go through dramatic changes. It is through years of study and experience that enables me to see the differences between my painting and the subject. It is not solely an intellectual process, but this stage is when I use my intellect the most. I still check in with how the painting feels in general, but these academic parts of art becomes very useful in order to capture likeness. The final stages are where I fully render the areas that are crucial to the person in the painting. It is here that I make sure that the expression in the eyes and mouth, the shape of the nose, and the features of the face are where the viewer will first look. After that, if these elements are in the painting, I render the hands carefully as well, and then pay attention to details in clothing and bring out important elements in the background.