Beth E. Wilson, in this month's Lucid Dreaming (p. 50), describes Richard Butler's process: "[It] involves working with photographs of his sitters—all people he knows well, like his daughter, his brother, and his friends—which he cuts and pastes in Photoshop. He combines different views, and skews the scale of various elements (the heads all seem to shrink in proportion to the body, lately) to produce what is essentially a preparatory sketch for the painting. He then transfers the contours of the sketch to his canvas by a grid system, and, as he says, 'that's when the painting begins.'"