For the geometric redux homage series, I start observing a masterpiece painting in detail: the palette of colors used, the contrasts between light and shadow, the shades, and the shapes.

Then I sketch a lot, deconstructing the original composition in basic shapes and primary colors. I also use a support grid, a "flexible template" that helps me to find the simplification possibilities without limiting the creativity. Within this grid, I search for alignments, patterns, stylizations, color reductions and shapes up to a maximum point of formal simplification, just a step before the original work can't be recognized.

And then I put the "puzzle" pieces together on the computer, fitting shapes and overlapping transparent gradients as in a vectorial “vellatura” so I can recreate the original artwork in my style.