As a person addicted to digital art-making processes and the ever-present escape route of "undo", I'm simultaneously fascinated with the uniqueness, inaccuracy and permanence of real-world mark-making media such as ink and paint. I wanted to make a portrait out of composite attempts at tracing the same face, each attempt incorporating natural deviations of the hand. My aim was to find out whether, when combined, the differences between the drafts would combine to yield something close to the original image. I used the very handsome face of Marco, a film-director I met at a film festival in Rome. The resulting artwork was blown up, printed and pasted in Fitzroy, Melbourne.