Viewed in conjunction with his paintings, however, the drawings clarify the origins of the problems he confronted during the final eight years of his career. The conflict that emerged in his 1953 drawings continued to haunt him for the rest of the decade, although its terms were altered by the translation to large scale and increasingly bold coloration. Nonetheless, with the exception of his Veil paintings (which occupied him for only eighteen months of the decade), Louis struggled to find a viable structure to contain the freedom and boldness of his expressionist urges.[lxvii] Only in 1960, when he created his supremely innovative Unfurled paintings, was the issue resolved. With the evidence of his drawings now made available to us, it is not surprising to discover that the Unfurled solution evolved from his realization that personal draftsmanship could be used to channel vibrant color into taut compositions in which implied—but not restrictive—geometry intensified rather than opposed the emotional, subjective experience of space and color.