Lichtenstein moved ever onwards in the mid 60s. His comic styled women began to take a back seat as new inspirations for content arrived. Traditional landscape art was something that the artist felt could be experimented with in his own style, and he did so to great effect.
This new direction added enthusiasm to the artist's work, and he was to vary his level of abstraction during this period. Sunrise, 1965, delivers a relatively clear set of forms to the original that he would have worked from whilst others of this period went into a more abstract composition.
Dots, naturally, were his preferred route to creating these landscape scenes. Some have argued that this was essentially a machine-like extension of Georges Seurat's Pointilism from a century earlier.
Lichtenstein gradiented his dots to produce form, in this case ocean, mountains and sky. From a distance, the dots would trick the eye into seeing blocks of form, making the artist's style a creative version of printed production.