A large blue pencil standing figure drawing — the most complete and most contextually specific of the blue pencil figures. The model stands before a large vertical drawing board or canvas, her hands reaching up to grasp it, the board occupying the right half of the composition. This is the most explicit studio-context figure drawing: the model in a life drawing class, posed beside the very kind of surface that Sidney himself would have been drawing on.
The figure is fully described from crown to feet — the face in three-quarter profile, the hair falling straight and long, the body from shoulder to hip visible in profile, the legs descending to the feet at the lower composition. The feet are the most toe-specific in the blue pencil series, both feet fully on the ground, the weight stable and grounded.
The right hand gripping the board at the upper right is the most specifically described hand — the fingers wrapped around the board's edge, the grip visible in the tension of the marks. The left hand at the lower grip point is briefly described.
The board itself — described with straight lines and hatching marks for the drawing surface — creates a large rectangular form that balances the organic figure at left. The composition is one of Sidney's most formally ambitious figure placements: body and geometry, organic and rectilinear, in direct relationship.