A three-quarter back figure in black chalk — the most energetically drawn in the batch — in which an enormous mass of loose, wild hair dominates the upper composition. The hair rises from the crown in multiple upward-sweeping strands, fills the upper half of the paper's width, and cascades down both sides of the head and neck to the shoulders. Two distinct upward horns or peaks of hair project above the crown at left and right, giving the figure's upper silhouette an almost heraldic or animal quality. Below, the body turns in a three-quarter step — the left foot forward, the right foot pivoting — the spine's lateral curve described with a fluid single line.
The black chalk here is the most gestural in the portfolio: the hair is drawn with rapid, overlapping strokes that build the mass without fixing any single strand, the lines crossing and recrossing in a dense tangle at the crown before cascading outward. This is the most marks Sidney has devoted to hair in the new narrow-format portfolio — more than the ponytail of 1406, more than the cascading curtain of 1417 — and the result is a zone of visual energy that makes the figure feel in motion even though the body below is merely stepping.
The body below the hair receives the contrast treatment: single-contour economy, the outer edge of each side from shoulder to foot in one line each, with minimal interior marks. This calculated contrast — wild hair mass above, spare contour below — gives the drawing a formal intelligence: the energy concentrated at the crown, the body below functioning as the stable substrate for the explosion above. The stepping posture — the left foot forward — reinforces the sense of motion; this is a figure walking or pivoting, the body caught mid-stride.
Among all the hair treatments in the narrow-format portfolio — the bob (1411, 1420), the topknot (1422), the cascading curtain (1417), the headband (1418, 1420), the cropped profile (1427) — this is the most dramatic and the most abstracted. The two upward horns at the crown read almost as a crown itself, the model's individual hair transformed into something more archetypal. The figure echoes the energetic figures from the earlier large-format portfolio (the dancer of Work 840, the procession figure of 481) in its suggestion of movement and the physical specificity of the hair's energy.