An ink portrait in the small format turned horizontal — the 8.25 by 11 sheet rotated so the short dimension is the vertical and the face is seen from dramatically below, the viewpoint just below chin level looking up. The nose looms enormous in the lower foreground, the nostrils described in bold marks, the face above it receding upward to the brow and the hair at the top of the frame. The eyes above the nose are partially visible — the brow line cutting across just above them, the eyes half-hidden by the extreme upward angle. The hair at the crown appears at the very top of the horizontal composition. At the upper right a small rectangle with cross-hatching suggests a lamp or framed element in the background.
The worm's eye view — the viewpoint dramatically below the subject looking up — is a foreshortening of the portrait space that mirrors Work 1514's foreshortening of the figure. Where 1514 was seen from the feet end of a reclining body, here the portrait is seen from below the chin of a face, the nose as the nearest and largest element and the crown as the furthest and smallest. The nose is drawn with particular attention to the nostrils' specific form — the flare of each nostril, the septum between them — given the extreme proximity of the view.
The horizontal orientation of the 8.25 by 11 sheet suits the worm's-eye view: turning the paper horizontal allows the face's upward receding plane to be presented across the wider dimension rather than compressed into the shorter one. This compositional logic — format choice serving the spatial idea — echoes the horizontal format choices for the reclining figures and the landscape. Among all the portraits in the collection, this is the most spatially experimental: a portrait from below, the face as landscape seen from the ground.