A seated figure drawn from behind — the back view presenting the body as pure form, no face, no expression, no individuality beyond the physical specificity of this particular back, these particular shoulder blades, this particular set of the head and neck. The blue pencil is at its most economical here: a handful of marks describe the head silhouette, two or three marks build the shoulders and upper back, a single long curve follows the spine down to the seated mass below.
The foot at the lower left — carefully described with each toe visible — is the most specific element in an otherwise generalized description. This foot is real: Sidney looked at this foot with attention.
The lower body and the lower half of the back dissolve into very light marks that barely establish the figure's lower extent. This deliberate dissolution is not incompleteness but emphasis: the upper back, the shoulder blades, the neck and head are what Sidney was looking at, and everything below is secondary support.
The warm cream paper sets off the blue pencil beautifully throughout these drawings. The blue against the cream creates a particular quality of light — the paper reads as luminous, the blue marks read as shadows within that light. This tonal relationship is the consistent visual achievement of the whole figure drawing series.