I was about one metre away from the model looking down along the legnth of her body and standing at my easel. The first drawing was a fairly speedy exploration of the essential aspects of the pose. Perspective was a key issue, and an early realisation that if I was to include the full spread of her arms then the whole would need to be drawn at a small scale, even on my A1 paper. Drawing two slowed down the process as I further familiarised myself with the issues of this particular pose. Then in drawing number three I decided to start with the head which I advanced (exaggerated) towards me. Then I started to introduce the legs which in contrast to the head I emphasised the diminishing perspective. I don't recall which parts I then introduced and in which order, but what is clear is that I had no idea at all as to what the completed drawing would be like. This was a completely exploratory and experimental process. I only started to introduce colour, as a tonal tool, once I had superimposed upon each other the basic outlines of the various parts of the anatomy. The tonal areas helped me to clarify and articulate the parts. Gradually from the confusion of overlapping parts of the body there emerged recognisable forms which both intertwined and morphed together.