Again, this is drawing of two scales. The side of the face, shoulder, one hand on the other, and the leg beyond, went in first. I then elected to explore what would happen if I completed the composition by introducing and morphing together an outline of the back of the model and including also the dangling left leg.
I don't have anything to add to the following drawing
However, here is a blatant attempt to bring together two scales from the same viewpoint: a close up of the raised arm behind the head and the breast on the right, synthesised into a morphed composition with a full length drawing of the pose from the left.
Here is one of those real 'gamble' drawings. I am unsure as to what the outcome will be. I appear to just layer/superimpose one part upon another. Yet, within my sub-conscious, within how I am feeling about that which I am beholding, I have a powerful and confident drive to pursue the task of transferring to paper through my mark-making the emotional dialogue that emerges between me and the muse.
It is quite extraordinary that every so often, regardless of my attempts to do things differently by desconstructing, morphing, superimposing, playing with transparency, exaggerating perspective, etc. etc., that I want to capture the beauty of a straightforward but seductive pose. So here is Shelly sat on a plinth.