A study of a bucking Clydesdale yearling became a challenge, as I moved from quick studies of movement to an analysis of the underlying anatomy. I at last realised that for me it is essential to understand my subject at that level if I am to translate it into a drawing or painting. To know what underlies the appearance makes it simple to convey it in paint, with ll the complexities of colour. For years I have been trying to focus on capturing the rounded surface shapes and their volumes in tone and/or in colour.. But once I know the structure, that is not as issue.