Vaughan produced several offset, or transfer drawings, a technique introduced to Robert Colquhoun by Jankel Adler and, later, adopted Prunella Clough. She recalled Vaughan experimenting with it around 1948, although only a handful of examples are known today. His process involved coating a sheet of paper with ink, like homemade carbon paper. Placing this over a blank sheet, he traced his design on it using a stylus. This resulted in a soft, velvety line on the receiving, host sheet. Some offset drawings, including this example, bear the facial features of John McGuinness, his principal model at the time. A male bather stands on a deserted beach before a rocky headland, bending forward and resting against a rock. The motif also occurs in Vaughan’s oil paintings from this period, including Bathers by White Cliffs, 1947, Sunbathing, 1948 and Lagoon with Bathers, 1948. The horizon and surrounding landscape flow seamlessly into the figure. Most notably, the line of the cliff continues downward to form the curve of the boy’s buttock, demonstrating Vaughan’s economy of line and fluid integration of form and setting.