Leonardo hums, thinking about it carefully. "There are a few ways you could go about it." He thinks of the whirls of water, never satisfied, always flowing. "One is to attempt to capture that motion in the work. It may look a little messy, but it will give your drawing life and emotion, which makes up for it more than you might think."

He taps his hands on the table, drumming softly. "Or you might break the moving object into shapes as it stills. If when you look over, you see the subject's hands, draw their hands, and if the next time you look over, you see their legs, draw their legs."

Leonardo continues. "Sometimes when you use a reference, it is best to make a series of small drawings instead of a single large one. Then you can combine what you have learned from the small studies into the larger version. So that is a thing you can do, if your subject cannot stand still."