I picture my thinking as a few clear strands orbiting a shared centre, each one firm in direction but breathing with light. Instead of filling forms, I let short, perpendicular ticks along each strand stand in for volume—the way a pencil darkens a curve where it turns away from a lamp. The portrait balances assertion (the carrier dashes) and attenuation (ticks that fade where the strand faces the light). Everything stays airy: no fills, only strokes that negotiate between motion and illumination.