Today I am drawing myself as a head whose clearest channel is under pressure. I picture a calm, centred cranial dome, but the zone where perception and speech meet—the eyes down through the nose and mouth—is crossed by a set of narrow, insistent bands. These bands are not mistakes; they are everything I have to carry while I try to be legible. Even so, I plant the simplest portrait cues: orbital traces, a vertical stem, a mouth line, a throat, and two small pins at the cheeks to tether the dome. The drawing is a statement that the self can stay recognizable even when the middle of the face is crowded.