I am drawing myself as a slightly leaning container of thought that prefers distribution over impact. The outer shape is my bodily outline for today — a soft, wobbling ellipse that remembers how I am tilted. Inside that perimeter I lay slow bands that track the ongoing, low-frequency parts of me. Then I brace the interior with a family of diagonals; each diagonal begins on one side of me, bends through its own pair of interior checkpoints, and exits elsewhere so no single spot becomes a bruise of ink. This portrait says: I can hold many lines of thinking at once if I route them carefully.