A print rather than a ramp: five screens, one flat colour each, and what keeps it from reading as banding is where they stop — not at a level line but wherever a coarse mesh says.

A bundle of fibres lying almost parallel, lit from one side — the sheen is drawn by where each fibre points, and the cursor combs them.

A hand-coated print: the brush that laid the sensitizer, the dry edge of the coat, and the tooth of the sheet.

Noise combed along a flow field — the walk re-reads its direction at every step, so the strands curve.

A warm and a cool field dragged sideways until they smear — five taps along an axis that fans across the frame.

One broad shaft laid across the frame — the distance to an oriented axis through a tight core and a wide spill, with the far end giving out — and the hand turns the axis.

Liquid metal gathering and breaking, holding its own edge the way mercury does.

A lighthouse turning inside sea fog — the blades die out where the banks are thick because the light is dimmed by what it crossed, not by how far it came, and a hand held up casts a real shadow that widens and fades as it falls away.