1. Spray paint blurs and sharpens a linear contour as it hovers a rendering movement of varying distance over a stencil slit opening. In pulling the stencil upwards, hard edges give way to a volume of diffuse coverage that disperses the contour into a felt density of air born particles.

2. A brittle charcoal stick presses hard over a surface, where a staccato of impact with the surface explodes, fracturing and dispersing chunks of charcoal. The cracking movement charges the rendering with the anticipation of listening for the sound of a lit fuse as it runs out of ear shot before an explosion. 

3. The paper surface holds evenly spaced ink traces and then scrunches into an angular topography under the pressure of closing fists. In the scrunching, the paper becomes a volume of irregular undercuts that break up the contours into jagged fragments that sometimes align new contours from across discontinuous planes. The paper aligns new contours modulating their weight in a patchwork of thinning highlights and saturating shadows.

4. Ink-drenched brush bristles glide and then press deeply over a porous paper surface, spreading parched skid marks. The irregular texture reroutes the smooth, linear flow of ink into absorbent textures that leave a distinctly dry taste in the mouth. 

5. Drops of ink release from the tip of a brush. Each consecutive drop releases at a greater distance from the page while staggering forward along a linear path. The higher the distance of release, the greater the splat diameter and graphic dynamism rendered on the page surface. But as the rendering gesture swells drops at the stretching, upward tip of the brush, tension begins to accumulate at the site of release.

6. The hard tip of a pencil presses into the soft surface of a pad of newsprint paper, raising a path of broken fibers. The pressing movement forward bends and flexes the fibers outwards and upwards, raising an angular topography of variable tone and relief. The raised path affectively tenses the contour between the slow, rigid, topography of broken fibers and the potential for movement over the smooth surface beyond it.

7. A single horizontal crease is pinched halfway down a smooth piece of paper. As spray paint hovers over the fold, the page sharpens the paint into a fine contour over the folded peak and a broadened contour where the fold relaxes.

8. An elastic cord frays into a thickening contour. The fraying threads generate a volume of entangled curls and kinks, unwinding the clear linear movement of the cord in weighted intensity such that the visual texture begins to resonate an increasing volume of gentle static noise.

9. Ink variably bleeds from the trace relative to the speed with which the line is rendered. In fast movement the line holds tight continuity, in slow movement the ink absorbs through the discontinuous fractured pores of the paper surface, slowing the forward force of the line into the pace of fibrous absorption.

10. A blade pulled through yogurt generates a vacuous path that rejoins into a softly tucked crease once the movement passes. Once the blade presses through, the yogurt swells upwards, as if the contour emerged from energetic volumes below the surface.

11. A charcoal line falls hard back onto the surface, simultaneously breaking and bouncing back upon impact, then landing more gently the second time into a rendering movement with a new charcoal tip that affectively regains its solidity in the even trail it leaves behind.

The fine ink trajectory glides thin then bleeds into a thickening crescendo, spreading its edges into a closeness that closes off the space of seeing. The thickening weighs in on hearing, and thickens breathing into an oily consistency that is exhaled in layers of translucent relief. The ground absorbs the relief in layers, eventually sucking the air between them dry. Then the stillness of shallow breath tapers the contour into variable width over the surface. And in speaking, fringe referents sound an expiring whistle between the teeth.

In what's known as the weighted line in drawing technique, the rendering line thickens and thins relative to the pressure with which it meets the surface. The thickening and thinning of weighted lines generates a space where the abstract form and movement of the line composes with the material volumes, textures and surface tensions. In becoming weighted, the contour stretches to absorb new dimensions, directions, volumes and consistencies.