Unrolled from the circle

The mark is a painted disc: roughly 2,300 brushstrokes, no layers, no groups. Its depth lives in the painting — stroke direction, colour temperature — not in structure. There is no hill to lift out, because there is no hill as an object.

The first approach separated by colour. But a hill is made of five colours, and under parallax each one came apart into its components. The second drew the hills by hand — clean, calm, and indistinguishable from every other vector sunset on the web.

The third cut the disc into horizontal bands and fitted each band to its narrowest row. Wider rows overflow the edge and are cropped — so the round form unrolls into a rectangle, and every stroke grows longer along its own axis instead of being squashed.

The two failures were not detours. They settled the question: in this painting colour is not depth, and a redrawn hill is no longer the brand.