Each glyph is a single bamboo-split incision — the gesture is the letterform, never a printed outline laid down after the fact.
Charcoal rubbed into the cut turns a faint groove charred-black against tobacco-brown culm — contrast earned by hand, not by ink.
Node banding on the bamboo dictates where a line begins and ends — the medium is the grid, and the grid is alive in the grain.
Loops and hooks distinguish one sound from the next — soften them into hard geometry and the reading collapses into ornament.