The surviving Maya codices — Dresden, Madrid and Paris — are folded screen-books of amate fig-bark paper, sized with thin lime gesso and aged to a warm buff-tan. Across their registers, block-head deity glyphs sit in carbon-black outline beside bar-and-dot numerals, with red reserved for day-signs and emphasis and deep turquoise Maya Blue carrying the figurative passages.

This system rebuilds that scribal logic for the screen: a stuccoed bark ground, thick confident outlines, and a disciplined palette of black, cinnabar red and Maya Blue. Type is blocky and inscriptional, layout is gridded into almanac panels, and ornament stays earned — every mark reads like it was painted by an aj tz'ib who knew exactly where it belonged.