Between 100 and 800 CE, Moche ceramicists on Peru's north coast molded fired-clay heads of startling individuality — prominent cheekbones, specific noses, particular scars — then finished them in a disciplined two-color slip scheme: red-brown over the burnished terracotta body, cream reserved for small zones, black line drawn for war paint and face markings. The clay body itself, not the cream, was always the ground.

This system translates that sculptural bichrome logic into interface: a deep brick-terracotta page, red-brown slip carrying primary action, cream held back as a rare accent, and near-black lines doing the drawing. Surfaces read as burnished earthenware, not paper — modeled, warm, matte, and deliberately restrained in palette.