Non-figurative, structural glyphs for a chromatic ballet score. No glyph depicts a body; each describes a vector, a path, a duration, a quality or a formation, so the same mark can be read by a dancer, a conductor, a lighting, sound or costume designer. Tap any glyph to copy its SVG.
Choose a discipline and every glyph shows its reading for that department. Retrograde mirrors each glyph so the score can be read in reverse, as a musician reads a retrograde.
One RYPGPOB colour per performer or per department cue, each paired with its own line style so the score reads in greyscale and for colour-blind readers.
Each quarter-turn of the spiral lasts its own Fibonacci number of counts. The point keeps a steady speed while the space it covers widens by φ ≈ 1.618 each turn: a template for animating a travelling phrase, a widening light iris or an outward sound pan.
Scene A, the espalier stave, gives way to scene B, the golden spiral, and back. The four classic wipes run on an even count; the three Jacarandum wipes are timed in Fibonacci counts, so each transition is itself notated.
A system ready for a full symphonic score. As Scriabin set his light staff above the orchestra, the Chromatography staves sit above the standard full-score order of woodwind, brass, percussion, harp and strings, sharing bar lines, bar numbers and rehearsal letters. A cue node runs as one vertical line through every staff, so conductor, performers and designers take the same moment. The orchestral staves are left empty for the music; the chromatic staves show a sample placement.
For refinement. A starting vocabulary, not a fixed standard. Direction and level borrow Laban's logic; paths follow Feuillet; kinematic curves come from the golden ratio, the rose curve r(θ) = cos(nθ⁄d), the sine wave and classical mechanics; group formations follow the Vertizon espalier growth patterns. Performers, musicians, conductors, designers and chroniclers are invited to redraw, rename or retire any glyph.