The looks

57 looks, one projector, the same question

A chapter picks one and the projector, the phones, the debate and the results all follow it. Every still below is the same five option question with the same split, revealed at the same moment, so the only thing that changes down the page is the look.

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House

6 looks

The grid floor and the horizon burn: what a night looks like when a chapter has chosen nothing.

Friday Night Sky The house look. Navy sky, orange grid, a striped sun, and Oswald with the hard blue shadow.
Committee Room Sober and civic: deep slate, brass, and a serif that behaves. For a speaker, a debate, a vote.
Prime Time Loud on purpose: royal purple, chase-light gold, a hot magenta horizon. For a game night.
After Hours Eleven at night: black-teal, warm amber, a cyan rim on the horizon. Quiet, cool, late.
Broadsheet Newsprint: cream stock, iron ink, one red for the headline. The phone reads like a handout.
Back Row For a bright hall or a tired bulb: no glow, no haze, maximum contrast. Built for row 20.

Liquid

10 looks

Rounded pills and blurred glass, over three large soft colour fields drifting slowly.

Drift Colour the size of a room, moving too slowly to watch.

Dawnmilk The hour before anyone is awake: milk paper, a rose horizon, and type that never raises its voice.
Duskmallow Plum air and an apricot rim, the twenty minutes after the sun has gone. Warm, slow, still awake.
Tidepool Under the surface: black green water, an aqua rim, one lantern of amber. Slow, cool, wide open.
Sherbet Melting sugar: bubblegum, lemon and a lilac floor. The loud one in this family, and still soft.
Honey Vellum A warm cream page with a honey rule, read by lamplight. For a night that is mostly talking.
Moonglass Silver on cold lilac, lit from one place only. The quietest look here, and the one that keeps a room calm.
Rainglass Rain on the window in March: wet grey green, a petrol line, and nothing in the room in a hurry.
Meltwater Snow going to water: ice blue, one cold purple line, and a room that wakes up slowly.
Peachstone A late peach on a warm plate: apricot air, a bruised indigo line, and the last of an afternoon.
Abalone The inside of a shell: pearl, one teal fire and one magenta, turning as the light moves.

Professional

6 looks

Thin rules, flat ruled cards and a serif, on a flat ground with no backdrop at all.

Flat No horizon, no grid, no sun: the look's own ground and the words on it.

Quorum Navy and cream with a serif that sits still, for a guest at the lectern and a room taking notes.
On the Record Charcoal, white and nothing else, for a meeting whose minutes matter more than its mood.
Reading Room Deep forest and brass, lamp lit and unhurried, for an evening that expects long answers.
Late Edition Grey newsprint and press blue, set in type, for a night that reads like the evening paper.
Letterhead A clean white page with one engraved rule: plain, formal, and impossible to misread.
The Long Table Slate and champagne, the look of a boardroom at nine in the morning, for a board that means it.

Arcade

6 looks

Segmented blocks, hard edges and a bloom, over the same grid and sun.

Voltage Acid green and a cyan floor on pure black, for a room that came to shout.
Phosphor An old green tube with the scanlines left in and one amber light on it, for a late round.
Sunstrip A striped sun going down over a magenta grid, warm and wide and unhurried about it.
Lattice Ice blue on a flat square grid with the haze taken off, sharp enough to count the cells.
Overdrive Magenta against cyan at full tilt on black, the loudest thing this product will do.
Coliseum Gold on black with the house lights down, for the round that decides something.

Campus

8 looks

Thick bands with a stripe and bold offset shadows, over still diagonal bunting.

Gameday Pennants in the school colours strung over the top of the room, the way a hall is dressed for a game.

Bleachers Deep navy, cold white, a lit field below: the loudest look that is still only two colours.
Homecoming Wine-dark crimson under a cream sun, warm as a hall in October, and legible from the last row.
Kickoff Garnet ground, gold everywhere it counts, and a grid that reads as a marked field.
Tailgate Blue evening, orange floodlight, the parking lot two hours early. Bright and cheerful and loud.
Home Turf Forest and clean white, evenly lit, nothing shouting: the calm one that still feels like a field.
Pep Band Royal purple with a brass section: gold bars, gold kickers, and a horizon that will not sit still.
Fight Song Maroon and cold white, no sun and a tight grid: serious about the room, still unmistakably a game.
Stadium Lights Black to the edges with gold burning through it: the highest contrast in the pack, for a big screen.

Paper

4 looks

Torn strips and cut letters on a grained sheet under a desk lamp.

Stock A sheet with fibre in it, and a lamp on the desk beside it.

Kraft A brown paper sheet with black and white shapes laid on it, and one thing cut from red.
Cream Stock Heavy cream paper, navy shapes, and a coral one where the eye should go. Quiet, and not soft.
Black Card Heavy black card with white shapes and one gilt edge. The same craft, cut the other way up.
Construction Sugar paper and a different coloured sheet for every answer. Loud in the way a classroom wall is.

Paint

4 looks

Brush-stroke bars with bleeding edges, on paper under four pigment washes.

Wet Edge Paper, and three or four washes that stopped where the water did.

Watercolour White paper, a cornflower wash and a rose one, and ink that soaks a hair into the page.
Gouache Cream paper and opaque paint: mustard and teal laid on thickly enough to hide the page.
Sumi Warm grey paper, one black ink wash and one stroke of vermilion. Nothing else on the page.
Pastel Wash The pale one. Mint, lilac and peach thinned almost to water, and ink kept dark on purpose.

Hyperpop

4 looks

Holographic bars and sticker outlines, over crossing foil and drifting die-cuts.

Holo A sheet of foil the size of a wall, with stickers on it.

Unicorn White foil that throws pink, lilac and mint back at the room, written in magenta.
Bubblegum Hot pink and cyan stuck to a cream wall, the way a sticker sheet looks before anyone has used it.
Glitter Black card with the foil lit from inside and one gold sparkle on it, for the last round of the night.
Slime Lime and violet at a volume nothing else here reaches, on a wall the colour of a highlighter.

Pixel

4 looks

Eight-bit blocks and dithered fills, behind the glass of a CRT with its scanlines.

Tube The glass of a tube: scanlines, a pixel grid and four corners that are not square.

Cabinet Phosphor green and one amber light on a black tube, for a room that wants the machine to talk back.
Handheld Four shades of olive on a small dead screen, quiet enough for a room that is actually working.
Console Deep blue with red, white and gold on top of it, for a night that is going to be counted.
Blue Cabinet Cyan and magenta blocks on black, the loud one, for a poll a room is going to argue with.

Scenes

5 looks

No family furniture at all: a scene look carries a stage, and the stage is the identity.

Old Glory Thirteen stripes behind the whole evening, moving the way cloth does.
Newsroom The room gets the bars, the ticker and the name card, and none of it is another network.
Slate Slate with the dust of a term on it, and the arcs an eraser left.
Night Dome A dome low on the horizon, a warm light at its foot, and a sky that turns.
The Crowd A crowd at night with their lights up, and paper in the air when the room decides.

Old Glory Thirteen stripes moving slowly behind the night, with white and gold set over them.
Newsroom A studio at ten o clock: deep blue, a clean sans, and one red kept for the bug in the corner.
Chalkboard A classroom slate with a term of dust on it, and the words in chalk.
Capitol Night A dome on the horizon under a sky that turns, with one warm light at its foot.
Rally Night A crowd at night with their lights held up behind the question, and paper in the air when the room decides.

The stills are rendered headless at 1280 by 720, the wall this is drawn for, with each look's own stage running. The join strip a real projector carries in the bottom corner is taken off, because on this machine it reads a loopback address. The small still in each family heading is that family's backdrop on its own, with no type over it, taken off the same wall.