One chronology, four tracks, honest overlap.
Persistent rail (desktop)
Thirteen rows, one per entry in the chronology data — the nine career and chapter spans plus all four degrees — fixed at mid-viewport left. An amber fill tracks scroll position through the whole chronology; a cyan pulse gives the rail life at rest. Degrees and concurrent chapters are indented off the spine in green rather than inserted into the career sequence.
Active-span logic
Every milestone carries a named anchor id. The active row is the last anchor above 50% of the viewport whose id exists in the chronology data — no index arithmetic, so inserting a degree cannot misalign the rail. The opening is its own explicit state. Upward scroll reverses by the same rule instead of undoing a triggered animation.
Concurrency
Employment, founder, education, and product/venture are separate lanes on a 2017–2027 axis. Bars are positioned from dated facts, so overlap is drawn, not implied. The 2021 master's is a point marker because only its completion date is known.
Mobile chronology
The rail is replaced, not shrunk: a sticky current-era bar with a 2px progress line, and a 48px-row expandable chronology sheet that jumps to any span.
Motion inventory
- Ambient at rest: rail pulse, present-day marker breath, hero portrait micro-scale. Three layers, no more.
- Scroll-authored: rail fill, clause sweep, five image apertures, lane bars, convergence lines.
- Everything is computed from element position each frame, so reverse scroll is exact.
- The loop stops on tab hide and skips elements outside the viewport band.
Every crop keeps its subject.
01 · 1290×1270 · frame 1:1, focal 50% / 42%. Near-square source kept near-square; no 4:5 narrowing. Entry: centre aperture.
06 · 5712×4284 · displayed contained, zero crop. The person-to-building scale is the content, so nothing is cut. Entry: curtain wipe.
04 · 4284×5712 · frame 3:4, focal 50% / 62%. Raised arms and legs both inside frame; bottom not cut. Entry: reveals upward from the ground.
02 · 3213×5712 · native ratio kept, focal 50% / 30%. Head and body whole. Entry: image slides inside a fixed aperture.
05 · 4032×3024 · band recomposed in V2.1.1. Stated accurately: the 4:3 source is cropped vertically on wide desktop apertures — a 420px band across the desktop column shows roughly 55–65% of the frame height at 1440 and 1280, so the vertical crop is real. What keeps the subject safe is the constrained focal range (object-position Y 10% → 6% only) together with the top-origin reveal, which hold Teja's full head inside the visible band at reveal entry, reveal midpoint, settled state and reverse-scroll midpoint, at 1280 and 1440, and at 390×844 where the 260px band is very nearly uncropped. V2's 44% → 53% drift cut the head and was rejected.
07 · promoted in V2.1 · min(560px, 45vw) desktop, full content width mobile, object-fit contain so the whole 4:3 group survives, curtain reveal, caption below · truthful collaboration caption, never dominant.
One responsive moment, two sources
08 wide · desktop only · 4:3 aperture opening from a centre horizon band.
09 vertical · mobile only · 3:4 aperture, same beat. Never adjacent to 08 in the journey.
03 relaxed portrait is held out: the coda already has a human lead and a second portrait would turn it into a gallery.
Scan, story, full detail — same era, three depths.
Depth 1 and 2 are always visible. Depth 3 opens from a 44px button and is reachable by keyboard on every device. No fact lives only in a hover state.
Five and a half years where everything built had to be explainable later.
≈ 6 seconds. Recruiter-speed read.
Most of that work was on AWS, much of it on the data mart team. The organization ran machine learning. I was not building models. I was helping build the data foundation beneath them.
Always on screen, under the scan line.
In April 2017 I joined Hexaware Technologies and was placed on the Fannie Mae account, where I spent five and a half years as a software technology consultant. Hexaware was my employer; Fannie Mae was the environment I worked in… plus the ETL and 2021 master's paragraphs in full.
Opens in place. Verbatim canonical copy, nothing paraphrased upward.
Interface sentences I wrote (not in the canonical copy)
- “Civil engineering taught me to read systems. Engineering management opened the path into software.”
- “Five and a half years where everything built had to be explainable later.”
- “A consulting company built alongside the full-time role. $1.8M revenue by 2024.”
- “Twelve weeks in Dallas, two workstreams: diagnosis, then a proof of concept.”
- “An internal research need became a product.”
- “Two tracks, one period — then they converge.” and the four lane labels.
- “Denver is where the running, the mountains, and the building all happen in the same week.”
- Contact invitations for product work and Profoundly, and the short track notes beside each era.
Each is a compression of supplied copy. None adds a metric, a client name, a deployment claim, or a date that is not in the source.
Seven treatments considered and refused.
Static editorial article
Reads well at leisure, tells a recruiter nothing in 60 seconds, and cannot show that two tracks ran at once.
787-word paragraph wall
The canonical copy is the authority, not the layout. Printing it in one reading path breaks the 120-word viewport gate.
Generic card grid
Equal cards flatten chronology into a menu. Nothing accumulates, nothing overlaps, nothing converges.
Hobbies gallery
Nine photographs as a mosaic turns evidence into decoration. The coda keeps three, each doing a job.
2017
2021
2024
2026
Desktop rail squeezed onto mobile
6px labels and 20px targets. Replaced with a sticky era bar and a 48px-row chronology sheet.
Face-cutting hero crop
A fashionable narrow band across the portrait removes the person. Every frame in the journey keeps its subject whole.
Uniform fade-up reveals
One easing applied to everything says nothing about the content. Each image entry here is chosen for its narrative role.