It is rare to find visual representations of female sexual pleasure in sexological treatises. Robert Latou Dickinson's Atlas of Human Sex Anatomy (1932) uses illustrations of sexual response to avoid making his text sensuous or pornographic. Like the charts in William Masters and Virginia Johnson's Human Sexual Response (1966), these drawings are carefully nestled between statistics and physiological summaries to embed them within the realm of the scientific and pedagogical. However, both are presumed to be racially unmarked. This article shows how blackness disrupts visual representations of pleasure and femininity while theorizing how the line functions as a way to maintain a norm. Against this, the potential of brown jouissance emerges via the zigzag style of contemporary Filipino artist Jevijoe Vitug. In his portrait, a glimpse of racialized, sensual excess emerges.