Choosing particle dispersion as the concept answered what the mark shows. It didn't answer how it should be drawn. That's a separate set of decisions — colour, medium, dimension — and each one changes what the mark feels like, not just what it depicts.
Everywhere else in the brand, red sits on dark, on panels, on photography. As the mark itself, it works best without competition: red on white paper is unambiguous, high-contrast, and legible from across a room. It's also the oldest colour pairing there is for a mark that needs to be read fast — warning labels, wax seals, ink stamps.
The earlier version was built from perfect circles and squares, precise and a little sterile. Entropy isn't a precise idea. Real hatching, a hand-drawn wobble on every edge, and loose scribbled marks where the form has fully broken down read as something a person actually drew, not a shape a computer generated.
The ordered cluster is rendered as lit, shaded spheres, each with a highlight, a cast shadow, and pencil cross-hatching, because order has to look like something worth keeping. If the whole mark were flat, the dispersal wouldn't read as loss. Depth at one end and flatness at the other is what makes the drift legible.
Hatching and hand-wobble are the first casualties of scaling down. Below roughly 48px they read as mud, not texture, so the nav, footer, and favicon use a plain gradient-shaded variant instead, same composition, same colour, none of the linework. Honest trade-off, not a compromise nobody made on purpose.