Taking Nail Polish Meaningfully

I said I’d speak of this and it’s been a long time since then. But I still have things to say that I can't just brush away! (I won’t get to say it all on the topic yet, however.)

Being how I am, I could just paint my nails black all the time, and most of the time I do, but that can get depressing or simply dull (no offense to those who can stick with it for longer without issue, I can’t). Or I could keep within the red hues I’m used to and not have much else going on, which is not ideal. So, for real, unironically, I absolutely love that nowadays there is such a wide collection of livelier colors and even lovely embellishments in and for them. It gets so whimsical and sparkly! And it can definitely make my day better to have them on. You’d assume I look down on nail polish? Never! It is far from frivolous to me. It is magical.

That said, I got this set to go with the seasons and I’m so glad I did. Only for three of them, though. A combination for each. Please excuse me while I go off about meanings that I have personally attached to them.

• The 1st. Spring.
This season has come to pass and it was messier than I hoped. I stretched myself thin and was all over the place. Missed out on sharing in spring as much as I would have liked to. But I’m here. Won’t lose me so easily. It was a temporary chaos. One I’m barely coming back from but ultimately am. I wish I could have been around more, but I was consumed (and so irritable that a time off was required). Indeed, as disastrous as the respective combination of nail polish, flowery peach, turned up on me. Expected a beautifully blooming garden, reality gave me plants aggressively breaking out of the concrete instead.

• The 2nd. Summer.
For this one, I thought of the ocean. Water is often associated with feelings. How shallow or deep they are. How still or unstill it is. There’s the saying that still waters run deep. But you can have crashing waves in the deepest oceans too. For me, it’s like whether or not there is any visible motion on the surface, you can count on plenty of water being underneath. At least when it comes to what I love. When it comes to it, it has often worried me that it isn’t coming across to another and that they’d prefer to actively surf instead. That or they, unfortunately, come during a period of drought or after it has been completely poured elsewhere, so you’d have to excavate to find water or be the one pouring it in for there to be any. The scenarios can be sad. The overflowing of tears is yet another way in which water is linked with feeling. But I try not to drown others when I’m drowning, so you don’t hear the full extent of it. This nail polish combination is full of meaning to me, though it’s just shimmering blue.

• The 3rd. Autumn.
Starry purple. Where do I even begin with this? I wish I could claim clairvoyance or the ability to see the future in a crystal ball, but I’m only a play-pretend witch and can only test my luck, when things aren’t working out, to then know better in hindsight. And I’m definitely NOT a mind reader, so in certain instances, I practically beg for clear communication instead of mystery - as delightfully intriguing as it might be - or dreadful confusion. But hey, it’s autumn, where you go in, through mist and darkness, potentially fed up with the monsters, and find out. There are secrets to keep secret, and matters best kept private - especially while evil lurks. Though truths have a tendency to come out sooner or later, in one way or another. It’s a… complex season, to say the least. Also, If I’m put in a coffin and buried alive, I’d kick and scream for a while and then give up and accept my fate. Die a slow but quiet (yet frustrating) death as I go over and ponder everything. But I digress.

Crazy to connect this much to a selection of nail polish, but that’s how I’m rolling with these. Probably more will come up as I continue to wear them, in or out of their assigned season...

Bringing Illumination

Illumination can be as simple as making non-visible things visible. But if you want to get fully into it, there is much more that comes into play. You could, first and foremost, consider how hard or soft the light hitting will be.

• Hardness/Softness
When the light hits an object hard, the shadows will show up equally harsh. This means that if there are variations and textures on the surface, even subtle ones, they will be pronounced (given which directions they are being hit from). If, on the contrary, the light is soft and hitting softly, minor variations and textures will blend or get lost to only reveal what is most prominent. Hard lights and soft lights can be used accordingly for such effects. 

Beyond how hard or soft lights will be, you can consider more aspects of illumination that exist in reality but may be overlooked.

• Reach

Some lights spread widely but don't reach very far. While some lights concentrate intensely and reach much further. And all the degrees in between these ends. Along with whether or not anything blocks the way. How much reach do the lights you're working with have?

• Projection

Lights cast shadows. Or darkness simply exists where brightness isn't. The combination of the two doesn't cease to be interesting. Besides outlining shape and form, they can show silhouettes plastered on different surfaces and the distortions of proportions that come with it. 

• Reflection

Light reflects, with or without mirrors. It can be barely noticeable, but one visible object can reflect its light onto objects in proximity. It heavily depends on the materials and other properties, but you might be able to notice that the vibrance of an object can be reflected on another next to it.

• Glow

And speaking of vibrance, illuminating and illuminated objects may possess a sort of glow around them. What would be the range and density can wildly vary.

As for how light splits, joins, and transforms as it goes through certain materials, that's a whole other matter to look into and pay attention to if you wish to take it to that level.  

CREDIT: AI-Generated Examples done on Leonardo.AI

Gemini's Description

♊ GEMINI

Gemini, the third sign of the Zodiac, is an air and mutable sign, characterized by its adaptability and articulation prowess. Known for its quick wit and cleverness, Gemini facilitates communication, effortlessly weaving words into captivating stories and engaging conversations. Often associated with versatility and curiosity, it is forever seeking new views and perspectives. Their restless minds crave stimulation, leading them to explore a myriad of interests and ideas. Duality is a central theme, symbolizing the twin aspects of its personality. On one hand, it can be vivacious. On the other hand, it can be reflective.

Spiritually, Gemini represents the quest for understanding. It is the sign that teaches us to embrace the ever-shifting nature of existence, reminding us that growth comes from life's endless possibilities.

For context and more of relevance, please read about The Zodiac.

Adjusting Focus

And then there is the focus. A feature most notable in photography and videography, but also present in illustrations, paintings, and, in one way or another, other forms of art.

Focusing is optional. You can choose to have a fully clear and crisp picture showing everything in detail. But when focus is employed, it most closely resembles how our attention and brain work, simultaneously making it more compelling and complete. Furthermore, by focusing, you are able to show which planes and elements are most or least significant or relevant to the message that you are trying to convey. If not just bring awareness to certain ones, for better or for worse, for any reason. 

Through focus, you can make emphasis, give depth, and display motion. You could ask yourself which specific artworks you would like to bring any of this to. 

• Emphasis

What is important to notice? You can focus on key elements and let what is around them pale in comparison or basically vanish.

• Depth
How close or far away things are? You can focus on where your sight rests and let the rest become indistinguishable according to how short or long the distance across them is.

• Motion
What is still and what is moving? You can focus on what is still or slow, as that is what is most easily perceived and processed, and let what is moving or fast blur according to their movements.

Switching around the focus within the same frame or piece of work also makes for interesting and exciting revelations. So that is also something to try. 

CREDIT: AI-Generated Examples done on Leonardo.AI

Damsel (2024)

At the beginning of March, right after the movie was released, I started coming across clips of it and was intrigued by what else the story would tell. I figured that, maybe, I would watch it, in celebration of spring and fairytales, but my expectations of it were low so I soon forgot about it. However, as clips kept showing up, I eventually caved in and believed I would regret NOT watching it. 'Cause what if it's great? So, I did. And it was! (At least to me.)

Damsel is a Netflix production, a fairytale movie that is not quite a fairytale (unless your concept of fairytales includes the grimmer and darker sort, what's in between, and not just the happily-ever-after kind). And if the story fails to engage you, it'll still indulge your senses with majestic imagery.

If you're into fairytales, especially dragons, and who's been wronged to have their win after all, but tired of Prince Charming and the blind adoration of royalty, this is for you. And you might enjoy it on a fine night when the mood is right.

  SPOILER ALERT!   Keep reading at your own risk. There are spoilers ahead... 

Built Up

Maybe one day, a lot of the seemingly random and out-of-place things in your life will suddenly come up as insane foreshadowing to something major. Or maybe, they'll remain a compilation of experiences that, regardless, built you up.

Taking a Perspective

What is the perspective you’re taking? From which spot are you looking at things? This is something else to consider when making your work. You may go with a default, straightforward, line of vision. Or you could switch it around a bit more to make your work more compelling. To reveal and capture different sides and views of things. And ways to look at them. Direction, angle, distance, visibility. They all come into play.

• Direction
Where are you looking at? And how much are you seeing?

• Angle
Are you looking up, down, tilting slightly? How does that change what you are seeing?

• Distance
From how far away or up close are you looking? What context around it does it give or what minute details are you seeing?

• Visibility
What comes in between what you’re looking at? Is it getting blurry and foggy or are there other matter and objects blocking what you are seeing?

Furthermore, if you are getting technical, you could notice what is called a vanishing point. That is the point to which the lines and outlines that make out the visuals seem to be pulled to as perspective “shapes” them. It is possible for there to be a single vanishing point within a picture. But there can certainly be more than one as well while being realistic (and can get crazy in surrealism). Vanishing points can be marked and evident, being clearly reached, but they often hide behind planes (surfaces, barriers, etc.) while still “magnetizing” the forms affected.

CREDIT: AI-Generated Examples done on Leonardo.AI

Consumed by a Topic or Interest?

It is tempting and probable to be consumed by a topic or interest (or discourse around it) and direct all (or too much) of one's attention and resources to it. So here is a friendly reminder to be watchful of that and take a step back or practice moderation when there is no longer an urgency or when it is becoming counterproductive to your work. Choose the particular vias and the amount of investment you will dedicate to them that allow you to still properly tend to what you must. And be clear about it if necessary!

Making a Composition

When making a composition, visual or otherwise, there are a few things that can help make it pleasing, interesting, and/or exciting to perceive. And if that’s the goal, you can keep them in mind and bring them in when working on a composition. 

• Theme

One defined theme, whether it is readily apparent or not, can tie everything else together. You may have several themes within a composition, but if they are not connected to an overarching one, it comes across as disjointed. Which isn’t necessarily going to render it worthless, but would be an aspect in which it is void.

• Palette

A select number of colors or, in the wider sense, of anything you “paint” and “fill in” with, can both facilitate and challenge you to strategize with what you’re making. And whether the number is high or low, something peculiar can come out of it.

• Framing

What are the limits surrounding what you are grasping or covering? What is the size and proportions of this frame? When you look around through a frame, what do you let inside of it? Is it in some manner noticeably outlined? This makes the infinite finite, granting a sense of completion though it may still only be one part of many in a series.

• Margin

Often, leaving some margin between the edges and significant elements within, allows to better capture what is presented. There is room and ease to direct attention toward what is mainly happening. It is important, though, to know when it is too little or too much.

• Distribution

Order and placement matter. At least for what your intention is and what kind of journey, trip, or ride you’re doing. Is it a linear or non-linear progression? Are you leaping around and then patching up? What should be noticed first and then afterward?

• Grouping

When several components make it to the composition, you may have groups and even subgroups within it. What you are grouping by is up to you if you will at all. But this is often appreciated and yet another form of engaging in how it is processed.

• Balancing

Quite optional, but yet another feature that can make it stand out. How are you counteracting excesses and extremes? Of space, of content, of form…

• Alignment

Will there be symmetry, asymmetry, or both? Parallels, perpendiculars, or both? How do points meet or stand apart? Is sacred geometry involved at all? Or is it a neat and tidy design that allows no incongruence or dissonance?

• Separation

How close together or far away is everything? And which are which? Are elements touching or superimposed or is there space between them? What would be most suitable?

• Layering

What is at the forefront, what is in the background, and what is in between? Or alternatively, how intricate and elaborate is what is contained? Will it be plain and simple or have different layers to it?

• Story

Are you telling a story through it or solely presenting something to the senses? If you intend to have it say more, you can do so as obviously or subtly as you deem. Be it long or short. Convoluted or straightforward.  

• Secrets

And as a means of communication, would you be hiding “secrets” in it? Barely perceivable details, here and there, meant for only the extremely perceptive to find? Encoded and to be deciphered?

How you make your compositions, all or any of them, is your choice (and you could sense it out until you’re satisfied instead). You may find that you naturally lean to one or more of the above when making them. This is part of what leaves your unique footprint on your artwork. But if you consider that they are lacking or have room for more, see what else you could be paying attention to - whether it falls under or outside of any of the already mentioned here.

CREDIT: AI-Generated Examples done on Leonardo.AI

Art that Makes a Difference

Had a long period of being nonchalant, indifferent even, about famous artists whose work I loved because, "Um, celebrities, yeah, whatever..." So my appreciation was more directed toward merely the fact that something happened to be made (through and by them) that turned out to be of great importance to me and could reach me while I most needed it. And even if they didn't go out of their way for me and were already getting plenty in return, I could still be immensely grateful for it, acknowledging that it could as well not exist, that they could have taken different (maybe easier) paths - but they didn't and went through what they had to for and because of it. I'm still always going to love more a person who actually knows I exist and cares for me in particular, but that doesn't negate that, at some point, all I had to get me through a dark time was, let's say, listening to a song from an artist I don't expect to ever meet or especially matter to. And I wouldn't know what was in their heart, exactly, when they made art for the public, but a genuine desire to help is not entirely impossible. So thank goodness for that!