The Story
Six layers deep,
and none of them opaque
An opaque red stops the light at the surface and gives you one colour. A transparent one lets it in, bounces it off the tip and sends it back changed — which is why this set is six clear coats tinted rather than one coloured coat. Near the cuticle the red is almost black; at the free edge it is nearly rosé; and neither of those was mixed. They are the same tint, seen through more or less of itself.
The carving has a window of about four minutes. Too early and the resin closes back over the cut; too late and it chips instead of parting. Inside that window a blade drawn from the free edge toward the bed opens a fan that catches light along every ridge, and the tip is cured immediately so the ridges keep their shoulders. The spots are crafted beneath the last two clear coats rather than on top, which is why they read as shadow instead of decoration — a spot on the surface is a dot; a spot with resin over it is a depth.
The same tint, seen through more or less of itself.



