I decided to work a little bigger with these drawings on plywood. They will be boxed later, and I’m still working on the thousands of layers of French Polish before I even build them. The first of the series owes a lot to latter-day NA design, but I simply arrived at it by the same means of drawing out from simple geometric concepts. It has a lot to do with selecting the features that interest me, rather than any meaningful agenda. I have the whole world of multicultural design concepts to support me. The flat white gesso areas take on a warm quality under shellac. I believe the grain of the wood is so important, that a little slippage of the intense ultramarine blue into it has a dynamic quality. I don’t feel it is better if everything simply stays in place, so in the next one I definitely encouraged the movement of the ultramarine ink into the resin. Yes, I could tame the process into an anal hard-edged monstrosity, but the flow is certainly more intriguing. The new addition of Gold ink over a red “bole” drew into the next piece, one that I am still not quite satisfied with. I am mulling over the space between the outer ring with the small vacant triangles. On the one side, the edge may be too week, but I don’t want a strict connection with the inner area. I may opt for the rich black you can see in the next one. I’m very happy with the sketchy little lines that light up the center area – for me, at least. With the open wood areas and the sharp points the black Sumi ink neither separates or joins. So that may be a clue as to elwhere #3 will need to go. But I’m not pushing it. I have a lot more to do before I come back to it.