1. Breaking various ink drawings down to colors, and then to graphic elements.
2. Breaking black and white drawings down to colors, in a number of variations.
3. The reinterpretation of graphic elements: lines as contour lines, blots as lines, etc.
4. The various elements of different drawings combine to form new drawings, continuations one of the other, copies of one another, one after the other.
5. The convergence, on enlargement, of minimal graphic connections, i.e., tiny details and lines. Search for simplest informative elements.
6. The potentials inherent in gestures, the reconstitution of the discovered elements: from gesture to motif.
7. Collages, frottages, and photograms using waste materials. The creation of intelligible compositions from unintelligible elements.
8. The properties of the element that generate the composition in serialization. The motif in the structure.
9. Changing the information content through relocating a particular element. (The problem of inside/outside, up/down, front/back, etc.)

October, 1970

I could make etchings several meters in size if I could get a steamroller (200-300 kilograms).
Material requirement: plywood, plastic floorboard, and large-size paper. It would take two people. Everything is currently available.

March 2, 1971

I've just discovered something great!
The system of visual signs! A new, primary system of signs can now be developed.
(The “Sun” motif and compositions montages of it)

From now on I shall re-draw (etch) old compositions I find, and print them directly on paper, i. e. not glue them. The print is to fill the full size of the paper. Once I've mastered all this, I must give myself thematic projects, such as autumn, winter, love, the family, etc. (good and trivial). This can work for illustrations and commercials as well. I must expand on the possibilities.