Richard Bosman created a preparatory study that served as the principal base image for a series of eighteen monoprints. The study was then digitally captured and two distinct permutations of the captured image were created through collaboration with the artist. Six archival pigment prints were then created from each of the three digital variations: the base image (for monoprints starting with the title Side View); the base image greyed and muted through extensive digital manipulation (for monoprints starting with the title Side View/Grey); and a night rendition of the base image created through extensive digital manipulation (for monoprints starting with the title Side View/Night). Richard Bosman then painted a unique, narrative image (predominately in the rear view mirror portion of the print) on each of the eighteen pigment prints. This rare series of fine prints is among Richard Bosman's first monoprints combining uniquely hand painted imagery over base images created through archival pigment printing.

Judy Bowman on the Mom On Seneca Limited Edition, Fine Art Print, "Mom On Seneca depicts my home on the Eastside of Detroit in the early 1960s. It was not rare to see the adults enjoying a competitive and lively game of cards, while us kids were off watching television and finding our own mischief in the den – a cultural scene in the fabric of many Black homes and traditions. Laughter mixed with trash talking filled the atmosphere and music played in the background. With this piece, I was influenced by the artworks of Kerry James Marshall who uses black skin tones for his people and inserts familiar items and details throughout the background. As with my 2020 fine art print edition, Mom in Harlem, this 2021 companion edition, Mom On Seneca, fuses activity, style and a sense of familiarity and home." Judy Bowman, February 2021

Butterfly Wings by Janet Fish was hand printed in twelve colors at the Wing Lake Studio in Bloomfield Hills, Michigan, U.S.A. Each of the twelve sequential color separations were drawn by the artist, then screenprinted using an indirect sensigraphic stencil system. The printing sequence number is followed by the color name, color density level (1=transparent...10=opaque), color value level (1=lightest...10=darkest), and the developmental image. SEQUENCE: 1) blue, 3,5, general blue base, 2) light pink (bright cerise), 2,2, general red base w/achieved violet, 3) light yellow, 1,1, general yellow base w/achieved dark green and bright orange, 4) light blue (dark peacock blue), 2,3, overall image development (O.I.D.)/blue range, 5) pale green, 2,3, O.I.D./green range, 6) dark green, 2,4, O.I.D./green range, 7) dark pink (bright cerise w/poppy red), 2,4, O.I.D./red range, 8) orange/pink, 1,2, O.I.D./warm toner, 9) yellow (medium yellow), 2,1, O.I.D./yellow range + warm toner, 10) dark purple, 5,8, O.I.D./deep shadows, 11) transparent brown (raw sienna w/rich brown), 2,5, O.I.D./deep warm toner, 12) translucent white, 2,1, O.I.D./ highlights + semi-opaque overprint marks.

For her first project since the artist's successful Audubon series (2003-2017) of fourteen fine art print editions with Stewart & Stewart, Jane E. Goldman switched from still lifes to landscapes. After her maquette for this print edition was digitally captured, the image underwent changes in size and aspect ratio while keeping the essential color ranges true to the maquette. When the adjusted image file was approved by the artist, the file was used to print all the edition prints and proofs on premium Somerset Museum Rag paper, (archival, 100% cotton, acid-free). The artist then painted the same select areas of each print for enhancement, providing a match from print to print given the subtle variation of handwork. These are exceptional works, masterfully created by Jane E. Goldman in blending archival pigment printing and her direct handwork in completing each impression to her high standards. The completed image was made possible through the artist's incorporation of digital technology in realizing her personal vision, without the limitations and compromises associated with traditional printmaking techniques. Regarding this fine art print edition, Jane E. Goldman writes: “The maquette for the Secret Garden fine art print edition was painted on Nahant, an island off the coast of Boston’s North Shore, in my friend Suzanne’s extensive garden where I’ve painted most summers for twenty years. I’ve always admired this particular tree, and have developed a response/relationship that’s similar to portraiture. The tree serves as a stand-in for Suzanne. Whether I paint still-life or landscape, it’s all about light and shadow.”

Night View Wing I by Yvonne Jacquette was hand printed in fifteen colors at the Wing Lake Studio in Bloomfield Hills, Michigan, U.S.A. Each of the fifteen progressive color separations were drawn by the artist, then screenprinted using an indirect sensigraphic stencil system. The printing sequence number is followed by the color name, color density level (1=transparent...10=opaque), color value level (1=lightest...10=darkest), and the developmental image. SEQUENCE: 1) blue/black, 5,7, overall blue/black flat, 2) warm white, 9,1, base for bright ground imagery, 3) warm white, 9,1, base for brightest ground imagery, 4) red/orange, 9,3, red/orange ground lights, 5) pink, 9,2, pink ground lights, 6) magenta, 8,5, magenta ground lights, 7) light green (blue/green), 9,3, light green ground lights, 8) dark green (blue/green), 7,6, dark green ground lights, 9) ochre, 5,5, ochre ground lights and toner plate, 10) red/orange, 7,7, brown toner plate, 11) dark blue, 6,8, water, 12) yellow, 7,2, yellow ground lights, 13) black, 8,10, wing + deep toner plate for ground imagery, 14) transparent raw umber, 5,8, general toner plate, 15) black, 8,10, black toner plate.

Hunt Slonem prepared a watercolor maquette that served as the principle substrate image for this specific series of seven hand painted monoprints titled Bird Wing, lettered A to G. The study was digitally captured and adjusted, after which seven archival pigment prints were printed at Arbor Oakland Group on Entrada Rag Natural 290, 100% cotton paper. The artist then hand painted each print using gouache with variations from print to print. After painting, the completed images of Bird Wing-A through E in the series were covered with clear acrylic gel medium and Diamond Dust (ground glass) was applied over the surface. This is a rare series of unique works and Hunt Slonem's first monoprints combining pigment printing, hand painting and the application of Diamond Dust.