Each of the ten artists in this portfolio makes work that I love to look at. I wanted to get in the print shop and work with each of these artists to make something new, to spend time with them in their studios or print shop and talk about their creative process and formal approach to their work. This portfolio provided me that opportunity. I must acknowledge two teachers who have inspired this project: Diane Fine introduced me to printmaking in 1989 as a sophomore at Plattsburgh State, and it was her enthusiasm and love for the medium that sparked my own. Bill Weege taught a large format print class at Tandem Press during my graduate studies at University of Wisconsin-Madison and made it clear that any project you devoted yourself to was possible.

I am indebted to Amy Newell of Rigamarole Press for opening her studio to me and offering sound advice and expertise. Tom Lucas, then head of the printmaking department at Lillstreet Art Center, printed the silkscreen for Natasha Sweeten's print and was a great resource. Tracy Honn, Director of the Silver Buckle Press was and continues to be a source of practical advice, including all things printerly as well as many other topics. I am thankful to Debora Wood for her contribution to the portfolio and her advice throughout the project. This portfolio would not exist without the time each artist took to collaborate to create new work together. 

The prints were editioned at the Lillstreet Art Center in Chicago, the Center for Book and Paper at Columbia College in Chicago and Rigamarole Press in Madison, Wisconsin. The title page, notes, and foreword were printed on cream Magnani Pescia at the Silver Buckle Press in Madison using decorative wood borders, Tuscan Antique wood type and Vista monotype. Polymer plates were made at Boxcar Press in Syracuse, New York. Embroidered patch on archival boxes were produced by Pantera Embroidery in Madison, Wisconsin. There are 25 copies in the edition.