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Tri-Wall cardboard, though here the materials are applied not only flat onto the support, but onto tilted planes built into the support and disappearing into the support itself, creating the effect less of elements collaged onto a support than of elements penetrating, or interlocking with, the support. 
cut + pinned working maquettes of bristol [[above]] need photo? [[/above]]board were made for Tri-wall pes.
[[strikethrough]] Preceding [[/strikethrough]][[accow poujing?]] the full-size execution of each work, small canvas, wooden,[[strikethrough]]or[[/strikethrough]] and  Tri-Well cardboard models, [[strikethrough]]or "maquettes"[[/strikethrough]] were made of each work, [[strikethrough]](designated with the roman numeral IV after the title)[[/strikethrough]]. It is no longer possible to determine with accuracy how many of these preparatory studies were made for each version in the series, though at least one and sometimes as many as four are known to exist. [[strikethrough]]Kamonika Strumilowa IV in the exhibition is one of them.[[/strikethrough]] IV refers to 3 large tilted wood reliefs + in ① special K-S IV tri-wall tilted pc. with a background plane.

The earliest work in the series-- the first thirteen paintings --have so far been executed only in the canvas and collage-on-wood versions. [[right margin]]With the exception of Bogoria which had a solid aluminum model constructed in the parallel plane low relief, similar to the cardboard + collage low relief models. This solid aluminum relief model executed in full scale but never exhibited or finished, in fact, it never left the factory (Milgo) where (we hope)it remains to this day.[[/right margin]]
Canvas and collage-on-wood versions of fourteenth through the twenty-second drawings were executed simultaneously, with the third, Tri-Wall cardboard (or tilted-plane) version added later. The twenty-third through fortieth drawings were executed in all three versions simultaneously. 
In late 1974, Stella prepared twenty-five drawings for the honey-combed aluminum Brazilian pictures. Four versions of the first ten drawings were fabricated, resulting in a series of forty pictures: two small maquette versions, one in aluminum, one in steel, and two large honey[[strikethrough]]O[[/strikethrough]]combed aluminum versions. (The remaining fifteen drawings have so far not been executed.) The factory-fresh aluminum surfaces needed to be treated in order to hold the painting in the manner Stella desired. The surfaces were first thickly scumbled with lithographic grease crayon, after which [[underlined]]a caustic solution[[/underlined]] was poured over them. [[left margin]]in the steel maquetts a different system was used. The steel pc., after it was drawn on, was put in a tank, covered with a screen + acid was dripped thru it from a gridwork of little nozzels above + a pumping system was used to circulate the acid- The length of time, determining the depth of the etch. (over)[[/left margin]]
 As the solution dried it etched those parts of the surfaces not protected by the grease crayon. A coat of clear laquer was then applied, to form a base [[strikethrough]]coast[[/strikethrough]] coat, [[strikethrough]]flow followed by a second coat[[/strikethrough]]