b'of violet and blue printed wings that sweep down the left side. The womans face, which is only faintly visible, appears frightened, a mask with eyes wide open. This attempt to depict states of emotional being is typical of Makuuchis work of this period.Makuuchis use of printed color was limited, primarily because he preferred not to work on multiple plates. The color works are printedla poupe (French for with a doll) which means that different colors were dabbed on selected parts of the composition with a dauber (a rounded fabric device) and printed simultaneously. The resulting prints have the same soft tonality as his paintings. Makuuchi may have printed some proofs, but most of these works were printed by his friend and collaborator Andrew Balkin. When the two artists met in 1973, Balkin was enrolled in the MA program at Wisconsin, having completed under-graduate degrees in both philosophy and studio art. After completing both an MA and MFA, Balkin opened a print workshop, AGB Graphics Workshop, in 1978. Balkin frequently printed Makuuchis work and included images in two published portfolios. 55It may have been Balkins influence that encouraged Makuuchi to begin to adopt a more philosophical approach to his subjects, although Makuuchis bent was more mystical than theoretical. Balkin was one of the few people other than his immediate family with whom Makuuchi kept in regular touch,FIGURE \x0c Solomon Sealing Under Golden Eagle Wings CHECKLIST #20and Balkins support often allowed Makuuchi to continue to work during lean financial times. Another major strain in Makuuchis Madison prints were what he called his flip flops: images that were legible as distinct compositions in two different orientations. The twinned works Solomon Sealing Under Golden Eagle Wings and Night Flight comprise the most visually complex of these prints. Solomon Sealing(fig. 25) features a composite face encompassing a male profile and a frontal view of a woman, anchored inside a diamond-shaped area. A spread-winged eagle hovers overhead, its talons gripping the figures hair and its outstretched wings extending to the sides. Images of eyes, wings, hands, and claws are embedded in layers throughout the composition, which is made more active by centralized swirling arcs and circles that animate the figures rendered within. Makuuchi described this work as a spiritual, bodiless mystic flight of the head, indicating that the subject is meant to be intuitive rather than narrative. 56When the sheet is turned 180 degrees, another scene is brought into view. This work, called Night Flight (fig. 26) depicts a woman embracing a skeletal/angel figure at the top. The eagles wings now float underneath, supporting the pair, while its talons are transformed into hands that seem to grip in a passionate embrace. These works formed the basis of what was called Makuuchis pre-MFA FIGURE \x0c\x08 Night Flight CHECKLIST #1944'