The seven folders consist of a drawing by each artist and a sheet of tissue, numbered and rubberstamped with capital letters. Andryczuk's drawings are on the outside of the folded sheet and Scherstjanol's ink drawings are inside with the tissue papers between. The colophon is a collaboration of both artists. -- Source of annotation: Marvin or Ruth Sackner.

The ink hieroglyphic drawings were redone in 1996 from an earlier sketch book and colored drawings were done in 1996 as new works. Kai Selbar did the silkscreens for the pages and covers. -- Source of annotation: Marvin or Ruth Sackner.

Although the edition size is nine copies, every drawing in each of the copies is unique. -- Source of annotation: Marvin or Ruth Sackner.

This is one of six copies of a handwritten book. -- Source of annotation: Marvin or Ruth Sackner.

Although the edition size is 25 copies, the pages, except for the two photographs, have been handmade by the artist so that each copy of this issue can be considered unique. Scherstjanoi acknowledges that this work was influenced by drawings of Alexander Pushkin, literary works by Leo Tolstoy, and visual images by Alexi Kruchynch and Vladimir Khlebnikov. -- Source of annotation: Marvin or Ruth Sackner.

Most of the pages consist of a listing of German villages that are printed on the left side of the page. The right side consists of handwritten calligraphic markings and ideograms. Although five copies of the book were made, each is actually unique since the calligraphy varies from one to another. The last six pages provide documentation for the book. -- Source of annotation: Marvin or Ruth Sackner.

Each page has typed text in German and handwritten text in Russian such that each book of the edition of 15 might be considered as a unique example. -- Source of annotation: Marvin or Ruth Sackner.

One of the pamphlets that consists of a printed folded papercard sheet depicts a colored photograph of Scherstjanoi and also includes the colophon. The other pamphlet consists of Table of Contents for the picture poems in the three books. The theme of the drawings is Scherstjanoi's hieroglyphic, interpretations of the landscapes of Aix-en-Provence and Arie after Paul Cezanne and Vincent van Gogh. The individual drawings are reminiscent of those found in the books by Albrecht Genin that are also hold by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

The hard cover book includes 15 hieroglyphic drawings uilizing Scherstjanoi's own alphabet that is explained in the book. The poem-drawings are sound poems. Each card depicts a single "letter" of the alphabet. The calligraphy resembles that of Albrecht Genin and Werner Hartmann. -- Source of annotation: Marvin or Ruth Sackner.

The earliest work in this sampling of Segay's visual poems is dated 1973 and the latest 1997. Most pages of the soft cover book consist of black paper with stylized cut out letters that form a text which is collaged to the white pages. One collage in the book was done as a collaboration among Segay, Nikonova, and Scherstjanoi. The material is enclosed within a handmade portfolio, held together by thick black laces with gold foil at the tips. This work was exhibited at the Agnes Scott College Gallery, Atlanta, January 2001. -- Source of annotation: Marvin or Ruth Sackner.