Robert Indiana kept a series of illustrated journals during the late 1950s and 1960s, in which he discusses the development of his work as well as his daily life on Coenties Slip.

In his journal page for June 8, 1962, Indiana references a catalogue from the 1949 Arensberg Collection show at the Art Institute of Chicago, which began the very month that he enrolled at the school. He notes that Brancusi's Torso of a Young Man, besides other things, "is directly parallel [to] my 'Coenties Slip' form." Indiana includes a sketch of the form, an arrow to the right of which indicates "Brancusi's terminals." He also notes that it is the beginning of the painting The Melville Triptych, writing "this is [the] 1st form I drew in today for my new triad, [that] is 'The Melville Triad.' Tightened one canvas, giving myself new blisters, & began [the] cartoon, working into [the] morning on [the letters] themselves."

Indiana also records having to transfer money to J. (his partner, fashion designer John Kloss), as he had an overdraft, and that Kloss mailed his "mutilated postcard of [the] Empire State Building" to gallerist Rolf Nelson and picked up canvas for him.  He mentions a call from art critic Gene Swenson, who wanted to come down to see Indiana's new work (they agreed on the following day), and that he moved a work table up from downstairs as he needed the extra work space.