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 activities.

Indiana’s journal pages often contain entries for multiple dates. This journal page is divided into three sections, with the first entry dated March 19, 1959. Indiana notes that he was working on four small canvases and starting another. There is a small sketch of the latter, an 8 x 6-inch oil on canvas, with letters indicating the colors used (Ruby Madder, cadmium red vermilion, and black). 

He explains that his general objective was to get his "two late major panels" (Source I and Source II) ready for a photo session Saturday, so that all his work to date would be in shape to be recorded. He writes:

"The major change occurred to I [Source I]. The gun-metal green giving way to straight oxide of chromium, mainly because the tongue of blue never worked with that neutral color. Now there is a much greater engagement, and merely the greater color content seems more positive and optimistic." 

He also records that his smallest Ginkgo painting turned oxide of chromium, and was one step closer to completion.

Indiana’s evening activities on March 19, 1959, are detailed in the bottom section of the page. He describes a “jinxed” evening at Jesse Wilkinson’s place, with numerous Coenties Slip residents stopping by, including Ellsworth Kelly, who never said anything directly to him. He also notes looking in on Agnes Martin.

The central section of this page details Indiana’s activities on March 19, 1960. He records being low on cash and spending the whole day cleaning the loft, greatly rearranging things “in order to magnify spaciousness and order.”