As Gerald Nordland wrote, "Blue Surround is perhaps the most ambitious intaglio print that Diebenkorn had conceived through 1982. It is an orchestral performance in that he has elected to utilize the full surface of the the plate for his colors - green, salmon, yellow, turquoise, and a number of blues in the proscenium-like 'surround'. No doubt, the experience of printing color in 1980 and 1981 inspired him to ask as much of himself and the printers as he could." [G. Nordland, Diebenkorn Graphics 1981-1988, Billings, 1989, p. 13]. Two small preparatory drawings (see inv. 1991.28.71.1) made by Richard Diebenkorn during the studio session for this print indicate that he had a preconceived plan: the outline of the shape and its interior compartments would be defined with drypoint outlines printed in black. The artist indicated in his handwritten notes that the full surface of the plate, including each compartment, should be printed in “blue,” “raw umber,” “yellow buff,” “dirty pink,” “black,” and “white.” Numerous working proofs reveal that other combinations of colors, including bright red and yellow, were tested but ultimately not selected for the final editioned print. This seminal print was executed at Crown Point Press, during the artist's residency of May 5 -20, 1982 and August 1 - 12,1982. The printer Lilah Toland was assisted by Hidekatsu Takada.