Second colour on the riso edition today, 40 sheets of a warm grey over the black. The drum pulls slightly to the left no matter what I do to the paper guides, so the second layer sits about half a millimetre off. It's visible if you look for it. You can see the ghost of the black under the grey along one edge, like a shadow that shouldn't be there.

First pull I was furious. By sheet twelve I had decided it was fine. By sheet thirty I had genuinely started to like it, which is the part that bothers me.

I know the argument. Riso misregistration is a signature, people build whole practices on it, the wobble is the point. But I've spent years arguing that the multiple is not a lesser object, that the print is not a copy of a drawing but a thing in its own right, and a big part of that argument rests on the fact that I control the matrix. The plate is deliberate. The registration is deliberate. If I let the machine decide, then what am I defending exactly? Something has shifted from "I chose this" to "this happened and I made peace with it," and those are not the same object, even if they look identical on the wall.

The other possibility, which I don't like more: maybe I'm just tired and forty sheets is a lot and the difference between a considered decision and an accommodation is only ever visible from the outside.

So I'm leaving them to sit until Monday before I decide anything. Curious whether other people here have a firm line between the accident you keep and the accident you've stopped fighting.