The Devil's Artisan

Undated Testimonial

`We have been a subscriber forever or since DA began, whichever is longer.... Yours is quite a wonderful little journal.' — R. Russell Maylone, Curator, Northwestern University Library, Evanston, Illinois

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From New Zealand

Hi Inksters both. Many thanks for the package which has just arrived. DA is of the high standard I've already come to expect! Beautifully produced. Have given myself a day's leave as part of my recovery programme......much enjoying Wayne Clifford's verse which you so very kindly sent me. Thanks again. Yes, I do enjoy poetry and have taken the liberty of sending you some of my own which was published, to my astonishment, by Silent Isle Press some years ago. If it strikes you as so much rubbish feel free to consign it to the appropriate place; it was intended as a parody of NZ poets of the day who seemed obsessed with tragedy and matters such as child abuse which regularly features in our media. More the Pam Ayres/Dorothy Parker school........Silent Isle is run by Sydney Shep, who I worked with when I was Secretary of the NZ Book Art's Society, again, some years ago. I have also enclosed 'Internet' extracts about Wai Te Ata Press and and the Electronic Text Centre operation, to give you some idea what's happening at this end of the world. Greetings and best wishes. — Ted White

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The Old Mill

Hi Tim, So, I'm having a solitary late lunch in the bar at The Old Mill in Toronto, after beating the drum for Ryerson at the Mags U trade fair, and what do I see on a credenza near the bar than a small stack of DA 56. I pick up a copy to treat myself and find a fine piece on Frank Newfeld (before Alligator Pie, when he really was a magical designer) and a poem about Richard Outram, who I knew slightly, years ago, at CBC, as a long-time off-camera studio guy — props? I think so. And then something by you, titled Dingbats, Ornaments and Fancy Initials. I start reading and am charmed to learn about the barn and the Bunyans and your very smart treatment of your dad, then the fact that you're putting the things online as downloadable shareware. Terrific, I think. I've got to tell a couple of designer friends, who will be tickled to have these things available.

And then I hit the last paragraph. a) I don't remember us ever talking about those dingbats, etc. specifically, but turning them into shareware was exactly the kind of thing I meant. Good for you for picking up the idea and running with it in that direction. b) You're very kind. Nobody ever thanks consultants publicly like that. Finding that credit was a total surprise and delight. You are completely welcome — and now on my browser list of `Favourites'. Warmest regards to all there, — Charles Oberdorf

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From Helsinki

Hi, I am making a web page for an amateur baroque band that I play in. The page will contain some information in Finnish language about the band and baroque music, nothing commercial. Would it be possible for me to use in our web page as decoration those ornaments and initials you have published? Best regards, — Aurora Seppanen

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David Shaw Issue

`I just want to say that DA 58 looks awesome! I don't know how you continue to always produce such eye candy but you do. It is really great. I can't wait to read David's article on McClelland & Stewart. Truly, the whole thing is amazing. I am blown away. The front cover! Fantastic!' — Natalie Shahinian

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Dingbats

Hi from Germany, I just wanted to thank you for the wonderful work on your site. I love the letters and the Head- and Tailpieces very much. I used some of them in recent work of mine, and it really makes my websites better. Sorry for my bad english, if it would be better, i would thank you with at least 10000 words :) Greetings, —Martin Reithmayer

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Thoreau Macdonald Issue

`Hi Don: The issue arrived today and I must say, I am very pleased with it. You did a marvelous job laying it out. Beautifully done — simple and austere just as TM would have appreciated. I'm just thrilled with it. I intend to sit down today at lunchtime and read Randall's article. I am very interested to see what he says of the portfolio. (I'm also just glad to have some reproductions of that rare material finally in my hands). Thanks again. A pleasure to work with you.' — Seth

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Bliss Carman Issue

`Just a note to say how much I'm enjoying DA 61. The cover is beautiful, the illustrations inside are great, and the lead article is rekindling my interest in Carman. I'm recalling a course in Maritime literature from my days at Mount Allison in Sackville, reading Low Tide on Grand Pré. And, of course, I continue to wonder whether any sources exist that might shed light on Carman's personal or literary erotics. Excellent work all around.' — Steven Maynard, Professor of History, Queen's University, Kingston

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Allan Fleming Issue

Paul here. I hope all is well with PQ. We were in Erin on Sunday and picked up DA 62 at Renaissance. It's such a great publication. And I was especially impressed that the issue was devoted to the great Allan Fleming.

When I came back to Canada in 1976 and went into third year OCA, Mr. Fleming taught one of the classes I took. He was probably the most influential person I have ever met — mostly because his passion for design transcended both the corporate and book worlds. He seemed to love hand-made paper or letterpress books as much as designing logos for corporations like CN.

One of the fondest memories of that time has to do with a poster. During that year, he had been approached by some folks from York University who needed a poster design for an Urban Planning conference they were hosting. So Mr. Fleming held a design competition in his class. Fortunately I won. However, the choice of me as the winner was mostly based on the concept and drawing I submitted — the type still had to be applied. Since I was clueless as about type and typesetting, I asked Mr. Fleming for help. He invited me over to his house on Markham Street to discuss it. The following Saturday I arrived there and he invited me in, offered me a Heiniken and proceeded to explain where to put the type, what font to use and which lines should be bigger than the others. A few days later he checked my type mark-up and off it went to the typesetter. Voila! It came back correctly, and I pasted onto the artboard along with my new size-as illustration and lo and behold it was printed like a real big-time job. An epilogue to that story has to do with a trip to Edmonton. A friend and I hitchhiked to Edmonton that summer to get work `out West' in the oil industry. Our destination was really Fort McMurray but decided to stay in Edmonton and look for work. I went to the Student Job Centre and, unbelievably, there was a summer design job going — the Edmonton Social Planning Council needed someone to design and illustrate a book they had written about social planning. I went to the interview but hadn't brought any kind of portfolio with me. When Linda, the woman interviewing me, asked if I had samples of my work, I said `No ... but you see that poster on the wall of your office? I did that'. Take care and keep up the great work. — Paul Hodgson

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January 28th, 2009: Candid Snaps

Frank Newfeld (l) and Dennis Reid at David Mirvish Books on Art (Toronto). October, 2008. Photo by Don McLeod.

Guy Upjohn (l) and Frank Newfeld at David Mirvish Books on Art (Toronto). October, 2008. Photo by Don McLeod.

Susan Colberg (l), Jason Dewinetz and Tim Inkster (r) judging the 26th Annual Alcuin Society Awards for Excellence in Book Design in Canada. Vancouver. April, 2008. Photo by Jason Vanderhill.

Jim Rimmer (l), Rod McDonald, Glenn Goluska and Stan Bevington (r) at the Gaspereau Press Wayzgoose in Kentville, NS, October, 2008. Photo by Will Rueter.

Bill Toye (l) and Frank Newfeld at A Different Drummer Books (Burlington). September, 2008. Photo by Richard Bachmann.

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Allan Fleming Issue

Dear Martha: A hearty thank you for all of your work on the special issues of DA. I received that 2nd of the issues and it looks superb. I'm very pleased to have an article in the publication and to have had a chance to work with you. My only regret is that I did not think to add a note thanking you in print following the article. You really have been a wonderful editor. Your attention to detail and support of writers is a model. — Carol Payne

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Wayzgoose, 2009

Join us, Saturday, 25 April, 2009 at the 31st Annual Wayzgoose in Grimsby. The spring issue of the Devil's Artisan features a biography of wood engraver G. Brender à Brandis of Stratford, guest-edited by the artist's sister, the novelist Marianne Brandis.

In addition, the Porcupine's Quill will also have copies available of Ger's new collection Concord of Sweet Sounds. Bookbinders interested in purchasing unbound signatures of Concord of Sweet Sounds, either sewn or loose, should contact Elke Inkster as soon as possible.

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The Power of Design

`Sir. I am new to DA, so I do not know if you publish comments. Nevertheless ... One sentence in DA 63 calls for comment. Brian Donnelly wrote, about the Hudson’s Bay company redesign, “Indeed, the power of design might even rely on the absence of its creators, as its relative anonymity focuses on the audience and erases the desire to understand ‘what the designer meant’” [p.94]. “Might”? Of course! Design serves some purpose, otherwise it is not design, for design that shows itself serves its own purpose and is art. Design must definitely not detract from but, rather, must be subservient to the purpose of the object. Consider books. Books are published to sell a story, or to argue a point. The design, then, must help sell that story or argument. Design that stands out is bad design because it interferes with the purpose of the book. Thus, the best designed books are those where the design is not evident. As only people in the trade, in which cast (caste?) I include critics, and aficionados — hobbyists, essentially — read credits, consequently the best designers are and should be generally anonymous. Which is a cruel irony: no-one should notice your best work! This is true beyond books, too.' — Gordon D. Jomini, Fredericton.

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Printeresting

Many thanks to Anthony Drehfal of Block & Burin for this bit of arcana.

http://printeresting.org/2009/05/14/journeys-in-printing-with-inkster

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Louis Blake Duff

Good afternoon Elke:

And thanks for your interest in my interest!

It's a long story but I will try to condense.

My name is Heather Volz Sanders and Cory Sanders is my son. Someone sent me an article from the Welland (Ontario) Tribune way back in August of 2003 written by Peter Saracino entitled "In Search of Louis Duff." He wanted to write about my grandfather and was looking for people to contact him. At that time my mother, one of his two daughters, Elizabeth Duff Volz, was still alive in Victoria, British Columbia and I was hoping he would be able to talk to her. I did contact Mr. Saracino but never heard back so I didn't believe the project went through.

My son, Cory loves to research his family on the Internet especially since his great grandfather, Dr. Louis Blake Duff was somewhat of a celebrity. He FOUND your Devil's Artisan while "googling" Pop Duff's name and he ordered and received it this past April. He brought his copy this past week while he and his family visited with us I saw and read the excellent article by Peter Saracino including a picture of my grandparents' grave stones. Until I saw that picture (which I had never seen before) I did not know where they were buried. The picture of Pop's winter home is a photo I had never seen before so that is a treasure as well. I have hundreds of photos but not this particular shot. But he also had a gorgeous summer country estate, Cooneen Cross and I visited there (now owned by a Heritage Foundation and called St. Johns Centre) this past May (I have been in Texas for 42 years having married a Texan) because both my parents are buried at this beautiful location.

The rest of the family NEEDS to own this lovely tribute to my grandfather hence the 12 copies. My mother was the last of the children to pass away -- May 21, 2005 and her Memorial Service was held at St. Johns Centre on September 10, 2005. There is a niece in Ontario, 2 grandchildren in Ontario, 1 in BC, 1 in Nova Scotia, 1 (me) in Texas, a great grandson who is an actor in LA, a great grandson, Duff Gibson, a Canadian Gold Medalist for Canada in Calgary, 2 grand nieces in Ontario, 1 grand nephew in BC and then the 12th copy for the current caretakers living at Pop's former summer home at St. Johns Centre.

So that's my interest -- Peter's wonderful article that my son happened to find on the Internet (thankful for modern technology) will be passed on to Pop's remaining family.

We think our grandfather was pretty special and it was a most pleasant surprise to see in print that someone else thought so too and wrote it down. — Heather Sanders

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Louis Blake Duff

To Heather Volz Sanders

Hi Heather:

This is in regard to Louis Blake Duff.

My husband and I have recently been blessed with the opportunity to live in and manage the property once known as Cooneen Cross. As we gaze upon the property and live in this home we wonder what kind of a man Louis was. He must have had some special insight and artistic talent to create such a haven. In particular, one of our sons, named Sheldon, worked here this past summer before we moved in. He commented on some old photos of the property and, being an artist himself, was excited to see the iron work and stone work throughout the property shown in the photos. We have also seen photos of the Italian garden by the stream. I suppose you also have copies of those photos. I would love to dialogue with you more about your grandfather. When visitors come here to visit I explain that Louis Blake Duff bought this property and owned it from 1928 to 1953, during which time he did much/all of the stonework on the property. I would be interested to know how much of the property development was before your grandfather purchased it. For example, was the stone bridge there before Louis came here or did he have it built? I also understand he had 4 or 5 full time gardeners. Please advise me if this number is incorrect.

Please email me and we can talk further about your grandfather.

Sincerely,

Norma Lisoy, St. Johns Centre

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