DA 62 (Spring 2008) features a focus on the design career of Allan Fleming, and is guest-edited by Allan's daughter Martha Fleming. The articles include Allan Fleming's Many Worlds: Making Design History in Canada by Martha Fleming, A Brief and Partial Chronology of the Life and Work of Allan Robb Fleming by Martha Fleming, Autobiographical Fragments and Canadian Nationalisms by Allan Fleming, Of Gravestones, Lettering and Circus Wagons: A Look at the Work of Allan Fleming by Robert Tombs and The Fleming Files: A Preliminary Survey of Archival Evidence by Devin Crawley & Martha Fleming.

The Rogue's Gallery features Carl Dair.

The Dingbat, Ornament and Fanciful Initials feature includes half a dozen headpieces, seven very large initials and a set of eleven smallish boxed initials.

The occasional photographs include two images taken by Thaddeus Holownia at the Gaspereau Wayzgoose in Kentville, Nova Scotia in October of 2007.

Curator Tom Smart explores the unlikely influence of Baudelaire, Emil Orlik, Northrop Frye, and T.S. Eliot on the contemporary woodblock images of West Coast printmaker Richard York. Janet Nicol presents Sing Lim (1915–1993), another BC-based printmaker, though from an earlier generation. New contributor g.a. chishti reviews Literarum Ex Arboribus: An Exuberant Showing of the Wood Type at Gaspereau Press. Librarian Eric Swanick updates the Jim Rimmer Checklist he first presented in DA 66 (2010). Continuing with the wood type theme, typographer Richard Kegler considers the uncertain provenance of Vernacular Poster Sans, pieces of which were found in the remnants of the Pollock Poster Printing Company of Buffalo, NY. And papermaker Gordon Sisler (Crown Mills) presents Hugh Barclay (Thee Hellbox) as the latest Rogue.

Sturm und Drang: publisher Tim Inkster reflects on the challenges of publishing P.K. Page

Tim Inkster's professional relationship with P.K. Page began in the spring of 1985 when Constance Rooke commissioned a broadside of P.K.'s poem ‘Deaf-Mute in a Pear Tree’ as a promotion for The Malahat Review. An anecdotal history of their many collaborations over the next two decades serves to highlight the gulf of misunderstanding that continues to bedevil the aspirations of scholarship as well as the increasingly threatened copyrights of commercial book publishers. Duncan Major contributes a letterpress keepsake and reflects on his role as the printer's devil at Tara Bryan's walking bird press of Flatrock, Newfoundland. Richard Kegler presents Fairbank Italic which was issued by Monotype in 1929 as ‘Bembo Condensed Italic’ though it was never intended to be anything of the sort. Sara Lough remembers her brother Paul Forage who was one of the three founding editors of the Devil's Artisan. And editor Don McLeod shares snapshots of printmaker Mark Huebner beginning work on a new graphic novel in the boardroom of the Arts & Letters Club on Elm Street in Toronto.

Buchstabenfreude: bibliophile Nigel Beale presents private press printer Will Rueter and The Aliquando Press of Dundas, Ontario. Shawn Henshall remembers John Wilson (Jack) McLaren, a twentieth-century caricaturist and printmaker who befriended members of the Group of Seven at Rous & Mann and then later at the Arts & Letters Club on Elm Street in Toronto. Librarians Manda Vrkljan and Silvia Vong engage undergraduate students in book history and letterpress printing through situated learning at St Michael's College. Librarian John Shoesmith introduces the Studio of Robert Wu, Bookbinder and Marbler. Michelle Hogan-Walker laments the closing of Don Black Linecasting. Wesley W. Bates offers a preview of a few of the engravings that will appear in his new collection, Out of the Dark , scheduled for publication by the Porcupine's Quill in the spring of 2022. And Richard Kegler presents Trenton, a machine-cut wood type that was first introduced by William Page in his 1888 Specimen book. Retro print culture from a distinctly nineteenth-century perspective.

Gordon Sisler reconstructs a history of Ted Snider's Cranberry Mills with a focus on the early influence of David Carruthers at Papeterie Saint-Armand in Montreal and then, later, the sale of Cranberry Mills and its re-emergence as Crown Mills in St. Catharines. Kevin Heslop interviews Karen Schindler of Baseline Press (London, ON) who shares her thoughts on publishing, poetry and the economics of reciprocity. Bibliophile Chester Gryski presents a history of John Robert Colombo's Hawkshead Press. Stan Bevington revisits the arcane technology behind the David Milne Playing Cart Project that was based on watercolours inspired by a book on playing cards that Milne had found in a Toronto library in 1941 and that was published in a limited edition of 100 copies by Coach House Press in 1973. Typographer Richard Kegler presents Bixler Roman, a book face based on the roman letterforms developed by Venetian printers of the fifteenth century which are often characterized by a subtle variance from the strictures of geometry. And, finally, Don McLeod introduces wood engraver Alan Stein of Parry Sound.

Bonne Zabolotney and Joel Derksen collaborate on a featured retrospective on the career of Andrew King (1885–1981), whose King Show Print (Estevan, SK) specialized in the production of very large-format, multi-colour posters designed to promote spectacles such as the Barnum & Bailey Circus that toured north into the Canadian prairies on the Soo Line from Chicago. Warren Clements presents 'The Wonderful Worlds of Walter Trier, Illustrator'. Wood engraver George A. Walker celebrates the recent publication of the trade edition of Mary Pickford, Queen of the Silent Film Era. Jaleen Grove recuperates Magazine Digest in the context of Jewish identity and cultural nationalism in Canadian publishing. Janet Nichol explores the printmaking legacy of West Coast linocut artist Sybil Andrews (1898–1992). And Richard Kegler presents Milton Glaser's iconic late twentieth-century display face Babyteeth, which first appeared on a psychedelic Bob Dylan poster in 1966.

Also in this issue is the Rogues’ Gallery, featuring a profile of Peter Dorn.

This issue includes Gordon Sisler's comparison of an early, and a late, edition of Henry David Thoreau's essay The Bean-Field as designed and printed by the late Bill Poole at the sign of the Umber Chicken (aka Poole Hall Press, Grimsby). Transcendentalism as applied to small-scale animal husbandry on the Niagara Escarpment. Librarian John Shoesmith interviews Rollin Milroy of Heavenly Monkey (Vancouver) and learns something of the influence of the various private presses Rollin most admires. Stephen Sword travels the country in pursuit of cylinder presses on display in Canadian museums and weighs the relative mechanics of Cranstons, Campbells and Whitlocks. And Greyweathers's Larry Thompson introduces the newly minted MacOdrum Library Book Arts Lab at Carleton University,

Also in this issue is the Rogues’ Gallery, featuring a profile of Deborah Barnett, and Richard Kegler’s discussion of Goudy Cloister Initials.

Cameron Anstee recollects the marginal small press community active in Ottawa in the 1960s, which included poets William Hawkins, Harry Howith and Roy MacSkimming—who would later write The Perilous Trade: Book Publishing in Canada 1946–2006. The community also included painters and print-makers Robert Rosewarne and Fran Jones, who published a series of broadside poster poems and designed and printed books for Jay Macpherson’s Emblem Books. Daniel Marrone presents core samples from the world of experimental comics publishing in Toronto, focusing on the work of Coach House Books, Koyama Press and Vortex Comics. Publisher Tim Inkster details an array of adventures attached to the publication of Leon Rooke’s latest novel, The House on Major Street. And wood engraver George A. Walker re-imagines Lewis Carroll’s Hunting of the Snark through the prism of contemporary American politics.

Also in this issue is the Rogues’ Gallery, featuring a profile of Patrick Griffin, and Richard Kegler’s discussion of Beaufonte Showcard Script.

The front cover image is after an engraving by George A. Walker from the Cheshire Cat Press edition of Lewis Carroll’s The Hunting of the Snark. The keepsake presents a specimen of the Colville fonts available from Patrick Griffin's Canada Type.

When Carl Beam's large-format photo-serigraph entitled North American Iceberg was purchased by the National Gallery of Canada in 1986 it marked the first acquisition of contemporary art for the national collection by an artist of First Nations heritage. A prescient early step, perhaps, towards the reconciliation that now consumes any evaluation of Canadian social justice in the wake of the disaster that was inflicted on the native population by the residential school system. Carl Beam was just one of countless innocent victims of the residential schools, but the power of his witness to the horror has been manifest in the Columbus Suite, which he created in 1990 as a counterpoint to the festivities attached to the five-hundredth anniversary of the arrival of Christopher Columbus to North America, or Turtle Island as it is known to the indigenous population.

DA 84 considers Carl Beam's Columbus Suite, with contributions from Carl Beam's daughter, Anong Migwans Beam, as well as Tom Smart, who currently serves as executive director of the Beaverbrook Art Gallery.

Also in this issue, Julia King provides an introduction to Massey College's Bibliography Room—the heart of the University of Toronto's Book History and Print Culture program. Jan Figurski highlights a collection of endpapers, now made available as a downloadable digital resource on the DA website.

Recurring features include the Rogues’ Gallery, featuring a profile of Tom McNeely, and Richard Kegler’s discussion of Preissig Calligraphic. Kandid Kamera contains photographs from the launch of the Canadian Fine Press Exhibit at the University of Toronto's Kelly Library as well as photos from Meet the Presses 2018.

The front cover image based on a woodcut from the book Epistola Christafor Columbi (1494) depicting a ship thought to be the Santa María. Contemporary colorization by Stephanie Small. The keepsake presents a marbled paper from the collection of Jan Figurski.

Leslie (Sam) Smart is a perfect exemplar of the practice of design and design education in postwar Canada. For starters, he’s from somewhere else. He was also a generalist, who worked the technical end of the type composition industry at Mono Lino Typesetting, taught night school at Ryerson College (now University) and had his own creative career as primarily a book designer. As Brian Donnelly, guest editor of this issue of the Devil’s Artisan, has written elsewhere, Smart’s approach reflects ‘the typical Canadian ambivalence to any specific design doctrines or movements’, and ‘exemplifies the practical application of traditional knowledge in classically modern ways.’ Smart was a keen student of history and thus, like design education in Canada generally, exemplifies the dominant if not always successful practice of studio instructors stepping in to teach studies courses or to write and lecture on design history.

DA 83 features the work of Brian Donnelly, Lauren Holden, Simone Robert and Camilla Dinardo, whose contributions examine Smart’s role in transforming the landscape of Canadian graphic design, not only through his own design aesthetic but also through his engagement in design journalism.

Also in this issue, Grant Hurley investigates the career of master printmaker Robert Van de Peer of the Sunbury Shores Arts and Nature Centre in St Andrews, New Brunswick. Stephen Sword contributes a review of Bed & Platen Book Printing Machines and Tim Inkster provides a delightful diversion with a short narrative about his hunt for the provenance of a particular decorative headpiece.

Recurring features include the Rogues’ Gallery, featuring a profile of Robert R. Reid, and Richard Kegler’s discussion of Double Small-Pica Script. Kandid Kamera shares photos of an open house event hosted at Howard Iron Works Museum as part of Doors Open Halton.

In DA 82 curator Tom Smart examines the 'playing witness' symbol in James Reaney's poetry, drama and visual art. Smart argues that Reaney's work offers paths which transcend the banal and pass over to a world of heightened perception in which the power of play facilitates the embrace of life's condition of disorderly continuity, absurdity and unpredictability, renders it bearable and endows it with a quality of grace.

Also in this issue, Stephen Sword contributes a short history of the cylinder press housed at Black Creek Pioneer Village, along with a chronicle of his experience learning to operate and maintain the press. Chelsea Jeffery provides 'Notes on Early Printing in the Yukon', including a few tidbits of history from the Whitehorse Star.

Recurring features include the Rogues' Gallery, featuring a profile of Bill Poole, and Richard Kegler’s discussion of the letterpress curiosity Alpha-blox. Kandid Kamera shares photos from a celebration of Robert R. Reid's 90th birthday and 69 years of designing and printing.

DA 81 focuses on the origins and development of a wide variety of specialty printers. In ‘The Art of Drawing Laughs: Nestlings Press Turns Five’, Warren Clements traces the roots of Nestlings Press, a plucky publisher specializing in humour books. In ‘The Pennywise Press: A Memoir’, Elizabeth Neill contributes a fond remembrance of a press that produced works of the Devereux family and friends for over five decades. Also included in this issue are John Shoesmith’s report on his visit to Shanty Bay Press, Larry Thompson’s feature on members of the Ottawa Press Gang, Manda Vrkljan and Noelle Gadon’s history of St. Michael’s College Press and Camilla Milton Gryski and Chester Gryski’s tribute to Denis C. Milton.

Recurring features include the Rogues' Gallery, featuring a profile of Don Black of Don K. Black Linecasting Service Ltd., and Richard Kegler’s discussion of the Folkwang typeface. Kandid Kamera shares photos from the Thomas Fisher Rare Book Library Small and Fine Press Fair, the Coach House Wayzgoose and the Alcuin Awards dinner.

DA 80 features `An Alice of a Different Order: Tyler Bright Hilton’s Suite of Twenty Etchings' in Tom Smart unfolds the "imagistic ecosystem" surrounding the work of emerging Toronto printmaker Tyler Bright Hilton. He specifically studies Hilton's suite of intaglio prints entitled Minmei Madelynne Pryor Went into the Dryer, a "grotesque re-write of Alice in Wonderland" and "a coming-of-age story" about "finding the spectacular in the mundane". Smart details the unusual artistic influences absorbed into Hilton’s work—most notably a late-fourteenth-century Florentine artist whose dogmatic voice compelled Hilton to sharpen his stylus and train his eye—resulting in a unique and idiosyncratic artistic world that challenges engaged viewers to participate in the story's unfolding.

Chester Gryski contributes personal annotations for Andrew Steeves's book, Glen Goluska in Toronto, attempting to `fill in the blanks' of Goluska's career with his own memories and reminiscences on the printer and his work.

Also included in this issue is Shane Neilson interview of Lisa Johnson, administrator of the JackPine Press Editorial Collective.

Recurring features include the Rogues' Gallery, featuring a profile of Larry Thompson of Greyweathers Press, and Richard Kegler's discussion of Chromatic Ornate Type. Kandid Kamera captures a talk about digital revivals of historical types by Paul Shaw at the Arts & Letters Club .

The cover features a partial showing of an unfinished version of Rod McDonald's Cartier Book Cyrillic, presented with technical support from Patrick Gribn of Canada Type. The keepsake is a specimen of Chromatic Ornate and has been printed by the Virgin Wood Type Manufacturing Company of Rochester, New York.

DA 79 (Fall 2016) considers a number of topics on the subject of printing, typography and design.

Jaleen Grove contributes `Oscar Cahén's Vulgar Modernism', whose outlandish, avant-garde designs sought to stimulate the senses and provoke both aversion and fascination. His illustrations in the 1940s and 50s revitalized the business of illustration in Canada, and his work was instrumental in establishing a new national identity as well as a distinct, modernist and artistically diverse mass media.

Patrick Griffin reports on `An Informal Chat with Rod McDonald', in which the two discuss the development and release of McDonald's new font family, Classic Grotesque.

In `Barbarian Press and the Making of The Play of Pericles Prince of Tyre', John Shoesmith delves into the Barbarian Press archives at the Thomas Fisher Rare Book Library in Toronto to investigate the process of creating `the crown jewel of Barbarian’s almost forty-year bookmaking history.'

In addition, Kristine Tortora and Nicholas Kennedy investigate the past, present and future of Howard Iron Works in Oakville, Ontario.

Recurring features include the Rogues' Gallery, featuring a profile of Nancy Jacobi of The Japanese Paper Place, and Richard Kegler's discussion of Jost Mediaeval Type. Kandid Kamera captures a number of events, including Word on the Street Toronto, the Alcuin Society awards, and the Coach House Press Wayzgoose.

The cover image is after an engraving of a Josiah Wade Arab Platen Press that appeared in The British Printer, Vol. 4, 1891. The keepsake was printed letterpress at Trip Print Press and illustrates the four principal types of platen mechanisms.

DA 78 (Spring 2016) features curator Tom Smart’s ‘Heading to Palookaville’, which considers the complexities of self-identity in the ‘holistic’ artistic practice of Gregory Gallant AKA Seth, who is at once an artist, author and cultural commentator, as well as one of the foremost graphic novelists working today. Smart contends that Seth can also be characterized as a sophisticated performance artist who faces his darkest moments in the guise of a cartoonist and illustrator. Just as the world Seth inhabits echoes the past, so the world he describes in his art resonates with the same voice. Every line, every detail is set down deliberately and with the intention of crafting an artistic reality that is true to what he sees as a period in Canada that existed a generation before he was born.

The issue also includes ‘The Story of Thee Hellbox Press’, which originated as a conversation with Hugh Barclay and Faye Batchelor on the origins and anecdotes of the Kingston, Ontario-based private press.

Recurring features include Richard Kegler’s discussion of Joseph Blumenthal’s Spiral Type, as well as the Rogues’ Gallery, featuring a profile of Don Taylor. Kandid Kamera showcases scenes from the Bibliography Room at the Rovertson Davies Library, Massey College, University of Toronto.

The cover is adapted from a drawing that appeared in Palookaville #22, published by Drawn & Quarterly in April 2015.

The keepsake is based on a sketchbook caricature and is printed by Brianna Tosswill at OCAD U on handmade Moriki kozo donated by the Japanese Paper Place.

DA 77 (Fall 2015) looks back at an underreported slice of the complex history of one of Canada’s most celebrated small, literary publishers, and particularly the impact of changing technologies on book design and production at the shop on bpNichol Lane in the shadow of Rochdale College in Toronto.

Included are curator Dennis Reid’s reminiscences of ‘The Old Coach House Days’ (1964—66); Simon Fraser professor John Maxwell’s investigation into early methods of digital printing at the press in the 1970s; and a short corporate history as well as a more personal recollection of several (unsuccessful) attempts to gain employment at Coach House, by Porcupine’s Quill publisher Tim Inkster. Sandra Traversy contributes a photo essay documenting the Heidelberg KORD and David Slocombe looks at the origins of SoftQuad, a spin-off company founded to improve automated typesetting at Coach House.

Also in this issue, Arthur M. Smith contributes a descriptive inventory of the illuminated manuscripts of Toronto-based artist, lithographer and designer Alfred H. Howard.

Recurring features include the Rogues’ Gallery, featuring a profile of Massey College Printer Nelson Adams and Richard Kegler’s discussion of the Curwen Poster Type. Kandid Kamera captures the Wayzgoose celebration at the Coach House on bpNichol Lane on the occasion of their fiftieth anniversary, August 27, 2015.

Recent issues of the Devil’s Artisan are available digitally directly from our own proprietory eBook store in PDF format. The magazine is also available digitally through Magzter for various devices, including Android, Apple, Kindle and Windows.

For more information about the contents of this issue and for a photograph of of Tony Calzetta’s book sculpture, How God Talks in His Sleep, please push the arrows in the bottom right of this window

DA 76 (Spring 2015) features Tom Smart's "Fabulous Peculiarities", an exploration of the prints, drawings, paintings and bookworks of Tony Calzetta. Smart chronicles Calzetta's early influences in order to document the evolution of the artist's unique and complex visual aesthetic. The article further explains how Calzetta's artistic background led him to create a collaborative visual narrative with poet Leon Rooke and printmaker Dieter Grund, entitled How God Talks in His Sleep and Other Fabulous Fictions.

The issue also includes a sampler of fanciful wood engravings from Jim Westergard's upcoming collection of historical portraits, Oddballs.

Recurring features include Richard Kegler’s discussion of Goudy’s Aries Typeface, as well as the Rogues' Gallery, featuring a profile of Dieter Grund. Kandid Kamera documents a meeting to consider the theatrical possibilities of Tony Calzetta's Fabulous Fictions.

The cover and keepsake images digitally manipulated and coloured graphite sketches by Tony Calzetta. The cover image is entitled Cézanne's Muse, while the keepsake is called Love Has Kissed Me in a Beautiful Place.

DA 75 (Fall 2014) features Tim Inkster’s anecdotal biography of renowned Canadian poet, playwright and father of the Southern Ontario Gothic style, James Reaney. The article combines biographical information, historical context and an analysis of design alongside personal reflections to create a thoughtful consideration of Reaney’s diverse body of work.

The issue includes Shane Neilson’s profile of David Brewer and Rabbittown Press in Fredericton, New Brunswick, with a focus on the Rabbittown edition of Bliss Carmen’s Low Tide on Grand Pré and a short discussion on the complexities of translating books from page to screen.

DA 75 also contains a sampler of images from The Grand River, a book of wood engravings and texts by Gerard Brender à Brandis and Marianne Brandis.

Recurring features include Richard Kegler’s discussion of Victor Hammer’s Aurora Uncial, as well as The Rogues’ Gallery, featuring Chester Gryski’s profile of designer Glenn Goluska.

Kandid Kamera showcases a variety of special events including the launch of Alan Stein’s Viewfinder, the launch of George A. Walker’s The Wordless Leonard Cohen Songbook, and the Alcuin Awards night.

DA 74 turns a spotlight on Alan Stein and Church Street Press, with contributions from Alan Stein and Lisa Moore. Stein contributes ‘Now I’m One of the Old Guys: Alan Stein and the Church Street Press’, a short memoir of the genesis of Church Street Press in Parry Sound that recalls some of the highlights of the press’ publishing endeavours. Lisa Moore contributes ‘How to Illustrate a Poem: The Art of Alan Stein’, in which she recounts the process of close collaboration between Stein and author Michael Crummey.

This issue also includes a profile of printer, designer and private-press publisher Robert T. Reid by Nigel Beale and a sampler of images from George A. Walker’s upcoming book, The Wordless Leonard Cohen Songbook.

Recurring features include Richard Kegler’s disussion of Bruce Rotherham’s Wedge alphabet, and A Rogues’ Gallery, featuring Don McLeod’s profile of type designer Rod McDonald. The Dingbats section features stock trade cuts that appeared in the Farmer, Little & Co. (Beekman Street, New York) specimen book of 1879. Kandid Kamera documents the Franklin Print Shop in Philadelphia.

n DA 73, Tom Smart contributes ‘Dan Steeves: What Lies Unseen’, an illustrated examination of the work and career of Dan Steeves, a renowned Canadian intaglio printmaker (and distant relative of Andrew Steeves, the book publisher). Born in 1959 in Moncton, New Brunswick, Steeves received his B.F.A. from Mount Allison University in 1981. Since 1982 he has exhibited his art in numerous solo and group exhibitions in Canada and internationally. He has received several prestigious awards for his work, and his prints can be found in public and private collections the world over. In this article, Tom Smart demonstrates the development of Steeves’ complex personal iconography and visual alphabet. He investigates the way in which Steeves’ work is defined by a sense of place and family, but also its ability to symbolize the artist’s spiritual quest for truth, enlightenment and transcendence.

Around and About features Chester Gryski’s review of A Death Greatly Exaggerated: Canada’s Thriving Small and Fine Press, an exhibition held at the Thomas Fisher Rare Book Library at the University of Toronto. Included are images documenting the small press fair held at the conclusion of the exhibition.

Patrick Griffin reviews Simon Loxley’s biography, Printer’s Devil: The Life and Work of Frederic Warde, and Will Rueter reviews P.K. Page’s Stories of Snow, published by the Barbarian Press, Mission, B.C., as part of its letterpress pamphlet series The Seasons.

The Arcane Adventures of a Tramp Printer Abroad documents an 8,800 km driving tour completed by Gaspereau Press publisher Andrew Steeves between the 25th of September and the 16th of October, 2012. Stops include Slow Print Letterpress in Dubuque, Iowa; Linotype University in Denmark, Iowa; the front of Republican headquarters in Hannibal, Missouri; Green Frog Village, Tennessee; Kennedy Prints in Gordo, Alabama; Hatch Show Print in Nashville; Larkspur Press, Monterey, Kentucky; Bixler Foundry, Skaneateles, New York; Dartmouth College and the Tides Institute.

The Life and Times of Conrad Black presents nine images from George Walker’s latest wordless novel that was published in a letterpress edition of 13 copies that is sold out, and will be republished in a popularly-priced trade edition in the fall of 2013 by The Porcupine’s Quill.

Richard Kegler is the founder and primary designer at P22 Type Foundry in Buffalo, New York. He is also the founder of the Western New York Book Arts Center, and the director of the film Making Faces: Metal Type in the 21st Century (2011), which documented the working processes of Jim Rimmer. Athena Revived is the second in a new Devil’s Artisan feature.

Kandid Kamera celebrates Will Rueter’s receipt of the Robert Reid award for Lifetime Achievement in the Book Arts and introduces Andrew Steeves’ son Joseph on a Vandercook Universal 1A.

“A Memoir of Richard Landon, King of Books” is presented by Carl Spadoni, the former director of archives and research collections at McMaster University Library, Hamilton, Ontario. 

D. I. Brown contributes "A Brief History of Alphabet Magazine". Alphabet, a little magazine created, edited and published by James Reaney (1926 – 2008), from its first issue in September 1960 until a final combined issue 18/19 in 1971, must be seen as one of the great magazines in the literary history of Canada. It can also be seen as an integral part of Reaney’s work. 

The Rogues' Gallery considers and re-examines the American years, mistrial and doubtful conviction of Louis Riel.

Richard Kegler is the founder and primary designer at P22 Type Foundry in Buffalo, New York. He is also the founder of the Western New York Book Arts Center, and the director of the film Making Faces: Metal Type in the 21st Century (2011), which documented the working processes of Jim Rimmer. Introducing Rimmer Pro is the first in a new Devil’s Artisan feature.

Kandid Kamera follows the exploits of Gaspereau Press publisher Andrew Steeves as he moved a LinoType, a VanderCook and 600 cases of wood type from Glenn Goluska’s studio in Montreal to their new home in Kentville, Nova Scotia.

DA 70 (Spring 2012) features an essay by Tom Smart entitled The Wood Engravings of Rosemary Kilbourn, illustrated with details of nineteen of the artist’s images and two photographs by Pete Paterson.

The issue also includes an appreciation of Will Rueter’s Aliquando Press written by Donald Taylor, and illustrated with ten photographs.

The Rogue’s Gallery features James Crear Reaney, and includes a portrait by John Reeves.

The Kandid Kamera feature includes photographs of the North Star Press exhibit at the Canadian Museum of Civilization, and highlights of the Aliquando Press exhibition at the Carnegie Gallery in Dundas, Rebruary 2012.

DA 69 (Fall 2011) features an essay by Seth entitled Creating a Personal Vernacular Canadian Design Style, which includes a detailed explanation of the influence of the Vimy Ridge memorial on the design of The Collected Doug Wright.

The issue also includes Seal of Approval: How the Art Museum of Toronto's 1918 Design Competition for a Seal of Office Changed the Face of a Toronto Landmark by Randall Speller. Nicholas Kennedy reviews Making Faces: Metal Type in the 21st Century, a film by Richard Kegler of P22 Type Foundry.

The Rogue's Gallery features John Gibson of the Graphic Designers of Canada and MacLaren Advertising.

The occasional photographs pay tribute to Glenn Goluska, one of the founding editors of the Devil's Artisan, who passed away in 2011.

DA 68 (Spring 2011) is guest edited by Tom Smart, and features a lead article entitled From Wood Engraving to Graphic Narrative: The Deevelopment of George A. Walker's Xylographica.

The issue also includes A Suite of Engravings from The Mysterious Death of Tom Thomson, a graphic novel by George Walker, with an Introduction by Tom Smart, and a review of George Walker's Book of Hours by Bill Baker.

The Rogue's Gallery features Nicholas Kennedy of Trip Print Press (Toronto).

The occasional photographs include a tour of Don Taylor and Kate Murdoch's bindery on John Street, Nicholas Kennedy working the Vandercook at Coach House, and Don McLeod's visit to the Gutenberg Museum in Mainz.

DA 67 (Fall 2010) features A Chronology of Trade Typesetting in Canada (1902-1938) by Ed T Cooper, reprinted from the original (1938) limited edition.

The issue also includes A Printer's Dozen: The First Thirteen Years of the Grimsby Wayzgoose Anthology by Kristine Tortora.

The Rogue's Gallery features W E (Jack) Trevett, who owned the Toronto design firm Cooper & Beatty at its zenith.

The occasional photographs include Brian Maloney and the Columbian Press, Robertson Davies Library, Massey College. Reg Beatty, Mira Coviensky, Wendy Cain, Sigrid Blohm, and Will Rueter at the opening of `The Nature of Words' exhibition, New Gallery, Toronto. And novelist Leon Rooke with Head Coach Stan Bevington at the Coach House Wayzgoose, September 2010. All photographs were taken by editor Don McLeod.

DA 65 (Fall 2009) features the work of Frank Newfeld and Arnaud Maggs.

The issue includes A Conversation with Frank Newfeld, transcribed from a recording made in June, 2009. I, Illustrator is an essay by Frank Newfeld. Arnaud Maggs: Back to Ink by Robert Tombs. The Gauntlet Press's Original Emblem by Martin Howley. Chester Gryski reviews Wesley Bates' In Black & White: A Wood Engraver's Odyssey. Shane Neilson reviews The Surface of Meaning: Books and Book Design in Canada by Robert BRinghurst. Will Rueter reviews Pie Tree Press: Memories from the Composing Room Floor by Jim Rimmer.

The Rogue's Gallery features Frank Newfeld's long-time mentor at McClelland & Stewart, Hugh Kane.

The Dingbat, Ornament and Fanciful Initials feature presents Laurentia II, a set of initials designed by Frank Newfeld for Creatures (Douglas & McIntyre, 1998).

The occasional photographs include one of Frank Newfeld bequeathing his linocut tools to George A Walker, a couple taken at the Coach House Press Wayzgoose in September, 2009, and a couple taken at the Gaspereau Wayzgoose in October, 2009.

DA 64 (Spring 2009) features a professional biography of wood engraver and bookwright Gerard Brender à Brandis and is guest-edited by Gerard's sister, the novelist Marianne Brandis.

The issue includes twenty-eight reproductions of engravings made at various stages of the artist's career, as well as a dozen photographs of his studio in Stratford, his Albion Press and a few of his handmade books.

Topics covered in the text include Childhood and Youth, Art Studies and Early Work, Wood Engraving, Teaching, The Beginnings of Printing and Book-making, The Trip of 1971, and the Acquisition of the Albion Press, First Books Printed on the Albion, The `Papermaking' Trip of 1977, Wayzgoose and the Chapbooks, The Porcupine's Quill, and Other Publishers, Collaborators, Books Containing Gerard's Own Writing, Major Books of the Late Brandstead Years, The Move to Stratford, Stratford Books, and Work in Progress.

The Rogue's Gallery features wood engraver Wesley W. Bates.

The Dingbat, Ornament and Fanciful Initials feature includes a bunch of Bugs, Birds, Mammals (a Bear, a Boar and a Beaver) and Some Very Nice Fish.

The occasional photographs include Wes Bates at the launch of The Point of a Graver (1994), Wayzgoose in Grimsby (2002) and a couple of snapshots taken at the West Meadow Press in Clifford.

The second issue (of two) of the Devil's Artisan guest-edited by Martha Fleming on the subject of her father, Allan Fleming.

Articles include ... Allan Fleming at Home: A Partial Reconstruction by Martha Fleming. Nine Months to Make or Break Canadian Magazine Design: Allan Fleming and Maclean's by Donna Braggins. Designing Nature and Picturing Prestige: Allan Fleming's Work on Canada: A Year of the Land and Canada, du temps qui passe by Carol Payne. Ontario Hydro Symbol Launch Document, 1965 (Employee Version). The One That Got Away: Allan Fleming and the Bay by Brian Donnelly. `Cabin'd, cribb'd, confin'd': A Commercial Designer's Frustrating Years in Canadian Scholarly Publishing by Devin Crawley.

A Rogues' Gallery features Jim Donoahue, of Cooper & Beatty fame.

This is a companion volume to DA 62 (Spring/Summer 2008), which contained a chronology and images of Allan Fleming's life and work, autobiographical fragments and a survey of Fleming archival resources.

DA 61 (Fall 2007) features a long essay by Margaret Lock of Locks' Press, Kingston, on the subject of Bliss Carman, Tim Meteyard and book design in the eighteen-nineties.

Rogue's Gallery features William Lyon Mackenzie.

The Dingbat, Ornament and Fanciful Initials feature includes ten large format initials and ten small tailpieces.

A new feature of occasional photographs includes a portrait of George Walker pretending to engrave a table in the Arts & Letters Club, Toronto; and an image of Stan Bevington presenting the seasonal candle to pressman Tony Glenesk at Coach House Printing.

Fall/Winter 2022

Spring/Summer 2022

Fall/Winter 2021

SPRING/SUMMER 2021

FALL/WINTER 2020

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FALL/WINTER 2019

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Since 1980, the Devil's Artisan has established a reputation as Canada’s ‘Journal of the Printing Arts’. DA fosters an appreciation of the art of bookmaking and reaches out to a global audience of typographic and printing arts enthusiasts who appreciate the value of the printed word even in this digital age. DA publishes articles on historical subjects, typography and book design, profiles book designers and wood engravers, and features small artistic and experimental presses operated by a new generation of print enthusiasts.

1. お客様は、Magzter.com、アプリケーション、およびそのサービスの使用は単独でご自身の責任で行うことに同意します。 Magzter.com、その関連会社、従業員、サードパーティのコンテンツ プロバイダーは、サービスが完全に中断されないこと、エラーがないこと、不正行為に対して確実であることを保証しません。また、Web サイトや製品が期待または約束したとおりの正確な結果が得られることも保証しません。

11. サービスおよびすべての出版物は、「現状のまま」および「入手可能な状態」で提供されます。 MAGZTER、その関連会社、サプライヤー、ライセンサーおよび代理店は、明示的か黙示的かを問わず、商品性、特定目的への適合性、および権利侵害の非侵害に関する黙示的な保証を含むがこれらに限定されない、あらゆる種類の保証を明示的に否認します。上記を制限することなく、MAGZTER もその関連会社、サプライヤー、ライセンサー、代理店も、(I) サービスがお客様の要件を満たすこと、(II) サービスが中断されず、タイムリーに、安全に、またはエラーが発生しないことを保証しません。 III) サービスの使用から得られる情報、または出版物に含まれる情報が正確または信頼できるものである、または (IV) 出版物またはサービスの品質がお客様の期待に応えるものであること。信頼できるインターネット接続とデバイスの取得と維持については、お客様が単独で責任を負います。 MAGZTER は、お客様がコンテンツをダウンロードできないことについては責任を負いません。ダウンロードまたはサービスの使用を通じて取得したマテリアルは、お客様自身の裁量とリスクで行われ、かかるマテリアルのダウンロードに起因するコンピューター システムまたはモバイル デバイスへの損害またはデータの損失については、お客様が単独で責任を負うものとします。口頭か書面かを問わず、お客様が magzter から、またはサービスを通じて、またはサービスから得たアドバイスや情報は、いかなる保証も生じません。

2.お客様は、その情報を真実、正確、最新かつ完全なものに保つために維持し、速やかに更新するものとします。あなたは、自分のアカウントとパスワードの機密性を維持し、自分のコンピュータへのアクセスを制限する責任を負い、すべてのコンテンツとサービスの選択と使用を含む、自分のアカウントで行われるすべての活動に対する責任を受け入れることに同意します。

3. いかなる場合においても、Magzter.com、ウェブサイトおよびアプリケーション上のコンテンツの作成、制作、配布に関与する個人、団体、第三者は、契約上または法的責任を負いません。 Magzter.com の使用中または使用中にお客様に発生した直接的、間接的、付随的、特別、および結果的。 Web サイトに登録するか、アプリケーションをダウンロードすることにより、このセクションに記載されている規定が Web サイトおよびアプリケーションのすべての使用およびコンテンツに適用されることに同意するものとします。

3. Magzter からの事前の書面または許可がない限り、ここに公開されているものはすべて Magzter またはそのライセンサーの専有財産であるため、Magzter から取得したコンテンツを変更、コピー、配布、販売してはなりません。このような不正使用は、著作権法や商標法を含む適用法に違反する可能性があるため、Magzter はこれらを厳しく禁止し、そのような違法行為が証明または検出された場合は、アクセスとアカウントを停止します。また、これらの不正行為によって生じた損害についても責任を負う必要があります。出版物の法的所有者が許可する場合を除き、お客様は、サービスを通じてアクセスした出版物をダウンロードすることによって所有権を取得しないことを承認するものとします。著作権法で明示的に要求されている場合、またはサービスの機能によって許可されている場合を除き、変更、リバース エンジニアリング、公開、送信、表示、譲渡または販売への参加、派生作品の作成、またはいかなる形であっても商業的に利用または提供することはできません。 Magzter およびかかるコンテンツの所有者の明示的な許可なしに、アプリのコンテンツ、出版物、またはそれらの一部を第三者に提供すること。当社は、明示的か黙示的かを問わず、Magzter または Magzter のライセンサーの知的財産に対するライセンスを付与しません。

5. あなたは、Magzter.com が他のユーザーや第三者、またはそのコンテンツのいかなる種類の中傷的、攻撃的、または違法な行為に対して責任を負わないこと、および前述の行為による傷害のリスクは完全にあなたにあることを特に認めます。

8. Magzter は、お客様が本利用規約および Magzter が定めるその他の運用規則に準拠しているかどうかを判断する目的で、お客様が公開および入力したコンテンツを監視するすべての権利を留保します。 Magzter は、コンテンツについて決定を下し、独自の意志で削除する権利を有します。

9. Magzter は出版物の販売代理店であり発行者ではないため、Magzter は雑誌に掲載されている意見、アドバイス、声明、サービス、オファーなどを含むコンテンツに対する編集管理を行いません。したがって、Magzter は、そこで提供される情報や事実、または公式の資格に従って行動する Magzter の認定従業員以外の者がサービスを通じて利用できる情報や事実の正確性や信頼性について責任を負いません。したがって、当社には出版物に対する編集上の管理権がありません。本サービスが提供する出版物で行われた意見、アドバイス、声明、サービス、オファー、または第三者によって表明または利用可能にされたその他の情報またはコンテンツは、それぞれの著者または出版社のものであり、第三者のものではありません。マグザー。 Magzter は、サービスを通じてまたは出版物から得た情報への信頼によって生じた損失または損害に対して責任を負いません。本サービスには、他のインターネット サイトおよびサードパーティのリソースへのリンクが含まれている場合がありますが、Magzter は、そのようなリンクされたサイトで利用可能な通信またはマテリアルについては一切の責任を負いません。これらのリンクは便宜のためにのみ提供されています。サードパーティのサイトにアクセスしたり、サードパーティのサイトを通じて注文したりするときに適用される利用規約を理解するのは、お客様自身の責任です。

不快なコンテンツの詳細（プラットフォーム上のリンクを含む）

お気に入りの作品をダウンロードすれば、いつでもどこでもオフラインで読むことができます

愛する人に Magzter ギフト カードをすぐに贈り、何千ものベストセラー タイトルの中からお気に入りの雑誌や新聞を自由に読めるようにしましょう。

Gift your loved ones with a Magzter Gift Card instantly and give them the freedom to read their favorite magazines from thousands of best-selling titles.

{{magCount}}冊の人気のインターナショナル雑誌からお気に入りの雑誌を自由に選べるMagzterギフトカードを、大切な人に今すぐ贈りましょう。

Girish Ramdas は、世界的なデジタル出版ビジネスで話題を呼んでいる、ニューヨークを拠点とする新興企業 Magzter の共同創設者兼 CEO です。 Magzter は 2011 年のサービス開始以来、150 か国以上から 8,500 万人のユーザーを獲得しており、世界中の 4,500 以上の出版社から数千冊の雑誌、新聞、書籍が提供されています。彼は、印刷物、モバイル、Web 開発を含むクロスプラットフォーム出版において 25 年以上の経験があります。この期間中、彼は 3 つの新興企業を共同設立し、経営して成功を収めてきました。彼は雑誌社のデジタル化を可能にし、デジタル世界でコンテンツの収益化を支援してきました。ギリッシュは、オンライン、モバイル、出版エコシステムにおける深い業界経験により、世界中のプラットフォームにわたるデジタル コンテンツの取得、マーケティング、収益化の専門家となっています。

当社のプラットフォーム上で不快なコンテンツに遭遇した場合、当社はお客様の懸念に対処するために苦情救済ポリシーを導入しました。

Magzter Inc. (「当社」、「当社」、「当社」) は、お客様がご自身の個人情報がどのように使用および共有されるかについて関心を持っていることを承知しています。当社のプライバシー慣行の詳細については、次のプライバシー ポリシー(「ポリシー」) をお読みください。当社が運営するウェブサイトおよびそのサブドメインのいずれかにアクセスするか、当社のモバイル アプリケーションやその他のコンテンツ配信方法(総称して「サービス」) を使用することにより、概要が説明されている慣行およびポリシーに同意したことになります。本ポリシーに記載されており、お客様は、当社がお客様の情報を以下の方法で収集、使用、共有することに同意するものとします。

Magzter Inc. は、世界最大かつ急速に成長しているセルフサービスのクロスプラットフォーム デジタル ニューススタンドで、2011 年の創業以来 8,500 万人を超えるユーザーがおり、40 以上のカテゴリ、60 以上の言語にわたる数千の雑誌や新聞を扱っています。ニューヨークに本社を置く Magzter は、アムステルダム、ロンドン、メキシコシティ、チェンナイ、ムンバイ、ニューデリー、バンガロール、シンガポールに現地拠点を置いており、間もなく他の国にも拡大する予定です。 2011 年 6 月に世界的起業家であるギリッシュ ラムダス氏とビジェイ ラダクリシュナン氏によって設立された Magzter は、世界中の雑誌や新聞の出版社が自社のタイトルのデジタル版を作成し、世界中の消費者に配信できるようにします。

Magzter は、ユーザーに安全なプラットフォームを提供することに尽力しています。 Magzter は、パブリッシャーがコンテンツを配布するためのプラットフォームにすぎないことに注意してください。当社は、当社のプラットフォームで公開されるコンテンツを管理または推奨しません。当社は、発行者の行動またはそのコンテンツに対して責任を負いません。

Magzter は、コンテンツまたはコンテンツの一部が権利を侵害したために損害を被った、または費用が発生した当事者を補償する責任を負いません。 Magzter は、第三者の権利を侵害するコンテンツまたはコンテンツの一部に起因する権利侵害について、民事裁判所で法的措置を講じる責任を負いません。

Magzter は、Magzter GOLD と呼ばれる世界最大の「読み放題」サブスクリプション サービスを提供しています。これにより、デジタル読者は月額サブスクリプション料金で 8,500 以上の雑誌や新聞に無制限にアクセスできます。 Magzter はまた、アプリ向けの革新的な ezRead 2.0 機能により、世界最大の記事数を誇ります。これにより、スマートフォンや小さな画面のモバイル ユーザーは、本来の楽しみ方で雑誌コンテンツを楽しむことができます。読みやすく、素晴らしいビデオと高解像度の写真が付いています。

名前

Magzterでのコンテンツ発行に関するサポートが必要は場合は、このフォームに記入してください

 Magzter に入社する前は、Dot Com Infoway (DCI) および Galatta Media の社長を務めていました。彼の任務には、戦略的マーケティング、パートナーシップ開発、コンテンツの世界的な収益化が含まれていました。 DCI は、2000 年には 3 人だった小さなチームから、2011 年には 300 人にまで成長し、世界中のクライアント向けに Web、ソフトウェア、アプリの開発を手がけていました。

Magzterの開始以来、お客様に最高のニューススタンドテクノロジーとサービスを提供するため、世界各国の組織や機関と提携することに尽力してきました。雑誌の購読を顧客に提供したい場合や単に詳細に興味がある場合など、お気軽にお問い合わせください。Magzterはお客様のビジネスの成長を支援いたします。お問い合わせ内容について、以下の質問票にご記入ください：

{{trailText}}無料でお試しください

{{trialPackText}}無料でお試しください

 DMCA では、元の DMCA 通知を提出した当事者が反対通知のコピーを受け取ってから 10 営業日以内にお客様に対して訴訟を起こさない場合、当社は削除されたコンテンツを復元することができます。

このポリシーは、お客様がサービスにアクセスする際に当社が収集する、個人を特定できる情報(「個人情報」) およびお客様およびお客様のコンピューターまたはデバイスに関するその他の情報の当社の取り扱いを対象としています。以下で詳しく説明するように、当社はお客様から個人情報を収集することがあります。当社はこの個人情報を、当社の製品、サービス、コンテンツ、広告をパーソナライズ、提供、改善するため、またお客様がユーザー アカウントとプロフィールを設定し、お客様に連絡し、特定の製品やサービスに対するお客様のリクエストを満たし、お客様によるサービスの使用状況を分析するため。場合によっては、当社は一部の個人情報を第三者と共有する場合もありますが、これはポイント 4 に記載されているとおりに限られます。

このタイトルは Magzter GOLD サブスクリプションに含まれています

コンテンツの品質を分析し、パブリッシャーに適切なフィードバックを提供するため

当社では、不快なコンテンツに関するあらゆる苦情に対応する苦情担当者を任命しています。

不快なコンテンツに関する苦情は、上記の電子メール アドレスに電子メールで苦情担当者に送信するようお願いします。また、苦情を申し立てる際には、以下の詳細を提供するようお願いします。

さまざまな雑誌、書籍、ニュース、雑誌および出版物関連コンテンツ (総称して「出版物」と呼ばれます) を注文、購読、配信を受け取り、これらの出版物のデジタル版を配信する機能を提供するアプリ

c.また、パーソナライズされた推奨事項を作成するために、アプリケーションの使用に関連する情報も収集します。お客様がサードパーティのアカウント資格情報を当社に提供した場合、お客様がそのような送信を許可した場合、それらのアカウント内の一部のコンテンツおよび / または情報(以下「サードパーティのアカウント情報」) がお客様のアカウントに送信される可能性があること、およびそのサードパーティのアカウントが当社のアカウントに送信される可能性があることを理解したものとします。サービスに送信される情報は、本ポリシーの対象となります。

 f.当社が収集する個人情報により、当社はお客様のリクエストに対応し、当社の製品とサービスを改善し、お客様に表示される広告とコンテンツをカスタマイズし、新製品についてお客様に連絡することができます。

は、2011 年の設立以来 8,500 万人を超えるユーザーがおり、40 以上のカテゴリと 60 以上の言語にわたる数千の雑誌や新聞を擁する、世界最大かつ急速に成長しているセルフサービスのクロスプラットフォーム デジタル ニューススタンドです。ニューヨークに本社を置く Magzter は、アムステルダム、ロンドン、メキシコシティ、チェンナイ、ムンバイ、ニューデリー、バンガロール、シンガポールに現地拠点を置いており、間もなく他の国にも拡大する予定です。 2011 年 6 月に世界的起業家であるギリッシュ ラムダス氏とビジェイ ラダクリシュナン氏によって設立された Magzter は、世界中の雑誌や新聞の出版社が自社のタイトルのデジタル版を作成し、世界中の消費者に配信できるようにします。

 n.また、ユーザーが当社の利用規約を遵守していることを確認するために、使用状況情報も使用されます。たとえば、ユーザーの使用状況情報は、ユーザーが雑誌やその他のコンテンツを許可された回数、または許可された数のデバイスにのみダウンロードしていることを確認するのに役立ちます。

これにより、デジタル読者は月額購読料で 8,500 以上の雑誌や新聞に無制限にアクセスできるようになります。 Magzter はまた、アプリ向けの革新的な ezRead 2.0 機能により、世界最大の記事数を誇ります。これにより、スマートフォンや小さな画面のモバイル ユーザーは、本来の楽しみ方で雑誌コンテンツを楽しむことができます。読みやすく、素晴らしいビデオと高解像度の写真が付いています。

Devil's Artisan - SPRING/SUMMER 2008

Devil's Artisan - SPRING/SUMMER 2008

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