Design Portfolio (Master of Publishing)
Catalogue Redesign A redesign of Kids Can Pressâ€™ fall 2009 catalogue.
Includes: - front and back cover - sample inside spread
Kids Can Press
An environmental tale that demonstrates the awesome power of a hug.
A fun and simple introduction to architectural terms and techniques.
Big Bear Hug
123 I Can Build!
Written and illustrated by Nicholas Oldland
Written and illustrated by Irene Luxbacher
A huge bear is wandering through the forest — but wait a minute! Who’s that he’s hugging? A beaver? And a moose? And a bird? And a tree? Welcome to the world of Big Bear Hug, a contemporary fable about a bear who has an appetite for hugging everything in sight — until he meets up with a human wielding a tree-cutting axe. The environmental message is simple enough to engage very young children and show them the awesome power of a hug.
Nicholas Oldland earned a degree in fine arts at Mount Allison University in New Brunswick. He is creative director at Hatley, a popular apparel company. Big Bear Hug is his first picture book.
Ages 3 to 7 Grades Preschool to 2 4-colour 8” x 8” • 32 pages
Ages 4 to 7 Grades Preschool to 2 4-colour 91⁄2” x 91⁄2” • 24 pages
ISBN: 978-1-55453-464-7 $16.95 Hardcover Jacket
ISBN: 978-1-55453-315-2 $14.95 Hardcover ISBN: 978-1-55453-316-9 $6.95 Paperback
After an introduction to all the materials they need, kids will learn simple architectural techniques such as joining, roofing and folding, and concepts such as foundation, structure and function. Projects include a breezy birdhouse, a mushroom mansion and a fabulous funhouse. Budding builders will proudly say, “I can build!” The Starting Art series introduces art concepts such as colour, form and texture. Each book includes a visual glossary of key art terms and a note to parents and teachers on how to ensure a good art experience every time.
Irene Luxbacher is an artist and the author-illustrator of The Jumbo Book of Outdoor Art and the illustrator of The Imaginary Garden, among other books. She lives in Toronto.
Magazine Redesign A redesign of the November issue of Style at Home magazine.
Includes: - front cover - table of contents - feature article inside spread
styleathome nove mber 2009
shimmer and shine nine glamorous holiday decorating ideas
Fall in love with the flavours of French Cuisine
Highâ€˘Low remodel an office on any budget
CON TEN TS
November 62 84 84
High•Low (page 70)
A Sweet Affair
Throw a fabulous dessert party! We’ve done the planning for you - from DIY invitations to special drinks to pretty tabletop decor
More Than a Wallflower
Dress up your decor with pretty wallpaper
Shimmer and Shine
Nine glam, budget wise holiday decorating ideas
Set up a home office that doubles as a playroom - whatever your family’s budget
Home and Style
Where to Find it
Gourmet at Home
Pink Ribbon products for your kitchen
Get the look of a celebstyled luncheon spread
Design to Inspire: a popular blogger’s online diary about her Ottawa kitchen reno
Food Network celeb Laura Calder makes veggies extraordinaire!
Tips and tools to perfect your pastry making
Balsamic vinegar - it isn’t just for salad
Canada’s home decor hot spots
All the details on products found within this issue
Eight great hampers for stashing dirty laundry
november 2009 / styleathome.com / 9
ance, g e l e Think budget y on an
Part studio, part playroom – an open-concept space welcomes the whole family. Produced by Christine Hanlon
Dining table with parquet top:
Gloss white Dining table: $1,050, Camilla House Imports.
$1,999, Ethan Allen.
Cowhide: $695, Elte. Jute boucle 8’ x 10’ rugs in Flax: $239
Kolby cowhide: $300, Ikea. Tarnby jute 7’ x 10’ rugs: $190 each, Ikea. Ribba 12” x 16” picture frames: $13 each, Ikea. Kassett white box: $13, Ikea. Bacchus glass lamps: $180 each, Pottery Barn. Silverplated tray: $395, Cynthia Findlay Antiques. Silver-plated rose bowl: $175, Cynthia Findlay Antiques. Inlaid wooden lidded box: $125, Cynthia Findlay Antiques. Wooden round box:
each, Chapters. Gallery 14” x 17” picture frames: $29 each, Chapters. Bigso white boxes: $15 each, Chapters. Clear glass lamps with vellum shades (ribbon trim added): $569 each, Ethan Allen. Silver-plated tray: $995, Cynthia Findlay Antiques. Sterling silver rose bowl: $895, Cynthia Findlay Antiques. Inlaid wooden lidded box: $495, Cynthia Findlay Antiques. Mabeg beech easel: $150, DeSerres.
$25, Cynthia Findlay Antiques. Elm easel: $100, DeSerres.
Etcetera Macbook Pro 15” laptop with Intel Core 2 Duo processor: $1,999, Apple. Walking sticks: $225, $145, $95, Cynthia Findlay Antiques. 18” x 24” x 1” stretched canvas: $17, DeSerres.
70 / styleathome.com / november 2009
Macbook 13” laptop with Intel Core 2 Duo processor: $1,149, Apple. Walking sticks: $225, $145, $95, Cynthia Findlay Antiques. 20” x 24” x 1” stretched canvas: $10, DeSerres.
november 2009 / styleathome.com / 71
Book Redesign A redesign of The Age of Innocence by Edith Wharton.
Includes: - front and back cover - endpapers -title page - copyright/table of contents - introduction - a note on the text - opening of chapter one
ISBN 978-014018970 $10.95 CDN 978-014018970
The Age of Innocence
E dith W harton ’ s the age of innocence
dith Wharton’s novel reworks the eternal triangle of two women and a man in a strikingly original manner. Right before marrying the beautiful and conventional May Welland, Newland Archer falls in love with her very unconventional cousin, the Countess Olenska. The consequent drama, set in New York during the 1870s, reveals terrifying chasms under the polished surface of upper-class society as the increasingly fraught Archer struggles with conflicting obligations and desires.
“They lived in a kind of hieroglyphic world, where the real thing was never said or done or even thought, but only represented by a set of arbitrary signs.”
The Age of Innocence E dith W harton
Penguin Books Published by the Penguin Group Penguin Books Canada Ltd 10 Alcorn Avenue Toronto, Ontario, Canada M4V 3B2 First published in the United States of America by D. Appleton and Company 1920 This edition with an introduction by Cynthia Griffin Wolff published in Penguin Books 1996 30 29 28 27 26 25 24 23 22 21 Library of Congress Cataloging-in-Publication Data Wharton, Edith, 1862 – 1937. The age of innocence/Edith Wharton; edited with an introduction by Cynthia Griffin Wolff. ISBN 0 14 01.8970 X 1. New York – Social life and customs – Fiction. 2. Man-woman relationships – New York – Fiction. 3. Married people – New York – Fiction. 4. Upper class – New York – Fiction. I. Wolff, Cynthia Griffin. II. Title. III. Series PS3545.H16A7 1996 Printed in Canada. This book is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, re-sold, hired out, or otherwise circulated without the publisher’s prior consent in any form of binding or cover other than that in which it is published and without a similar condition including this condition being imposed on the subsequent purchaser.
A Note on the Text
The Age of Innocence
Introduction On the eleventh hour of the eleventh day of the eleventh month of 1918, the guns fell silent. World War I came to an end, and the preparations for peace began. Yet despite the Allied nations’ sense of relief and gratitude, even happiness had its melancholy aspect. Old orders had fallen in this first “world” war: dreams had been abolished; the world had been irrevocably changes; and no artist understood the contradictions and complexities of the war and its “tragic victory” more keenly or comprehensively than the great American novelist, Edith Wharton. She recorded her vivid reaction in Figting France (1915): “It is one of the most detestable things about war,” she wrote, “that everything connected with it, except the death and ruin that result, is such a heightening of life, so visually stimulating and absorbing. ‘It was gay and terrible,’ is the phrase forever recurring in [Tolstoy’s novel] War and Peace.’” Edith Wharton began drafting The Age of Innocence almost as soon as the gunfire had finished, and the narrative assumed its final form only fourteen months later. In many ways, this was Wharton’s “war novel”: it was a salute to the new age and a memorial to the age departed; but most of all, it was a study of the complex, intimate connections between social cohesion and individual growth, and its insights were saddened, deepened, and enriched by Edith Wharton’s own recent acquaintance with conflict and devastation. Never tainted by sentiment, most of Wharton’s narratives explore the uncertain terrain between two opposite dangers. At one extreme there is anarchy, the eradication of all systems of order. Wharton’s first novel, The Valley of Decision, a saga of Napoleonic uprisings in Italy, had v
A Note on the Text
The text of this edition of The Age of Innocence follows the text of the Scribnerâ€™s edition (1993), based in turn on the authoritative Library of American edition (1985) of the novel.
Chapter One On a January evening of the early seventies, Christine Nilsson was singing in Faust at the Academy of Music in New York. Though there was already talk of the erection, in remote metropolitan distances “above the Forties,” of a new Opera House which should compete in costliness and splendour with those of the great European capitals, the world of fashion was still content to reassemble every winter in the shabby red and gold boxes of the sociable old Academy. Conservatives cherished it for being small and inconvenient, and thus keeping out the “new people” whom New York was beginning to dread and yet be drawn to; and the sentimental clung to it for its historic associations, and the musical for its excellent acoustics, always so problematic a quality in halls built for the hearing of music. It was Madame Nilsson’s first appearance that winter, and what the daily press had already learned to describe as “an exceptionally brilliant audience” had gathered to hear her, transported through the slippery, snowy streets in private broughams, in the spacious family landau, or in the humbler but more convenient “Brown coupe.” To come to the Opera in a Brown coupe was almost as honourable a way of arriving as in one’s own carriage; and departure by the same means had the immense advantage of enabling one (with a playful allusion to democratic principles) to scramble into the first Brown conveyance in the line, instead of waiting till the cold-and-gin congested nose of one’s own coachman gleamed under the portico of the Academy. It was one of the great liverystableman’s most masterly intuitions to have discovered that Americans want to get away from amusement even more quickly than they want to get to it. When Newland Archer opened the door at the back of the club 1
box the curtain had just gone up on the garden scene. There was no
to her lips and lifted her large eyes to the sophisticated countenance
reason why the young man should not have come earlier, for he had dined at seven, alone with his mother and sister, and had lingered afterward over a cigar in the Gothic library with glazed black-walnut bookcases and finial-topped chairs which was the only room in the house where Mrs. Archer allowed smoking. But, in the first place, New York was a metropolis, and perfectly aware that in metropolises it was “not the thing” to arrive early at the opera; and what was or was not “the thing” played a part as important in Newland Archer’s New York as the inscrutable totem terrors that had ruled the destinies of his forefathers thousands of years ago. The second reason for his delay was a personal one. He had dawdled over his cigar because he was at heart a dilettante, and thinking over a pleasure to come often gave him a subtler satisfaction than its realisation. This was especially the case when the pleasure was a delicate one, as his pleasures mostly were; and on this occasion the moment he looked forward to was so rare and exquisite in quality that--well, if he had timed his arrival in accord with the prima donna’s stage-manager he could not have entered the Academy at a more significant moment than just as she was singing: “He loves me--he loves me not--HE LOVES ME!--” and sprinkling the falling daisy petals with notes as clear as dew. She sang, of course, “M’ama!” and not “he loves me,” since an unalterable and unquestioned law of the musical world required that the German text of French operas sung by Swedish artists should be translated into Italian for the clearer understanding of English-speaking audiences. This seemed as natural to Newland Archer as all the other conventions on which his life was moulded: such as the duty of using two silver-backed brushes with his monogram in blue enamel to part his hair, and of never appearing in society without a flower (preferably a gardenia) in his buttonhole. “M’ama ... non m’ama ...” the prima donna sang, and “M’ama!”, with a final burst of love triumphant, as she pressed the dishevelled daisy
of the little brown Faust-Capoul, who was vainly trying, in a tight purple velvet doublet and plumed cap, to look as pure and true as his artless victim. Newland Archer, leaning against the wall at the back of the club box, turned his eyes from the stage and scanned the opposite side of the house. Directly facing him was the box of old Mrs. Manson Mingott, whose monstrous obesity had long since made it impossible for her to attend the Opera, but who was always represented on fashionable nights by some of the younger members of the family. On this occasion, the front of the box was filled by her daughter-in-law, Mrs. Lovell Mingott, and her daughter, Mrs. Welland; and slightly withdrawn behind these brocaded matrons sat a young girl in white with eyes ecstatically fixed on the stagelovers. As Madame Nilsson’s “M’ama!” thrilled out above the silent house (the boxes always stopped talking during the Daisy Song) a warm pink mounted to the girl’s cheek, mantled her brow to the roots of her fair braids, and suffused the young slope of her breast to the line where it met a modest tulle tucker fastened with a single gardenia. She dropped her eyes to the immense bouquet of liliesof-the-valley on her knee, and Newland Archer saw her white-gloved finger-tips touch the flowers softly. He drew a breath of satisfied vanity and his eyes returned to the stage. No expense had been spared on the setting, which was acknowledged to be very beautiful even by people who shared his acquaintance with the Opera houses of Paris and Vienna. The foreground, to the footlights, was covered with emerald green cloth. In the middle distance symmetrical mounds of woolly green moss bounded by croquet hoops formed the base of shrubs shaped like orangetrees but studded with large pink and red roses. Gigantic pansies, considerably larger than the roses, and closely resembling the floral pen-wipers made by female parishioners for fashionable clergymen, sprang from the moss beneath the rose-trees; and here and there
Publisher: Tamara Grominsky Graduate Student, Master of Publishing Simon Fraser University