The Devil's Artisan
‘Though an angel should write, / still ’tis devils must print.’
— Thomas Moore (1779–1852)
Blog
Review of DA 62 & 63 in Papers of the Bibliographical Society of Canada, Spring 2010
Graphic design historian Brian Donnelly describes the state of design history in Canada as ‘dispossessed because it has not been formally established or preserved through time.’ By way of redress DA (The Devil’s Artisan): A Journal of the Printing Arts has devoted two issues to the life and work of the designer Allan Fleming, guest edited by his daughter Martha Fleming. DA has for thirty years been the leading journal of the printing arts in Canada, a fitting publication to showcase the career of this important designer, a career which was cut short in 1977 at the age of 48. Many do not realize the extent to which they are familiar with the work of Allan Fleming. Notable among Fleming’s credits is the CN logo, one of the world’s top 50 logos according to a panel of judges commissioned by the Report on Business Magazine in partnership with the London Financial Times in 2000. It is, as described by judge and designer Jasper Morrison, ‘a perfect blend of symbol, typography and intent’ (no. 63, 31). There is also the compelling Ontario Hydro plug, ‘dignified and distinctive, yet dynamic,’ an excellent example of the integration of corporate identity and design (no. 63, 76). Yet Allan Fleming was also an art director at one of Canada’s premier magazines (Maclean’s), and chief designer at Canada’s pre-eminent scholarly press (University of Toronto Press). Furthermore he was a teacher and a mentor. ‘His design pedagogy — both formal and informal — shaped an entire generation of graphic designers in Canada’ (no. 62, 6). And while he may have trained in the UK he was uniquely defined by his nationality, his work contributing to ‘the creation of a true Canadian vernacular’ (no. 63, 15). In the words of Martha Fleming, ‘all this and more is as much about a Canada he could see in his mind’s eye as it is about the work of the man’ (no. 63, 16). Pursuing an art which had become his life he was guided by a sense of responsibility. As he said in 1958, ‘For the past three centuries, men have worked honestly and hard and long to carry the main stream of design in this field, and give us integrity of statement. Responsibility to one’s society would seem to require the picking up of the custody of achievement, as a great many people continue to do’ (no. 62, 8).
There are eleven articles devoted to Allan Fleming in these two issues of DA, four of them authored or co-authored by Martha Fleming. Issue no. 62, ‘Allan Fleming’s Many Worlds,’ focuses on the design career of Fleming. Among the questions it intends to broach are, ‘How did — and does — his work communicate, and to whom? And ultimately, how has this shaped the landscape of Canadian graphic design today?' (no. 62, 9). It is also designed to ‘make available to researchers and students alike some of the scholarly apparatus that will open up Allan’s work as a case study for this nascent field of graphic design history in Canada’ (no. 62, 10). It includes a chronology and images of Fleming’s life and work, autobiographical fragments, and a survey of Fleming archival resources (no. 63, i). The first essay by Martha Fleming, ‘Allan Fleming’s Many Worlds: Making Design History in Canada,’ introduces us to Allan Fleming the man and the designer, providing an overview of a ‘varied and prodigious’ practice comprising ‘logos, book design, medals, coins, stamps, television, commercials, advertising campaigns, typographic ephemera and magazine design, to name but a few (no. 62, 6). It is followed by a chronology and selected autobiographical writings. The autobiographical fragments are composed of two parts. The first is a reminiscence and reflection on his career and childhood chronicling his first interest in illustration, commercial art, and typography. The second is a piece written by Fleming which originally appeared in Typographic. Here he reveals his Canadianness, tracing his evolution into what he describes as a ‘typographer’s folk hero.’ In the following essay, ‘Of Gravestones, Lettering, and Circus Wagons: A Look at the Work of Allan Fleming,’ award-winning designer Robert Tombs provides an overview illustrating the breadth and range of Fleming’s work from the signage at Upper Canada Village in Morrisburg, Ontario, to The Correspondence of Erasmus designed by Fleming for the University of Toronto Press. A survey of archival evidence spanning the full length of Fleming’s career is provided by librarian Devin Crawley and Martha Fleming. Archival collections ranging from Allan Fleming’s personal papers recently acquired by the Clara Cooper & Beatty fonds at the Thomas Fisher Rare Book Library and the MacLaren advertising fonds at the Archives of Ontario are described, followed by a list of archival resources by project.
Issue no. 63, ‘In Allan Fleming’s Archive,’ is a companion volume containing articles about the work of Fleming by historians of design, photography, and the book (no. 62, i). There is a personal look at Fleming by his daughter in ‘Allan Fleming at Home: A Partial Reconstruction.’ It provides a window into his personal library, his taste in music, the interior decor of his home, and his difficult final years. Donna Braggins, former art director at Maclean’s, outlines Fleming’s brief yet significant stint as designer and art director for the magazine, in which he ‘demonstrated to the Canadian design world that there was the possibility of a distinctly Canadian approach to design’ and left a legacy that ‘showed remarkable strength, humour and a successful marriage between the content and the design’ (no. 63, 29, 45). Carol Payne, photo studies scholar, discusses Allan Fleming’s award-winning work, Canada: A Year of the Land / Canada, du temps qui passe, produced with Lorraine Monk as a National Film Boad of Canada Still Photography Division Centennial project. It is a project which Fleming called ‘the most important commission of my career’ (no. 63, 53). Brian Donnelly discusses Allan Fleming’s work on a logo redesign at the Bay, a company with which the designer had a long association. Donnelly describes it as one of ‘the ones that got away’ (he lost the commission); nevertheless, Fleming succeeded in shaping ‘the process which in turn shaped the design’ (no. 63, 80). The issue concludes with Devin Crawley’s overview of the designer’s final ‘frustrating years’ in Canadian publishing at the University of Toronto Press where ‘a conflict between creative idealism and stern fiscal management’ played out between Fleming and the Press’s director (no. 63, 97).
These two issues of DA are meant to encourage in readers serious study of the work of Allan Fleming ‘by putting the research means at their disposal’ and giving them ‘a sense of just how much there is to discover’ (no. 62, 10). ‘The complete book is yet to be written, its author yet found’ (no. 63, 19). The challenge has been issued, the groundwork laid. Who will give this brilliant designer the recognition he is due? In the meantime DA has provided a welcome and long overdue treatment of the work and life of Allan Fleming.
Mary Kandiuk
York University
Wayzgoose, 2010. Grimsby
Printmakers Marta Chusolinska (l) and Megan Speers at the Wayzgoose in Grimsby. April, 2010. Photo by Don McLeod.
Richard Kegler at the Wayzgoose in Grimsby. April, 2010. Photo by Don McLeod.
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
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
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
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
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
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
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
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
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
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.
Comments on this post:
`Just a note from someone so happy to receive your beautiful magazine. I particularly appreciated the article on Frank Newfeld who designed several of my book jackets. The care and good taste you devote to your publication reaches way back for me to the glory days of Canadian culture, and I am so grateful to you for preserving and reviving it.'
Peter C Newman, author
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
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.
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.
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
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
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
Bliss Carman
My name is David Brewer. I was born in Fredericton, New Brunswick where I grew up and moved away from and then returned to about eleven years ago to look after the aging and dying of my little ‘tribe’. I have, for quite some time, painted and cut blocks and so forth to the extent that it has been a good ‘piece in the puzzle’ with respects to my income while going about my life here.
Several years ago I acquired a Vandercook SP15 and a modest selection of type. Upon moving into the house I was born in in the part of Fredericton historically and locally known as Rabbittown, I last year renovated the two story garage to be a print shop and studio and registered the name Rabbittown Press. As of January I have been wading back into the printmaking with the introduction of some type.
For quite a few years I have followed your DA journal, although I have missed a few issues. A few weeks ago I was looking through some of them and did a re-read of issue 61 starring Bliss Carmen. I remember reading some of his work in elementary school as part of the curriculum. I got to thinking that it might be an idea to maybe do a limited edition hand printed and bound book of some of his work, seeing as to how he was from here in town. So, what I was wondering, and what I am writing this to inquire about, is who owns the rights to his works or are they in public domain? Could you answer that or point me towards someone who could? I would appreciate any help you could give me around finding out.
Thanks very much.......cheers....David Brewer
The Devil's Artisan would like to acknowledge the financial support of the Government of Canada through the Canada Magazine Fund (CMF) through the Support for Arts and Literary Magazines (SALM) component toward our editorial and production costs. Thanks, as well, for the generosity of the Canada Council for the Arts, the Ontario Arts Council, and the Sleeman Brewing Company.