Upload
tamara-grominsky
View
213
Download
0
Tags:
Embed Size (px)
DESCRIPTION
This is a collection of design assignments completed for the master of publishing program at Simon Fraser University.
Citation preview
Design Portfolio(Master of Publishing)
Tamara Grominsky
Catalogue RedesignA redesign of Kids Can
Press’ fall 2009 catalogue.
Includes:
- front and back cover- sample inside spread
Kids Can Press
Fall 2009
1 Picture Book Non-Fiction 2
Big Bear Hug 123 I Can Build!Written and illustrated by Nicholas Oldland
A huge bear is wandering through the forest — but wait a minute! Who’s that he’s hug-ging? 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.
An environmental tale that demon-strates the awesome power of a hug.
Nicholas Oldland earned a degree in fine arts at Mount Allison University in New Brunswick. He is creative direc-tor at Hatley, a popular apparel company. Big Bear Hug is his first picture book.
September
Ages 3 to 7Grades Preschool to 2
4-colour8” x 8” • 32 pages
ISBN: 978-1-55453-464-7$16.95 Hardcover Jacket
A fun and simple introduction toarchitectural terms and techniques.
Written and illustrated by Irene Luxbacher
After an introduction to all the materials they need, kids will learn simple architectural tech-niques such as joining, roofing and folding, and concepts such as foundation, structure and function.
Projects include a breezy birdhouse, a mush-room mansion and a fabulous funhouse. Bud-ding builders will proudly say, “I can build!”
The Starting Art series introduces art con-cepts 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.
September
Ages 4 to 7Grades Preschool to 2
4-colour91⁄2” x 91⁄2” • 24 pages
ISBN: 978-1-55453-315-2$14.95 Hardcover
ISBN: 978-1-55453-316-9$6.95 Paperback
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 RedesignA redesign of the November
issue of Style at Home magazine.
Includes:
- front cover- table of contents
- feature article inside spread
November 2009 $5.50
shimmer and shinenine glamorous holiday decorating ideas
Fall in love with the flavours of French Cuisine
styleathome
High•Low remodel an office on any budget
november 2009
NovemberCONTENTS
84 More Than a WallflowerDress up your decor with pretty wallpaper
62A Sweet AffairThrow a fabulous dessert party! We’ve done the planning for you - from DIY invitations to special drinks to pretty tabletop decor
96Shimmer and ShineNine glam, budget wise holiday decorating ideas
High•Low(page 70)
decorating entertaining shopping
35 Home and StylePink Ribbon products for your kitchen
48 Table StyleGet the look of a celeb-styled luncheon spread
56 Inside DesignDesign to Inspire: a popular blogger’s online diary about her Ottawa kitchen reno
151 French VeggiesFood Network celeb Laura Calder makes veg-gies extraordinaire!
156 Cook’s ChoiceTips and tools to perfect your pastry making
160 Gourmet at HomeBalsamic vinegar - it isn’t just for salad
52 Shopping Etc.Canada’s home decor hot spots
162 Where to Find itAll the details on prod-ucts found within this issue
180 Window ShoppingEight great hampers for stashing dirty laundry
Set up a home office that doubles as a playroom - whatever your family’s budget
november 2009 / styleathome.com / 9
84
november 2009 / styleathome.com / 7170 / styleathome.com / november 2009
home office Part studio, part playroom – an open-concept space welcomes the whole family. Produced by Christine Hanlon
furniture
Dining table with parquet top: $1,999, Ethan Allen.
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.
Accessories
Cowhide: $695, Elte. Jute boucle 8’ x 10’ rugs in Flax: $239 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.
furniture
Gloss white Dining table: $1,050, Camilla House Imports.
Accessories
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. Silver-plated tray: $395, Cynthia Findlay Antiques. Silver-plated rose bowl: $175, Cynthia Findlay Antiques. Inlaid wooden lidded box: $125, Cynthia Findlay Antiques. Wooden round box: $25, Cynthia Findlay Antiques. Elm easel: $100, DeSerres.
Etcetera
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.
high$10,233
low$4,900
lamps$569
lamps$180
table$1,999
table$1,050
frames$29
frames$13
Think elegance,
on any budget
Book RedesignA 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
The Age of Innocence
Edith 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.”
wh
ar
to
nt
he a
ge o
f inn
oc
en
ce
fictionISBN 978-014018970$10.95 cDn
eDith wharton’s
9 7 8 - 0 1 4 0 1 8 9 7 0
The Age of Innocence
Penguin Canada
Edith Wharton
Penguin BooksPublished by the Penguin GroupPenguin Books Canada Ltd10 Alcorn AvenueToronto, Ontario, Canada M4V 3B2
First published in the United States of America by D. Appleton and Company 1920This 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 DataWharton, Edith, 1862 – 1937.The age of innocence/Edith Wharton; edited with an introduction by Cynthia Griffin Wolff.ISBN 0 14 01.8970 X1. 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. SeriesPS3545.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.
Contents
Introduction v
A Note on the Text xv
The Age of Innocence 1
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
Introduction
v
A Note on the Text
The text of this edition of The Age of Innocence follows the text of the Scribner’s edition (1993), based in turn on the authori-tative Library of American edition (1985) of the novel.
xv
On a January evening of the early seventies, Christine Nilsson was sing-
ing 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 livery-
stableman’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
Chapter One
1
2 3
box the curtain had just gone up on the garden scene. There was no
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
to her lips and lifted her large eyes to the sophisticated countenance
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 lilies-
of-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 orange-
trees 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 PublishingSimon Fraser University