Design Portfolio

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.”

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fictionISBN 978-014018970$10.95 cDn

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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