(1964 McClelland & Stewart softcover, with 1st illustration)
(1963 McClelland & Stewart dj and green design hardcover underneath)
(1968 McClelland & Stewart–Heaven, Take My Hand by David Weisstub: the sensuous hardcover and a sample illustration)
(left: 1981 Gage hardcover; 1st of series for senior high general/non-academic students and courses in Canada; right: sample illustration from bizarre unit)
(3 more illustrations from above book; note 2 Canadian works illustrated)
(the 2nd book in the series and an illustration for crime unit)
(2 more illustrations for the above title)
(the 3rd book and an illustration for a story by our top Canadian SF writer)
(left: 2008 Porcupine’s Quill–one of our top Canadian publishers; basically an autobio of Newfeld’s life; the dedication inside to me acknowledging our previous connection; right: Frank’s own self-portrait)
(Da–a journal of the printing arts–one of our excellent publishers; no. 56; spring/summer 2005–feature on Newfeld at M & S; no. 65, fall/winter 2009: interview and article)
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Sometimes we get very lucky. I was just starting out on a successful school textbook career (numerous authorizations across Canada and over 1 million copies sold) that would span some 4 decades. My publisher rep Patrick (Paddy) Drysdale and Anthony (Tony) Luengo–the top textbook editor in Canada told me that one of Canada’s top designers would be working on my first project, the Connections series.
Little did I realize it was the artist who had illustrated many classy M & S books and Alligator Pie, making the latter a bona-fide Canadian classic. I’m sure Dennis Lee would tell you, as I will, that having Frank Newfeld illustrate your books is a delight and possibly more than 50% of the reason why those 4 books all did so well in the market. He has been, IMHO, the top, most memorable, unique book designer and illustrator of our time.
Many of you, unless you’ve read Alligator Pie or were a student using one of those textbooks, have likely not seen any of those striking illustrations so I’ve included some from my books to show what Frank was busy doing in the late 70s-early 80s. Much later I thanked him for his fantastic work on that project and he kindly signed a copy of his book (above). As my editor Tony Luengo used to say, Frank is quite the gentleman, and I am extremely lucky to have been connected with him way back when.
Incidentally, his work appears in blog entries before and after this one. Keep your eyes open as you read this blog; he was truly that prolific and influential.