Issue 1 Broadsides

These broadsides were produced by students on the issue 1 team during the Winter 2023 term. They were produced in limited editions as material companions (either promotional or literary in nature) to the digital issue. They were printed using linocuts, metal and wood type, and equipment in the MacOdrum Library Book Arts Lab.

A letterpress printing broadside for the first issue of Sumac. Printed on bright red paper, there are rough black vines in each of the four corners and a large black sumac flower on the right side of the page. On the left, just beside the sumac flower, reads "Sumac blooms 04.14.23" in gothic font; the "S" is a decorative raised initial.
by Amadou Barry, Tony Fournier, and Taylor Taniguchi
On a white square paper, black text printed in a serif font is incased in square made from decorative art-nouveau-style ornaments in four corners. Inside, the text are quotes from three different sources (which are listed at the bottom of the broadside); a grey marker was used to black out some of the text, creating a found poem from the original text. The text is visible underneath the marker. The text reads: "In eastern Canada, the most familiar species is staghorn sumac, so names because its hairy twigs resembles stags' horns. The red, hair fruits of this species can be made into pink 'lemonade' by bruising them, straining the acid water and adding sugar. [New paragraph] Staghorn sumac is an invasive, but plentiful species commonly found on roadsides or in open drier or hilly areas in Ontario, seeking as much sun as possible. [New paragraph] Sumac, (genus Rhus), genus of shrubs and small trees belonging to the cashew family, native to temperate and subtropical zones." After the blacked-out text, the found poem that remains reads: "In Canada, the / sumac / resembles the fruits of this / species / invasive, but plentiful / commonly found / seeking / belonging." Below the text readers "Sumac Literary Magazine" in all caps. There is a decorative ornament that seperates that text from the source references. The references read: "'Baakwaanaatig or Sumac' Indigenous Food Sovereignty Collective," "'Staghorn Sumac' Canada Wildlife Federation," and "'sumac' Britannica."
by Jennifer Jakob and Laury Gabikini
On cream paper, there is printed a dark green image of a trunk splitting off into branches; in the background are swirls and circles. Between two of the branches reads "Sumac Literary Mag" in all caps. In the bottom right corner there is an excerpt from Maya Meloche's poem "Wistful Seasons" (from Issue 1). The excerpt reads: "but i will save the moon, / tear it from the blackhole." The text is printed in black.
by Autumn Swan and Halen Raymond
On a square cream paper, the words "Sumac Lit Mag" are printed in all-caps using wood type and dark purple ink. There are three small flowers on the broadside. Under the large wood type there is text printed in purple serif font which reads: "Sumac is a digital literary magazine founded on the campus of Carleton University in Ottawa, Ontario. We publish the work of writers connected to Carleton; students, alumni, faculty, staff and anyone with links to our campus or community. If you walk your dog along the waterfront or drive past the Carleton sign each morning your words are welcomed."
by Hannah Sheehan and Emily Udle
On white paper, "Sumac" is printed in all caps using wood type; "literary magazine" is printed on the bottom of the page in italic serif font. The text is all printed in vibrant red ink. In the center of the broadside, taking up most of the room, is a linocut QR code, printed in black, that takes you to the Sumac Literary Magazine website; the QR does scan.
by Hannah Shapiro
On white paper, the word "Sumac" is printed at the top using wood type in dark purple ink; each letter is of a different typeface. below that, in the center of the page, is a linocut illustration of a sumac plant; the stem in green and the flower is in a vibrant red. Below the image reads "Literary magazine," with each word occupying its own line; "magazine" has considerable space between is character. At the bottom there is small text which reads: "find us at_cu_sumac mag."
by Vanessa Ippolito, Regan Girard, and Lane Haugen
On white paper everything is printed in dark purple. "Sumac" is printed in an outline wood type in all caps. Just below that reads: "@cu_sumac_mag." At the bottom of the page the words "Where every word counts" each have their own line and zig-zag across the page. In the center is a linocut illustration of a deer with a forest on its antler, carrots dangling in front of it, a pig beside it, and sumac plants. The word "Embark" is carved in the bottom center of the illustration.
by Amirah Alam, Emma Peters, and Maya Blumenfeld
On cream paper, linocut corner pieces with foliage and flowers are printed in black in each of the four corners. In the center of the page is a linocut version of the Issue 1 logo: a circle in the background, on top of which is a minimalist outline of Carleton University's campus boarder with a minimalist sumac plant in the foreground. Surrounding the logo are three words, each with a gothic initial letter. The words are "Accessibility," "Inclusivity," and "Diversity." On the bottom of the logo the magazine's name is set like a descending staircase, which each word occupying its own line. Below that is a linocut of a bird. Everything is printed in black.
by Alex Gallant and Andre Rigby Dupuis-Critchley
On blue paper, there is a linocut of a bowl of rice with criss-crossed chop sticks on top of the bowl printed in dark purple ink. In the background are rough waves. Above the bowl, in a fancy script font, is an excerpt from “Tales of Wild Rice” by Maia Corsame. The excerpt reads: “I search my memories for this ocean / for remnants of a faraway home. / I try to recall – but English / makes me forget. When I was young, / I disliked the taste of rice: / too plan too sticky – a Canadian tongue.” The title of the poem, the authors name, and the magazine’s name are printed at the bottom in the same font, surrounded by squiggly lines resembling water. The text is also printed in dark purple.
by Sophie Shields