Reprint. Originally published 2015.

Includes bibliographical references and index.

Introduction: Pine trees and propaganda -- One: The Wartime Program -- Canadian artists and war -- Greeting cards for the people -- Why silkscreening? -- The creative leader: Joseph Sampson -- Graphic art and design -- A lone fisherman, a bigness of vision: Yvonne McKague Housser's Evening, Nipigon River -- A landscape of awe: Arthur Lismer's Isles of Spruce -- The chill of a winter's day: James Wilson Morrice's The Ferry, Quebec -- An imaginary Yuquot: Jock Macdonald's B.C. Indian Village -- Are these Canadians?: The saga of Fritz Brandtner's Potato Pickers -- Two: Triumphant in peace -- Print centres across the land: The Federation of Canadian Artists' Silkscreens -- Commercial design meets fine art: Alfred Joseph (A.J.) Casson -- Celebrating the hewers of wood: The pulp and paper prints -- A gentleman and a bureaucrat: Harry McCurry -- A very personal sense of joy: B.C. Binning's Ships in Classical Calm -- God in nature: Emily Carr's Indian Church -- From war to wilderness: Charles Comfort's Algonquin Lake -- Nature's chaotic patterns: A.Y. Jackson's Jack Pine -- An original print, a canvas copy: A.J. Casson's White Pine -- Dancing through the wilderness: Lawren Harris's Algoma Country -- Industry on the prairies: John Ensor's Summer's Store -- Electricity in the air: Tom Thomson's Northern Lights -- Fall on the farm: Thoreau MacDonald's The Plough -- Three: A slow decline, a long afterlife -- At the helm for fifty years: Charles Matthews -- The rise and fall of Sampson-Matthews Limited -- "Indian" Aboriginal images: The Beament and Price prints -- Mesmerized by the silkscreens -- Build a better country. Frame is $6 extra.