dramatic beauty of the burnt blue-green rolling hills, seen from a bird's-eye perspective, is subverted by the distant smoke plumes and smelter stacks, which raise questions about the effect of ore smelting on the local landscape." Donegan further compares the work to A.Y. Jackson's 1932 depiction of the Falconbridge smelter near Sudbury, Smoke Fantasy, though she found Carmichael better imbued his painting with power and meaning than Jackson did his. Jackson took his government lobbying efforts further however, pleading in a letter to the minister of Lands and Forests William Finlayson to preserve what became Killarney Provincial Park and Trout Lake. The latter was renamed O.S.A. Lake in honour of the Ontario Society of Artists. The 1930 canvas A Northern Silver Mine is a composite of several sketches and watercolours following an August 1930 trip to the mining town of Cobalt, Ontario. This painting depicts the relationship of industrial town and nature, where "[t]he houses and mines seem scattered and fragile against the agitated convolutions of the hills." The mine in the foreground and polluted river "[illustrate] the bleakness of the land around the smelters and mines during the 1930s." Design, printmaking and illustration Like the other members of the Group, Carmichael drew constantly in pencil and ink. He also produced many etchings, linocuts and wood engravings over his lifetime, and was an expert at woodblock and linoleum prints, having become familiar with printing methods from his work in commercial art. In commercial art, the other members of the Group of Seven typically restricted themselves to illustration work; Carmichael, however, took an active role in book design. In one case, he produced the wood engravings, selected the paper, directed the typography and did the complete design for Grace Campbell's 1942 book, Thorn-Apple Tree. He worked on book illustrations for Canadian publishers from 1942 until the end of his life. While working at Sampson-Matthews in the 1920s, his other illustration work saw him designing promotional brochures as well as advertisements for newspapers and magazines. As was typical for the time, his design style was flat and simplified. He also produced illustrations for magazines, including the cover of a 1928 issue of Maclean's magazine. In Carmichael's early design career, he found the need to avoid meaningless ornamentation, writing Legacy Contemporary Emily Carr wrote that Carmichael's work was, "A little pretty and too soft, but pleasant." Carmichael was a member of the Royal