On Saturday, June 22nd, between 1 and 3 p.m. (EDT), I will be the featured speaker for The Bookplate Society’s summer online lecture. I will be discussing ex libris design and my art in general with Charles Melville Wright, the secretary of the Society, and taking questions from the viewers. Some of my patrons will also speak. Details about this event can be found here.

For my new special sale, anyone who orders a giclée print or an original drawing through my website before August will receive for free the OpenType file and a desktop license for my newest original typeface, Adam (All Capitals).

Benefits for my supporters on Patreon and the patrons of the Summula Pictoria can be accessed here.

Yours faithfully,

        Daniel Mitsui
        June 2024


St. Apollonia was a virgin martyr of the Decian persecution. She was tortured by having her teeth pulled out, and then burned alive. She is the patron saint of dentists and dentistry.

The ornament in the border is composed of lilac sprigs and gold nuggets, in reference to the academic colors for dental surgery, and an inscription: Sancta Apollonia virgo martyr, ora pro nobis, or Saint Apollonia, virgin martyr, pray for us.

The inscription in the halo is from Genesis 49.12: Dentes eius lacte candidiores, or His teeth are whiter than milk.

The molar in the bas-de-page includes an image of St. George battling a tooth worm, an imagined creature that in the Middle Ages was thought to be the cause of toothaches. Two others include the Seven Sleepers of Ephesus (a pun on cavity), and St. Patrick, whose teeth were widely venerated as relics.

Due to her patronage, I drew St. Apollonia smiling with her teeth visible, which is not usual in religious iconography. The pattern of phœnixes and salamanders on her garment refer to her death by fire. She holds the pliers that were used to pull out her teeth, and a palm of martyrdom.

This drawing was made on private commission. Prints of it are available here.


On March 8th, I was interviewed by Mark Makowiecki of the Thomas More Centre. It was a long and wide-ranging discussion that touched on many interesting topics: the international Gothic, Hildegard of Bingen, Max Ernst, Hieronymus Bosch, Marko Rupnik, the rebuilding of Notre Dame de Paris, the Latin Mass, the mnemonic purpose of manuscript drolleries, the influence of Islamic art on Gothic painters, competing Christian epistemologies, the Florentine Renaissance, Dionysius the Areopagite and Augustine of Hippo.

You can watch the interview on YouTube by clicking the image above, or read a transcript here.


I have a longstanding fascination with mathematical fractals, millefleur tapestries, and traditional religious symbols; this print combines all three. The Cross and its surrounding frame are built out of ornamental units taken from my various ink drawings, here rearranged into a new composition. The letters in the corners, ICXC NIKA, DEUS HOMO, signify Jesus Christ conquers, and God and Man.

The print is about one and a half times larger than the original artwork. It is available here.


Here is an excerpt from The Wretch on the Gallows Tree: Rhymes and Carols by Daniel Mitsui, my debut collection of poetry:


The collection includes forty religious poems on the life, death, and resurrection of Jesus Christ, following the sequence of the liturgical year. I designed the typefaces, ornament, and occasional illustrations used in the book. Signed copies can be purchased at my website. It is also available at Amazon. (This is the less costly option for readers outside the United States of America.)

If you read this book and enjoy it, please consider leaving a rating or a review on Amazon or Goodreads.


St. John the Baptist (6/24); Our Lady of Perpetual Help (6/27); St Peter (6/29); St. Paul (6/30); St. Nicasius (7/1); St. Robert of Newminster (7/7); St. Thomas More (7/9); Bd. David Gunston (7/12); St. Kateri Tekakwitha (7/14); St. Christopher (7/25); St. James the Greater (7/25); St. Anne (7/26)





You can find more color prints here, and more black & white poster prints here.

all works copyright Daniel Mitsui /