Art

Learn to draw Native Art! First Nations artist Robert E. Stanley Sr. shares his knowledge and technique in rendering classic northwest native drawings. Now you too, can learn to draw some of the legendary animals of the First Nations tribes, by learning Robert's techniques passed down to him from generation to generation.

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64 pages | 8.50" x 11.00"

Learn about some of the real and legendary creatures revered by the natives of the west coast by using these templates to create spectacular pictures. The first coloring book in the Northwest Native Arts Series. Learn about some of the real and legendary creatures revered by the natives of the west coast by using these templates to create spectacular pictures.

Educator & Series Information
This is the second book in the Northwest Native Art Series.

Includes templates / designs for Owl, Killer Whale, Wolf, Frog, Eagle, Moon, Grizzly Bear, Sun, Black Bear, Raven, Male Salmon, Female Salmon, Beaver, Diving Frog, Face in an Ovoid, The Split-Frog, The Rave and the Sun, The Wild Man of the Forest, The Hawk, The Prayer, The Flying Frog, The Robin and the Twig, Kingfisher, Crab, Timber Wolf, Lizard, and Split-Killer Whale, along with traditional teachings and knowledge about each one.

Color in these designs using pen, pencil, crayons or paints. You can choose which colors to use, color them any colors you like, but keep in mind that the traditional colors are red and black. Blue or turquoise blue is sometimes used around the eye and around the inside u-shape fillers.

This colouring book could work with younger and older children.

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32 pages | 8.50" x 11.00" | Paperback

The second coloring book in the Northwest Native Arts Series. Learn about some of the real and legendary creatures revered by the natives of the west coast by using these templates to create spectacular pictures.

Educator & Series Information
This book would work best with older children or teens.

This is the second book in the Northwest Native Art Series.

Table of Contents
Acknowledgements
Introduction
Basic Shapes
How to make an ovoid
Making the two inside ovoids
The basic U-shape
The U-shape form line for ears, nose and beak
The split U-shape filler design
The L-shape, S-shape and cheek filler designs
Claw designs
Samples of basic eye designs
The basic teeth and tongue designs
The basic head form line
A basic wing form line
A basic tail form line
The Basic Steps for Drawing a First Nations Wolf and Other Designs
The ovoids
Starting the Wolf design
Adding the nose form lines
Placing the ear and forearm ovoid form lines
Placing the forearm U-shape, claw and claw connector
Connecting the forearm to the head and setting the hind leg ovoids
Adding the hind leg U-shape form line and claw
Connecting the forearm to the hind leg
Drawing the upturned tail of the Wolf
Placing the teeth, tongue and filler designs
The Bear
The Frog
The Basic Steps for Drawing a First Nations Eagle Design
The ovoids
Starting the Eagle design
Adding the beak and the ear U-shape form lines
Placing the wing ovoids and the wing U-shapes
Connecting the head to the wing
Adding the wing feather tips
Placing the tail ovoids and adding the U-shape form line
Connecting the tail to the wing and adding the tail feather tips
Adding the claw and connecting it to the tail
Adding the black thin lines and U-shape fillers
The Raven
How to Draw the Killer Whale
Drawing the Killer Whale
Placing the filler designs
Four Creat Tracing
Introduction and instructions
The Eagle, Killer Whale, Wolf and Raven
Four creat head puzzles
The Killer Whale, Wolf, Raven and Eagle
Native Arts Colouring
The Eagle, Killer Whale, Frog and Wolf 

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24 pages | 8.50" x 11.00" | Paperback 

Qummut Qukiria! celebrates art and culture within and beyond traditional Inuit and Sámi homelands in the Circumpolar Arctic — from the continuance of longstanding practices such as storytelling and skin sewing to the development of innovative new art forms such as throatboxing (a hybrid of traditional Inuit throat singing and beatboxing). In this illuminating book, curators, scholars, artists, and activists from Inuit Nunangat, Kalaallit Nunaat, Sápmi, Canada, and Scandinavia address topics as diverse as Sámi rematriation and the revival of the ládjogahpir (a Sámi woman’s headgear), the experience of bringing Inuit stone carving to a workshop for inner-city youth, and the decolonizing potential of Traditional Knowledge and its role in contemporary design and beyond.

Qummut Qukiria! showcases the thriving art and culture of the Indigenous Circumpolar peoples in the present and demonstrates its importance for the revitalization of language, social wellbeing, and cultural identity.

Educator Information
Qummut Qukiria! means "up like a bullet" in Inuktitut and is used to convey excitement and enthusiasm. It also signifies the connection to the land and nature's offerings in the Circumpolar North. 

Features over 200 images as well as essays from artists, educators, and scholars on contemporary Inuit and Sámi life and art, including filmmaking, sculpture, storytelling, and design.

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368 pages | 9.25" x 6.75" | Hardcover

Resilience is the third colouring book made up of works by Anishnaabe artist Jackie Traverse. As with her previous highly successful colouring books, Sacred Feminine and IKWE, this new book contains both drawings and paintings by Jackie. Resilience honours the Indigenous Peoples who were colonized by and endured the violence of Canada’s child stealing systems — residential schools, the Sixties Scoop and child “welfare.” Some Indigenous people survived those systems; tragically, some did not. Jackie and her art pay tribute to and celebrate the resilience of Indigenous Peoples as they rebuild their communities and lives. Grassroots grandmother Geraldine (Gramma) Shingoose provides a foreword.

Reviews
“It is with great pride that I write this piece for Jackie’s next book. Her colouring books have had great meaning in my role as a Kokum to my grandgirl as we have been able to do this beautiful work together. I grew up learning beadwork and sewing from my grandmothers, who did not speak English, who did not grow up in Residential Schools, and they gave the best of themselves to me. This is what Jackie does for everyone who finds her work. She gives the best of herself, her culture, her gifts. Jackie is a fierce protector of culture and a generous, grand teacher. Her works are gifted to us through her books, her paintings in exhibits, her gifts of skateboards to young people, her live painting auctions for fundraising for the MMIWG2S and education scholarships for Indigenous youth, and in her amazing pieces for the public such as the Coca-Cola Olympics campaign and her project at the Red River College for the Innovation Centre. I have gifted her artwork to friends and family as she captures traditional teachings in her works and the gifting feels like a fine, delicate transfer of energy — of joy, caring, love, pride. I hope that is true for all who find this book by Jackie Traverse. The gift. I say Kichi miigwetch, a big thank you to Jackie Traverse for sharing with all of us.”— Tina Keeper

“Jackie Traverse is a beautiful Indigenous woman artist, leader and friend. Through her advocacy, activism and art, she inspires, supports and contributes so much to so many. I, among countless others, value and appreciate Jackie’s continued contributions. I look forward to copies of this book joining her earlier works, as well as the many pieces of art that I have the privilege of displaying in my office and home.”— Kim Pate

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64 pages | 10.00" x 8.00" | Paperback Colouring Book

Arctic ice is a daily consideration for people living above the Arctic circle. Ice is key to successful hunts, ease of travel, and the health of wildlife. This book features sweeping landscape photography of Arctic sea ice in all its forms, accompanied by anecdotes from community members across the North. From traditional stories of what lurks under the ice to harrowing tales of hunters on the ice and traditional knowledge about ice safety and conditions, this book presents the beauty, complexity, and unique challenges of living daily in an ever-evolving icy landscape.

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Foreword by Sheila Watt-Cloutier

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72 pages | 11.00" x 8.00" | Colour photographs | Hardcover 

A guide for creatives to making impactful, socially engaged art projects.

Flash mobs come and go, but purposeful creativity can change communities. Are you a creative (aspiring or otherwise) who is curious about how you can apply your skills to activist, socially engaged art projects? Whether you paint, sew, sing, build, weld, or rhyme, The Creative Instigator's Handbook explores how to take that big project you've been dreaming about and actually make it happen.

In response to the challenging times that we live in, The Creative Instigator's Handbook will inspire readers to use their creativity to spur change in the world around them. Guiding readers through the various aspects of a project from ideation to final documentation, the book examines the relationship between creative leadership, community art projects, and social justice, and includes the perspectives of 23 creative instigators who have stretched the boundaries of what "art" should or shouldn't do.

The Creative Instigator's Handbook will appeal to creatives willing to expand their comfort zones by jumping into the fray and doing some outrageous, inspired rabble-rousing of their very own. Full-colour throughout.

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272 pages | 8.50" x 8.00" | Paperback

The story of an overlooked group of cultural visionaries

The “Micmac Indian Craftsmen” of Elsipogtog (then known as Big Cove) rose to national prominence in the early 1960s. At their peak, they were featured in print media from coast to coast, their work was included in books and exhibitions — including at Expo 67 — and their designs were featured on prints, silkscreened notecards, jewelry, tapestries, and even English porcelain.

Primarily self-taught and deeply rooted in their community, they were among the first modern Indigenous artists in Atlantic Canada. Inspired by traditional Wabanaki stories, they produced an eclectic range of handmade objects that were sophisticated, profound, and eloquent.

By 1966, the withdrawal of government support compromised the Craftsmen's resources, production soon ceased, and their work faded from memory. Now, for the first time, the story of this groundbreaking co-operative and their art is told in full. Accompanying a major exhibition at the Beaverbrook Art Gallery opening in 2022, Wabanaki Modern features essays on the history of this vibrant art workshop, archival photographs of the artisans, and stunning full-colour images of their art.

Wla atukuaqn na ujit ta'nik mu ewi'tamuki'k tetuji kelulkɨpp ta'n teli amaliteka'tijik

Wla “Mi'kmewaqq L'nue'k amaliteka'tijik” tlo'ltijik Elsipogtog (amskweseweyekk i'tlui'tasikɨpp Big Cove) poqji wuli nenupnikk wla amaliteka'tijik 1960ekk. Je wekaw wutlukowaqnmuwow ika'tasikɨpp wikatikniktuk aqq ne'yo'tasikɨpp ta'n pukwelk ta'n wen nmitew — je wekaw Expo 67 — aqq ta'n koqoey kisi napui'kmi'tipp tampasɨk koqoey eweketu'tij stike' l'taqnewi'kasik, napui'kn misekn, wi'katikne'ji'jk, meko'tikl kuntal, kaqapitkl l'taqa'teke'l, aqq wekaw akalasie'we'k eptaqnk. Nekmow na kekina'masultijik aqq melki knukwi'tij ta'n tett telayawultijik, nekmow na amskewsewa'jewaqq l'nu'k tel nenujik ujit ta'n teli amaliteka'tijik ujit Atlantic Canada. Pema'lkwi'titl a'tukuaqnn ta'n sa'qewe'l, ta'n wejiaqel a'tukuaqnn Wabanaki, l'tu'tipp kaqasi milamu'k koqowey toqo eweketu'titl wutpitnual tetuji moqɨtekl, ma'muntekl, aqq weltekl.

Wekaw 1966ekk, kpno'l pun apoqnmuapni wla amaliteka'tikete'jɨk jel kaqnma'tijik ta'n koqoey nuta'tipp, amuj pana pun lukutipnikk, aqq tel awantasuwalutki'k. Nike', amskwesewey, wla a'tukuaqn tetuji msɨki'kɨpp wla wut lukewaqnmuwow etel kaqi a'tukwasikk. Wije'tew meski'k neya'tmk Beaverbrook Art Gallery pana'siktetew 2022al, Wabanaki Modern na pema'toql wikikaqnn ujit ta'n pemiaqɨpp wla tetuji wulamu'kɨpp kisitaqnne'l telukutijik, maskutekl sa'qewe'l napuikasikl toqo nemu'jik etl-lukutijik wla lukewinu'k, aqq sikte wultek aqq welamu'k ta'n koqoey kisitu'tij.

L'histoire d'un groupe de visionnaires culturels ignorés

Un groupe d'artisans mi'kmaw d'Elsipogtog (autrefois Big Cove) au Nouveau-Brunswick se fit connaître à travers le Canada au début des années 1960. À l'apogée de leur renommée, les Micmac Indian Craftsmen firent l'objet d'articles dans des publications d'un océan à l'autre. Leur travail figura dans des livres et des expositions — dont Expo 67 à Montréal — et leurs œuvres graphiques furent reproduites sous forme de gravures et de sérigraphies, et elles ornèrent de la papeterie, des bijoux, des tapisseries et même de la porcelaine anglaise.

En grande partie autodidactes et solidement enracinés dans leur communauté, les Micmac Indian Craftsmen furent parmi les premiers artistes autochtones modernes au Canada atlantique. En s'inspirant de récits traditionnels wabanakis, ils fabriquaient à la main une gamme variée d'objets raffinés, évocateurs et porteurs d'un sens profond.

En 1966, toutefois, le gouvernement retira son soutien. Les Craftsmen perdirent leur financement, la production cessa peu après et leur œuvre finit par être oubliée. Une nouvelle publication relate maintenant, pour la première fois, l'histoire complète de cette coopérative innovatrice et de ses réalisations. Publié dans le cadre d'une grande exposition qui a lieu à la Galerie d'art Beaverbrook en 2022, Wabanaki Moderne comprend des textes sur l'histoire de cet atelier dynamique, des photographies d'archives des artisans et de superbes illustrations couleur de leurs œuvres.

Educator Information
Delivered in three languages: English, Mi'kmaw, and French

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228 pages | 10.00" x 10.00" | Paperback | 96 Colour Reproductions and Photos, 26 Black and White Illustrations and Archival Photos 

asowacikanisa: A Guide to Small Métis Bags is a continuation in the series of “how to” books on Métis material culture. This resource will guide you in the step-by-step process on how to create two different bags, a tobacco pouch and a sash bag, which were traditional utilitarian items used by the Metis. These bags are used today to carry traditional medicines and other treasured items. Complete with historical information, easy to follow instructions, detailed photos and accompanying DVD, this resource provides everything you need to know to make your own traditional bags. (Materials not included).

Educator Information
Grade Level: Secondary / Post Secondary / Adult 

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8" x 10" | 46 Pages

Coalesce is a fusion of distinct Anishinaabeg aesthetics of the Great Lakes region with refuse from Western society’s technological and digital age in order to intentionally shift an object’s materiality and its accepted paradigm within the physical world. It is through the integration and juxtaposition of recognizable materials used in the making of Anishinaabeg material culture, such as glass beads and porcupine quills, with new-found materials, such as electronic components (capacitors and resistors), that this body of work disproves any notion of Anishinaabeg cultural stasis. Coalesce demonstrates the continuum of Anishinaabeg innovation and expression by making use of disparate materials that knowingly coalesce and segue seamlessly into contemporary Anishinaabeg artistic tradition and material culture.

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48 pages | 7.00" x 8.50"

A daughter returns home to the Navajo reservation to retrace her mother’s life in a memoir that is both a narrative and an archive of one family’s troubled history.
 
When Danielle Geller’s mother dies of alcohol withdrawal during an attempt to get sober, Geller returns to Florida and finds her mother’s life packed into eight suitcases. Most were filled with clothes, except for the last one, which contained diaries, photos, and letters, a few undeveloped disposable cameras, dried sage, jewelry, and the bandana her mother wore on days she skipped a hair wash.

Geller, an archivist and a writer, uses these pieces of her mother’s life to try and understand her mother’s relationship to home, and their shared need to leave it. Geller embarks on a journey where she confronts her family's history and the decisions that she herself had been forced to make while growing up, a journey that will end at her mother's home: the Navajo reservation.

Dog Flowers is an arresting, photo-lingual memoir that masterfully weaves together images and text to examine mothers and mothering, sisters and caretaking, and colonized bodies. Exploring loss and inheritance, beauty and balance, Danielle Geller pays homage to our pasts, traditions, and heritage, to the families we are given and the families we choose.

Reviews
“Dog Flowers by Danielle Geller is a journey story we’ve never read before. Geller travels through snippets of her own life and that of her mother’s, creating a narrative where all roads lead to her mother’s home in the Navajo Nation. It’s an honest, intimate, and heart-wrenching memoir that explores fractured family, the damaging effects of alcoholism and poverty, and what it means to seek healing from legacies of trauma. This book gave me chills. Trained as a librarian and archivist, Geller has created a type of archive, a living collection of memories and documents that speak to a life that is at once precisely individualistic while also being universally resonant. Read this book.”—Kali Fajardo-Anstine, author of Sabrina & Corina

“Dog Flowers pulls the few remaining threads of an unraveled family life. This courageous, honest, desperate, tender, and compelling book tells a daughter’s story of her troubled mother. In Dog Flowers, we learn that a handful of threads can never reweave the blanket of family, or patch up what a mother’s abandonment has torn. What little we learn of Geller’s Navajo mother comes from collaged notes and journal entries, photographs and reportage; it’s a story full of gaps. Which is exactly what’s remarkable about this book: Geller does not seek to make anything whole but herself. She refuses to deal in the tropes of redemption and reconciliation—which just shows how much strength it takes not to judge another’s life or lie about it. Even her return to her mother’s Navajo Nation does not bring about an easy cultural reunion, although it does give us a satisfying sense that while an immediate family can fall apart, an extended family, a tribe, ties a tight web that might just hold.”—Heid E. Erdrich, award-winning poet, author, and editor of the award-winning New Poets of Native Nations 

“A Navajo woman’s memoir of family, loss, and self-discovery. [Danielle Geller] takes readers on two parallel journeys: that of her mother, Laureen, who left the Navajo reservation at age nineteen, “almost as soon as she could,” and her own, which begins with her notifying her sister Eileen that their mother was dying. . . . After Laureen’s death, Geller collected her mother’s belongings, “packed into eight suitcases” and including “her diaries, her photos, and the letters she kept.” Using these personal items, the author expertly weaves her story into Laureen’s. . . . Geller’s mix of archival research and personal memoir allows readers to see a refreshing variety of perspectives and layers, resulting in an eye-opening, moving narrative. A deftly rendered, powerful story of family, grief, and the search for self.”—Kirkus Reviews

Additional Information
272 pages | 6.12" x 9.25" | 27 black & white photos | Hardcover

A collection of perspectives by and about Indigenous Toronto, past, present, and future.

Beneath every major city in North America lies a deep and rich Indigenous history that has been colonized, paved over, and ignored. Few of its current inhabitants know that Toronto has seen 12,000 years of different peoples, including the Haudenosaunee, the Anishinaabe, the Huron-Wendat, and the Mississaugas of the New Credit, and a vibrant culture and history that thrives to this day.

With original contributions by Indigenous elders, scholars, journalists, artists, activists, and historians about art, food, health, and more, this unique anthology explores the poles of erasure and cultural continuity that have come to define a crossroads city-region that was known as a meeting place long before the arrival of European settlers.

Contributors include political scientist Hayden King, historian Alan Corbiere, musician Elaine Bomberry, artist Duke Redbird, playwright Drew Hayden Taylor, educator Kerry Potts, writer/journalist Paul Seesequasis and former Mississaugas of the New Credit chief Carolyn King.

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192 pages | 5.50" x 8.50"

In a gorgeously illustrated exploration of the art of Michael Nicoll Yahgulanaas, Mischief Making disproves any notion that play is frivolous. Deploying mischievous tactics, Yahgulanaas shines a spotlight on serious topics.

Expressive and exuberant, comic and imaginative: these characteristics suffuse the work of the internationally recognized creator of Haida manga. His distinctive style stretches, twists, and flips the formlines of classic Haida art to create imagery that resonates with the graphic vitality of Asian manga. Mischief Making delineates the evolution of the artist’s visual practice into a uniquely hybrid aesthetic, uncovering its philosophical underpinnings. Initially focused on paper-based narratives, his work has expanded into painted canvases, mixed-media installations, repurposed automobile parts, large-scale public art projects, and animated forms. Yet despite its mutability, Yahgulanaas’s art is consistently engaged with contemporary cultural concerns, investigating the intersections of Indigenous and other worldviews, the politics of land, cultural heritage, and global ecological affairs.

Mischief Making reveals the artist’s deep understanding of the seriousness of play. His refiguring of lines and stories opens up a realm in which the disruption of what’s expected allows different ways of experiencing, knowing, and seeing the world to emerge.

Reviews
"This is an exciting journey through the refreshing life’s work of one of Canada’s foremost Indigenous artists. Learning from Nicola Levell’s insightful analysis opens the eyes to a wondrous world beyond stale and superseded categories of ‘tradition’, ‘Western’ and ‘Indigenous’! Highly recommended!" — Arnd Schneider, professor, Department of Social Anthropology, University of Oslo

"The Northwest Coast dances with the East and 8.5 tons of stainless steel/copper/marble, then strides to Emma Lake. A comprehensive look at the work of Yahgulanaas – we witness in text, he is doing what he can – just like the hummingbird."

Outdoor School features recent works of contemporary environmental art and writing by more than twenty-five Canadian and Indigenous artists who propose radical new ways of thinking and being outdoors together.

For more than a decade, the Outdoor School project has provided a framework for interdisciplinary artists to come together and share projects that reimagine ways of relating with the landscape.

The experiential and community-based art projects described in Outdoor School present an alternative to scientific, commercial and colonial conceptions of land and nature in the face of climate change and mass extinction. These art practices include activities like mushroom foraging, water witching, trespassing, pumpkin-boat sailing, cloud identifying, ravine running, honey extracting, spell conjuring, rabbit hunting, coyote walking and more. The project calls attention to creative, counter-cultural works that are focused on education, community and place, and blur the boundaries between art and life, nature and culture.

Featuring interviews, essays and over 150 photographs, Outdoor School is an important contribution to discussions of contemporary art and ecology, foregrounding work that is marginal and ephemeral by nature.

Artists featured in Outdoor School include Alana Bartol, Diane Borsato, Bill Burns, Carolina Caycedo, Sameer Farooq, FASTWÜRMS, Ayumi Goto, Maggie Groat, Gabrielle Hill, Peter Morin, Public Studio, Helen Reed, Genevieve Robertson, Jamie Ross, Aislinn Thomas, Vibrant Matter, Jay White, Tania Willard, Terri-Lynn Williams-Davidson and D'Arcy Wilson.

Educator Information

Additional Information
192 pages | 8.00" x 10.00" | colour photographs

Authenticity Note: This work has received the Authentic Indigenous Text label because of the Indigenous contributions to this work.  Non-Indigenous contributors are also featured, and the editors are not Indigenous.  It is up to readers to determine if this resource is authentic for their purposes.

sînapân kîskasâkâs: A Guide to Making Contemporary-Style Métis Ribbon Skirts will assist you in the creation of your own Métis style ribbon skirt. Authors, Bonny Johnson and Leah Marie Dorion guide you through the process with detailed instructions which are accompanied by photographs of each step. This resource comes with a companion DVD, and introductions from both authors on the historical and contemporary uses of these traditional Métis style ribbon skirts.

Educator Information
Grade Level: Secondary, Post Secondary, Adult