Reconciliation – The Children of the Tree

Our need to communicate is second to none: the ability to tell stories, to share ideas, and to teach one another is done through communication and, most importantly, through language– conveyed with speech and writing. Many languages have been gained and lost throughout time, which brings us to our chosen topic for this project.

14. We call upon the federal government to enact an Aboriginal Languages Act that incorporates the following principles:

  1. Aboriginal languages are a fundamental and valued element of Canadian culture and society, and there is an urgency to preserve them.
  1. Aboriginal language rights are reinforced by the Treaties.
  1. The federal government has a responsibility to provide sufficient funds for Aboriginal-language revitalization and preservation.
  1. The preservation, revitalization, and strengthening of Aboriginal languages and cultures are best managed by Aboriginal people and communities.
  1. Funding for Aboriginal language initiatives must reflect the diversity of Aboriginal languages.

We had chosen #14 of the Calls to Action. Essentially, the call states that on a number of fronts, many Indigenous languages are facing extinction due to the heinousness of the Residential School system that scarred a generation. A scar that was felt throughout the ages as many Indigenous languages have been forced out of a potential new generation of speakers. Rendering many of them as either dead languages or endangered.

To attempt to help rectify this challenge, we had to somehow convey a message to the public to teach them about this challenge. Therefor, before we did anything else, we decided to work on a game that will inform any players about past languages. Hoping to spark curiosity in any players on Indigenous Languages.

Through extensive study of current languages spoke throughout Canada, we had determined what languages were to be included within our potential game. At this point, we didn’t have too much information on what the game would actually look like or how it would play. All we knew at this point, was that the game would be made in Scratch. However, this would eventually turn out to be fruitless.

As time went on, we had started to formulate some potential ideas regarding what and how the game would play like by using our research as basis. Firstly, we had gone through many storyline ideas…

Each storyline was developed with major inspiration from actual Traditional Indigenous Stories. Each story ranging from stories of mythical creatures, creation stories, and simply stories that parents would tell their children. Through trial and error, we settled on using these stories as a basis for one larger narrative that would drive the game forward. Throughout the ideation process, we had always used the preservation or finding of endangered languages as a basis for the story. No matter what we came up with, at the core of the story was the teaching of language. Using the proposed narratives, we had developed a story by taking interesting elements from the proposed stories above…

The refined idea would jumpstart the gameplay and branch off into new ideas for how the game would actually play. We eventually decided on a point and click exploratory visual novel. A visual novel that tells the story of a fisherman looking for their lost family with the help of a Raven.

Throughout the refinement of the story, we had started to think about what each character would look like, the types of environments we would visit, and how the overall sound would be like.

Before the story was eventually finished, we had developed a single concept art piece to help in the creation of the world and what everything would look like. This piece of developed with the aid of moodboards posted on Figma. Using this art piece and multiple moodboards, we had developed a style of music, sound, and even look of the UI for what the game would look like.

The mentioned pieces would essentially help us shape the world as we saw it.

Next, we had to decide what the actual characters would look like. Being that a majority of the game is spent in the company of a Raven, we had decided to use a Raven as a basis for other characters and the overall art style. Through discussion, we had decided on a combination of two different examples…

A combination of the dark graphic look along with the almost geometric look to the characters would prove to be the most popular choice so that’s what was decided on.

While the characters were being developed, the UI of the game was being considered. Through moodboards posted on Figma…

We had developed a feel for the game and how the user would interact with the world that we were creating. Using the mentioned moodboard of the world above, the character art, and the concept art piece we had developed a cohesive understanding of the world that we were creating to fit the story that we had developed.

Once the characters and environment were decided upon, we had taken to create some UI pieces that would play essential to the users journey through the world we were crafting. Above is an example of one such menu that the user would interact with. This also showcases a key element of the overall gameplay. The teaching of Indigenous Languages.

With all of the assets in development, we had started to think about showcasing what the game would look like in it’s final form. The scope of the project would grow beyond Scratch and we would then have to search for more powerful engines to run our proposed project. However, due to limitations outside our control, we eventually had decided upon creating a mockup of what a final game would look and play like.

As the project was being developed with new environment concepts, character art, and UI elements being created all following the proposed story and the chosen Calls to Action, we had eventually finished a final video showcasing our idea.

https://capilanou1-my.sharepoint.com/:v:/g/personal/davidbautista2_my_capilanou_ca/EfTI8gnoknJJutthE2yL7kYBi0g60NVkYtZqMtBocTFICQ?e=TPVRmg

And thus, ending our project for the time being.

As for myself in this whole process, I handled the creation of the video and concept art pieces along with assisting in research. For the video, I had scoured the internet for any interesting sound pieces that I think would fit the world that we had crafted. Even going as far as creating some sound pieces for the video itself ranging from music to UI sounds. As mentioned, I had created the environment art pieces shown as a background in the proposed video using photoshop. In addition, I had also helped in creation of the narrative as well. However, I cannot take credit for the presentation in itself. Only with minor edits to it did I prove useful in that regard.

Overall, I think we both did a wonderful job on something that I am actually proud of. I do hope to eventually turn this project into a fully realized project one day when more time is available.

Reconciliation

Our project is meant for those who are interested in the history of Canada and those who are interested in hearing a unique and beautiful language. Our project will be a simple memory game made in Scratch that will teach people where the locations of said languages are found and the history of the people that spoke it.

Sources: https://www12.statcan.gc.ca/census-recensement/2011/as-sa/98-314-x/98-314-x2011003_3-eng.cfm

https://www12.statcan.gc.ca/census-recensement/2016/as-sa/98-200-x/2016022/98-200-x2016022-eng.cfm

https://www.britannica.com/topic/Algonquian-languages

https://en.wikipedia.org/wiki/Inuit_languages

https://www.britannica.com/topic/Athabaskan-language-family

https://en.wikipedia.org/wiki/Salishan_languages

https://en.wikipedia.org/wiki/Iroquoian_languages

https://en.wikipedia.org/wiki/Tsimshianic_languages

https://en.wikipedia.org/wiki/Wakashan_languageshttps://en.wikipedia.org/wiki/Michifhttps://en.wikipedia.org/wiki/Haida_language

https://en.wikipedia.org/wiki/Tlingit_language

https://en.wikipedia.org/wiki/Kutenai_language

“13. We call upon the federal government to acknowledge that Aboriginal rights include Aboriginal language rights.

14. We call upon the federal government to enact an Aboriginal Languages Act that incorporates the following principles:

  1. Aboriginal languages are a fundamental and valued element of Canadian culture and society, and there is an urgency to preserve them.
  1. Aboriginal language rights are reinforced by the Treaties.
  1. The federal government has a responsibility to provide sufficient funds for Aboriginal-language revitalization and preservation.
  1. The preservation, revitalization, and strengthening of Aboriginal languages and cultures are best managed by Aboriginal people and communities.
  1. Funding for Aboriginal language initiatives must reflect the diversity of Aboriginal languages.

15. We call upon the federal government to appoint, in consultation with Aboriginal groups, an Aboriginal Languages Commissioner. The commissioner should help promote Aboriginal languages and report on the adequacy of federal funding of Aboriginal-languages Initiatives.
16. We call upon post-secondary institutions to create university and college degree and diploma programs in Aboriginal languages.

From 1831 onwards, the Canadian government instituted the Residential School system. These schools were meant to convert aboriginal children from their own beliefs and culture to that of the dominant Canadian culture. This meant that many aboriginal students who attended these boarding schools were not permitted to speak their own language and essentially be stripped of everything that they had been taught growing up. This led to many languages that were dominant in Aboriginal culture becoming endangered or extinct. The Residential School system continued on until 1996, with the last school being shut down in Saskatchewan.

While the Residential School system is about 25 years long gone, it still remains a problem within the Aboriginal community with people still suffering from the effects of the system. Which includes many people refusing to speak their language or completely forgetting it altogether. This led to the push of preservation of the Aboriginal language as, like was mentioned before, many of them are now considered endangered to be lost in time.

But, not all is lost though. Many languages still exist in Canada that have people who speak it regularly and refuse to let this rich part of Canada’s linguistic mosaic die.

Zuzana Licko

Born in 1961, Zuzana Licko is a Slovak-born American type designer who had her hand in the creation of numerous typefaces along with co-founding the graphic design magazine Emigre. This magazine is a product of the founding of the Emigre company, of which the magazine is named after. She had co-founded this alongside her husband, Rudy Vanderlans. While at this company, she had designed a majority of typefaces. Most notably Mrs. Eaves which is a variation on Baskerville.

From what I see of her work, she is mainly a typographer who sometimes does graphic design posters composed entirely of typography. Personally, I’m more of a visual graphic designer who uses type as a means to add to otherwise visual design so I can’t relate to her work. However, I do find it appealing and very fun to look at as there is just enough information to convey what she needs the viewer to see.

Rosemarie Tissi

A Swiss-born graphic designer, Rosemarie Tissi was born in 1937 and had taken only a preliminary class at the Kunstgewebeschule Zürich (School of Arts and Crafts). Later on, she had taken a 4-year apprenticeship as a junior graphic designer with Siegried Odermatt who was a notable Swiss graphic designer. After a 10 year period of working with Odermatt, she had founded O&T (Odermatt & Tissi) with Siegried Odermatt where she continues to work to this day.

Her work follows the Bauhaus design methodology from what I see and presents a very modern, clean-looking design philosophy. Personally, I don’t really care for the Bauhaus method of design and as such don’t really care for her work. I don’t find the work revolting in any way, it just doesn’t appeal to my liking. But, I do find it to be very well done and executed phenomenally.

Gerald Giampa

Born on March 4th, 1950, Gerald Giampa had gone on to become a printer, typographer, and author. He had been born in Duncan, British Columbia to a poor upbringing. As he grew up, he had developed an interest in printing books from his grandfather who had liked to read books. From then on, he had moved to Vancouver where he had begun his studies into the art of letterpress printing and typography under the tutelage of Wil Hudson and Nick Schwabe.

Over time, he had developed his own studio named Cobblestone Press and later renaming it to the Northland Letterpress Company. Lastly, he had run a company called Lanston Type Company along with a business partner Jim Rimmer.

He had died on the 20th of June in 2009 in Vancouver, leaving behind his most significant work to date. The development of the Bodoni 26 font.

Dugald Stermer

In the 1960s, Stermer had become an art director for Ramparts. A magazine that had leftist views that eventually resulted in the conceptualization of the Rolling Stones magazine. With his work in Ramparts, he had enabled the magazine to the first “Radical Slick” by combining blockbuster investigative stories with high production values by including photographs and glossy paper.

After a successful career at Ramparts magazine for a number of years, he had left the position to pursue a career as a freelance illustrator and a magazine designer. His later jobs had consisted of working on advertising campaigns for Levi’s, Jaguar, Brooks Bros., BMW, Nike, and others as well. However, one of most notable, if not the most notable, was his designing of the medals for the 1984 Summer Olympics while he was still living in Los Angeles.

In addition to that, he had also worked as an illustrator by creating illustrations for The San Francisco Chronicle, Time, New York Times, Los Angeles Times, New Yorker, GQ, and The Rolling Stones. He had led a successful career until his eventual death at the age of 74 on December 2, 2011.

Milton Glaser

Born on June 26th, 1929 in The Bronx, New York City, New York, Glaser had gone on to be one of the most well-known and well-received Graphic Designers of all time. He had been responsible for many iconic designs such as the I ❤ NY logo and the DC Comics logo. In addition to being responsible for some of the most well-known logos today, he had also been responsible for the formation of Push Pin Studios, had co-founded The New York Magazine, and lastly formed Milton Glaser Inc.

Over the course of his career, he had designed more than 300 posters. Most of which have been displayed in the Cooper Hewitt Nation Design Museum. This museum is where he had received a Nation Design Award Lifetime Achievement in 2004. Lastly, he had also received the National Medal of Arts from President Barack Obama in 2009 and had been the only Graphic Designer to do so.

Élisabeth Louise Vigée Le Brun

Otherwise known as M.L.E. Vigée Le Brun, Madame Lebrun, or Madame Le Brun. She was born in 1755 and died in 1842 at the age of 86. She was primarily known as a portrait painter in the late Rococo period of painting with inspiration from the rising Neoclassicism style of painting. Throughout her career, she had amassed a collection of some 660 portraits and around 200 landscape paintings.

By her teenage years, she had already painted portrait professionally as seen by this painting she did that is titled Portrait of Mohammed Dervish Kahn. In this painting, we can see the Rococo style of painting through the rendering of the smooth, white garment that he is wearing. In other portraits, as featured below, we see the Neoclassical style exemplified through how elegant each portrait is depicted. I very much like this style of painting as I find the lifelike rendering of the subjects an absolute inspiration to my personal style of painting.

Lisa Yuskavage

Born in 1962 in Philidelphia, Lisa Yuskavage is a figurative painter who takes major influence from classical painting techniques. Techniques that were in use during the Italian Renaissance as well as Colour Field techniques by such artists, of whom she also took inspiration from, such as Giovanni Bellini, Edgar Degas, and Johannes Vermeer. However, her depictions of her figures within the paintings are done in such a way that I personally like.

Los Angeles Modern Auctions (LAMA), September 30, 2018 Modern Art and Design auction

In Johannes Vermeer’s work, we typically see strong shadows that are cast on the central subject of the painting. This can be seen in One, Two, Three, the painting displayed above. Over half of the figure is shrouded in shadow with a dim light source coming from the opposite end to illuminate just enough of the shadow for us to see the rest of the body. Unlike many other painters I have examined in the past, I very much like hers just in terms of how she makes her subjects look and how she handles light and colour.

I may be biased in this opinion as I draw my figures in a style that’s very similar to hers, but I still think they’re handled beautifully.