We, the authors, wish to acknowledge and give thanks to the many First Nations people, in particular the elders, who have, over the years, shared their wisdom, knowledge, skills, stories, humour and unselfishly extended their hospitality and kindness. We owe these people an enormous debt. It is from this group of people that we have also learned to respect the artform and the culture from whence it originated and is inseparable.

Special thanks is extended to the Hunt family of Victoria B.C. for the opportunity afforded Jim Gilbert in the early 1970’s, to experience a traditional apprenticeship with master artists, at the Arts of the Raven workshop and the Thunderbird Park art training program. Since the revival of traditional Northwest Coast First Nations art, in the 1960’s, recognition must be given to those master artists who extended the opportunity for the training of others, which has ultimately led to the advancement and revitalization of the art.

The following is a list of some of the First Nations master artists, teachers and artists, who helped initiate, have sustained and contributed in the renaissance: Mungo Martin, the Hunt family - Henry, Tony, Richard, Eugene, Stanley, Shirley, Calvin, Ross, George Jr., Tom, Tony Jr., Stephen, Jason; Mervyn Child; Bill Helin; Bill Reid; Doug and Kevin Crammer; Sam, Don, Mark and Bill Henderson; Frank Nelson; Fah Ambers; Wayne and Bruce Alfred; Roy Henry Vickers; David Boxely; Chuck Heit; Simon and Beau Dick; Marvin Oliver; Stan Greene; Dwayne Simeon; Geg Colfax; Susan Point; Nancy Dawson; Nathan Jackson; Robert and Reg Davidson; Phil Janze; Ken and Victor Mowatt; Freda Diesing; Walter Harris; Vernon Stephens; Earl Muldoe; Ron Sebastian; Art and Neil Sterritt; Sam Wesley; Don Yeomans; Jerry and Russel Smith; Francis Williams; Clarence Mills; Doug Wilson; Norman Tait; Larry Rosso; Floyd Joseph; David Neel; Roy Hanuse; Stan Bevan; Ken McNeil; Dempsey Bob; Butch Dick; Victor and Carey Newman; Cicero August; Simon Charlie; Doug Lafortune; Francis Horne; Charles Elliot; Joseph Wilson; Terry Starr; Victor Reece; Henry Greene; Glenn Tallio; Jim Hart; Robert Jackson; Alvin Adkins; Glen Wood; Gerry Marks; Dale Campbell; Bradley Hunt; Art Thompson; Ron Hamilton; Joe David; Tim Paul; Patrick Amos; Lyle Wilson; Alfred Collinson; Danny Dennis; and Clarence Wells.

Many non-native master artists, artists and teachers have played a prominent role in the rebirth, understanding and growth of Northwest Coast art. Non-natives are only now being recognized for their contribution in the renaissance of this great artform, whether it be in the production of original, fine quality native-style art, conducting classes or workshops, giving lectures, or writing articles and books. Artists with various cultural backgrounds who have contributed are in part: Bill Holm, Duane Pasco, John Livingston, Phil Nuytten, Steve Brown, Ron Burleigh, David Forlines, David Horsley, Jim Bender, Barry Herem, Jay Haavik, Jerry Hill, Don Smith and the Lelooska family, Loren White, Greg Blomberg, Edith Newman, Glen Rabena, Gene Brabant, G. Mintz, Robin Wright, Henri Nolla, E. Arima, Tom Duquette, Tom McFee, Peter Grant, Tom Patterson and Brien Foerester.

An internationally recognized authority in the field of North American First Nations art and culture, is Bill Holm. This Seattle master artist, art historian, scholar, author and teacher, began an academic exercise in the mid-1950's which led to the publication in 1965 of a most influential book. Northwest Coast Indian Art: An Analysis of Form, has guided, influenced and educated more artists on the subject of two-dimensional Northwest Coast art than any other publication. Since its release, Bill Holm has continued to contribute to the development, understanding and recognition of the artform and artists by structuring and teaching classes at the University of Washington in Seattle Washington and writing countless articles and books on the subject. For nearly half a century, Bill has generously supported, directed, encouraged and given guidance to many scholars, and artists.

Another Seattle non-native master artist is Duane Pasco. Essentially a self-taught artist, he is one of the most highly regarded creators of Northwest Coast Native-style art.

“A full-time professional artist and teacher since 1967, he has taught classes at the Kitanmax School of Northwest Coast Native Indian Art at 'Ksan in northern British Columbia, the Sitka Indian Cultural Centre and Ketchikan Heritage Centre, both in Alaska, as well as Universities and Colleges in Washington State.”1

In the early 1970's, Bill Holm stated,

“Duane Pasco was the most important single contributor to the success of the revival of ‘Ksan... his instruction and example...set the direction and standard of the work.”2

1 Averill, L. and Morris, D. Northwest Coast Native and ative-style Art. A guidebook for Western Washington. University of Washington Press 1995, p.165 2 Bill Holm. 'Ksan Breath of our Grandfathers, - Art of 'Ksan. National Museum of Man, Ottawa, 1972.

Special Thanks Go to Our Family, Friends and Colleagues

Jim’s parents, Harry and Mary Gilbert Jim’s wife, Joan Karin’s parents, Arnold and Irma Becker, Eric Lange, Lisa Becker, Roland and Aline Lange, Bruce Obee, Ruth Cook, Margaret Klaassen, Dixon Taylor

Editing: Joan Gilbert

Manuscript Review:

Chief Tony Hunt, Carey Newman, Steve Brown, Ron Stacy, Reg Ashwell, Nella Nelson, Ron Burleigh, Ed Doerksen, Sue Coleman, Vernon Stephens, Jim Clayton, Edith Newman, Gary Hargreaves

Colleagues:

Printing consultants Art Thompson, Grant Forrest, and Melonie Price.

Seattle Art Museum:
Barbara Brotherton (Curator of Native American Art):

“The authors have taken a very complex issue - Northwest Coast design aesthetics - and made it understandable to a broad audience. I feel that the Native/First Nations reflections on art and culture section of this book will be very useful to readers.

A wealth of information about styles and meanings of Northwest Coast art that would be useful to teachers, artists and anyone interested in learning more about these vibrant art forms.”

Brad Bigelow (Seattle Art Museum, Manager of retail operations.):

“I loved the interviews with a First Nations family. Getting their input was wonderful. I also loved the comparisons between the four separate styles of design.

Very educational and very informative. This is a must-have for any lover of the Northwest Coast Native American form and style.”

Woodcarver's Ezine, Saskatoon, Canada
W.F. (Bill) Judt,(Master carver, sculptor artist):

“ I am even more impressed with this volume than the last. It offers so many new tools and insights that allow one to create imaginative and lively designs that incorporate the numerous elements of the art form. I can see this volume generating a lot of interest in my relief classes.

The carver in me got really excited at what I found between page 51 in the "Introduction to Design" chapter and the "Quick reference charts" ending on page 152. The patterns are beautiful and the combinations almost endless. I especially liked the design ideas in the sections on "Elements - Rain, Clouds, etc" and "Trees and Coastal Islands." Beautiful!

For those who enjoy and appreciate the artwork of the Northwest Native Indians, this book is overflowing with ideas for creating imaginative and evocative designs. Wood carvers, especially, will view this book as a wonderful resource. Highly recommended.”

Blue Raven Gallery, Sooke, B.C., Canada
Victor Newman (Kwagulth/Salish Artist, First Nations Art Teacher-retired, First Nations Education Division Greater Victoria School District, Gallery owner):

“ When people who come through our gallery see the book they say "This is what I've been looking for, for a long time." They're quite excited about it!”

Edith Newman (Librarian, Vancouver Island Regional Library, Fabric Artist "Ayesu Originals" "Blue Raven Gallery"):

“ The interviews with the Cook family and Wedlidi Speck were very interesting.
The detailed description of each style of design will be very useful to those people wanting to understand Northwest Coast design. I will find the quick reference chart very useful when working with clients.
This book should be in the library of every person wanting to understand the coastal First Peoples and their art. It is very easy to follow.”