Inuit Prints

Historical / Cultural Significance

Peoples of the Canadian Arctic have carved objects for many years. Their art speaks of nature as it relates to human life, and the land appears as a mild illusion. Through these arts, they have recorded the story of their lives. Most of the carvings dealt with the central problems of life: the hunt, having children, death, and their spirit world. In 1948, a painter named James Houston went to the Arctic for his own work. There he found some carvings which he brought back to Montreal. James Houston is credited for introducing the idea of printing to the Eskimo people; one night in Cape Dorset, while sitting with an Eskimo carver, the carver noticed trademarks on two packages of cigarettes. He mentioned to Houston that it must take quite a lot of work to paint the same exact picture onto endless packages. Houston began to explain about the printing process but had difficulty due to the language barrier. He found an ivory tusk that the artist had recently carved, took an old tin of writing ink and smoothed it over the tusk, and then made a print with it onto a piece of tissue.

The concept of printmaking was new to the Eskimos, but the images were firmly based on centuries of ancient Inuit traditions, myths, and skills. Printmaking would be the ideal occupation during bad weather, when it was not possible to hunt. Through the prints the Inuit can relate their legends, mystical occurrances, and great journeys. Aside from providing a necessary buying power in their changing world, the prints speak to them about their approach to not only life, but also death.

Principles and Elements of Design

There are many types of lines and shapes evident. You can almost feel the implied texture in the feathers of the owl. Many of the designs have the same shapes on the left side that occur on the right side; this creates balance within the work of art. There are also many patterns that can be found within many of the prints. In "Young Owl Takes a Ride" the patterns make a circular or radial design.

Techniques and Methodology

The stone must be grainless and may be carved or chipped in any direction with incredible precision. The immense weight of the stone assures a solid surface for cutting, inking, and printing. The ink is thin and oil-based and is applied with a soft gelatin roller. The stone is then placed special paper, face down, and rubbed gently with a sealskin or simply fingers until the desired degree of darkness in the print is achieved. When each print series is completed, the stone block or sealskin stencil is destroyed. Each print has a small, square shaped signature written in syllabics on it, that can easily be read by an Eskimo of the Eastern Arctic and identifies the artist.

Use in the Classroom

Using a sheet of styrofoam, pens and pencils, paper, a roller, and water soluble ink, have students draw the shape, textures, and patterns they wish to print. Carefully redraw the best parts of the plan on the styrofoam with a pen. Roll a smooth, thin layer of ink onto it with a roller or brayer. Apply paper to the styrofoam that is at least 1" wider and longer than the styrofoam piece. Rub the entire surface with fingertips, remove the print and allow to dry.

Wash and dry the styrofoam, and redraw areas that can be improved. Repeat the inking process with a different color and make another print to create an addition.

Integration with Music, Dance, Drama

Inuit songs can be played during the process. A story or tableaux could be created from the print.

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