Design

When I was asked to design the LNEC logo, I knew I wanted to create something that honored the location and represented the participating states. The convening brings together educators from Alaska, Washington, and Oregon, so I decided to incorporate symbols for each state using Formline design elements.

For Alaska, I used a light blue mountain symbol. Washington is represented by a teal evergreen tree, and Oregon by a blue rolling wave. These symbols aren’t just geographical representations – they’re created using traditional Formline elements like ovoids, S-shapes, trigons, and crescents.

What I love about this project is how it bridges traditional Tlingit design with a contemporary purpose. It’s a perfect example of how our ancestral art forms can continue to evolve and remain relevant in modern contexts.

Creating this logo was also a reminder of the importance of education in preserving and promoting Native cultures. It felt meaningful to contribute to an event focused on Native education, knowing that my design would be part of discussions shaping the future of Indigenous learning.

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When Western Washington University approached me to create a logo for their Native American Heritage Month, I saw it as an opportunity to represent the essence of Native storytelling through Tlingit art.

The design, which I titled “Kindling New Traditions,” features two ravens in conversation. In Tlingit culture, Raven is a central figure in many of our stories, often portrayed as a clever trickster and creator. By depicting ravens in dialogue, I wanted to emphasize the importance of storytelling in Native cultures.

I used modern interpretations of traditional Tlingit Formline elements to create the ravens, setting them against a starry night sky with a central fire. The stars represent the enduring nature of our stories, passed down through generations, while the fire symbolizes the vitality of our oral traditions and the warmth of community gatherings.

This project was particularly meaningful to me because it aligns with WWU’s commitment to including Native voices and promoting Native intellectual change. Through this design, I hoped to create a visual that would inspire dialogue and reflection, not just during NAHM, but throughout the year.It was an honor to contribute to WWU’s celebration of Native cultures and to help create a space for learning and appreciation of Native histories and knowledge.

See it in use at https://www.wwu.edu/nahm-2024

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Tináa, or copper shields, have always fascinated me. They’re deeply significant in Tlingit culture, representing wealth and status. I wanted to honor this tradition while creating something that could be worn and appreciated in everyday life.

Many contemporary Tlingit artists create Tináa as jewelry, typically as necklaces. I decided to put my own spin on this idea. What makes my approach unique is that I’ve transformed the Tináa into a medallion-style necklace, a form that’s common in many other Tribal jewelry traditions but not typically seen in Tlingit work.

To create these pieces, I start by designing and crafting a Tináa. Then, I punch holes around its perimeter and add a backing. The real magic happens when I bead around the edge, similar to how other Tribal medallions are finished. To complete the piece, I create a fully beaded wrap necklace.This project has been a journey of blending traditional and contemporary elements. It’s my way of carrying forward our cultural heritage while creating something new and wearable. Each piece is a conversation starter, allowing me to share a bit of Tlingit culture with others.

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After learning paddle carving from James Johnson, I was inspired to create smaller versions that could be easily displayed in homes. These mini paddles, measuring only 15 inches long, provide a perfect canvas for Formline designs despite their small size.

I’ve created a variety of designs on these paddles, including Ravens and Eagles, which are significant in Tlingit culture. I’ve also branched out to other subjects like Boston Terriers and Dutch Lions, as well as abstract designs. This variety allows me to cater to different tastes while still practicing traditional Formline techniques.

To make these mini paddles more display-friendly, I create custom acrylic stands for each one. It’s been rewarding to see how these small pieces of art have found homes with friends, family, and other Tribal members.

What I love about these mini paddles is how they’ve allowed me to share Tlingit art in a accessible, personal way. They’re not just decorative items – they’re small ambassadors of our culture, sparking conversations and spreading appreciation for Tlingit artistry.

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This project was particularly exciting for me because it combined traditional Tlingit imagery with contemporary meanings. YSaLS, which stands for “Yéil Signs a Lingít Song” (Yéil being the Tlingit word for Raven), required a design that captured both the essence of our storytelling traditions and the act of singing.

I created an abstract interpretation of a split-beak raven head with wings. The design incorporates cross-hatching to hold the negative space together, a technique often used in Formline art. In the beak/mouth area, I included a tongue that transforms into a human face with its tongue out, representing the act of singing.

This design was painted onto a handmade 16-inch elk skin drum. The combination of the traditional drum with this contemporary design felt like a perfect representation of how our culture continues to evolve while staying rooted in our traditions.Creating this drum was a reminder of how our art can adapt to new contexts while still carrying deep cultural meaning. It’s my hope that this drum not only serves its purpose for YSaLS but also continues to tell our stories through its visual language.

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This space is reserved for an upcoming hummingbird commission project, scheduled for completion in early 2025. The design will explore how to represent the delicate beauty of hummingbirds using Tlingit Formline elements, bridging traditional art forms with subjects not typically found in Northwest Coast art.

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