Learning by Doing Northwest Coast Native Indian Art

Raven Publishing Inc.

Regular price $24.95

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By Karin Clark and Jim Gilbert

  • Learn Pacific Northwest Coast formline art with step-by-step instructions on how to draw, design, paint and carve in the PNW art style.
  • Plan out traditional formline drawings and create meaningful, original designs.
  • Save hours of researching online with well-researched cultural background information.
  • Beginner to expert, find something for everyone!  
  • Make it easy with step-by-step, clear, concise directions and detailed illustrations.
  • Meet your curriculum expectations beautifully, with history and applied design techniques, if you're a teacher or homeschooler.
  • Feel confident in respectful content. Our books have been vetted and recommended for accuracy and respectful tone by First Nations artists, educators, and community members.



    • Contains step-by-step instructions and illustrations on the basics of drawing, designing, painting and carving in the Pacific Northwest Coast Native Indian art style.
    • Fifteen educationally based concepts are arranged from simple to complex, with each step building on the previous.
    • Over 300 black and white detailed illustrations and 32 photos enhance and clarify the straightforward instructions.
    • Durable soft cover, black and white, 160 pages.
    • 5 in x 11 in
    • First published in 1987 and reprinted in 1990, 1993, 1999, 2001, 2003 and 2017.

        Buy the entire "Learning By" series

        Table of Contents


        Chapter 1
      • Scope and Sequence Chart
      • Introduction and Theoretical Construct
      • Instructional Techniques
      • Justification and Need
      • Chapter 2
      • Review of the Literature
      • Map
      • Northwest Coast Native Indian Cultural Background information
      • Contexts of Northwest Coast Native Indian Art
      • Ethnography
      • Native Art
      • Recognition of Native Art as an Art Form
      • Kwagiulth Artists
      • Skills
      • Curriculum
      • Curriculum Model
      • Patterns of Instructional Programming
      • Methodology
      • Time
      • Interaction Patterns
      • Learner Needs
      • Supportive Environment
      • Program and Student Evaluation
      • Reporting
      • Present Day Development of Curriculums of Native Indian Art
      • Chapter 3
      • Goals and Objectives
      • Goals
      • Objectives
      • Evaluation
      • Handout Materials:
      • Rating Scale - Teacher Program Evaluation
      • Rating Scale - Parent/Guardian Evaluation
      • Questionnaire - Teacher Self-Evaluation
      • Questionnaire - Student self-Evaluation
      • Questionnaire - Student Course Evaluation
      • Example of a Criterion-Referenced Test
      • Concept Checklist
      • Group Record Card
      • Chapter 4

        Teaching/Learning the Concepts:
      • Native Indian Art Displays
      • Concept # 1 - Basic Ovoid
      • Concept # 2 - Ovoid with Eyelid line
      • Variations and Styles of Eyes and Eyelid Lines
      • Concept # 3 - 'U' Shape
      • Concept # 4 - Split 'U'
      • Split 'U' Forms and Common Mistakes - Test Paper
      • Concept # 5 - Reverse Split 'U'
      • Concept # 6 - Variations in 'U' Shapes
      • Additional Variations in 'U' Shapes - Chart
      • Concept # 7 - 'S' Shaped Box End Design
      • Concept # 8 - Salmon-Trout Head
      • Concept # 9 - Killer Whale Head
      • Concept # 10 - Eagle Head
      • Concept # 11 - Knife Handles
      • Concept # 12 - Bas-Relief Whale
      • Concept # 13 - Bas-Relief Eagle (Interior Areas Carved)
      • Concept # 14 - Carved Serving Tray
      • Concept # 15 - Ceremonial Paddle
      •  Chapter 5

      • Costs
      • Possible Uses
      • In-Service or Other Preparatory Activities
      • Materials
      • Line Drawings
      • Bibliography

        About the Authors

        Karin Clark, M.Ed. - Writer/teacher/artist Karin Clark has had over 35 years’ experience working with children and adults. Most of this time has been spent learning and teaching with British Columbia’s First Nations in public and private schools, colleges, art classes, aboriginal/social studies courses, and university teacher education programs.

        With a primary focus on building bridges of understanding among cultures, Karin has written and published books that highlight and appreciate the varied and rich cultures of the NWPC indigenous peoples as well as how to draw, paint and carve in the artistic styles of the Pacific Northwest Coast First Nations.

        In her first book, Learning by Doing Northwest Coast Native Indian Art, co-authored with Jim Gilbert, she used her experiences and training in special and cultural education to produce an easy-to-follow, beginners’ skill development curriculum designed to foster respect for First Nations culture through art.

        Karin spends her work time evaluating teaching/learning strategies and materials, creating curriculum material, writing story books and readers, and using frameworks to create First Nations language programs. She creates material and workshops to: enhance self-esteem and motivation; create Native Indian art; learn and teach using the Cognitive Education Method’s (CEM) 6 keys to success; identify and explore personal learning styles and strategies; identify, strengthen, and remediate thinking skills and strategies; train instructors, paraprofessionals, and curriculum developers; and design flyers and brochures.

        In writing Learning by Designing Pacific Northwest Coast Native Indian Art Volume 1 and Volume 2 and Learning by Doing Northwest Coast Native Indian Art with Jim, Karin has been able to use all her skills and experience to create useful resources for artists, students, teachers, and collectors.

        Jim Gilbert, B.A. - Jim Gilbert, B.A.

        April 8, 1932 - November 14, 2000

        Jim was trained under a traditional Kwagulth art apprenticeship with the Hunt family of Victoria. He worked with and for master carver, Tony Hunt Sr., learned the basics from master carver, Henry Hunt, and felt privileged to have danced at Henry's funeral potlatch.  

        Tony Hunt Sr. praised Learning by Designing Pacific Northwest Coast Native Indian Art, Volume 1:

         “This book provides valuable information about the complex variations of Northwest Coast designs. It is well researched and all artists should benefit from this information. I HIGHLY RECOMMEND THIS BOOK. Congratulations.” - Chief Tony Hunt Mupin Kim - Klah Kwa Tzee Four Times Chief/Big Copper - Kwagulth Master Carver and Artist.  Tsaxis/Victoria, B.C. 

        Jim was a versatile and award-winning artist in both traditional and contemporary styles. Over the years, Jim was commissioned by a number of First Nations communities to produce carvings and silver jewellery to be used for ceremonial activities.

         For thirty years, Jim was an active artist working mainly in the art form of the Pacific Northwest Coast First Nations. He worked in most coastal aboriginal art styles with artistic production ranging from original graphics, limited and open edition prints, carvings in wood, ivory, bone and stone, to hand engraved and sculptured jewellery pieces in silver and gold.

         Jim was raised in Brentwood Bay on the Saanich Inlet. His early fishing and hunting partners were local and travelling Indigenous people. That, along with the influence of his father, Harry Gilbert (1898 - 1967), who painted and carved in the Native style, ensured Jim's lifelong affinity to the culture.

        In Learning by Designing Pacific Northwest Coast Native Indian Art, Volume 1 and Volume 2, companions for the previously published Learning by Doing Northwest Coast Native Indian Art, Jim shared his passion and respect for the art form and passed on his own training, understanding, skill, and experience with traditional art apprenticeship methods. His experience teaching First Nations art in Victoria schools gave him an understanding of effective methods of passing on artistic knowledge and skills to larger groups of students.

        Jim used his artistic skills to create over fifteen hundred original illustrations for both volumes of Learning by Designing. His qualifications as a biologist, teacher, artist and author made him uniquely suited to be involved in the production of this extensive working guide and reference book.

        Jim's desire was to pass on his knowledge and appreciation for Pacific Northwest Coast Native art. In his own words, "It is important to me to pass on what I have learned and to make others aware of the value of the finest and most sophisticated art form ever developed by an aboriginal people."