Designing for indigenous reconciliation, culture and community

Led by Adele Bisaillon RGD, the initiative spanned two years and involved extensive collaboration with Indigenous language secretariats, translators, education partners and government stakeholders. The design process required balancing government standards, accessibility requirements, language accuracy and cultural sensitivity while ensuring equal representation across all 11 official languages. The result is a customizable diploma system: every graduate can now receive their credential in the official language most meaningful to them, including any of the territory's nine Indigenous languages. A certificate holder featuring the Great Seal of the Northwest Territories, translated into all 11 languages and a gold-embossed seal complete the graduation package. What was once a standardized document has become a personalized symbol of language, identity and achievement—and through design, a contribution to the long-term visibility and revitalization of Indigenous languages in the North.

Credits

• Design: Adele Bisaillon RGD
• Client: Government of the Northwest Territories

Iikaakiimaat: Bow Valley College Indigenous Framework by the Creative Team at Bow Valley College

Bow Valley College sits in proximity to where the Bow and Elbow rivers converge—a confluence of waters in Calgary that carries deep symbolic significance for the Indigenous students who attend the College. The broader region makes up Treaty 7 territory in Southern Alberta, and the College's Iniikokaan Centre, meaning "A Buffalo Lodge for all Nations," provides programs and services dedicated to Indigenous student success.

In the spirit of reconciliation and to honour the varied traditions of the College's Indigenous student population, a working group was formed in 2023 to compile a comprehensive framework document with contributions from Elders and Knowledge Keepers representing all Treaty 7 Nations. The Creative Team at Bow Valley College was then tasked with presenting these shared understandings in a cohesive booklet. There was universal agreement among working group members that the photography should call attention to the natural world—sky, water, fields and mountains—so the College's in-house photographer spent three days photographing culturally significant landmarks throughout Southern Alberta.

The printed document was introduced at the Blessing Ceremony of a new Indigenous outdoor green space at the West Campus in 2025.

Credits

• Creative direction: Josh McInerney RGD
• Graphic design: Patrick Brooks
• Photography: Ryan Hetherington-Keys
• Printing: Kallen Printing
• Client: Bow Valley College

Gamzook'aamin aakoziwin by Bruce Power

Gamzook'aamin aakoziwin—Anishnaabemowin for "We are fighting the sickness together"—is a partnership between the Saugeen Ojibway Nation (SON) and Bruce Power dedicated to producing and marketing cancer-fighting medical isotopes. Because of the cultural, social and scientific significance of the initiative, the visual identity needed to honour Indigenous knowledge and speak to multiple audiences: SON members, government partners, the healthcare community and other Indigenous communities exploring similar collaborative pathways.

The branding approach was community-guided and collaborative from the beginning. The project name was developed by Polly Keeshig-Tobias, a Knowledge Keeper, language speaker and SON member — a contribution that grounded the initiative in Anishnaabemowin and reflected shared responsibility from the outset. To visually represent the partnership, artist and SON member Emily Kewageshig was engaged to develop the logo. Her design symbolizes the diversity of people working together toward healing: figures encircled in a ring, representing the global reach of medical isotopes. With the name and logo established, Bruce Power's in-house design team expanded those elements into a full brand system — visual guidelines, collateral materials, merchandise, presentation tools and social media assets — collaborating closely with SON partners throughout to ensure cultural accuracy and alignment with community expectations.

The Partnership has landed on a design system that successfully reflects its core values: collaboration, respect, cultural authenticity and shared purpose. The Anishnaabemowin name has become a powerful conversation starter, sparking curiosity and prompting audiences to learn more about the work behind it.

Credits

• In-house designers: Stacey Hill, Dustin Pringle, Erin Grandmaison RGD and Kathleen Scott RGD
• Project name: Polly Keeshig-Tobias (Knowledge Keeper, language speaker and SON member)
• Logo design: Emily Kewageshig (artist and SON member)
• Client: Bruce Power / Saugeen Ojibway Nation Partnership

Deloitte Nation Building — APTN Bears' Lair TV Commercial by Deloitte

Bears' Lair is an Indigenous business reality series on APTN, where First Nations, Inuit and Métis entrepreneurs pitch expansion plans to a panel of Indigenous business leaders. Deloitte's 30-second spot, developed for the series, introduced the firm's Nation Building Practice to Indigenous business audiences—positioning Deloitte as a connector between Indigenous Nations, governments and corporate Canada, with the emphasis placed on empowerment and partnership rather than the firm itself.

The creative centred on visualizing connection through the landscapes of the country. Animated lines of light travel across coast-to-coast geographies, each location chosen to symbolize the diversity and strength of Nations across Canada. The custom linework was also designed to reference the Indigenous cultural practice of smudging, rooting the visuals in Indigenous ways of knowing. To ensure cultural authenticity, all illustrated animals were created by Indigenous graphic designer Summer Bird, who researched natural animal movement and produced multiple sketch cycles so each creature animated with care and accuracy. Colour grading and atmospheric effects were refined to establish a tone that felt proud, emotive and respectful — culminating in a closing hero scene featuring an abalone moon. The spot received positive feedback from leadership, partners and community members alike.

Credits

• Director: Deborah Peterson
• Creative Direction: Monique Ah-Sue
• Associate Creative Director, Video: Jayson Chan
• Lead Producer: Kevan Byrne
• Associate Creative Director, Copy: Andrew Gale
• Associate Creative Director, Design: Donna Graffi-Smith RGD
• Illustration and Indigenous Graphic Design: Summer Bird
• Animation: Yoho Yue
• Client: Deloitte Canada / APTN

Expanding Horizons: Deloitte's Renewed Reconciliation Action Plan by Deloitte

Deloitte's renewed Reconciliation Action Plan (RAP) required more than an update—it called for a visual system that honoured the foundation laid by the original while signalling genuine forward movement. The result is a design language built around the theme of expanding horizons: horizon-inspired gradients, sun motifs and yellow circular forms that together convey hope and progress.

At the heart of the renewed RAP is a hero illustration by artist Joe Tapaquon, whose gradient circle represents life force, spirit and a guiding north star, while connecting to Deloitte's own circular brand language. The bear and buffalo—symbols of courage and respect—express the shared steps forward, their visible eyes a direct reference to the Two-Eyed Seeing Approach that guided the RAP's development. Four stars at the top represent Deloitte's four north star pillars: inclusion, education, employment and economic empowerment, also referencing Indigenous teachings around the number four as a symbol of interconnectedness and full perspective.

The design process began with a meaningful act of artistic continuity. Joe Tapaquon collaborated with Nyle 'Miigizi' Johnston—the artist behind the original RAP illustration—to thoughtfully reintegrate tobacco plant and star people motifs from that earlier work into the renewed piece, honouring the journey Deloitte has been on and the lineage of the project. Indigenous graphic designer Summer Bird digitized Joe's artwork in close collaboration with both artists to maintain cultural and artistic integrity throughout. Fireweed imagery was added for its symbolism of resilience and renewal, and typography evolved to bold all-caps headings with italicized endings to express bold aspiration and ongoing progress.

The campaign delivered a full suite of materials: the complete RAP report, a Deloitte.ca landing page with accompanying infographic, social media cards and a print advertisement—making the commitments accessible to internal teams, Indigenous partners and the broader public alike.

Credits

• Director: Deborah Peterson
• Creative Direction: Monique Ah-Sue
• Associate Creative Director, Design: Donna Graffi-Smith RGD
• Indigenous Graphic Designer, Lead: Summer Bird
• Cover Illustration: Joe Tapaquon
• Original RAP Artwork: Nyle 'Miigizi' Johnston
• Associate Creative Director, Copy: Andrew Gale
• Art Direction: Kevin Calaguiro
• Copywriter: Emily Castrechino
• Client: Deloitte Canada

Voices of Indigenous Youth on Reconciliation — Report Series by Deloitte

As part of its Reconciliation Action Plan, Deloitte pledged to seek collaborative opportunities to support Canada's reconciliation journey. In partnership with Indigenous Youth Roots (formerly CRE), a national Indigenous youth-led organization, Deloitte co-hosted Indigenous Youth Advocacy Week (IYAW) in 2022—connecting Indigenous youth with government leaders to share ideas on federal policies and explore careers in advocacy. That week became the foundation for this five-volume report series, addressing four issues identified by First Nations, Inuit and Métis youth as critical to reconciliation: education, mental health, environment and Indigenous sovereignty.

Indigenous leadership was embedded throughout the design process: an Indigenous graphic designer shaped the visual system, each volume featured an emerging Indigenous artist from a different nation across coast to coast to coast and an Indigenous author guided the narrative and framing. The result is a visually connected series that balances evidence, lived experience and actionable guidance—designed to inform, inspire and mobilize stakeholders across sectors. Corresponding social assets extend the series' reach, while the approach itself models the respectful collaboration and representation the reports advocate for.

Credits

• Director: Deborah Peterson
• Creative Direction: Monique Ah-Sue
• Associate Creative Director, Copy: Andrew Gale
• Copywriter: Emily Castrechino
• Art Direction: Jordan Bamforth RGD
• Illustration and Indigenous Graphic Design: Summer Bird
• Indigenous Artists: Damien Bouchard-Newatchageesic, Atheana Picha, Natashia Allakariallak, Shianne Gould, Dani LaValley
• Client: Deloitte Canada / Indigenous Youth Roots

Indigenous Youth Roots Branding and Website by Design de Plume

After more than 15 years of growth, Canadian Roots Exchange recognized that its name no longer reflected its mission or the Indigenous youth it served. "Exchange" was no longer central to its work, and "Canadian" did not resonate with all Indigenous youth. As the organization expanded its focus on national programming, mentorship and youth leadership, Design de Plume was brought on to support a full rebrand—encompassing naming consultation, visual identity, brand guidelines and a website redesign.

The process was grounded in Indigenous protocols and youth leadership from the start. A full-day, in-person engagement session brought together youth-led discussion, storytelling, an offering of Tobacco, a shared feast and a ceremony led by Elder Grandmother Isabelle Meawasige. From that gathering, the name Indigenous Youth Roots emerged—reflecting themes the youth themselves named: growth, cultural connection, ancestry and strength.

The resulting identity was designed to feel as energetic and grounded as the organization it represents: bold enough to carry a national presence, warm enough to welcome youth in. At its centre is a beadwork and star-inspired flower representing Indigenous youth from all four directions. Its fractal forms speak to knowledge passed through generations, while earth, water and fire tones reflect connection, growth and renewal. These ideas extend across typography, illustration, colour, layout and sub-brand applications, creating a flexible foundation for IYR's future work. The website was built with both Western and Indigenous perspectives on accessibilit—considering not only navigation and usability, but clarity of language, culturally meaningful visuals and reduced cognitive load. Together, the brand and site support IYR's national programming, grants, mentorship and leadership work while honouring the self-determined futures of Indigenous youth.

Credits

• Consultation and Project Sponsor: Jennifer Taback RGD, Co-CEO
• Creative Direction: Jennica Robinson
• Graphic Design: Lauren Polchies, Ashley Wadge, Davide Dorigo
• Digital Strategy and UX Design: Lindsay Levesque
• Web Development: Xiangxu Teng, Erik McManus
• Name and Brand Strategy / Project Management: Lisa Baer-Tsarfati
• Website Project Management: Maria Legault
• Print Materials Coordination: Manju Davis
• Engagement Activities: Julia Taback
• Client: Indigenous Youth Roots

Advancing Accessibility Standards through Inuit Qaujimajatuqangit by Michelle Hopgood RGD

Nunavummi Disabilities Makinnasuaqtiit Society (NDMS) supports, advocates, educates and provides resources for Nunavummiut with disabilities. Their research work increases awareness of all aspects of life for Nunavummiut with disabilities across the territory. In 2023, NDMS approached Hopgood Creative to create culturally sensitive infographics, data visualizations and illustrations that could tell that story with honesty and care.

Michelle Hopgood RGD creatively directed illustrator Amy Ryu to bring Eeta to life—a persona of a young woman with a disability living in Nunavut. Through her story, the project depicts the challenging medical travel journey that is common to Nunavummiut with disabilities accessing healthcare within and outside their territory. Culturally sensitive storytelling was central throughout: every visual decision was made to reflect the lived reality of Nunavummiut rather than impose an outside perspective. The final solution is a 4-page spread featured in NDMS's research report. The society said the work captured the struggles, frustrations and emotions of Eeta's journey—a document that advocates with accuracy and empathy.

Credits

• Infographic design: Michelle Hopgood RGD, Hopgood Creative
• Illustration: Amy Ryu
• Client: Nunavummi Disabilities Makinnasuaqtiit Society

CBTU Indigenous Reconciliation Action Plan (IRAP) by Trevor Wall RGD

Canada's Building Trades Unions have been engaged in reconciliation work for over a decade, beginning with their 2017 commitment to act on the Truth and Reconciliation Commission of Canada's Call to Action #92. The IRAP represents the next major step: a national, structured framework for advancing Indigenous participation, leadership and economic opportunity across the union.

TWall Design worked as a creative partner with Mokwateh, an Indigenous-owned consultancy, which led the substantive engagement work—conducting a comprehensive review of internal documents, examining union and local initiatives and carrying out multiple rounds of interviews with Affiliates, Provincial Councils, Board members and Indigenous organizations. The design work translates that depth of research and community engagement into a document that is both authoritative and approachable, fitting for a milestone publication that will guide CBTU's reconciliation commitments going forward.

Credits

• Design: Trevor Wall RGD, TWall Design
• Creative partner and Indigenous engagement: Mokwateh (Indigenous-owned consultancy)
• Artwork: Angie Saltman
• Client: Canada's Building Trades Unions

Niskamoon Community Banners by Design is Yummy

Niskamoon Corporation works alongside the nine Cree communities of Eeyou Istchee to support initiatives that strengthen community well-being and foster meaningful connections across the territory. To support outreach and event participation, they needed a suite of communications materials that could represent each community individually while reading as a coherent series.

Design Is Yummy developed nine roll-up banners with authentic representation and accessibility at the centre of every decision. Regional landscape photography was carefully curated to celebrate the distinct character of each territory, while a custom colour palette gives every community its own visual identity within a unified system. Clear information hierarchy and wayfinding principles keep the banners visible and easy to navigate across a variety of public settings. Community names appear in both Cree syllabics and English alongside contact information for Local Officers. A flowing graphic element runs through the series, allowing the banners to function as individual community assets and as a unified whole—celebrating diversity while reinforcing the connections that unite all nine communities across Eeyou Istchee.

Credits

• Creative direction: Elana Rudick RGD, Design is Yummy
• Graphic design: Pam Menegakis and Jessica McDonald
• Client: Niskamoon Corporation

The Prose of Indigenous Inclusion in Toronto's Creative Media Industry: A living guidebook by Victor Szeto RGD

POV Film's Indigenous Creative Pathways Project set out to address a critical gap: Indigenous creatives in Toronto's media industry have long lacked the pathway support needed to advance beyond entry-level roles. The research that drives this report spanned two years, involved extensive interviews with Indigenous professionals currently working in the sector and was guided throughout by a Youth Advisory Committee of experienced Indigenous creatives. Indigenous research methodologies shaped the process from the start, ensuring the work was centred on community knowledge and priorities.

Victor Szeto RGD collaborated with the project team to develop a distinctive visual identity, drawing inspiration from rivers, ecosystems and fish—symbolic imagery that grounds the findings in Indigenous perspectives and cultural metaphor. The final deliverables include a 25-page research report and a dedicated online landing page offering downloadable materials, additional resources and partner recognition. The project launched alongside an event tied to POV Film's inaugural Immersive Media Training Program. Notably, the design process itself modelled the inclusive, partnership-driven practices the report advocates for—the work demonstrates the transformation it proposes rather than simply describing it.

Credits

• Designer: Victor Szeto RGD
• Research and writing: Dr. Zoey Roy and Talia Cowan
• Artwork: Nyle Migiizi Johnston
• Project manager: Biju Pappachan
• Client: POV Film