Honouring the call of Indigenous peoples from around the world, Canada’s Truth and Reconciliation Commission has specifically summoned, not only the State, but all churches to embrace the TRC's Calls to Action. Here are 3 studies that look specifically at ways the Church can engage in the reconciliation process: adopt and comply with the United Nations Declaration on the Rights of Indigenous Peoples; repudiate the Doctrine of Discovery; respect Indigenous spirituality. 

Short articles written by both Indigenous and Settler authors, combined with poetry and visual arts provide a rich, engaging and accessible resource for individual and group conversation. Study guides are included in each volume.
I began work on the first volume, Wrongs to Rights, as the layout designer and art director during my work at Mennonite Church Canada as a Multimedia Artist. When financial shortfalls hit the denomination, I was let go but continued the trilogy with editor Steve Heinrich, completing Yours Mine, & Ours in October 2016 and Quest for Respect in April 2017.
The design of the publications is a slight departure from the typical look of the quarterly magazine, which was visually in need of a redesign. The logo you see in the lower corners is a redesigned logo. The syllabics read what phonetically can be rendered in English as 'Intotemak' - meaning "all my relations" in Ojibwe.
Even though Mennonite Church Canada already had a fleshed out brand with principle type - Frutiger Condensed and Garamond - this project was proceeding with an uncertainty about Mennonite Church Canada and the future of Intotemak. We decided for that reason to pursue an independent aesthetic.
In design, embellishment is to be undertaken with an appropriate caution, and the risk of getting the balance off is particularly potent when dealing with conversations on Indigenous culture, philosophies, lifeways, and aesthetics. To avoid exotifying the material innappropriately, I chose to move forward with a type-driven aesthetic. 
After much deliberation, I landed on three typefaces for very specific reasons.
Leading the aesthetic single-handedly is Inknut Antiqua, a chunky slab serif that evokes the appearance of Icelandic runes, Venetian stone-hewn type, and somehow the bold cheekyness of Cooper Black. It is used for the cover titles, article titles and subtitles, author names, poetry, and the massive full page quotes at the beginning and ending of the each book.
Handling secondary type characteristics is Source Sans Pro by Adobe. Elements like author bios, detail titles, photo captions, and quote sources, and page numbers all go in source. Source is a warm and open sans serif with very little secondary emotional qualities. Source Sans is also increasingly being used by other Anabaptist inter-mennonite organizations, like Anabaptist Witness, for whom I also currently serve as a layout designer.
Adobe Caslon Pro was chosen for body type. Caslon's terminals manage to be round and volupuous while staying subdued, constrasting inknut's exaggerated and unmistakably harsh angular terminals and serifs. 
Visually, the rest of the publication features a combination of editorially-determined photo and art content. Each of the volumes, however, features a number of illustrations and graphics I designed from scratch from either photographic source material or simple illustrations.
Each of the volumes features a full spread, full-colour photograph. The irony in this beautiful image, captured by Winnipeg-based photographer Matthew Sawatsky, is that water surrounding this "island" is actually the result of unethical and environmentally destructive damming in Northern Manitoba.
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