The Canada 150 bank note is issued!
The public reveal of our new Canada 150 bank note design (we call it the C150), with its various ceremonies and crowd of dignitaries, was a pretty big deal (see the blog). The media event surrounding the same note’s release into circulation, (or “issue” as we like to call it) was, by contrast, a much quieter affair. Such things usually are. (No astronauts were involved—see the issue of the Polymer $5)
In a modern twist, Governor Stephen S. Poloz took a “selfie” while holding a C150 note before meeting up with the Honourable Ginette Petitpas Taylor for the main photo‑op. Petitpas Taylor is the Parliamentary Secretary to the Minister of Finance and was representing the Honourable Bill Morneau at the event.
It was a two-part photo-op: the Governor and Petitpas Taylor posed across the street from the Bank holding notes and then walked the two blocks to a gift shop on Sparks Street to place those notes into circulation. The only slight drama arose from the weather. Not only did the wind play havoc with our subjects’ hair, but clouds kept passing over the sun, making the photographers sweat a bit as they coped with the constantly changing light. But Governor Poloz and Petitpas Taylor nevertheless braved the gusts, posing cheerfully with their new C150 bank notes.
There then followed the curious spectacle of a gaggle of media hurriedly lugging all their gear down Sparks Street and cramming themselves around the cash desk of a nearby gift shop. Mr. Poloz strolled in and bought some maple candy and Ms. Petitpas Taylor chose some soap. Both paid with crispy, new C150 notes, of course. When the dignitaries left, cameras crowded around the sales desk, while their owners made the clerk (who was a good sport about it) repeatedly take the bill out of the register and put it back again.
In my last blog about this note, I spoke about the portraits. Now, as promised, I’ll chat about the more than a dozen other visual elements on the back and front. From the public consultations that informed the design, it was clear that Canadians’ identification with the landscape remains very strong. Back in 1954, the Bank’s Canadian Landscape series of notes promoted Canadian identity through its regional landscapes, featuring big vignettes that beautifully captured a broad snapshot of our vast country. Mind you, the designers had eight notes to work with.
The C150 design team didn’t have the luxury of such a vast canvas and was challenged to represent Canada’s wildly diverse regions on the back of just one note. The resulting note’s five gorgeous landscapes manage to elegantly showcase almost all geological regions of Canada. We’re just that much more efficient these days.
Apparently not satisfied with the four portraits on the front and five landscapes on the back of the bill, the C150 team included another ten visual elements to further represent Canada’s culture, history and land—and further frustrate counterfeiters, of course. These elements are applied via a number of security printing methods employed by the Canadian Bank Note Company. Vignettes such as the arrow sash patterns at the top and bottom or the Hall of Honour are lithographic prints, while the features such as those in and around the large transparent window are printed using metallic, colour-shifting inks. These inks change colour when you tilt the bill and make the maple leaves at the bottom of the window appear to be three dimensional. Good old-fashioned intaglio printing originating from steel engravings was used for the portraits and landscapes, recognizable by lightly brushing your fingertips across their raised surfaces.
In fact, so rich in detail is this note that you really ought to see it up close on the Bank of Canada’s website. There you’ll find a beautiful, fun and fascinating webpage with an interactive note you can flip over and inspect. You will also find background information on all the imagery along with a couple of really slick videos.
Better still, pick up a C150 note for yourself at your friendly, neighbourhood financial institution. If, like some of us, you are planning to keep the note, get two so you can spend one. It is money, after all, and it won’t commemorate anything while stored in your sock drawer.
Every year the conference of the International Federation of Finance Museums (IFFM) draws museum directors from five continents to a get-together aimed at sharing best-practices and keeping up with the latest trends in the world of financial museums. This year was the Bank’s first opportunity to attend the conference with a museum in fully-operational mode.
I have several key responsibilities to meet the requirements of my job. None of them is more gratifying than conducting research about the incredible artifacts in the Bank’s collection.
It’s all good, and we couldn’t be happier with our first few weeks of business.
In 1934 the Department of Finance invited Emanuel Hahn to submit a design for a silver dollar to commemorate the Silver Jubilee of King George V’s reign.
After four years of plans, worries, setbacks, successes and sheer hard work, the Bank of Canada Museum opened its doors—on Canada Day, right on schedule.
The last few stragglers among our artifacts are ready for installation and the interactives and digital labels are bulking up with the final software and data, in them, so it’s all there, functional and looking fantastic.
For us, its removal from the Garden Court dramatically marked the Currency Museum’s closing. The big stone’s return now performs the opposite role for the new Bank of Canada Museum—heralding its opening.
Although never released for circulation, these two pieces were part of the first official initiative to mint coins in Canada.
Canada’s cultural and regional diversity is a key part of our nation’s identity. However, it’s an enormous challenge to represent such concepts on a 7 by 15 centimetre piece of polymer.
It’s a very flexible design and right now our graphics team is busy adapting it to a dozen different uses and formats.
In the middle of the 19th century, a French lawyer and adventurer named d’Antoine de Tounens became fascinated by the Mapuche people of the Patagonia region of South America. At the time, they were struggling to protect their ancestral lands, their identity and their culture from colonial expansion by the governments of Chile and Argentina.
So how’s the Bank of Canada Museum progressing? Everything seems to be ticking along just fine, thanks.
Often referred to as “bookmark money” because of their narrow, vertical format, Japanese hansatsu were among the world’s most distinctive currencies.
Well into my adulthood, I had assumed that the noble beast gracing the reverse side of our quarters was a moose. Clearly, I was not a terribly observant coin collector.
Desmond truly exemplifies a Canadian who has overcome barriers, is inspirational to others, has made a positive change to society and in so doing, left a lasting legacy.