Model notes from the Canadian Journey series
Last fall, the Bank of Canada released Canada’s first vertical bank note, the $10 featuring Viola Desmond. But, it wasn’t the first time the Bank had considered a vertical format.
The Bank consults the public
Ask yourself a question. Just what is it about Canada or being a Canadian that’s most important to you? OK, now imagine expressing that on a bank note. Not so easy, eh?
In 1997, the Bank of Canada launched public consultations to find out what Canadians felt best represented them as a people and Canada as a place. Is it a person? A place? An animal? This was the first time Canadians were consulted on what appeared on their money. More than 4,000 people from a broad array of cultures and social groups provided their opinions. There were lots of calls for beavers and Mounties, of course. But participants also talked about Rocher Percé in Quebec, Confederation, Nellie McClung, personal freedoms, hockey, Louis Riel, peacekeepers, insulin—things they thought symbolized Canada both at home and for other nations.
Eventually, broad Canadian themes emerged that could be used to lay the foundation for a new note series: diversity, freedom, nature, history, activities, inventions and people. This last one ranged from individual achievers to generic traditional working types, such as the lumberjack or the fur trapper.
Identifying with nature
Every aspect of a new bank note goes through sometimes dozens of versions before a final design is chosen. Even the themes are works in progress.
The first theme tentatively settled upon for the new series was wildlife. After consulting with eminent naturalists, a number of animals were proposed—animals that were strongly associated with Canada, yet didn’t have any nasty, human-eating reputations (grizzlies: big and scary, otters: cute and fun).
At the same time, a short list of Canadian achievers was also established. The bank note design team put considerable thought into pairing the achievers with animals that might best represent them.
Pairing significant Canadians with wildlife
- Samuel de Champlain and a beaver
- Emily Carr and a big-horned sheep
- Lucy Maud Montgomery and a Canada goose
- Sir George-Étienne Cartier and a snowy owl
- Nellie McClung and a bear
- Tom Longboat and a wolf
However, then-Prime Minister Jean Chrétien chose to retain the prime ministers’ portraits on the new notes, but an animal was still chosen for the back of each denomination.
In October 1998, the design and thematic criteria were handed off to the security printing firms. Their design teams went to work and came back with a surprising result: vertical notes.
Designed by a team headed by Canadian Bank Note Company’s Jorge Peral, the set proposed was a complete departure from anything before seen in Canada. Though freshly modern, the fronts were essentially traditional bank note patterns. The backs of the notes, meanwhile, were anything but. Vertical notes had occasionally popped up in Europe, but on this side of the Atlantic, these proposed notes were indeed radical.
Bank note traditions are strong
But these notes were not to be. In the end, a horizontal format was chosen, and the wildlife theme was abandoned for a very different approach to Canadian identity. However, the face designs of Peral’s proposal were retained and further refined for the future series.
The wildlife subject certainly resulted in beautiful images, but the themes finally chosen for the new series were more reflective of a Canadian experience. The images of peacekeeping, children at play, innovation, exploration and social rights are the result of a bold undertaking to represent Canada and Canadians. When issued, they were considered by the Bank of Canada to be the most Canadian of our notes. And because the process was so successful, public consultation has since become an essential part of our bank note design process.
These notes were a major turning point in how Canada represented itself on money. And the vertical note? It doesn’t seem so radical now that the Bank of Canada has produced a fully vertical ten-dollar bill. Check it out—it’s a whole new direction both in design and content.
Though long out of production, the odd Canadian Journey series note may still occasionally pop up in your change. If so, take a close look at its multi-layered imagery and its messages about Canada and who we are as Canadians.
Another convention of the Royal Canadian Numismatic Association (RCNA) wrapped up in July. This year the convention was held in Winnipeg, Manitoba. It was the first time in over thirty years that the RCNA Convention made a stop there.
Before the museum closed for renovations on 2 July, technicians began to remove the heavier artifacts in late May. First to go was the strong box. Built of ¼” thick welded steel plates, this trunk was used by the Bank of Upper Canada in Toronto between 1821 and 1866.
Most of us know the first part of Alexander Graham Bell’s take on opportunity: “When one door closes, another one opens…” What we often don’t recall is the second half of that quote, where he says: “…but we so often look so long and regretfully upon the closed door, that we do not see the ones which open for us.”
The Staff of the Currency Museum was saddened to learn of the passing of artist Alex Colville who died on 16 July at his home in Wolfville, Nova Scotia. He was 92. One of Canada’s most celebrated painters, Colville is not as well-known as a sculptor but if you look carefully through your pocket change you might just find an example of his work.
The roots of the Currency Museum go back to 1959 when the then Governor of the Bank of Canada, James Coyne, proposed the idea of establishing a currency collection that would reflect the colourful monetary history of Canada. By the time the go-ahead was given in 1963 by Coyne’s successor, Louis Rasminsky, the collection’s mandate had been expanded to include world monetary history, banking and production artifacts and a numismatic library.