Haida manga watercolour and ink painting. The painting is comprised of 18 separate, multi-coloured, story panels. Each panel shows several scenes in the story, in order, starting at the upper left corner. When all the panels are hung together in a rectangular configuration (6 panels wide x 3 high) they also form a larger image, united by a thick, black, painted line. (From the upper left corner of the image, l-r: parts a-f; middle row, l-r: parts g-l; lower row, l-r: parts m-r.) The artist signed each panel on the back and sketched out where it fits in the configuration.

Large, unframed painting on a rectangular piece of handmade "washi" paper. Painting depicts a craterous landscape of oil barrels with groups of red pipelines and rivers of black snaking through. Bursts of yellow extend from some of the barrels while others have drawings of fish, humanoid faces or other creatures on the lid. The background is a solid black sky. Signed in the bottom right corner.

Ink drawing on paper. The outline of a large bird occupies the page, its head toward the bottom, three large tail feathers at top, drawn with orange ink and shaded in a light green on its talons, beak and head. Inside the form are brief notes in a numbered mapping format, written in black ink. Text at bottom states, “Raven’s Call transition & overview map Oct 9, 2008”. Erased pencil marks and notes can be seen across the sheet.

Pencil drawing and watercolour painting on paper. One side of the paper is filled by a drawn scene in pencil, showing in the lower half the outlines of a town with houses and chimneys. To the left is a totem pole filled with multiple detailed animal forms. In the top right quarter of the sheet are birds and fish in a variety of poses, facial features prominent. On the back of the page are large areas of watercolour paint in no particular design, in purple, blue-green, and grey.

Drawing in pencil on paper. Image is a formline drawing of an animal, with large eye at top left, tail at top right, and three visible legs beneath a wide body. Eraser marks can be seen around the image. On back side of paper are lines, likely from a larger drawing that was cut down.

Drawing in pencil on paper. Paper is a long rectangle, featuring a drawing in clean simple lines of two train cars. The first is the engine, with ladder reaching toward ground. The second is a passenger car with four windows. Light sketches of a third car can be seen behind, as can eraser marks around the engine. A hand printed note to the far right says “aint using caboses anymore!” The other side of the paper has several dark pencil lines and many eraser marks.

Drawing in pencil and pencil crayon on paper. At centre sits a group of stylized men, crouched, torsos merging together. Each wears a tall hat. Their features are animated. This image has been roughly sketched and shaded in pencil, and drawn over more clearly in blue pencil crayon.

Drawing in pencil on paper. Large central image is of a group of three figures, each wearing a tall hat with a flared rim. The left-most figure is in outline only, while the centre is more developed with facial features, fingers and toes. The third is face and hat only. Below and to the right is a large face in profile, while above is a similar face but much smaller. Along the right edge of the page are scribbles and dots in a light coloured ink.

Drawing in pencil on paper. One side of the page shows the outline of three houses in the distance, each with a window and tall chimneys. In the foreground is a similar house, drawn larger. To the left of these are the outlines of totem poles, the leftmost with details of a large bird at bottom. On the other side of the paper is a line drawing of a passenger train car, concentrating on the windows and metal studs. At the top of the page is a diagram in four parts centring in on one of the train windows. Below is printed “zooming as train rolls by frame”.