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Unlike the Inuit sculpture, art prints from the Canadian Arctic are a twentieth-century innovation in Inuit Eskimo art. One of the most significant events that happened during the evolution of modern Inuit art was when Canadian James Houston taught the Inuit to make art prints by having incentives for linoleum plates, boulders and seal stencils. He had previously studied print production in Japan since the Japanese were considered innovators in this art process.
One day in 1957, Houston met a local Inuit artist named Osuitok Ipeelee in Cape Dorset. Ipeelee had studied the identical printed images of a sailor's head on two cigarette packages he had. Houston demonstrated the process of printing to the Inuit carpenter by rubbing ink on one of Ipeelee's ivory grids and making an impression of it on a toilet paper. After seeing the resulting graphic, the Inuit artist said, "We could do it." This resulted in the birth of the Eskimo Inuit art print.
Cape Dorset Inuit artists soon integrated the new printing methods into their Inuit art and in 1960 their print production was a growing company. Eskimo Inuit art prints by early artists such as Pitseolak Ashoona and Jamasie Teevee became much sought after works of art. Because of Cape Dorset's success, other Inuit communities were encouraged to follow its example. So, in addition to the Inuit sculpture, art print became another form of Eskimo Inuit art that gained commercial success. Cape Dorset has an annual edition of Inuit art prints every year and often sells out. Another Inuit community known for its Inuit art prints is Holman.