Tag Archives: flag design

A Sweet Proposal… for a New Canadian Flag

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By Forrest Pass

February 15, 2025, is the sixtieth birthday of the National Flag of Canada. The media and heritage institutions—including Library and Archives Canada—often mark the flag’s anniversary by sharing some of the “also-rans,” a selection of Canadians’ design submissions in the months and years leading up to the flag’s adoption.

It’s fun to speculate about alternative designs: for example, what would the Canadian Olympic teams’ uniforms look like if we had selected a flag other than the now-iconic red-and-white maple leaf design? What’s more, these rejected designs tell us something about their creators’ values and their ideas about the country’s past, present and future.

Flag enthusiasts often have our favourite “also-rans.”  The story of my favourite runner-up brings together two mid-February fixtures: flags and chocolates.

In 2013, while working as a historian at the Canadian Museum of History, I found a set of ten small fabric flags for sale on eBay that appeared to date from the Great Flag Debate. The seller, sadly, knew nothing about their origins, having bought them as part of a trunk load of miscellaneous bric-a-brac at an estate sale. However, these little flags were noteworthy to me because so few proposed designs made it off the drawing board; it took a rare confidence in one’s own design—and a little bit of disposable income—to produce fabric examples for distribution.

Small white flag with blue and red crosses and a green maple leaf in the middle.

A mysterious Canadian flag proposal. (Canadian Museum of History, 2013.47.1)

I could confirm that the proposal had been submitted to the House of Commons flag committee because it hangs, alongside many others, on the wall of the committee’s meeting room in a 1964 press photo. This was enough to justify the flags’ acquisition for the museum’s collection, but I still hoped to identify the designer and the flags’ intended symbolism.

Black and white photo of seventeen men and one woman sitting or standing around a table surrounded by flag designs.

Members of the House of Commons Flag Committee surrounded by 1200 designs for a new Canadian flag, October 7, 1964. The mystery flag is circled in red. (Library and Archives Canada, a213164)

As luck would have it, a colleague came across a reference to this very flag four years later in the Hansard record of the Great Flag Debate. In a speech on August 26, 1964, Clément Vincent—MP for Nicolet-Yamaska, Quebec—had described both the flag and its symbolism to his fellow parliamentarians. A little more digging in Hansard, and I had the name of the designer: Jean Dubuc. And after some Internet sleuthing, I uncovered a letter to a newspaper, an obituary and a Facebook profile. I was soon corresponding with the designer’s son, Daniel Dubuc, who told me more of his father’s story.

Jean Dubuc (1920–1965) was born in Chandler, Quebec, and grew up in Chicoutimi, where his grandfather was a pulp-and-paper and hydroelectricity magnate. He joined the Quebec public service in 1951 and settled in the Québec City suburb of Sainte-Foy. A lifelong heraldry enthusiast, he conceived his proposed Canadian flag in the late 1950s. In 1959, he sent a copy of it to every senator and member of the House of Commons. He included a printed bilingual cover letter, and his son generously donated a copy to the museum.

Among the thousands of designs submitted before and during the Great Flag Debate, Dubuc’s stands out. For one, he cleverly intertwined the red cross of St. George on a white background, the traditional flag of England, with the pre-revolutionary French merchant ensign, a white cross on a blue background. Thus, the Dubuc flag evoked gave equal status to the two principal settler communities without using the more familiar—and sometimes controversial—Union Jack and fleur-de-lys.

A second intriguing feature was Dubuc’s inclusion of Indigenous people in his flag design, at a time when most designs, including the one finally selected, included no such reference. The white field of the flag, wrote Dubuc, represented “the first occupants of the land,” the First Nations and Inuit, “still in possession of vast expanses of snow and ice of this country.” This comment put Dubuc ahead of his time: even the few mid-century amateur designers who did include Indigenous symbolism rarely acknowledged that Indigenous people were still around, much less that they still owned and occupied these lands. (Dubuc did not mention the third constitutionally recognized Indigenous group in Canada today, the Métis Nation, whose history and continued existence were less well known in the 1950s, particularly in eastern Canada.)

During our conversations, Daniel Dubuc also told me a tantalizing tidbit: his father had produced another piece of ephemera to promote his flag design. It was a foldable model that explained the components of the design and showed how they fit together. Unfortunately, the family did not have a copy, at least not at hand. I made a mental note to keep an eye open for one.

Then in 2022, I found it. I was going through the papers of Guy Marcoux, a Ralliement des créditistes (Social Credit) MP for Québec-Montmorency, not far from Dubuc’s home in Sainte-Foy. In Marcoux’s substantial reference file on the flag question, the Dubuc model stood out among dozens among letters, leaflets and collage flag mock-ups.

Three images of a pamphlet titled “l’Histoire du drapeau” (English translation: The history of the flag). Printed paper model of a flag with blue and red crosses and a green maple leaf in the middle. The model also includes instructions on how to layer the symbols and the meaning of each symbol.

Jean Dubuc’s folding flag model. (Library and Archives Canada, Fonds Guy Marcoux, MIKAN 110969)

As I had suspected from Daniel Dubuc’s description, Jean Dubuc’s flag model was inspired by a similar model depicting the history of the Union Jack, distributed by Laura Secord as a promotional favour in the 1930s. Like Dubuc’s model, the Laura Secord version illustrated the layers of crosses, colours, and meaning that made up the Union Jack, Canada’s official national flag for domestic purposes until 1946. The concept was popular: Laura Secord adapted its insert to support the war effort, and American sister company, Fanny Farmer Candy Shops, distributed a similar favour explaining the history of the Stars and Stripes.

Three images of a paper model illustrating the history of the Union Jack. Folding flaps representing the crosses of St. Andrew, St. George, and St. Patrick show how the flag is constructed and how it has evolved.

Folding model of the Union Jack produced by Laura Secord Candy Shops to mark the coronation of King George VI, 1937. (Library and Archives Canada. National Archives of Canada Postcard Collection. MIKAN 15178)

In his personal campaign for a distinctive flag, Jean Dubuc adapted a format—the folding paper model—that would have been familiar to decision-makers and ordinary Canadians, especially if they were chocolate lovers. His simple, striking design lent itself to this elegant promotional form. My rediscovery of Dubuc’s flag model reminds us also that although the records of the flag committee have been well publicized, there are other collections at Library and Archives Canada that continue to yield surprising details of the Great Flag Debate sixty years later. When you open an archival box, as when you open a box of chocolates, you never know what you’re going to get.

Forrest Pass is a curator with the Exhibitions team at Library and Archives Canada.

Donald Nelson Baird and the 1945–46 Parliamentary Flag Design Committee

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By James Bone

From Confederation through to the Great Canadian Flag Debate of 1964, the quest to give visual identification to the Canadian nation through an official flag was an elusive one. At various times the Union flag of the United Kingdom and the Canadian Red Ensign stood in unofficially for Canada, but attempts to create our own flag never bore fruit. Prime Minister Mackenzie King made an attempt between 1924–31 and there were periods of renewed interest during the Second World War, however these invariably fizzled due to partisan differences in Parliament. At the end of the War, Mackenzie King again sought a solution to the problem. In November 1945, his government struck a joint House of Commons and Senate committee to consider and report upon finding a suitable and distinct flag for Canada. To achieve this task, the Committee announced its intention to accept design submissions from the public.

Flag Design Submissions

To say that the Committee was inundated with potential designs would be an understatement. By the submission deadline, the official count was 2,695 and many more continued to arrive. The Committee’s records, which include a sampling of correspondence thanking people for their submissions, reveal that among those to submit design proposals were people such as the artist David Milne and Dominion Archivist Gustave Lanctôt. There were also designs received from children, veterans and Canadians of all sorts. To facilitate discussion, voting and the elimination of designs, the Committee created a process to count and classify the elements found in each submission. Prominent elements were maple leaves, beavers, the Union Jack and the fleur-de-lys.

During its mandate, the Committee also received and kept correspondence from the public. Some Canadians supported the process to find a suitable national flag, while others felt that any new flag would dishonour the memory of the recent Second World War dead. Likewise, some correspondents felt it would be unacceptable to include any element of French identity, while others pushed for a flag that reflected both the British and the French heritages of Canada.

Donald Nelson Baird’s Submission

One submission to the Committee arrived by way of Dorothy Baird of Truro, Nova Scotia, on behalf of her younger brother, Donald Nelson Baird (1920–2001). Originally from Glace Bay, Nova Scotia, Donald had suffered the effects of polio as a child and had only limited use of his arms, hands and legs. Despite this hardship, he learned to draw and paint with watercolours and would soon find himself at the centre of a national debate on the future of the Canadian flag.

A black-and-white photograph of a man looking towards the camera with a flag design in the background.

Donald Nelson Baird, Abbass Studio Limited, 1946. (MIKAN 5082349)

Baird’s design was not overly complex. As described in the Committee minutes, it was simply a “Canadian Red Ensign with a maple leaf in autumn golden colour replacing the Coat-of-Arms on the fly.” The design was submitted as a small watercolour painting on paper and, like all submissions, received an identifying number from the Committee.

A flag design with the Union Jack in the left-hand top corner and a gold maple leaf on the right with a red background.

Donald Nelson Baird’s flag design, 1946, watercolour on paper. (e011213692)

The design appealed to many members of the Committee, which had received several similar designs. However, given its prominent use of the Union Jack, its red field, and the lack of a French symbol, this appeal was far from unanimous.

Committee Deliberations

In the first quarter of 1946, the Committee deliberated over the many designs it had received in order to make a final selection. Votes were conducted periodically to eliminate certain submissions from the competition. By May 17, 1946, only five designs remained in competition and soon thereafter that number was whittled down to just two: Baird’s design and the Ligue du drapeau national’s design, the latter of which did not include a Union Jack.

The main proponent in the Committee for Baird’s design was R.W. Gladstone, Member of Parliament for Wellington South (Ontario). In the expectation that the Committee would select Baird’s design, Gladstone wrote to Dorothy Baird asking for a suitable photograph of Donald for publicity purposes. The letter also reveals that many similar designs had been received and that, of these, Donald’s seemed the most suitable and typified what Gladstone believed to be the desire of most Committee members. As discussed below, the final design proposed by the Committee for consideration by Parliament was modified slightly from Baird’s and officially was a product of the Committee itself, with no reference to Baird in its reports or minutes. Gladstone’s letter to Dorothy Baird is thus the best available evidence to show that it was indeed Baird’s design selected by the Committee.

A typed page with a crest and House of Commons written at the top.

Correspondence from R.W. Gladstone, MP for Wellington South (Ontario), to Dorothy Baird. (MIKAN 5082237)

A typed page with R.W. Gladstone’s signature at the bottom.

Correspondence from R.W. Gladstone, MP for Wellington South (Ontario), to Dorothy Baird. (MIKAN 5082237)

With just two designs remaining in competition, Gladstone then moved to have Baird’s design designated the new Flag of Canada. Deliberations stalled and a separate subcommittee was formed to study the question of whether or not a symbol other than the Union Jack could be used that would satisfy the majority of the Committee. Newspapers began running pieces about the new flag, with most Anglophone papers supporting Baird’s design, while Francophone newspapers such as La Presse supported the design by the Ligue du drapeau national. Cartoonist Bob Chambers, in an editorial cartoon for the Halifax Chronicle Herald, depicted Baird being lifted into the history books by Betsy Ross, the apocryphal designer of one of the first American flags. Baird’s name was also included in the November 1946 supplement to the biographical dictionary periodical Who’s Who.

On July 10, 1946, the subcommittee returned and reported that no alternate symbol could be found. Two members of the Committee remained opposed to Baird’s design as it both included a Union Jack and lacked any element of French Canadian heritage. By the time the Committee reconvened the following evening, the subcommittee had negotiated a compromise that the golden maple leaf would be “in a bordered background of white.” According to the minutes, this was to represent the French presence in Canada. This small modification was, in essence, the only change made to Baird’s original submission. This altered design was put to the Committee and passed in a vote of 22 to 1—thus making it their non-unanimous recommendation for the new flag. The Committee then prepared a final report for both houses of Parliament and recommended the appropriation of funds for the Secretary of State to produce prototypes of the new flag. Artist Frances Gage painted small prototypes, one of which is at the Canadian Museum of History, and an unknown number of full-sized prototypes were made and used for publicity photographs.

A colour photograph of two women holding a flag on a rooftop.

Flag prototype photograph, Weekend Magazine, 1946, photographer Louis Jacques. (MIKAN 5082300)

Outcome and legacy

Despite all the work that went into the Committee and its selection process, the final report was never presented to Parliament. Prime Minister Mackenzie King was reportedly in favour of the design but, out of consideration for national unity, it was more politic to quietly forget about the episode by invoking the fact that the Committee’s final vote had not quite been unanimous. As Baird’s name was not associated with the design in the Committee minutes and with the final design having been technically the creation of the Committee, his work was largely unknown as having been its inspiration and was soon forgotten outside of his family and community. Like most of the designs for which the Committee had a return address, Baird’s work was returned to his sister Dorothy and was kept by the family. For the next two decades, Dorothy frequently wrote to members of the provincial and federal governments when the question of a national flag resurfaced, urging them to reconsider Donald’s design. The last attempt was made in April 1964, when a sympathetic Member of Parliament, Robert Muir, informed Dorothy that Donald’s design would certainly find no favour with the government, as Prime Minister Lester B. Pearson had promised that the new national flag of Canada would be without the Union Jack.

This author speculates that had Baird’s design been adopted for a national flag in 1946, it likely would not have lasted through the period of renewed interest in establishing a more distinct national identity that came about in the 1960s and that produced the current National Flag of Canada. Nonetheless, Baird’s design and the work of the 1945–46 flag design committee most certainly help to illustrate aspects of the national mood towards Canadian identity in this perhaps lesser-known event in our history. Today, reproductions of Baird’s design can sometimes be found in specialty flag stores, though probably few know its whole story.

Library and Archives Canada has recently acquired the Donald Nelson Baird fonds, which features the original watercolour flag design, correspondence from the Committee and members of the public, newspaper clippings about Baird, and family photographs.

A man standing outside, facing the camera wearing jeans and a red plaid shirt holding the corner of a flag.

Author James Bone with Baird’s flag at Dominion City Brewing, Ottawa, June 2019, copyright James Bone.

James Bone is a philatelic and art archivist with the Private Specialized Media team at Library and Archives Canada.