FROM TOUR TO TILES: A tour of the Heath Ceramics factory in Sausalito, California, led House Industries co-founder Andy Cruz to a collaboration with the owners of the storied ceramics maker that produced objects like decorative clocks and tiles. (Carlos Alejandro)
How House Industries and Heath Ceramics turned a happenstance online meet-and-greet into a creative collaboration
Heath Ceramic owners Robin Petravic and Catherine Bailey (Aya Brackett)
After Andy Cruz’s blog post about the Heath Ceramics men’s restroom caught the eye of Catherine Bailey, co-owner of the distinctive California ceramic manufacturer, she reached out to House Industries.
Soon after, Cruz and Bailey began corresponding regularly.
Realizing they shared a mutual appreciation for each other’s work, the two decided that House Industries and Heath Ceramics should collaborate. “Andy is a genius. Working with him is a guarantee that you’re going to learn something new, that you’re going to see something differently and that you’re going to find yourself paying attention to the next level of detail you didn’t even realize existed,” said Robin Petravic, who co-owns Heath Ceramics with Bailey.
Recognizing Heath Ceramics founder Edith Heath as a California design legend for her elegant designs accented by raw finishes, Heath and House decided to pair her legacy with those of two other greats — Charles and Ray Eames and Richard Neutra. After working through an arduous process of trial and error, House Industries fonts inspired by the Eameses and Neutra were applied to a series of tiles that later inspired a ceramic wall clock collection, both of which have been in production ever since.
“Along with Andy’s immense and unique talent comes a great collaborator,” said Petravic. “We’ve come to trust that, as the conversation goes one way, then the other and then off in yet another direction, we’re going to end up in a great place in the end.”
As to House Industries’ willingness to follow those other directions and learn from its own mistakes, it was the original drawings and hours of tweaking, proofing and redrawing of the stencil numbers for the Heath Ceramics clock project that ended up providing inspiration for another landmark House Industries work — Yorklyn Stencil, the house typeface of House Industries.
This story originally ran in The Henry Ford Magazine. House Industries: A Type of Learning is on exhibit at Henry Ford Museum of American Innovation.
This year, we celebrate the 75th anniversary of the dedication of the George Washington Carver Memorial in Greenfield Village. There is not a great deal of specific information about this project in the archival collections, but here is what we do know.
Henry Ford’s connections and interest in the Tuskegee Normal and Industrial Institute began as early as 1910 when he contributed to the school’s scholarship fund. At this time, George Washington Carver was the head of the Research and Experimental Station there.
Henry Ford always had interests in agricultural science, and as his empire grew, he became even more focused on using natural resources, especially plants, to maximize industrial production. He was especially interested in plant materials that could be grown locally. Carver has similar interest, but his focus was on improving the lives of southern farmers. His greatest fame was that of a “Food Scientist”, though he was also very well known for developing a variety of cotton that was better suited for the growing conditions in Alabama. Through the decades that followed, connections and correspondences were made, but it would not be until 1937 that the two would meet face to face.
Through the 1930s, work and research began to really ramp up in the Research or Soybean Laboratory in Greenfield Village. Various plants with the potential to produce industrial products were researched, but eventually, the soybean became the focus. Processes that extracted oils and fibers became very sophisticated, and some limited production of soy based car parts did take place in the late 1930s and early 1940s, as a result of the work done there.
In 1935, the Farm Chemurgic Council had its very first meeting in Dearborn. This group, formed to study and encourage better use of renewable resources, would meet annually becoming the National Farm Chemurgic Council. It was at the 1937 meeting, also held in Dearborn, that George Washington Carver, and his assistant, Austin Curtis, were asked to speak. Carver was put up in a suite of rooms at the Dearborn Inn, and it was here that he and Henry Ford were able to meet and discuss their ideas for the first time, face to face. During the visit, Ford entertained Carver at Greenfield Village and gave him the grand tour. Carver was also invited to address the students of the Edison Institute Schools. Carver would write to Ford following the visit, “two of the greatest things that have come into my life have come this year. The first was the meeting with you, and to see the great educational project that you are carrying on in a way that I have never seen demonstrated before.”
It was at some point during the visit that Henry Ford put forth the idea of including a building dedicated to George Washington Carver in Greenfield Village. It seems that he asked Carver about his recollections of his birthplace, and went as far as to ask for descriptions and drawings. Later correspondence from Austin Curtis in November of 1937 confirm Ford’s interest. It was determined by that point that the original building that stood on the farm of Moses Carver in Diamond Point, Missouri had long been demolished. Granting Ford’s request, Curtis would go on to supply suggested dimensions and a sketch, to help guide the project. The cabin was described as fourteen feet by eighteen feet with a nine- foot wall, reaching to fourteen feet at the peak of the roof. It included a chimney made of clay and sticks.
A 1937 rendering of the birthplace of George Washington Carver based on his recollections. No artist is attributed, but it is likely this was drawn by Carver. THF113849
It would not be until the spring of 1942 that the project would get underway. The building, very loosely based on the descriptions provided by Carver, would be constructed adjacent to the Logan County Courthouse. In 1935, the two brick slave quarters from the Hermitage Plantation, had been reconstructed on the other side of the courthouse. The grouping was completed with the addition of the Mattox House (thought to be a white overseers house from Georgia) in 1943. As Edward Cutler, Henry Ford’s architect, would state in a 1955 interview, “we had the slave huts, the Lincoln Courthouse, the George Washington Carver House. The emancipator was in between the slaves and the highly- educated man, It’s a little picture in itself.”
There are no records beyond Henry Ford’s requests for information as to how the final design of the building, that now stands in Greenfield Village, was determined. An invoice and correspondence does appear requesting white pine logs, of specific dimensions, from Ford’s Iron Mountain property. There is also an extensive photo documentation of the construction process in the spring and early summer of 1942.
Foundation being set, spring 1942. THF28591
Beginnings of the framing, Spring 1942. THF285293
Logs in place, roof framing in process, spring 1942. THF285285
Newly Completed George Washington Carver Memorial, Early Summer, 1942. THF285295
In the end, the cabin would resemble less of a hard scrabble slave hut, and more of a 1940s Adirondack style cabin that any of us would be proud to have on some property “up north”. It was fitted out with a sitting room, two small bedrooms (with built in bunks), a bathroom, and a tiny kitchen. It was furnished with pre-civil war antiques and was also equipped with a brick fireplace that included a complete set-up for fireplace cooking. As an interesting tribute to Carver, a project, sponsored by the Boy Scouts of America, provided wood representing trees from all 48 states and the District of Columbia to be used as paneling throughout the cabin. Today, one can still see the names of each wood and state inscribed into the panels.
Plans had initially been made for Carver to come for an extended stay in Dearborn in August of 1942, but those plans changed and he arrived on July 19. This was likely due to Carver’s frail health and bouts of illness. While the memorial was being built, extensive plans were also underway for the conversion of the old Waterworks building on Michigan Avenue, adjacent to Greenfield Village, into a research laboratory for Carver. The unplanned early arrival date forced a massive effort into place to finish the work before Carver arrival. Despite wartime restrictions, three hundred men were assigned to the job and it was finished in about a week’s time.
George Washington Carver would stay for two weeks and during his visit, he was given the “royal” treatment. His visit was covered extensively by the press and he made at least one formal presentation to the student of the Edison Institute at the Martha Mary Chapel. During his stay, he resided at the Dearborn Inn, but on July 21, following the dedication of the laboratory and the memorial in Greenfield Village, just to add another level of authenticity to the cabin, Carver spent the night in it.
George Washington Carver and Henry Ford at the Dedication of the George Washington Carver National Laboratory, July 21, 1942. THF253993
Edsel Ford, George Washington Carver, and Henry Ford, Carver Memorial, July 21, 1942. THF253989
George Washington Carver at fireplace in Carver Memorial, July 21, 1942. THF285303
George Washington Carver seated at the table in Carver Memorial, July 21, 1942. THF285305
Interior views of Carver Memorial, August, 1943. THF285309 and THF285307
The completed George Washington Carver Memorial in Greenfield Village c.1943. THF285299
Beginning in 1938, Carver began to suffer from some serious health issues. Pernicious anemia is often a fatal disease and when first diagnosed, there was not much hope for Carver’s survival. He surprised everyone by responding to the new treatments and gaining back his strength. Henry and Clara visited Tuskegee in 1938 for the first time, later, when Henry Ford heard of Carver’s illness, he sent an elevator to be installed in the laboratory where Carver spent most of his time. Carver would profusely thank Ford, calling it a “life saver”. In 1939, Carver visited the Fords at Richmond Hill and visited the school the Fords had built and named for him there. In 1941, the Fords made another visit to Tuskegee to attend the dedication of the George Washington Carver Museum.
During this time, Carver would suffer relapses, and then rebound, each time surprising his doctors. This likely had much to do with his change in travel plans in the summer of 1942. Following his visit to Dearborn, through the fall, there was regular correspondence to Henry Ford. One of the last, dated December 22, 1942, was a thank you for the pair of shoes made by the Greenfield Village cobbler. Following a fall down some stairs, George Washington Carver died on January 5, 1943, he was seventy-eight years old.
Carver Memorial in its whitewashed iteration, c.1950. THF285299
It was seventy-five years ago, that George Washington Carver made his last trip to Dearborn. His legacy lives on here, and he remains in the excellent company of those everyday Americans such as Thomas Edison, the Wright Brothers, and Henry Ford, who despite very ordinary beginnings, went on to achieve extraordinary things and inspire others. His fame lives on today, and even our elementary school- age guests, know of George Washington Carver and his work with the peanut.
Jim Johnson is Curator of Historic Structures and Landscapes at The Henry Ford.
- Bryan, Ford, Friends, Family & Forays: Scenes from the Life & Times of Henry Ford, Wayne State University Press, Detroit, 2002.
- Edward Cutler Oral Interview, 1955, Archival Collection, Benson Ford Research Center, The Henry Ford.
- Collection of correspondences between Henry Ford and George Washington Carver, Frank Campsall, Austin Curtis, 1937-1943, Archival Collection, Benson Ford Research Center, The Henry Ford.
- George Washington Carver Memorial Building Boxes, Archival Collection, Benson Ford Research Center, The Henry Ford.
- The Herald, August, 1942, The Edison Institute, Dearborn, MI
Marty in front of Disneyland exhibit (IMG.2749
I was saddened to hear about the passing of Marty Sklar on July 27, at age 83.
Who is Marty Sklar, you may ask?
He was one of the last people with a direct link to Walt Disney and the creation of Disneyland in the 1950s. Marty started working for Walt Disney as a young intern while still at UCLA, writing marketing copy for Walt’s newly planned theme park in Anaheim, California. Most of us can only imagine Walt Disney walking down Disneyland’s Main Street U.S.A. during the last frenzied months of construction. But Marty was actually there, learning from the master, helping Walt achieve his dream through his own talent for writing. No wonder Marty later gained the nickname of the Sorcerer’s Apprentice!
Disneyland brochure. THF207881
I met Marty in the early 2000’s, when he was Vice-Chairman and Principal Creative Executive of Walt Disney Imagineering. At The Henry Ford, we were working on a traveling exhibition, “Behind the Magic: 50 Years of Disneyland.” I had heard that Marty was the one who had generously “opened the vault” for us, given us unprecedented access to the amazing Imagineering art collection that had provided the basis for all the lands and attractions in Disneyland. All he asked for in return was to review our progress from time to time.
People who worked for Marty seemed to revere him. And were maybe a little intimidated by him as well. I found him to be down to earth, inquisitive at all the right times, and incredibly insightful. It helped that every review would inevitably wrap up with one of Marty’s humorous anecdotes about his experience working with Walt Disney. Then his serious demeanor would relax a bit and his eyes would twinkle. Whew, the scrutiny was over.
But I realized that it wasn’t scrutiny, really. What Marty was doing was assessing our ideas against a larger vision. Did they fit Disneyland? Did they fit Walt Disney Imagineering? Did they align with Walt Disney’s original vision? Marty was the keeper of the vision. His job at all times was to make sure that every new idea honed to the vision.
As the curator of our Disneyland exhibit, I was asked to co-write a publication with noted historian and scholar Karal Ann Marling, and to speak at a symposium that was held in conjunction with the exhibit. I picked as my topic a question that had long intrigued me and was, coincidentally, one in which Greenfield Village had once played a role: What had inspired Walt Disney to create Disneyland? Marty was also a speaker at the symposium that day, along with several others.
Marty at podium. THF12415
Of course, everyone was rapt with attention when Marty took the stage. In fact, that’s probably why all the people had showed up to begin with! After our presentations, Karal Ann and I kept busy signing our book for symposium attendees. It was reasonably crowded. But Marty’s line was miles long!
Marty signing books. THF12435
Everyone, it seemed, wanted to not only have him sign a book but also just to meet him, to have their picture taken with him. As for me, I tried to act nonchalant by not asking for a picture. But I did screw up my courage to ask Marty to sign my book. And what he wrote in it I still treasure to this day.
Inscription in my book.
In 2013, I picked up a copy of Marty’s just-published memoir, Dream It! Do It! My Half-Century Creating Disney’s Magic Kingdoms. There I learned much more about the projects in which he had been instrumental, including behind-the-scenes stories of the four attractions that the Walt Disney Imagineers had worked on for the 1964-65 New York World’s Fair, the decision to continue Walt’s legacy after his death in 1966 with Walt Disney World in Florida, and the creation of many of the other Disney theme parks worldwide.
Magic Skyway. THF67947
Walt Disney World brochure (89.126.19 – THF344606)
Though I only knew him for a brief period of time, I will not soon forget Marty Sklar. His insight, his wisdom, his dry sense of humor will live on in my memory. I will also take away from the experience an important lesson that I can apply to my work and my life every day—the skillful way in which he could somehow, simultaneously, both encourage wild creativity and make sure that everyone aligned with a larger vision.
It sounds easy. But it’s not. That to me was the mark of true genius.
Donna Braden, Curator of Public Life, enjoys both studying and visiting Disney theme parks.
Co-founder Andy Cruz shares how an enthusiast’s disposition and a willingness to experiment helped build his font factory, House Industries
Even if you’ve never heard of House Industries, it’s safe to say you’ve seen its fonts and graphic design work. They’re everywhere, from drive-thru menus to record sleeves to children’s toy blocks to the signage associated with the modern-day burger joint Shake Shack.
House’s output is a connective tissue that runs between such cultural touchstones as hot-rod hero Ed “Big Daddy” Roth, iconic French fashion house and saddlery Hermès, midcentury designers Alexander Girard and Charles and Ray Eames, and renowned pottery and tile manufacturer Heath Ceramics.
House Industries was founded in Delaware in 1993 by graphic designers Andy Cruz and Rich Roat, when, in response to the overwhelmingly corporate clientele in Wilmington, the pair decided to develop their custom lettering into fonts they could sell as products. This additional income acted as a buffer, affording Cruz and Roat a certain measure of freedom when selecting clients and collaborations. Taking visual cues from their various influences and interests — hot rods, skateboarding, punk rock, cycling and modern design, among others — House Industries developed a reputation for enthusiastic experimentation and an idiosyncratic approach to type that has only grown over the years.
Soon much of their work and the stories behind it will be published in the book The Process Is the Inspiration and presented to the public in an exhibition in Henry Ford Museum of American Innovation. While preparing for the exhibition, Cruz took some time out of his busy schedule to speak with The Henry Ford Magazine about the underlying philosophy behind House Industries and its approach to collaboration.
DID YOU KNOW? House Industries delivers its space-age 3009 font set in a die-cut spaceship reminiscent of a ’50s sci-fi film.
Can you talk about the general philosophy behind House Industries?
Cruz: We built House on the simple idea of incorporating personal interests into our work.
The trick was figuring out how to make our hobbies work hard for us, instead of working hard to support our hobbies. We tried to create a world at House where our curiosities and interests help fuel our business and personal lives and created a sense of purpose. So that’s one idealistic pillar of House Industries. Reality eventually kicked in, and we had to get down to figuring out how to apply those interests — that acquired knowledge — to the things that we were making. It started out as fonts, and then our design attention deficit disorder kicked in. Soon we were making clothing and then that became ceramics and then that became bicycles. So it’s always moving. It’s slightly unpredictable. But the cornerstone of House is following our interests and self-led learning.
A DEEP DESIGN DIVE: House Industries spent four years researching the work of designer Alexander Girard, traveling to Germany, Michigan and New Mexico in the process. The result was the Girard collection of fonts and other items capturing the designer’s folk art sensibilities, plus a book documenting the project. House Industries also did its homework when iconic luxury brand Hermès commissioned the studio to “dress” its flagship Tokyo store with its signature alphabetical flair.
The spirit of collaboration is present and a constant throughout House Industries’ body of work. How do you approach collaboration?
Cruz: A lot of it is mutual appreciation, if you will. I think of the Heath stuff, where we just went out there for a factory tour with no credentials — just sort of rolled in as tourists. I put up a shot of the men’s bathroom [on our blog], where they had some really cool tiles, and [Catherine Bailey, co-owner of Heath Ceramics] reaches out and says, “I wish I’d known you were here. I’ve been following you guys for a long time. Let’s try and figure something out.”
Sure enough, we figured something out. Again, that wasn’t a calculated business maneuver. It was just one of those things where, “Hey, I’m digging what you guys are doing; you dig what we do; let’s put the chocolate in the peanut butter and hope other people like how it tastes.”
The best work always comes out when that relationship is there. When they trust us and we trust them, we end up with something that everyone is excited to be a part of.
It’s interesting the way you can thread the needle so successfully over and over again — creating something that’s identifiably a House Industries’ creation but also amplifies the message of a world-renowned brand like Hermès, for example.
Cruz: There’s definitely a level of respect there that we try to be sensitive to. I think the Hermès project might be a good example because we wanted to be reverent to the brand, but at the same time, we wanted to bring something to the party that was a little more House Industries. We basically drew their name in the shape of a horse, then cut each letter out of solid chunks of cedar. If you tell someone that, you could definitely get some eye rolls. But that was all part of trying to understand the company’s equestrian history, their design legacy, and bake some of those elements into the project, and usually we can come out the other side looking and sounding like we know what we’re doing. [laughs]
You’ve taken on other projects during which you’re actively collaborating with brands connected to a family name and, in some cases — such as Charles and Ray Eames or Alexander Girard — with the history of design itself. How do you approach that?
Cruz: That stuff does come from being fans first, and I always try to remind our collaborators — be it an Eames or the Girards, even a Jimmy Kimmel — that we are stoked that they thought enough about us to let us work with their names. So we’re always conscious of that relationship. And as fans, you hate to see when your favorite brand does something, and it’s like, “Oh, man. That’s lame. Why’d they do that?” So that fan mentality helps us keep things honest at times. When we’re dealing with people’s family names and histories you admire, you don’t want to botch things up.
Accidental by Design
Throughout the conversation with The Henry Ford Magazine, Cruz is self-effacing and nonchalant, almost as if the success of House Industries has been a happy accident or its collaborations with indelible brands and legacies just sort of happened. But House’s new book, The Process Is the Inspiration, belies some of that.
With the Eames project, for example, it took House Industries a decade to bring that project to fruition. At which point, even after a lifetime of appreciation and a painstaking scouring of the Eames archive at the Library of Congress, House’s sketches of “whimsical display fonts” left Charles Eames’ grandson Eames Demetrios unimpressed. He asked for something more forward-thinking that would contribute to the already established Eames legacy. So Cruz and company attacked the project from another angle, enlisted another collaborator in Erik van Blokland and created a purposeful typographical system of “workhorse” fonts rooted in the utilitarian spirit and playful joy of Charles and Ray’s work. They even applied it to toys.
Having been won over, Demetrios said in retrospect: “Design is a willingness to surrender to a journey ... Every once in a while you encounter a company like House Industries who is willing to go on that journey and grow our brand as well as theirs.”
Despite Cruz’s charming self-deprecation, it’s clear that, far from being accidental, the success of House Industries and its collaborations comes down to the obsessive, enthusiastic hard work and due diligence of wonderfully obsessive enthusiasts.
By Bernie Brooks for The Henry Ford Magazine, with photos by Carlos Alejandro.
This alphabet quilt, likely made in Berks County, Pennsylvania, dates from about 1910. THF168579 (Purchased through the Eleanor B. Safford Memorial Textile Fund.)
“A, B, C, D, E, F, G— H, I, J, K, L-M-N-O-P—.… Now I know my ABCs”
The alphabet song gave us a fun way to learn our ABCs—and the order of the letters. (I don’t know about you, but I sometimes still find myself singing it as I alphabetize something.) Even before kids head off to school, we not only sing the alphabet song to them, but surround them with images of alphabet letters—on building blocks, children’s dishes, and even, wallpaper—to help them learn their ABCs.
Alphabet letters also appear on quilts. Quilt block patterns published in the 20th century made it easier to plan and create these quilts. In 1906, Ladies Art Company, a mail order business that published hundreds of quilt patterns, offered a series of alphabet block designs. The Henry Ford’s alphabet quilt was likely made using these patterns.
The letters on this alphabet quilt may look like they are curved—but they are actually made up of triangles, squares, rectangles and trapezoids. The letter blocks were designed to avoid curved seams, which are more difficult to execute than these other geometric shapes. Yet, even using these Ladies Art Company patterns offered challenges. Some letters, like the G and Q, required more intricate piecing. Some quiltmakers simply deviated a bit in piecing the blocks for these, and other letters. Our quiltmaker managed the Q, but made a few small changes in creating the G.
Though working from the same pattern, each individual quiltmaker created her own unique quilt through her choice of fabric, the exact arrangement of the letter blocks, the design of the sashing and borders, and the quilt patterns used in the decorative corner blocks that complete the quilt. Some quiltmakers arranged the letter blocks in rows of three and five. Others placed them in four rows of five letter blocks—and then figured out what to do with the leftover Z! Our quilt maker tucked the Z into one corner, creating a delightfully whimsical effect.
We don’t really know who made this quilt, or who they made it for. But it is easy to imagine a child cuddling with this charming alphabet quilt—and learning his or her letters at the same time.
Jeanine Head Miller is Curator of Domestic Life at The Henry Ford.
iPod nano MP3 Player & Earbuds, circa 2008. THF150173
What does "portable music" mean to you? This group of artifacts
challenges what that notion has meant, from the early 20th-century to present day. Some objects may seem familiar--some may seem laughably large to be considered "portable" today.
An evolution of listening styles is also present: from the open channels of radio for news and top-40 music--to formats like the LP and MP3 that allowed people to take control of their listening experience, minus the DJ.
Four Gallon Stoneware Crock, 1878-1896. THF133277
In 19th-century America, sturdy waterproof stoneware pottery became popular for utilitarian items such as crocks, jugs, and butter churns. The rough-textured outer glaze was created when common rock salt was thrown into the kiln during firing, which vaporized and combined with melted silica from the pottery.
The blue decoration--made with a cobalt oxide glaze mixture--lent variety and artistry to these otherwise plain pieces.
Today, House Industries has their own salt-glazed pottery project with Eldreth Pottery
The pottery is one of the few manufacturers in the world that continues to employ the centuries-old technique of glazing ceramics with salt during the firing process. The application is difficult to control, giving each piece of stoneware a unique texture and distinctive colored finish.
See their pottery inspiration examples in "A Type of Learning" in Henry Ford Museum of American Innovation and learn more about the ongoing artistry of salt-glazed stoneware in our digital collections.
During the weekend of July 29th-30th, 2017, Maker Faire Detroit will return for its eighth year at The Henry Ford. From robotics to crafts, costume design to homebrewed carnival rides—hack-a-thons to soldering demonstrations—this family-friendly event promises to engage visitors with an immersive experience of ingenuity on overdrive. Hundreds of Makers (nearly one third of them new) will join us from around the globe this weekend, filling over 30-acres of space inside and outside of The Henry Ford Museum of American Innovation.
Our Curator of Communications and Information Technology, Kristen Gallerneaux, has put together this list of a few of her most anticipated Makers for 2017.
1. Musical Lightning, Times Four!
The Tesla Orchestra from Cleveland, Ohio are creators of “the world’s largest twin musical tesla coils.” For Maker Faire Detroit, they will demonstrate a quartet of mini coils capable of emitting three-foot lightning bolts—lightning that will be transformed into music before your eyes and ears. Each coil can play several notes – four coils put together brings the promise of Tesla harmonies! They will perform six times each day in Anderson Theatre.
In 1992, FIRST Robotics Competition had its inaugural event in a high school gymnasium with a total of 28 teams. Today, there are thousands of FIRST teams around the world. Founded by engineer Dean Kamen, FIRST gives high school students and their adult mentors the chance to collaborate and solve a problem: design and build a working industrial-sized robot. At Maker Faire Detroit, you can see robotics demonstrations by at least 15 competing FIRST teams from Michigan. Put it on your calendars: in April 2018, Detroit will host the FIRST Robotics Global Championship.
3. Flaming Carnival Games!
Capn Nemos Flaming Carnival join us from Chicago. This group of artists, Makers and performers has been making the scene with their large-scale interactive projects: Hudor, the fire-breathing dragon boat, and a Halloween Parade that took over the streets of Chicago. This weekend, Nemos will present a selection of their midway carnival experiences including Ping Pong of Doom, High Striker, Zap!, and a “flaming popcorn machine.”
Camp Pencil Point will host workshops about the ins and outs of drawing comics during Maker Faire weekend. Along with human camp counselors, other inhabitants of the Pencil Point staff such as Drew the Draw-topus will make appearances. Seating is limited, but the workshops will repeat every hour. Bring your pencils!
5. Bikes Shaped like Animals!
Fabricator Juan Martinez and author Dave Eggers will bring a small herd of their metal creatures to Maker Faire. The 826michigan project, “The Spirit of the Animals is in the Wheels” is made up of a group of rideable metal animals built onto bicycle frames. A bear, a bison, and a 19-foot scaly mammal known as a pangolin will roam the grounds all weekend. Underneath these graceful creations, these Makers also bring a message—to raise awareness of the transportation challenges that Detroit-area children face when commuting to and from school every day.
6. Fluorescent Coral!
Coral Morphologic was founded in 2007 by marine biologist Colin Foord and musician Jared McKay. Each member brings innovative skills in science and art to create lush and mesmerizing media experiences about the world’s endangered coral reefs. Coral Morphologic act as the preservationists, educators, and philosophers for Miami’s unique aquaculture. A 4K projection of a documentary about the group’s work will show three times per day in the Giant Screen Experience.
7. Inflatable Alien Fruit!
Wild Aesthetic is the creation of local interdisciplinary artist Sean Hages. His huge inflatable “alien fruit” sculpture will fill part of the museum’s plaza. What else is there to say? It’s a big, colorful, wonderful sculpture with otherworldly tentacles!
8. Art is for Everyone!
Zot Artz was a favorite at last year’s Maker Faire, and we are happy to have them return in 2017. Since 1990, Dwayne Szot has been using his talents as an artist and engineer to create adaptive art tools for children who use wheelchairs. Zot Artz will be onsite with an interactive demonstration, showing the creative ways that assistive devices can be transformed to paint, draw, and stamp out colorful art.
9. Fire Breathing Dragons!
It will probably be difficult to walk the grounds of Maker Faire and miss seeing a 30-foot-long, 19-foot-tal metal dragon built on top of a GM mini bus. Heavy Meta breathes fire out of her animatronic mouth and shoots fireballs from her tail. This mutant art car dragon will be commuting over the Canadian border from Toronto, and was created by an eclectic group of Makers including high school interns, professional metalworkers, and engineers.
10. Speaker Program!
A packed schedule of interesting talks has been programmed for The Henry Ford Museum of American Innovation’s Drive In-Theatre. On Saturday, Caleb Kraft, Senior Editor at Make: magazine will talk about open source projects and the Maker community. On Sunday, young “hackschooler” Ben Hodsdon will share experiences about using Makerspaces and alternative learning outlets to hack a skilled education. Two panel discussions about food sustainability and Detroit’s agricultural renaissance will also take place on Sunday: Eastern Market: Innovation in Food Sourcing, and Farming in the City: Plants and Animals. Dr. Carleton Gholz of The Detroit Sound Conservancy will also join us to speak about the importance of Detroit’s sonic heritage and innovative models for its preservation.
Inside the museum, the immersive design and typography exhibit, House Industries: A Type of Learning will be open for viewing. This exhibit is sure to be a hit with the Maker community, and admission is free with a Maker Faire ticket. Guests of House Industries will hold special programming inside this exhibit over the weekend.
On Saturday, Aaron Draplin of Draplin Design Co. and the popular Field Notes Brand “will take guests on a spirited walk through a wild array of projects and products—both big and small—from the front lines of graphic design.” Demonstrations at: 11-11:30am, 1:30-2pm, 4:30-5pm.
On Sunday, Jenny Hart of Sublime Stitching encourages guests to stop by and pick up an embroidery hoop. Jenny will lead guests through the process of stitching House Industries fonts during her 30-minute embroidery sessions. Demonstrations at: 11-11:30am, 1:30-2pm, 4:30-5pm.
Family Picnic, ca. 1935 THF101122
July. Mid-summer. Fresh mornings, hazy afternoons, balmy evenings. It’s a chance to get outdoors and appreciate all that summer has to offer. At a time like this, it’s easy for our thoughts to turn to picnics. In fact, July is National Picnic Month!
As you can see from the selections included here, picnics have long been packed for family reunions, for camping trips, for road trips. Despite the potential for invading ants, the need for some planning beforehand, and a bit of inconvenience at the picnic spot, the rewards are well worth the effort. Because picnics promise good company, a chance to escape from daily cares, and is it me or does food just taste better outdoors?
Trade card, ca. 1880; THF215172
This circa 1880 trade card, advertising Crown sewing machines and Florence oil stoves, suggests that a good time could be had by all if the picnic included food cooked on a Florence oil stove.
Photo, ca. 1900; THF284849
The people seated at the picnic table in this circa 1900 photograph are enjoying a clam steam, a particular favorite in New England. The meal often also included other shellfish and sweet corn.
Collapsible cup, ca. 1920; THF104640
These circa 1920 collapsible paper cups, distributed at Socony (Standard Oil Company of New York) service stations, made it easy for travelers to drink a cold beverage they might pack for their picnics.
Photo, Vagabonds, July 24, 1921; THF34544
Even the rich and famous could enjoy an outdoor picnic, especially if served at a large Lazy-Susan table under a shady canvas cover. This 1921 photograph, taken during a “Vagabonds” camping trip in Hagerstown, Maryland, includes: Henry Ford and his wife Clara, son Edsel, and Edsel’s wife Eleanor; Thomas Edison and his wife Mina; Harvey Firestone and his wife Elizabeth Parke; President Warren G. Harding; and several others.
Wash-up kit, ca. 1925; THF150975
Decades before pre-packaged moist towelettes came on the market, this circa 1925 Wash-Up Kit allowed picnickers to wash and dry their hands before eating—with a paper sheet that magically turned into soap when moistened and a set of paper towels.
Photo, ca. 1930; THF120736
The family in this circa 1930 photograph was undeterred by the lack of restaurants along the highway. Like other motorists, they stopped along the side of the road and ate a meal they had packed themselves.
Box of FMC Charcoal Briquets, 1935-7; THF6000
Ford Motor Company’s charcoal briquettes, produced in the 1930s from the wood wastes of its lumber operations in Michigan’s Upper Peninsula, claimed to be safe, smokeless, and convenient—ideal for picnickers wanting to grill outdoors.
Photo, 1955; THF113925
The picnickers in this 1955 publicity photograph are enjoying campstove-cooked hot dogs in the remote Colorado Rockies.
Fisher-Price Picnic Basket, 1975; THF155302
Kids could enjoy their own “Teddy Bear picnic” with this 1975 Fisher-Price playset—complete with a plastic hinged-lid picnic basket, dishes, and a tablecloth.
Herman Miller Poster, 1985; THF154517
This striking 1985 poster is one of a series of 20 that graphic designer Stephen Frykholm created for the annual company picnics of Herman Miller, Inc.—a company renowned for its “modern” furniture.
Donna R. Braden, Curator of Public Life, has fond memories of picnics growing up and continues to be a picnic aficionado.
"Seedy Weeds," Fabric Sample Designed by Ruth Adler Schnee, 1953. THF169002
Walking through the House Industries "A Type of Learning"
exhibit in Henry Ford Museum of American Innovation you're sure to notice the attention given to printed textiles, from kitchen tea towels to handmade dolls.
The textiles created by the House Industries team are just one of their popular offerings and make us think about other well-known textiles that reside within our collections.
Another set of bold textiles have broad appeal are those created by pioneering modern designer Ruth Adler Schnee
. Her furnishing and drapery fabrics were favorites of the everyday consumer and leading architects alike, including Minoru Yamasaki, Paul Rudolph, and Buckminster Fuller. Adler Schnee’s textiles, which feature vivid color and abstracted organic forms, added whimsy and depth to the sleek, minimal aesthetic popular in the mid-century period.
Take a look at a few of Adler Schnee's pieces in The Henry Ford collections in this expert set