Signs of the Time!


Over the Back Fence Magazine | Winter 2001 \ 02

 

Where did chewing gum, life savers, and banana splits come from?  who brought light to the world?' who was the first to touch the clouds on fragile wings? who thought soap could float? who fulfilled the dream of walking on the moon?  OHIOIANS!

\Ohio has made world history and changed the way the world is viewed. Not just with chewing gum and by being the state known as "the mother of presi­dents," but by technological advances that have altered the way we think, live and dream. Aviation, sound recordings, movies, rubber tires and even the conquering of space have been the result of the brave, daring and innovative think­ing of Ohioans who have literally changed the course of the world.

As Ohio's Bicentennial year 2003 approaches, Ohio is gearing toward a state celebration that will be remem­bered long into the future through a permanent legacy that will mark the land­scape of Ohio. The Bicentennial Commission and the Ohio Historical Society are recording Ohio's history through an ancient art of metal casting by erecting Bicentennial markers all across the state.

The Ohio Historical Society began the marker program in 1953 as part of the state's sesquicentennial celebration. Their valiant efforts have placed well over 400 markers designating historic events, people, places, buildings and leg­ends. The funding for this massive initiative has become a three-way partnership, involving the Longaberger Company of Dresden, Ohio, Bicentennial   Commission   and   local community groups.

A historic marker's life begins with research and then a request to the Ohio Historical Society and the Bicentennial Commission. From there, it goes to craftsmen found in Marietta, Ohio at Sewah Studios where local people are bringing the legends to life through the ancient art of metal casting.

As far back as 5,000 BC, archeology has found metal cast objects in India. Many civilizations from the Greeks and Romans to the Egyptians and Chinese have developed the same basic methods. Today at Sewah Studios the art continues.

Sewah Studios was once an old organ factory on the west side of Marietta, Ohio and was founded in 1927 by Mr. E. M. Hawes. He spelled his name backwards for the name of the company. The company was purchased by the Smith family and they constructed the newer factory in 1959 on the same site. Now, David Smith, owner/operator, carries on the family business.

The skillful art of sand casting metal may be an ancient art form but today the computer is utilized to help with the marker lay­out pattern. Each sand mold has a lifespan of one sign so it must be done right the first time. An Ohio-shaped metal layout board is reused for each casting with the exception of the text that is applied. Metal letters of varying sizes are glued by hand to the layout pattern designated by a computer measurement. Each marker has unique text for the event or place it is commemorating.

"Ohio's history is interesting and it should be remembered," smiles Sheila Dailey scrutinizing the line of text she is carefully placing. "These signs remind us of who we are."

The metal pattern layout is then carried and placed upon a framing board. A fine white (parting compound) pow­der is dusted on as a release agent upon the layout and then a fine facing sand is sifted over the pattern. The powder and light facing sand give a smooth finish to the casting. Sand is shoveled in to fill the mold and is pushed inward by fin­gertips and hands. An air jackhammer packs the slightly moist sand to firmness.

The entire lamination of sand and metal is turned over. Clamps are then removed along with the metal layout pattern. This leaves an embedded reverse image (negative) of the pattern and the letters. The sand casting is carefully viewed for any imperfections or lead letters that may have come loose and are embedded in the sand.

The negative sand pattern is patted firmly and flow channels (known as gates), for the pouring of molten metal, are grooved to the corners. If a Bicentennial sign is to display the same message on both sides then two separate sand castings are made and carefully clamped face to face. A small compact furnace heats to 1,450 degrees and the molten aluminum metal, once ingot bars, flows brilliantly to a large ladle held by two men. Smoothly the fluid metal pours within the gates of the sand cast­ing until the mold is completely full.

"It is important that we protect Ohio's heritage for future generations. I know that these markers will preserve and protect our heritage," states David Smith (owner/operator). Fresh metal gleams, as a new aluminum sign billows steam while the sand is removed from a cooling mold. "I was born and raised in this area. I'm an Ohioan; this has mean­ing to me."

The sign is born as it is lifted from the mold.   It is washed, cut and air chiseled to remove excess metal.  The sign facing and letters are ground smooth.     It is inspected for any minor flaws that will be hand repaired before a base paint is applied and oven baked. The final details of gold leaf and color paints
are applied before a final baking.

On remote highways, as these historic legacy signs glide by your car window, you may want to stop and take note of the history you are pass­ing by. It may be the home of a U.S. President, Annie Oakley (the world champion sharpshooter) or the home of the dusty legends penned by the novelist, Zane Grey.

To learn more details about the Bicentennial Marker Initiative visit the Ohio Bicentennial website http://www.ohio200.org or call toll free 1-888-OHIO-200. For detailed images and information and detailed photographs about the making of markers visit Sewah Studio's website at http://www.sewahstudios.com .

If your community wishes to join the celebration through the Bicentennial Marker Initiative, one may apply for a Longaberger Legacy award through the Ohio Bicentennial Commission by writing to Jane Campbell, Program Coordinator, Ohio Bicentennial Commission, Statehouse Room 021-North, Columbus, Ohio 43215. These awards will be made periodical­ly through 2003.

 

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