The Henry Ford has long explored creative ways to share our world-renowned collections and provide our guests and visitors with exciting new ways to interact with them. Earlier this year, we launched a new virtual experience that we created in partnership with Saganworks, a technology startup from Ann Arbor, Michigan.
What we created is a Sagan: a virtual room capable of storing content in a variety of file formats, and experienced like a virtual gallery. The Henry Ford curated this Sagan to highlight some of the work the museum has done under the auspices of the William Davidson Foundation Initiative for Entrepreneurship, which focuses on providing resources and encouragement for the entrepreneurs of today and tomorrow. Our Sagan highlights entrepreneurial stories and collections, displaying a sampling of objects we’ve digitized and content we’ve created, all in one place.
As a startup, Saganworks is continuously adapting and evolving its product, and we are happy to announce that we now have the ability to embed our Sagan right here within our blog for you to interact with. (Though please note that this is best experienced on desktop—to experience the Sagan on your phone, you’ll be prompted to download the Saganworks app.)
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Saganworks, entrepreneurship, by Samantha Johnson, technology
Arriving at the holiday season in true 2020 fashion, the Museum experience will be different this year. Santa is focusing his time at The Henry Ford on the physically distant experience at Holiday Nights in Greenfield Village. We will miss seeing the joy of personal visits at Santa’s Arctic Landing and the exploration at seasonal hands-on opportunities. While we regret our inability to offer these programs to guests, there are still many festive offerings in the Museum between November 21st and January 3rd.
A towering 25’ Christmas tree as the centerpiece of the Plaza.
Historic dollhouses decorated for the season. Look for three Marvel characters inviting themselves to these miniature vignettes!
Celebrating the Jewish Holiday of Hanukkah was a favorite in 2018. This year, it includes new acquisitions (face masks and a battery-operated menorah) to bring the display right up to the minute.
Della Robbia (Colonial Revival decorative items using fruit and foliage) on the façade of the Museum and within the Clocktower. 
Our model train layout is once again decorated with festive lights and holiday happenings.
The Michigan LEGO Users Group (MichLUG) has brought us yet another knockout layout. While we usually ask them for a Detroit cityscape, this year they approached us with the idea of also adding Hogwarts. Why not?
Though the Years with Hallmark: Holiday Ornaments is back with 136 ornaments in a new location. Look for this sampling of our enormous collection of Hallmark ornaments in the awards alcove in the Promenade, between the Museum Store and the Clocktower.
In short, there are still plenty of reasons to feel the cheer of the season in Henry Ford Museum of American Innovation—and you can explore even more of our seasonal events and stories on our holiday round-up page.
Kate Morland is Exhibits Manager at The Henry Ford.
Michigan, Dearborn, 21st century, 2020s, holidays, Henry Ford Museum, Hanukkah, events, COVID 19 impact, Christmas, by Kate Morland
My name is Cheryl Preston, and I’m a graphic designer and design director at The Henry Ford. What I get to do here is design graphics for print and online use—design to educate teachers and learners, market events, support the stories we tell, sell food experiences, tempt shoppers, and guide visits around the museum, village and factory tour. I get to combine two passions, history and design, in one job.
2020 Ballotini Ornament, combined with a gift tag.
We all know 2020 has been crazy and difficult in many ways. I have been working on this year’s digital-only holiday retail campaign, where we are featuring a lot of new and old favorite signature handcrafts, along with fun, innovative toys. This has been a bright spot in tough pandemic times for me right now.
It got me thinking how we still love to gift friends and family. After you’ve found the perfect collectible glass candy cane, or an overshot woven placemat set, made in the village weaving shop, which will look great on your friend’s table, you have to wrap it!
Overshot Placemat, combined with gift tags.
I wanted to create a tiny bit of “happy" to give our supporters, with these free printable gift tags to bring the cheer. We all need even the tiny smiles, right? You can preview the gift tags below, or click here to download a PDF version of them for printing at home.
I’m in awe of the handcrafts from our Greenfield Village artists, and the products we offer to bring the past forward, and hope these tags help you share the fun!
Cheryl Preston is Design Director at The Henry Ford.
21st century, 2020s, shopping, making, holidays, design, COVID 19 impact, Christmas, by Cheryl Preston, #Behind The Scenes @ The Henry Ford
Throughout the month of November 2020, we’ve been celebrating reaching the milestone of 100,000 digitized artifacts by sharing out blog posts and fun facts, hosting Twitter chats with our digitization staff, and counting down the 20 most-viewed artifacts in our Digital Collections. In case you missed any of these great resources, we wanted to share them all here for easy reference.
If you follow us on social media, you might have seen the “top 20” countdown of our most-viewed digitized artifacts of all time, but if you’d like to get a broader look, you can check out the top 100 in this Expert Set. Fans of The Henry Ford will recognize many of the artifacts, but there may be some on the list that surprise you.
The Henry Ford's all-time top 20 most-viewed digitized artifacts. Do any of them surprise you?
Here, also, are all of the fun facts about our digitization program and our Digital Collections that we shared out on social media.
Twenty fun facts about digitization and our Digital Collections.
During the first week of November, we provided a general introduction to our Digital Collections, our digitization program, and our workflows.
- First was our announcement that we had just digitized our 100,000th artifact, and were kicking off the month-long celebration. You can also read our press release here.
- If you’re interested in becoming an expert in using our Digital Collections, or just not sure where to start, this blog post will give you a run-down of the ways you can search, view, and use our digitized artifacts.
- Associate Curator, Digital Content Andy Stupperich shared how we add context to artifacts in our Digital Collections in this post.
- Saige Jedele, also an Associate Curator, Digital Content, took us behind the scenes with The Henry Ford’s Innovation Nation to discover how digitization helps shape the stories we cover on the show--and helps you to learn more afterwards.
- Like many other people around the world, a lot of our staff have spent time this year working from home. Find out how we continued to digitize artifacts despite the closure of our campus this spring in this post.
- As part of the William Davidson Foundation Initiative for Entrepreneurship, we've digitized nearly 2,500 artifacts from our collections. Find out more about the team and the process from Project Curator Samantha Johnson here.
- In our first live Twitter chat on November 5, I discussed our digitization program, digitization workflows, and a bit about what you'll find in our Digital Collections.
2020s, 21st century, research, photography, digitization, digital collections, conservation, collections care, by Ellice Engdahl, #digitization100K, #Behind The Scenes @ The Henry Ford
My name is Jillian Ferraiuolo and I’m a Digital Imaging Specialist at The Henry Ford. In that role, I work with our institutional photographer in our Photo Studio, taking photographs of artifacts and preparing those for use in our Digital Collections.
This graphic shows where photography fits into The Henry Ford's overall digitization process.
Every once in a while, our job requires us to step out of the studio, equipment and all, and photograph artifacts on location. Whether it’s taking photos of cars in one of our storage buildings or taking photos in (or of!) one of the buildings in Greenfield Village, if it can’t fit inside the studio, then we pack up and go to it. For example, the geodesic truss pictured below is in storage, but we needed to photograph it. You can see from the photo below how large it is, so instead of trying to find some way to get it to the Photo Studio in the museum, we went to it.
Photography staff and volunteers shooting the geodesic truss on location at a storage building.
The finished product: Geodesic Dome Test Module, Designed by R. Buckminster Fuller, 1953. / THF166740
One of the biggest challenges for us when we shoot outside the studio is making the most of our time. Given how large our campus is, we try to be as efficient as possible while still creating the same shooting environment on location as we would in the studio, especially when it comes to lighting and image quality. Another challenge of location shoots is that they allow less freedom than being in the studio—some objects are in a specific spot and can’t be moved or adjusted. When we’re in the studio we can change angles, move lights, and make adjustments easily, but if we’re out photographing a train car, and need to capture a different view, we have to move around it—there’s no way it’s moving!
Another example of getting creative to photograph a lathe used by Henry Ford out at the Bagley Avenue Workshop in Greenfield Village.
While shooting out on location can be a challenge, it is also a nice change of pace and a nice change of scenery. It forces us to think outside the box and get creative with taking photos—especially when the shoot involves something outside the norm. Take, for example, quilts—since they’re so large, we have to get up much higher than they are so we can get an accurate photo of the entire quilt. (You can read more about our quilt photography process here.)
Getting ready to photograph quilts from the Highland Park Engine catwalk in Henry Ford Museum of American Innovation.
But whether we’re in the studio or not, we’re passionate about what we do, and we are ready to take on any challenge!
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by Jillian Ferraiuolo, #Behind The Scenes @ The Henry Ford, #digitization100K, digitization, photography
By the early 1950s, Ford Motor Company’s engineers had made over one million technical drawings of the parts used to make Ford cars and trucks. In 1949 alone, they used 13 million square feet of blueprint paper!
Ford Motor Company engineers at work, circa 1952. / THF125069
The drawings were being stashed away wherever room could be found. Since many of the drawings were for parts that were still in production, there was concern that the company’s operations would come to a halt if drawings were lost to a fire, a flood, or worse. Plans were made to microfilm the drawings so they could be stored more securely.
Paragraph from a 1951 brochure detailing the microfilming project. Cold War tensions were running high. / detail from THF135511
Eleven fireproof storage safes, holding one million microfilmed drawings, 1951. / THF123713
To save space, most of the original paper blueprints were destroyed after the drawings were copied onto microfilm. But a few can still be found in our Miscellaneous Ford Motor Company Blueprint and Drawings Collection.
Blueprint showing part TT-7851-R for a Ford Model TT Truck. / THF138486
70 mm microfilm copy of the same drawing. / THF406917
The Ford Motor Company Part Drawing Collection consists of over one million Ford engineering drawings from 1903–1957, on 70 mm microfilm. Each piece of film measures approximately 2.625 x 3.5 inches, and is in a manila envelope that shows the part number and the drawing’s latest revision date.
Envelope for drawing TT-7851-R, dated August 25, 1926. / THF406916
As of this writing, about 3,000 Ford part drawings can be seen on our Digital Collections website. Only 997,000 to go!
So, why don’t we “just” digitize them all?
The first challenge is the size of the film. Most high-speed scanners on the market now are not equipped to hold 70 mm film. And because each frame of film was cut from its roll and placed in a separate envelope, the film cannot simply be run through a machine.
We image the film using an Epson Perfection V850 Scanner with built-in Transparency Unit (a light inside the lid that allows it to scan film). Each piece of film measures just under 3 x 4 inches, so a scanning resolution of 1200 dpi (3600 x 4800 pixels) will usually suffice … but we go higher if a drawing looks like it will be difficult to read.
Larger blueprints, like this one for a V-8 Cylinder Block, were microfilmed in segments. / THF401366
After the film has been scanned, the images are straightened and cropped, and adjustments may be made to the brightness and contrast. If the film is a negative, we also create an additional, positive version of the digital image.
This version of the digital image can be printed without using as much toner. / THF406918
However, the bigger challenge is the data entry. Even the best digital image is useless if nobody can find it. To that end, it is necessary to transcribe the part number, the date of the drawing, and the title of the drawing from each piece of film. And many of the drawings include more than one part number!
If parts are symmetrical opposites, there is only one drawing for the pair. / detail from THF400831
The revision history appears in the upper right corner of each drawing. This drawing is dated December 3, 1930 … but earlier versions may also exist. / detail from THF400831
If you are interested in researching the Ford Motor Company Part Drawings Collection, our Popular Research Topics page includes an FAQ and information about how to get started. Inquiries can be sent to research.center@thehenryford.org.
| The Henry Ford is facing unprecedented financial challenges due to the impact of our 16-week closure and reduced operations. We need your help in securing our future. Love the Henry Ford? Please support all that we treasure—including our digitization program. Longtime supporters of The Henry Ford will match your donation dollar for dollar, so your contribution will have double the impact. |
20th century, Ford Motor Company, drawings, digitization, cars, by Jim Orr, archives, #digitization100K, #Behind The Scenes @ The Henry Ford
Exterior View, Ford Highland Park Plant, 30 March 1932; Object P.833.56894.1 / THF237509
When Ford Motor Company engineers developed the assembly line at the Highland Park Plant back in 1913, they were seeking to increase production volume in order to provide more automobiles to the general public at a reasonable cost, and in a reasonable time.
Move ahead more than 100 years to 2020, where the staff of The Henry Ford and the Benson Ford Research Center (BFRC) are operating a modern assembly line to digitize images and documents from our collections and make them available online.
By some estimates, The Henry Ford holds roughly 26 million 2D and 3D objects, with the majority of that total – some 25 million items – contained within the archival collections at the BFRC. Clearly, there’s a lot to move down our “assembly line”!
As is the case with auto assembly, there are a number of stations along our line, beginning with material selection, then material retrieval, cataloging, imaging, storage, import, export, and finally ending with online display. Improvements made to the speed and efficiency at each of these stations can lead to gains in the production rate of the entire line.
This graphic shows where Rapid Capture imaging fits into The Henry Ford's overall digitization process.
To bring that speed and efficiency to archival imaging, the BFRC uses a process we refer to as Rapid Capture digitization. Developed by several institutions as an approach to increasing the scale of digitization, Rapid Capture is part technology, part process, and part philosophy.
Technically, Rapid Capture is rather simple. The equipment consists of a copy stand, lighting, a digital single lens reflex (DSLR) camera, and a computer equipped with photo editing software.
Rapid Capture station.
The important feature of the camera is its full-frame sensor, which can create a 400-pixel-per-inch image of an item as large as 9 × 14 inches, allowing us to provide users with high-quality images for the majority of our archival materials, which can be easily viewed, downloaded, and used for presentations or reports.
At the click of the shutter button, the camera can record an entire image – perhaps an 8 × 10 photographic print – without the cycle time of a more traditional flatbed scanner. If you’ve used a digital camera or a camera phone to take personal photographs, then you know how quickly you can take tens or even hundreds of snapshots. The same holds true for Rapid Capture, with the limit on imaging rate being the safe and proper handling of the archival material, not the time spent waiting for the scanner to make a pass.
On certain projects, we are able to capture both sides of a photographic print in less than 60 seconds, translating to nearly 500 prints imaged in a single day. Our flatbed scanner can produce 10-12 images per hour, or both sides of just 48 prints per day. Starting with a single Rapid Capture workstation in February 2011 and now utilizing two workstations, we have produced nearly 100,000 production images since the launching the process.
Process, or efficiency in process, is also an important part of Rapid Capture. For example, since material handling is one of the keys to the speed of Rapid Capture, we work to select and schedule material in groups having similar sizes or formats and that are located together physically, such as the box of 8 × 10 photographic prints shown below.
8 x 10 photographs from our collection foldered within an archival box.
Another example occurs in the post-processing of images, which can also be done in a batch manner, including exposure correction, cropping, and derivative image creation. By using automated scripts, much of this work can be done unattended, and in the case of large batches, performed in the overnight hours.
Finally, Rapid Capture is in some ways a philosophy. Rapid Capture puts a premium on user access to large numbers of images, and in doing so forces trade-offs in areas such as perceived image quality and image resolution. An example of this trade-off can be seen in some of our Rapid Capture images, which appear slightly tilted, such as this image from the Detroit Publishing Company Collection.
Railway Station at Haines Corners, Catskill Mountains, New York, circa 1902; Object P.DPC.014510 / THF204908
Rather than spend additional time on each image to create a perfect alignment, we’ve chosen to spend that additional time producing more images, with the assumption that you, our users, would want to see more “stuff,” and can accept some imperfection.
A second compromise involves image resolution. While the camera can produce images sufficient for online viewing and use in presentations, the images may not be adequate for advertising or commercial publication. We’ve accepted that a certain number of items may need to be reimaged at some point for publication use, but that the potential rescanning effort is outweighed by the ability to both produce and store more lower-resolution images.
Our implementation of Rapid Capture has proven to be very successful. In nearly 10 years of operation, we’ve created a large number of images that meet our goals for quality, usefulness, production time, and cost. And, as we celebrate our #digitization100K milestone of 100,000 digitized objects on our Digital Collections, we can also point to the more than 38,500 objects that are illustrated using Rapid Capture images as another measure of that success.
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digital collections, by Brian Wilson, #Behind The Scenes @ The Henry Ford, #digitization100K, digitization, archives, photography, technology
My name is Jillian Ferraiuolo and I’m a Digital Imaging Specialist at The Henry Ford. In that role, I work with our institutional photographer in our Photo Studio, taking photographs of artifacts and preparing those for use in our Digital Collections. Today I’m going to share a bit about the challenges of photographing glass artifacts.
This graphic shows where photography fits into The Henry Ford's overall digitization process.
If you haven’t had a chance to check out our extensive studio and art glass collection (whether in person in the Museum or Village glass galleries, or online), I recommend you do so! We have pieces that range from teapots and cups to whimsical studio glass sculptures. Photographing these beautiful pieces of glass provides unique challenges.
The first task is to figure out the angles to shoot. Many of these are works of art, so figuring out the “front” and the “back” is difficult. Take the piece below, "Bubble Boy" by Richard Marquis, for example. It’s hard to tell what the best angle would be, so we take our best guess, and take more than one photo if we need to! Most of the time, we’ll look for a defining feature: say, a handle, or an area of the design that is most appealing, and start there.
Two views of “Bubble Boy” by Richard Marquis, 1988 / THF164207, THF164208
Often, the curator notes that one of these pieces is either historically significant or is important because of the artist that created it. In these cases, we take another step to capture more and create a rotating 360-degree image. We do this by (carefully!) placing the glass on a platform, rotating it by 20 degrees at a time, and taking 18 total photographs. This way we get a full picture of the piece from every possible angle! Take a look at an example below, or check out all the glass 360-degree views in our Digital Collections.
Untitled from Relationship Series by Richard Royal, 1997 / 360-degree view
Another tricky part of photographing glass is dealing with its reflective qualities. As glass is usually shiny, creating an environment in the studio where we can control reflections can be tricky and time-consuming. Usually we create a fully white space around the object—if we don’t, every light and tripod and piece of furniture will be reflected on the object’s surface. We accomplish this very creatively with large boards or cloth, or if the object is small enough, we can put it into a tent that will allow us to fully control the space and light around it.
Examples of the Photo Studio set up to photograph a glass spittoon.
Then once we have everything set up, we take the photos, clean up the backgrounds with the magic of Photoshop, and enter the images and their metadata into our collections database—then voila, you get to see the finished photos in our Digital Collections!
Spittoon, circa 1873 / THF168196
All that effort for a beautiful photo… of a spittoon.
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art, decorative arts, glass, digitization, #digitization100K, by Jillian Ferraiuolo, photography
Photo Studio Adventures: Favorite Artifacts I've Photographed
This graphic shows where photography fits into The Henry Ford's overall digitization process.
My name is Jillian Ferraiuolo and I’m a Digital Imaging Specialist at The Henry Ford. In that role, I work with our institutional photographer in our Photo Studio, taking photographs of artifacts and preparing those for use in our Digital Collections. As you might imagine, I get to work with many fascinating artifacts, and I’m going to share a couple of my favorites with you here.
Conservator Fran Faile holds up a detail on the Cognitive Dress as I photograph it.
I think the most interesting artifact I’ve photographed is the “Cognitive Dress,” Designed by IBM and Marchesa, 2016. Besides being a beautiful gown, it is strung with lights throughout the skirt that change color based off technology developed by IBM using their Watson AI. Because of the innovative nature of this dress, and our partnership with IBM, it was important that we thoroughly document it.
The dress in the studio getting ready for its close-up with curator Kristen Gallerneaux and conservators Fran Faile and Cuong Nguyen assisting.
Normally we capture five standard angles when we photograph clothing, but this one was a special case because we had to account for the lights on the dress, and the changing colors. In total, we took 27 images of the dress, showing different angles, the shifting colored lights on the dress, and details of the skirt and lighting technology.
THF167960
THF167966
THF167976
I enjoyed photographing this dress not only because it was a beautiful gown, but also because it was a challenge. To get the right exposure with the lights while keeping the dress lit up was tough, but that’s also where the handiness of Photoshop comes in. I was able to adjust after the fact and create a very nice finished product!
Here’s a quick look at some of the shots we got!
Another fun project we had was imaging the Jens Jensen landscape drawings that show the plans for the grounds of Henry and Clara Ford’s estate, Fair Lane. These drawings were so interesting to look through—they lay out the gardens and surrounding areas of the estate in such detail, they’re works of art. Who would’ve thought that an estate would have so many blueprints? There are 29 in total, varying from gardens to orchards and even to plans for a bird pool.
Landscape Architecture Drawing for Fair Lane, "A Planting Plan for section around service buildings," June 1920 / THF155896
Jens Jensen Landscape Architecture Drawing, "A General Plan of the Estate of Mr. Henry Ford, Dearborn, Michigan," 1915 / THF155910
One of the reasons why we had to photograph these prints in the Studio is because they are large, folded up into individual leather portfolios. Usually anything two-dimensional goes through our scanning or flat photography process in our Archives, but the nature of these prints did not allow for that. To get a good image of them they had to be unfolded, then carefully flattened with a large piece of glass while being imaged. The trickiest part is to make sure the print lays as flat as possible while ensuring there isn’t any glare off the glass from the lights in the studio.
At a glance, I’m sure you’d never guess that that’s how they were photographed!
Here is a look at all the prints and the box they’re stored in.
What interesting artifact will we be photographing next? Peek through the Photo Studio’s glass doors at the back of Henry Ford Museum of American Innovation on your next visit and find out!
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21st century, photography, fashion, drawings, digitization, by Jillian Ferraiuolo, #digitization100K, #Behind The Scenes @ The Henry Ford
For over a decade, we’ve partnered with educators from across the country to pilot our curriculum resources, professional development opportunities, and experiential learning programs centered around the concept of innovation. Through these close collaborations with expert practitioners and students, we’ve observed a universal ability to innovate—but we’ve also observed some challenges.
Research being conducted by Raj Chetty from Harvard’s Opportunity Insights project has highlighted these challenges and found that, “There are great differences in innovation rates based on income, race, and gender. Those differences don’t seem to be due to innate ability to innovate.” How can we even begin to combat this innovation opportunity gap?
One simple way is to expose learners to innovators, inventors, and entrepreneurs—early and often. Therefore, The Henry Ford has adopted an Innovation Learning strategy, an interdisciplinary approach designed to accelerate an innovative mindset in all learners. The approach is powered by the perspective of our collections, which feature 26 million primary and secondary source artifacts that act as coaches and mentors by providing insight into 300 years of American innovation, ingenuity, and resourcefulness.
Stories like…
- A scientist who helped poor rural Southern African American farmers nurture depleted soil with nutritious crops that could also be sold for profit – George Washington Carver.
- A soft-spoken African American seamstress who refused to give up her seat to a white man, an event that many believe sparked the Civil Rights movement – Rosa Parks.
- A husband and wife duo considered by many as two of the world’s most prolific problem solvers and among the most important American designers of the 20th century – Charles and Ray Eames.
- The writer of the first dictionary of the American English language – Noah Webster.
- The iconic, quintessential inventor with 1,093 patents to his name – Thomas Edison.
- An American industrialist with an entrepreneurial spirit who failed twice to establish an automobile company only to succeed on the third try – Henry Ford.
We connect these stories to core disciplines like STEM, Social Studies, Art & Design, English Language Arts, and combine them with emerging disciplines like Invention and Entrepreneurship.
To make these interdisciplinary connections, we’ve developed a unique Innovation Learning Framework called Model i. Model i is a common language to talk across all disciplines. It is made up of two frames: (1) Habits of an Innovator and (2) Actions of Innovation, which can be used together to describe the innovation journeys within our collection, and activate learners of today through their own innovation journeys.
This results in all learners seeing themselves as innovators, ready to tackle current or future challenges to help shape a better future.
Here’s some of the feedback from our pilot educators:
“The result of implementing and promoting Model i’s Habits and Actions has been amazing. Students have learned how to research topics, how to challenge a system, how to design then re-design, and most importantly how to fail in a safe environment to take a risk.” –Hollie Gumm, 2020 The Henry Ford Teacher Innovator Award Winner
“The power of The Henry Ford’s Innovation Learning approach is that it transcends age, gender, socio-economic status, and academic level. I was able to present their curriculum to a group of fourth grade students comprised of many numbers. 100% free and reduced lunch, 75% English Language Leaners, 25% Special Education, and 10% homeless. With this being said, every single one of the students understood and connected with the content. They loved seeing real-world examples of how innovation has progressed over time. I think more often than not, these students had considered the idea of invention as something that is only done by ‘geniuses.' After working through the curriculum every one of my students began to see themselves as innovators, creators, and inspired individuals.” –Rachel Lamb, 2020 Colorado State Teacher of the Year Finalist
If you’re looking to connect with a community of innovative educators like Hollie and Rachel, filled with Innovation Learning resources, then you’re in luck. Launching in 2021, The Henry Ford’s inHub is a community built by educators for educators to empower learners to activate their innovative mindset to help build a better future. Visit inHub.thehenryford.org to learn more!
Phil Grumm is Senior Manager, Learning Services and On-site Programs, at The Henry Ford.
education, by Phil Grumm, innovation learning, educational resources
