10 Awesome 100-Year-Old Crafts for Kids

Handicraft for Handy Girls By Albert Neely Hall, Dorothy Perkins
Handicraft for Handy Girls By Albert Neely Hall, Dorothy Perkins

At the dawn of the 20th century, middle class children were less likely than at any time in history to spend their days toiling for survival next to their parents. So they started getting bored. And books, full of things to make and do, began to emerge combat that new sensation.

Many of those projects are still fun to create today. Others require way more hatpins and unused cretonne scraps than are commonly found in modern homes. Below we’ve uncovered 10 craft and building projects, of various skill levels, that are just as fun to make today as they were 100 years ago.

1. AN UMBRELLA PLAYHOUSE

To make this clever little tent, all you have to do is find an umbrella that still has a curled handle, and secure it tight to the rung of a chair with twine (or nylon rope). The author recommends sheets or old draperies for the walls, and clothesline for the “braces.” Fasten the braces to each spine of the umbrella: “The best way to attach them is by using a needle and thread and sewing each to the little eye in a tip.” Then, stake the rope into the ground outside, or, if inside, thumbtack it to the floor. (Which parents probably won't allow, but it’s still nice to have outside!)

2. CORN STARCH JEWELRY

Here’s the recipe: 1 tablespoon of corn starch to 2 tablespoons of salt, to 1 tablespoon of cold water. You can add food coloring or watercolors for color.

Mix the water and cornstarch, and heat the salt in a pan. When it is “piping hot,” put it in with the cornstarch and knead. To make the Bracelet, roll the dough into round beads with your fingers and poke a hole through them before they harden. Intersperse with tiny beads. For the Lavalliere, the author recommends silk cord for stringing, and forming the pendant around a hairpin, so it’s easier to string.

3. STILTS

Books of this era usually assumed even children had familiarity with basic carpentry and construction, so instructions could be brief.

Take two stout poles, P, about six feet long and from one and a half to two inches square, for the uprights (Fig. 1). The foot blocks, C, should be about four or five inches long, three inches wide, and as thick as the upright. Nail these two feet or more from the lower end of the upright, using strong steel nails or screws to keep them in place.

It is also recommended to nail on a leather strap to help feet stay in place.

4. A GLASS REFLECTING FRAME FOR COPYING PICTURES

Scanning, copying, and printing a picture you want to copy is for the faint-hearted. True art lovers build one of these and do it by hand. Again, instruction is brief, even when the intended reader is an 8-year-old girl.

Two boards (A and B), two cross-pieces (C andD), and a small picture-frame with the glass fastened securely in place (E). The boards A and B should be about 1 inch longer than the picture-frame, and they should be square. Place the pieces upon the pair of crosspieces C and D, with the edge of the picture-frame slipped between them, and nail them to the crosspieces, driving them tight up against the frame to hold it securely in an upright position.

To actually copy a picture, you would trace the reflection in the glass onto fresh paper. Brilliant in its simplicity.

5. SPATTERWORK PICTURES

It’s easy to let children experiment with things that spatter in a world of washable fingerpaints. One hundred years ago, there was just ink. Black, permanent, terrifying ink.

To make leaf impressions, place flat leaves on paper, making sure to block off the edges where you don’t want paint. (Also it might be wise to have your child do this project in a parking lot while wearing a trashbag.) Then,

Dip a paintbrush into the ink, and draw the blade of a pen-knife across the ends of the bristles, as shown in Fig. 586. Move the brush from side to side so that the spattering will be even. When the ink has dried, lift the leaf from the page, and you will find a white silhouette of it upon a stippled background.

6. A BOOK-MARKER

This book marker needs 1 ¼ yards of satin ribbon, and “fancy work ring.” (We're not sure what that is, but any flat ring would probably do.) Cut the ribbon in two pieces, one 12 inches long and one 24 inches. Pull them halfway through the ring and stitch them all together. Notch the ends so they don’t fray. The hand-lettered verse, "Not mine to tell/If the book be good/But I keep my place/As a marker should” is optional.

7. CIGAR BOX HARP

To make this cute cigar box harp, drive thin nails through the front and back of the box, then stretch “elastic” bands (rubber will likely do) across two nails. Use bands of varying width, and tighten them to your personal taste by wrapping them around more than once. Then use a quill to play it. Except you probably don’t have a quill, in which case a toothpick should work just fine.

8. CLOTHESPIN DOLL

Drive in two little nails for the arms, cover the head with clay, and draw on a face. Stiff paper “of an intense color” is used for the dress. Tie a contrasting sash to keep the dress on, and stick on a button for a hat. If you want her to stand up on her own, turn up a half inch hem and glue it heavily.

9. DAVID AND GOLIATH SLING

Dennis the Menace slingshots are old and busted. It’s time to harness the power of centrifugal force in your rock throwing. You’ll need an oval piece of leather, about 3 inches long, and leather strips tied to each end, one long and one short. Then,

Whirl the sling several times around your head, and let go the shorter thong. The stone will fly to a considerable distance, according to your skill and force. As long as the leather holds the stone it can not fly, but the moment the thong is released the stone escapes at right angles to the radius of the circle.

10. THAUMATROPES

Before Netflix, there were thaumatropes. They’re a small circle of cardboard with a picture of two things that go together on either side, such as a bird and a birdcage:

Attach two pieces of string, six inches long, to each edge. By holding the ends of the strings between the thumb and forefinger of each hand and twisting the disk around rapidly, the bird will appear to have entered the cage.

Tim Burton’s Art Exhibition at Las Vegas’s Neon Museum Now Has Tickets On Sale

A Tim Burton sculpture representative of what might be on display at the Neon Museum
A Tim Burton sculpture representative of what might be on display at the Neon Museum
The Vox Agency

Last year, The Neon Museum in Las Vegas announced that it would be hosting an exhibition of fine art by Tim Burton in 2019. Anticipation has been high ever since: The Vegas show will mark the filmmaker's first major art exhibition in the United States since his work was displayed at the Museum of Modern Art in New York a decade ago. Now, tickets for the October event are finally on sale.

Tim Burton is best known as the director of such movies as Batman (1989), Beetlejuice (1988), and Edward Scissorhands (1990), but he got his start as an artist. His distinct drawing style even got him a job at Disney's animation division in the early 1980s.

The Neon Museum exhibition will feature works that have been displayed previously, as well as sculptures and digital installations created specifically for the space. A press release reads: "The presentation of Burton’s art in Las Vegas represents a unique experience where the host institution also serves as creative inspiration. The museum’s distinctive campus will be transformed through the artist’s singular vision for this original exhibition."

Pieces will be displayed at three locations across the museum campus: the outdoor Neon Boneyard (a "graveyard" for old neon signs), the North Gallery, and the City of Las Vegas’s Boneyard Park. In addition to the main show, there will be a separate, special exhibit after dark that combines projection mapping with the site's famous sign collection. As for the content of the artwork, the museum says Burton is looking to both his career history and the museum itself for inspiration. Although the museum wasn't ready to release images of specific artwork that will be featured in the show, they released some representative images.

"Lost Vegas: Tim Burton @ The Neon Museum Presented by the Engelstad Foundation” launches October 15, 2019, and will run through February 15, 2020. Tickets to the primary exhibit cost $30, and entrance to the nighttime spectacle will cost an extra $24. You can preorder tickets to both shows here.

A Tim Burton sculpture representative of what will be on display at the Neon Museum
A Tim Burton sculpture representative of what might be on display at the Neon Museum
The Vox Agency

A Tim Burton sculpture representative of what will be on display at the Neon Museum.
A Tim Burton sculpture representative of what might be on display at the Neon Museum
The Vox Agency

Edward Hopper’s Western Motel Is Being Turned Into a Hotel Room at the Virginia Museum of Fine Arts

Western Motel, 1957, Edward Hopper (American, 1882–1967), oil on canvas. Yale University Art Gallery, New Haven, Bequest of Stephen C. Clark, B.A., 1903. © 2019 Heirs of Josephine N. Hopper / Artists Rights Society (ARS), NY
Western Motel, 1957, Edward Hopper (American, 1882–1967), oil on canvas. Yale University Art Gallery, New Haven, Bequest of Stephen C. Clark, B.A., 1903. © 2019 Heirs of Josephine N. Hopper / Artists Rights Society (ARS), NY

Some paintings are so good you can’t help but wish you could climb right inside of them and experience the details with all five senses, in all three dimensions. If Edward Hopper’s Western Motel brings about those sorts of feelings for you, now is your chance to live that dream.

As part of an exhibition called “Edward Hopper and the American Hotel,” Artnet News reports that the Virginia Museum of Fine Arts (VMFA) is constructing a real, live motel room modeled on the artwork that you can actually book for a night.

Much like Nighthawks and Hopper's other paintings, 1957’s Western Motel isn’t exactly a warm and cozy depiction of the hospitality industry. The featured room—which is furnished with two sturdy red sofas, a chair, a small table, and a reedy lamp—is so neat it seems almost characterless. A well-dressed woman with impeccable posture perches atop a couch, looking expectant. It evokes the sense of alienation that permeated so many of Hopper’s influential pieces focused on life in the modern world: lonely people hunched over tables and gazing out windows, failing to connect with their surroundings in a way that makes you, the viewer, uncomfortably aware of your own static energy.

While pieces like Western Motel seem to hint that Hopper himself was something of a gloomy introvert, exhibition curator Dr. Leo G. Mazow hopes that "Edward Hopper and the American Hotel" will set the record straight. The exhibition "endeavors to consider hotels, motels, and other transient dwellings as vital subject matter for Hopper and as a framework with which to understand his entire body of work," Mazow stated in a press release.

In addition to 60 of Hopper’s works and another 35 from his contemporaries, the exhibition will also feature diary entries and postcards from Hopper’s wife and fellow artist, Josephine. As the press release explains, these artifacts "humanize the artist and his wife, providing detailed accounts of their travels in their own words and personal responses to the places they visited, their experiences there, and how these trips informed their art."

The "Hopper Hotel Experience" will offer a number of different packages that, in addition to spending a night at the museum in a room modeled after Hopper's painting, will include everything from dinner at Amuse, the VMFA’s fine dining restaurant, to a guided tour of the exhibition with Mazow.

Information on how to book an overnight stay will made available closer to the exhibition's October 26th opening. But you don’t have to commit to a museum sleepover in order to step inside the artwork; you can also just take a walk around it during museum hours.

[h/t Artnet News]

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