Editor’s Note: This post is brought to you by Indow, a sponsor of PastForward Online 2021. Registration is now open at www.savingplaces.org/conference.

Preservationists have a perception problem. We are often seen as set in our ways, staunchly against new trends. Though we know this is untrue, it can get in the way of outreach and working with the could-be next generation of historic preservationists. Finding and connecting with these individuals, who may be turned off by this impression, is critical to carrying on our important work.

While those outside the preservation movement may label us as stodgy, or make us out to be inflexible, we know better. Surveys such as the PlaceEconomics PresPoll on Deconstruction prove we are not only open to new trends, but often begin them:

Almost in direct opposition to the plethora of Zoom calls we have endured these last 18 months, many preservationists have found their greatest successes through a return to craft. Here are three key areas in which a return to craft has helped build communities and increased communication, both within the world of preservation, and between preservationists and the rest of the world.

Signmakers: A Sign That Craft Has Returned

The Pre-Vinylite Society is “a loose network of sign enthusiasts and advocates for a renewed interest in craftsmanship and the aesthetics of our built environment.” Its mission is to encourage the public to take pride in their surroundings and neighborhoods by creating or commissioning signage, art, and architecture.

These signmakers want to abandon the strict approach where conventions and tradition are applied without thought and simply because “this is the way we have always done things.” At the same time, they wish for a return to traditional methods of signmaking. While this might seem contradictory, it’s quite in line with all preservationist thought:

They use this craft to get a clear message across to every community member who sees their work. And this group, which “is made up of members who are observant of the aesthetic world around us and resistant to traditions that dictate easy, quick, and careless ways,” is not alone. Shelby Rodeffer, Rachel Joy Lettering, and Borrowed Times, among others, have all made a return to hand lettering, which preserves the craft and promotes stories of local social justice.

The Writing’s on the Wall: Large-Scale Craft

Both Shelby Rodeffer and Borrowed Times have used large-scale art and craft to bring communities together to honor, celebrate, and save the built environment. Both typically hand paint small signs, but have turned to murals when historic buildings were under threat. Their messages told a story of the building's and community’s history, present, and hopeful future.

Their murals helped bring attention to and save historic buildings, which otherwise would have met an untimely end. The outsider’s view of preservationists is that we cannot accept altering historic structures. We know that the bigger threat is seeing them disappear altogether, and if working with the community through craft can save our spaces, then paint we must!

We see this trend popping up in San Diego as well. The Chicano Park Steering Committee is a grassroots organization committed to the preservation, development, and expansion of Chicano Park , which is home to more than 80 murals influenced by the Mexican Mural Movement.

When a long-promised park was to be replaced with a patrol station, the community rallied and covered the area in murals, or “attacked the wall with rollers,” according to local artist Salvador Torres. This visual communication campaign succeeded. The park remains a hub for festivals and is now full of gardens and playgrounds. The committee’s efforts directly lead to the park becoming a National Historic Landmark.

A DIY Connection: Zines

Less visually present in historical spaces, but still an important display of craft, has been the return to zines. A zine (short for magazine) is a small, self-published work of original or appropriated texts and images, often produced via photocopier. Making zines is accessible, and they’re easy to distribute.

Individuals such as Sarah Marsom and Sarah Mirk produce zines that celebrate history, preservation, and recording of the present day as they see it. Both of these authors often capture stories of social justice taking place in their communities.

Indow has been very successful with its Window Zine, now in its fourth year. Students and artists who didn’t know they were preservationists discovered they were simply by submitting to the zine:

... my appreciation for historic preservation grew along with the need to uplift those who have already been doing the work to highlight nondominant, reflexive and community-driven historic preservation.
—2020 Window Zine Contributor