International Harvester

Franklin McMahon: artist in the factory, page 3

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In 1961, TODAY carried a story on a "revolutionary tractor" that was "years ahead of its time". It was a research unit, designated HT-340, a project of IH Engineering Research. What made the tractor revolutionary was its power plant and transmission. Rarely had either a gas turbine engine or a hydrostatic drive been demonstrated publicly in a land vehicle. While our research had already been in progress on both concepts for a number of years, it was impossible to say, in 1961, when they might become available in any kind of vehicular application. So it was no surprise that the HT-340 attracted wide attention and comment. It appeared at a variety of product shows and fairs and was covered widely by the press in this country and abroad. No surprise either was the fact that, as a piece of hardware, the tractor had a short life. Within months of its last public appearance, it was gathering dust in a warehouse. Its purpose as a research project had been served. Today it is a permanent museum piece at the Smithsonian Institution, Washington, D.C. But the real life of the unit was to be measured in ideas — not hardware. What happened to the ideas HT-340 helped to test is an entirely different story. The next time IH showed a hydrostatic drive, it was in a product, ready for sale: first, a combine, then, in quick succession, a windrower, a lawn and garden tractor, a farm tractor, and (this year) a cotton picker. And the next time IH demonstrated a vehicular gas turbine in public, it was in a truck where it will very likely make its first commercial appearance sometime in the '70s. Fittingly, TODAY was present (see pages 18—21) when the experimental Turbostar, fresh from its debut at a Phoenix press conference in January, went on view for Solar Division employes who designed and built its turbine engine. A tractor exactly like the HT-340 may still be "years ahead of its time". But well within a decade of its terminal test, one of its revolutionary concepts has already become a commercial reality and the other has advanced dramat­ ically toward the same goal. International Harvester Today VOLUME 19, NUMBER 1, 1968 The International Harvester Employe Magazine Gerald D. Hurley, Editor Angus McDougall, Associate Editor, Photography Kathy McCaughna, Staff Writer Evelyn L. Moulton, Assistant to the Editor

Address communications to the editor, Public Relations, International Harvester Company, 401 North Michigan Avenue, Chicago, Illinois 60611.

PHOTO CREDITS: Pages 2, 10, 11, 16, 17, Angus McDougall; page 18, Karl Rosenquist; page 19, Rosenquist (top), Cliff Wall (bottom); page 20, Ron James; page 21, Rosenquist (top), Wall (bottom); pages 22—24, McDougall. Franklin McMahon, Today's guest artist His pencils capture an IH plant

FOR Franklin McMahon, drawing men on the job at Melrose r*j: •.... Park was a different kind of assignment. As a rule, he covers events of national or international interest for magazines like Life, Look, Post and Sports Illustrated. The Chicago-based artist has documented the Vatican Council, political conventions, the Emmett Till trial in Mississippi, other major courtroom cases. Sports coverage has included the San Diego-Acapulco yacht race, the Royal Bangkok Sports Club in Thailand, partridge hunting in Spain. In light of all this, it was only natural that employes like James Cavanaugh (left) would be curious about the man with the handful of pencils and the fold-up stool. How would this artist, who has drawn many of the major figures of current history, see them? How would he depict their work? They got part of the answer as they looked over his shoulder. The rest of the answer is on this and the following pages.

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Franklin McMahon / "I begin somewhere and everything takes its relationship to that point." McMahon's little fold-up stool is almost symbolic of the way he works. With his drawing pencils and art paper, it's all he needs to set up shop wherever the action is. He draws deci­ sively, completing each portion of a pic­ ture as he goes. There is no preliminary sketching or blocking in. "I'm making drawings, not sketches," he says. "A sketch is a kind of tentative thing where you say, 'Well, later on I'm going to use this to make a piece of artwork.' I'm not doing that; I'm making a draw­ ing, and that means a very early com­ mitment to the picture itself." At the beginning, says McMahon, ':'^fjie*- "I kind of have an idea what the whole picture's going to look like . . . but I'm not sure. And I begin somewhere

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Franklin McMahon and everything takes its relationship i that point." He explains how he looks "Very small things interested me . . . at a prospective picture: "An artist's view toward a place is seeing it as you like the guy with his calipers." know it to be, rather than as you see #1 8 r 1

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from only one viewpoint. You see it in it just as you see it from one view. I were certain places where something a cubist way. In other words, you see like to show as many aspects in one very small interested me, like the guy it from, various aspects all in the same picture as I can." McMahon also en­ with his calipers, and all these little picture, and you try to move around in joys the many details that go into his things eventually end up as part of a the picture so that you're not drawing often highly populated pictures. "There bigger thing." ONLOOKER'S IMPRESSION: "He doesn't miss a thing — even the rag in the back pocket." Above: Gary Semrow, David Dunbar, Edward Schopa.

McMahon and critics 'They always see old Charlie in the picture, you know."

Low-key and mild mannered as he is, Franklin Mc­ 'You know that crankshaft . . . every second one is in Mahon nevertheless is accustomed to audiences. When he line.' Well, I'd never seen one before so when I sat down starts work on a drawing, it never takes long before to draw it I wasn't looking at it quite that way. But he people begin clustering behind him, often following his was very helpful in pointing out that that was the case." progress with whispered commentary. "They're always While onlookers have been watching McMahon over looking over your shoulder; that doesn't bother me too the years, McMahon has been collecting impressions of much." Laughing, he adds: "Well, I don't like it when his onlookers. "They always see ol' Charlie in the picture, they're critical, you know." you know. They say, 'Hey, there you are, Charlie, you're "I do think most people are interested in art," he in the picture,' and pretty soon he'll come around and says. "Almost everybody has an uncle or a cousin or a take a look . . . People are very critical, too. I mean they're brother or a son or a nephew that's an artist. So they're very sensitive if you don't do it exactly as they're seeing all interested in how an artist works and what he does." it at that moment. You might start a drawing early in Of the interest Melrose Park employes showed, he says, the morning and go off somewhere else and then come "I suppose it's the 'hand made' quality of a drawing that back, and there might be quite a different circumstance interests a lot of guys . . . And they like to correct it, you there, one which adds to the picture. And they're kinda know. One guy, for instance, was very helpful. He said, peeved if it isn't exactly the way it is there." 10 ARTIST WORKS almost alone (below left) until lunch break when audience gathers. Kibitzers are Ralph White, John Koloziej, Jr., Clayton Gillette, Jr.

ADVICE AT END of day: "Draw fast, it's quitting time." Left to right: Anthony Luczak, Plumie Triplett, Richard Hoist and Otis Norsworthy. 11 • • • ».*tf »«*'

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The massive shapes above are what! Archie Lieberman, Today's guest photographer Photographer Archie Lieberman calls j "a byproduct" of International HaH He sees design as an IH byproduct vester. Not the monumental sculpture! that it appears at first glance, it Is! instead a machining fixture that Liebef-1 man found at Melrose Park. To produce! 12 n

MACHINING FIXTURE reminds photographer of "some renaissance Italian village ... It has a total environment of its own."

a counterpoint to Franklin McMahon's sculptures. The kind of things that me of Jackson Pollack. Where a dozer drawings of men at work, he had gone modern artists strive consciously to do arm lay against the dark wall it looked to the plant to make photographs not was being produced here, every day, like a sculpture in the garden of the of people, but of things that showed evi­ by men making industrial machines. Museum of Modern Art . . . Surround­ dence of people having been on the Where yellow paint splashed and dotted ing the workers is all this modern art scene. "As I looked around," says the floor as a man moved a marking that's produced as a byproduct of the Lieberman, "I saw designs, patterns, brush, it left a painting that reminded utilitarian items that they make." 13 TRACKS of a three-toed beast? In reality, they are cleats on metal ramp. Countless crawler treads have scarred entire surface.

INTERIOR of PAY hauler body (right) gave photographer "a feeling of being in space ... a three-dimensional feeling."

Design in a factory

'' There are few places where man has not left his mark."

14 In the belief that "there are few places in the world where man has not left his mark," Photographer Lieberman searched for the marks Melrose Park employes had made: tractor tracks on a metal plate in the floor, welds on a PAY hauler body, traceries of metal on metal. "While I was going through the place I became very enthusiastic about it because, really," the photographer says, "these were beautiful things." He prefers not to explain what he sees in the individual pictures. "I think that the viewer ought to be allowed to look at the pictures and then let his imagination, his experiences speak to him about what he sees ... If he finds humor in them, that is fine. If he is simply pleased by a quick glance at the textures and quality of the pictures, then that is good too." "They're not meant to be taken too seri­ ously," Lieberman says of the photographs. "All I'm saying to the factory worker is, 'Hey, look around, look closely. Be involved in your environment, because your environment in­ volves you more than you ever know. These things are bombarding your eyes, your vision, your ears, everything. You might as well be aware of what's happening to you and enjoy it . . . Laugh at it'."

CHIPPER striking metal surface made gleaming design above, one of things that Lieberman found "just fun to look at."

GRACEFUL DESIGN on metal is another piece of accidental art. Ocean waves? Grass blowing in the wind?

15 RODENT ROYALTY gets close inspection at judging table by chinchilla expert G. A. Egging, Denver farm equipment district. Demand for the luxury fur follows stock market trends. FOUR BANDS of color on each hair, seen by blowing into fur (left), give chinchilla subtle highlights that make it one of world's most expensive furs. Ring on female's neck (right) marks breeding stock. Bud Egging's chinchilla

hobby got off on the wrong foot, but he proved to be . . . A breeder who wouldn't be skinned

SILKY-FURRED chinchillas and spike-coated porcupines are anatomical sisters under the skin, according to scientists. And it's as easy to get stuck handling one as the other, testifies G. A. Egging, assistant service manager at IH's Denver farm equipment dis­ trict. "Bud" Egging ought to know. He got stuck like most beginners when he bought a starter "ranch" of four chinchillas for §2,100 fifteen years ago. He found their fur was inferior market quality, and the lone female in the breeding herd promptly died. "My wife and I knew we'd been skinned, in­ stead of the chinchillas," Bud recalls, "but we said we're going to get our money back," By buying good stock and patiently upgrading his herd through selective breeding, Egging four years later broke into the exclusive 10 percent of all chinchilla breeders who make a profit. He has gone on to develop some of the most sought-after strains in the country. His pelts sell for up to §60 each. A perennial winner in chinchilla shows, Egging ships from the 250-animal herd in his basement to breeders as far away as Europe and Africa. The secret of success, according to Egging, "is really just a matter of animal husbandry — 'breeding up' for pelts without a yellow cast." In addi­ tion to his own study of genetics, Eg­ ging credits his wife's interest. "That's 90 percent of the success," he notes. '"Chins' are odorless, and not hard to raise. But you need a wife at home to take daily care of the herd. People who buy from TV promoters think this is a glamorous, get-rich-quick hobby. We never did consider it a hobby. It's a small business — either that, or last year we had a five-figure hobby." Mrs. Egging reflects the businesslike ap­ proach. Handling fur which "separates the really rich from the rich," she has withstood the temptation to collect pelts for her own stole. CAREFUL CAPTURE protects escapee's fur by use of net, and rodent tail as carrying handle.

17 TURBOSTAR, minus grill and panel, is measured for intake sound by Electrical Technician Chet Jantz (on ladder). At wheel: Engineer Martin Purshouse.

IN THE CASE of the new Turbostar, ion hearing is believing. Though the truck .ire might appear, at a quick glance, to be wh At Solar, home of another CO-4000, the ear isn't fooled the for an instant. Wrote an automotive oft the turbine, a technician editor from the IH proving grounds I near Phoenix: "There had to be a lev blu lends an ear spine tingles in the crowd as IH's ver­ 5ar sion of the gas turbine truck of the itio to the Turbostar's Sound of the seventies future came 'whining' out of the An­ >0 18 SOLAR STOPOVER permitted modifications to Turbostar's fuel control system. Augie Mitchell connects instrumentation.

HALF AS HEAVY as comparable diesel, compact enough to fit under short tilt cab, new turbine is designed for applications in ] ranges above 300 horsepower. With engine: Project Engineer Charles Gotschalk.

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zona hills into the center of the preview turbines to become a world leader in and Solar people have put in long hours area. The characteristic high-pitched its field. Four years ago it began de­ testing this application. There's a lot vhine . . . caused by air rushing into veloping a "B" series turbine that of work to be done yet in further testing 'he turbine ... is truly one of the sounds could compete with diesels in trucks. In and modifying, but if our experience °f tomorrow." Fort Wayne, IH motor truck engineers to date is a good guide, there will be no Press preview over, the metallic- mated the new engine with trans­ problem in reaching a finalized prod­ blue Turbostar went on to Solar in mission, drive line, axles and cab. Out uct." Much of the testing would be done ban Diego, where the sounds of to­ of this cross-country collaboration came at Fort Wayne. But before heading morrow are old stuff. Over the past the Turbostar. Reports Solar Vice Presi­ east, the Turbostar (see next page) years, Solar has made enough gas dent Paul Pitt: "Motor truck people had another date to keep. 19 FRONT-TO-REAR examination, with engine running, awaited Turbostar during special demonstrations for employes. Their "B" series turbine performed well- 20 Turbine truck / for Solarites, a Turbostar in the flesh

SOLAR OF SAN DIEGO became an IH subsidiary in 1960, an IH division in 1963. It's a safe bet that no event TOP-TO-BOTTOM inspection reflected employes' since has done more to strengthen interest. They also heard engineers describe easy family ties than the Turbostar's 1968 shifting of Turbostar's five-speed transmission. appearances at Solar's two plants. Re­ ports an observer: "Solar's 3,950 people were highly enthusiastic over the tur­ bine truck and it's doubtful that a single employe missed taking a look, kicking a tire or going ga-ga over the extra bank of dials working busily in the cab. The high-pitched hum of the turbine, a surprise to most other viewers, is, of course, a commonplace to Solarites. But it's rare for them to see one of their gas turbine engines in its final applica­ tion. Some commented with pleased surprise how well the engine fit into the tilt cab. 'Like a nut in a shell', I heard one say." The comparison would appear to apply to Solar's place in International Harvester's future. More than one automotive editor at Phoenix hailed the Solar-powered International as the long-distance highway truck of tomorrow.

EXTRA BANK of instruments in cab was top attention-getter. Added dials are there to gather test information.

21 BATTALION OF BRICKLAYERS builds coke ovens under shelter of new sheet-iron building 220 feet long. When ovens are completed, building will come down.

A convention of masons?

When the last brick is laid, Wisconsin Steel will have Ovens by the dozens 22 SPECTACULARS are commonplace at Wisconsin Steel shapes. Explains William P. Hoffman, assistant chief engineer: Works. Usually they erupt with the brilliance of a fireworks "The trick is to get bricks of the right shape in the right display. But the really big show at the mill these days has amount in the right place at the right time. We can't let nothing to do with molten metal. It involves 55 bricklayers, construction stop while bricklayers hunt around for Shape 13,000 tons of refractory brick and the construction of 45 786." By late summer the 45 new ovens will be producing coke ovens. The brick, special and expensive, comes in 1,200 more coke per day than 88 elderly ovens they're replacing. 23 International Harvester

401 NORTH MICHIGAN AVE. CHICAGO. ILLINOIS 60611

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Ovens by the dozens . . .

story begins on page 22

Archway in a house of worship?

APPEARANCES to the contrary, the masons on pages 22-23 are build­ ing coke ovens not pyramids, and the bricklayer shown on this page is erecting a regenerative chamber not a cathedral. Each oven will have one such chamber under it, with firebrick specially arranged to per­ mit large surface contact with hot gases. The heat is then transferred to the incoming air for combustion. During the 47-year lifetime of the old ovens, they produced more than 143^ million tons of blast furnace coke. Countless cubic feet of air passed through their regenerators. In time, accumulations of dust particles began clogging them, lead­ ing to heat loss. What the situation called for, a multimillion-dollar ap­ propriation provided: expensive brick by the thousands of tons and skilled men to lay it.

LITHOGRAPHED IH UHITED 5TATES OF AMERICA International Harvester Press