Maker Stories

Inside the Artists’ Studio with Seth and Maddy Lucas

June 10, 2015

Instagram photo taken by @ellothereprintco

One of my favorite meetings at the UncommonGoods headquarters is something we like to call grown up “show-and-tell,” where the marketing team previews the products that will soon join our This Just In assortment. I was immediately intrigued by the story behind the National Parks Sticker Map. Assistant Merchandising Coordinator Jillian described Seth and Maddy Lucas as a young married couple who had a goal of visiting all of the national parks in their lifetime. It might have been because I was in the middle of reading Cheryl Strayed’s “Wild,” but I immediately thought “I wanna do that, too!” I started daydreaming about where I would thru-hike one day, imagining myself rolling out a sleeping bag next to a serene lake in [insert middle of America location]. But when Jillian mentioned that the designers were based in Brooklyn, I swiped the serene lake away like an email on my iPhone and thought “Oh, I wanna go there too.”

I had never been to a home studio before visiting Seth and Maddy. Upon entering their light-drenched apartment, I think the phrase “bring your work home” took a whole new meaning. From the nostalgic American pillows on the couch, to the colorful shelves in their kitchen, it was easy to tell that their artistic aesthetic is consistent throughout every detail in their daily lives. When I stumbled upon their copy of the “Wes Anderson Collection,” everything clicked. I realized that Seth and Maddy had the ability to create an all encompassing visual language similar to what Anderson fans feel when they are lost in any one of his famous films. The ability to live life with such a distinct style seems to come naturally to Seth and Maddy, whether they are backpacking around another park, or just listening to a record on their couch. Meet travelers and designers Seth and Maddy Lucas, and learn more about their colorful inspirations, their collaborative process, and the delicious way they celebrate a victory.

Maker Stories

Inside the Artist’s Studio with Molly McGrath

March 27, 2015

Molly McGrath is a laser-cutting artist who marries her architecture training with her love for geometric shapes and bright hues. Molly’s statement art pieces are known for intricacy and precision, yet words like “lively” and ”fun” still come to mind when you see them. I visited Molly’s lovely studio in the heart of The Mission in San Francisco and it wasn’t a surprise that her open space mimicked her artwork’s aesthetic – flashing lots of playfulness with even more color. Her studio held lots of character, from her personable knick-knacks to her hand painted geometric doors, I simply couldn’t focus on just one thing. Natural light flooded in, her laser cut designs peeked out from drawers and vignettes, and her desktops were scattered with signs of production. I felt like I was standing in the middle of a real life Pinterest board titled “Interior Eye Candy.” It was clear that Molly built a home away from home – a space that was truly hers to the very core.

Creatives often try their best to limit distractions in order to stay focused on their craft. Yet it was procrastination for Molly that ignited the initial spark for her small business. As Molly told me, “I used a laser cutter extensively in architecture school – making models mostly out of birch plywood. I have always made jewelry and one day, while procrastinating, I decided to make some earrings on the laser cutter. That was the beginning!” Read about Molly’s friends Larry and Lola, what quote keeps her inspired, and her current obsession to perfect her craft!

Maker Stories

Wishes Do Come True: Jill Davis’ Glass Globes

January 12, 2015

Jill Davis always knew she wanted to be in the business of creativity. Growing up just outside of Boston, MA, she was immediately drawn to the rich arts and culture resources the city had to offer. Visits to the Museum of Fine Arts in her stroller gave way to a summer internship in high school. “In retrospect, I can’t believe the museum staff hired me,” says Jill, “I was the only high school student—all the others were graduate students!” Despite her young age, Jill began working on a project to organize all of the exhibition photos in the museum archive. Her favorite part of the job, however, was exploring the decorative arts and period furniture sections.

This sparked a lifelong passion in three-dimensional art. Before finding her way to glass, Jill worked with a variety of techniques and materials. From clay and metal to jewelry and paper, Jill eventually settled on fashion, making all of her own clothes. “It was the early ’80s and I wanted to look like I was in a rock and roll band, preferably Van Halen or KISS.” Jill went on to sell those clothes at small stores in Boston and Cambridge before enrolling at the Parsons School of Design in New York City.

During her freshman year studying fashion, Jill realized her clothes were more akin to wearable “sculptures” than they were “fashion.” She knew she wanted to stay at Parsons so she began exploring their different departments. The day she walked into the glass studio and saw molten glass for the first time, her search was over. “Glass is the most challenging and rewarding material I have ever encountered,” says Jill. “You can’t bully it—you are perpetually persuading and coaxing the glass into shape. Even the best living master glass blowers cannot always get the glass to do what they want! It’s this feisty streak that keeps me enchanted.”

Jill began working with the New York Experimental Glass Workshop, spending the next 15 years creating one-of-a-kind fine art sculptures. “It was absolutely great, and I didn’t mean to stop doing it—starting my company was a happy accident,” says Jill. After leaving New York and moving to rural Washington State, Jill realized that Washington was a bit lacking in terms of 24/7 public transportation. She needed a car and she didn’t want to take out a big loan to get one. Thus began her Car Project. “Glassblowers are lucky,” says Jill, “instead of waiting tables, we can blow Christmas ornaments, go set up a card table at a craft fair, and at the end of the day, you can generally count on having sold most of them.” She designed a small collection of affordably priced items and by the end of the year was able to buy a brand new car—in cash. She was also able to start her company, Henrietta Glass. Her innovative Wishing Ball followed shortly.

The Wishing Ball was inspired by an NPR story Jill was listening to while she blew some bud vases. A woman told a story about wishing on pennies as a way to heal a broken heart. Realizing that a penny couldn’t buy a wish these days, she began saving her wishes in a jar. Her wish came true at $4.73. Inflation much? This story inspired Jill to create a container for lucky pennies, though a container for pennies ended up amounting to a classic piggybank. Jill realized she was more interested in wishes than pennies, and so began to create a vessel that echoed both crystal balls and snow globes—“two other glass traditions that encourage us to gaze both inward and outward to explore new possibilities.”

The ball itself is hand blown from a blob of 2000 degree molten glass. The clear glass is rolled in bits of copper and cobalt glass called frit in order to produce an ethereal turquoise color. “It’s just like putting sprinkles on ice cream, only screaming hot,” says Jill. The glass is then carefully shaped with a bubble inflated within it. A separate bit of molten glass is affixed to the ball to form the foot. Once assembled, the whole piece slowly cooled in an oven over twelve hours.

The perfect spot to stow wishes, give thanks, or make a resolution for the New Year, the Wishing Ball presents an inspirational opportunity to put your hopes where you can see them. What’s Jill’s wish for the Wishing Ball? “I’d like people to see their Wishing Ball as a little bit of help or inspiration toward a positive future. Deciding what to write on each piece of paper may be an opportunity to focus and clarify your thoughts.” Her resolution for the New Year? To make sure she keeps doing things that make her uncomfortable, things that challenge her.

“The wonderful American furniture artist Wendell Castle, a hero of mine, has a list of 10 ‘rules’ to live and make art by,” says Jill. “One of those rules is that if you hit the bull’s eye every time, you are standing too close to the target.” This inspiration to constantly push herself lends perfectly to the idea behind the Wishing Ball. Set goals, make a wish, and make changes.

People often ask Jill why the wishes can’t come back out, and her explanation can be summed up with birthday candles. “When you blow out you candles, you don’t tell the wish you made, otherwise it won’t come true.” Says Jill. “But more importantly, memories are always more beautiful than photographs, and the same is true of wishes. When you look at the little slips of paper accumulating in your Wishing Ball, I want you to think about the Big Picture those messages convey. Rereading the notes would be like looking backwards, or trying to step in the same river twice.”

Maker Stories

Opposites Attract: Michael Stromberg’s Magnetic Art

July 9, 2014

Opposites attract as designer Michael Stromberg brings new concepts to life. “I realized that there was an entirely unexplored artistic outlet waiting to be defined,” says Michael of his eye-catching magnetic sculptures and games. “I also enjoy pondering the invisible forces that make these so unique.”

A magnet simply isn’t a magnet without forces that attract and forces that repel. Michael uses this principle in different ways, depending on his ultimate design. For games, he uses strictly repulsive powers as an added hurdle for skill. His art and sculpture, however, utilizes the power of attraction.

Michael began his journey into magnetic art after planning a tournament for a magnetic shuffleboard set he’d designed in the early 2000s. It seemed appropriate to have a magnetically-suspended trophy as the grand prize. After finding nothing on the market that fit the bill, he decided to create his own. “As soon as I began to work on the award, a fairly simple geometric design, my mind began exploring where I could go with this.”

His sculptures always begin by establishing a focal point for the new piece. Once this has been decided, the frame and ancillary parts are designed as a complement. Everything eventually works together so that touching just one piece of the sculpture causes the other parts to come to life as if by magic.

Fascinated by how the magnetic attraction creates a fluid work of art, Michael says that his designs blend left-brained precision with right-brained imagination. Working with magnetics typically takes hours of re-balancing in order to ensure that the parts move the way he envisions. “Many artists use only gravity and wind to manipulate their work, both of which are predictable, natural forces. Adding magnetism causes new and fresh interactions.”

While his primary medium is wood, chosen for its unique grains and aesthetics, Michael has begun working with clay, fabric, and polymer resins—an exciting turn for his inspired takes on environmental sculpture. “As far back as I can remember, I have always enjoyed making things,” says Michael, “from acoustic and electric guitars to snowshoes, I’ve enjoyed creative endeavors my entire life.” And with his beautiful kinetic pieces, his creative evolution continues.

Maker Stories

The Art of Meditation: Jayne Riew’s Temporary Canvas

March 28, 2014

With a background in literature and painting, artist Jayne Riew was always inspired by the combination of words and images, along with the connection between art and psychology. “For me, art is most compelling when it offers greater self-awareness,” says Jayne, explaining her process of creating pieces that people can turn to when they need help. “Sometimes when we wrestle with unwanted thoughts or tough emotions, language fails us.”

The Meditation Box’s temporary canvas of shifting sand provides a private place to confront these feelings; “no one—including yourself—will ever see it again, so why not scrawl out a mantra, confess something to yourself, or even draw the face of someone you wish you could see?” Once you get all of that mental clutter out of your system, you can simply shake the box, close the lid, and walk away.

Jayne created the prototype of the Meditation Box for a friend who admitted that she found it difficult to unplug at night, losing hours of would-be sleep to her laptop. In response, Jayne created her first box as a way for her friend to lighten her mental load at the end of the day. The laptop size felt familiar, while the layer of sand within gave her a space to be alone with her thoughts.

Recognizing the design’s versatility, Jayne also gifted it to a friend who lost a spouse. He uses the space to write what he would say to her if she were there. When Jayne apologized for the limited space, he pointed out that all the really important things one human needs to communicate to another can be offered in five words or less.

Living with her family in New York City, Jayne uses her own design as a declarative space to help her sort through seemingly never ending busywork, making even a simple to-do list a motivational affirmation. “I’ve actually been able to combat procrastination just by avowing something to myself in writing at the beginning of each day. When you declare things in writing, you see them outside of your mind. Sure, I could write it down on a piece of paper, but the strangeness of the form and the opportunity for play makes me pay attention and remember.”

Maker Stories

Teresa Kahres on Jewelry and the Business Behind It

March 12, 2014

Teresa Kahres grew up in Long Island, NY and began showing her artistic leanings early in life. She went on to study jewelry design and enameling at SUNY New Paltz, the Cecelia Bauer Studio in New York City and in Siena, Italy. Some friends invited her to join them in a Brooklyn studio in 2005, where, the following year, she founded t. kahres jewelry, her line of sustainable, nature-inspired, handmade, recycled metal jewelry.

Her deep love for the shapes and colors found in nature shows in the organic forms of her metalwork–often hand-cast from actual leaves, shells, etc.–and the stunning colors of her enameling. The end result is intricate jewelry art, exquisitely crafted like small sculptures.

We’re in love with her creations, and jumped at the chance to ask her some questions about herself and her work.

Were you artistic as a child or teenager? If so, what kinds of things did you create?
I was very artistic as a child. I always drew pictures and took projects for class to the next level, whether it be a science project, an art project, history, etc.

I remember one project when I was in 4th grade. We had to make a homemade usable tool/object. I made a fishing pole out of a long branch and twine, and tied a rock to the middle of the twine so it would drop down in the water to catch fish. I carried it all the way to school. I taught an art drawing class on the computer in the 4th grade as well.

I was always more interested in art class and did very well in those classes. My mind understood that process. For the other classes I really didn’t have much interest, and it always took more time for me to grasp what was going on. It was kind of boring to me.

What were your major inspirations growing up? Any role models?
My grandfather and dad were major inspirations. They are/were very handy people. They would make things, if they could, before buying them.

My grandfather was always into funky gadgets. I remember he bought a huge (by huge I mean probably a foot wide) rear view mirror for the car so he never had to look back. He was all about the design, too. He was always drawing and was an exceptional drawer.

He and my dad owned a bookstore, and they built all the shelves and many of the things they had in the shop by hand. They wallpapered my whole house and made picture frames, step stools, tables, wall units, you name it. They weren’t woodworkers, they just knew how to create things the way they wanted it.

So I was around a lot of crafty, handy people growing up.

Are there any great jewelry artists or sculptors of the past who you worship?
One of my inspirational jewelers is Art Smith. His jewelry is very sculptural, and he used a lot of found metals and materials to create his jewelry. His pieces are a true work of art to me.

When I started enameling, I was first influenced by Georgia O’Keeffe. I love her flowers and the colors she uses. Louise Bourgeois and her large metal spiders are amazing in real life. Her sculptures and what she expresses within them is a real influence.

When did you become especially interested in making jewelry?
I became interested in making jewelry when I made gifts for everyone out of whatever I could find. I would make jewelry out of beads, leather, vinyl, studs, safety pins, string, etc. I took a metalsmithing class in college and became hooked instantly! So I delved into metals and started loving what I was creating.

What are the most challenging aspects of creating your jewelry?
The most challenging part of jewelry making is the steps you take to get it to what you want it to become. Drawing it and fabricating it out of base metal, paper or wax to see scale and design before you actually make it in the metal you want. Making a model out of precious metals can get expensive if you are in the very beginning stages, so it’s always better to try and make it first from something less precious.

What are the greatest design challenges in creating jewelry?
The greatest design challenge is trying to make something unique and eye-catching and yet something that an everyday person can respond to. I understand that not everyone will like my work, but I want the work to be wearable and sellable.

Do you work alone, or with a team? If the latter, how does that work?
I currently work with an assistant, and it has made everything so much better and easier. It relieves some stress of pressing orders. She helps me make decisions and keep things organized. She is great!

How long does it take to create each piece of leaf jewelry?
When I am doing production I do a bunch at a time, but I’d say each leaf earring set takes about a full hour to complete from start to finish.

How do know when you’ve spotted something you want to make into jewelry, like a leaf, etc.?
I know when I want to make something into a piece of jewelry if it speaks to me instantly. I am always on the lookout for new things to create and colors to use so when I am feeling something I usually try to create it out of metal.

With your nature-inspired jewelry, does the change of the seasons inspire you to change what you’re making?
Most of my jewelry is beach-related, which is where I find the most peace for myself. I somewhat dislike winter. Although I did do a new collection not so long ago and based some shapes on ice, so I guess I am influenced by all seasons. I just tend to get more inspiration from the warmer ones.

When did you start becoming a “real” business woman?
I started to become a real business women when I realized that I wanted this to not be a hobby. A few friends of mine were getting studio space many years ago and asked me to join in with them. At that point it started becoming more and more like a business. I did have another job during my first years into business so that I could fund materials and such.

I was approached to do the Grand Central Holiday Fair a few years ago (at that time I was working three jobs, jewelry included). I decided to take the leap of faith and do the fair and quick my other jobs. The fair was going to be 42 days–and very long ones–so I wouldn’t be able to work all three. I was very pleased with my decision to let go and go for the business in full force. The fact that I can run my own thing now is the best. I was scared, but happy I finally got over it.

What are the biggest business lessons you’ve learned?
Big business lessons I learned are:

It’s pretty difficult being your own boss; the structure, and keeping everything organized and on time.
Not being scared to not be good enough and trying to get what you want is a big challenge in such a competitive field. Going for it and not standing back was a challenge. But as my business grows and I am a bit older, I am trying not to let anything stand in the way.
Having the freedom is great, but you have to be structured in order to have a successful business. Sure, you can take off whenever you want but then things get left behind.
Hiring someone is scary because now you have to manage someone else besides yourself. But if you get sick and need to take off and you have no one that works for you, business stops.

Those are my biggest thus far. I am sure as I grow, others will arise.

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