Maker Stories

Inside the Artist’s Studio with Nils Wessell

October 16, 2015

Nils in his Brooklyn woodshop, photos by Rachel Orlow

Nils Wessell is the creator of our Tablet Holding Cutting Board , an innovative design that allows cooks to easily prep ingredients with their electronic tablets ready and enabled right in front of them. While heirloom cookbooks are becoming a thing of the past, Nils’ cutting boards are beautifully crafted and sturdily constructed, meaning they bring a dose of tactile beauty to cooking in the electronic age.

When I first read our This Just In-spiration interview with the Brooklyn-based designer and woodworker, I got the impression that he’s not only a talented craftsman, but also someone who is truly passionate, not only about his own craft, but also about art across a broad spectrum. When I learned that his woodshop is located in nearby Industry City, I knew I had to pay him a visit to learn more about his thoughts on the pursuit of creativity and the challenges (and rewards) that come with balancing art and business.

Once in Nils’ creative space, I saw work, experimentation, knowledge, and–at the risk of sounding a little cheesy here–the magic in the sawdust all around me. Nils’ studio is a mix of books, designs in the prototype phase, power tools, and exquisitely crafted cutting boards in different stages of production. Read on to see some of these works in progress, hand tools and heavy machinery, and our interview with Nils.

Maker Stories

Going with the Flow: Brian Kunkelman’s Handmade Pottery

October 14, 2015

Brian’s home and studio near Lancaster, PA, Photos by Emily Dryden

Brian Kunkelman is a potter who seems to go with the flow, a metaphor that runs through his studio and craft—from the water that flows through the cultivated pond outside his studio window, to the variety of music that flows through his speakers (equidistant from his potter’s wheel), and the meditative motion of working with stoneware clay to throw his Soup and Crackers and Berry Buddy bowls. “There’s a fine line between a rut and a groove,” Brian likes to say, paraphrasing singer-songwriter Christine Lavin and underscoring the delicate balance required to hand-throw his designs with the right mix of consistency and hand-crafted variation that makes each piece one-of-a-kind.

Brian with his faithful friend, Mungho

Brian starts with stoneware clay and wedges the required amount with his pugmill to remove air bubbles, then cuts it into cylindrical chunks that are the right amount for either soup or berry bowls. Each prepared chunk goes on a bat—not a flying mammal or baseball equipment, but a wood disc that locks onto the potter’s wheel so the thrown pot can be removed easily once complete.

Prepared portions of clay

Brian’s wheel turns through a hybrid of foot and electrical power. An electrical motor sets it in motion, but its heavy flywheel provides the majority of spin through centrifugal force. “The action is really smooth with the flywheel,” Brian comments as he deftly coaxes the desired forms from the clay, slip splattering the wheel’s alcove in an ever-changing, Pollock-like clay painting. He uses little more than his hands through the whole throwing process, gauging the height and diameter of the emerging forms with the span of his fingers and length of his thumbs. The beauty of such human scale applied directly to these vessels instills an unmistakable handmade appeal that runs deep.

As one of his most essential tools, Brian’s wheel has had quite a workout. At one point, he had to replace an inner rubber wheel that had worn out. “We’ve never sold that part before,” said the perplexed manufacturer. Brian seems proud to have put the device through its paces, a reminder of the years and rigorous work they’ve been through together. And when it’s time to stop, the wheel’s braking mechanism is pretty simple: Brian’s shoe. “My right shoe always wears out faster than my left,” he quips.

Both Berry Buddy and Soup and Crackers bowls start their lives as similar double-bowl forms, like large cups with attached saucers. But in the next steps, they take on their distinct shapes and functions. Using handy turntables, Brian quickly cuts away 180 degrees of the lower saucer and attaches the cut walls to the main form to create the Soup and Cracker bowls. The excess clay will go back in the pugmill; “that’ll be a pot in another day,” Brian says, summarizing the recycling process inherent to his craft. For the Berry Buddy, he keeps the lower saucer intact, but pulls a spout on one side, and adds a series of colander-like drainage holes to the main bowl. Then, for both designs, strips of striated clay extruded from the pugmill are added in graceful curves to become handles.

Building the form of a Soup & Crackers bowl

At this point, the vessels are called “greenware,” and go to hang out on ware trucks for a few days to dry. Bisque firing adds additional stability to the forms, which are then dipped in a series of contrasting glazes that will play diagonally across the finished bowls in warm zones of blue, green, and cream. Brian adds a final, decorative stripe of glaze to the bowls with a gestural flourish evocative of Japanese brush painting.

Adding a decorative accent

They’re ready to be loaded into his kiln, a hand-built brick and steel structure that he calls his “controlled volcano.” The propane-fired inferno slowly heats up to 2400 degrees, vitrifying the glazes to their final colors and finishes that will seal and protect the pottery for years of use. Although Brian is constantly “tuning” the kiln—refining it with baffles to improve its performance—he embraces the inevitable variations in every load, another dimension of the process that makes each piece a unique variation on the theme of his designs.

Berry Buddies on kiln shelves

Trial and error is an organic part of Brian’s work, and he emphasizes the patient perseverance required to “dial in” and find your groove (avoiding the ruts): “…you get in the zone. It’s like one long thought…you’re thinking but you’re not thinking. Sometimes when it’s late at night and you don’t want to do it, five to ten pots into it, you’re like ‘this is exactly what I should be doing now.’ Once you get started it starts to become really comfortable.” And in that zone, he celebrates the unique nature of every piece he throws: “Each pot is still its own pot, requiring the same care and attention, whether you’re making one of them or a hundred of them…and I try to be conscious that this pot’s going to be part of someone’s life…”

Finished Berry Buddies

Maker Stories

This Just In-spiration: Meet Chris Dimino

October 12, 2015

Our makers never fail to motivate us, encourage our creativity, and fill us with inspiration. So, when a new design enters our assortment, we’re always excited to learn more about the people behind the product.

What gets an artist going and keeps them creating is certainly worth sharing, and every great connection starts with a simple introduction. Meet Chris Dimino, the artist behind our new Keyboard Waffle Iron.

When did you know you wanted to be an artist/artisan/maker?

I’ve been drawing since I was 3 and I started making additions and scenery for my existing toys that would enhance the world I was creating during play. I made things for years and had more fun doing this than anything else.

I found a great home for my skill set at the School of Visual Arts where I was able to create some of my best work, including the original Typewriter Waffle Iron. After graduation, I worked in virtually every field of design which has provided me with a valuable skill set for creating in 2D, 3D, and motion/animation. I am now circling back to what I’ve always enjoyed the most: making things. After receiving countless requests over the years from people asking if my original Typewriter Waffle Iron was real and for sale, I decided to further develop the idea and make it a real, functioning thing. The Keyboard Waffle Iron is the start of what I hope will be many creative products to come.

What was the most exciting thing about becoming a professional maker?

The idea for The Keyboard Waffle Iron has been with me for over a decade. I actually didn’t expect this, but when I held my first sample in my hands and used it, I really loved it! So the most exciting part for me is seeing that feeling translate to customers and reading their comments/emails saying that they love their KWI.

What does your typical day in the studio look like?

Each day is different with new inquires, new business opportunities, new fires to put out, and new relationships to build. Around these things I work on existing opportunities, fires, relationships, and development of the brand and future of the product. I definitely keep busy.

Is there a trinket, talisman, or other inspirational object you keep near? If so, what is it and what does it mean to you?

I have an old drafting table that was given to me by a close family friend when I was 10 years old. It’s the place I’ve created my best work and sitting at it brings me to that younger version of myself when playing and creating were my only concerns.

Imagine you just showed your work to a kindergartener for the first time. What do you think they would say?

My guess is they would say, “Cool!” or “What’s that?” They would likely recognize the keyboard pattern for sure but maybe not know its purpose as a waffle iron. I’m going to go with “Cool!”

What quote or mantra keeps you motivated?

I have two of them, both Latin:

Ut sementem feceris ita metes — “As you sow so will you reap.” (Cicero)
and
Audaces fortuna iuvat — “Fortune favors the bold.” (Virgil, The Aeneid)

Maker Stories

This Just In-spiration: Meet Kristin Hinrichs

October 8, 2015

What gets an artist going and keeps them creating is certainly worth sharing, and every great connection starts with a simple introduction. Meet Kristin Hinrichs, the artist behind our new Crackling Candles.

When did you know you wanted to be an artisan?

I’ve always loved creating, but I never dreamed it would be something I would do as a career. I’m an equal right brain/left brain person.

What was the most exciting thing about becoming a professional artisan?

It’s exciting to know that others love something that I’ve spent so much time thinking about and creating. Every time I read a positive feedback, it’s like a rush of motivation. Some days it’s easy to get caught up in “Why am I overthinking this to death, what does it matter?” Then you hear someone say they love your product and it all makes sense.

What does your typical day in the studio look like?

Actually, I rarely spend full days in the studio. It’s mostly at night after my day job, or during my son’s naps on the weekends. I just renovated my space so I’m really excited to be able to spend more time in there. My wax is always turned on so I can just pop in and make batches of candles as I get time.

Is there a trinket, talisman, or other inspirational object you keep near? If so, what is it and what does it mean to you?

The common theme to my work areas are photos of my son. I started making candles the year he was born so he was really the reason I started on this path. It also keeps me focused to work hard, but also remember not to get too tied up and forget to put the wax away and go play. It’s important for me to show him what it looks like to work hard to achieve your goals.

Imagine you just showed your work to a kindergartener for the first time. What do you think they would say?

Mmmmm – smells yummy! Can I eat it?

What quote or mantra keeps you motivated?

Work hard, play hard.

Maker Stories

Inspirational Jewelry Artist Kathy Bransfield: Moved by Words Every Day of Her Life

October 6, 2015

When it comes to creating jewelry, Kathy Bransfield can’t stop, won’t stop. “My main drive is the fact that each piece has so many different meanings for its owner,” she says. “Whether it’s a piece with humor, a piece that can be a talisman of inner strength, a reminder of a precious friend or lover or a necklace that brings healing after a loss — this is what touches me the most and keeps my heart on fire.”

Bransfield, who works out of a studio three blocks from her home in Culver City, California — with her husband Eric and mother-in-law Rochelle — shared her off-the-chain story with us in a series of email exchanges.

When did you first know you wanted to be an artist?

As far back as I can remember! I loved to draw and do any type of craft project I could get my hands on. My dad told me I couldn’t refer to myself as an “artist” until I sold something. So when I was about 9 or 10, I would go door-to-door selling handmade Christmas tree ornaments. Later, I had the pleasure of painting alongside the ever so lovely Bob Ross (on his PBS show The Joy of Painting). I sold the oil paintings I did for $50 each — mainly to family, of course. I was 13 years old and felt I had proven dad wrong. Oddly, I still never refer to myself as an artist. Ha!

Nature is so integral to your work — and words, too. Why do you think that is?

As a kid I loved climbing trees so much that I would often sit on a specific high limb like a recliner and eat my lunch. I have always felt more connected to my own soul by being in nature. I’m also an avid scuba diver so a lot of my inspiration comes from under the sea as well as above. Seeing the shapes of the coral and the different types of grasses waving in the water is like being in a dream.

As for language, quotes have helped me through some of the most challenging times in my life. And they continue to aid me on a daily basis to keep things in perspective. They remind me about love, possibility and what’s important in life — how we should never give up on our dreams, never forget that dear loved one and, most importantly, never forget who we are.

What are your most essential tools?

By far, my vintage sets of letter stamps, my heart and my husband, Eric, who runs the business!

Is there a talisman you keep around you when you work?

Mostly, other artists’ work surrounds me in my studio — it reminds me of how much I want to strive to be more profound in my creative process. But I do display one thing I made in 1989 while living in Lake Tahoe. It hangs on the light of my bench and is made from an old pair of pants I had at the time, wooden and glass seed beads, vintage glass beads from the 1800s and amber teardrops. It’s filled with tiny treasures that have held meaning to me over my lifetime. The feather that sticks out represents my loving relationship with my husband.

Where do you typically draw inspiration for your pieces?

The obvious things make the list: hearing my children’s infectious laughter, traveling to beautiful places and engaging with great minds. I’m always trying to absorb the world around me with eyes wide open. I’ve found great quotes everywhere from a bathroom in a bar in Mexico to an inscription on a gravestone and everywhere in between. I love being moved by words every single day of my life.

Do you wear the pieces you make?

Never! I’ll be in conversation with someone that I’ve just met and they’ll ask me what I do. I tell them I make jewelry, and, immediately, they scan my empty neck and ears in confusion!

Because sayings are so important in your jewelry, is there a quote or mantra that keeps you motivated?

There are probably too many, but I will try to restrain myself:
“We are all in the gutter, but some of us are looking at the stars.” —Oscar Wilde
“Wherever you go… there you are.” (That’s me running in circles!)
“Our deepest fear is not that we are inadequate. Our deepest fear is that we are powerful beyond measure.” —Marianne Williamson

What’s the best compliment you’ve ever gotten on one of your pieces?

Someone came to my booth at an arts and crafts show I did about 15 years ago. She showed me her necklace that she had bought from me years prior. It looked like it had been in a grease fire, and sat on by an elephant. A third of it consisted of her hair wound through it! I immediately offered to take it and clean it. She said absolutely not — she never ever took it off and never would. The story she told me of what it meant to her had me bowled over. She had only stopped by my booth to let me know and say thank you. It helped me to see my work and its meaning for others in a whole new light.

Best yet, Eric and I were up in the wine country in Northern California once. While standing in line to buy champagne, I noticed the couple behind us were wearing the matching Missing Piece Puzzle Necklaces. I awkwardly chatted them up asking where they had bought them. Their answer? UncommonGoods!

Maker Stories

Uncommon Impact: Practical Design Meets Practicing Better Business

October 1, 2015

As a B Corp certified company, UncommonGoods is excited about sustainability. That means more to us than just being “green” – we strive to offer products that reflect the environmental and social best-interests of everyone. So, when our makers are as concerned with sustainability as we are, we’re always excited to learn more about their process and the positive impact they’re having on the world.

While many of our makers rely on sustainable practices at one point or another in their process, we’re especially excited about those who place the wider world at the forefront of their craft – those who are making an uncommon impact.

Meet Lishu and Leonardo Rodriguez, founders of fellow B Corp El Dot Designs, which specializes in mindfully-sourced home furnishings that have a positive impact on the lives of the people who make them. Their work is as much about sustaining the environment as it is about providing economic opportunity for disadvantaged women and minority artisans, all the while nurturing the traditional craftsmanship behind practical modern designs.

Lishu and Leo Rodriguez

Where does the natural environment find a place in the inspiration for and impact of your work?
Nature is our teacher and our muse. We believe in our symbiotic relationship with the natural environment. Our work nurtures this relationship where humanity and the natural environment benefit form one another.

How do craft traditions and modern practicality merge in your designs?
Craft is based on necessity dating back to the beginnings of technology. Our designs appreciate this evolution towards efficiency and durability while maintaining that human touch and our heritage of making with our bare hands.

Maker Stories

This Just In-spiration: Meet Pauline Stevens

September 28, 2015

What gets an artist going and keeps them creating is certainly worth sharing, and every great connection starts with a simple introduction. Meet Pauline Stevens, the artist behind our new Recipe Towels.

When did you know you wanted to be an artist?

When my head was with full with ideas and no place to put them.

What was the most exciting thing about becoming a professional artist?

Realizing that others besides my family and friends like my work, and were willing to pay for it!

What does your typical day in the studio look like?

Opening windows and blinds, making coffee, a little music, playing around with props and light, taking pictures, playing around some more, clicking my camera once again. Choosing images. A little lightroom, some Photoshop, and testing.

Is there a trinket, talisman, or other inspirational object you keep near? If so, what is it and what does it mean to you?

Not really. I love music, light, and color and feel really in spirit when I am outdoors.

Imagine you just showed your work to a kindergartener for the first time. What do you think he/she would say?

“I’m hungry!”

What quote or mantra keeps you motivated?

Let the world know you are here and do it with passion.

What are your most essential tools?

My camera, my love for light and admiration for food.

Maker Stories

Quirky Birds and Tin Can Telephones: The Work of Spring Hofeldt

September 25, 2015

When asked to define the type of work she does, Spring Hofeldt usually responds by saying “realism.” But she’s quick to add that the term fits the look of her paintings, but not the messages that they convey. Still, there’s a wealth of common ground to be found in her quirky portraits of ostriches, fostered fish, and romantic vegetable duos. She observes that her paintings “immerse the viewer in a metaphor of day-to-day life. Whether you’re a cynic of a sunshine, we can all relate to making light of such trials and tribulations.”

Our recent conversation with Spring sheds some more light on her spunky slices of life, the inspiration that can be found in excavators, and her love of words that include “oo.”

Untitled (Self Portrait) by Spring Hofeldt

What artists have influenced your work?

I went to school for illustration, so naturally I’ve been captivated by the work of C.F. Payne and Norman Rockwell. They made me realize how important it is to me that I capture a humorous or quirky moment. These artists illustrate the true character and essence of a person/object in such a light and wonderful way.

And more specifically, Edward Ruscha‘s large-scale painting of the word “OOF” get’s me every time.

What are other personal influences on your work?

There are so many human experiences that can be annoying, awkward, or awful. Retelling the story to others and seeing the humor in it is a great way to cope.

Your work is characterized by a certain naturalism or realism. How do you define realism?

I don’t think of myself as someone who is chasing photorealism, but rather the character of the feeling I’m after. To those few who ask me, “why put all the effort into painting a photograph you took? Why not just print the photo and call it a day?” Paint has a way of making the image extra yummy. I like being able to alter the colors or patterns with paint rather than a computer saturation. And simply, I like the challenge of painting something so real.

Squawk

What’s your favorite thing about your studio—how does the space or its contents inspire you?

My corner studio overlooks Brooklyn’s BQE and the F/G subway lines, which provide a constant sense of movement and an overall positive hum. The best aspect of the movement outside is the large, mustard yellow, claw excavators tossing metal from one pile to another at the scrap yard. It’s like a dance of mechanical dinosaurs all day long.

I also share the studio with two other artists, and although their art is very different than mine, just seeing how productive they are encourages me to get to work.

When did you first know you wanted to be an artist?

I had a good hunch when asked at age 6 or 7, but never really took it too seriously until I took an art class my last year of high school, only because I had an extra spot to fill. With spit wads flying over my head, my nose deep in graphite and colored pencils, I realized by the end of school that it was a true passion I wanted to pursue.

How do you balance creativity—painting for it’s own sake—with the business side of being a professional artist?

At this point, I’d say that I only create paintings I’m truly inspired to produce and am confident about the subject matter. Even if I take on commissions, I make sure they’re filled with character that I would normally add. This is initially why they are coming to me.

What inspired you to create your ostrich paintings?

I’m drawn to bizarre and quirky animals. Ostriches have a very powerful presence… From their towering size and quick step, to their large, bold, deep black eyes that have a lock on your every move.

Francine

What was your favorite part of that process?

Adding the fine details that really capture the animal’s character and seeing them come to life.

How do you hope people react when they receive your creation?

I hope it makes them chuckle, giggle, snort, laugh out loud, or smile on the inside.

Do you have any memorable customer feedback you’d like to share?

I have this one repeat customer that visits during every annual open studio. I love hearing her boisterous laugh filling the hallway, announcing her presence in the building. The first time I heard it was when I had hung up the set of four ostriches outside my door and she just couldn’t stop laughing. I, along with the visitors in the room at that time, couldn’t help but start laughing with her because the sound coming from the hall was so contagious. We had absolutely no idea what she was laughing at, but it didn’t matter. Moments like those are too great.

Tell us three uncommon facts about yourself.

I love to meticulously peel pomegranates by hand in my lap, sometimes taking over an hour.

I’m tickled by double o words: oof (as previously mentioned), bazooka, cooties, doozie, floozie, goober, vamoose, etc.

I chose to be married in a rowboat.

Let Me Tell You

In the copy for the Contact section of her website and in a few of her paintings, Spring employs the DIY telephone metaphor of two tin cans and a length of string. That feels like an apt metaphor for painting: communicating through imperfect means and media, but celebrating their alluring, endearing quirks in the process.

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