Art – The Goods

Maker Stories

Inside the Artists’ Studios: A Year of Creativity

January 8, 2016

One of the most exciting things about serving as Editor of The Goods is that there’s always a Maker Story right around the corner. I am honored to get opportunities to meet talented artists, to see what they make and how they make it, and– when I’m extra lucky– to actually step inside their creative spaces. Over the past year, I had the pleasure of visiting several artists and seeing them in action, as did a few of our blog contributors, photographers, and buyers.

From woodworking to weaving to jewelry making and beyond, we saw so much creativity last year that we couldn’t help but give our 2015 Studio Tours one more chance to shine before heading out with cameras and notepads to capture more inspirational moments in the year to come. Here are a few hand-picked highlights from those Studio Tours, complete with a few inspirational quotes, photos that made me want to drop everything and start a new creative project on the spot, and plenty of great advice.

Uncommon Knowledge

Uncommon Knowledge: Why Can’t I Shoot My Favorite Painting?

December 6, 2015

Before the age of smartphones, most museums had a no-photo, not-even-without-flash, don’t-even-think-about-it policy. There were multiple reasons for shutting down shutterbugs: first, concern over copyright of artwork and nefarious reproduction; second, good security practice meant museums didn’t want would-be crooks conducting “research;” third, flashes degrade painting pigments and delicate works on paper over time; fourth—and maybe most surprising—looking through a viewfinder makes people clumsy. In other words, you’re more likely to back into a rare sculpture or fall into a priceless painting. Now that everyone has a sophisticated camera in their pocket, it’s a whole new ballgame, and museums are challenged to adapt. Many have embraced the crowd-sourcing potential of social media, letting people Instagram-away as a means of engagement and creative looking. Improved security systems have made casing the joint with a camera less of an issue, but distracted, selfie-stick wielding visitors remain a threat to collections. So, next time you say “cheese” in front of a Van Gogh or O’Keefe, just check the museum’s photo policy and take care. When you shoot artwork, don’t shoot to kill.

Smartphone Spy Lens | $20

Maker Stories

Poster Precursors: A Look at Tim Sanders’ Sketchbooks

October 26, 2015

Artist’s sketchbooks, notebooks, drawing pads–whatever term you prefer–have been objects of study, fascination, and even obsession for museum curators, art appreciators, collectors, and the like. Sketchbooks contain the process people often struggle and crave to understand about art: how an artist germinates ideas, eliminates the unattractive ones, and gradually evolves those ideas to their final form. The creative process is allusive and captivating, and I like to think of the sketchbook as treasure map to understanding that process.

Tim Sanders, who created A Grand Treasury of Shakespearean Insults and 1980s Slang Chart with his wife Aurelia, was kind enough to share some of his sketchbook pages with me on a recent visit to his studio in Seattle, WA. His sketchbooks were large, maybe 11×14, and made of that delightfully thick, creamy artist’s drawing paper. Tim’s sketchbooks were among the most organized I’ve ever laid eyes on. Instead of the John Cage-like scribbles and quickly jotted phrases that seem like a secret code only the creator would understand, many of the pages I peeked contained a grids of small squares. These squares represent poster ideas–hundreds of them.

One of my favorites appears prominently at the top left corner of the page and reads “Practice Bravery.” Cleverly, Tim has drawn out Bravery in a script of small hash marks, confined by guiding lines. This brings to mind memories of staring at the the poster guides for learning cursive that hung in my fourth-grade classroom, a memory made more poignant by the fact that we rarely use script in this digital age. Some of Tim’s ideas are a bit more sarcastic, especially when speaking to the workplace.

Another favorite of mine reads “NOTICE: Work meetings crush the soul.” This warning resonates with most of us who work in an office, and putting it on a poster means that when we see it, we can all nod our collective heads in agreement that meetings can, in fact, crush the soul! As an art director and former playwright, Tim certainly has a knack for using his art to reflect the times and engage his viewers.

To develop and push his ideation, Tim has a system for selecting the most worthy of his poster candidates to continue to the next level of development. Across the pages are clues of a cryptic system of black check marks, green hearts, and green dots, some of which are circled with blue pencil. Instead of asking Tim to hand over the key to his editing notations, I prefer they remain part of the mystical creative process. Tim’s sketches and notations are less like accurate GPS directions, and more like a treasure map illuminating milestones along his creative path from idea to final piece. Undoubtedly, there will be unexpected twists and turns to reach the poster.

Maker Stories

This Just In-spiration: Meet Teri Stratford

October 19, 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 Teri Stratford, the artist behind our vibrant new botanical prints, A Visual Poem, Twilight, and Firefly Festival Fireworks.

When did you know you wanted to be an artist?

I always knew I was an artist so there never was a “when.”

What’s been the most exciting thing about becoming a professional artist?

The sheer joy of doing something that just makes me giggle with delight on a regular basis. Seeing people’s delightful reaction to my work and what miracle happens next!

What does your typical day in the studio look like?

I might research photos online for reference of animals such as horses, turtles, geese, cats, fish in different positions; underwater or mountain landscapes. Go over orders to fill. Do some printing to replenish my inventory. Or, much more fun….go collect leaves in my yard or go for a walk with a backpack to fill up. Or pull interesting leaves from my stash and play with arrangements on my illustration board and see what happens.

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 a puja in my studio, a place for meditation. The room vibrates with spiritual energy, the source of joy and creativity. I am happy in this room!

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

“Wow…. Mom! Look at this? Can I take this home? This is really cool… ” (I actually had this happen with a 7 year old boy!)

What quote or mantra keeps you motivated?
“I am the vibrational energy that creates WORLDS!!! My creativity is endless….”

The Uncommon Life

12 More Quotes that Keep Makers Motivated

August 14, 2015

A while back, we rounded up a series of inspirational quotes that we gathered along our adventures through artists’ studios. Those 8 Quotes that Keep Makers Motivated are enough to give most creative types a little get-up-and-go, but why stop there? We’ve since visited more studios, interviewed a ton of talented artists, and collected even more quotes that help keep our makers going strong. Here are a few that we hope you’ll enjoy!

Considering that Cassidy Schulz Brush deals with lighting all day, it’s no surprise that she’s a fan of Edison. “There are a few quotes by Thomas Edison that I find inspirational,” she told us when we visited her Brooklyn studio. She wrote this quote out on her chalkboard wall and snapped a shot for us.

We’re proud to feature a wide assortment of Ana Talukder’s Jewelry and our Jewelry Buyer, Sharon, was thrilled to have the opportunity to check out Ana’s studio in Seattle. Ana wrote out this mantra that reminds her, “You always have to be looking to be better, you always have to be working at being better, and you always have to put all your heart in it. Otherwise, what’s the point?”

Photographer Barry Rosenthal happens to have a creative space in the Brooklyn Army Terminal, the same building that UncommonGoods calls home! Of course, we couldn’t wait to work with him to develop new products, but we also couldn’t wait to check out his studio. Barry explained that this Burroughs quote makes him think about his own creative process: “I don’t know what I will find in the field, and I may not know what I will do with what I find, but somehow fully formed themes are sparked just by the simple act of ‘seeing’ what is out there.”

Dave Marcoullier’s San Francisco woodworking studio is in a building that’s also home to the studios of more than 250 other creators, or “mad scientists,” as Dave likes to say. His quote from architect Daniel H. Burnham reminds him that he got where he is today by thinking big. “It’s good to get riled up and make bold plans,” he said.

Jewelry Designer Jen Pleasants not only imprints “She believed she could, so she did” on some of her designs, she also truly believes in the power of those words. She even has them proudly displayed in her Portola Valley, CA studio.

Our Tabletop Buyer, NéQuana, traveled to rural Pennsylvania to meet JoAnn Stratakos, the maker of everyone’s favorite rainbow unicorn, Elwood. One of JoAnn’s favorite quotes, which was inspired by a quote from Richard Bach, is a reminder to keep the good things that could be in mind, instead of thinking about what might be holding you back.

We were lucky to get a look inside Lahla Smart’s London studio when our contributor, Emily, visited England. Lahla said that this Walt Disney quote reminds her of her early days of a designer. She took a leap, created her Food Guide Towel, and the rest is history.

On the same trip, Emily had a chance to check out Stuart Gardiner’s studio. Stuart shared a quote by Saul Bass, not only because Bass is one of his favorite designers, but also because: “it’s quite a broad and vague statement which is similar to the way I go about my work. I have a very organic unstructured approach to design: the opposite of methodical.”

Matthew Hoffman’s work is full of inspiring quotes and words of wisdom, so it was hard to pick just one statement from our recent interview with the Chicago-based artist. We figured that “Anything is possible” pretty much says it all.

Also based in Chicago, Phil Thompson creates art inspired by architecture. He keeps this Winston Churchill quote on the bulletin board in front of his drawing board to keep him motivated.

Design Challenge Winner Sarah Janece Garcia sent us a painting of her favorite quote from Coco Chanel when we interviewed her about her winning painting, First Light.

We carry quite a few of Ronda J Smith’s photographic pillows, so we loved seeing her favorite quote printed and plush! “This quote means anything and everything you want it to mean,” she said when we visited her Brooklyn studio. “Your thoughts and mindset are more powerful than you could ever imagine.”

We love getting these looks inside our artists’ creative processes, and can’t wait to share more interviews and Studio Tours with through our Maker Stories. Share your favorite quotes in the comments below to get in on the conversation.

Maker Stories

Around the World with Wendy Gold

July 15, 2015

Wendy Gold says that nothing made her happier as a child than a new box of crayons. While her preferred medium has changed, Wendy still feels her best when she’s working on something creative.

These days scissors, X-ACTO knives, foam brushes, glue, and finish have replaced crayons and she considers the world her canvas. Both literally and figuratively. Wendy creates beautiful maps and globes using repurposed vintage materials and water-based, environmentally-friendly finishes.

“Inspiration has come to me steadily throughout life, and I have been fortunate to be able to chase it,” Wendy says. She explains that as a teenager she “spent countless hours creating insanely intricate friendship bracelets, kaleidoscopes, and ceramic musical instruments,” and in college she made a headboard for her bed so big that she couldn’t get it out of her room when she moved out.

Though she says she’s chased inspiration, it seems that the inspiration for her decoupage maps found her, in a way, through a series of related events.

“In 2001, my husband went away on a fishing trip, and came back to find our dining room table covered with toilet seats,” Wendy recalls. “Yes, toilet seats. While he was gone, I had been making decoupage picture frames for holiday gifts, and when I took a bathroom break, inspiration struck. I went to the hardware store, bought some toilet seats and began decoupaging them immediately. My first business, Art de Toilette was born.”

From there, Wendy went on to design a line of bathroom scale art, playing on the idea that people have a love/hate relationship when it comes to weighing in. But after a few years, she decided to take a break from decoupage.

“In 2007, when I got pregnant, I had to take a break from Art de Toilette because of the glues and finishes I had been using at the time,” she says. “After my daughter was born, I was looking for a canvas that would be more environmentally and physically friendly to work with. In 2010, I was at a local flea market and I saw the most beautiful vintage globe I had ever seen.”

That vintage globe was the start of Wendy’s work with miniature worlds. Sometimes whimsical, sometimes surreal, and always creative, each of Wendy’s pieces adds another level to the illustrated version of the Earth that we all became familiar with in grade school. Of course, since her materials are repurposed, many of these illustrations are out of date. By adding her artistic touch to these outdated depictions of our planet, she gives them a new life.

“I just love the aesthetic of things from eras past, and the idea of turning old, geographically inaccurate globes and maps into new, modern day worlds,” says Wendy, who frequents estate sales and flea markets for inspiration and materials.

Despite the inaccuracies hidden among the new worlds created in some of the maps, the pieces have no trouble drumming up a bit of wanderlust. Seasoned travelers looking to chart adventures don’t need to worry about about running across Czechoslovakia or the U.S.S.R., though, Wendy also makes the Personalized Wedding and Anniversary Pushpin Map with current information. So, whether you’re getting ready to pack your bags or you’re looking for an artful reminder that the world is full of beauty, Wendy’s maps are sure to send your imagination on a journey.

Design, The Uncommon Life

Uncommon Design School: Underground Artists

July 1, 2015

Like many New Yorkers, if I need to get somewhere, I take the subway.

Whether I need to hop the train to travel from my apartment adjacent to Prospect Park down to UncommonGoods’ headquarters at the Brooklyn Army Terminal, or I’m bumbling through the Big Apple’s other boroughs on the weekends, cramming into crowded subway cars is as New York City as pizza pie. And like the more than 5.5 million passengers the system carries on an average weekday, the moment I step on the train I succumb to modern “tunnel-vision:” I bury my head in my iPad until I reach my destination. But when I step out of the train, I’m consistently surprised with the rich history laid bare in front of me in the form of the station’s diverse signs, vestiges of past design trends, fashions, and the mores of bygone generations.

From its opening on October 27th, 1904, New York City had already envisioned the subway as more than a simple method of getting around the metropolis. While urban, the experience of riding the subway was intended to be urbane; from the beginning, the city hired artists to embellish the underground walls with fanciful, yet legible, decorations.

From 1901 to 1908, John L. Heins and Christopher G. LaFarge designed the earliest subway motifs in the popular Beaux-Arts style, evoking classical architecture using ceramics, metal, and wood. The Philadelphia-born architects – who are also known for their work in the Cathedral of St. John the Divine and the original Astor Court buildings of the Bronx Zoo – were heavily steeped in the Arts and Crafts movement, an international artistic trend that advocated traditional craftsmanship and striving to create environments in which beauty and technical skill were of paramount importance.

Twenty-eighth Street subway sign by Heins and LaFarge

Accented with swoops and curlicues, cornucopias and floral medallions, the duo’s elaborate terra cotta signs endure as some of the system’s most recognizable emblems.

Tile inspired by the original Times Sq-42 St station, designed by Heins and LaFarge | Personalized House Sign – Times Square Subway

While quiet compared to the glitz and hubbub of Times Square above, Heins and LaFarge’s sumptuous mosaic sign is an unmistakable symbol of New York’s vibrant urban fabric. The original sign that inspired this tile is located at at Times Sq-42 Street, one of the system’s oldest stations at 111 years old.

Bleeker Street subway sign by Heins and LaFarge

The elaborate tile-workings were not just decorative: each sign’s unique palette and patterns were used didactically to help non-English speakers identify stops.

The team’s successor and owner of arguably the coolest name in New York City history, Squire J. Vickers took over as chief architect of the New York City Subway system in 1906. Known as an “underground Renaissance man,” Vickers was responsible for more than 300 stations—the most of any architect—and was the system’s lead designer for almost 30 years.

Squire J. Vickers and the “Vickers Eagle” at the 33rd Street Station

Vickers took the subway on a much more pared-down, modern path than that of his Beaux-Arts predecessors for both aesthetic and economic reasons. As the floriated embellishments that defined the Arts and Crafts style gave way to the slick lines and austerity of the Machine Age, Vicker’s signs reflected the era’s dominant graphic trends with their quilt-like geometric abstractions and bold colors.

Mosaic panel by Squire J. Vickers

“How grateful to the eye is the wall surface unbroken by paneling, noxious ornament, or the misplaced string course, decorated, if you like, inlaid with color, but unbroken,” he wrote.

Vickers was also imminently practical and, especially during the Great Depression, many of his aesthetic decisions were driven by the bottom line. Mosaic elements were flattened, for example, so they would be cheaper to clean (“to avoid dust ledges,” he wrote). The intricate signs could also be set by hand in a factory instead of on the wall tessera by tessera, making them less expensive to install.

Wall Street Station sign by Squire J. Vickers

Despite budgetary constraints, Vickers, who was also a competent painter, was still able to create mosaics revered as much for their utility as their beauty.

Inspired by Vickers’ oringal designs | Personalized House Sign – 59th and Lex Subway

Vicker’s decorative details underground, at the Lexington Av/59 St station, complement the sophistication of the Upper East Side above.

To this day, the MTA commissions artists to continue the creative vision that was an integral part of the subway from the very beginning. New works are installed every day, from traditional mosaics, to sculpture, stained glass, and more, giving passengers plenty to see—as long as we’re willing to look.

Maker Stories

Meet the Extraordinary Designers of the Extraordinaires® Design Studio

June 12, 2015

Groundbreaking designer Paul Rand once exclaimed, “Everything is design. Everything!”

While Rand’s declaration of design universality is sweeping and inspiring, it can also be confounding; its broad appropriation of, well, everything can stifle further conversation. If everything is design, then what’s the nature of everything? What’s so important about design? Where do you begin?

Irish designers Anita Murphy and Rory O’Connor suggest a place to begin, offering a way for curious non-designers to explore the process, challenges, and rewards of design through The Extraordinaires® Design Studio, an inviting activity kit that challenges young minds to think outside the box. Whereas Rand staked his claim to the totality of human endeavor, Murphy and O’Connor’s approach assumes nothing, first asking the most basic questions: “what is a designer?” and “why does the world need designers?”

Designers Rory O’Connor (left) and Anita Murphy (right) with their Extraordinaires Design Studio Kit

Through the guided play of their studio game and the introduction of some extraordinary “clients” (the Extraordinaires themselves, including a teenage vampire, a fairy detective, and a gentle giant), Anita and Rory invite hands-on exploration of these fundamental questions, raise many more, and encourage young designers to ask their own in a spirit of playful inquiry and empathetic discovery.

We had the pleasure of discussing the inspiration and aspirations behind the Extraordinaires with Anita and Rory in a recent conversation:

How does the Extraordinaires Studio experience differ from that of being a professional designer in the real world? What’s been simplified or enhanced here?
Many professional designers comment on how effectively we’ve captured the design process in the Extraordinaires Design Studio. We’ve presented design as a simple 3-step process, while in reality it’s a looping process, involving constant iteration for a professional designer. A key element that’s been enhanced is the Extraordinaires themselves. In the real world, a designer solves design challenges for ordinary people. In the Extraordinaires Studio, you’re tasked with helping characters with extraordinary needs—like a giant or superhero, robot or ninja—and who wouldn’t want to design a remote control for a ninja?

The Design Studio features an extensive array of bizarre characters – Extraordinaires – each of whom present a unique design challenge

Assuming the goal of the Studio isn’t necessarily to produce the professional designers of tomorrow, what are the main skills fostered or lessons learned?
Empathy is a key skill fostered in the Studio. You must design for the needs of the Extraordinaire. This involves thinking about what others want, and not just what you like…thinking about the end-user. It offers a structured approach to creative thinking and problem solving, reinforces that there is often more than one answer to any challenge, and that the key is to ask lots of questions. While we would love to inspire a new generation of designers, our real goal is simply to encourage people to look at their world in a new way, to ask questions and consider how they might make it better for themselves and for others.

Do you see this primarily as a competitive game, and if so, what does that teach about the competitive nature of design? What can this experience teach about the value of constructive critique?
The Studio is more collaborative than competitive. The only person you are competing against is yourself as you try to make each new design better than your last. When playing in a group, discussion tends to become more collaborative as players use “yes… and” feedback to add to each other’s design. In the Awards ceremony, we designed the cards so that any feedback is focused on the features of the design and not on the player.

Amateur designers collaborating on their fantastic designs

Although it coordinates with the Extraordinaires website, the Studio seems to emulate the look of a tablet or laptop, but using low-tech, analog media. Did you consider making the entire product a digital interface? What was behind the decision to make it paper and hand drawing based?
We did consider an entirely digital platform for the Extraordinaires. When we first came up with the idea, however, we made the decision to keep it as a physical toy, thereby making it more accessible to children, in a way that digital wasn’t. Many designers still swear by pen and paper for capturing ideas. There’s something powerful about the eye/hand/brain interaction that occurs when doodling on paper. Many design lecturers have also expressed their gratitude that we kept it analog. They share their frustration with too few students taking the time to capture their ideas on paper before turning to their computer. In the future, we will enhance the play experience with certain digital elements, ultimately creating a hybrid digital/analog experience. We do intend to keep the pen and paper for the foreseeable future, however!

Have you considered ways to allow players to realize their designs or inventions in three-dimensional prototypes – like connecting to 3D printing tools?
We think there’s nothing more satisfying that seeing an idea made real, in 3 dimensions. The whole ‘maker movement’ excites us greatly. We’re already exploring options on how we can support players wanting to realize their ideas in 3 dimensions.
Our background is in 3D animation, so we know only too well what a huge leap it is to take an idea on paper to a 3D model ready to print. We think a more realistic approach is to build prototypes using found materials like cardboard, construction toys, or modeling clay. This way, you can test your design and refine it before digitally modeling it and printing out parts. We say, “before you make it, design it.”

Deluxe Design Studio Kit

How does the Studio encourage players with design abilities but limited drawing skills or other ways to represent their ideas?
Design is not about being a great artist; good design is about great ideas and solutions. We encourage people to find their own way to communicate their ideas; this may be by drawing and sketching, but it could also be a written document, physical model, or video presentation. We factored this in when we created The Extraordinaires app. It allows you to record a presentation orally to accompany your design.

Can you comment on the spirit of innovation in contemporary Ireland? Did that spirit inspire any aspects of the Studio?
There’s an incredible amount happening here design-wise. In fact, 2015 is the Year of Design in Ireland! There is a large program of events planned to explore how design can really help people. This resonates strongly with us.

Being from Ireland, which is really just a small island on the edge of Europe, we have always been grounded in our Celtic heritage of craft and storytelling, while looking externally to Europe, North America, and Asia for additional inspiration. It’s exciting for us to hear from schools in Singapore, gamers in Poland, or families in the US who play with and love our products.

Any particularly good user feedback you’d like to share?
We really value the feedback we receive from customers and fans. We’ve been told that the Studio takes children’s creativity seriously. We’ve received praise for the way it appeals to both boys and girls. In fact, some of our biggest fans are female. Others appreciate the flexibility it offers, allowing a child to play on their own away from screens or as a family in a group. Many parents have expressed their surprise at just how much they enjoyed the experience of designing for the Extraordinaires.

Our favorite feedback is that the Studio drops you into a real design experience. It breaks down the design process and combines drawing, creative thinking and fun.

The UncommonGoods team had a lot of fun designing with the kit – now Mr. Pirate can finally open his restaurant

Ready to meet the Extraordinaires and help them with some of their extraordinary design needs? Their box full of playful design challenges and fantastic fun is just a few clicks away, and no design degrees or drafting skills are required.

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