This is the unedited cut of the glassblowing process we use for our Lucky Break Bowls.
It's rare to see the process of glassblowing and even more unusual to get to see the it from the artisan's perspective.Having done this for 10+ years, I was still surprised how much I could learn by seeing directly from the perspective a more skilled glassblower.
For our latest project, the Lucky Break drinking glass, we’ve been exploring chance and asking the question, “can we use chance as a tool in the design process?”
At some point during our development of the Saturn Rocks Glass, we realized that we didn't fully understand the why the original Saturn Wine Glasses work as well as they do. For the longest time, we thought it was just the ledge that kept our glass from spilling, but it turns out it is SO MUCH MORE THAN THAT. Somewhere around version 5 of the our new rocks glass, we had to fully analyze the physics of our wine glasses, and here's what we found.
“The stretch of time between when you wake up, and when you first interact with some piece of type that someone has drawn, is probably only a couple of seconds.”
Heath ceramics have always been produced by hand which almost seems to be a contradiction. Usually, production refers to mass production: assembly lines, inhuman working conditions, and the sterile uniformity of machine-made goods.
We’ve done a lot of graphic projects in the past, but I’ve only started really studying how typography, fonts, and letters are designed. According to graphic designer, educator, writer, and artist Ellen Lupton, “typography is what language looks like.”
Fuller Moon, like most of our projects at SDS started as an exploration that had nothing to do with light, lighting, or any kind of product at all. I had a growing interest in geometry before I was familiar with the work of Buckminster Fuller.
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