Inside Roy Hamilton and Nicholas Newcomb’s Brooklyn Studio | Beautiful Things | House Beautiful

(upbeat music) – It’s important that we
keep the handmade feeling and the handmade-ness in
all of our production. There’s something magical about it. So this is our studio, we’ve been here for about three years. – Three years here. – Three years, but we’ve been
working together for 10 years. – The wonderful thing
about our cooperation is the fact that it’s
a lovely place to work. And so Nick does what’s
referred to as tabletop, which is plates and dishes, and bowls. And I do larger scale pieces, a lot of which end up as lamps, or we sell them as vases through showrooms across the country. This is where things begin. These are the plaster of Paris molds that are the beginning of the shapes. This is the technique that
we use for any of the molds, which have to be clamped together. The mold is then filled
with what is called slip, it’s a mixture of clay and water, and we literally, we pump it into the top of the mold, we leave the clay in there, we leave the slip in the
mold for about 45 minutes, and this actually is how
it is going to end up. – So what I am cutting
out are slabs of clay, gonna throw this in the slab roller. So this is a small tabletop slab roller, we’re gonna take this clay and drape it into our plate molds, so this is called the slump technique where we’re slumping
the clay into the mold. So the molds allow us
to have some consistency when it comes to production, but each mold is a little
different from the next, so the plates will all have
their own unique shape. So these are our dinner plates, and this is gonna be
in the spokes pattern. So what we have here is an area that’s masked off using latex, and so the lines of the
inner ring of the spokes are able to be painted and then there’ll be a sharp edge here. They’ll get fired again and then the outer spokes
will be painted in, and that way we have a nice sharp edge between the two inner and outer rings. (upbeat music) – This is another of the techniques that we spend a lot of time doing, the hot wax technique. And so what I’m doing here is applying lines of hot wax with a brush, it’s just a regular paintbrush, but the second stage of this, once I’ve got the whole
vase waxed with the lines, is washing away the clay
between the wax lines so that eventually, once I’ve done this all
the way around the shape, I’ve done it two or three times, you get a very nice ridged effect. We’re ready to open up a couple of kilns. – You ready? – Yeah, yeah, I’m anxious
to see what’s in here. – You’re gonna be happy with this, Roy. – Come on. (laughter) Oh, this looks good. – This is always my favorite part, it’s like Christmas morning. So the way Roy and I work together, and it just kinda is by happenstance, is that his pieces are so big, they tend to go on the top. And so then I’m able to fill the bottom with some of my more table wear pieces. So this is, these came out great. (upbeat music) We really enjoyed showing you around, but it’s time that we get back to work. Come back any time, buh-bye. – Bye now.

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