MAS­TER­ING ME­DIA

Arts and Crafts Homes - - THE GUILD -

"Dif­fer­ent el­e­ments, dif­fer­ent me­dia: weav­ing them to­gether is more sat­is­fy­ing,: says the mar who cut his teeth, so to speak, on steel and other hard me­dia. from those early ma­chin­ing days, Wil­liam Mor­ris has come to ap­pre­ci­ate the spe­cial skill set needed for each dif­fer­ent craft that goes into his lamps. Ephraim Faience Pot­tery of Wis­con­sin makes some of his lamp bases, but he jeal­ously guards his other sources. "My sup­pli­ers are re­ally, re­ally im­por­tant to me. i don't want my com­peti­tors to know who they are," he says. Mor­ris turns and fin­ishes the wood parts, as­sem­bles the lamps, and make the mica shades- a task formerly ex­e­cuted by his wife, Renee. "i do all of the work my­self ex­cept for the pot­tery. Work­ing with mica [min­eral] can be like peel­ing an onion: you have to de­velop a feel for it. The ma­te­rial al­most has a spe­cific smell. It takes time to fig­ure it out. "The color of mica ranges from al­mond to am­ber to deep or­ange. Mor­ris presses nat­u­ral leaves-oak, bam­boo, ja­panese maple, eu­ca­lyp­tus, gink-go- onto the mica. Clients choose the leaf, the mica color, and the shape

OP­PO­SITE, FROM FAR LEFT Crafts­man Ginkgo, Briggs from the Sig­na­ture col­lec­tion (with bam­boo and al­mond mica), and Clap­ton OG in client homes. TOP RIGHT Mica shades on a hand-blown glass vase base, and the Briggs base (with ginkgo leaves). ABOVE Ring of Roses desk lamp with an Ephraim pot base. BE­LOW Clap­ton with oak leaves.

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