Introducing Studio Nilli

Studio Nilli is the brainchild of industrial designer Huw Williams. Based in North London he produces 3D printed plant pots from bioplastic, an environmentally friendly alternative to traditional plastics.

Huw Williams creator of Studio Nilli

These little pots are stylishly designed and celebrate the ribbed texture created by 3D printing. With a nod to Scandinavian design, they are minimal, light and elegant. We stock three colours of the Studio Nilli pots, White, Dark Grey and Teal.  With five different sizes to choose from, there is sure to be one to fit any corner of your home.

The Medium Geometric Planter and the Tag Legged Planter

We have asked him a few questions about his process and inspiration as well as looking at the pots in closer detail.

Huw William’s 3D printer in action, producing a Studio Nilli pot

How did you get into 3D printing?
I’ve always been interested in 3D printing a tool for designers to prototype and test their concepts, but I didnt get the chance to experiment much with one whilst I studied Industrial Design and Technology at Brunel Uni. I bought a cheap kit printer from China to learn more about it back in 2016, and through testing the boundaries of my machine and experimenting with different printing techniques I started printing pots for my plant collection (which was fairly out of control back then).

How does your design process start? Through drawing or digital?
The design process is pretty fluid for me, but I do like to start with sketching as the main medium. I have several sketch books, but mostly I draw with whatever is available when something triggers an idea. Once I have an idea sketched out, I’ll make a card model or jump onto the computer and start drawing on Illustrator, or onto a 3D design package.

What inspires the shape of your designs?
The original origami pot shape I started Nilli with was a natural progression from some origami textures I modelled for a project at Uni. After graduating I experimented with casting cement into single use card moulds, even did some slip-casting moulds for ceramic pots, before deciding it would be a great form for the pots I 3D print now. The leggy pots come from a love of mid-century modern design and Scandinavian influences. I think the main thing that excites and influences me is how to use the materials and process of 3D printing in a unique and novel way, contrasting with other materials and textures, using the process to produce forms that would not be possible with other forms of manufacture.

Tell us about the bioplastic you use?
So the plastic I use is a common 3D printing material – PLA or Polylactic Acid. It is a bioplastic, which means that it is produced from organic materials like sugarcane or cornstarch. This is fermented to produce lactic acid (the same stuff that gives us cramp after too much rigorous exercise), which is then polymerised – lots of lactic acids chained together – to make polylactic acid. The main benefits of using this plastic is that it is a renewable source of material, does not use petrochemical fuels as a base so is non-toxic, so when printing it doesn’t release any harmful gases – it actually smells like sugar when printing. It will also biodegrade faster than normal plastics, over around 500 years it will break down naturally, or it can be industrially composted and it will return back to its base organic compounds in a few days. I also recycle waste that I produce into jewellery, coasters and hopefully larger items soon. It’s a minimal amount, because 3D printing is an additive process and there is not much waste involved, but I think its important to use as much as possible!

Lets take a closer look at the pots:

The Large Geometric Planter

The Small, Medium and Large Geometric Planter’s have a strong graphic shape, almost origami like. These pots sit flat on a surface, with a cork base to stop scratches. They are not only plant pots, perfect for those succulents and cacti! Use them for anything from storing pens and pencils on your desk, to a tidy for make up brushes or accessories.

The Short White Legged Planter and the Tall Dark Grey Legged Planter

The Tall and Short Legged Panters are the curvaceous cousins of the Geometric Pots. Clean and modern shaping, with a distinctly mid-century modern feel.  These pots sit proudly on two sizes of beeswax finished wooden legs. The plump curves, satisfyingly hugging the legs, create a pleasing synergy between the two materials. The White Planters have beech legs and the Dark Grey have walnut, giving a complimentary natural feel.

Find more Studio Nilli planters at ofcabbagesandkings.co.uk

Shop for more Studio Nilli Planters online at ofcabbagesandkings.co.uk

 

 

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Georgia Bosson Studio Visit by George Cullen

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Georgia Bosson, a screen printer and textile artist based in South London shows me around her studio and talks about her inspiration and practice.  Her screen printed trays and patterned notebooks, as well as collaborative prints with Cecily Vessey are now available in Of Cabbages and Kings.

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Ideas and experiments are pinned up behind her desk.

How long has the Georgia Bosson Studio been running?

I started the studio in 2013 after being offered a place to trade at Crafty Fox Market with my first batch of products, mostly cushions and a rainbow of hand screen printed tea towels. Since then I have taken on a huge variety of projects from developing my own line of products, to designing an outdoor canopy for a gallery and everything else in between! I am currently working on some new ideas after a trip to Mexico last October and I have just a launched a website for Makers House, a show that I curate and which I have big plans for in the coming months!

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Georgia’s process starts with sketchbook drawings that are then converted into vector graphics and applied to film.

How did you become interested in pattern and screen printing?

I first screen printed whilst studying for my A-levels and always returned to it as a means of laying down colour and texture over a large surface before adding more intricate details during my Embroidery degree. I love the immediacy of the process and I really enjoy that there is a certain level of restriction within the design process especially when I am working through ideas with paper stencils.

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A stencil is applied to the screen and then the ink is pushed though.

You seem to be keen on the hands on process of making, how does that affect your practice?

More often than not I design through making, I’ll usually have a series of drawings in my sketchbook that I then convert into hand cut paper stencils to be screen printed. I then continue to develop these ideas often bouncing around between a variety of imagery and generating lots of samples before settling on a few key ideas that are really working. This allows me to be less constrained and enables happy accidents such as inadvertently overlapped colours to occur, which often end up in final designs! My screen printed work always feels like it has more energy than the digital work and I love the idea that almost everything I make is unique in some way.

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A screen printed tray base.

We have recently started stocking your trays and notebooks, where did the inspiration come from for the design and patterns on those?

The notebooks were inspired by the remnants from industrially die cut felt that I have been working with since starting my business. It is a weird and wonderful material that is the waste product from when felt washers are cut out, the aim was to capture the shapes created when the patterns are overlaid. All of the books were riso printed and bound in London and are a limited edition of fifty. The tray pattern designs came from a series of drawings exploring the textures and patterns on a typical British beach, and the trays themselves were inspired by the sea defences in the sea side town where I have spent every summer since I was one!

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Georgia mixes her own colours at the studio and applies them to fabric. This way she can adjust and tweak the shades for her desired look.

You have an interesting colour palette that runs through your work, are there certain colours you are drawn to?

I love colour in any form, one of the best bits about screen printing is taking the time to mix colours, I have hundreds of scraps of fabric that are covered in colour swatches from past projects – they are one of the best archives of my process and I can never bear to throw them away. At the moment I am working on a new colour pallet based on a trip to Mexico, so currently there are lots of pinks and oranges on the print table spiked with soft teals and greens.

I am always drawn to an acid/mustard yellow and you can’t go wrong with a beautiful slate grey. When settling on the colours for a design I always think about the use of the final object and where it sits in the home, I felt I was able to be much bolder with my trays as they won’t necessarily be on display at all times and will usually have something on them!

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Greenwich- From The Wolfe Statue by Georgia Bosson and Cecily Vessey

We also stock your collaborative prints the ‘Landmark Locations’ series, a collaboration with Cecily Vessey. How did the idea for these come about?

Cecily was my mentor for my first market and since meeting we have worked on various pop up events and projects together including a live collaborative mural of the View from Peckham, which was done over a weekend at Crafty Fox Market. After the success of the Peckham mural and print we decided to look at expanding our collaboration and ended up working on twelve prints that we funded on Kickstarter. Whilst there are no plans for any more collaborative prints we are currently working towards a 100 mile bike ride together so I am sure some fresh ideas will crop up during the many training hours!

Your trays will be perfect for for serving drinks at summer parties! Whats your favourite cocktail?

In the summer an Aperol Spritz – very specifically served in a big glass preferably somewhere hot and sunny. And in the winter you can’t beat an Old Fashioned!

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By The Power Of Voodoo

I’m heading down to Glastonbury this weekend for Halloween. This autumn festival always used to be quite a big deal when I was growing up in Suffolk and I have fond and funny memories of nights out at Oaksmere and Thornham Magna, seeing John Cooper Clarke, being shouted at by one-toothed angry farmers screaming ‘Get off my land!’, and eagerly anticipating whether the witch on the zip wire would make her full flight. She never did!

It’s the first time in a while that I’ve had the chance to celebrate Halloween properly and I think I may have got a little carried away. My brother has just moved to the West Country to take on La Terre, a bar and cafe in Glastonbury town. This is their first big event, there’s a delta swamp blues band and the theme is Louisiana Voodoo.

So, maybe not your average housewarming gift, but here goes Voodoo! I’m going to make myself a custome and something for them to hang on the wall – Voodoo-style.

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Flora and Fauna

Wow! It’s amazing (and a little frightening) what you can get on the internet these days. I purchased myself a whole sheep skull. A tad grim, but after a couple of days in a bucket of bleach I felt comfortable it was truly dead, and a delicate little rabbit skull. I did also spot a taxidermy crocodile head going for a tenner! Then I took a walk around the park, gathered some sticks, fished some feathers out the duck pond and had a look through granny’s old embroidery stash. And a ha! I knew there was a reason I kept those horrid beads that looked a  bit like bones for over 20 years!

We’ve had a couple of exhibitions at the shop recently that definitely influenced my choice of colours. Both Martha Copeland and Johnathan Reiner‘s female portraits exploring ceremonious dress and tribal skin markings tackle notions of beauty, worship and costume. I revisited those, sat down to a large dosage of True Detective and then set to task.

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Totem 1 – Artemis

 

 

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Totem 2 – Rhea

 

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Martha Copeland

So after quite a lot of twisting, winding, braiding, weaving etc this was the result. The final touch being some of granny’s gold buttons that I attached to the sheep’s eye sockets. She’s currently in the shop window scaring away our potential customers! (The sheep skull – not my granny)

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Sheep skull Voodoo wall decoration

 

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Close Up

 

I thought the sheep’s skull might be a bit awkward to wear as a headdress so I decided to make something a little smaller out of the rabbit skull. My brothers always used to mock me for my ‘Jennifer Connelly in Labyrinth’ teenage tantrums. I’ve just got a bit closer to playing the part.

Happy Halloween!

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Rabbit skull head dress

The Photo Finish

And here are the final images! Just in case any of you were wondering, this is what the bricks and mortar shop looks like. Get ready for a guided tour!

Contemporary fine art prints
Contemporary fine art prints
Gifts, jewellery, stationery, homewares
Gifts, jewellery, stationery, homewares
The shop floor
The shop floor

We share our space at Of Cabbages & Kings with Knit with attitude, specialists in eco-friendly and fairtrade yarn, hence all the beautiful brightly coloured wool to the right.

Workshop area
Workshop area

This is our workshop area to the back or the shop. We hold all sorts of beginner and intermediate classes. Check out the website for details: Workshops

Yarn bombed, granny square, crochet counter
Yarn bombed, granny square, crochet counter

This is another photo of the crocheted granny square counter that Maya and I spent so many hours constructing. Our ‘floating box’.

Counter Action

It’s been a long time coming, but today we finally finished the counter. Hurray!!! A contemporary take on the good old granny square. We were aiming for a floating box effect and I think that’s what we’ve achieved. The colours are rather stone-like, however it’s incredibly soft to touch as it’s constructed from Ushya, which is a chunky merino wool. Also, as the wool is only temporarily fixed, we’re free to change the look as we wish.

A big thanks to both Knit with attitude and Finch Munro for both the design and build/crochet of the project.

 

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Licence to Grill

It’s that time of year when baking fever takes over the country.  A new series of the Great British Bake Off began this week and we’ve got two new oven glove designs to jazz up your kitchen and aid you in your quest to create the perfect Victoria Sponge!

 

‘Rock Cake’ Double Oven Glove

Baking is the new rock ‘n’ roll (apparently), so we’ve come up with the ultimate rockin’ oven glove; a recipe of classic bands combined with dodgy baking puns, all in tattoo form.
Think ‘Bread Zeppelin’, ‘Rolling Scones’, ‘Tofu Fighters’, and 17 more ‘hilarious’ band puns, all inked onto a double oven glove. The perfect piece of kit for your next jam (making) session.

 

Rock Cake Double Oven Glove

 

‘Licence To Grill’ Single Oven Mitt
Yes, yes, y’all! Unleash yo inner gangster rapper whilst grillin’ with this bling inspired mitt. Complete with knuckle dusters and diamond encrusted watch prints. Word.
3 colour double sided print, with metallic gold detailing.

 

Licence to Grill Oven Mitts