Every object starts as a bad idea. That's not self-deprecation — it's methodology. We begin by sketching things that definitely won't work: proportions that are wrong, materials that are impossible, jokes that go too far. From that pile of wrong ideas, something almost-right usually emerges.
The studio smells like plaster and coffee. We prototype in whatever material is nearby — cardboard, clay, foam, sometimes paper folded seventeen times. The question we keep asking is: does this still feel strange after you've looked at it for five minutes? If yes, we keep going.
Production is small-batch. We work with a handful of makers who've stopped questioning our requests for objects that "should look like they're surprised." Every piece is handled more times than you'd expect before it reaches you.