Value Propositions

What value do we deliver to the coustomer?
USA made
All handmade wares
Possible custom work

Which of our customer's problems are we helping to solve?
Inhance ambient dining experience.
Make a historic connection to the utensils.
Raise the presentaion of the food served.

What bundles of products and services are we offering to each customer segment?
Individual piece sale
Sets of pieces
Large custom orders
Oline sales
Shipping options

Which customer needs are we satisfying?

Newness -Be the first in town to have all handmade service.
Performance -capable of quick replacement.
Customization -color and form options.
Design -Niche applications and fasion oriented.
Brand/Status -
Price-  Multiple price points
Cost reduction- Possible with larger orders
Risk Reduction- USA source

The Concept of Wabi and Sabi in the aesthetics of Japanese Ceramics
by Mathew Jones

Throughout time people of all cultures have tried to define what truly constitutes

art and beauty. By the late 1860’s open trade with Japan brought about forms of

integration and cultural communication. Shortly after this, Bernard Leach, Founder of

Leach pottery (1920) and author of A Potters Book (1940); popularized and spread the

Knowledge of Japanese ceramics abroad. Through this contact and kinds like it, the

western world was exposed to a Japanese culture that contained within it the power to

challenge all other previous notions on the perspective of beauty.

Wabi Sabi (beauty and imperfection) is a Japanese aesthetic which imposes

simple, modest, and often asymmetrical forms in an attempt to emulate the imperfection

associated with life and nature. This organic approach to design is radically different

when compared to modern western ideas on the subject. Americans seem to define beauty

as a hole by elegance, wealth, and youth. Goody, extravagant, and monumental displays

project ideas of mathematical symmetry, perfection and permanence. In contrast Wabi

Sabi derives its concepts of beauty from nature itself, but it runs much deeper than just

simple surface decorations. It’s a philosophy on how to see and view the world. Life is

not stagnant, nor static, nor still, is it consistent only in its constancies to change. Yet even in spite of this erosive and regenerative process, its awe inspiring beauty cannot be denied.

To understand wabi sabi as a design feature, a basic understanding of the cultural

conditions that stimulated its creation must be considered. As a whole 70% of the

Japanese population considers themselves Buddhist. This number gives an indication to

the present ideological state of the country after its social integration. Zen Buddhism’s

defining attributes such as the Three Marks of Existence, particularly (impermanent), and

the Taoist view on the opposing forces, yin and yang, have conditioned the community

perspective in every walk of life. The continuity of energy as well as its cyclical nature, when applied to design, makes for unique and humble works.

With a continually growing appreciation for cultural ceramic within the tea

ceremony practice, Japanese artist and enthusiast have broadened their concepts of

design to encompass a wide range of forms and textures. Yet Wabi Sabi itself is distinct

in its nature, yet broad enough to bridge the gaps between many styles. It can be seen in a

defective glaze, such as a shino, a deformed mass of fired clay, even a random

application an over glaze or slip could be suggestive of a Wabi Sabi nature.

The concept of Wabi Sabi has altered the design features of everything from

gardening to architecture. This keen insight into the raw uncut nature of life, makes for an

overall, loose and lively work, being treasured for it imperfections and honored for its