In Common With makes collectible lighting by hand, in a collaborative maker studio.

In Common With is a lesson in the maker studio as the identity. An American design studio from Brooklyn, it makes collectible lighting by hand, partnering with ceramists, glassblowers, metalsmiths and named designers — a collaborative, in-house maker model where the making is the point.

Its identity is light, made by hand. In Common With’s modular, made-to-order lamps and glass chandeliers, built in its own studio, are the work it is known for. Light, made a craft. A studio that designs and makes under one roof — and beyond it.

(Honest notes, so the story stays precise. In Common With is an American brand founded in 2018 by Nick Ozemba and Felicia Hung, who met in the furniture design program at the Rhode Island School of Design; it runs a production studio in Brooklyn (Gowanus) and, in May 2024, opened a large flagship space called “Quarters” — a shop, gallery and bar — in Tribeca, not NoHo (a common mix-up). Its signature is a collaborative maker model: partnering with ceramists, glassblowers, metalsmiths and named designers, working in glass, ceramic, wood and metal, in modular, made-to-order systems, positioned in collectible design. On production, the honest framing: it hand-assembles in-house in Brooklyn, but works with a growing circle of specialist makers around the world — including Venetian glass techniques — so we say it is assembled and finished in Brooklyn with a global network of makers, rather than “made entirely in the USA.” On ownership, it is independent and founder-owned. Its collaboration collections — Danny Kaplan’s Terra and Sophie Lou Jacobsen’s Flora among them — are the designers’ co-created IP, which we describe but never reproduce, and there is no official brand hex — these tones are an unofficial interpretation. This is design commentary and does not promote any product.)

In Common With lives in a clay-and-glass-green palette. Click a swatch to copy the hex.

In Common With’s identity is crafted, warm and material — a clay, an ink, a glass green, a graphite, and a cream. The palette leans clay and glass green: the register of fired ceramic and coloured glass, warm and hand-made. It signals craft and material over slickness. The honest caveat: with no published brand hex, these values are an original, unofficial interpretation, not first-party colours.

The lesson is a clay-and-glass-green palette signals a maker identity. In Common With’s world is a crafted, warm, material object. For designers, it is a reminder that a palette drawn from a studio’s real materials — the clay of ceramic, the green of glass — can carry a maker’s identity. Because a mid clay can fail as small text, keep type dark and let the colour live in the accents, palette and band. The takeaways: make by hand; collaborate with makers; root the palette in material; and treat any single hex as unofficial.

The register is a contemporary sans — clean, modern, studio-made.

In Common With’s identity carries a clean, modern, studio-made spirit — a collectible object, not a mass one. A contemporary sans captures the mood: neutral, current and considered, the register of a design-and-make studio. Set in a clay-and-glass-green palette, the contemporary sans feels clean and modern — exactly the personality In Common With carries. It is studio-made rather than corporate, mirroring a hand-assembled lamp. (In Common With’s real fixtures, its collaborators’ works and its wordmark are things we describe but do not reproduce, and the exact typeface is not ours to use.) Because it is not ours to use, the honest description is “a contemporary-sans spirit,” shown here in a stand-in. The type behaves like the brand: clean, modern and studio-made.

In Common With stands for light, made by hand.

In Common With is a lesson in making the maker studio the identity. A clay-and-glass-green palette, a contemporary sans and hand-assembled, collaborative fixtures make craft the whole brand — warm, material and collectible. The making is the differentiator. The differentiator is a real maker studio and a collaborative model, partnering with artisans and designers so that the object carries genuine hands and authors, not just a look.

Put to work, the identity is a making as design. A house building in this spirit would keep genuine craft at its core — its own studio, its network of makers — and collaborate openly, so the customer buys into real making and authorship rather than an anonymous product. The lesson In Common With teaches is that a genuine maker model plus material craft can build a brand in the collectible-design space: the studio gives it authenticity, and the collaborators give it range — each credited. The making is the personality, and the material is the proof.

For designers and brand-builders, In Common With offers a clear takeaway: keep the making at the core. The lessons: build a real studio; collaborate with makers; keep it material; and be honest about the story. It is also a reminder to stay accurate: In Common With was founded in 2018 by Ozemba and Hung, it hand-assembles in Brooklyn while working with a global network of specialist makers, and its flagship “Quarters” is in Tribeca rather than NoHo — its collaboration collections are described but never reproduced, and the palette here is an unofficial interpretation. In Common With made hand-making the brand — proof that craft can be the difference.

Keep In Common With’s identity on hand — save it to a board in the Made Good inspiration library.