Jono: Everett: Making to a brief

Jono Everett with one of the 17 Kizuna Benches designed and made for the newly expanded and refurbished Newcastle Art Gallery, NSW. The benches were made from blackbutt and upholstered in Australian leather by Reioni Douglas. Photo: Edwina Richards

Words: Jono Everett

So, your mate Dave asks you to make a coffee table. Or say, what if you’re invited to provide public seating for a major art gallery? If you are being asked to create work for someone, paid or not, this is a commission.

Does taking on any of these wildly different furniture commissions rely on the same set of principles and what is the best way to tackle a commission? What’s the difference between public and private and who gets the say in the design? All good questions for sure – let’s dive in!

Establishing a brief

I start the process of a private commission through conversation and connection. I never ask the client to bring me ideas they have found trawling the internet. This is important for two reasons.

Firstly, they have commissioned me. I am a designer maker and know materials, finishes, form and techniques and have a distinctive design signature. They will get me – not someone or something else. I don’t replicate commercial product or other design ideas and feel it’s important for makers to hold true to values of craftsmanship and character – so finding images on the net can be confusing and detrimental to getting the project going in the right direction.

Secondly, to be commissioned to make something is a special gift. Why produce work that already exists? Only limited by imagination, commissions present a moment to design something completely new, something original, something that has never been made before.

My view is that commissions don’t have to be constrained by the client’s ideas – these are the foundations – their requirements must be met but commissions are, in fact, an extraordinary opportunity to expand on those ideas, collaborate and show ingenuity through original, considered and beautifully crafted furniture. I’ve outlined my process of designing in previous issues of AWR but want to reiterate the importance of bringing your individuality, personal values, signature aesthetics and detailing to every piece you create.

Detail of the Kizuna Bench shows the ‘bridge’ construction and use of ebonised spacer to create a shadow line. Photo: Edwina Richards

Smaller commissions

Hypothetical Dave is a lovely person. If not, unfortunately you’re just too busy honing plane blades to be able to get to this project... Key to delivering a successful domestic commission, regardless of scale or complexity, is to gain a degree of connection to the client enabling a good understanding on their needs, their dreams and (the nasty bit), how much they are willing to spend. Remember, you are being commissioned because you can deliver something crafted and exclusive.

For sure, commissioning bespoke handcrafted furniture may not be the cheapest option for the client but you can deliver a piece specific to them in function, scale, proportions, material preference and finish. Good design, fine timber and excellent joinery make for a forever piece.

If Dave asks for ‘just a coffee table’, it’s easy, logical and cheaper for him to go and buy one. Commercial furniture and handcrafted work live in two separate universes. If your client is making comparisons to what they can get from a store, you have a client that does not appreciate the intrinsic value of the handmade.

Crazy deadlines are a massive red flag as well as unrealistic expectations around the value of your time and skills, so consider if certain requests are worth taking on. If you can make things well – you will always be asked to make something. Stand tall, be confident with the solid design and craftsmanship you can deliver and set yourself a realistic hourly rate so you can quote properly.

Tom Fereday Ottoman (2021), spotted gum, American oak, olive and tanned aniline leather. Designed for the Art Gallery of New South Wales. ‘Over the period of two years a collaboration with the gallery was formed through the shared goal of creating a quiet yet highly refined seating collection designed to complement the incredible space and artworks of the iconic Sydney gallery. Over 35 unique ottomans and lounges were created. It was important that each ottoman was produced locally, working with some of the finest makers in NSW. The original prototypes were hand made by Rolf Barfoed and later CNC manufactured by Evostyle in solid spotted gum with upholstery handmade by Swiss Design. Photo: Fiona Susanto

Larger scale commissions

If you’re a maker ready to branch out to fry some bigger fish, commercial commissions come in two forms. If you make a connection to private businesses or institutions, you can bite the bullet and get the processes of designing and quoting going. If you’re dealing with government (Council, State or Federal), you’ll be up against making a submission via a competitive tender process (sometimes selective, sometimes open to all).

For the latter, you’re going to need to put together an impressive presentation and have the concepts fairly well resolved. In both scenarios, refined sketches or models, samples of materials and finishes are essential. My computer assisted sketches look like they were done by a 4-year-old, so for commercial projects I outsource to have premium renders produced.

For tips on how to manage a commission, I’ve asked highly successful Sydney based furniture designer Tom Fereday as well as prominent Adelaide furniture maker Jon Goulder about their approaches.

Tom Fereday, Powerhouse Ottoman (2023) and on the right, showing in-progress work. ‘Spanning almost four metres (this) was a unique collaboration for a communal entrance seat made entirely from solid spotted gum. Intersecting solid timber dowels formed the backrest and resulting legs piercing through a soft oval seat. The piece was commissioned for the newly launched Powerhouse Museum in Castle Hill and fabricated by Evostyle. Photos: Hamish McIntosh

In-studio design with outsourced making

Tom Fereday comes from an industrial design background and has a litany of design awards to his name and has exhibited his furniture internationally. In his studio he develops his designs for both products and commissioned projects, which he then fabricates as models and resolves design details in his workshop, often in association with makers, designers and architects.

Tom told me he’s proud to engage high level Australian fabricators to make his working prototypes and the final products through ‘a collaboration with makers’. This allows Tom to design work across a spectrum of materials from steel, glass, upholstery and timber, work in partnership with his suppliers and keep control of quality.

In 2021 Tom won the contract to supply public seating for the NSW Art Gallery from an invited select group. He was able to prove his ability to deliver the beautiful ottomans shown here with the gallery commissioning further pieces for the members’ lounge and library.

Tom approached this large scale commission by proposing seating incorporating highly skilled making and premium materials (spotted gum and leather) while meeting the rigorous design constraints outlined in the design brief, including consideration for very high use and accommodation for all ages and people with disabilities. He collaborated with TZG Architects (engaged to renovate the building), designing furniture to complement the gallery architecture, without being ‘too loud’ – detailed pieces that didn’t distract from the artwork – work you could ‘quietly enjoy over time’.

With regard to makers starting out, Tom noted the importance of both managing ‘transparency and expectations’ and providing the client with the genuine materials, rather than visualisations. ‘Even the simplest designs in the right materials can be beautiful, but it’s very hard sometimes to convey the value of that – it’s important to present the feeling of what you’ll be getting’, he noted. Tom, is passionate that furniture has longevity and says ‘not only should your furniture pieces look good, they need to function really well’. Tom also humbly noted that ‘he’s always still learning’.

Pavilion Dining Chair, pressed leather, blackwood and electroplated aged brass. Designed for Hugh Allen’s Yiaga restaurant, a Wardle Studio project in the heart of Fitzroy Gardens, Melbourne.⁠ Hugh Allen wrote in a social media post: ‘The chair for a restaurant is maybe the most important decision you make when selecting and designing a venue. John Wardle and I literally spent three years looking at chairs… We were drawn to (Jon Goulder’s) formed-leather work, something we had never really seen applied to dining chairs, especially in a restaurant setting. Jon then spent over 12 months developing the chair, with many prototypes and rounds of refinement, to create what we think is a masterpiece. I reckon this chair will become an icon of Australian furniture design in the years to come.’ Photo courtesy Jon Goulder

Designed and made in-house

Jon Goulder, Adelaide based fine craftsman and designer maker works in a very different way, making everything by hand. Jon is considered one of Australia preeminent furniture makers with works being held in permanent collections in museums and galleries.

Jon and I were lucky enough to study under master craftsman George Ingham at the Australian National University, an uncompromising training in precision craftsmanship that instilled respect for tools and timber.

Jon tells me he thinks deeply about his designs and is selective about the commissions he takes. He doesn’t make other people’s pieces and has kept his design signature and identity in his furniture throughout his career, with an evident progression in the sophistication of his designs. ‘I came from a manufacturing family, if I’m going to manufacture work it needs to be my design’, he said.

Over many years Jon has developed a range of sophisticated furniture pieces that demonstrate high level technical skills and craftsmanship and incorporate beautiful quality materials such as his Pavilion Dining Chair and his version of the classic Settlers Chair. There is an obvious advantage of having resolved designs, jigs and fabrication processes of these small-run furniture editions being ready to order for residential and commercial projects.

Jon also develops unique designs for one-off residential and commercial projects commissions. He told me he only shows his own portfolio when suggesting a design approach or material choice, ensuring any commissions will be an extension of his ongoing practice, reflecting his design values and aesthetics. To avoid issues during commissioning, Jon stressed the importance of thoroughness and care in client presentations. Drawings, scale models and fabricating a full scale working prototype give stakeholders a visual and physical understanding of all aspects of the work prior to proceeding.

For projects in public environments such as libraries and galleries, Jon has a rather unique approach to developing his designs through hosting ‘conversations’ – forums in which both stakeholders and the public are invited to provide suggestions on inclusions in the furniture’s design. ‘I’m really interested in people’s opinions and needs and they can help shape the brief’, he said.

Jon develops his design concepts for commissioned projects by bringing together his design sensibilities and aesthetics, drawing on the architectural detailing and, critically, ‘hopes he’s flexible enough’ in his approach to take people’s ideas into account and ensure they are woven into the fabric of the final design.

Jon expressed his support for furniture makers new to taking on commissions: ‘We need more crafts practitioners that are prepared to wave the flag for craft in Australia. We also need to see your individual personality in the work – everyone has a narrative.’

Jon Goulder, Settlers Chair, 2018, water formed leather shell, blackwood frame, National Gallery Victoria collection. ‘My goal from the outset was to never put something out into the market that had been done. This is my time on the planet, I want that legacy of designing original work.’ Photo: Grant Hancock

My recent commission

In 2024 I was successful in a competitive tender process and commissioned to provide the seating for the newly extended and refurbished Newcastle Art Gallery which opened in February, 2026.

This, without doubt, is my dream commission, a legacy project. A really exciting challenge to design and fabricate furniture at my best, pieces that are enduring, ‘make sense’ and sit wholly in their environment. Gallery seating is furniture in its rawest state. Benches most often sit centre in the room, in every room – exposed, present and setting the tone for the understanding and aspiration of the gallery.

Since the 60s there has been an ongoing tendency for galleries and museums to buy the Mies van der Rohe Barcelona Ottoman. You know the ones – sectioned padded black top with button pull downs and chrome legs – a 20th century classic. As epicentres of culture, galleries and museums present art, historical and scientific objects, identifying and elucidating on the uniqueness, dreams and demons of that place, so why default to generic staging rather than engaging local craftspeople to provide bespoke furniture? Lauretta Morton OAM, Director Newcastle Art Gallery had the vision to see the value of commissioning furniture that speaks directly to this place by reflecting the city’s art, its community, its character and its soul.

A full scale working prototype assembled and upholstered for client approval. Photo: Jono Everett

So how to go about a commission like this? I love art and I love galleries. The new Newcastle Art Gallery is an ambitious project more than doubling the size of the existing space, an exciting addition to the city, making the ‘connection’ part of the design process easy.

The project brief provided specific requirements for public gallery seating throughout to complement the architecture, use quality materials, and provide longevity and accessibility, without sharp corners or the ability for the benches to slide. Beyond this, the brief was broad, generous and open for interpretation, giving space for deep attention to the design.

For me, the consideration of the architectural elements and the buildings design intent are paramount. The pieces need to be ‘right’ and completely harmonise with their environment.

 In situ – Jono Everett with one of the 17 Kizuna Benches installed in the Newcastle Art Gallery. Photo: Edwina Richards

Filling the brief

The Kizuna Benches are spread throughout this new landmark gallery – 17 in total. Kizuna is a Japanese word that refers to the strong, enduring bonds that form between people through mutual trust and support. The design draws upon Japanese minimalist perfection, allowing the high quality natural materials to be at the forefront using simplicity and balanced proportions.

The solid ‘bridge’ like configuration references the Newcastle Art Gallery’s unity to art and artists, historic and contemporary with particular attention to the Australian / Japanese ceramic collection and the connection and significant artworks of the First Nation’s people. The boxy, hard edge profile reflects the buildings angular architecture.

The benches are fabricated using expressed precision joinery from carefully sourced local blackbutt (Eucalyptus pilularis). The timber is burnished (1200 grit) and coated with hardwax oil and finished with a natural wax polish. The seating elements have a 12mm plywood core, faced with 5mm high density foam and covered in commercial grade natural leather with the top appearing to ‘float’ to bring a visual lightness to the overall design. Highly skilled upholsterer, Reioni Douglas and I have established a dialogue of design and detailing approaches over many years.

The benches two metre long, 600mm wide benches are fabricated using cross lap joints in 42 and 32mm section. These joints are tight so the legs won’t rack. The floating mitred top frame (rebated 5mm to give a clean edge to the leather inset) is then fixed to the rails. An ebonised 7mm spacer between two leg sections clearly express negative space - a simple, no fuss, grounded aesthetic with the timber and the joinery being the hero.

Commissions don’t need to be scary – if you manage them right, they can be a really exciting adventure in design, making and connection. So, choose which projects to take on, think your ideas through clearly, good documentation for presentation, add your character and personal signature to the design, make with excellence, good materials and quote properly.

Thank you to Tom and Jon for your brilliance.

First published in Australian Wood Review, issue 130, March 2026