First Sandblast pipe - Calabash

[RobEsArt]

Please critique.
Once again, I apologize for not writing more when I initially posted this. I have a lot going on, and I was needed away from my computer.
The stummel is Algerian plateaux, the stem is German ebonite rod with a maple accent/flared ring; the maple was harvested from a Leland piano that was made around 1900.
I am experimenting with coating the bowl as well as sandblasting.
I'm happy to offer this up for critique and advice.












Thank you for your assistance.
Rob

[sandahlpipe]

Nice work! There's a lot to like here. This is a relatively straight pipe with a calabash look to it and a nice and even sandblast. Bowl coating looks good from what I can tell.

The one thing I wouldn't do is the big bead on the stem. The two smaller ones fit nicely with the way you did the shank. The big one draws the eye toward itself and away from the beauty of the stummel.

For finishing sandblasts, are you buffing with tripoli after the blast? It appears that some of the stain is lighter than other places on the pipe. You can do contrast blasting by a light blast of the first coat of stain and then follow it up by a lighter coat. If you want it solid, try using a shellac, oil, or all wax finish (no tripoli or white diamond) for the finish. Shellac, I believe, is the most common finish for sandblasts.

[RobEsArt]

Thank you.
As far as the finish... I'm still trying to understand how to best use the cut shellac. I did not use it on this pipe. I did however use it on the volcano I posted today. Is there something about the lighter colored high points in the blast that I'm not aware of? Should they be as dark as the lower areas of the blast?

sandahlpipe wrote:
"The one thing I wouldn't do is the big bead on the stem. The two smaller ones fit nicely with the way you did the shank. The big one draws the eye toward itself and away from the beauty of the stummel."

Which bead are you referring to? The ebonite bead or the maple bead?

Thank you for the critique. I do appreciate your insights.

[sandahlpipe]

If you're doing a contrast blast, there will be two visible colors that correspond to the flame grain patterns in the briar. If you buff to aggressively, the high points in the blast will turn out lighter than the rest. If you're going for a weathered look, then buff aggressively. However, if you're going for a more professional look, you will want to use just carnauba and not tripoli. Or shellac. You will need to buff, melt the wax, and then buff again lightly if you're going for a carnauba finish.

As for the bead, I'm referring to the ebonite one. Simpler is usually better, which is something I'm learning as well. People usually gravitate towards the simpler, more elegant shapes and away from adornments. But really, it's up to you to make what you think will look good.

[RobEsArt]

No. That is exactly what I needed to hear. Thank you for that. I wasn't sure about the bead. But then, by not being sure - trying it and being critiqued about it gives me opportunity to learn. Learning is what life is all about. Otherwise it would be boring and stupid.

Thanks

[Sasquatch]

sandahlpipe wrote:
"The one thing I wouldn't do is the big bead on the stem. The two smaller ones fit nicely with the way you did the shank. The big one draws the eye toward itself and away from the beauty of the stummel."

Which bead are you referring to? The ebonite bead or the maple bead?

.

This actually sums up my critique on all the pipes you've posted recently, Robert. You are cutting cleanly, finishing reasonably well, having no problems with the technical side of making these pipes. This is good. What isn't good is that if someone says "I'm not fond of that stripe." you have to ask "The red stripe or the green, and did you mean the stripe on the bowl, the shank, or the stem?" There's just all kinds of essentially random accenting going on and it doesn't work. The words "folk art" come to mind. There is no concept driving the design of the pipes, it's just an intermingling of shapes, sizes and colors, and that's how they come across.

You could hang a rubber boot on the Christmas tree but you wouldn't because it doesn't belong, doesn't go with any other decorations, and doesn't help the Christmas tree be more beautiful. Your pipes will improve if you settle down and spend more time working out proportions, executing a design rather than just a series of manouvres which cobbled together are a complete pipe.

[RobEsArt]

Oooh, ouch. But thank you Sas. I needed to hear all of that, especially the stuff that "doesn't belong". I am grateful for the insight.
In conjunction with making the best briar pipe I am capable of, I'm having fun 'gluing shit to shit' as a means of exploring creativity.

I am a part time professor of visual arts at a community college as well as at Western Michigan University. I also work in the theatre department at WMU as the scene shop foreman. This is where I make my pipes. I miss having my own studio, so I tend to play and explore in class and in the scene shop. I do enjoy well crafted folk art, but prefer the 'fin' of well practiced craftsmanship.

I will definitely be working towards higher levels of engineering/craftsmanship/design in both genres of pipes, as well as accepting input/advice to improve in those areas.

Thank you again.
RobE

(I like the analogy of the boot on the X-mas tree, that's funny)

[Sasquatch]

I've had pipes likened to macaroni-art, so you're well ahead. You have to practice these shapes, these ideas, these physical manipulations, and that's what pipes are for most of us, for some time. Then you can start to focus less on how to accomplish certain stuff and more on how to make a cohesive, beautiful piece.