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Articles

July 7, 2011

Will Purdy, Andrew Marks & Larry Roush, These Guys Can’t Hide



 

If we were to put 100 pipes on display, 20 feet from where we stand, it would be difficult to determine which carver made which pipe. At such a distance the beautiful aesthetic & individual details on the surface of the pipe will not be readily visible and our ability to correctly pick and choose which carver could have made which pipe becomes limited. Holding it in the hand is one thing, peering at a pipe from a certain distance is quite another.

At such a distance, all we have to truly differentiate one pipe from another is its profile, the general outline of the pipes shape. Despite only having an outline to guide us, some pipe makers have a style so unique that the maker of the pipe is not in doubt.

It is these pipe makers who are the topic of this article. Allow me to use the analogy that these pipe makers have their own unique ‘dialect’ when speaking through the general pipe language. They apply their dialect to virtually all of the shapes they tackle. Whether they work on traditional British, Danish or Japanese shapes, or even if they work on something off the shape charts, their uncommon approach is clear for all to see.

I did my best to ensure that the pipe makers I chose for this article have a certain level of reputation attached to them. All of them are considered to be established and very successful makers of high-grade pipes. All of their work sells on average for $400 and up. All of them have a long list of pending commissions. Perhaps this will allow us to temporarily ignore our personal thoughts on their work and we can try to exclusively evaluate the method with which they approach their craft.

The pipe makers that I chose are Will Purdy, Andrew Marks & Larry Roush.

As you read the article it will become clear that these pipe makers share a similar distaste for what we can easily consider the ‘norm’. All of them have a desire to hold firm to their personal interpretations of what it means to be an individual.

Unearthing the answers to how and why these pipe makers came to where they are today was a very interesting process. The answers these pipe makers gave did not disappoint. I hope you will enjoy what they had to say as much as I did.

In order to bring a broader voice to this topic, I also asked pipe makers Bruce Weaver and Adam Davidson for their thoughts. Both of them were able to provide some very interesting insights from their perspective. Adam went very deep in his analysis. Although he is only 30 years old, he speaks with a tremendous amount of wisdom.

Here are several pictures of pipes from Will Purdy, Andrew Marks and Larry Roush. In order to look through the ‘profile only’ lens discussed above, I did my best to remove the internal and aesthetic detail from the image and thus our sense of vision. Take a look at these three gentlemans pipes.

 

 

 

 


 

 

 

Discussion with Will Purdy    

DM: How do you see yourself Will? How do you describe your approach to pipe-making?

Will Purdy

WP: My approach has been to respect the British standards and make pipes properly, as they are smoking instruments. But at the same time to do my best to be non-derivative and not focused on the traditional catalogue of shapes coming out of Italy, Denmark or Japan. I guess it’s respecting those innovations but not trying to copy them.

DM: Was it your plan from the beginning to create your own unique style or was it an unexpected side step?

WP: Almost. When I first started to experiment with pipes, I was trying to make something known. I did about 10 of those pipes and found that I really enjoyed the process. Then, almost through a lack of talent, none of them came out as carbon copies of where I intended to go and through this I discovered that it was more fun to see what came out of the wood rather then get frustrated to try and make a perfect this or perfect that. It came naturally to me to go in a different direction although I did have some help. Greg Pease was my mentor. I sent my first few pipes to him and he would tell me what he would like and not like about the pipes and slowly I defined my aesthetic.

DM: You implied that you learned through a lack of talent. What do you mean by that?

WP: Well, I was in the very early stages of learning to become a pipe maker and I guess when you’ve never made a pipe before and you’ve never worked in three dimensions before, it’s a tool set that you just don’t have. You have to learn the process. So when I first started I didn’t have the mechanics down as far as wood-working and I believe that my lack of talent back then, made the entire process more creative for me since I was teaching myself. I realized and understood this early on and because of it, I forced myself into isolation from other carvers and their techniques, in order to minimize their influence on me. This is what helped me define my style.

DM: As your style was becoming more clear to you and people could start to see it, was there any negative reaction towards your shapes?

WP: People are pretty polite. I guess the answer is no. There was an event where back in ’03 in Chicago, a Danish pipe reseller who had  at the time of our encounter, consumed approximately 40 beers. He told me that I did not know what I was doing, that none of my pipes looked the same and that I had absolutely no talent. He completely ripped me.

It made me question what I was doing. It took me about a week to settle down and realize that I am doing something how I want do it. I didn’t get any negative feedback where I thought I would have had more success financially if I were to focus on modern Danish and or Japanese derivatives of pipe making. Because that is what collectors wanted. Blowfish and the Japanese style variants. Collectors are still flocking to the common even if it’s the newer shapes. If it’s something that comes out of Lars Ivarssons workshop and they want to commission such a pipe from me or buy them from less expensive sources, this is the stuff that I did not want to participate in. That type of commerce was not for me. Taking that route was a negative financially, to be honest.

DM: Why are so few pipe-makers not exclusively making unique shapes and why are so few collectors rarely requesting unique shapes?

Will Purdy, Tadpole

WP: It’s just one of those human behaviors, it’s sort of like fashion I guess. It’s a comfort zone. It’s a great question and I would love to ask collectors and hear what they say. Its bound to effect what pipe makers do. I myself am stubborn. It was intentional for me to be non-derivative. The shape of the month club phenomenon never appealed to me. In the old days, somebody would buy a Volcano and post it on the internet and suddenly everybody would have to get a Volcano. It’s just the way the human condition is I guess.

DM: If there are carvers out there who would like to experiment more with unique shapes but for whatever reason are not. What would you tell them, to try and inspire them to do what it is they want to try but are not?

WP: I would ask them to consider not doing anything that they would consider in their mind to be a copy. Either that

or I would recommend that they go through a learning experience that tries to have the pipe they make, not look like

Will Purdy, Garlic

so and so’s work for a minimum of 10 pipes. Make 10 pipes but try not to copy or make anything that you have seen before and try not to emulate. If you need to make money in the interim, that is understandable, but even if it takes you two years to do 10 pipes that don’t look like anything you have ever seen before, that’s the start. And they can be your junk blocks. But just experiment and try to force yourself into not doing what other people do.

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Discussion with Andrew Marks

DM: How do you see yourself Andrew? How do you describe your approach to pipe-making?

Andrew Marks

AM: I don’t compare myself with anyone else, although lately it is pretty easy to do it. I guess I consider myself an original or in other words I see my work as coming from myself. It’s interesting how pipe shaping has evolved over the past 42 years that I have been making pipes. Also interesting is to see not just the pipe makers tastes evolving but also the pipe collectors tastes. Their taste has evolved. Client’s taste has evolved and pipe makers either go along with it or not. It’s that simple.

 

My goal was to make these beautiful objects that perhaps had never been made before. Yah I saw the Dunhills and the new Danish shapes and they were very exciting. But somehow I wanted to create something beautiful and hopefully different.

I am personally in love with the surprise of seeing what’s there. And maybe unlike a lot of the other pipe-makers only sometimes, I often let it be a surprise. No matter what, I want it to work for me, whatever it is. It’s my standard. I am interested in being happy with my work.

DM: When you began to make pipes and you would look up at the shape chart, how did you respond to those standards?

Andrew Marks

AM: The shape charts had little interest for me to tell you the truth. I was interested in making something that hadn’t been made before. Everything has been incorporated or inculcated I would think without stealing, although sometimes I do try to copy something I find particularly beautiful, although that is rare. I think it is very hard to create something both unique and beautiful. Its really easy to create something that is unique. You can just put a big lump of briar out there and not put any effort into it.

DM: Is it a conscious goal of yours to create unique shapes?

AM: No. If I can make a very beautiful standard shape from the chart and enjoy it, that’s as beautiful a creation as any. So no, I am

not just trying to come up with something new and different. In fact, maybe not at all. It just evolves with whatever shape it evolves into. What I am amazed at is that none of my shapes can really be duplicated, for the most part. Replicating my own designs, something I made once, man oh man do I find that difficult. Somebody wants what I made once, (laughs) and according to schedule, when I made it that once I wasn’t copying anything, I was just making it.

Andrew Marks

DM: Why are so few pipe-makers not exclusively making unique shapes and why are so few collectors rarely requesting unique shapes?

AM: Have you noticed that everybody is copying everybody else?! There is a very good reason for it. Because the shapes are very beautiful, and I am talking about Danish shapes too, there are some very specific shapes that are so lovely and beckoning in their own right. A lot of the Ivarsson shapes are beautiful shapes and well worth repeating and no reason not to aim for them. People are spreading out now, some of the Russian carvers I think are terrific. Michail Revyagin for one, I complemented him on his work, I don’t do that with pipe makers. Isn’t he marvelous? He is in love with the wood too. He is moved by what he does. That is exactly what it is about. You want to be in love with what you do if there is any hope at all.

DM: If there are carvers out there who would like to experiment more with unique shapes but for whatever reason are not. What would you tell them, to try and inspire them to do what it is they want to try but are not?

AM: You don’t want to screw it up. Once you got two holes in a piece of wood and they meet at the bottom, you got yourself a pipe. Then the idea is to shape the thing and have the stem stick in it somehow. Beyond that you want it to be this, that and the other thing.

Now I think that most pipe makers are going to stop at a certain place. Briar is not a cheap thing to purchase. They are screwing around with a $20-$30 piece of wood that they are hopefully going to make a dollar on. So if you get something more or else round, you polish it and the shape looks ok. Many pipe makers stop there just because they don’t want to blow the piece. They don’t want to screw it up. Every time you go deeper you know you may hit another flaw and then you have to deal with that.

DM: So your saying there is a possible financial fear?

AM: I would say so. There is also just the fear of screwing up the piece itself. There are safe places to stop and there are risks to take, if you don’t want to stop at the safe place.

DM: So you are a big gambler?

AM: A big gambler yes. And one of the ways you can see a guy who goes all the way, is to see how delicate and  light a pipe he is capable of making  and if it’s capable of smoking well. You will see that most everyone stops short of making a thin and delicate bowl because they are scared to death that their briar is not good enough. They don’t know their tolerances. They will go ahead and fill it on the inside to protect the bowl and they don’t have faith in their work and their material. So that’s 90% of the makers. It’s very hard to make something very light and delicate and throw it out there and make money for it.

DM: So what would you say to those carvers to help them access that faith?

AM: I’d say you could go two ways. Slowly, the nicest way likely and take a bit more risk each time. Or, you can just go

Andrew Marks

ahead and bust right through and think this piece can end up in the garbage pail. You will be risking but what you may gain is something very very special which you would not otherwise approach. You know, you may get to this elegant piece. Not just this nice hunk. Something svelte and interesting and different.

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Discussion with Larry Roush

DM: How do you see yourself Larry? How would you describe your approach to pipe-making?

LR: I guess I see myself as an original. I have been told that you can

Larry Roush

identify my pipes from across the room. I am not sure how it happened.But I do see my work as definitely being different then the mainstream of pipe makers today.

DM: Did you plan to make all of your pipes look unique from the beginning of your career?

LR: I didn’t plan on making a pipe that was identifiable from across the room. What I did want to do most of all was be myself. I started to make my pipes when Barry Levin put out his mailer. It was a packet with 30 photographs of pipes. And I would look through those pages and pick out shapes that I liked. But I was very, very careful, to never take a picture of those pipes out to the shop with me. I never had pipe pictures on the walls. I never picked a pipe out and said that I would like to make this. I would simply look at the picture in the house and say, I like that. And then I would just go out in the shop and make it. I would have no references, no measurements, no 3-D drawings, nothing like that. If after that point, it didn’t come out of my mind, it wasn’t me. I definitely wanted to have my own thing going. Whether it was good or bad or whatever. I just wanted it to be me.

DM: Can you tell me more about this internal desire to not make the things that everybody else was making?

Larry Roush, Pot

LR: I didn’t have this desire to stand out and not be like everybody else, I had this desire just to do my own thing. It’s different. I always felt like art was representative of the artist. Not of art in general. So its not like I set out to be this unique pipe maker, no, I didn’t do that. I just tried to make my own interpretations of a pipe.

DM: Did you have any concerns about doing this? Did you feel like you were doing something risky because you were presenting unique versions of traditional shapes?

LR: It was definitely scary. I had no idea if someone would even like the stuff but I figured that at least I would be true to myself and do what I felt, what I saw. To have it come out of my mind, through my hands and on the table.

Hooking up with Butera and Levin helped, I got some encouragement from them. What really scared me was when I

Mike Butera

got back into it full time in 2001. I didn’t know if people would still remember me, love me and like my shapes. I was out of a job, full of fears and I was thinking to myself, should I start back making blowfishes or should I just stick to my guns? And I had all my old templates and tools and I started right back up where I left off and started serial numbering them from where I left off. And I thought to myself that I am going to do what I can do, how I want to do it and if they don’t like it, I will go back to my other job.

DM: You touched upon it but what helped you swallow that fear?

LR: God, I would pray to him and say please give me this talent where I can make a living and I would wish I had this talent to do something. The whole time I actually had this talent but I was too blind to see it. I got back into it and it was either fall on my face or be successful. Whatever happens happens, but at least I’ll know that I gave it a shot.

Larry Roush, Billiard

Another thought was when I got into pipe making I had to figure out where I wanted to be. I had to think, am I gonna make a lot of pipes or am I gonna make a few pipes and make them unique and special. And I went with the unique and special approach because that is who I felt I was and that was what I liked. When I collected, I liked some of the Charatans and the GBD Uniques made by Horry Jamieson, that kind of weird stuff. And not that I approached it thinking like that but I naturally liked the different stuff, I didn’t really like the run of the mill stuff.

DM: How would you describe the path you took and what are your thoughts on traditional shapes?

LR: I don’t know how. I am generally stuck on traditional shapes. I think that is where the market lies. I have seen a lot of things come and go but the traditional shapes always seem to stick. I think the traditional shape has a spot in my heart. So I figure I will make a traditional shape but I will make it the way I see it. And I didn’t really set out to do what I am doing, it just happened.

DM: Why do you think so few pipe-makers do what you are doing? Why is it that the average new carver, focuses on and most often stays with, the common and traditional shape chart pipes?

LR: I don’t see a lot of guys doing that. I see a lot of guys doing the Danish stuff.

DM: Good point, let’s change the question. Why is the average person spending so much time copying all of the varying traditional shapes, be they British, Danish or Japanese ones?

LR: I really can only speak from my opinion. Unfortunately I could be very wrong or totally off base, but I think a lot of people see the successful pipe makers getting a lot of money for their pipes. These people clearly have the technical ability to make a pipe and they think they are gonna get in the market and make some money doing it. Well, some of them, at least in my opinion, are not artists and their heart isn’t in it so what will they end up doing? They will make a copy of what they will see. Because they have the technical ability to do that, to copy. But just because you have the technical ability, doesn’t mean you can make a piece of art. Unfortunately a lot of people get into it for the money but they don’t have the artistic approach and that’s sad because that’s what’s it’s all about for me. For me, it’s about the art of it. Like when I see some of these Russian guys, my jaw drops when I see their work. Its fabulous. I am really impressed with some of their stuff I have seen. My goodness, that is art, and I wish I would see more people doing that but I don’t. At the same time, as much as I like some of the Russians work, although fabulous, its just not me. That is incredible stuff.

Larry Roush, Twain

DM: Why don’t we see more carvers applying their own unique and consistent interpretations to pipes?

LR: I don’t know why more people don’t do it. Beyond the financial reasons, I am really not sure. And if your doing it for the money, your not an artist.  You look at some of the guys out there like Cooke or Butera and their stuff sticks around. There is a reason for that. Its not a flash in the pan. A lot of the new guys have incredible mechanical ability but I just don’t see the artistic ability. Why? I am not sure, it just seems like the love isn’t there.

DM: A few months ago I met with Former. When I asked him if he sees himself as an artist he categorically told me no. He said he was a craftsmen and that is how he saw himself.

LR: Wow, I don’t know. It’s a good point. I think a craftsmen can be an artist. To me a craftsmen is someone knocking out high quality stuff. They are creating something out of their mind. We take nothing but an impulse and an idea and it’s not tangible. That is what an artist does.

DM: If some of the new carvers are in fact true artists, whatever that word means and yet they are still not doing what your doing, whatever the reasons may be, what would you tell them to try and inspire them to be who they are?

LR: As you can tell, I am quite spiritual. So for me, if you don’t pray about it, you will have problems. If its Gods will, it’s gonna happen. If it is his will and if it’s in your heart and you really want to do it, then you are meant to do it. You can’t get in the way of yourself. If your not true to yourself, what good is it anyhow?

If it’s just fear, then that is probably the easiest to overcome. If your ego is however telling you that you can’t fail and it guides you by saying that you have to compete with Joe over there who is making this or that shape. Well, if it’s ego,

Larry Roush, Stack

that will be much more difficult to overcome. If it’s just fear, that is a lot easier. They have to remember that there is a lot of room in all the shape charts to explore those shapes in many different ways. In the end you just gotta do what is in your heart. If it’s meant to be, it will happen.

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Discussion with Bruce Weaver

DM: Why do you think these pipe makers apply their unique and consistent twist to the majority of their pipes?

BW: My thought is that they probably started out with classic or

Bruce Weaver

Danish shapes and suddenly found themselves in shapes that they really enjoy. They get exposed to something different and they like it and it becomes their own niche for them. Kind of like

my sandblasts in that I found a way to approach the task differently and I 

Bruce Weaver Sandblast. Courtesy of Quality Briar.

 

enjoy doing it.  We find what’s comfortable for us. What we find aesthetically pleasing in maybe your or my eyes will not be pleasing for someone else and I think that’s fine. It’s just dandy.

DM: What are your thoughts on why we have such few pipe-makers who approach the craft in this way?

BW: I actually think there are some people who can replicate very well but don’t have any creativity. There are some really top notch pipe makers that have yet to have a sense of their own voice. You can walk around a pipe show and if you picked up a pipe blind and at random, you might be able to tell whose it and you might not be able to at all. Most of the time, you couldn’t be able to tell at all.

Same goes with me, I made a lot of pipes that somebody would say, oh that’s Todd Johnson. Well, because I studied with Todd, I am naturally going to have an inclination to pick things up inadvertently. Now in fact I try my darndest not to study others work anymore.

DM: What do you think the average new pipe maker is thinking when they are starting out? Clearly some people are just different. Are there maybe other factors

BW: New pipe carvers are learning and they haven’t found themselves yet so it makes sense to see start off by copying or trying to copy. One guy decided he wanted to replicate a Bo Nordh horn. Talk about a hard shape to copy, it’s just near impossible. So this guy hasn’t found himself yet, so he is almost forced to go in that direction.

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Discussion with Adam Davidson

DM: Why do you think these pipe makers apply their unique and consistent twist to the majority of their pipes?

Adam Davidson

AD: I think just like anything in life, people become comfortable with certain things and people can learn to do something one way and perhaps they can evolve that one idea but essentially it will all come down to the base of how they learned to do something. A lot of Larry’s stuff is amazing. Great shapes and I think Larry is one of those guys who has been carving pipes for a long enough time, before there were a lot of American carvers other than ones who were kind of doing the Classic English or freehand Danish style. Seeing as how Larry picked up a lot of things from Michael Butera and if I remember correctly, back at that time when American carvers would go into a pipe shop to find out what they wanted them to make for them, they would hear that they wanted Italian or Danish pipes. Those retailers tended to like the American carvers who were making shapes similar to the Italians. I think what Michel Butera was doing and Larry Roush after the fact, was developing a lot of shapes based off of what the market was wanting. And I can see a lot of Castello influence with Larry’s work and what I especially like with both of those companies is that when you look at one of Larry’s pipes, years ago people may have not cared for the chunky aesthetic which is now a very popular kind of shape category. And what I especially like in Larry’s work, from a profile alone, his pipes they appear like they are somewhat heavy but by being shorter they work. If you look at one of Larry’s apples for example, you can see that he always has a very fluid line going from bowl to button, unlike some others that might turn the shank to a consistent diameter and then have a tapered stem that tapers from the junction of the button. When you look at one of Larry’s pipes, in profile, you really cant tell where the shank and the stem meet. Which is just a really great design principle because it has fluidity and movement. What I like about Larry’s work especially is that when you take one of his pipes apart, you really see how much care and attention he has given to areas inside a pipe that are really not noticed. That a collector will only see when he is cleaning the pipe. The fact that Larry goes the extra mile to really polish all the surfaces that don’t have to be polished, makes me and everyone else think that if he is taking all the time to do this, he is truly taking the time in everything else.

Showing Adam Davidson's 'Crisco' analogy. We take comfort in doing things how we were initially taught to do them. Picture is not Adam.

I use a lot of cooking and food analogies, my Mother for example makes home-made pie crust with Crisco. So she has always done that and so this is what I do. There are so many different recipes, lard, butter etc…but since my Mother raised me like this, she told me not to buy pre-made pie crust, just like you don’t buy pre-made pipe stems. You make it from scratch and you do it like this. I think that what happens with Larry is that he learns how to make a pipe, you use a solid rod, you cut it this particular way and you finish it in this particular way. I think with everybody there is always a comfort in our brains that we want to do stuff consistently but what we all individually feel is the best. Regardless if it’s making pie-crust or making a pipe stem from a solid ebonite rod.

I think after people find out what their comfort zone is, they are very unlikely to change once they get to that successful level.

DM: In terms of the profile element and being able to spot them pretty easily. Why don’t we see more of these Purdy, Marks and Roush types of people?

AD: Larry has been making pipes for quite a while and he studied a certain way. Will has not been making pipes as long as Larry and Will is pretty much self-taught. I know that with Will, when I was with him in his shop, I was helping him learn how to use Bamboo, because I love working with it and we were trying to figure out how to incorporate that material with Wills designs and the thing for Will is, he is one of the few guys out there that kind of just started carving a pipe and he was making pipes before the big internet boom and it was more like an oil painter learning how to paint by himself instead of going to the school and having others critique their work. You have so many impressionists working at the same time and all together. Now if you had Monet and Morisot working in separate areas without any influence on each other, I think they would have more striking individual qualities within their work and much less blending together because it’s just  natural for people to experiment. It’s justnatural for someone to say I am going to make a pipe like this and maybe he saw someone elses work and they really enjoyed a small detail, maybe a line here or a line there. That’s what happens with a lot of people today and I am in the same field as well where I make something and I will take a peek at someone else’s work and it’s not a copying element it’s more experimenting. I think with Will and Larry, they have both made enough pieces to go to market with what they worked out themselves and their customers said I like how you do this and that. After that moment, when somebody has a certain body of customers, they are unlikely to suddenly abandon their entire career and start to do something different. That would be like Monet suddenly stopping painting and saying he would now only start carving statues of David because that is really cool. It’s just so foreign and it comes down to a comfort zone that as far as pipe-making goes, when someone is working on a stem and both of these guys have very recognizable stems and buttons alone. That your body kind of gets trained to work in a certain way so that as your filing you know how far to go before you go to the next step. And with every pipe your doing, you going to have to try a wider slot or a thicker button or any number of variance. You won’t really have a comfort zone, you won’t really know what works for you so both of these guys really developed their style with really very little influence so that at the end of the day or decade, they have a very consistent style because they are not

Adam Davidson, Almond. Courtesy of Smokingpipes.com.

working with other pipe-maker’s to try and develop and change. Since they were doing all of their stuff themselves they have become very unique. That’s why when you see a pipe of theirs in profile, you’ll say okay, this is by this guy because you see this line, this thickness, this flow, you see how they just got used to developing this system within themselves. I think at the same time, they weren’t concerned about making a pipe like from Pipe Dan or from Larsen. Will wants to make Will pipes and Larry wants to make Larry pipes. Both of them realize that when they are done with a piece, they like all the lines on it just like any other type of aesthetic. Any type of food or painting. Somebody is making very consistent work of what they like and it would be very strange for them to have something like a year down the road, to just be entirely different. When you look at it from a holistic view, it doesn’t make sense for people to just do a 180 in their design and change practices.

DM: You talk about all these very relevant factors that cause people to be influenced by one another. What would you say to those people who may not realize this?

AD: I would tell them to not go to the internet, not look at pipes, not go to pipe-shows. Which is a really bad way to sell work. Because to sell work, you have to go online, to pipe-shows, you have to meet people. It’s just one of these things that if you are around pipes, you just naturally absorb things and don’t even realize it. It doesn’t mean you can just see something and then copy it. We’ve all been somewhere and seen something and tasted something. You know you try this amazing desert somewhere and it

Adam Davidson, Mastadon. Courtesy of Smokingpipes.com.

doesn’t mean you can go home and suddenly make it. That’s just a natural part of design. Those people that really want to develop their own style need to figure out what is good because there is a difference between having a unique style and be successful and just making a thick looking weird stem just to be different. That does not mean you will be successful. It’s a difficult question to answer. But if they happen to have a pipe in their collection that they really like, they can use that pipe and study it and imagine that this is how a stem should be, this is how a button should be and then they just have to play amongst themselves and try to hone this unique design which is very difficult to not be influenced by others.

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If you would like to learn more about any of the participating pipe makers, please feel free to visit them at their respective sites or contact them through the information listed below.

Will Purdy

www.willpurdy.com

Andrew Marks

www.p-i-p-e.com

Larry Roush

www.roushpipes.com

Bruce Weaver

www.baweaverpipes.com

Adam Davidson

adam@adamdavidson-design.com

 

 

Thank you to everybody who participated in the making of this article.

Just smoked with a Michael Parks Stunning Sandblasted Grand Bent Shape 44 with Ming Kahuna Aluminum & Brass Spike Tamper

 

Copyright © 2011. All rights reserved.






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