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Franz Pipes: Difference between revisions
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But, as with any pursuit, learning by trial and error is nonetheless learning. In the words of Samuel Beckett, “Try again. Fail again. Fail better.” Franzini committed to his new craft and continued to use his early mistakes as a means of self-improvement. Living in northern Italy, a region historically renowned for pipe making, Franzini was also able to visit other artisans in their workshops and receive advice on various pipe making techniques. Attending events at the Savinelli and Brebbia factories further contributed to the development of his skills in working with briar. | But, as with any pursuit, learning by trial and error is nonetheless learning. In the words of Samuel Beckett, “Try again. Fail again. Fail better.” Franzini committed to his new craft and continued to use his early mistakes as a means of self-improvement. Living in northern Italy, a region historically renowned for pipe making, Franzini was also able to visit other artisans in their workshops and receive advice on various pipe making techniques. Attending events at the Savinelli and Brebbia factories further contributed to the development of his skills in working with briar. | ||
[[File:FranzPipe 5.jpg|alt=|thumb|A slightly bent, wide Dublin from Franz Pipe. Image courtesy Tabaccheria Guzzi.]] | [[File:FranzPipe 5.jpg|alt=|thumb|A slightly bent, wide Dublin from Franz Pipe. Image courtesy Tabaccheria Guzzi.]] | ||
Franzini’s travails and travels ultimately paid off, though readers may be surprised at the result, given his distinctly Italian pipe making education. Franz Pipes are, in the majority, unmistakably ''Danish'' in design. Though Franzini is hesitant to situate his work within the Danish tradition, owing to a great amount of modesty and humility, he is nonetheless captivated by those he regards as the ‘royalty’ of Danish-style artisan pipe making. These include [[Ivarsson, Lars|Lars Ivarsson]], [[Former|Hans ‘Former’ Nielsen]], [[Chonowitsch, Jess|Jess Chonowitsch]], and [[Eltang|Tom Eltang]], as well as Kazuhiro Fukuda from Japan’s [[Ikebana|Tsuge Ikebana]] workshop. | Franzini’s travails and travels ultimately paid off, though readers may be surprised at the result, given his distinctly Italian pipe making education. Franz Pipes are, in the majority, unmistakably ''Danish'' in design. Though Franzini is hesitant to situate his work within the Danish tradition, owing to a great amount of modesty and humility in his self-assessment, he is nonetheless captivated by those he regards as the ‘royalty’ of Danish-style artisan pipe making. These include [[Ivarsson, Lars|Lars Ivarsson]], [[Former|Hans ‘Former’ Nielsen]], [[Chonowitsch, Jess|Jess Chonowitsch]], and [[Eltang|Tom Eltang]], as well as Kazuhiro Fukuda from Japan’s [[Ikebana|Tsuge Ikebana]] workshop. | ||
These influences are readily apparent in Franz Pipes. The so-called 'Danish billiard,' combining elements from other, classical shapes - a slightly elongated Lovat-style stem coupled with a widened, rounded, brandy- or pot-style bowl - is a frequent motif in Franzini's work. Other recurrent motifs include the 'Danish egg,' with the Ivarssons' and Former's iterations being particularly reminiscent in the plump, ovoid bowls and the gradually curved shanks of Franzini's own. While Franzini does sandblast some of his pipes, the majority of Franz Pipes thus far have been smooth, typically with tight, uniform flame or straight grain adorning the stummel. | These influences are readily apparent in Franz Pipes. The so-called 'Danish billiard,' combining elements from other, classical shapes - a slightly elongated Lovat-style stem coupled with a widened, rounded, brandy- or pot-style bowl - is a frequent motif in Franzini's work. Other recurrent motifs include the 'Danish egg,' with the Ivarssons' and Former's iterations being particularly reminiscent in the plump, ovoid bowls and the gradually curved shanks of Franzini's own. | ||
While Franzini does sandblast some of his pipes, the majority of Franz Pipes thus far have been smooth, typically with tight, uniform flame or straight grain adorning the stummel. In this regard, Franzini's designs do show a connection to the Italian schools. When looking at Franzini's frequent use of simple, lighter and more natural hues in staining his pipes, one might be reminded of the warm, blonde stains found on the high-grades of the [[Caminetto]] or [[Ascorti]] workshops. | |||
[[File:FranzPipe13.jpg|alt=|left|thumb|A slightly bent, Danish-style egg from Franz Pipe. Image courtesy LePipe.it.]] | [[File:FranzPipe13.jpg|alt=|left|thumb|A slightly bent, Danish-style egg from Franz Pipe. Image courtesy LePipe.it.]] | ||
Franzini always works with briar and ebonite rods, the latter typically being jet black, or occasionally cumberland. He prefers the simplicity of traditionally-colored stems over the more extravagant hues found in many artisan and factory pipes. Unlike most Italian workshops, which have long since transitioned to using Lucite or other types of acrylic, Franzini favors ebonite due to it being more comfortable against the smoker’s teeth. Franzini also enjoys using hardwoods and horn for bands and rings on his pipes, but does not like to use bamboo, as he does not think it suits the general aesthetic he pursues in Franz Pipes. | Franzini always works with briar and ebonite rods, the latter typically being jet black, or occasionally cumberland. He prefers the simplicity of traditionally-colored stems over the more extravagant hues found in many artisan and factory pipes. Unlike most Italian workshops, which have long since transitioned to using Lucite or other types of acrylic, Franzini favors ebonite due to it being more comfortable against the smoker’s teeth. Franzini also enjoys using hardwoods and horn for bands and rings on his pipes, but does not like to use bamboo, as he does not think it suits the general aesthetic he pursues in Franz Pipes. | ||