The Free-line, as I see it, is not to be confused with the Freehand, because it follows the canonical shape's guidelines well enough without suspicion. In terms of design, what we have here is the equivalent of a pipe maker attempting to trace the classic Dublin design by using a very opaque piece paper. The result falls outside of the "lines", of course, but is compensated by what the artisan instinctively knows to "look good". Take, for example, the heavy, asymmetrical shank, which seems to echo the shape of the smooth bowl, and its dynamically jutting rim. The easy-going approach the carver has granted the design also is reflected in the orientation of the sandblasted grain; which is here and there, not taking itself too seriously, but to a great effect, further accentuating the carefree nature of the overall design.