Woodburning from A-Z will
help
you get started with tips on selecting pens, transferring patterns, preparing
the wood right up to the point of applying finish and everything in between.
This tutorial is really all
the basics, or Pyrography 101. I started out with all the information
I put in my book, Pyrography 101 and have been continually adding to it as I
learn about new techniques, products, etc.
What woodburning pens do I
need
This is the most frequently
asked question and the most important one when you are getting started.
I'm of the opinion that less is better. I don't recommend people
invest a lot of money buying a lot of pens when all you really need to get
started is three pens.
For more ideas on some of the
pens I will recommend and their uses please check out these tutorials:
Razertip pens and
Colwood
pens
Recommendations to help you
get started. The pens listed here are the basics and will help you
do just about anything you need to do. Unless you have specific
projects that require a specialized tip such as a calligraphy pen or cutting
gourds you don't need much else. If you have questions about what pens
you need, please
contact me.
Shader - I use and
recommend a bent spear shader because it is the most versatile. I use
one for about 95% of my work. I can do everything from the finest
detail to general shading, fur, feather, etc. and because of it's shape it
gets into tight corners that you can't do with round or square shaders.
Razertip -
HD5MP (this comes with all our burners) or for smaller areas the HD5MSP
Colwood - E
45 or the smaller version LE 45 SHORT (these are new and made to my
specifications)
Writer - I prefer a
small ball or something similar. I like the versatility in a pen so
you don't need to have too many pens that do the same things. I prefer one
that glides on the wood rather than dragging or digging into the wood.
Razertip -
F99.008 or F9S but I lean more toward the F99.008 because it does not drag
on the wood
Colwood -
MC or C and here I lean toward the redesigned MC which is a comfortable
angle of the tip and writes like a pen
Skew or Knife - here I
definitely prefer a round-heeled knife over a flat skew. Again for the
versatility. You can do flat lines as well as curved lines which is
something you can't do with a flat skew.
Razertip -
#14 is the pick here. My favorite is the #14D which was made to my
specs. It has a blunt heel so it's more maneuverable than the other
sizes. My second favorite is the #14M.
Colwood - I
recommend the KR and the second is the GR. The KR is smaller and also
has a blunt heel so again it is more maneuverable.
Preparation of
the wood
Proper preparation of the
wood is critical in creating a good woodburning. If you do not take
the time to sand the wood properly it can make the difference between a
mediocre burning and a great burning. Once you have selected the
wood you are going to use for the project, preparation for burning is
probably the most important part of the project.
When I prepare my
wood I do all the sanding by hand. Yes, it's time consuming, but it's
worth it. I start with 220-grit sandpaper then go to 400-grit, then
600-grit and finally finish off with 800-grit paper. Sand with the
grain of the wood and be sure to remove all sawdust before you start
burning.
The wood should
feel as soft as a baby's skin when you are finished.
Transferring the
pattern to the wood
As I have mentioned in my book
and in every class I teach, DO NOT use carbon paper. It contains
parrafin wax, which can be toxic when burned and the lines cannot be removed
so remaining black lines will look really "tacky" when they show through the
brown burning.
Graphite transfer paper
is the best and safest method for putting the pattern on the wood.
Yes, it takes longer but believe me cutting corners is not worth it.
Graphite is easy to remove if you make a mistake or marks are that left on
the burning can easily be removed. It is safe and non-toxic.
Waxed paper
is a technique I learned when I was chip carving. If you have a clear
pattern with good contrast you can attach a piece of waxed paper on top of
the pattern and place both on the wood or other material you are using for
your project.
Other methods people have used:
chaco paper
which can be removed with water. The main problem with this is that water
can leave marks on the wood, especially basswood.
Pyrography paper
is one of the new things that people are using. I have not tried this
method but I do recommend caution when burning through any paper unless it
is untreated paper. Also you print your pattern on this paper and the
ink in the paper can be toxic if burned. I suggest if you want to try this method that you
contact the manufacturer and get the MSDS
(material safety data sheets)
sheet on it before attempting
to use this method.
Press and Seal
is something people have
been using for gourds. I started hearing
people recommend using press and seal (a plastic wrap) to transfer
patterns. I thought this was an interesting idea and helpful because
it adheres to the round surface but when I heard that people are actually
burning through it I almost fell off my chair. Let me add mention
again that Press and Seal is PLASTIC. This is made from chemicals
and is NOT intended for burning and it is NOT safe.
Many years ago when a well
known instructor
started teaching her students to burn on acrylic (PLASTIC) mirrors I
contacted a manufacturer of plastic materials to discuss the safety of
burning on plastics. His first response was "what are you crazy".
Those words still ring in my ear. I have reported all of his remarks
regarding this issue on many forums over the years and to this day this
lady is still teaching her students to burn on acrylic (now she refers to
them as Lucite and safe even though Lucite is PLASTIC) mirrors. What
that man said was that if plastic in any shape, form or name is burned it
will emit toxic fumes. So my question to you is this...is the ease
of transferring a pattern that important that you risk killing yourself?
Masking tape
is another aid to
transferring patterns I have heard about among gourd artists. Well I
have been using masking tape for years to attach my pattern but never
considered burning through it. When I heard that people were
using it I had to check this out too. Sure enough when I called 3M
they basically gave me the same response and said that it is safe when
used as suggested by the manufacturer only as a means of adhesive.
So, again I ask people why would you want to burn through tape which has
glue on it and can cause health problems?
Heat transfer tool
Another quick method but there
are several problems with this method. First, it is very difficult to remove
any lines remaining after you have finished burning. Since you can't remove those lines that are left after you
finish you get to look at those nasty "black" lines showing through your
"brown" burning….tacky, tacky, tacky! Most important, it is not safe.
The ink in your toner cartridge can be toxic. You are burning on top
of ink from a printer or copy machine that has toxic chemicals that could be
released when burning on it. This method may seem quicker and easier
but I strongly suggest you look at the MSDS of
the printer or toner that you are using before you consider this method.
If you do use this method, you must use a laser printer or a photocopy
machine. You will not be able to transfer your pattern if you use an inkjet
printer.
How to transfer the pattern
The process of
applying the pattern and graphite to your wood must be very precise. Proper
placement of your graphite paper is crucial. If you place it on the wood
with the wrong side facing up, you will transfer your pattern back onto the
pattern instead of the wood. Place the graphite with the “white” side up
then draw a small line to test and make sure it goes through onto the wood.
You must ensure
that the pattern is fastened securely so it does not move. I
recommend something like masking or painters tape that lifts easily without
leaving adhesive film on the wood. DO NOT lift the
pattern to check your work. Chances are pretty good that you will not put
the pattern down in exactly the same place when you replace it and your
lines will not match.
I recommend using a red pencil
so you can see where you have already drawn the lines and not have to lift
the pattern risking moving it.
Another
technique I used when chip
carving is to use waxed paper to transfer my pattern. Place the
pattern on the wood and put the waxed paper on top attaching securely with
tape. Using a stylus start tracing and you will be able to see where
you have already traced.
The problem with this method
is that you may lose some of the detail seeing through the waxed paper so be
sure you have a good quality pattern with good contrast if you want to try
this technique.
With either method,
be sure you are pressing firmly with the pen. or stylus and I suggest you test your
pressure in the corner and make sure the line shows up when you lift the
pattern and transfer paper. Also try not rub your palm over the wood too
much or you will get graphite smudges on the wood that you will have to
erase later.
When you have
finished tracing your pattern on the wood (or other material), check to
ensure that you have traced all the lines, holding your fingers firmly so
that the paper does not move. If you missed a few lines you can draw them
in with your pencil later. If you have gotten all the lines in, you are now
ready to start burning.
Burning your
project
Be sure that your
hands are always clean before you begin working. You can also put a piece
of paper under your hand to prevent oils from penetrating the wood.
If you are
right-handed, I recommend working from right to left and if you are left
handed, work from left to right. This will avoid smudging your lines or
removing them completely.
I always suggest
keeping a practice board at your side and use it when burning to test the temperature of your burner, and your
pen strokes and to experiment with techniques. Better to mess up a
cheap practice board than your project.
One thing newcomers to burning
may not realize is that as your pen glides over the surface of the wood or
whatever material you are burning, the pen loses heat. You can see it
in shading...the burn starts out dark and then fades as the pen loses heat.
You must raise the pen off the material briefly (how long depends on the pen
you are using) to allow the pen to reheat before resuming. If using a
detail pen this should not take more than a few seconds.
Do not turn the temperature on
your detail burner up higher than you actually need. It is far better
to burn in layers than to burn fast and dark which merely burns the surface.
Burning at lower temperatures will also preserve the life of your pens
especially if you are using a detail pen which should not be used "poker
hot" or red. Please be sure to read the tutorial on Razertip pens for more
information on how to use them, FAQ's, etc. All the information
contained in the tutorial can apply to any brand of detail pen.
One of the most
common problems I see in woodburning is that people burn too light or do not
have varying tonal values. It's
best to be sure that when you burn, you burn darker than what you would
think you want when it's finished. This is for several reasons. One is that you want it to stand
out from the wood rather than fade into it. All too often I see people
take the time to do a great burn and it just loses something because it is
so light it just doesn't stand out and seems to fade into the sunset as the
old saying goes. Keep in mind that your burn will fade over time
unless you take preventive action.
If there isn't much there to fade to begin with just think of what it will
look like when it does start to fade. While it might look ok now, how
will it look 3-5 years down the road? If you sell your work how will
your clients feel if your burning has faded in a few years. Even with
a finish applied, it will fade, especially if you have not burned dark.
Don't be shy!!!!
I find it best to work from
black and white photographs rather than patterns because I can see the tonal
values (lights, mediums, darks) and translate that into my burning.
All too often I see burnings done with everything in medium tones and there
is no variation of tones. It ends up looking like it all blends in
together. Look closely at a black and white photo and you will see
lights, mediums and darks. Make sure your lights are LIGHT and your
darks are DARK. It will make your burning pop out and look so
much more lifelike.
One of the best
ways to prevent fading is to burn dark, burning in layers gradually getting
darker rather than superficially scorching the wood. This will not only achieve the darkness you desire but it will
also greatly add to the light fastness of your work.
"Smoke gets in your eyes"
This is a common problem of
people using certain types of wood such as cedar and pine. Also
working on leather and gourds may cause problems for some people as well.
Some precautions must be taken
to prevent breathing in the fumes. Using a small fan such as one from
a computer tower and having the fan blow the smoke away from you will help
with some of the smoke.
If you are burning on wood
with oils, pitch, sap you must take extra care to protect others in the
household as well. If you can burn in a separate room, close the door
and vent the fumes out a door or window would be ideal. Some people
have noticed that even doing this and waiting several days there have still
been toxic fumes in the air so I usually don't even recommend burning on
woods like this at all.
Layering
It is also VERY important to burn in
“layers”, the underneath layers first - just the way you put your clothes
on. This will give your
work depth and make it look more “alive”. Although you might be working
from right to left, bottom to top, or left to right, you should also be very
conscious of the layers as you work.
The Mother's Day
Rose shown at left was done from a photograph. this is a great example
of layering. There are many, many layers in this piece; if you study
it closely you will begin to understand the concept and feel more
comfortable when you start your project.
As you study the
burning notice the various layers. I am right-handed, so I started burning
from the right. Notice the three sepals under the flower on the right side,
that are the first layer (two of the sepals also have parts overlapping so
burn the underneath part first). Then look at the lower petal which is
above the top leaf on the top right. The next layer I worked on are the two
leaves on the left and followed with the petal on top of those leaves.
Continue to look at the rose and study it. See if you can figure out which
layers come next as you burn. If you were to do this burning without
layering, it would lose its depth and look flat.
By doing your
layering correctly, your finished piece will look lifelike, almost like a
relief carving. I can’t tell you the number of people who look at my works
and insist that they must have been carved. Looking at my work when I began
woodburning and comparing it to what I am doing now, you will instantly
notice the difference. The original pieces were “flat” and “lifeless” and
now they come alive! This is what you want to capture in your work.
Undercutting
Now that you have mastered
layering you need to create depth. One technique that helps to make
the woodburning go from a flat burning to one that pops off the wood and
looks as though it's carved is a technique called undercutting. As I
describe in my books, using the side of the shader or the round-heeled knife
carve behind the top layer so that you are "lifting and separating" it from
the layer below. It brings the top layer forward and pushes the bottom
layer back. I suggest experimenting with the two styles of pen to
decide which you prefer and often you will use a different one depending on
the amount of undercutting you want to add.
If you look at something on a
table, notice the shadow created below it. That shadow is what you are
creating between the two layers. It will help to make your burning
come alive.
Keep in mind that you only
undercut between two layers, not behind a section of burning where nothing
is behind it.
Hair and Fur
Shade in the color
(lay in the tone) and then add the individual hairs (the texture). This
will give you the foundation for the hair and you won’t have to add quite so
many strands of hair to make it look full and natural. Be sure that the
strokes follow the natural shape of the head/body and vary the shade of the
strokes, so that the hair/fur will have a more natural appearance. The
strokes should start at the root and work out, just as hair grows. The root
is where the hair/fur is the darkest and this is also where the color is the
darkest when you burn. Also be sure to do the hair or fur in layers, burning
the underneath layers of hair/fur first. I start at the bottom with my
first layer of hair, then layered over it, just as it grows. This will give
the hair/fur the most natural look. I use the edge of the shader to do fur
and hair because I like the softer look. Using the knife will give you a
sharper, crisper look.
Eyes
The eyes are the
“windows of the soul” and in my opinion the most important part of any face
you draw, burn or paint. If the eyes are “wrong”, you might as well throw out your piece
and start over. With that said, when you are doing a face, my suggestion is
to start with the eyes. If you get those right, the rest is a piece of
cake!
When you do eyes, remember
the layering. Do the pupils/iris first,
then the lids. This will create a more natural-looking eye. For more
detail on doing a face or eyes, please refer to my first book, “Lifelike
Pyrography from Photographs”. This book includes a step-by-step portrait
project.
The “Magic Eraser”
No, this is not the product
made by Mr. Clean. It is a phrase I coined when I started teaching and
wrote my books....before Mr. Clean invented his "Magic Eraser".
Okay, you ask, can
you erase a mistake? Well, sort of! I tell everyone in class that the best
way to correct mistakes is to use the “magic eraser”, this is a very special
tool called a - single-edge razor blade. As long as you haven’t burned too
dark and deep, you can use the edge of the single-edge razor blade
to GENTLY scrape
off some of the color. Notice the angle of the blade in the photo Fig 3.3.
Holding it upright and just slightly moving over the area, back and forth,
I can remove some color. Be sure to do it very gently so you do not cut the
wood. You can also try sandpaper, but sometimes this ends up smudging the
burning. Be sure when you finish with the razor that you remove all dust
from your wood before starting to burn again. I do this with a clean
paintbrush. You will see more uses for the “magic eraser” later in this
book.
Adding color to
your work
The decision to add color to
your burning is strictly a personal choice. Many people like myself
are purists and prefer to keep their woodburnings just that. I do on
occasion use color but usually just for an accent. For a tutorial on
how to use color in your woodburning please go to my tutorial
Using color in woodburnings.
Just when you think you're
finished....
When you think you have
completed your work it's time to step back and take a look. Working so
closely on your burning you tend to get lost in the details.
So.....stand your project up and step back and look at your burning.
It's a good idea to do this from time to time to give you a different
perspective on what you are doing. You will often find things that you
didn't see before and you can see many subtleties that you can't see when
you are working so closely...such as tonal values that need adjusting, etc.
Knowing when to stop
Another common problem with
artists is knowing when to stop and say the piece is finished. All too
often people tend to over work a piece only to find they have ruined it.
If you look at your piece and
find that something is not just right but your not sure what it is try
holding it up in front of a mirror and look at it in the mirror. You
should find the "something" in the mirror image.
When you think you are
finished with your burning, put it aside for a few days and don’t look at it.
Then set it up as if you were putting it on display, stand back and just look at it from
time to time. This is when you will find things that might pop out
that need to be changed, fixed, etc. But the critical thing here is to
not overwork it. You need to know when to stop and say it's done and
you can't improve on it anymore. That's when it's time to sign your piece.
Finishing and signing your work
There is much
debate over signing artwork but the bottom line is your signature is what
tells the world who did it. Using fancy initials, while it might stand
out, doesn't tell anyone who you are.
If they can't read it then it's just as bad. Be proud of your work and
let people know who you are. Perhaps some day you will be famous.
Several years ago I received
an email from someone asking if I painted a piece that she bought. It
was signed "Nedra" and she searched online for painters named Nedra.
She sent me a copy of it and I had not done it. It's a shame that this
artist merely signed her first name but perhaps when she did it she thought
she was the only artist named Nedra.
Your signature is important
because it tells people who did the work and just putting your initials in
a fancy style might look "artsy" but nobody knows who did it. Decide how
you want to sign your work and do it in an un-obscure place so it does not draw
the eye away from the focus. I usually sign my first name on front with the
year (ie: '06) and then on back I sign my full name with the year (ie:
2006) and title of the piece. Date is just as important as the name,
both for you and for someone who might buy the artwork. It's a great
way for you to see how you have progressed and when you did it. I
have paintings that I did when I was 11 years old...I look at them now
over 45 years later and cannot believe the date when I look at it and I
say to myself, "I did that over 30 years ago...wow I've come a long way
since then!"
Your signature is
just as important as the art work itself. So many people think it's
cute to have fancy initials or signature that look great but nobody can read
who the artist is. If you don't care if anyone knows who the artist is
that's fine but if you are proud of your work be sure that you sign your
name so everyone knows who you are. Did Michelangelo, Picasso or
Degas use their initials...the answer to that is no. Even though
everyone knows who they are now, that was not the case when they were
budding artists. Be proud of your work and be sure everyone knows you
did it.
You can use a variety of
pens or tips to sign your name depending on whether you want to print or do cursive
writing. Razertip makes a writing tip (I recommend the F9S) that works
great for printing and for script writing I suggest using the F99.008 ball
tip which flows across the wood. If you have a solid point burner try the mini flow or flow point
depending on the brand. Colwood makes two writing tips that are good
for signatures. The C is a small writing tip good for printing
or cursive and the MC is a micro writer that is like a fine tipped pen. I do suggest that you use a practice board to
practice signing before doing it on your project.
I don't usually color my
burnings but for those who do intend to add color, you might want to add 1
coat of finish to your wood before adding color depending on the type of
color you are using. Once you have colored your piece you should NOT
go back and burn over it.
Before applying the final
finish use a clean natural bristle toothbrush or nailbrush to wipe away any
excess carbon burs. Once you are satisfied that
your burning is complete, it’s time to apply the finish. I highly
recommend a satin or matte finish so you do not get a glare which will
detract from your artwork.
Applying the Final Finish
When you are completely
satisfied that your work is complete it's time to apply the final finish.
There are lots of choices but there are some things I suggest you avoid
including Verathane outdoor spar varnish with UV protection as it
has a tendency to turn a mottled yellow. Having tried this myself
and having ruined several pieces I spoke with the company and was informed
that it was not intended for indoor use and that it actually has to be
outdoors in the sun for it to activate. If not activated it will
turn yellow....VERY yellow!
Some people like the
convenience of spray-on finish and use Deft Semi-gloss with good success
but be very cautious using this and use only in a well ventilated
area...preferably not inside the house.
I have been using a few
different products but one of my favorites has been a brush-on polyacrylic finish
made by General Finish which is available in many woodcraft stores. I
use the
brush-on satin finish and I use 3 coats...lightly sanding lightly between coats.
It might take longer than
Spray-on finish but I prefer the brush-on because you have more control, it
does not have the fumes that you get with spray on and it gives you such a
professional looking finish that is smooth with no
streaks. It is water based and cleans up with soap and water. This finish will really enhance the burning and make it
stand out more without changing the appearance or detracting from the
texture and depth of your burning. This particular finish comes out
best when applied with a clean, dry sponge-type brush. It is available in
many wood craft supply stores such as Woodcraft Stores. You can find a
dealer by going to the
General Finishes Website and click
on the dealer locator button. I prefer this brand over the commercial brands found in
hardware stores. I have found
that two coats is not quite enough to protect it and any more than three is
“overkill”. It seems that three thin coats is the perfect balance. Be sure that you cover everything - top, bottom and sides. (If
you are entering your piece in competition and the entire piece isn’t
finished, you may lose points.) Once you have applied the final finish to
your project, DO NOT
go
back and burn
on it - you will be breathing in toxic fumes!
Some other wonderful
finishes I have found that are made in the USA and proven to be great
quality.
Terra Bella Finishes makes three
different varnishes that do not yellow and provide great coverage.
If you are looking for a
product that provides UV protection I recommend
Terra
Bella Finishes Nautical Varnish. The claim it
protects products from rain, sun, etc. I have not personally tested
it on anything that is to be used outside. It has been used by gourd
artists for gourd birdhouses with no sign of fading so that is
encouraging.
Creating your own
style
Some people might think that Picasso’s art
was “junk”, others think they were masterpieces. His style was very
different from artists such as Andrew Wyeth or Georgia O’Keefe or even
Michelangelo. Were their ways of painting “wrong”? No, each artist had
their own
personal style. The same goes for woodburning.
There is no right or wrong way
of burning and every instructor will have his/her own personal techniques or
preferences, but that does not mean it’s the only way to do things.
The techniques and style for burning I teach in my classes are different
from other instructors’ and that is how it should be. I don’t copy
other peoples’ styles and I don’t want my students to copy mine. I
want them to learn the techniques and go off and experiment on their own to
discover what works best for them and creating pieces that are "theirs" and
not exact copies of mine or anyone else.
Nothing worse than having a
teacher try to get you to copy their work and style exactly. That's not
teaching and it's not art. Use your imagination. Even if you are
working from a photo, make some "artistic" changes to make it yours.
You need to learn
the basic techniques, how to work with the pens and materials and practice. Then with
time and practice you will develop confidence to go on and discover your own personal style...that is what art
is all about. It’s not about copying a pattern or photograph; it’s about
how you see things with your own eyes, how you make it come alive, develop a personality...how you
give it life!
The bottom line is, if the
piece turns out the way YOU want it to, that’s all that matters and don't be
disappointed if after a few woodburnings your work is not up to the level
you expected. It takes practice, lots of practice so be patient and
don't try to rush going from novice to expert overnight. There's not
many people who are natural born artists so just enjoy what you're doing and
don't push yourself too fast.
Burning on leather
If you want to burn on leather
the most important thing to remember is that it must be vegetable tanned
leather. Other tanning methods can be toxic if you burn on them.
One thing you will notice that
is different than burning on wood is the smell....arg, does it stink.
You will also have to clean your pen tips a lot more often to get off that
gunk!
Burning on leather also
requires a slightly cooler pen...so if you use a temp of "6" on your
woodburning when burning on Italian poplar for a medium/dark burn as an
example, you will probably need to set your burning at "5" for a medium burn
on leather.
Be sure to keep a room
purifier, air cleaner or fan (blowing away from you) in the room while
burning.
Miscellaneous
Tips
