Pyrography

Free Pyrography Wood Burning Project by Lora Irish

Walnut Hollow Woodburner Detailer

Walnut Hollow Woodburner DetailerA little history

Please click on the images in this posting for a full-sized photo!

Henna Moon Pyrography Project
Walnut Hollow Woodburner Detailer – Introduction
Walnut Hollow Woodburner Detailer 2 – History of Henna Tattoos
Walnut Hollow Woodburner Detailer 3 – Tracing the Pattern

Let’s take the Walnut Hollow Woodburner Detailer out for a test drive by working through two step-by-step free pyrography wood burning projects featuring Henna Tattoo designs.

I began my wood burning passion over three decades ago when I purchased my first Walnut Hollow burner.  That first burner was a one-temperature tool with five interchangeable brass tips.  You plugged it into your wall socket, waited a few minutes until the tip got hot, then did your project.  Around 2005 I purchased a second Walnut Hollow burner.  There was nothing wrong with the one that I already had, I simply wanted to have two different tools, each with its own tip, to make it easy to change tip profiles without unplugging, waiting for the tool to cool, then changing out to the new tip.

Walnut Hollow Woodburner DetailerThen about six years ago I got my first Walnut Hollow Versa-Tool that features a rheostat temperature dial control on the cord.  I still actively use all three burners even though I do own a Colwood, RazorTip, and Optima – full temperature, high-end, total-control machines.  For quick burns, adding a touch of detailing or lettering, adding an accent border around a relief carving, or for burning away the fuzz bunny wood fibers in my wood carving, this style of burner is perfect.

For someone just starting into Pyrography I always recommend that you start with a Walnut Hollow.  They are extremely reasonable in price, give you a nice range of burning tips, and are available at most large craft stores.  If you come to love pyro as I do you can always invest in a high-end burner, but I promise you will return to your Walnut Hollow often.

Now, owning two one-temperature Walnut Hollows, one Versa-Tool, and three high-end full temperature control machines I really didn’t need another wood burner!  But … in browsing through Michael’s not long ago I noticed a burner I had not yet seen – the Woodburner Detailer.  I admit I was curious as to why another would want a one-temperature burner that has only one fine ball tip when the Versa-Tool was hanging right next to it on the display.  So, of course I bought a Detailer, brought it home, and put it to the test!

Walnut Hollow Woodburner Detailer

The package says that the Detailer is “A perfect temperature for precision and detail” and shows that the one-temperature setting for this tool is a 120 volt, 16.5 watt, 750 degrees F (398.89C) unit. In comparison the Versa-Tool uses 120 volts, 25 watts, and reaches 950 degrees F.

It has one brass interchangeable tip that is a 1/16″ wide x 3/16″ long ball tip profile.  It has the classic Walnut Hollow styled handle with the hand guard flare, but is a beige color instead of the tradition burgundy of the Versa-Tool.

The cord is very flexible and measures 56″ long.  About 19″ from the end of the handle, the cord has an in-line on/off switch.  I have been working with this burner for about a month now and have not once found myself out of reach of my project, or having to fight the cord to get the tip into proper position.

Now, owning three other Walnut Hollow I have a large assortment of interchangeable tips, all of which fit the Detailer.  So any tip that I commonly use with my Versa-Tool I can use with my new Detailer.  If you are just starting out and want to give the Detailer a try yourself, pick up a set of Special Technique Points I and/or Special Technique Points II to give yourself a wide range of burning tip profiles.

Why?  Why would I want another Walnut Hollow?

Free Pryography Henna Moon Face Plaque ProjectThat’s the question that we are going to explore over the next few days as we work through two step-by-step pyrography projects using the Walnut Hollow Woodburner Detailer.

Henna Moon Plaque Supply List:

Walnut Hollow Woodburner Detailer
8″ x 10″ Birch plywood plaque
Soft #4B to 7B pencil
White artist’s eraser and a Document Cleaning Pad

Henna Moon Spell Book Journal Supply List:

6″ wide x 16″ long vegetable-tanned leather
1/4″ leather hole punch
2 yards of black waxed linen cord or heavy twine
Walnut Hollow Woodburner Detailer
Special Technique Points I or your interchangeable tips from any other Walnut Hollow burner

Walnut Hollow Wood Burning ToolSneak Preview!

When I began working with the Detailer I really thought it was going to be ‘just another’ woodburning tool that would end up on my craft shelf …. Boy!  Was I wrong !!!!  I was just going to give it a try but by the time I made myself put the Detailer down I had finished the Henna Moon plaque, two large gourd winter roosting houses, one gourd art miniature gourd ring box, two leather and lace wrist bands, and a Vintage Gryffindor-styled Leather Spell Book. I will be posting the photos of the other finished projects throughout this project.

The Walnut Hollow Woodburner Detailer does exactly what it advertises – it holds a perfect temperature for precision and detail wood burning.

So, get your supplies together.  Tomorrow I will be posting the free pattern to these two projects and begin the step-by-step photo instructions.

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Free pyrography wood burning project and pattern

Free Celtic Pyrography Project

free pyrography wood burning project and patternStamp Collecting – Philately

Stamp collecting is one of the top hobbies worldwide.  As philatelists, we delight in little bits of art work that come from far away places, and that tell about a tiny bit of history, geography, social changes, or feature someone that has effected their country. The vast majority of the stamps that we collect cost less than a US quarter, yet bring hours and hours of fun as we track down complete year sets, special revenue issues, or even discover cancelled stamped envelopes from distant cities.

free pyrography wood burning project and patternIt is estimated that to have a complete worldwide collection you would have over 500,000 different stamps, from so many countries that Wikipedia has their own WikiProject just for collectors.   Many of us focus on several favorite countries, or perhaps a topic or theme that is important to us.

Where you might specialize in butterflies, steam engine trains, or famous women in history, I personally search for stamps that feature maps, geology, and space endeavors. On one of my stamp collecting forums, Stamp Community Forum, one member noted that he collected stamps that feature men with mustaches.

Treasure Trove of Ideas

As wood carvers, pyrographers, and craft artists stamp collecting is a treasure trove of ideas, designs, and pattern work.  Over the next few days I will be working on a pyrography pointillism project that features two Celtic birds, entwined in a Celtic knot pattern, inside of a traditional stamp frame.

Pointillism is the process of creating a design using only small dots.  Small, widely spaced dots will create our pale tonal values; medium-sized dots, loosely packed give us the mid-tone values; and large, tightly packed dots will make our dark tonal value range.

Art Styles of Pyrography

Pyrography E-Project E-Book by L S IrishTo learn more about the different styles and patterns that can be used in your pyrography work please check out Lora Irish’s Art Style of Pyrography190 pages, 15 projects, Ready for Download, which we have placed on sale for those following our blog and this free project.

This is a quick, easy, beginner’s level free pyrography project that can quickly be personalized to include your name, a date, or a location.  By the time we are done this project you will discover how you can create your own postage stamp designs by mix and matching topic patterns with stamp frames.

Supplies needed:

12″ x 12″- 1/4″ sheet of birch, poplar, or basswood plywood
Wood burning unit – either one temperature or variable
220-grit sandpaper
#2 to #4 soft pencil
Painter’s tape or masking tape
Red ball-point ink pen for tracing
Loop tipped burning pen
Ball tipped burning pen
Ruler

free pyrography wood burning project and pattern

So, while you get your supplies together, I am off to get our newest e-Project completed, which will, of course, focus on stamp collecting designs and ideas.  See ya’ tomorrow with the free pattern to this project.  – Lora

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shadow and light in pyrography photographs

Color, Shadow and Light in Pyrography 3, by Lora S Irish

Over the last two days we have been exploring how light, shadows, color, and tonal value are created in a photograph and how they affect the sepia pyrography wood burning.   Today we will look at repeated tonal values, black and white contrast, and adjacent mid-tone in our gray-scale photos.  Next we will take a look at how your eye and brain sees and interrupts images.

Shadow and Light in Pyrography Photos – Day 1
Shadow and Light in Pyrography Photos – Day 2
Shadow and Light in Pyrography Photos – Day 3
Shadow and Light in Pyrography Photos – Day 4

Lora S. Irish books

repeated tonal values in a pyrography wood burningRepeated Tonal Values

A shade of tonal value will be repeated several times throughout any image or photograph. In the tomato drawing three areas that been marked that all share the same tonal value. Each of these areas would receive the same pyrography burning to keep the tones equal.

You will find similar or equal tonal values throughout your gray or sepia toned image even though those same areas show different hues in the color photo.  A medium green, medium red, and medium blue may share the same medium sepia tonal value.

black and white contrast in a pyrography wood burningBlack and White Contrast

Placing one or two areas of the extreme tonal values next to each other gives the eye a place to compare the darkest and palest tones.  The brightest highlight on this tomato lies in the upper left and is adjacent to the blackest tone of the drawing, found in the background area. These two tonal value areas set the whitest and darkest tones of your tonal value scale.

Working an area of high contrast – white against black – creates a visual boundary for your tonal value scale.  All mid-tones must fall between these two extremes.  The boundary tones do not need to be pure white or pure black; a gray-scale can be created starting with a pale gray and ending with a dark gray.

adjacent mid-tone values in a pyrography wood burningAdjacent Mid-Tone Values

In any gray scaled photo you will discover adjacent areas in two different elements that have the same tonal value. In these areas the defining line between the two elements seems to disappear. In our sample there are three areas where the body of the tomato and either the table surface or background share the same tonal value.

When two areas share one tonal value you can adjust one or both of the mid-tone values in a burning to create some contrast. Even a very small change in one area, either going a bit lighter or darker, is enough to redefine your boundary lines.

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How the Brain Interrupts an Image

landscape scene for pyrography wood burningNotice that I did not say how the eye sees an image. The eye receives information about an image or photo in two distinct manners, it is only when those two pieces of information are combined by the brain do we see an image. So where the eye gathers information it is the brain that interrupts that information into one image.

Inside of the eye are two receptors – the cones and rods. The cones of the eye gather information about color, it determines if an objects is red, yellow, or blue. The rods, the second eye receptor, evaluates the amount of light each area is receiving; the rods create the gray-scale tonal values that we use in pyrography. Our sample photo for this section is a wooden hill just after sunrise.

 

 

landscape pyrography wood burning Color Receptors – Cones

The sample photo has been altered to remove as much shading as possible while emphasizing the color hue of each area. The gray-green leaves of the forest are now broken into areas of yellow, yellow-green, deep green, and blue. The tree trunks show greens, reds, and yellows.

You can see the colors contained in light when you view a rainbow created through a prism, called a spectrum. Each color in the spectrum has its own specific wave length. When light strikes an object most of those color waves are absorbed by the object. Those that are not absorbed bounce off the object to be received by our eye.

So the color of any object and therefore the color that our eye cones receive are the light wave lengths that the object rejects. We don’t see green leaves, we see the green light waves that have bounced off of the leaves.

gray scale landscape for pyrography wood burningSepia or Gray Scale Receptors – Rods

What the tonal value receptors, the rods, see is equivalent to a sepia or black and white photo. Rods record the amount of light an area is receiving – whether it is in pure highlight or the darkest shadows.

 

 

 

 

 

landscape pyrography wood burningCombining the Cones and Rods Images

The brain combines the information sent by the cones and rods to create one image that has color hues and tonal values.

In the photo sample, left, the color image has been superimposed over the sepia tonal value image, exactly as the brain compiles the information it receives. The resulting photo is an excellent copy of the original camera photograph.

 

 

 

 

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Toxicity in Pyrography

Toxicity of Wood Burning and Wood Carving Media

Sara emailed me yesterday with a great question about wood and finish toxicity in pyrography.  So I am postponing the next posting for Shadows and Light until tomorrow as I think her question needs to be answered for all of us.

Before we begin please know that I am not a chemist, nor an expert in toxicity of any particular product.  What I can offer is general, common sense ideas that will help you avoid some of the possible health hazards that are possible in our crafts.

If you are having problems breathing, have developed a rash, or have a burning sensation on your skin or around your nose, mouth, or eyes – call your doctor immediately!

Our two favorite crafts – wood carving and wood burning – bring with them some safety and toxicity concerns.  Every aspect of our crafts also can have hazards that can affect our hands, eyes, and lungs.  Below is a listing of links that will get you specific information about wood species, finishes, and chemicals, plus the link to two Poison Control centers.  Please take time to browse through these links and bookmark them in your browser for future reference.

Which surfaces are safer than other surfaces to burn is just the first consideration of many when it comes to health hazards with any hobby.  Let’s look a few safety precautions that you can take to reduce or avoid the problems of toxicity and irritants that can come with wood burning.  Safety falls into four general categories – media, ventilation, handling, and chemical finishes.

Birch, Basswood, and Poplar Pyrography Surfaces

The three most common woods for pyrography are basswood, birch, and poplar.  All three have low toxicity levels but can cause some hand or eye irritation when handled.  Birch and poplar plywood are also common burning surfaces. These three woods are tight grained and carry minimal sap content, and so create a minor amounts of fumes during the pyrography.  Pine is a common pyrography wood, but is a high sap content wood.  As you work pine you will notice that it does create a large amount of fumes.

Extremely hot, intense burnings can burn through the veneer layer of the plywood into the glue layer below, releasing the fumes from glue.  All three of our favorite woods do require some sanding before you begin your project, and therefore release dust into your work area and can cause some lung irritation.

1.  Chose clean, dry known species woods for your wood burning projects.

2.  Check the wood species toxicity lists shown in the links below before you begin your project.

3.  Even low toxicity woods can cause health issues for some people.  Watch for runny or stuffy noses, a burning sensation around the nose or mouth, extra dry or scratchy hands, and any problems breathing. If you develop any of these symptoms while working with any wood burning surface stop immediately and contact your doctor.

Unknown, Reclaimed, or Found Wood Pyrography Surfaces

As you browse through the links below you will discover that many woods, fresh and clean from the sawmill, have medium to high toxicity levels.  If you do not know the exact species of the wood you want to burn you have no way to check in advance whether you will be working a low-level or high level wood.  Unknown woods carry with them unknown hazards.

Reclaimed wood carries other hazards beyond the known toxicity levels of the wood, often carrying fungus, molds, and accumulated dust that develops from long-term or outdoor storage.  Further, wood taken from unknown sources as old barn siding or from older furniture can have chemical coatings or paint left from it original form.  Insect infestations is also common with reclaimed wood.

Pallet wood has become popular as a reclaimed wood for woodworking projects – unknown species, mold and fungus, and the possibility of chemical content.  Pallets are created from subprime quality wood scraps or from ‘trash’ wood that is not high enough quality to become building or furniture lumber.  In the US pallets are marked or stamped to note any chemical treatment or processes – please see the link below before you begin any pallet wood project.

1.  Avoid burning any wood that you can not positively identify.

2. Avoid burning any wood that may have had chemical, oil, or paint finishes.  When you burn something that once had a layer of varnish on the surface you will be releasing fumes from the accumulated dust and dirt, the varnish, and the wood.

3.  Avoid burning any wood that has been water damaged, or has developed mold, fungus, or dust accumulation.

3.  Save those wonderful free reclaimed pallets for your woodworking projects, and even then be sure to follow basic safety precautions.

Gourds as a Pyrography Surface

Gourds are just stunning surfaces for our wood burning and create minimal fumes during the pyrography process.  But preparing the gourds for work does carry health hazards.  If you purchase uncleaned, dried gourds they will have an outer layer of dried skin that is often covered with mold and fungus that must be removed.  Cleaned, dried gourds have this outer layer removed, revealing the wood-like surface of the gourd.

The inside of the gourd also has mold, mildew, fungus, and heavy concentrations of dust for the dried fibers that can cause lung, eye, and hand irritation.

1.  Wear a dust mask during the preparation steps when working with gourds – cleaning, cutting, and sanding steps.

2. Wash the outside of your gourd in hot water and dish washing soap before you begin any project steps to remove all dust or potential mold and fungus spores.

3. Do any cutting and sanding outside if possible or in a well ventilated area.  Wear your dust mask, and you make wish to wear latex gloves.

4.  Once the gourd is cut you can fill the inside of the gourd with a solution of water and Clorox before you begin cleaning out the seeds and fibers.  The clorox will kill any spores from the mold or fungus as well as wet the fibers to reduce the dust potential.  Let the Clorox solution sit inside the gourd for about ten minutes, drain, rinse, then begin your cleaning steps.  You can re-wet the inside of the gourd as needed.

5. Wash your hands often while preparing your gourd to remove any dust from your fingers.

Leather, Watercolor Paper, and Paper Mache Surfaces for Pyrography

All three of the above medias are chemically treated.  Leather can be chemically tanned, dyed, or waterproofed.  Use vegetable-tanned, undyed leather only for wood burning.  Purchase your vegetable-tanned leather from a craft or leather working source.  Avoid using reclaimed leather products as old purses, coats, or overnight bags.  There are many new materials used in hand bag and coat manufacturing that look exactly like leather but are synthetic plastics that should not be burned.

Watercolor paper and paper mache have chemical binders that hold the wood pulp in a sheet or in a shape.  These seldom cause health problems or skin irritation, but know that they are there in case you have a reaction.

Common Sense Safety in the Pyrography Art Studio and the Wood Carving Shop

1. Work in a well ventilated area.  Crack a window at least a few inches to allow air movement.

2.  Place a small work area fan behind you on a stool or small table.  Set the fan on low and point the fan to move from behind you into your work area to move the fumes away from your face.

3.  Work in an upright posture.  Avoid leaning over the pyrography project where you will directly inhale fumes.

4.  Wash your hands often to avoid dust or dirt build-up from your pyro project.

5.  Wear a dust mask when sanding any surface.  You can also wear latex gloves while sanding.

6.  Place an old terry-cloth towel on your work surface while sanding.  The dust will collect in the fibers of the towel.  When you are finished sanding, roll the towel up and throw it in the washing machine to remove that dust from your work area.

7.  Don’t dust with a brush.  Wipe with a lightly damp cloth.  Dusting with a brush only move the dust from your burning surface into the air where you will breathe it into your lungs.

8.  Don’t burn anything – no matter how wonderful a shape or surface it is – that may have been chemically treated, painted, varnished, or paint remover striped.  Those chemicals are still there in the wood grain and will become toxic fumes as you burn.

9.  Don’t burn any unknown, reclaimed, or long stored woods that may have chemicals, paints, or dust accumulation.

10.  Avoid extreme hot temperature burnings on any surface that may contain binders, glue, or chemicals as paper mache or plywood.

11. If you think you might be having a toxic reaction at any point in your work – Stop! Call your doctor!

12.  Read the directions and safety precautions that are listed on your finishes, sealers, polyurethane, paints, and any other chemicals that your may be using.

Follow these simple, common sense precautions in your shop and you will enjoy years and years of safe, fun pyrography!

American Association of Poison Control Centers
U.S. Department of Health and Human Resources

Wood Species Toxicity Links:

The Wood Database
Toxic Woods – HSC Information Sheet
American Wood Turner posting by Bruce Taylor

Chemically Treated Wood Toxicity:

Wood Preservatives and Treated Wood – Hazards and Alternatives
How to determine if a wood pallet is safe for use
How to Know If A Pallet Is Safe to Use

Common Toxic Chemicals and Finishes:

Environmentally Sound Finishes
Wood Toxicity and How to Protect Yourself
Paint, lacquer, and varnish remover poisoning
Choose Environmentally Safe Varnish: Consider an Oil-Based Varnish

Toxicity in Craft Gourds:

Gourd Safety

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Color, shadow, and light in pyrography projects

Color, Shadow and Light in Pyrography

Lora Irish Pyrography, Derringer PatternLet’s take a close look at how your photographs can be used for your next pyrography project, and how the color, shadow, and light of  those photos affect the tonal values of your wood burning.  Today we will start by defining the important terms that are used in describing light, shadows, colors, arrangements, and designs that we use in wood burning.

Shadow and Light in Pyrography Photos – Day 1
Shadow and Light in Pyrography Photos – Day 2
Shadow and Light in Pyrography Photos – Day 3
Shadow and Light in Pyrography Photos – Day 4

INTRODUCTION
As pyrographers we often use photographs as the base for our wood burning projects. Home photos of family and friends, a landscape photo of an old hip roof barn, and pets playing with their favorite toy are all possibilities for a realistic, finely shaded pyro burn.

Today’s digital cameras makes using photographs even easier as your image can quickly be uploaded to your home computer for instant printing.

Although a photograph accurately captures the scene or still life our eye does not necessary see what that photo truly caught.

During this tutorial we will look at how the human eye sees, how the brain interrupts the information from the eye, how color and gray-scale effect visual impact, and how you can learn to use this knowledge to create strong, bold, realistic pyrography images.

shadow_002FIRST IMPRESSIONS
The brightly colored silk daisies grab the attention in the photo and are complimented by the ruby-red base to the antique oil lamp. Shades of golden-yellow are found in the dried leaves, left, the golden orange background daisy, and in the oak basket. Mossy green flows through the central elements of the dried leaves, upper oil lamp base, and in the silk leaves in the basket. Overall this still life has a nice triangular layout with bold dark shadows along the floor of the elements.

 

 

 

Color, shadow, and light in pyrography projectsIt seems a perfect photo for the base of a pyro project until you gray-scale the image. Suddenly those bright orange and yellow flowers disappear into the background area. What appeared to be a bright highlighted area on the oak basket is now a dull mid-tone value. There are very few white highlights.

The flowers on the floor of the still life have little definition between one flower and another as all have taken one the same tonal value. This is also occurs in the basket flowers.  The gray-scale of the flowers nearly matches the gray-scale tones of the background behind the flowers.

Having gray scaled the photo we discover that it was the hue – the pure colors – of the photo that carried the visual impact.  Without the color hues the flower tonal values disappear into the background tonal values.

As we work through this tutorial we will take an in-depth look at why this bright, colorful still life is not suitable as a sepia toned pyrography painting.

 

Using photographs for your pyrography projectsA VERY SIMPLE DRAWING
As you look at the photo and colored pencil drawing to the left you may see a common tomato, unremarkable, and not something that you might choose as the base for your next pyro project. Yet, this simple tomato holds a fast amount of information on how your eye sees an object, how light effects the tonal value of that object, and how color and shadow interact to create an image.

In this tutorial you will explore the differences between color and tonal value; direct and reflected light, cast and reflected shadows; and how to put those aspects to use in your wood burning. This tutorial will focus on the colors, gray-scale tones, and sepia tones found in photographs and colors.

TERMINOLOGY

color wheelCast shadow – a shadow created because an object blocks the area from the light source
Contour – the curvature of a shape
Gray scale – a tonal value scale worked from white to black
Highlight – an area of direct sunlight
Hue – pure color, as red or blue, without white, gray, or black tones
Primary color – red, blue, and yellow; colors that can not be created by mixing other colors
Profile – the outline of a shape
Reflected light – a highlight created from light that has bounced off another surface
Reflected shadow – a shadow that has bounced off one surface onto the main object
Secondary colors – colors created by mixing two equal parts of two primary colors
Sepia scale – a tonal value scale worked in shades of brown
Tertiary colors – colors created by mixing two parts of one primary with one part of another
Tonal value – the amount of white, black, or gray contained in a color tone
Tones – a color with white, black, or gray added

EXPLORING THE BASICS OF YOUR PHOTOGRAPH

Foreground, mid-ground, and background boundary linesAny pyrography pattern, design, or photo will hold eight basic ingredients – form, arrangement, depth, texture, color, light, shadows, and focal points.

Form – the basic shape of each element within the design.  For this photo we have the shape of the flowers, the shape of the flower centers, the shape of the lamp, the shape of the basket, and the shape of the dark shadows on the floor of the layout.

 

 

 

Basic arrangement boundary lines in a photograph for pyrographyArrangement – this describes the boundary lines that hold the main elements of the design.  For our photo the elements can be captured in a triangle, making this a triangular arrangement.  The elements in this photo can be contained in a large triangle that starts on the left at the tip of the most extended leaf, to the top edge of the glass globe, and then to the blackest shadow point behind the basket.

Texture – the physical characteristics of the surface of each element – the weave of the basket reeds, the ribbing in the flower petals, and the smoothness of the glass globe.

 

 

 

Foreground, mid-ground, and background boundary linesDepth – includes the air space behind the elements, the elements that are deepest in the layout – background elements shown in the deep gray boundary lines, the elements that fall in the middle of the designs – the mid-range elements shown in the light gray boundary lines, and the elements that are in the front area of the design – the foreground shown in the white boundary lines.

 

 

 

 

Color arrangements in photos for pyrographyColor – the hues of each element – red, blue, or yellow primary colors.  Colors can create their own boundary or arrangement lines within your photo as shown in the rectangular arrangement of the red tones of this photo.

 

 

 

 

 

highlights and light reflection in pyrographyLight – those areas that are directly hit by your light source – the bright and mid-tone whites of your wood burning.  Highlights can fall at any depth in your designs.  In the photo the brightest highlight falls on the glass globe which is in the background depth area of the photo.

 

 

 

 

 

Shadows in a pyrography wood burningShadows – this describes the darkest tonal values of the wood burning that are created because those areas are blocked from direct light.

 

 

 

 

 

 

focal points in a pyrography designFocal Points – a focal point is the area of the design that first catches your attention.  There can be multiple focal points in any design, with one dominate point and other minor points.    The focal point of our practice photo is the bright white highlight that falls on the chimney of the lamp. It becomes the focal point because it is the brightest, purest color in the photo, because it falls in the center of the arrangement boundary triangle, and because it falls on top line of the color boundary.

 

Tomorrow we will work through the color wheel, color groups, highlights, reflected highlights, cast shadows, reflected shadows, and contour tonal values … see you then!

 

 

Great Book of Woodburning by Lora S IrishLora is the author of the Great Book of Wood Burning,
available at Amazon.com. For more great craft books by
Lora Irish, please visit our Book Gallery.

 

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