Pyrography

WORKING A SEPIA VALUE PATTERN ON YOUR PRACTICE BOARD

Click on the images for a full-sized, printable copy of the two patterns.

General steps to any wood burning design. As we work through the main project we will look at each step in-depth.

1. Trace or draw your pattern.
On a low temperature setting with a loop tip or ball tip pen, lightly outline the pattern lines. This is just to set the pattern lines so that you don’t accidentally erase them as your hand moves across the board.

 

2. Map your shadows.
Again, working at low temperature to create pale tonal values, begin mapping where you want your shadows and shading to fall. In general an object that lies behind or under neath another object will carry a shadow cast from the top object.

 

3. Make a decision about your background, void space.
Will your background be left un-burned in the palest tonal value, will you burn all of the surrounding area to the pattern to your darkest black tone, or will your background to the pattern hold more design burning as the distant mountains to a barn scene.

You background choice helps determine how dark you want your shading tones to be. For un-burned backgrounds as on our Celtic Branch Bird allows for very dark shading to be used directly in the design. The blackest tones are part of the burned pattern.
With black backgrounds that background holds your darkest tonal value and all design work must be done in a lighter or paler value than the background. On your 1 to 10 sepia scale if your background is worked as a 10 then you pattern burning must be worked in a 9 or lower setting to it to show separately from that background.

4 Graduate the shading across a full value range.
Graduated shading is worked net where some areas of your design will be burned in pale tones, some in medium tones, and some I the dark tonal value range. This is where you begin to develop the three-dimensional look of your design using the different pen tips and pen strokes. For our Celtic Branch Bird this includes a hot temperature, dot pattern burn on the branches using the ball tip pen. The belly area of the bird is worked in a pull stroke using the spoon shader, and the leaves have a soft, scrubbie stroke on a low temperature setting using the loop tip.

 

5 Create areas of contrast.
As your design develops you will need to establish both extremely pale areas inside of the burning as well as the darkest tonal values. You only need a few spots of each white and black value to create a strong contrast. For our bird the white highlights are under the eye, the center tail feather, and the top of curve of wood in the knot patter. Our black tones are the eye, the cap and the deep underneath curves of the wood knot.

6 Add your details.
Details are not outlines. They are small sections of an area that is re-enforces with a thin, fine line. Some areas of your burn may need no detailing as the tips of the tail feather for our bird. In other areas use a changing, thick to thin line as around the edges of the leaves. Allow a few areas of your design to have neither an outline or detail … just let the tonal value work stand on its own.

7. Clean and finish.
This little practice project is complete in the burning steps and ready to have any tracing lines or hand dirt erased with an artist eraser, gum eraser, or architect’s pad. You can add coloring through the use of oil paints, water-thinned acrylic paints, or colored pencils to the work. Finish with either an oil finish or spray sealer finish, following the directions of the can.

This is our the same Celtic Knot Blue Bird design that we have been exploring as a birch plywood burn.  In this sample the burn was worked on heavy-weight art-quality writing paper and matching envelope.  Color was added using colored pencils, and the work set with a light coat of matte spray sealer.

Update on First Pyrography Project E-Book
Click on the images for a full sized pyrography drawing.

 

TABLE OF CONTENTS

1 Definition of Pyrography – posted Nov. 17, 2020
2 Safety
3 Basic Tool Kit
4 Wood Burning Systems – posted Nov. 17th, 2020
5 One-Temperature
6 Rheostat Tools
7 Variable Temperature Tools
8 Wood Burning Pen – posted Nov. 18, 2020
9 Hand Grip Positions – posted Nov. 18th, 2020
10 Loop Tip Pen – posted Nov. 18th, 2020
11 Ball Tip Pen
12 Spear Shader
13 Spoon Shader Pen
14 Practice Board – Nov. 19th, 2020
15 Wood Burning Media – Nov. 22nd, 2020
16 General Kit Supplies – Nov. 22nd, 2020
17 Cleaning Your Tips – Nov 22nd, 2020
18 Grain Direction – Nov. 24, 2020
19 Sanding the Wood Blank
20 Transferring the Pattern – Nov. 24, 2020
21 Graphite on an Irregular Shape
22 Pencil Graphite Rubbing
23 Pattern Re-Alignment Marks
24 Tonal Values- Working the Celtic Blue Bird Pattern
27 Finishing
25 Patina
27 Working a Sepia Value Pattern
28 Rooster Celtic Knot Project – Dec. 7th, 2020

29 Double Dove Celtic Knot Project
30 Bonus Patterns

 

 

 

 

Please click on the image above for a full sized pyrography tracing pattern.

TRANSFERRING THE PATTERN

Tracing supplies
#2 to #6 soft graphite pencils
colored ink pen
graphite paper
ruler
t-square
transparent tape or painters tape

There are two methods of transferring the design to your work surface that either use graphite paper or a graphite pencil rubbing to the back of the pattern paper.

Both of these products are laid under your paper pattern so that the transfer side, the graphite side, is against your work surface.

As you trace the lines of your pattern on the pattern paper the carbon or graphite paper leaves a fine line on your work surface. Both of these tracing papers should be used carefully as they can not be easily removed from your work surface after the burning is complete.

Of the two I do use graphite paper with its soft pale gray coloring especially on gourds, paper mache and darker woods. For working on basswood, poplar, or birch I prefer the rubbed graphite pencil method.

What type of wood or natural surface you are working can decide what color of
tracing paper you use.  Shown above is white graphite paper for a
walnut end slab and black graphite paper for an oak slab.

 

GRAPHITE PAPER TRACING ON AN IRREGULAR SHAPE

Wood, gourds, and even cut leather do not necessarily come in a perfectly squared regular shape. In this sample the pattern is being traced to a live-edge, oval basswood slab that is very irregular in its dimensions.

Begin by determining which edge of the oval you want at the top of your project and which edge will therefore become the bottom. Position the board on your work table accordingly.

With a ruler and soft #2 pencil, mark a pencil line vertically across the board as your center reference line.

Measure and mark the center point of this line with your pencil to find the center point of the horizon line. Place a square edged form, as a notepad, against the vertical line with the top of the form touching the center point just made. Make several pencil marks along the top of the form. This give you two or more points to position your ruler to create the center horizontal line. Pencil in the center horizontal line.

Hold your printed pattern up to a light source so that you can see through the pattern. Fold the pattern into quarters, matching pattern lines of both sides to each other and on the top and bottom to each other. Crease your pattern with your fingers along the fold lines.

Match the fold lines of the pattern paper to the pencil guide lines on your board. Use transparent tape or painters tape to secure the pattern paper to the surface.

You can now slide a piece of graphite tracing paper under your pattern paper with the graphite side against the wood. Using a hard H pencil or ink pen trace over the pattern lines.

When you remove the pattern and graphite paper from your board you will have a soft gray line pattern on the wood.

 

PATTERN RE-ALIGNMENT MARKS

There will be times when you will need to add more detailing from your pattern to your wood by working a second tracing.

Your first tracing may only need the outlines for large, general areas that will be shaded before you work any detail lines. There is little point to tracing those detail lines wit ht he first tracing as the shading tonal values will cover them up.

So before you lift your pattern from your surface after the first tracing, use scissors to cut several reference areas along the edge of the pattern paper. My cuts are made on the top right and bottom left corners of the pattern.
With your soft, #2 through #6, pencil make several pencil guidelines at these reference area, moving the pencil from the paper onto your burning surface.

When you want to add more tracing lines simple re-align the pencil marks on the pattern with those left of the wood. Tape the pattern back down to the wood and you will have your pattern in the exact position in which it lay with the first tracing.

 

TRACING TO A LIVE BARK EDGED SLAB

Live edged slabs, although rectangular, are not necessarily square of both end cuts. Start by determining which end cut will become the top edge of your project.  Align that edge with the grid makings on a self-healing cutting mat.  Work your alignment marks for the pattern from the mat grid, not from the sides or edges of the board.

For more info, please click on the fish.

GRAIN DIRECTION

The direction of the wood grain for your pyrography blanks is determined by the direction in which the slab was cut from the original log. A tree adds a new layer of growth each year, made up of vascular bundles which are similar to open drinking straws that move the fluid through the tree. How those vascular bundles are aligned on your blank determines the wood grain direction.

The grain direction of your wood blank does affect your pyrography strokes and tonal values.
End-grain cuts, as the top oval, often burns unevenly because of the open grain and growth rings.
The rectangular slab, shown in the back, is cut with the grain of the wood,
making it perfect for fine detailing and multiple tonal value work.

The top, oval basswood board is an end-grain slice that is cut across the circumference of the log, cutting all of the vascular bundle straws. Imagine looking straight down onto a hand full of drinking straws. What you see is the cut, open tops of those straws. End grain burns can appear spotty, and have irregular fine line detailing because of the end grain and growth ring openings.

The background board is cut with the grain of the wood, meaning that the tree was milled vertically from root to tip. Here you would see that same hand full of drinking straws from the side, showing the full, long length of the outer straws.

Both samples shown are called live-edge or live-bark cuts, meaning the outer, newest growth rings and the bark have been left on the board as a decorative frame for your work.

 

SANDING THE WOOD BLANK

Sand paper from 220 to 320 grit
Sanding pads
Foam core fingernail files
Heavy brown kraft paper

The smoother your wood surface the finer and straighter your detailing lines
can be worked. Always sand with the grain of the wood using progressively finer grit papers.
End with a good polishing of the wood surface using heavy-weight kraft paper.

 

Your wood surfaces will need a light sanding to create a smooth surface for the burning. Use fine grit paper, 220 to 320 grit, to remove the fine ridges and loose fibers on the wood. Coarser sand paper, lower than 220 grit, can leave sanding lines that can affect how the quality of your burn lines. Even fine ridges will cause your tool tip to skip or move as you pull the stroke resulting in uneven or non-straight lines.

Sanding pads have a foam core and are flexible making them great for curved surfaces as on a wood plate or the routed edge of a plaque. Available at your local drug store foam core fingernail files are a nice addition to your tool kit. They come in a variety of grits and are excellent for working deep carved detail areas of a wood shape. Foam nail files can also be used to clean your one temperature brass tips.

Bring with your coarse sand paper and work through to your finest. Always work any sanding device or tool with the grain of the wood to avoid creating fine scratches in the surface. For our photo sample the wood is being sanded in a circular motion to match the growth rings of the end-grain slab.

Heavy brown kraft paper as a large grocery store paper bag makes an extremely fine grit sanding tool and is often my final sanding media. Remove all the sanding dust with a clean, lint-free cloth before you begin your next steps.

 

CLEANING YOUR TIPS

The best burned strokes are made with a clean, bright tip.
As you burn the tips of your pens will begin to collect resin residue from the wood sap and carbon build-up from the burned wood. The tips can become so coated with carbon that they take on a black, crusted finish.

Shown above, from left to right: yellow oxide rouge,
tanned leather, raw leather, heavy kraft paper, newspaper, emery cloth, and fine steel wool.

That black carbon can even be transferred to your project and appears a long, thin dark gray streaks in the work. Carbon can cause your tip to lose heat or to create uneven distribution of the heat to your tip.

I use two methods for cleaning my pen tips – emery cloth and a wood carving strop with aluminum or red oxide rouging compound. I also clean my tips often, long before the carbon build-up becomes too intense.

The first important step in cleaning your pen tips is to unplug your burning unit and allow the pen to fully cool. A hot pen tip can burn both emery cloth and leather strops.

1500-grit or finer emery cloth, which can be purchases at your local hardware store, can be used to clean badly encrusted tips. Fold the emery cloth into quarters, small enough to secure all sides with your fingers. Gently pull the tip of the pen over the cloth. Use as little pressure as possible as you clean the tip to avoid distorting or bending the burning wire of the tip. I use this method on my one-temperature brass tips.

Fine-grit steel wool also works well for your interchangeable brass tips and can return those tips to the bright yellow-orange coloring of the metal.

For wire tips I use a leather or synthetic wood carving strop. The strop is first prepared with a coating of either aluminum oxide powder or a fine grit rouging compound.

Raw side of your leather strop with rouging compound.

The tip is pulled across the strop using gentle pressure until the tip returns to its bright color tone of gunmetal blue. Work your tip over the raw leather side first then polish the tip on the tanned leather side.

End either style of cleaning with a brightening of your tips using heavily printed newspaper or heavy-weight brown kraft paper.
After your pen has been brightened, wipe it and the pen shaft with a clean, dry cloth to remove any remaining carbon particles. You are ready to return to your project.

Polish your tips to a bright shine using the tanned side of your strop.