Pyrography

pyrography leather

Pyrography Leather Jewelry

What happens when you mix your pyrography, leather crafting, jewelry work, and lots of bright colors  …  You create unique pyrography leather jewelry.  Another free, online project at LSIrish.com.

pyrography leather jewelry

Leather Burned Jewelry Gallery of Ideas

Leather Burned Jewelry, Day One
Leather Burned Jewelry, Day Two
Leather Burned Jewelry, Day Three

free doodle pattern
Free Doodle Pattern #031
free doodle pattern
Free Doodle Pattern #032

 

 

 

 

 

 

 

free doodle pattern
Free Doodle Pattern #033

 

Doodle Days #10 –  Wood Burn Spoons, Wood Carved Spoons, Leather Work, Free Lora S. Irish Patterns to Download, DIY Bookmaking, Bullet Journals, Scrap Booking, Card Making, Applique Quilting, Pyrography, Wood Carving

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how to transfer a pattern

How to Trace or Transfer Your Pattern

Doodle Days #9   Wood Burn Spoons, Wood Carved Spoons, Leather Work, Free Lora S. Irish Patterns to Download, DIY Bookmaking, Bullet Journals, Scrap Booking, Card Making, Applique Quilting, Pyrography, Wood Carving,

Tracing a Pattern
There are several ways to transfer a pattern to a carving blank – carbon paper, graphite paper and pencil rubbing. All three products transfer a pattern to wood, but which you use  is determines by the craft you are working.

how to trace your pattern to the boardCarbon paper
Originally used to make multiple copies of a typed or written document, carbon paper comes in black or dark blue. Tracings made using this product have heavy, dark, bold lines. Carbon paper is perfect for transferring patterns for long-term projects, as the traced lines will not fade or rub off, even after many hours of carving work.  However, carbon paper creates a traced line that can not be erased with an eraser, and often can not be removed with fine sandpaper.  I use carbon paper with my wood carvings, but never with pyrography.

 

how to trace your pattern to the boardGraphite paper
This paper is lightweight with a waxed graphite coating on one side, and comes in both pale gray and white. When tracing a pattern, the graphite side is placed against the wood, resulting in a tracing with medium-gray colored lines. Graphite paper is available in sheets as small 8 1/2″ x 11” (216 x 279mm) and as large as 48” x 96” (1219 x 2438mm), and also comes in rolls several yards long. Graphite paper can be used several times, so keep previously used pieces for later tracings.  This product works well for both carving and wood burning.

how to trace your pattern to the boardPencil Rubbing
To use the pencil rubbing method for transferring a pattern, rub a soft #2 to #6 pencil over the back of your pattern paper. The higher the number of your pencil, the darker or blacker the rubbing will be. Then, place the pattern face up on your carving blank and begin tracing it. As you trace along the pattern lines, a thin, light gray coating of pencil will be left on the wood blank. Pencil rubbing lines can be erased using a white artist’s eraser, making it an excellent method for transferring patterns for carvings that will include some pyrography work.  This is my favorite form of tracing as it is so easily removed after your pyrography or carving work is done.

Simple steps for tracing a pattern
Tracing a pattern onto your carving blank is an important step; you want to make sure you center the pattern on the wood. Follow these steps to trace a pattern using graphite paper.

how to transfer a pattern1 Gather your supplies. To transfer a pattern to your wood blank, you will need a copy of the pattern, carbon paper, an ink pen, a ruler, a T-square, and tape.

how to transfer a pattern2 Mark the center of the blank. Using your ruler and T-square, mark the center of the carving blank using a horizontal center line and a vertical center line

how to get your pattern on the woodhow to get your pattern on the wood

 

 

 

 

 

 

 

3 Align the pattern with the center lines. Fold the copy of the pattern into quarters. Place the pattern on the blank, aligning the fold lines in the paper with the center lines drawn on the blank. Tape the pattern into place .

pattern tracing4 Adjust the pattern as needed to fit the shape of the wood.  For our sample tracing the board has a curved top that affects the placement of the pattern.  By sliding the design down along the vertical line the square pattern is now centered to the square area of the plaque.

how to trace a pattern for wood burning5 Place the carbon paper, and trace. Mark any adjustments necessary on your pattern. Slide the carbon paper in place under the pattern paper, and trace along the outside lines of your grouped elements. Check your tracing before you remove the pattern and carbon paper to ensure you have transferred all the necessary pattern lines .

how to trace a pattern for wood burning6 Create a border if desired. If you like, you can use a compass to create an outside border or margin line around the pattern .

how to trace a pattern for wood burning7  Add in the details as you carve. As you progress through the carving stages, cut small pieces of your original pattern paper, secure them to your wood blank, and trace the fine line details to that roughly cut areas.

8 Print several copies of your pattern.  As you work you will often find that your carving will cut away some areas of the traced pattern or that your burned shading will obscure some areas of your traced line.  You can cut small sections of your extra pattern out from the larger design and spot trace as needed.

 

finishing and paintinf techniques for wood

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Doodle Day #7 – Pyrography Doodles

Doodle Day #7 – Pyrography Doodles

DIY Bookmaking, Bullet Journals, Scrap Booking, Card Making, Applique Quilting, Pyrography, Wood Carving, Wood Burn Spoons, Wood Carved Spoons, Leather Work, Free Lora S. Irish Patterns to Download

I love fill patterns, textures, and random designs as my shading strokes in pyrography.  While you can, of course, use your shading tip, small repetitive patterns worked with your loop-tip or ball-tip burning pen fill an area easily, add interest, and can add tonal shading by working in layers of burning.

Today’s free doodle patterns show six quick and simple fill patterns.  How many burn lines and how packed those burn lines are worked into one area will determine how pale or dark your shading becomes.

Free Doodle Pattern 021
Free Doodle Pattern 019

 

 

 

 

 

 

Free Doodle Pattern 020

How to Download

If you are new to downloading zip files, please read our step-by-step instructions.  This is a text file that you click, open, and can print so that you have the instructions right in front of you as you download.

 

 

 

 

free wood carving pyrography craft patternsIrish Free 2015 Pattern Pack

Here’s a free Lora Irish Pattern pack that you can learn, and practice downloading.  Contains 11 full-sized, printable patterns of some of our favorite people.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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pyrography landscape backgrounds by L S Irish

Pyrography Landscape Backgrounds

In Pyrography landscape burnings your background determines the time of year, the time of day, and the weather conditions of your scene.  Landscapes are worked from the farthest element in the scene to the nearest, foreground elements, which allows you to overlap foreground burnings over the paler background areas.  So those first few burning steps are extremely important in setting the stage for your main element, as a barn or church.

Landscape Pyrography Scenes by L S IrishLet’s look at a few examples of how you can create both seasonal and weather conditions in your landscape pyrography burnings.

The wood burning, shown right, is from my book, Great Book of Wood Burning, and is titled The Star Barn.  Three strong elements set the time of day – the thick, low storm clouds in the farthest background point, the extremely dark trees just behind the barn on both sides of the barn, and the wide shadows of the roof overhang on the barn.

The roof barn overhang shadow is even on both sides of the face of the barn.  At the peak of the roof the there is almost as much shadow on the right side as on the left.  This places the sun in the 12 to 1 o’clock position.

All three elements tell you that this scene is mid-afternoon, high summer, and that the thunderstorms are eminent. This scene has atmosphere, weather, and tells a story about the conditions surrounding the landscape subject.

Wood burning a landscape, church, by L S IrishThe Country Church, also from the Great Book of Wood Burning, does not use clouds to suggest the time of year.  Instead the light speckling of leaves on the two deciduous trees behind the barn and the lack of fallen leaves on the ground set the time of year as early spring.

The top edge of the line of background trees has been packed with more burning strokes than the lower layer of the tree area, giving the impression that the leaves are just emerging at the tips of the branches.  The high grass – un-mowed – in the foreground shows the new spring growth.  Long shadows under the roof overhang are shown on the right side of the face of the church which places the sun in the 2 to 3 o’clock position in the sky.

With a little planning and forethought you can take either of these two landscape pyrography scenes into a different time of year, time of day, or weather conditions.  Let’s see how!

Clear, sunny day setting

landscape pyrography wood burning by L S IrishA clear, sunny day has few or no clouds in the sky.  If you chose to add clouds they hand high in the sky and display both the top and bottom edges of the cloud.  Clear days create a deeper tonal value in the background elements as well as casting very crisp shadows.

Clear, sunny sky backgrounds allow you to burn the background trees, mountains, or farm fields in varying tonal values which separates one area of the background from another.  In my sample you can see three distinct trees with the middle tree in front of the other two trees.

Misty or foggy morning

Creating pyrography wood burned landscapes by L S IrishEarly morning fog is simply a cloud that has settled against the earth.  That cloud is full of fine water particles that obscure your vision.  The lower to the ground the cloud lies the less you can see of your background trees or fence line.

Note in this sample burn that while the tips of the pines are burned at a pale-medium temperature setting, the lowest portions of the pines have little or no burning strokes.  The very bottom of the pines are not burned, which implies the heaviest area of fog the lies along the edge of the hill.

The slight slope of the ground is further implied by the diagonal shading strokes that is worked from the left to the right, under the pines.  As those shading strokes flow to the right they become paler, implying that the fog is becoming thicker the farther down the hill it lies.

Early evening, sunset

Creating pyrography wood burned landscapes by L S IrishAs the sun slips behind the horizon of your scene it creates a graduated variation in the sky with the brightest, or palest area along the horizon line and with the sky becoming darker as the sky nears the top of your pattern.  Note that the palest, un-burned point, in this sample is in the lower right corner, just above the grassy slope.

Because the light is coming from behind the pines and at a low angle to the pines, all of the pines on our side of the scene are in shadow.

In sunset scenes, because the tree line is in shadow, the pines are burned as if they were one tree and not three trees.  The deep shadowing obscures the individuality of the the pines.

Winter snow

Creating pyrography wood burned landscapes by L S IrishSnow scenes can seem hard to burn because of all of the pale, white areas in the scene.  So instead of burning the snow on the background trees, you burn the atmosphere around those background trees.

Snow clouds are just like fog and mist.  They hang low against the ground and are more dense the closer to the ground they lie.  This is because each small snow flake casts a small shadow – the higher the number of flakes, the more small shadows you have.

For this sample there is no burning of the grassy slope because it is fully covered with snow.  The pines have only a few strokes, at the tip of the branches, where the branches touch the ground, and at the top of the pines.  This leaves the larger areas inside of each pine un-burned, implying that the snow is sticking to the branches.

The background atmosphere – the snow cloud – is burned in a deeper tonal value and becomes paler the higher it reaches into the sky.  This cloud shading also helps to emphasize the snow on the pine branches, giving a darker tonal value to where the sky shows between the pine branches.

Work in Progress

landscape pyrography wood burning by L S IrishThe current project on my table is a landscape scene of an old bank barn that lies right at the edge of a dirt road.

I have the first step of this project completed, which is the farthest background elements of the distant trees on the left side and the trees on the right that fall behind the barn.

Because the deciduous trees on both sides of the background only have their trunks and branches burned I can at this point in the work chose to make this either an early morning scene or a snow scene.

How I treat the land lying under both of these tree lines will determine the time of day and the weather conditions.

Here are my choices:

If I do not burn the land area, this will become a snow scene and I will leave the deciduous trees without leaves.

If I chose to lightly create a tonal value shading in the land this will become an early morning scene.  I can decide the time of year by how thickly I fill the tops of the deciduous trees with leaves – a thin layer of leaves means springtime, a thicker layer of leaves means summer, and a medium layer of leaves and the impression of fallen leaves on the ground implies an autumn setting.

If I chose to add heavy shadows, worked in a medium tonal value, under the trees I can create a specific time of day.

Check back tomorrow to see what I chose to do!

Practice pattern

While you wait for the next posting you might enjoy doing a test sample for weather, time of day, and time of year yourself.  On a birch, poplar, or basswood board create a four square grid with each square measuring 3″ along the sides.

Wood burning a landscape scene by L S IrishThe pattern for these background trees is simply the line at the top of the grassy slope, and a line for each central trunk of each tree.  Because the trees are created using a short, quick stroke with either the loop-tip or ball-tip pen, you only need a few lines to guide you as to where you will burn your pines.

 

 

 

wod burning landscape scenes by L S IrishPines are burned from the top of the tree down to the ground line and from the outer tips of each branch towards the central trunk of the tree.  Place the branches randomly along the trunk, allow open air spaces between branches.

As you near the trunk you will have branches overlapping which will create the natural deepening of the tonal value through the center of the tree.

Follow the four weather samples, above, to practice how you can determine and control the time of day, time of year, and weather conditions in any landscape.

OK … see you tomorrow with an up-date on my WIP barn landscape burning.

~ Lora

 

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Pyrography Greenman Leather Bullet Journal Cover

Greenman Pyrography Leather Bullet Journal Project

The newest project on my table is a step-by-step pyrography leather Greenman, inspired by the fun hobby of bullet journaling.

Please share this project with your FaceBook friends!

Pyrography Greenman Leather Bullet Journal CoverOur Greenman Leather Pyrography Bullet Journal Cover is worked on 7 to 8 ounce vegetable dyed leather and laced using waxed linen thread and two bamboo skewers.  The completed journal opens at the bottom, with the lacing for the bullet journal pages on the back of the journal.  You can open the cover and completely roll the cover to the back to have easy, full access to your pages.

28 large-sized, step-by-step photos spread over 7 pages, with complete instructions, a free Greenman pattern, and printable bullet journal pages.

 

pyrography burned leather purseThis project is a great compliment to me recent Greenman Leather Slop Bag Project.  Check it out as the free pattern for this project would create a wonderful design when you are ready to burn your second bullet journal cover.

 

 

Colored Pencil Portraits, Adult ColoringFor more ideas to use with this Bullet Journal Cover project you may wish to check out ArtDesignsStudio.com’s newest E-Project, Colored Pencil Portraits.

146 pages of instructions, patterns, and ideas including 6 in-depth step-by-step portrait projects and 62 patterns for wood spirits, greenmen, shamans, wizards, vampires, dragons, and assorted designs.

On SALE through June 4th, only $9.50
regular price $14.95

Check out our other E-Book on sale in the right-hand nav bar.

 

Colored Pencil Portraits Pattern PackageOr try our Adult Coloring, Pyrography, Carving Patterns Pack which has just the patterns and designs, ready for your next project.

62 line art patterns and designs featuring Wood Spirits, Greenmen, Shamans, Wizards, Pixies, and even Vampires.  Also included is an assortment of fun designs featuring Henna Flowers, Dragons, Winged LIzards, and more. As an added bonus this package includes 12 fully colored or pencil shaded designs to guide you in your craft work.

Ready for you to download to your computer and print from your home printer, available at ArtDesignsStudio.com, Lora S. Irish’s pattern store.

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