Pyrography For Beginners: A Quick Complete Guide To Learn And Master The Art Of Woodburning

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PYROGRAPHY FOR BEGINNERS A Quick Complete Guide To Learn And Master The Art Of Woodburning, Its Basics, Patterns And Techniques With Illustrations, Tips And Tricks

Jessica Prime

Copyright © 2020 All rights reserved, no part of this publication shall be reproduced, stored in a retrieval system, or transmitted via any means be it electronic, mechanical, photocopying, recording, or otherwise, without written permission from the publisher. Although every precaution has been taken in the preparation of this book, the publisher and author assume no responsibility for errors or omissions. Nor is any liability assumed for damages resulting from the use of the information contained herein.

CONTENTS CHAPTER ONE The Process Of Learning Pyrography Brief step to selecting a burner Heat adjustment model One temperature unit Rheostat tool Modifiable temperature unit Sources of models and designs Burning platforms Wood Veneers Vegetables tanned leather Purchased items Plywood Cork Gourds CHAPTER TWO Quality Assurance Papier Mache and chipboard Pattern tracing on a working surface Safety precautions Cleaning and management Finishing sealers Wood Patina Pen tip testing Ballpoint pen Outlining and writing features Scrubbie shading Texture filling Flat shades Scrubbie shades Leading lines

Curved-edge spear shades Long shades Fine line shades Triangles Wide wire square shades Positioning of hand Reference scale for tonal values CHAPTER THREE Pyrography Beginner’s Guide Point overview How to make points Preparing the loop points Softwood points Fine work points Fine lines and feathering points Heavy work points Starting point shading Points for decoration Points for lettering Wood surfaces preparation Protecting the pyrographed work Doing outdoor working Color pyrography Point working CHAPTER FOUR Working Temperatures Short circuits Safe tools and materials Using two pens Steps To Performing Pyrography Step one Step two Step three

Step four Step five Step six Step seven Step eight Step nine How to shade Step ten Step eleven Pyrography Design Platform

CHAPTER ONE The Process Of Learning Pyrography The five elements required for pyrography are wood-burning unit, tips of the pen, surface material, model for burning, and the art used in the design.

Brief step to selecting a burner The amazing manner of wood burning can be attributed to three methods, single temperature phase, a rheostat control machine, and a modifiable temperature device. It depends on your interest in this craft and budget.

Heat adjustment model Temperature control is usually left in one mode and the setting varied with different stroke rates. The best temperature control mode is determined after a little practice and depends on the individual's technique. Adept users place the pointer dull red heat. Excessive heat causes the pointer to bend easily and can give faulty outlines. Blowing the point causes temporary temperature drop instead of waving the knob. The setting’s regulator is the number inscribed above the dial. Dial numbers are there for you to remember your favorite settings.

Though may not be calibrated in any way and may vary among machines. Older models may give a different indication of the setting given to the temperature selector. Thicker surfaces need more adjustment to get a certain temperature. The accepted rule is that you should be able to view the point glowing red, when it becomes bright orange or yellow, slow it down.

One temperature unit This burner is similar to a soldering iron. The fixed replaceable tips are made of brass and screwed to the front of the burner. When this tool is connected, it heats up to a high temperature. The most commonly used dense copper is called a universal tip. The tip can be used for both subtlety and shading. Other common fixed tips available for this type of wood burner are calligraphy used for letters, flow tip utilized in big fill areas, cone tip used to define details and huge shading tip used to include shadows. The fixed tip only heats up to one high temperature, the burning color tones are regulated by the structure and speed of the stroke. Navigating the tool slowing may cause a black-and-brown line. If the movement is increased, the color of the line will change to light chocolate. All ranges of color values can be burned at a single temperature. Burn the pale tone when the tip of the device starts to heat up and keep in place the darkest tones when the tip has got to the full settings

Rheostat tool

The presence of rheostat in the power cord helps you control the temperature of the burning tip. It allows you to fully control the temperature of the pen tip. The tone values residing in the exercise board are worked by regulating the pressure of the tip on the wood, the speed of the stroke and the density of the burnt lines, and by adjusting the temperature settings of the rheostats.

The sharp universal tip burns with fine details.

Temperature and rheostat style burners are excellent units for beginners and have a wide range of pen tip styles for every task.

Modifiable temperature unit Thermostat set temperature from cool in step number 1 to hot on a scale of 10. Since this type of appliance has such a wide temperature range, you need to find out which setting is appropriate for woodburning.

Setting the tip temperature precisely so that the tone values ranges can be selected for burning. The settings ensure that the tip of the pen is stable throughout. The single temperature unit has a wide temperature range. It is quick and easy to replace fixed pens, an example s Colwood detailer. The temperature system is very reliable for a rapid change of tone value. The unit can reach extremely hot temperatures and achieving an extreme black tone is simply a matter of adding heat. The cork handles are comfortable and significantly reduce heat transfer from tip to hand. Optima has a dual-function pen system that allows you to always have two burning tips ready to work. With a simple switch, you can quickly switch

from one pen to another.

The pens in this unit have a foam cover on the handle which significantly reduces heat during long burns. The temperature of the thermostat is great and gives you full control over your tone values. Colwood detailer and Optima 1 Dual are good burners. Both systems offer a wide, reliable temperature range. Use a small part of their potential power, regulate the temperature to 2-3 for light tones, 3-4 for average burn, and 5-6 for dark values.

Sources of models and designs Though you are not best at freehand drawing, there are patterns to copy from and line drawings from books, and so on. You can trace the patterns and transport them to the wood base with carbon paper or preferably graphite paper. You can zoom in on models by size and assemble with a copier. Place a photocopy or laser-printed sheet side down, you can imprint the model via ironing with a home iron. The process works so the ink (or toner) melts with the heat. Enter the minimum amount for instructions in the pattern, note that getting extra toner is difficult.

Burning platforms The natural surface can be used for analysis such as wood, gourds, Papier Mache, cotton and linen, watercolor paper, and plant tanned leather. Do not use chemically treated materials, as high-temperature tools release chemical vapors from these materials during the combustion process.

Wood Basswood and Poplar are the favorites. Both types have finely packed wood grain, natural light white color and are usually available in 1/8 inch or thicker plywood.

The natural color of the wood affects the range of colors you see when you burn. It is clear that poplar and basswood, as well as both white wood, show a very wide range of pale burns. African mahogany and black walnut do not appear to burn until you reach a medium to dark burning shade.

Veneers

A tremendous surface is a sycamore veneer, which is attached to a fixed base such as MDF. Select adhesive film or contact adhesive to secure the veneer. Get veneer and stickers from specialized veneer suppliers.

Vegetables tanned leather

Colorless leather a favorite burning medium. The leather is available in large side pieces, preformed kits, and ready-made forms. Leather has threedimensional possibilities. The leather is available in several weights from very light 1-ounce leather, which is approximately 1/64-inch-thick to 7-8 ounces at 1/8-inch-thick, and even heavier belt weight leather, which can be ¼ inch. The weight or thickness of leather you choose relies on the use and shape of the completed task. Leather in discolored colors and suede patterns, neither of which is recommended to burn. Materials used to make and dye leather can form toxic fumes during the combustion process. Suede doesn’t provide smooth, manageable surface for clean, clearly defined lines.

Purchased items

Decorate ready-made items such as cheese plates and wooden spoons that are purchased from kitchen stores and others. Smoothen the surface with fine sandpaper before using it.

Plywood

An adequate and affordable material to exercise on is birch plywood, which can be gotten from DIY stores. Select a hard, white sheet. However, the birch is quite soft and it is difficult to get fine details.

Cork

Cork mats or self-adhesive cork sheets that are applied to a solid base provide a surface choice and can give very striking results.

Gourds They create stunning surfaces for tasks. Dried gourds with dense wood fibers give the burner an interesting shape for decorating patterns. Easily cut with a craft blade or bench, it can be turned into a bowl, polished candle cup, vase, lamp.

Use a dust mask when cleaning and cutting. Gourds often have fine powdery mildew that surrounds the inner seeds of the pod that can irritate the skin and lungs.

CHAPTER TWO Quality Assurance Artists utilized many methods of paper workings in watercolors, cartoons, pastels, and hand-drawn prints. These same heavy, fine grades fit a lot of pyrography patterns. Locate papers with a very smooth torn surface, a light texture even deep into the rocky area. When wood burns, a smooth or light structure works well as the stone can distort the lines when it burns. After the burning phase, color your model with colored pens, pastels, and watercolors.

Papier Mache and chipboard Both board and paper are made from shredded pulp. The pulp can be pressed into strong, flat sheets called particle board or pressed into molds to form a three-dimensional shape. Thin medium white glue is often used to fasten and stabilize the paper type. Unblemished chipboard is available in the natural medium shade of graybeige, which limits your shadow values in light value areas. Get a chipboard with a refined white paper coating.

Pattern tracing on a working surface The two products used to transfer the design to the working area, are carbon paper and graphite paper. Both products are placed under the paper pattern with the transport side in the work area. When you draw pattern lines on a pattern of the paper, carbon or graphite paper leaves a fine line in the work area. Both should be used with caution as they are not easy to remove from the work table after burning. Out of the two, use graphite paper with gentle light gray pigments, like gourds, papier mâché, and darker wood. Darken the pack pattern paper with a soft pencil that covers the back wholly. Place the pattern on your work area and follow the pattern lines. It will leave thin pencil graphite on your surface. Later, pencils can be removed with a white folding rubber swab. The carbon paper leaves a dark blue trace line on the area. Pen graphite rubbed on the back of the model paper, leaves a soft, easily removable, gray line.

Typewriter carbon paper is available in most office supply stores. Graphite paper is available with local crafts

Safety precautions The working surface is untreated, unpainted, and unprocessed. Paints, polyurethane sealants, varnishes, and others used in wood treatment can release toxic fumes during the combustion process. Study the media for burning to know if it has toxins, there are some excellent databases available. Work well in an air-conditioned room. A small set of fans on the table will move the smoke from your direction. Whenever possible, work near open windows. Don’t put the material in your lap during the burning process. This face directly above the smoke, which increases the chances of breathing smoke. Always unplug the burner when you are not working. An unnoticed pen tip can cause a fire. When working, place the pens on either the pencil holder provided by the manufacturer or on ceramic tiles. Prevent the terminals of the pen to touch each other, shortcircuit a metal object or touch the housing of the control unit. The control unit will be damaged when subjected to long-short circuits. Do not use the controls to power other devices. The pen does not work under 12 volts or other voltage. Do not use the machine for any purpose other than what it was meant for. Do not open the control panel case without disconnecting the machine from the power supply. Live poles are exposed inside. Don’t attempt servicing without special information. Make sure that children and people with learning difficulties are properly supervised when using the machine. The machine cables from the work area must always be stored and the ventilation openings must be unobstructed.

Cleaning and management The best burning is done with a clean and clear tip. When you burn the tips of the pens, they begin to collect resin residues from the sap and carbon buildup from the burnt wood. The tips can be so coated with carbon that they get a black, crushed surface. It is even possible to transfer the black carbon to your project and show long, thin dark gray stripes in the work. Carbon can cause tip loss or heat dissipation in your tip.

Two ways to clean the tip of the pen, a particle cloth, and a wood-cutting wire with a coarse compound of aluminum or red oxide. Clean tips often, long before the carbon buildup becomes too much. The first important step in cleaning the pen tip is to remove the burning unit and allow the pen to cool completely. A hot pencil case can burn cleaning material and leather. A 600 grit or fine cloth that can be purchased at a local hardware store can be used to clean poorly embedded tips. Fold the sanding cloth into four parts, so small that it sticks to all sides with your fingers. Gently pull the pen over the

material. Use as little pressure as possible when cleaning the tip to avoid bending the burning wire to the top. The leather or synthetic strap used to sharpen wood carving tools makes a great cleaning disc for the pen tip. It is first made with a coating that contains either oxide of aluminum. The tip is pulled over the strip using light pressure until the tip returns to the bright color with a gun blue color. When the pen is clear, wipe it the pen shaft clean, dry cloth to remove any remaining carbon particles. Ready to return to the project.

Finishing sealers Lines and shading made with the tools do not require sealing but are permanently placed on the work area. However, the working area may need to finish the coat to seal the project for dirt, to make the finished project shine, or to protect the pigments added to the burn. Cotton fabric and paper are usually not sealed at the end of the task. Vegetable-dyed leather may require additional waterproof coating on oil. Wood often needs a sealing layer of spray sealant, brushed varnish, or oil texture. Polyurethane and acrylic spray seals are accessible and easy to use. As the painting steps are completely dry, use two or three light coats so that each coat can dry thoroughly. Sealants are available in matte, semi-gloss, and glossy tones and does not change the color of the wood. The oily skin in the form of tung oil, Danish oil, or a mixture of one and a half and turpentine and linseed oil gives the work a soft shine. Oils are used based on manufacturer's instructions. Dispose of oil-coated rags or paper towels by dipping them in soapy water. Oil-coated rags are a fire hazard. The oil flows out to soften the tone of the wood and change it or darken the work. Mountable polyurethane and varnish are also available at the store.

Polyurethane does not change the natural color of wood some varnishes can give the wood a golden yellow concrete. Make a small test sample on a scrap plate to check the final paint color before working on the finished project.

Wood Patina Wood naturally changes color with age and develops darker tone visibility. White pine, which has only clear and white colors, when it has just been cut, will turn deep golden yellow within a decade. Birch and bass, both common artificial trees, are dark, taupe, or beige-brown. Growing older, the work may seem to disappear. If you have worked with the lightest tones, these areas may disappear completely. The wood darkens slowly and strikes a light and your light-medium strength. Preventing wood from aging is not that possible, take a few simple precautions to minimize its effects. Check what color changes your wood will develop before you burn. If the wood darkens significantly over time, continue to burn in strengthened semi medium to black dark tones and prevent light shade areas. Utilize a sealant that protects against UV light. This reduces the oxidation that causes the wood to form a patina. Do not display or hang work in full sunlight to avoid changes in UV light. Prevent using oil coatings in the wood where dark patinas develop naturally. For example, birch plywood can take on a soft beige when coated with Danish oil waste or tung oil. It naturally develops a deeper beige tone with an aging patina. Taken together, these two factors can hinder your averages over several years.

Pen tip testing Each tip of the pen creates a line burn with its width and shape and is, therefore, better suited for a specific texture. Thin bend or curved top of the shadow cut thin, deep lines. Loop and ball pens burn thick, shallow lines. A set of basic tips for beginners can include a tight-fitting loop tip, a ballpoint, a flat spoon-shaped shader, a curved spear shader, and a wide-wire square point shader. These tips will burn any pattern, special tips can be added when your unique burning is noticed.

The shape and name of the tips vary according to the manufacturer of the burner units and are often offered in several sizes. There are two types of variable temperature pens - fixed tip pens and interchangeable pens. The permanent pen has a burning wire permanently inserted into the pen. Some manufacturers create a replaceable pen that allows you to insert different styles of the tip into the pen head. Replaceable pens give a wide range of burning tips, which is a great advantage. Each manufacturer makes a pen specifically to match the voltage, cable, and connections of the wood-burning machine. Although some manufacturers have tweaking kits that allow you to use other companies' pens with their unit, such practice must be done with caution.

Using another pen may void the warranty and may damage both the pen and the burning unit. When purchasing a variable temperature, the unit takes into account not only the power units of the unit but also the design of the pen, combined units, the design of the protective handle, and the variety of profiles available for your unit.

Ballpoint pen Ballpoint pens are delivered in wide diameters, large-diameter tips create wider lines and smaller diameters make thinner lines. They have three main purposes - outline, remote shading, and solid filling.

Outlining and writing features Draw pattern lines to make a cartoon or coloring book feel with the outline feature. Carefully draw a pattern with cool temperature settings to align the lines. Next, work on each area with the style or texture you choose. When all the shaded surface work is done, work the outline back from medium to high. Change the width of the lines to make the outline more interesting. It is not necessary to outline each project. If you have worked on your project using shaded tones, the outline is not necessary to distinguish a visual area from another. No natural object has an outline, utilize landscape depiction with few accents.

Scrubbie shading

Little scrubbie can be created with a ballpoint pen to give the elements even and larger shading. It is done slowly, evenly back and forth, or in tight, occasional circular motions. Perform multiple layers of the shading to deepen the tone in any area.

Texture filling

From medium to medium to high heat and touch and lift strokes, utilize a ballpoint pen to create a solid filling field. The denser you compress the small, dark spots made by this texture, the darker your area will be. Avoid using high temperatures for such filling patterns. By increasing the setting, a dot will leak on the adjacent area of the pattern.

Flat shades

It has a smooth surface that can be rounded or sharp at the tip. The axis of the top is bent so that the plane of the shadow is opposite the wood. Referred to as spoon shadows, usually have thicker metal points than curved points, so they may require a slightly higher temperature setting during use.

Scrubbie shades

By adjusting the temperature setting to medium or high normal, you can adjust the shade level on the wood and draw a short, small touchpoint to get a shading effect. Raise the shader slightly to bring the tip closer to the point or curved edge, to move in a random, circular motion to achieve even shades. Add shading layers to calibrate the area from light to dark.

Leading lines A photo guide at the bottom right, the spoon shader has been used twice to create dome plates. The shades were first placed flat against the wood and drawn in a long, straight line to get the general shape of the plates.

A second stroke was applied over a long stroke to separate each plate into a fine, thin, slightly darker shade by tilting the side edge of the spoon shader into the wood.

Curved-edge spear shades It has a thinner metal part than a spear shade, which allows it to create a darker tone range at lower temperatures. The curved side allows you to create a thin, flat line without dark exit points, as often happens with a ballpoint pen.

Long shades

The use of a wide point curve, known as the belly, draw a long, wide shade. Photo from the top right, long strokes used to form dips referred to as touch and slow pull movement.

Fine line shades Forwarding with a point curved edge shade and rolling into the belly produces a very thin, fine burn. At low temperatures, these lines are barely visible, at warmer settings the lines are perfect for engraving, cross-hatch, and accent task.

In the center of the right image, the belly of the shade is used to produce the lining of the dirt road. Notice that some lines are so light that they appear because of the natural shade of the cut line.

Triangles

The curved edge spear shader consumes a lot of heat, the top of this shade can create small, evenly sized triangles in your models. Set the thermostat to medium or high normal and utilize the touch and lift strokes. Hold the shade lower and the larger the triangle. These small triangles are used to produce an uneven edge of the barn plate.

Wide wire square shades It has a special tip that is fun to use. The wide leading edge of this shade quickly fills the areas with boldness. It is mandatory for all large projects and saves working time by filling or shading the pattern.

Since the front edge is straight, hold the pen upright for work and make perfectly straight, short lines with touch and lift. Put a metal-plated line on the project, slide the tip of the pen along the ruler to create a long, perfect line. It is made of triangular wire that is perfect for animal hair and long, flowing grass. The circular wire shade leads a single edge into the wood and produces a thick or thin straight line.

Positioning of hand

It is not the type of pen and tip utilized, the manual handling regulates tip pressure, stroke length, and curvature of the backline. The pen is held loosely as if you were holding a stylus or pencil. In the Colwood pen sample, the grip cover is a wide layer of cork under the burning wire. The loose grip between the thumb and forefinger places the tip at an angle of approximately 45 ° on the work area. Lift the corner to produce a thinner line burning. Dropping the tip closer to the task, obtain more metal points in contact with the task, thus forms a wider line burning.

Don’t rest a hand on the task as it restricts your hand movements and shortens strokes. Place little finger lightly on the task. This straightens the hand and attaches the tip of the pen to a certain point in the area.

Reference scale for tonal values

Wood types, points, stroke texture, line density, and thermostat heat setting of the burning unit affect the tone ranges. A lot of factor affects specific temperature settings for the wood surfaces. To obtain a guide working principle, burn a ten-unit sepia scale by utilizing the burning unit and unique pen tip. The initial scale unit, meaning the lightest tone value is the color of the untouched wood. Enable the scrubbie stroke to fill each unit, gently progress the tone ranges (light-pale to black-dark)

Use a pencil to mark the working area with the temperature setting used to form each tonal value. Obtain a copy of this page in a high ink setting via print. Use the paper chart to signify temperature settings for each tone range. While the project is an ongoing reference to the paper chart and working area to perfectly copy the value into the project.

CHAPTER THREE Pyrography Beginner’s Guide Follow these steps to change the wire point:

Put off to cool shortly. Carefully loosen the connection screws so as not to bend the support legs of the connection. Remove the old tip and replace it with a new tip, or replace it with a short lead loop.

The cable must be fastened between the coupling terminal and the nut, not under the end of the screw. Carefully tighten the connecting screws so that the arches are not bent. Squeeze the tip into shape with pliers if necessary. Get an extra pen to hold another point and connect it to an electrical adapter if needed, instead of having to constantly change pen points.

Point overview For the most part, work with a standard loop or spoon tip. Loops are usually used for details and a spoon tip is used for shading. Use the edge of the spoon point for fine lines, skins, feathers, grass, etc.

The coil creates much heat for the large burning task. Used just above the surface, it can be used to "fry" wood to obtain a soft sharp burn.

How to make points Purchase different thick special wires (nickel and chrome alloy, called Nichrome) to form points. Utilize only Nichrome wire, otherwise, the unit will be damaged. Get a wire cutter, good pliers, and small hammer and anvil. The lower part can be tensioned by using a fixed hammerhead. Needle files used for shaping the tip. The wire is present in small parts and each coil can produce 200 points or more. 26 SWG (standard wire gauge) is the finest and 23 SWG is the thickest supplied usually. Notice that the lower the SWG number, the thicker the thread.

Preparing the loop points Create a standard loop with a slice of 30 mm of 26 SWG wire and collapse it to produce a U-shape with your fingers. Place it to the terminals so that it can be fastened with the screws and tighten carefully to prevent the straining. Press the end of the loop with pliers, the wire touches the end about 3 mm. This concentrates the heat on the end. The loop points can usually be made from SWG 26, 25, or 24. Thicker wire is not recommended and can overload the machine.

Softwood points It is difficult to burn evenly and uneven grains of pine mutually because the ordinary point tends to penetrate more in the soft part. A point with a large surface minimizes this problem. Spoon points can give good results. The tip will glue burnt resin fast and a coarse wire or fine wire brush used for cleaning the dirt.

Fine work points

Normal loop points can be sharpened to a needle size point. Hardwoods, such as boxwood, can produce very fine lines with such points. Hammer the extreme flat, cut, and sharpen to make a point. The tip is fragile, start process with the pen mounted, and take care not to break while points are changed.

Fine lines and feathering points

It is hard to burn linear lines but the tip tends to dip into the softwood. A tip made of thicker wire, such as SWG 23, is hammered flat on the tip and sharpened to form a knife tip, the lines would be drawn evenly. It is used for feathering, shading and can evoke interesting patterns.

Heavy work points Enough heat is produced at that point particularly long loop bent backward. Contains of 23 SWG wire (length at least 40 mm). They are best shaped with small pliers when red (easy to bend). It is a fantastic idea to squeeze the tip compact when it is hot with red pliers. It is possible that the current is shortcircuited at the point of contact of the loops and this can occur at new tips, and in minutes an oxide skin is formed which insulates the wire and the point becomes visible.

Another heavy tip can be produced by twisting the wires around a hard needle that is held in place to produce a firm coil. The coils should be closed with pliers (hot) for maximum temperature. The tip can quickly burn the letters. A patterned effect and is used for creating a feather effect. Coil sharpened smooth to get rid of the patterned effect. Provided that the removal of the metal does not weaken the point too much or cut through it, you can store the points and cut as much as needed to get special shapes and effects. Cutting down at the extreme strengthens the heat in that area and makes the point more efficient. It also consumes less energy from the power supply and the handle acts as a cooler. The bending process provides greater electrical

resistance, thicker wires can be used without overloading the machine.

Starting point shading

The large surface requires pinpoints excellent shading. Spoon point (shaped 2 mm wide spoon teaspoon, can be used or a standard point hammered flat on a metal anvil. When necessary, sharp edges can be removed by rub on sandpaper. A needful point for quick shading in large areas is the filed heavygauge coiled tip. This requires skill to do but is well worth it, a smoother surface can be applied at any level by polishing with very fine abrasives. A polished tip is a plus because it removes tar and ash from the wood.

Points for decoration

Shape small points out of wire and use for repeated decorations. They are formed with small sharp pliers and must be precise so that the whole pattern touches the application evenly. 23 SWG wire is required for rigidity.

Points for lettering These points are hammered equally hot and then cut or folded to get the straight edge of the tip. They can be made at a slight angle to the left or right for use in the same way as calligraphy pens. They can be sharpened in the exact width.

Wood surfaces preparation Flatten flat wood must be smoothened by sandpaper. For best results, smooth with a razor-sharp leveling plane and finish by rubbing with 400 grit of sandpaper. If the surface is worked, you must first remove the cut marks (made from the planar blades) with a coarser abrasive. Try 240 grit and then 320 grit, then 400 grit. Wrap the paper around a small piece of sandpaper for the best results. For a non-flat surface, such as a twisted part, may also need to be sanded back with coarse, medium, and then fine sandpaper. The veneer only needs to be sanded with 320 and then 400 grit sandpaper.

Protecting the pyrographed work Finished work must be protected against the dirt and eroding effects of strong light. A coating layer that closes the wood but does not cover it or turns yellow with age. Water-based acrylic coatings recommended because they are durable and easy to use. They dry in a few minutes in a film that is barely visible and does not remove the freshness of the finished work. Avoid waxes or oils that trap dirt and can darken the wood. Polyurethanes turns yellow during aging. For all surface treatments, you should experiment with the sample model to see the final effect before using it in a masterpiece. Always try to keep graphite images away from direct sunlight. Otherwise, the burnt marks will fade and the wood will darken. An alternative to a sealant is a protective acrylic plastic sheet or glass. Use the frame to hold the assembly together and accessible.

Doing outdoor working Modern tech has not yet designed a perfect varnish. Workings need to survive on the outside and protected with the best possible outdoor varnish. However, they may need to be re-polished every two years or less. Workings held from strong sunlight; otherwise lighter characters will disappear. Black-burnt lines light up fairly quickly, but other signs should be placed out of direct sunlight.

Color pyrography Distinct effects can be obtained by using dyes or paints together with woodburning. Utilize watercolors, colored pens, opaque paints like acrylic, or wood pre that are transparent. Intensified lines tend to prevent color distribution or fluidization. Use the right sable brush colors and let them harden completely before finishing. If the colors pass through the grain when in use, the wood likely used is too soft or coarse-grained or that it's not smooth enough for the working. Colored pens are easy to use, but the colors available are pretty harsh, dilution is a problem. No matter what type of paint used, make sure that it matches the sealant or varnish that will eventually be applied. Varnishes tend to dissolve the paint and apply it to unwanted areas. Try to varnish first and paint over. First, test the sample material to affirm compatibility. Watercolor paints and water-soluble stains do not affect the majority of paints, but they raise the grain. This means that they swell the wood fibers and cause a rough surface. A way to avoid this is to intentionally lift the grain first over the entire surface before making any pyrography on it, by wiping with warm water. Wait for it to dry, then sandpaper again with new sharp sandpaper to remove any raised wood fibers. Alcohol-based pigments give wonderful colors and usually do not lift grains. They are available in concentrated form and can be diluted with denatured alcohol to obtain the required color density. They are usually soluble in Rustin's coatings but not in aqueous acrylic mist.

Point working

Nichrome tips heat up when an electric current pass through it. More heat is produced if the wire is thinner, so the thinning at the top is good and can be done by slicing, hammering, or grinding. Thin only at the end, keep base thick to maintain stiffness. It is easier to bend or hammer points when they are attached to a pencil and turned on because the metal is softer and more work-friendly in hot red. Note Safety wire, paper plug or cable other than the special nichrome wire shouldn’t be used, otherwise, the electricity will burn out.

CHAPTER FOUR Working Temperatures The pen has a tip that can become too hot depending on how you work, even if the knob is turned to the minimum temperature. Utilizing a weighty standard loop made of 24 SWG wires, it is cooler based on the low settings. It would be even better for 23 SWG loops to bend back over themselves.

Short circuits Once points’ leg is not attached correctly, points may refuse to warm up. When sparks, a buzzing sound, or one foot that seems to be hotter than the other it shows that the endpoint needs to be cleaned. Completely disassemble the pencil stick and clean any dirt to make up for a bad touch. The corrosive oven cleaner is ideal for this and does not have chemical effects on stainless steel. It attacks fingers and clothes. Keep the cleaner from other components. Avoid making a bend at the end of the pencil or the wire inside else the insulation will eventually break. Do not wrap the handle before keeping the pen.

Safe tools and materials Little wire cutters, sharp pliers, and a small screwdriver. Little hammer and anvil to shape and level tips. Scrapper to remove dents (knife blade) The alternative would be fine sandpaper. Sandpaper for surface wood smoothening. Used guides are 240, 320, and 400 grits. Coarse wire to remove ash and tar accumulation from the points. Sealant to firm work from dirt. Utilize water-based acrylic or cellulose sealant. Durable is the acrylic spray, which can be made glossy or satin. Wipe by lightly rubbing the sealant with abrasive nylon to obtain a perfect polish.

Using two pens

It is using two pens at the same time by connecting them to the designated switch. The pens are electrically connected in series so that the same current passes through both pens. Since the power is shared between the two pens, only half of the power is given to each and therefore the knob must be turned up, rightly to the maximum power. Pens should have a similar gauge tip. Once one pen has a fine tip, the pen glows hotter.

Steps To Performing Pyrography Step one Accessories Wood, cut to size Sandpaper, 320 grit Pyrography pen Graphite transfer paper Colored pen Scissors Tape Selected picture for woodburning

Step two Wood preparation

Once the piece of wood has been cut to size, scrutinize it to make sure there are no holes or markings. Presence of shallow tiles or bumps, take a damp cloth, fold it at least once and place it on top of the bugs and press down on the cloth with a hot iron. Continue this process until the wood dents are removed. Allow the wood to dry.

Sandpaper the wood to get a beautiful smooth texture. Wrapping sandpaper around a flat piece of wood to get a flat surface.

Step three Replicating the picture

Once the wood is set, prepare the picture. Simple photoshop created to remove the background and save ink. Cut the size of the graphite paper according to the picture and tape the picture on top. Make sure the transfer side is placed side down.

Take colorful pens and follow the picture. Utilize only the parts wanted unto the wood. Trace areas needed for shading.

Step four Finish the task

Carefully lift the photo/graph paper and view the work done. Look at the picture on the wood and notice if there are any unwarranted features, sandpaper the marks carefully.

Step five Safety technique Select the correct pen’s nib and allow the pen to warm up. Safety

Ensure proper ventilation (open window/use of fan) Clean and open work area where there is no flammability nearby Chilled water and burn ointment (emergency)

Techniques The flat point is mostly used to create thick lines, curved lines, and shading

The sharp side is used for detailing. Leading deep burns in the wood when not done carefully. It takes much practice to be a professional.

Step six First burn Having the techniques at the back of your hand, start burning the simplest part.

The lion, back and tail samples are mostly flat baselines. Continue on other baselines. Trust it will be even easier. Vision tunneling During the burning, it is easy to lose track of the simplest work when working on complex forms.

Step seven Detailing

Completed lines require you to proceed. Some pictures need a lot of detail, others not. An important thing during detailing is to take it slow. Focus on mane/arm. Although this option is not a moving picture and requires dedication, be sure to recall the blade side of the tip technique for detailing. Warning, during the use of a pine tree: You will notice light and dark objects. Lighter is a softer wood. Having to burn the darker part of the grain, it won’t burn so easily. Continue to cross the same line until it is dark enough to match the rest of the work.

Step eight Prepare for shading

When basics and details are completed, reward the patience and get ready for shading. Notice that there are parts of the work that doesn’t exactly match the graphite mark. Take sandpaper 320 grit or more and file the total work. This will help get rid of low burns and graphite residues. Clean sawdust on the wood and residue lines to get a beautifully clean piece to shade.

Step nine Shading, section one Choose to include shading to your work, it brings uniqueness and depth. it is the hardest part and requires some experience. Decide where to shade. Specify how dark it needs to be and changes based on different gradients. Don’t obscure your basic and precise lines.

How to shade Utilize a similar tip you used for the lines. Use the end of this tip which is flat and about 1 mm wide. Hold the pen same as flat line holding and barely touch the top wood. A firm with the tree, move hand in a circle and hold the

tip at the same tangent. Notice the wood begins to dark. Continue till the required wood shade is reached. Keep the nib moving, don’t let it sit too long in one place or recommend a single part of the wood compared to another, may give an awkward sign. When it happens, try to mix the darker parts with the lighter parts.

Step ten Shading, section two

Shading is a great way to improve work depth, it can make the average look amazing. After shading is finished, the work may be too boring. Noticing that two other places were necessary for extra shading: the tail, legs, skin, and arms Shade them in the same darkness as the brush. To enhance the visibility of the body of the lion includes a fine touch to define it. An important factor here is to mix the darker sections with the rest of the light body. Not part of the mane though separated from the body, but the tail feathers and the arm/leg skin. Blend in works. Tip: when messing up the shade or wanted it to get lighter, do not be afraid to go lightly on the faulty areas with sandpaper.

Step eleven Done

Shading completed, step back, and admire the hard work put into it. Don’t forget to include a personal logo, on the front as a painting or the back. Leave the wood as it is or protect it. Chemicals like polyurethane, oil, varnish, wood stain all work. Warning, using a dark stain, the shading may become a blur.

Pyrography Design Platform Easy pattern making Choosing the best wood burning pattern that matches creativity level and technical skills, it is important to consider the design details. Small details like fine lines and the use of shading or texture are not easy elements for beginners. It is advisable to avoid overly complex patterns until the woodburning set is understood and what the points can do. Consider if all the tools are available and different tips or tricks to complete the task when getting started. Wood obtained already. Think which pattern best suits your style and naturally conveys the details into the work without leaving out any element and not close to the edges. A large perimeter surrounding the wood design makes the finished product look comfortable and aesthetically pleasing. Utilizing a platform from a single object such as a tree it is easy to enlarge the workings. Greater care must be taken when using geometric or tiled patterns. Burn a geometric pattern on all four sides of a wooden box. The design eventually meets at some point. The surrounding pattern must be visually perfect and seamless.