Pyrography Style Handbook-Flipbook

Pyrography
Style HANDBOOK

Artistic Woodburning Methods and
12 Step-by-Step Projects

LORA S. IRISH



77 82 89

101 109 116

122 137 144

149 155 163

19

Burning Surfaces

Any natural surface can be used for pyrography, including wood, gourds, paper-mache, cotton and linen cloth,
watercolor paper, and vegetable-tanned leather. Avoid any material that has been chemically treated or painted,
because the high temperatures of the tool tips will release the chemical fumes of these materials during the
burning process.

Wood

Basswood and poplar are favorite woods for
pyrographers. Both species have finely packed wood
grain and a naturally pale white coloration, and both are
commonly available in 1/8" (3mm) or thicker plywood
sheets. The natural color of wood affects the color ranges
that you will be able to see in your work. Naturally pale
basswood, poplar, and birch will show a very wide range
of pale-toned burns. Dark African mahogany and black
walnut will not show burning until you reach mid-
toned or dark-toned burns.

This wood spirit face is worked on a bark-edged basswood
round; the center of the heartwood is visible at the nose
bridge, just above the eyes. No framing required!

This bark-edged basswood slab makes a wonderful burning
medium because the board is cut with the grain of the
wood, which means it easily accepts shading and graduated
texture strokes.

36 PYROGRAPHY STYLE HANDBOOK

Vegetable-Tanned Leather

Vegetable-tanned, non-dyed leather is a favorite burning thick as 1/4" (6mm). The weight or thickness of the leather
medium. Pyrography leather is available in large pieces, that you choose depends on the use and shape of your
pre-cut kits, and manufactured forms such as purses, final project.
book covers, and wallets. Leather offers the pyrographer
a world of three-dimensional possibilities. Leather is also available in pre-dyed colors and suede
textures, neither of which are recommended for burning:
Leather comes in a variety of weights, from very the chemicals used to create dyed leathers can produce
lightweight 1-ounce leather, which is approximately toxic fumes during the burning process, and textured
1/64" (0.4mm) thick, to 8-ounce leather at 1/8" (3mm) suede does not provide a smooth, uniform surface for
thick, and even heavier belt-weight leather that can be as clean, clear burned lines.

Whole Side Double Shoulder Single Shoulder Back Belly

Leather is cut and marked in square feet (square meters) by the tannery to be sold as a whole hide
or as commonly cut parts of the hide shown here.

Gourds

Dried craft gourds make wonderful surfaces for your Use a dust mask when cleaning and cutting
pyrography projects. Dried gourds, with their densely any dried craft gourd, because gourds often
packed, woodlike fibers, provide an artist with interesting have fine powder residue surrounding
shapes for their pattern decoration. Easily cut with a craft the inner seed pod that can cause
knife or bench knife, a gourd can become a bowl, sand both skin and lung irritation.
candle cup, vase, lamp, or, of course, delightful birdhouse.
This extra-large dipper
gourd features a stylized
American Indian design. The
simple geometric areas are
easily filled with changing
tonal value texture fills.

Gourds do limit the
range of your tonal
values by starting
your pale tones in the
mid-range because
of the natural color of
the gourd surface. But
that same surface lets
you indulge in the
blackest tonal values
for your design.

Basic Supplies and Techniques 37

Artist-Quality Papers Paper-Mache and Chipboard

Artists use many styles of paper for their work in Both chipboard and paper-mache are made from
watercolors, marker illustration, pastels, and hand- shredded paper pulp. The pulp can be pressed into
pulled prints. The heavyweight, high-quality papers used strong, flat sheets called chipboard or pressed into a mold
for these arts are suitable for any pyrography pattern. to create three-dimensional shapes. Undyed chipboard
You can find these papers with anything from a very is available in a natural medium
smooth surface to a deeply toothed (or pebbly) texture. gray-beige tone, which
For pyrography, a smooth or lightly textured surface limits your tonal value
works best, since the pebbling can distort your lines as range in the pale value
you burn. Paper is an interesting pyrography medium areas. You can also
because you can easily color your designs with colored purchase chipboard
pencils, pastels, inks, and watercolors when you have that has a polished,
finished burning. white paper coating.

Oops! Sometimes we make
mistakes, and sometimes those
mistakes cannot be corrected
by sanding or carving away the
problem. During the burning of this little mouse, I
dropped my hot pen, which burned a very black
spot just above his ear. That black spot became a
hole in the lid from which I threaded a twine tail
and a bit of bright pink ribbon.

Medium-textured, 140-pound watercolor paper is an inexpensive
and extremely versatile medium for pyrography.

There are no limits to the realistic, detailed burnings that you can This fun three-dimensional project was created using common
render with pyrography on fine-quality illustration paper, watercolor household chipboard from cereal boxes, cardboard boxes, and spiral
paper, or pastel paper. All three styles of paper have a fine tooth notebook backs. Since this type of chipboard is very thin, you can
texture, adding to the texture work in your subject. easily cut, shape, and stack the individual elements of the design.

38 PYROGRAPHY STYLE HANDBOOK

Transferring Patterns

Two products that you can use to transfer a design to
your work surface are carbon paper and graphite paper,
which are both types of transfer paper.

Lay transfer paper under your paper pattern so that
the transfer side is against your work surface. Then
start tracing the paper pattern with a pencil or pen. As
you trace, the transfer paper will deposit a fine line on
your work surface. Any transfer paper should be used
carefully, as the transfer lines cannot be easily removed
from your work surface after the burning is complete. I
tend to use graphite paper most often because of its pale
gray coloring, especially on gourds, paper-mache, and
darker woods.

Graphite paper pattern transfer.

Pencil rubbing pattern transfer. Carbon paper pattern transfer.

You can also create your own homemade transfer
paper. Blacken the back of a pattern paper with a soft
pencil, covering the back completely. Place the pattern
onto your work surface and trace over the pattern lines
just as you would with real transfer paper. This will leave
a fine line of pencil graphite on your work surface. Pencil
rubbing tracings leave extremely fine, thin lines, which
are accurate to your tracing, easy to follow, and easy to
clean up with a white artist eraser after burning.

Basic Supplies and Techniques 39

CHAPTER 2

ALL ABOUT PEN TIPS

Each pen tip creates its own unique line patterns. Line writing tips like ball tips and
looped tips burn thin lines for detailing, touch-and-lift dot patterns for solid fills, and
the scrubbie stroke for medium tonal value fills. Flat and curved spear shaders burn
wide, graduated shading strokes, perfect for wood grain textures and leaf cluster patterns.
Square wire shaders, created with heavy-gauge triangular wire, are used to create fine blades
of grass, animal hair and fur, and barn board detailing. The pen tip you use can determine the
art style of your finished pyrography. In this chapter, we will look in depth at the five basic pen
tip profiles and the stroke patterns each make, as well as correct hand position for maximum
comfort and best results.

42

Pen Tips

Each pen tip creates its own width and shape of line inserted into the end of the pen. Interchangeable pens
burn, and therefore is more suitable for specific textures. allow you to purchase a wider variety of burning tips,
Thin-edged, flat spear shaders or curved spear shaders which is a great advantage to the new pyrographer.
cut thin, deep lines. Line writing tips, like ball tips and
looped tips, burn thick, shallow lines. A basic beginner’s Each manufacturer creates their pens to specifically fit
set of tips may include a looped tip, a ball tip, a flat spear the electric voltage, wire, and connections used in their
shader, a curved spear shader, and a square wire shader. burning units. Although some manufacturers do sell
These five tips will allow you to burn a vast variety of conversion kits that allow you to use pens manufactured
projects. Specialty tips can be added as you discover your by other companies on their units, I do not recommend
own personal style of burning. Tip shapes and names this practice. Using another company’s pens can void
vary depending on the manufacturer, and the tips are your warranty and can damage both your pens and your
often offered in several sizes. Please check the website burning unit.
for your unit for more specific tips that are available for
your use. When you purchase your variable-temperature unit,
consider not only the power features of the unit but
Variable-temperature pens come in two varieties: also the pen construction, how the pens connect to the
fixed pens and interchangeable pens. A fixed pen has unit, the guard grip construction, and the variety of
the burning wire permanently set into the pen. An tip profiles available for your unit. See more info about
interchangeable pen allows different types of tip to be burning units on pages 33–34.

The first three tips are fixed pens and the
last two pens are interchangeable pens (all
Colwood brand). The interchangeable tips
are secured in a plug-in male connector
that snaps into the top of the pen, giving
an even, reliable temperature for your
burning. From left: curved spear shader,
looped tip, micro looped tip, square wire
shader, and flat spear shader.

These Optima 1 Dual tips
are all fixed pens. From left:
curved spear shader, flat spear
shader, and ball tip.

All About Pen Tips 43

CHAPTER 5

STEP-BY-STEP
PROJECTS

It’s time to put these art styles into action. Choose a project that inspires you, or pick a
project based on an art style that you’re dying to try. Each project will teach you something
different and useful that will help you expand your stylistic abilities. Plus, each step is
accompanied by information on the temperatures/tonal values to burn as well as the pen tip(s) to
use, so you’ll never be without guidance.

As you have learned by now, pen tips are interchangeable, and different tips can create the
same burned strokes on your project. A ball tip, looped tip, and even a spear shader can all
be used to create thin, fine lines on your design. The tips shown in the materials lists for the
projects are just suggestions for which tips you might choose to use. They are the tips that I
personally used. Please interchange your favorite pen tip at any time.

76

Gothic Rebirth Green Man

SILHOUETTE
This project focuses on the power and drama created with black-and-white contrast in your burnings. It also teaches
you the importance of using unburned areas as your palest tonal value.

MATERIALS

■■ 8" x 10"
(20 x 25.5cm)
basswood plaque

■■ Variable-
temperature
burning unit

■■ Pen tips: ball tip
or looped tip; flat
spear shader or
curved spear shader

■■ Pencil
■■ Masking tape
■■ 220-grit or 320-

grit sandpaper
■■ Graphite paper
■■ White artist’s

eraser
■■ Finishing materials

of choice
■■ Pattern on

page 178

Gothic Rebirth Green Man 77

A

7 Deepen the edges. Still using the curved spear shader, working from the outer edge of the plaque toward the
center of the face, reburn the last worked hair clusters. This will create a dark ring of line work along the routed
edge of the plaque and form a strong contrast to the paler tones in the face (A).

8 Finish. With your burning complete, erase any remaining tracing lines or guidelines with a white eraser. Remove
the eraser dust with a clean, dry cloth. You can finish the piece by applying either a coat of acrylic paint or an
oil stain to the routed frame area of the plaque. Allow to dry thoroughly. Seal the wood using two to three light
coats of spray acrylic or polyurethane sealer.

88 PYROGRAPHY STYLE HANDBOOK

Logging Beast of Burden

CROSSHATCHING

This project is worked using a crosshatching pattern by laying layers of fine, thin line strokes over layers that have
already been burned, working each layer in a different direction. Each new layer darkens the tonal value of the area. The
temperature setting of the burning unit is also increased slightly with each new layer of shading to slowly deepen the
values from a very pale tone to almost black in the background mane areas. As you work this mule portrait, you will be
using the same pen tip throughout the steps. To create your tonal values, you only change either the number of fine line
layers of burning or your temperature setting, but not the shape or size of your tip.

MATERIALS

■■ 9" x 11" (23 x 28cm)
basswood plaque

■■ Variable-
temperature
burning unit

■■ Pen tips: ball
tip; looped tip or
square wire shader
(optional)

■■ Pencil
■■ Masking tape
■■ 220-grit or 320-

grit sandpaper
■■ Graphite paper
■■ White

artist’s eraser
■■ Finishing materials

of choice
■■ Pattern on

page 176

Logging Beast of Burden 89

A

B

11Outline the accessories. With the ball tip or looped tip, accent the pattern lines of the bridle leather to define
its outlines (A). Do not completely outline these areas, though; allow some gaps in the line work for a more
natural, realistic look.
Note the top edge of the center bridle strap; only the outer edges of this strap’s lines are worked. The
shading on the mule’s face is strong enough to define the bridle leather without outlining.
Using a dark-medium (7) setting, deepen the tonal value of the mule’s neck in the background areas of the
bridle leather by working one to two more crosshatching layers (B).
Logging Beast of Burden 99

Don’t Mess with Me

POINTILLISM

The fur of a cougar is very fine and very short. Using the pointillism style of pyrography, you can create the texture of
the fur patterns while avoiding the impression of long strands of hair. Refer to the hair tract pattern on page 175.

■■ 12" x 12" (30.5 x 30.5cm) MATERIALS ■■ White artist’s eraser
■■ Finishing materials of choice
birch plywood ■■ Pencil ■■ Pattern on page 174
■■ Variable-temperature burning unit ■■ Masking tape ■■ Hair tract pattern on page 175
■■ Pen tips: ball tip or looped tip ■■ 220-grit or 320-grit sandpaper
■■ Graphite paper Don’t Mess with Me 109

Merry March Mushroom

SHADED DRAWING

This fun little design uses graduated shading to create the three-dimensional look of the facial features of a
mushroom wood spirit. Keep your shader moving during each stroke to avoid a dark beginning or ending point to
each pass of the tip.

MATERIALS

■■ 9" x 11" (23 x 28cm)
basswood plaque

■■ Variable-
temperature
burning unit

■■ Pen tips: ball tip;
flat spear shader

■■ Pencil
■■ Masking tape
■■ 220-grit or 320-

grit sandpaper
■■ Graphite paper
■■ White artist’s eraser
■■ Finishing materials

of choice
■■ Pattern on page 180
■■ Watercolor paints:

pale yellow, sienna
brown, orange,
bright yellow,
fuchsia, pale blue,
white, yellow-green,
medium green
■■ Painting tools: soft-
bristled brushes,
water pan, and
glazed palette

116 PYROGRAPHY STYLE HANDBOOK

B

A
B

B

4 Burn the facial hair and mushroom cap. The shading in the underside ruffles of the mushroom cap and the
mustache and beard areas are worked to a dark-medium (7) tone along the outer edges and quickly blends into a
mid-pale (3) tone. Use the edge of the flat spear shader to burn the separation lines between the ruffles (A).
Use a tight scrubbie stroke to work the shading in the mushroom cap and the butterfly wings and to strengthen
the shading in the daisy petals (B).
Merr y March Mushroom 119

Appliqué Quilted Barn Landscape

TEXTURE PAINTING

The barn scene on the right side of this board was worked using texture fills to create both the line work and tonal
value shadings. After transferring the pattern to the wood, you simply fill each area of the pattern with a single
repetitive texture stroke. It’s so easy to create tons of textures using just a few basic pen tips. You get to practice each
texture in the “quilt” at left, then apply it to the barn.

27

1 2 3 45

6 7 8 9 10

36

11 12 13 14 15 45
31

5

25 32

16 17 18 19 20 40 31

23

11

21 22 23 24 25 1
37 22

17

26 27 28 29 30 44

45

31 32 33 34 35

31
26

36 37 38 39 40 30

41 42 43 44 45 33

■■ 9" x 11" (23 x 28cm) birch plywood MATERIALS ■■ Graphite paper
■■ Variable-temperature burning unit ■■ White artist’s eraser
■■ Pen tips: ball tip; looped tip; flat ■■ Pencil ■■ Finishing materials of choice
■■ Masking tape ■■ Pattern on page 196
spear shader; curved spear shader ■■ Ruler
■■ 220-grit or 320-grit sandpaper

144 PYROGRAPHY STYLE HANDBOOK

6 Burn the background. Set the temperature setting to mid-dark (9) and solid fill the eyes and open areas in the
gears. With a mid-dark (9) to black-dark (10) temperature setting, solid fill the background areas that surround
the dragon’s body.

7 Finish. With your burning complete, erase any remaining tracing lines or guidelines with a white eraser.
Remove the eraser dust with a clean, dry cloth. Seal the wood using two to three light coats of spray acrylic or
polyurethane sealer.

154 PYROGRAPHY STYLE HANDBOOK

Well-Worn Blue Jeans

REALISM

The steps of this project will take you through a basic realism burning. We will focus on several different burning
textures that together create the impression of denim fabric. These include the following: creating the thread
pattern of the fabric with thin diagonal lines; adding the shading tones to the deep folds by darkening the fabric
lines; contouring the roll of the fabric around the legs by adding shading with a spear shader; and adding the
details of the folded fabric edges, buttons, and stitching. All of these will contribute to the realistic final effect.

MATERIALS

■■ 7" x 9" (18 x 23cm)
birch plywood

■■ Variable-
temperature
burning unit

■■ Pen tips: looped
tip; ball tip; flat
spear shader

■■ Pencil
■■ Ruler
■■ Masking tape or

painter’s tape
■■ 220-grit or 320-

grit sandpaper
■■ Graphite paper
■■ White artist’s

eraser
■■ Finishing

materials of choice
■■ Pattern on

page 184
■■ Watercolor

paints: golden
yellow, orange,
titanium white
■■ Painting tools:
soft-bristled
brushes, water pan,
and glazed palette

Well-Worn Blue Jeans 155

Learn the Art of Woodburning

The ultimate guide for both beginners and experienced pyrographers alike, Pyrography
Style Handbook thoughtfully explains the seven major artistic styles of woodburning:
crosshatching, realism, pointillism, shaded drawing, engraving, silhouette, and texture
painting. Opening with detailed chapters on basic tools and techniques, pen tips,
practice boards, tonal values, and more, you’ll then learn everything you need to know
about accomplishing each unique pyrography style. In the next section, 12 step-by-step
projects—all with coordinating photography and helpful guidance—will give you plenty

of opportunities to further your artistic abilities and create realistic scenes, animals,
and objects. Also included are full-size patterns for each project, as well as some
bonus patterns! With award-winning artist and best-selling author Lora S. Irish
as your instructor, this comprehensive guide provides an enriching course for
anyone looking to develop their artistic woodburning skills.

• Learn the fundamentals of woodburning tools and techniques

• Understand the seven major artistic styles of pyrography

• Practice each artistic style with 12 step-by-step projects and full-size patterns

• Accomplish additional designs on your own with the bonus patterns

“I think every woodburner is familiar with the name Lora Irish. Her
latest book is filled with techniques that others may not have tried yet.
With wonderful step-by-step instructions, beginners and advanced
artists will enjoy the vast assortment of patterns, from whimsical to wow!
Readers will be kept busy for a long time burning through the projects.”

—Jo Schwartz, Pyrographer & Author of Woodburning
Realistic People, www.joschwartz.net

$19.99 US | $24.99 CAN

ISBN: 978-1-4971-0013-8 51999

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