Pyrography Magazine 2020

Turn Pet Photos Into Winning Woodburnings!
Pyrography
The Art & Craft of Woodburning 2020

25
GORGEOUS
PROJECTS

Learn to Burn
Textures:

• Feathers
• Smoke
• Glass

Beginner
Burning

9 Practice Patterns &
12 Pages of Basics

PLUS DISPLAY UNTIL JUNE 11, 2018

Make a Stunning A Special Interest Publication of
Steam Engine Woodcarving Illustrated magazine
Using Just One Tip

Pyrograp2h020y

DEPTS. 45

4 Editor’s Note in this issue
6 Letters
9 Tips & Techniques FEATURES
10 Product Review
12 Reader Gallery 16 Extreme Burning
94 Bookshelf
109 Advertising These artists push the boundaries on
Directory what it means to play with fire
110 About the Authors By Hannah Rachel Carroll
112 Embers
86 Gourd Preparation
APPENDIX
Get your gourds ready for burning
19 B uilding a Basic in a few simple steps
Pyrography Kit By Lora S. Irish

20 Before You Burn 1 01 Keeping It Legal
22 Safety Tips
24 Keeping It Clean Have copyright questions? So did
we—so we asked an intellectual
property lawyer
By Kaylee Schofield

1 12 Embers: Getting Inked

For pyrographer Andy Mills, tattooing
and woodburning go hand in hand
By Hannah Rachel Carroll

103 PATTERNS

45 Autumn Kaleidoscope

From fiery leaves to turkey tail
mushrooms, this forest scene has more
color than a carnival
By Deborah Pompano

53 Beginner Practice Patterns

New to burning? Test these simple
designs on everything from spoons
to jewelry
By Lora S. Irish

2 PYROGRAPHY 2020

TECHNIQUES 68 Creating Scale Texture

31 Dragonfly Soleil Gourd This fiery dragon scene brings a
whole new meaning to the phrase
Use gold leaf to highlight the details “burned artwork”
on this elusive insect By Don Stephenson
By Jenn Avery
72 Great Horned Owl
40 Burning the Nose
Let this stern flier keep watch
Use contour lines and shading to over your domain
burn a realistic facial feature By Valarie Connell
By Jo Schwartz
79 Castle Cookie Jar
47 Woodburning a Dinner Scene
Store your sweets in a medieval
Learn to “burn glass” in an elegant fortress worthy of King Arthur
tableau fit for royalty By Si Easton
By Minisa Robinson
1 03 Burning Smoke
55 Leather Key Fob
Make a powerful steam
Practice simple shading and coloring train using just one tip
techniques on this nostalgic design By Minisa Robinson
By Michele Parsons
PROJECTS 79
58 PfryormogPreatpPhhyoPtoorstraits 31
25 Mountain Lion
Create personalized woodburnings of
cats, dogs, hamsters, and more using Burn a fierce face of the forest
these winning tips in just nine steps
By Lora S. Irish By Minisa Robinson

64 Trio of Blooms 36 Stylized Peony

Use negative space to frame and flesh Practice making fluid lines on a
out three elegant botanicals bold, elegant summer blossom
By Marsha Wilson By Shannon Mahoney

WEB EXTRAS 91 Henna Gourd

F ree Project Transform an ordinary gourd
into a mesmerizing piece
Burn and color a wintry forest scene by of art with simple swirls
pyrography artist Deborah Pompano. and shapes
By Mary McConnell
Shopping Guide
95 Dream Catcher Clock
Check out our comprehensive list of
beginner-friendly models that'll get you Repeating designs let you
burning without breaking the bank. burn a practical gift in
record time
Bonus Content By Si Easton

Be sure to visit woodcarvingillustrated.com
for more pyrography patterns and projects.

Search for Pyrography on Facebook, woodcarvingillustrated.com 3
Pinterest, and Instagram

letters to the editor

Note from the Editor: During a
complicated and often stressful time, it
can be therapeutic to focus your energy on
creative pursuits. In that spirit, we asked
pyrographers what they’ve been working
on during the 2020 quarantine. Here are
some of their responses.

Guardian Angel
My most rewarding burning during the quarantine was a memorial
piece for a family that battled cancer for seven years. The beautiful
angel on the right was a trooper who never complained.
Ave Lycett Richardson Queensville, Canada
Sweet Slumber
I do a lot of botanical
pieces, animals, and
some portraits—I
also recently started
incorporating
scrollwork into
my designs.
Nicki Tucker
Wilmington, Del.

Lunar Eclipse
I used this extra
time to burn some
of my moon-themed
designs on reclaimed
wood. No color is
added to my pictures;
only heat and fire are
used to achieve the
desired tones.
Orsolya Heim
Morges, Switzerland

6 PYROGRAPHY 2020

Island Time
This is Flowerpot Island in Nova
Scotia. The piece took me 52 sessions
and more than 90 hours to complete.
Jennifer Sellsted Calgary, Canada

Stars and Stripes
I typically stay busy doing commissioned
pieces, but this one was for my wonderful wife.
It’s on a reclaimed tabletop that she has been
wanting me to burn something on. I loved her
idea to add color to the barn’s flag.
Doug Stainbrook Grant, Ala.

Buried Treasure Innocent
Here is one of the many boxes I’ve created during It Wasn’t Me! was burned birch plywood. I love
quarantine, inspired by the loot chests found in doing children’s portraits. Those eyes say it all!
online role-playing (RPG) games. Ruth Baker Weston, Somerset
Rowena Bowerman Corby, Northamptonshire
woodcarvingillustrated.com 7

EXTREME I n this issue, we're highlighting a handful
Burning of pyrography artists eagerly redefining
their sources of heat. You’ll learn about a
These artists push the boundaries New Hampshire woman who shades with
on what it means to play with fire  gunpowder, a Swedish tattoo artist with
massive torches, an Arizona man who
By Hannah Rachel Carroll harnesses the sun’s rays, a woman living in
North Carolina who dips strips of veneer in
smoldering sand, and a farmer from Ontario
who finishes his woodworking with electricity.
Their journeys all began with the basics, but
each have boldly strayed from tradition to
make their own mark on a fiery craft.

elvis santana/FreeImages

GUNPOWDER Watch how
Natasha used
Natasha Stoppel enjoys gunpowder to
experimenting with different shade the wings
canvases but always returns to of the hawk
wood. Inquisitive by nature, (below) on her
she enjoys using gunpowder—a YouTube channel.
highly combustible and
dangerous explosive made of
saltpeter, sulfur, and charcoal—to
enhance her pyrography pieces. “I spend a lot of
time pushing the gunpowder around the wood
to figure out shapes, patterns, and shading,” she
said. “This is the most important step, because
once I light it on fire, it’s permanent.”
For the last ten years, Natasha’s
photography, musings, and gunpowder
burns have caught the attention of
thousands. She uses her blog and
YouTube channel to “inspire others to
explore their own artistic souls and
pursue creative journeys,” she said.
When she’s not traveling, Natasha
enjoys creating in her quiet town of
Exeter, N.H. See more of her work
on artistexplorestheworld.com or on
Instagram, Facebook, and
YouTube @artistexplorestheworld.

16 PYROGRAPHY 2020

TORCH Jimmy said
he draws
When Jimmy inspiration
Wänfelt began from “great
woodburning four photography
years ago, he found and miracles of
that the thick tip Mother Earth.”
of a woodburner
worked too slowly
for his liking—so
he began setting his work on
fire. He eventually ditched the
pen altogether and used torches
and heat guns to quickly achieve
dramatic shades on pyrography
artwork. “I am not a fan of pale
wood, so I tend to make my burns
really dark,” he said. “It’s not for
everyone, but I make the art for
my own sake.” 
Although Jimmy is currently enjoying
a successful career in tattooing, he said
woodburning will always hold his creative
spirit captive.
Jimmy currently lives in Stockholm, Sweden.
See more of his work on Instagram and
Facebook @pyrotattooing.

Depending SUNLIGHT
on weather
conditions, While backpacking across
it can take Central Asia in 2012, Michael
Michael Papadakis wanted to find an
weeks to easier, more portable way to
complete an create art. He put down his
artwork. pencils and paper and picked up
a magnifying glass. “I discovered
Photos by Chad Vaughan a pen that never ran out of ink—
just as long as a cloud wasn’t in the way,” he said. 
The Arizona native began harnessing the
sun’s rays to create murals on wood and stone,
recording the process for the world to see.
“In college, I studied sculpture, mixed media,
and filmmaking. Now my portfolio consists
of working with the sun,” he said. “I often tell
people I use two lenses: the magnifying glass
and the camera lens. Together, they help me tell
the most perfect story.”
In his free time, Michael teaches the craft
to children and adults as a form of art therapy,
which he said has been the most rewarding part
of the journey.
Watch Michael's videos on Facebook, Instagram,
and YouTube @sunscribes.

woodcarvingillustrated.com 17

Getting Started
Start with a clean, dry gourd. Choose one that has a
uniform coloring, at least in the area that you will be
burning. If there are any holes or blemishes, they can
be filled and sanded with wood putty filler before you
begin. Note: It is best not to burn over the areas with
putty filler, as the woodburner will not burn over it;
however, gold leaf will cover it up perfectly. I like to
lightly sand my gourds with a fine, 400-grit sandpaper
and wipe them clean before I begin burning. (For more
information on how to prepare a gourd for burning,
turn to page 86.)
Trace the pattern on tracing paper or use a
photocopy of the pattern. Then transfer the pattern to
the gourd using graphite transfer paper and a pencil.
Note: Make sure that the dark side of the transfer paper
is facing the gourd when you tape the pattern over it.

BURNING THE DRAGONFLY

1 2
Burn the outlines. Using a woodburner with a spear nib, Fill in the long veins. You can use a pencil to lightly sketch
burn all the lines and major wing divisions. Holding the nib on its in guidelines, if desired. Hold the pen the same way as you did
blade side will give you a sharp line. Turning the gourd away from in Step 1 to achieve a sharp line. The veins should run roughly
you while you hold the pen steady creates more control. parallel to each other, but do not make them too even (see TIP
below). It is preferable to slightly vary the widths to make them
more natural.

3 TIPS
Fill in the short veins. If you like fiddly details, then this part will be fun! I hold
my pen up slightly so that I am using more of the very tip of the nib to fill in these TESTING TEMPERATURES
short lines. Some of the spaces are so small that you only need to touch the pen briefly
to the gourd. Keep an eye on your lines to ensure that they stay within their vein Be careful to periodically test
tracks. You may want to lower the temperature control slightly. temperature on a scrap piece. Too hot
32 PYROGRAPHY 2020 and your pen will blotch or dig in; too
cool and you will create skips along
the surface.

ADDING THE VEINS

It is important to vary the placement
of the short veins. Resist the
temptation to draw across and make
a grid, or to stagger them so evenly
that they look like bricks.

4 5
Fill in the border. Use a ballpoint nib. Add shadow to the body. Use a small bent shading nib. I shaded down
Alternatively, you could skip this step and leave the both sides of the body and in between each torso section, leaving a little
border natural. highlight on the top. This gives the body a bit of dimension.

6 7
Add shadow to the blade of grass. Use Add a base coat around the design. I used a heat-set ink dye by
the same nib. Choose one side of the grass to shade GourdMaster. I suggest wearing rubber gloves for this. Use a tapered precision
down. I also added a shadow under the dragonfly. cotton swab to apply the ink to the gourd. Start by applying the ink around the
borders, being careful not to go over the lines; then move outward to the rest of
the gourd.
ADDING THE GOLD LEAF

8 9
Dry the ink. Use a heat gun. If you do a section at a time, Begin the gold leafing process. I paint a red base coat
use a soft rag to blend the edges and avoid hard lines. Be careful, within the border before leafing. That way, if there are any holes
as the heat gun gets very hot! Move the gun slowly and watch or cracks, the red shows through. I used a red base coat made
until the ink changes from shiny to dull. As the surface dulls, you specifically for gold leaf by Old World Art, but any reddish acrylic
will know it is dry. Note: The surface of the gourd will remain hot for craft paint will suffice. It is water-based, so paint it on carefully
a short time, so let it cool before touching it. using a round brush with a tapered point. Try not to get any in the
grooves of the burning.
woodcarvingillustrated.com 33

Stylized 1 Burn the flower profile.
Peony Use the outside edge of a
small shading tip and set the
Practice making fluid woodburner to medium-high heat.
lines on a bold, elegant Avoid pushing down with too much
summer blossom pressure; let the pen do the work.

By Shannon Mahoney TIP

P eonies are a gorgeous BURNING BASICS
classic, recognizable for their
many layers of ruffled petals. I love Always try to pull the burner
to draw them. Each of my peonies toward you, not away.
is different and often influenced Rotate the wood as you burn
by the size and shape of the wood so you have more control.
on which I burn. This step-by-
step guide will walk you through
drawing, burning, and applying
color to a half-bloomed design, but
feel free to put your own spin on it.
Getting Started
I recommend using soft woods,
as they tend to accept burns more
easily and have smoother grain
patterns. Some examples include
basswood, aspen, and birch.
Transfer the design onto your
desired slab, either by sketching it
directly onto the wood or by using
graphite transfer paper and a pencil.

36 PYROGRAPHY 2020

BURNING THE FLOWER

2 3
Add detail lines. On a medium-low heat setting, use Begin to shade. Using the same heat setting, start to add
the edge of the shading nib to burn secondary lines and details contour lines on the inside of each petal. This will add dimension
throughout the flower, including leaf veins and petal ruffles. and visual interest.

4 5
Detail the insides of the petals. Switch to a ballpoint Clean up the design. Go back over the burn with an eraser
nib and a high heat setting. In between each contour line, add or a folded piece of sandpaper to remove any stray pencil lines.
small dots leading away from the center of the flower. In shadow If you used transfer paper, sandpaper works best. Remember to
areas where petals overlap, line the dots all the way up the petal. remove any marks before applying color or a finish so that they
In areas where highlights occur, go lighter on the dots and only don’t become permanent. You can also remove any burn mistakes
line them halfway. This technique will add dramatic value to the with sandpaper, as long as they aren’t too deep.
peony. Since you’re on a higher heat setting, each dot should be
quick and bold. woodcarvingillustrated.com 37

Beginner Practice Apply these simple
Patterns henna designs to
everyday items.
New to burning? Test these simple designs
on everything from spoons to jewelry

By Lora S. Irish

H enna—a powder derived from
the crushed leaves of the henna
tree—is part of a traditional style
of body art that dates back several
millennia. Even now, the intricate
designs are popular, both for everyday
ornamentation and for elaborate
marriage rites in countries including
India, Egypt, and Iran.
Often complex, freehand henna
designs utilize simple, repetitive
florals and leaves with scroll and spiral
accents. These patterns don’t just look
nice on skin, however; they’re perfect
for pyrographers who want to add
small design touches to items around
the house. Have fun putting these
designs on small signs, plaques, box
lids, utensils, or jewelry. They’re a great
way to practice woodburning if you’re
new to the craft.

woodcarvingillustrated.com 53

Beginner Practice
Patterns

© 2020 Pyrography Magazine

FURTHER READING
Little Book of Pyrography

by Lora S. Irish

Item 9692. Available for
$12.99 + S&H (parcel post)
from Fox Chapel Publishing,
FoxChapelPublishing.com,
800-457-9112, or your local retailer.

54 PYROGRAPHY 2020

Pyrography
Portraits

FROM PET PHOTOS

Create personalized woodburnings
of cats, dogs, hamsters, and more
using these winning tips

By Lora S. Irish

C ontrary to what you might believe, Camera Angle and Photo Placement
creating an excellent pet portrait is
less about technical accuracy than about When choosing a photo for your portrait, make sure that the
choosing a few important details to focus camera angle will roughly match that of the finished item on
on and develop. Finding and highlighting display. My camera was at eye level with Peanut when I took this
the important visual clues that define your photo, which means that for the best impression, the finished
burning is far more important than perfectly board should be hung at my eye level on the wall or set on the
following the lines of the photo, and will mantle. I avoid using sharply angled photos—such as one taken
result in a more lifelike depiction. In the from far above or below the pet to avoid creating a twisted or
following sections, I’ll walk you through tilted perspective. Check your photo by placing it at the level
everything you’ll need to complete your very on which the finished piece will be viewed to see if it matches a
own personalized pet portrait from start natural eye level before you chose whether or not to use it.
to finish.

Thinking About Your Subject In this photo
Whether you’re portraying your own pet or of Peanut,
someone else’s, it’s important to take down I’ve circled
some notes about the animal’s markings the unique
and personality to reference while burning. physical quirks
For example, my subject for this project— that I want to
Her Royal Majesty Prince Peanut Butter highlight. These
Blossom (Peanut for short)—is a domestic include a nicked
female shorthair with tan and black tabby ear with a black
markings in a cinnamon bun swirl pattern. tip, an old scar
At six years old, she has an aloof personality on her nose, and
that only graces my lap for a petting on her an off-center
terms and in her own time. Peanut is also lower lip due to
wary, constantly on guard and ready to run. a fight she lost
Knowing these details will help me to flesh with a squirrel.
out her character as I plan the burn.
If this is a pet portrait for a client, ask
them to look over the photo and point out
the odd little details that are important and
what elements might not show because of
the positioning of the pet in the photo.

58 PYROGRAPHY 2020

woodcarvingillustrated.com 59

Castle
Cookie Jar

Store your sweets in a medieval
fortress worthy of King Arthur

By Si Easton

I am a big fan of altering the appearance of items through
pyrography to give them a lighthearted or whimsical
new look. I bought a blank spaghetti container many years
ago but never quite decided what to do with it. Following
a visit to Windsor Castle with my family, I was reminded
of my childhood obsession with all things medieval and
realized that the shape of the container was perfect to make
a castle tower, complete with turrets, arrow slit windows,
and a solid wooden door.
The most exciting prospect with a design like this is the
way that you can customize it completely to suit your own
personal preferences. For example, a portcullis would be a
perfect alternative to a wooden door if you wish. Windows
can be added in a range of different sizes or shapes and
in whatever quantity you so desire. You could even
add heraldic flags, carved decorative gargoyles,
family crests, or other similar images. The
possibilities are endless! Take your time with
planning your own design and you will create
something unique and extremely special.
The principles used in this project could
be used to decorate a range of different
wooden boxes or containers, turning them
into structures or buildings from any country
or period. You could create a range of such
containers to hold tea, coffee, and sugar so
that they look exciting when lined up together
on the kitchen worktop. Another idea is to use
the same principle to decorate penholders or desk
organizers so that you build a miniature town on your
work desk. Let your imagination run free!

woodcarvingillustrated.com 79

CREATING THE CASTLE

1 2
Draw the basic structures. Measure the circumference Mark the battlements. Use your ruler to draw lines across
of the container and divide it into an equal number; 20 is a good the top lip of the container to form the depth of the battlements
figure to work with. This measurement will form the height and create a 3D effect. Align each opposite mark on the sides
and width of each section of the battlements in the tower. Cut and draw a line across the top lip, working your way around the
a square out of the cardstock in that size and use it all the way entire box.
around the container.

3 4
Use a broad shading nib, such as a spoon shader, on Cut a large, arched door shape from a sheet of
a medium to high temperature to start shading in the wooden veneer. Use a scalpel. Ensure that the grain runs
gaps of the castle battlements. Shade on the sides and the vertically from the top to the bottom of the door shape. Trace the
corresponding sections of the top lip. You will start to build up an outline of the door on the side of the container. If you have used the
impression of the battlements as solid structures as you fill each grain of the veneer appropriately, the door itself should be able to fit
alternate square. the curved form of the container without cracking or breaking.

5 6
Add a dark band of shading around the drawn Apply a layer of wood glue to the container and fix
door shape on the container. Use the spoon shader nib on the veneer door to the surface. Make sure that you follow
a medium-high setting and work out from the outline in an the instructions for your chosen make of glue to get the best
irregular manner. A neat line isn’t necessary for a rough area of bond possible. Some brands recommend allowing the glue to dry
shadow, and a random approach gives it a rustic finish. slightly for a short period before pressing both items together.
80 PYROGRAPHY 2020

Burning
Smoke

Make a powerful steam
train using just one tip

By Minisa Robinson

I ’ve always been captivated by
billows of clouds and smoke.
Watching thunderheads begin to build
is one of my favorite summer activities.
It’s fascinating to watch those small
puffs of cloud boil over themselves
and grow to tremendous heights. So
naturally, I’m drawn to the chaotic and
powerful plumes of smoke that come
from locomotives, and I’ve always
wanted to capture that through art.
This has been by far the most
challenging woodburning I’ve created
to date; I put in over 60 hours of burn
time. Making this smoky locomotive
helped teach me perseverance, which
led to the joy of seeing a large project
through to the end. It will take you
time, too, but don’t be daunted—the
task will grow you as a pyrographer!

woodcarvingillustrated.com 103

Getting Started 1 Burn the outer smoke billows. I started at the top, where the billows
Sand the wood until silky smooth. Start are a little less defined. This let me experiment with different ideas before I
with 220-grit sandpaper and work your way started on the more intricate areas. I also kept my shading light in order to avoid
up to 600-grit (or more if desired). Print off scorching areas accidentally. Start establishing the smoke with the upper edge
the pattern at the appropriate size and tape of the shading nib. Turn down the temperature dial to maintain control while
it onto the wood at the top and on one side. creating the lighter shades. It’s okay to burn light at first, and then darken areas
This will allow you to slip the graphite paper progressively with layers.
underneath the pattern without making the
pattern slip.
Insert the graphite paper between
the pattern and the wood. Carefully draw
over the pattern lines with a red pen. Lift
the graphite paper occasionally to ensure
that the lines are dark enough. Use lighter
pressure in lighter areas of the pattern so
the graphite lines won’t be visible after you
burn. Remove the pattern and graphite
paper. Then, before burning, use a fine-grit
sandpaper to sand down any lines that are
too dark.

TIP

LIGHT AND SHADOW

When woodburning, note that
darker areas of an image appear
to recede from the viewer, while
lighter areas seem to be closer. If
the burning of the smoke cloud
seems too flat, try darkening the
blacks and darker midtones.

2 Prepare the background area. 3 Begin to burn the background.
Before burning the black background, Using a higher heat setting, set the shading
use the upper tip of the shading nib to point flat onto the wood and slowly burn
burn along the perimeter of the smoke the black background in small sections.
plume and create a wide, black border. Note: If using a Razertip, be careful not
This acts as a heat buffer so you don’t to scorch the wood with too high of a
accidentally burn into the smoke plume temperature setting. The black background
while blocking in the background. showed me the darkest value on my
104 PYROGRAPHY 2020 shading scale and allowed me to woodburn
the rest of the smoke more efficiently.
Without that reference point, my overall
shading usually turns out too light.