Woodburning with Style E-Book

Simon Easton

• Herausgeber: Fox Chapel Publishing
• Kategorie: Lebensstil
• Sprache: Englisch

Seitenzahl: 364

Veröffentlichungsjahr: 2010

Beschreibung

A Contemporary Twist on Woodburning Basics. Award-winning artist and pyrographer Simon Easton guides you through nine woodburning projects, while encouraging you to develop your own style. This beautifully photographed, hands-on instructional guide to the art of pyrography will take you on a journey of skill-building lessons to create attractive projects with this hands-on book. Begin at the basics and finish with stylish, gift-worthy projects!

Leseprobe

© 2010 by Simon Easton and Fox Chapel Publishing Company, Inc., East Petersburg, PA.

Woodburning with Style is an original work, first published in 2010 by Fox Chapel Publishing Company, Inc. The patterns contained herein are copyrighted by the author. Readers may make copies of these patterns for personal use. The patterns themselves, however, are not to be duplicated for resale or distribution under any circumstances. Any such copying is a violation of copyright law.

ISBN 978-1-56523-443-7

Library of Congress Cataloging-in-Publication Data

Easton, Simon.

Woodburning with style / by Simon Easton. p. cm.

Includes index.

ISBN 978-1-56523-443-7

1. Pyrography. I. Title.

TT199.8.E28 2010

745.51--dc22

2009053467

To learn more about the other great books from Fox Chapel Publishing, or to find a retailer near you, call toll-free 800-457-9112 or visit us at www.FoxChapelPublishing.com.

Note to Authors: We are always looking for talented authors to write new books. Please send a brief letter describing your idea to Acquisition Editor, 1970 Broad Street, East Petersburg, PA 17520.

Printed in ChinaFifth printing

Because burning wood and other materials inherently includes the risk of injury and damage, this book cannot guarantee that creating the projects in this book is safe for everyone. For this reason, this book is sold without warranties or guarantees of any kind, expressed or implied, and the publisher and the author disclaim any liability for any injuries, losses, or damages caused in any way by the content of this book or the reader’s use of the tools needed to complete the projects presented here. The publisher and the author urge all woodburners to thoroughly review each project and to understand the use of all tools before beginning any project.

About the Author

Simon Easton studied a BA (Hons) Three-Dimensional Design degree at Manchester Metropolitan University where he focused on woodturning, silversmithing, and pewterware. His pewter napkin ring set was one of the MMU winners of the Pewter Live 1999 competition, and was displayed at Pewterers’ Hall in London. He won both a Precious Metals Bursary and a grant from the Worshipful Company of Goldsmiths in order to produce design concepts that he had developed. The common theme in Simon’s work was a decorative and textural feel, often rich in embellishment or pattern.

Before graduating in 2000, Simon’s design for a wooden turned decorative bowl was selected for inclusion in the onetree project. This project, which toured the United Kingdom as an exhibition, stemmed from the use of one single ailing oak tree distributed to a range of artists, designers, manufacturers, and craftspeople. Every single part of the tree (from the leaves to the roots) was used to create a stirring and diverse display of talent, which was also featured in a book published to accompany the tour. For the onetree exhibition, Simon created a decorative turned wooden bowl with a spun pewter insert, entitled Wish, Hope, Dream, Everything.

In recent years, Simon’s crafting focus and love of wood has led him to the art of pyrography, which he uses with a contemporary twist to create richly decorative items and gifts. The result is a body of work released under the name Wood Tattoos. He has created a varied range of works and commissions, sells at craft fairs and galleries, and accepts custom orders at www.woodtattoos.com. He is an active member and moderator of the UK Crafts Forum, where he assists in passing on tips and advice to all craftspeople.

Dedication

This book is dedicated with my love and appreciation to the following people:

To my wife, Jane, for her continued love during the long nights in front of the computer and always.

To my daughter, Bethan, and my stepsons, Howell, Harry, and Freddie, for distracting me at every opportunity!

To my parents-in-law, Peggy & Gilbert, and my grandmother, Molly, for their unquestioning care and support.

And in loving memory of my grandfather, Ted, who helped to develop my love of the visual image. I miss you.

Contents

About the Author

Introduction

Getting Started

Chapter 1: Simple Mark Making

PROJECT 1: Basic Coasters for Beginners

Chapter 2: Basic Decoration Techniques

PROJECT 2: Decorative Key Rings

Chapter 3: Silhouettes

PROJECT 3: Hanging Wall Clock

Chapter 4: Drawing with Fire

PROJECT 4: Landscape Artwork

Chapter 5: Texture and Pattern

PROJECT 5: Textured Key Ring

Chapter 6: Lettering

PROJECT 6: Door Sign

Chapter 7: Portraits

PROJECT 7: Pet Portrait Plaque

Chapter 8: Ideas and Inspiration

PROJECT 8A: Tattoo Bracelets

PROJECT 8B: Celtic Patterned Border Plate

Appendix A: Wood for Pyrography

Appendix B: Texture & Pattern Samples

Resources

Introduction

Wood Tattoos is the name I’ve given to my creations using the art of pyrography. There is such visual similarity between the tattoo artist transferring inks to the skin of their client and the pyrographer burning their decorative designs into a piece of wood. I may be slightly unusual (some might say incredibly strange!), but I also find both processes extremely relaxing. The tattoos on my body all mean something to me about a certain stage in my life, and I believe that crafts such as pyrography also have the ability to create something to cherish or remember. I try to recreate that richness and meaning in my pyrography work.

As our technologies have progressed, production techniques have become more advanced and the role of the craftsperson has become more specialized or even marginalized. Handcrafted pieces appeal to us, as they have an identity that many mass-produced items lack. There is often a story behind them, something magical and intangible that can enthral us. The future for such possessions may seem uncertain in the increasingly transient modern culture. How do we form an emotional connection with an item we can only see on a computer screen? How do we experience the warmth, the texture, or the smell of such things? The tactile and sensory pleasure of life is all part of the variety that makes working in crafts so pleasurable and challenging.

Pyrography has always struck me as a community craft, as its practitioners are always so open to sharing tips and techniques. In this book, I hope to give you a feel for my Wood Tattoos style of pyrography, which may be both similar and wildly different than other books written on the subject. Each chapter contains a wealth of information about the techniques and methods I use to create my own designs. Pyrography is an artistic process and it would be impossible to create a definitive list of the ways it can be used, so this book is designed to show you how I have achieved the results for my own work and to start you on the path to discovering your own techniques and style. As with all areas of art, each individual will bring their own individual qualities, interpretations, and ways of expression to their work, making us all uniquely different. As you progress through the chapters, it is my hope your pyrography skills will build until you feel able to achieve whatever results you desire.

This book is designed to show you how I have achieved the results for my own work and to start you on the path to discovering your own techniques and style.

I have also created a number of step-by-step projects to help you try out some of the ideas and tips described: the projects are designed to act as guidance for inspiration, rather than to be followed exactly to the letter, leaving you scope to follow your own creativity. There are galleries of my work included to show you the range of potential available to you when you take up the art of woodburning. Above all else, I hope you pick up on the pleasure that working in pyrography gives me, and take some of that away to inspire your own crafting vision.

And one final word of warning before you start—don’t confuse a pyrography machine with a tattoo kit. It would hurt!

Getting Started will fill you in on what you need to know before you start burning. here.

Chapter 1: Simple Mark Making will take you through your first few experiments with the pyrography pen. By the time you finish this chapter, you’ll be ready to make a set of simple coasters. here.

Chapter 2: Basic Decoration Techniques shows you how to link together the marks you’ve learned to make in order to decorate an object. here.

Chapter 3: Silhouettes walks you through the creation of a basic decorating technique. Silhouettes will hone your shading and mark-making skills. here.

Chapter 4: Drawing with Fire will show you the subtleties of drawing using a pyrography pen. You’ll be able to create a beautiful landscape utilizing the skills you learn here. here.

Chapter 5: Texture and Pattern exposes the world of possibilities for covering a surface with pyrography. You can make a piece of wood look like an ancient stone surface, or even use a microscopic view of coral to decorate an object. here.

Chapter 6: Lettering introduces a vital component of any personalized design: the letters. You’ll learn the important techniques of how to create legible letters. here.

Chapter 7: Portraits illustrates the basics for creating a realistic image of a person or animal using pyrography. here.

Chapter 8: Ideas and Inspiration closes the book with pages chock-full of ideas to utilize your newfound pyrography skills. If you’re stumped for project inspiration, you won’t be for long! here.

Check out the back for useful information on woods for pyrography (Appendix A, here), texture ideas (Appendix B, here), and resources (here).

Getting Started

The word pyrography literally means “writing with fire,” and it is a tradition that dates back hundreds of years. Luckily, the people who still practice the craft today are not termed pyromaniacs! There is something very raw about creating images from heat or fire: the first few strokes I made burning patterns into wood when I was at school reminded me of cavemen painting crude images onto rocks with burned twigs.

The following pages will fill you in on the options available in pyrography machines and how to choose the right one for you. Also covered are types of materials that will (and won’t!) take well to being decorated with pyrography work. Safety, maintenance, finishes, and more—it’s all here.

Pyrography is a rewarding craft to learn, regardless of your previous experience or artistic ability. With practice, you will be able to create beautiful gifts and items, such as this wooden plate decorated with a Celtic knot design.

Pyrography Machines

Pyrography is also often known as woodburning or pokerwork, the latter deriving from the metal pokers used during the Victorian era that were heated to use as drawing tools. The irons would have cooled very quickly and required re-heating frequently between applications, making the process of creating a piece of art very slow and meticulous. Fortunately, pyrography machines—which heat quickly and stay hot—are available to those wishing to pursue the craft of pyrography today. Modern pyrography machines have been designed to be easier to use, requiring less preparation and with improved safety in mind. Most standard pyrography machines are comprised of a transformer or power unit with a mains adaptor. The pens for these units are usually separate components that plug into the mains unit. Some units may have sockets or adapters for more than one pen to be used at once: this can be advantageous if you are working with more than one style of nib on the same design, as you do not need to let the machine cool and change the nib as often. Other manufacturers produce pens with fixed nibs so that you need to swap from pen to pen to create different marks and textures: this may seem time-consuming but it does mean that you do not have to allow for cooling down.

Some craft outlets sell basic pyrography kits for beginners, which are often supplied with a basic instruction book and some sample materials to work on. They generally take the form of large pens that have an adaptor incorporated directly into the body of the pen itself, without a separate power unit.

Modern pyrography machines are generally available in two formats: the solid point machine or the hot wire version. The benefits of modern machines are quickly apparent: most pyrography machines now have adjustable heat settings and a range of pen tips that can be used to create different effects or marks. Due to the nature of the work for which they are intended, they are usually sturdy and robust machines, made from strong plastics or steel to ensure the interior is well protected. Though both types of machine are useful, they do have their pros and cons.

Solid point machines

Solid point machines have solid metal tips, which usually come in a range of sizes and shapes to produce different marks and effects. The machines usually resemble a soldering iron in their physical appearance. They can take some time to heat up depending on the size and thickness of each individual tip. The nibs are often held in place by a screw or similar fitting, which makes them fairly simple to remove and change. Solid point kits are the most widely available type of pyrography machine and tend to be cheaper, too. As the machines generally don’t have a separate base unit, the heating element is inside the pen itself, so they tend to be larger: this may be an advantage or a disadvantage depending on your personal preferences. Many people find it difficult or awkward working with a pen where their hand is quite a distance away from the working nib. Personal preference and comfort are valid factors to consider when you buy.

Solid point pyrography machines are similar in appearance to soldering irons, comprising of a pen with solid metal tips and an electrical flex to connect it to the mains. Some pyrography machines are supplied with a range of different tips in various shapes and sizes.

Hot wire machines

Hot wire machines have a metal wire nib, which heats up very quickly like the element in a lightbulb. Because of this, the temperature is very easy to adjust for creating different grades and qualities of mark. There are a range of different wire nibs available in the same way as the solid point tips, which are all suitable for different effects such as fine lines, textures, broad area shading, and so on. The range and selection of ready-made tips produced by North American manufacturers is extensive, so you are guaranteed you will find a suitable nib for any mark you have in mind. It is also possible to buy lengths of pyrography wire from craft outlets to create your own nibs by shaping and filing: this practice is most common with pyrography machines produced in Europe. Using shaped nibs you have made for specific purposes can be rewarding, cost-effective, and time-saving. Some hot wire machines require swapping entire pens, rather than just the nib. Most hot wire machines have a separate base unit where the heating mechanism is located, so the pen itself can be smaller, lighter, and often easier to handle as a result.

I have always preferred to use a hot wire pyrography machine. I believe they are easier to use, quicker to heat and cool down, and more adaptable for a range of situations and techniques. This is only personal preference, and most pyrography techniques are essentially the same in principle no matter which machine you use. However, please be aware that most of the designs in this book have been created using a hot wire machine.

Hot wire pyrography machines consist of a base unit with an adjustable temperature dial. The pens are often separate components that are plugged into the unit. Some machines are able to power more than one pen at a time.

This example of a separate pyrography pen shows a fixed nib at the top. The plastic body is attached to the base unit by a separate electrical lead, allowing different pens to be used with the same machine.

Pyrography nibs are available in a wide range of shapes and sizes, each with their own particular use and abilities.

Solid point nib

Pros

Cons

• Wide range of manufactured specialist nibs and tips available

• Often cheaper in price and more readily available to purchase

• Nibs are easy to change and do not break easily

• Good for large work

• Can be slow to heat up and slower to burn the surface

• Pens are often larger, heavier, and harder to handle, with a greater distance between hand and nib

• Some machines use fixed nibs, offering less variety in marks

• Handle can heat up if the element is contained within

• Less adjustability and control

• Not well suited to detailed and fine work

Hot wire nib

Pros

Cons

• Heats up and cools down quickly

• Wide range of manufactured specialist nibs available

• Possible to make your own shaped nibs from Nichrome wire

• Pens are generally smaller, lighter, and easier to handle

• More likely to have an adjustable temperature setting

• Burns the wood more easily and quickly

• Pen has no heating element within so will be cooler to hold

• Good for detailed work

• Machines are more expensive and less commonly available

• Specialist nibs may be expensive

• Nibs can break more easily

• Pens can sometimes break or develop a fault with regular use, particularly around areas where the nibs are fitted to the pen

Choosing a Pyrography Machine

Selecting an appropriate pyrography machine can be difficult, as they are generally not widely available. As you may often wish to use them for prolonged periods of time, it is essential that you select a comfortable piece of equipment. It would be ideal if you were able to locate a craft supply store in your locality with a range of pyrography machines in stock, so that you could “try before you buy.” Unfortunately, this is usually not the case for the majority of people, and I have always had to buy my pyrography machines online through Internet craft supply websites. The benefit of these sites is they are usually very informative and you can find out a great deal of information about a particular make or model through searching for reviews from other crafters on the Net. Prices can vary as well, depending on whether you want to buy a basic pyrography craft kit for beginners or a more advanced machine. If you do buy your pyrography machine over the Internet, make sure you have selected a model with an appropriate power supply set-up for the country you are based in.

The pyrography pen is held in basically the same way as a normal writing pen or pencil, but it is manipulated in a much slower and more controlled manner. It is, therefore, important you are comfortable holding and moving the tool for longer periods of time. Think about the type of pen you prefer to write with and see if the pyrography pen matches it in terms of basic dimension. Do you prefer using a short or long pen? Do you prefer to write with a chunky pen or one that is slimmer in diameter? Do you like a heavy pen or something light? Keeping these considerations in mind may assist you in choosing a machine that is suitable. The pen will become like a quality fountain pen with time: the grip and feel will become individual to you. Certain nibs or points may wear slightly to suit the angle you hold the pen at and the pressure you apply when you work. Using the pyrography pen should feel as smooth and natural as writing with your favorite normal pen. If it does not feel comfortable, or if holding it is awkward, then you will not be able to work to your full potential.

Protection from heat is another factor to consider when shopping for a pyrography machine. A good quality pyrography pen handle should be well-insulated against heat. Some pens are designed with a formed ridge or separate guard to prevent the risk of your fingers coming into contact with the metal section at the end, which obviously heats up to a high temperature while you are working.

Hold the pyrography pen in exactly the same way that you hold a normal writing pen. If your fingers are too far back or you hold the pen awkwardly, you will not feel comfortable and your work will suffer as a consequence.

Many pens feature some form of protection to protect against the heat of the nib. Some use a special foam guard (above) to insulate the pen, while others may have a raised guard or lip to prevent fingers from getting too close to the hot nib.

Additional Equipment

As well as your pyrography machine of choice, the following other tools or items of equipment may prove useful to you while working:

• A range of standard pencils for drawing designs onto your material. You may prefer to use automatic or mechanical pencils with refillable lead. The delicate nature of the line that these provide can be more suited to accurate work, and they are also less prone to smudge. If you choose to use a traditional pencil, you will need a good quality pencil sharpener to keep your pencils in good condition.

• A good eraser for correcting the inevitable mistakes that will occur! I tend to use a soft eraser as it is less likely to mark or damage the surface you are working on.

• A range of sandpapers to assist with correcting more serious mistakes and for the preparation of wooden surfaces.

• A ruler and set of compasses to assist in marking up designs. These are particularly useful for accuracy when working with borders or other geometric shapes.

• A set of geometric stencils can be very useful if you repeatedly use simple shapes such as circles or ovals.

• An appropriate screwdriver and set of pliers for changing the nibs or wires on your pyrography machine.

• A selection of jeweler’s needle files, which can be used to create your own shaped nibs for hot wire machines.

The basic essentials in terms of drawing equipment for any new pyrographer (from left to right): a steel ruler, an eraser, a selection of pencils, a craft scalpel, a pair of compasses, an automatic (or mechanical) pencil, tracing paper, and masking tape.

Geometric stencils can be very handy for drawing small shapes such as circles or ovals.

You will also find the following tools very useful for preparing and maintaining materials and equipment (from left to right): a selection of sandpaper (from coarse to fine), a pair of pliers, a set of jeweler’s needle files, and a flat-headed screwdriver.

You can purchase protective mats to protect your work surface from the heat of the pyrography pen.

• A protective board to avoid damage to your table or desk. I suggest heavy duty cardboard or a solid piece of plywood. This can be a scrap piece of material that you can replace once it becomes too pitted or grubby for further use. You can also purchase a heat-resistant mat designed to cope with extremely high temperatures.

• Sheets of tracing paper for transferring designs onto your material. You can use graphite paper if you wish, but it is a little more expensive.

• A roll of masking tape for keeping the tracing paper or stencil in place when you are transferring designs onto your materials. Also use it to mask off areas you wish to keep clean or protect in some way while you are working.

• A good craft knife or scalpel for correcting errors made by burning a surface too much.

• A supply of steel wool for cleaning pyrography nibs after prolonged periods of burning. You can also use an old craft knife blade to remove dirty deposits from the pen nibs.

• A small anvil and hammer, if you really enjoy making and shaping your own nibs. They can be used to flatten wire nibs into fine flat edges or delicate points.

• A supply of soft cloths for wiping dust and grit away from your working surfaces, as well as for applying finishing treatments.

• A selection of different oils or varnishes for finishing your work.

• An electric fan to remove the smoke as you burn.

• A good electric light so you can see clearly as you work.

We will cover other materials and media that you can combine with your pyrography designs, such as paints, colored pencils, and other accessories. These are not essential as you learn the basics of pyrography, but they do provide the scope for broadening the potential of your work.

Materials for Pyrography Use

It is possible to use pyrography on a range of different materials, such as wood, leather, paper, card, cork, and gourds. My favorite woods to work on are beech and sycamore. Both are pale in color with a fine grain, which means they provide a perfect contrast with the pyrography marks. I have also worked on pine, oak, basswood/lime, maple, and several other species. Appendix A at the back of this book features a guide to many common woods and their suitability for pyrography. Below are some considerations for selecting materials for your pyrography projects.

Wood slabs

A piece of wood was once alive, perhaps part of a sturdy oak or an elegant willow tree. It is easy for people to look at a knot or similar mark as an unsightly blemish or fault, but this is mainly due to the smooth perfection of other manmade materials we are surrounded with on a day-to-day basis, such as plastics or metal. The tree existed and, therefore, has a history of its life. Each mark may be the result of a hard winter, a lightning strike during a bad storm, the loss of a branch, or an insect habitation. If you think of knots as unique design features instead of blemishes, a world of possibilities opens up. Many other common and uncommon “blemishes” of wood can be used in your designs. Splits, cracks, the swirling grain of a burl, small holes created by burrowing insects, and the dark irregular marks of spalting (showing the progress of a fungus inside the log) can all become useful and desirable design elements.

Knots are a natural feature of wood. Some people see them as an imperfection on a working surface but their appearance can be used to your advantage at times.

Spalting, caused by fungus, can create beautiful and interesting black lines in wood.

There is a massive range of wooden craft blanks available to buy for pyrography use. Visit your local arts and crafts store, or look for online retailers that will ship directly to your address.

Wooden blanks

Wooden blanks are ideal for use with pyrography and easily found at many craft suppliers and art shops. These include key ring fobs, plates, boxes, eggs, plaques, bowls, napkin rings, chopping boards, kitchen implements, place mats, picture frames, toys, and much more. Many of the step-by-step guides in this book use such blanks, so you can easily purchase the materials required to attempt the projects in this book and to generally improve your own skills.

Second-hand items

You may also wish to browse second-hand stores, junk shops, or antique retailers in order to locate items with more of a story behind them. Similarly, you may find that particular item you are looking for on an online Internet auction website. You can often pick up items in this way at very low prices, which is great if you are worried about making a mistake. Remember, one man’s junk is another man’s treasure… keep your eyes peeled at the next garage sale and you may find an ideal canvas for your developing talents!

The only consideration that you will need to take is if a wooden item has already been treated or finished in some way. Most varnishes or lacquers release unpleasant fumes when burned with a pyrography tool. As a general rule, the more plastic-like the finish on the wood, the more likely it is that the fumes will be horrible and possibly dangerous to your health. Prepare the area you wish to decorate by sanding it down to the bare wood before applying the pyrography design.

Plywood

Plywoods can be used for pyrography, as the surface layers are often pale in color, which is ideal for contrast. The only issue to bear in mind is the thickness of the layer you are working on, so you don’t work too deep. You could possibly reveal a layer of a different color, and the glue used to sandwich the plywood may produce unpleasant fumes when heated.

Leather

Leather can be a very rewarding surface to work on. It requires a lower temperature setting than wood. Be careful which type of leather you select to use, as some tanning methods use chemicals that are harmful when released as fumes during burning. Most craft suppliers make items such as key fobs and bookmarks from vegetable-tanned leather, which is safe to burn, supple, and available in a range of pale colors for contrast.

An example of a pyrography design on a piece of vegetable-tanned leather.

Paper, card stock, and cork

It is also possible to use pyrography on paper and card stock. Every technique described in this book for use on wood will also apply. However, this process requires more caution and concentration than wood, as the material is more delicate and there is a risk of burning through the surface. It is best to have a piece of scrap paper on hand so you can practice and get the hang of the way the paper reacts to the application of the heated nib. Paper and card stock are cheap and widely available: check your local art store. Many of the same principles apply for burning on cork, as it is a very soft material that burns quite easily.

Pyrography on paper can provide a stunning contrast, but care must be taken when applying the heat due to the delicate nature of the material.

Cork can give great shading effects (such as the mottled coat of this rabbit), but is not the best surface for detailed work or fine lines. It is very soft and burns easily.

Materials to avoid

Woods with a very strong grain can be difficult to work on: the heat of the pyrography pen can travel along with the grain against the intended direction of the mark. This means that a line may not appear even or neat, despite the best intentions and efforts of the craftsperson.

Soft and sappy woods, such as pine, can be a little tricky to work with due to the sap or resin contained within. The heat of the pen can make the wood weep a little, causing the pen nib to get clogged up or sticky. This does not mean these woods are completely useless for pyrography; it just means you need to exercise more patience while working on them, and clean your pyrography pen more frequently. Woods like this are often best suited to bold, simple designs rather than intricate artwork with a lot of fine detail.

MDF (medium density fiberboard) and similar materials should be avoided above all else! These materials are made of compressed wood fragments combined with strong glues or chemicals at high pressure to make something almost plastic in its characteristics. Most of the chemicals used in the manufacture of manmade composite materials can give off harmful or toxic fumes when heated. Of course, plastics themselves are also not suitable for pyrography.

Safety Advice

Pyrography machines use electricity to become hot—so you’ve got the obvious concerns that go with electricity and heat. There are also a few other safety items that you might not think of until you’ve experienced them. Please read through the following information and make sure you stay safe while using your pyrography machine!

Positioning an electrical fan so that it points away from your working area will draw the smoke away from you without affecting the working temperature of your pyrography machine.

Ventilation

Work in a well-ventilated area wherever possible. Burning any material creates smoke and fumes, and working with a pyrography machine to draw usually brings the crafter directly over their material of choice. Work near a window, or consider placing an electric fan near your work area to move the smoke away from you. Rather than pointing the fan at you, place the fan near but facing away to draw the smoke away from you without the moving air cooling the hot pen nib and reducing the working temperature. If you do not have a fan, you may wish to consider wearing a mask or pair of goggles if necessary. The smoke created can make your eyes water, or possibly cause any respiratory problems from which you suffer to worsen.

Fire safety

Never use your machine near chemicals, flammable substances, or other potential fuel sources. Despite the relatively small size, the heat in a pyrography pen can still be intense enough to cause a fire if not used cautiously.

Smoke alarms

Avoid working near smoke alarms. Your neighbors will not appreciate the piercing shriek of your alarms on a regular basis when you really get into your craft sessions!

Changing nibs

Whichever machine you choose, remember to ensure the tips are completely cool before changing them by hand. The glowing red heat of a hot wire nib is a very clear indication it is too hot to handle, but this disappears within seconds of the machine being switched off. The nib will still be too hot to touch for some time, so leave the kit alone for at least 10 minutes or so before attempting any alterations. If in doubt, press the nib on a piece of scrap paper: if the paper does not burn or become discolored in any way, you may be able to handle the nib. Caution is the best advice I can give; otherwise, your hands and fingers may soon be covered with small nib-shaped scars.

It is often very hard to tell if a pyrography nib is still hot, so please be cautious. Treat all nibs as if they are hot unless you have verified they are definitely not. Test a nib on a piece of scrap wood or paper first before touching it.

Hot pens

If your pen does get hot and uncomfortable to hold during a sustained period of burning, turn the machine off and put the pen down. Allowing the pen to cool for a few minutes is recommended. If your machine uses interchangeable pens, you can always consider swapping pens at this point to keep going. Otherwise, take the opportunity to have a refreshment break and rest your eyes while the pen cools down, rather than soldiering on in discomfort.

If a pen handle feels very hot during use, turn it off, let it cool, and check for damage. The plastic casing may have become cracked or broken. Damaged pens can be a hazard and should be replaced immediately.

Protect your fingers

Make sure you are always careful when burning into small items that you need to hold in your hand, such as key ring fobs or small trinket boxes. Working on large flat pieces of wood can be very straightforward, as it is easy to rest the heel of your palm on the surface to support you as you work. It is easy to become absorbed in your work and forget how close you are to your fingertips with smaller items. Work patiently and adjust your grip as you work to ensure your fingers are always as far as possible from the tip of the pen while you burn.

Take care when burning small items. Make sure your fingers are always as far as possible from the area where you are working with the hot nib.

Twisted wires

Ensure that the electrical flex linking the pen to the pyrography machine itself does not become too twisted when you constantly adjust the way that you hold the pen. This may inhibit or restrict your movement at a vital point in the burning process, which could result in an error or (even worse) you burning your fingers! If it is getting a little twisted, turn the machine off and allow the pen to cool, then unplug the pen and straighten the flex. You will then be able to plug it back into the base unit and start again unhindered.

Temporary pen storage

Always know where your pyrography pen is and make sure it is used safely. Most pyrography machines have a clip or stand attached so the pen can be placed securely inside when not in use to reduce the risk of injury or accidents. If you do not have such a feature, you may be able to use a container or stand of some sort that is made from a material that does not conduct heat.

Otherwise, it is better to be safe than sorry and turn the pen off when not in use, even for a short period of time. This is definitely the best guideline if you have children in the house, as they may try to touch the equipment while it is still hot.

Make sure the hot nib is never left or held in a way that might bring it into contact with the electrical cable linking the machine to the mains power. This may result in damage to your pyrography machine or harm to yourself or your home.

Many pyrography machines are fitted with a hook or clip to hold the pen when not in use, so you do not inadvertently burn your work surface or yourself!

Other problems

If you have any problems with your pyrography machine, check the instruction manual for your particular make and model. These guides often include a troubleshooting guide for common faults that can be resolved easily. If the fault appears serious, make sure you get it examined or repaired by a qualified engineer. This is particularly important if the fault appears to be of an electrical nature: if the machine displays any sparks or makes any buzzing noises, turn it off and disconnect it immediately before seeking professional advice. I would suggest you contact the manufacturer to see if they have any servicing agreements, or make enquiries with the retailer that you purchased it from.

My first pyrography machine developed a fault while I was in the middle of an important project. There appeared to be a problem with the connection inside the power unit, which was remedied by placing a pressure or weight on it.

In my rush to finish the project without waiting for my new machine to arrive, I used an easily available pressure source to make the machine work. Unfortunately, the chosen pressure source was my knee, which I found was not exactly heat resistant, and I still have a small scar there to this day resulting from the burn. Please take note of my mistake and learn from it!

Nib Maintenance

As you work through a pyrography design, the nib of the pen will be used to burn the surface in a variety of ways. Over time, carbon deposits and ash will build up on the nib. This can reduce the working temperature of the nib so that you find it harder to burn in a certain way, or you find it takes a longer time to create a certain effect. The deposits can clog up the nib, causing it to snag or dig in as you work across the surface. Any of these issues can ruin the quality of the line or mark you are trying to achieve. Cleaning the nib regularly will prevent these problems from having a detrimental effect on your design work.

Quick cleaning methods

Tapping the nib on a metal surface can dislodge most deposits if you want to give the nib just a quick clean while you are working. I have an old flat-headed screwdriver that is sufficient: the lightly pitted surface means I can also run the nib across it to remove the unwanted grit.

Special tip cleaners enable you to clean the nibs whether they are hot or cold. These are usually in the form of a blade fixed into a solid base with a protective cover. The nib is drawn through a pair of fixed blades or one blade with a V-shaped notch cut in it. Because the blade is fixed into a protective base that does not conduct heat, this type of device can avoid wasting time unnecessarily by waiting for tips to cool before you can clean them. You can literally swipe the tip through the blades and go back to your burning. This is the best way to clean your nibs, in my opinion, as it does not affect the nib in the same way that frequent abrasion does.

Cool-down cleaning methods

Prior to cleaning any nib thoroughly, turn the machine off and allow it to cool down so it is not hot to touch. Coarse steel wool is an ideal tool for cleaning nibs: just give the nib a quick brush through the wool several times to remove the ash and dust. You can also use an old craft knife blade or very fine sandpaper to lightly scrape any stubborn deposits off the nib.

Reshaping

You may find your favorite nibs become worn, pitted, or dulled with time and constant use. An oilstone can be used to gently add the sharp edge back onto a bladed nib. You may not be able to sharpen the edge of hot wire nibs on more than a few occasions, as they are delicate and will weaken after several treatments. Solid point nibs are much more robust in this respect and will last much longer with even the most vigorous cleaning and reshaping.

Finishing Your Work

How to protect your finished work depends on the nature of the object you have created. If you are not sure what effects a particular varnish or oil may have on the wood surface or tones of your pyrography design, I would always recommend trying a small area on a piece of scrap wood first. It is much better to spend a bit of time doing this, rather than inadvertently ruining a finished piece of work at the final stages. This is particularly important in the future if you start to combine other materials, such as paint or ink, with your pyrography. There would be no bigger frustration than completing a design only to see the colors run when you start varnishing.

Keep in mind while applying that most varnishes have guidelines that show how long before a coat is touch dry, and how long it takes to dry completely. If you do not follow the instructions, the lower coats may not dry fully which affects each subsequent coat: sometimes the finished effect can appear rippled or dull. You cannot rush the process, so make sure you allow enough time to let each coat dry fully before you start the next application. Use a broad soft brush and apply the varnish sparingly. It is better to build up the layers gradually rather than applying too much at once, as this can result in drips or puddles, which do not dry particularly well and ruin the finished appearance.

Use a large soft paintbrush to apply varnishes to your crafted items, and remember to allow time to dry between coats. Always follow the directions on the container of the particular brand that you are using.

Apply Danish oil or other finishes to wooden items with a soft cloth.

Danish oil gives the wood a pleasing warm luster. The right side of this fob has been treated, while the left side is plain wood.

Danish oil

Most of the items I create are for household use or display, and I have found that treating them with several coats of Danish oil is the best way of finishing them. It gives the wood a warm glowing luster that enhances the rich tones of the pyrography marks. Danish oil can simply be applied using a soft cloth or tissue. Once you have rubbed the oil into the wood, simply allow it to dry naturally in a well-ventilated area.

Clear varnish