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  • Pyrographic Article

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    Cynthia Miller
    33 vues7 pages
    Pyrography

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    Pyrography

    Droits d'auteur :

    © All Rights Reserved
    Téléchargez comme PDF ou lisez en ligne sur Scribd
    Signaler comme contenu inapproprié
    33 vues7 pages

    Pyrographic Article

    Transféré par

    Cynthia Miller
    Pyrography

    Droits d'auteur :

    © All Rights Reserved
    Téléchargez comme PDF ou lisez en ligne sur Scribd
    Signaler comme contenu inapproprié
    sur 7
    - Pyrographic Zz Gallery : BY SUE WALTERS Site Walters selftaugh, internationally renowned, and awardavinning pyrographie artist After ac in horticulture, Sue began her pyrographie journey after receiving a bumer asa present. She soon started designing and burning souvenirs for the Ausiraian tourist industey—and found that the demand surpassed her supply! Her focus then with various Elephant Eye, monochrome special Pyrography on birch and miniature bur plywood. since then, het pyrography has gamered many awards at pyrographic and woodworking ‘Thess fnichedloeke competitions in Australia and Canada including by Sue Walters show several Best in Show awards, how the texturing Sue's passion for pursuing all that pyrography techniques in the ‘has to offer continues to this day, and she remains following article work 4 ed to passing on her knowledge to othe pret dedicated to passing on her knowledge to other realism in wildlife aspiring burners ae A fithgenerition Aussie, Sue sil els Austria ome. For more of Sue's work, vist her webs home. F fs . Beige monochrome pyrography on silky oak. Turtle Rising, monochrome pyrography f carved silky oak. 44 Wood Carving ustrated » Summer 2005 Burning Realistic Texture | Burning Realistic Choosing the right tip makes all the difference when texturing a woodburning By Sue Walters here are literally hundreds of woodburner tips (or nbs) ‘out there. But most of them have a very specific purpose such as burning in feather quills, fsh scales, or other specific details For general pyrography, three basic types will give you the ‘opportunity to perform a huge variety of burning. These types are the skew. writer, and shader. ‘The skew nib has a straight edge and is best for burning or ‘cutting crisp, neat ines.The wire in the writer nib is bent to 4 PATOURE point. It is used for lettering, curving lines, and filing in, The shader nib is fat anc! is designed to “iron” the surface, leaving a soft, wide scorch mark,The spoon shader is shaped like the ‘regular shader, except the flat iron part is bent.The spoon shader {used for soft, gradient tonal work, but isnt good for shading large areas. Using these tps, its easy to add a variety of textures to your ‘wildlife burnings and, it's easy to simulate different animal coats— be ita shorchaired coat, a smooth coat ora flufly coat. Pyrography Troubleshooting Here are some common pyrography problems and how to solve them! Each example shows a skew tip on top, writing tip in the ‘middle, and a shader on the bottom, eee eee | RRR mene mmmtemnansn ss et | TEN Lines uneven in thickness or color = varying nib speeds. Is essential that you move your nib across the wood ata constant speed, Dirty lines, inconsistent burning = dirty ni Make ica practice to always hep your nbs clean cof carbon buildup Untidy and blobby lines, scorch marks on ‘edges = nib heat set to0 high. Turn down your heat and practice unl you can tll how hot to ‘se the heat based on the speed you are moving. Pn ( | 1 | ‘Wettig pce. \ re acm | ge error ——— | Blobs or hotspots tthe start of line not Checking ofbur ines when burning over Work sratchy anni har to move = ‘moving your tip as you place it on the work piece, Start moving a you bring the nib into contact the wood, or blow gent on the nib to take some ofthe heat may jure Before couching he wood Burning Realistic Texture rain = change in grain hardness at the lines. Somecimes grain changes hardness ac the grain lines, 50 either slow down 25 you cross the grain lines oF go back over and recburn the ihe ares. ‘This happens more often with a shader or writer 2 skew cus right through the gran like che bow (ofa ship cuts through waves inthe sea, ‘kprepared burning surface. Burning on rough timber prevents both smocth nib movement and clean burning Again the skew works better since ie evs below dhe rough surface. To prevent this, sand the entre surface with very fne sandpaper before burning, Wood Carving Iustrated «Summer 2005 45 Pyrographic Shading and Texture Patterns Sheve dred wp © Fat shaders in Writing niin, Fla shader: sc sles Weiing ibs srt fis Writing ibs tm bed ta fv Une radon sg des, randy eid aaa ot fm Sih ig ober Spoon shader: ip «at shadershn roles Writing nibzcehh, Skew: pied tno Diag rey het Sher: bes dre ne fen ht ids emt ralig hte ptr pst, eh dc re see fide tg rnden adie om decin fie bar wie hater ‘te eater 2 paw, rei Fatshaderstx poh Stevens ated and Skew ped it Writing ibe in Shader or writer: Writing ibe inreestiorm puters ood hngene pte et ler aterm ecg nm, wrapping pens Fiatshader tr phil Skewsins drawn ¢—Welingnibe ie a's Skewen, aden sates, Skew: ns dem Skew: ne Shove fi. tdi fis ad fd sik vr an wig ob pad coe dein tard aco ies as ft at anges de, op pate ie ene re hes Skewes sgl Sat shader pled ron Writing iba ids Wing nied a Welding ibs ight speak Fla shader ay ines tea pl ach opie ites ts angina racine fo hm ashy owing eth not eat ae oe fii he ate ae of wth de 46 Wood Carving illustrated + Summer 2005 Burning Realistic Texture ‘Skewes, ple nt oer ats eg te Flat shader: sre ‘aig om the ce Wiring ill fom ‘po Sto ad aleve eal al Writing ibis dan ‘an be a Wiring ibs rt Skee te pein soos tech eer ied pat at ini pte cnr at cs Writing nit gen sapped pen, sag sd on 0p Writing iby he, Fat shader: cred pee inp pas th ba wee pton eed of ith Nd Wiring ib i: peed ep ce bent ih her Fat shader hr sos Sided dom ad thn a ‘Writing ibe es Fat shader ear fon ope ies in ns, ate Bad toad the cnr ta6 ine ‘Skew ln Hes mgt. Spoon shader-bot td et teh opin to i rin ge ‘Skew in pe (yur de ‘Skew: phd in bah Spoon shader: tnd er. ph Spoon shader: th oe Wet ib: os pee ait ekg a he Ses ot Fiat shadersoe pt abet wa pate ‘Skew er oe Ses at css oes ‘Spoon shader ent bag oe Flat shader ied in rota fom ce ‘sod Skew wry arden sip ‘Writing ibs pl in Serine pen Writing ib de ace mor a ale 3 er pearance Spoon shader: pill Skew: phi redon Spoon shader: tes daw tom pee ghunged pry ped in Ie ea de ova cen ay pater Fiat shader:bck pen Flt shadersp phd i pate Skewelog sakes cvelping a is age Wood Carving Illustrated » Summer 2005 47 The Fluffy Coat Fur that comes out at you can look very complex to burn, but itis actually very easy-The easiest way to burn this kind of fur is by pointllsm (stippling).This is just creating a picture using Draw in ight pen lines to indicate the shape ofthe koala Then use the ‘writing nib to cover the wile area—caa and background, wit a series of evenly spaced dos, ‘Add anather yer of dots over the areas tat need to be darker This gradual build up of layers gies the coae a real sense of depth another layer of dts to define the arm and background. Then add 2 fra ‘nyer of dots on the background and the koala’ coat. fan layers seem to stand out from their surrounding areas, blur the edges by adding afew more dors to those areas 48 Wood Carving thustraed + Summer 2005 series of do Or short lines (think of a comic book. Gradually buld another layer of dots overtop of the first ayer—except in ‘the brightest areas. You may need to turn up your burner’ heat ‘overtop of the fre yer Koala, monochrome pyrography on basswood. Burning Realistic Texture The Short-Haired Coat ‘This technique, which uses only a skew nib, gives a very sharp, distinctlooking, short-haired coat. ‘To burn a short-haired coat, use the skew nib to outine the body and leg with a series of short stroke. For a more natural appearances better to stagger the nes and gather some clumps inc litle When the patern Is made, it’ imperative that you use a pencil to map the direction ofthe fur ‘onto the wood: You can also burnin afew indicator marks with a skew. |Add some curves and shadows to the animal by burning additonal darker hairs. Try not to bur these ais in a rows instead, burn random, saggered lines among the existing hal. Blond the two areas together by dragging some dark strokes out into the existing coat. Burning Realistic Texture Mh Use a blade to scrape away any areas you thnk need to be defined or are to0 dark for an extra touch of reals, Burn inthe first layer of short fur Use the skew to draw in random, overlapping staggering lines. The length ofthe line depends on the length of the animals coat Doni try to filn the whole coat ll at once You can always add more hair later if you don' think ies thick enough. ‘Once the shadows are dark enough, you can then darken any other parts of the coat by Burning addtional ines in these areas. Space these darker ines ‘ut so they blend easly withthe surrounding coat—we don't want the ramatic darkness ofa shaded area. he READING ‘Pyrography Kk (available May 2005) fy Sue Wers Sur Wales internationally enowaed Ausran ‘yroraper teaches you everything you need to know to create stunning pyrogrphy atwork through three sep by step project $19.95 plus $3.50 SEH (parcel post) valle fom: Fox Chapel Pabtshing 1070 ond St, st Petersburg, PA 17520 Pog! 804579112. FAK: #88560 2885 ‘we FoxChapelPubshing com ‘Oreck your lel supp store. Wood Carving Illustrated + Summer 2005 49 The Smooth Coat Just because you know an animal has hair, such as a horse, it doesn't mean that you need to draw in all the hair: From a distance, some ‘animals loo} they have a coat that is as smooth as an apple. . | | | Use a skew to outine the crisp, sharp ede ofthe horse. Outing is only sed to define physiealthings—not to change the color. For instance the leg ‘or outside rump of the horses is edged, but no change of coat color or shading is edge. Map out any distinctive color changes using a pencil and go over the entire coat lightly with a shading nib For a relist look, be sure to curve your tone lines to match the shape ofthe horses body. ‘Add another Iyer of burning on top of the fist layer, being sure to maintain the shape of the animal Use the tp of your shader to filn an blend any patchy areas, Use the shader to fil in any mid-tones, leaving only the highlights on the coat unburned, 50 Wood Carving tilustrated + Summer 2005 Burn any ares that ae very dark inon top of the fist two layers. Add another lyer of darkness on top ofthese areas. and blend away any hard ‘edgesYou may need

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