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180- to 320-grit sandpaper. The higher the numbered grade of sandpaper, the finer the grit is. Use a coarser sandpaper if the wooden surface requires heavier sanding to prepare it for burning and work your way up through a progression of finer grades to give a smooth finish.
If you are buying readymade craft blanks to burn on, chances are that you will require little to no effort to prepare the surface beforehand. These items are usually finished to a very high standard with smooth surfaces and may be suitable for immediate use. Sheets of birch plywood can also sometimes be ready to work on directly “off the shelf” if they have been made to a high quality.
Most wooden surfaces are best prepared for the application of a pyrography design by being rubbed down with a 180- to 320-grit sandpaper. If you wish, you can use water to slightly dampen the surface between sanding; this allows the grain to raise slightly before the next sanding session and results in a smoother finish. Wet the wood with a damp cloth or similar, allow it to dry, and then sand it again. Repeat this process as many times as you feel necessary to get the required smoothness.
If you are attempting to add a pyrography design to an item that has already been varnished, lacquered, or treated in some way, you will need to remove the finish that has been applied before working on it. Trying to burn through varnishes can create harmful fumes that irritate or damage your respiratory system, as well as generally creating marks that are dirty or messy rather than clean and crisp. Working on items like this may require a more vigorous period of preparation before they can be burned on, such as use of coarser sandpaper or an electric sander.
Completing a Design
People regularly approach me at craft events where I am demonstrating and state that they could never take up pyrography as they are “not artistic enough.” I will then demonstrate to them how I use designs that are traced and transferred onto the surface that I am burning. I always tell people that they just need to be able to use a pencil in order to take up and enjoy pyrography, and it is not necessary to be able to create your own designs from scratch. I know many pyrographers who sell their crafts very successfully and work purely from designs that they obtain from a range of sources, rather than creating them from their own imagination. They simply enjoy the process of burning the design into the wood and are extremely skilled in doing so, hence their appeal to paying customers. All you need to be a potentially successful pyrographer is a steady hand and a high degree of patience; everything else about the craft can be learned with time and practice!
Many of my designs are created through freehand drawing or through working on the wood spontaneously to create an idea as I burn. I do regularly design layouts and compositions on my computer using photo editing software, particularly when it comes to anything that involves lettering and text. A computer is a fantastic way to ensure that you get the layout exactly the way you want without having to erase and redraw elements of the composition several times before getting them just right. This also enables you to keep a catalog of your previous designs so that you can easily replicate or adapt a previous work for a new client that wants a personalized version for themselves.
Several of the projects in this book use the process of tracing and transferring to complete an entire design, or specific sections of a composition such as lettering to add a custom message or dedication. I generally use traditional tracing paper in my design work when required to do so, but there are other alternative methods that you could consider using. Graphite or carbon paper can be used as a potential substitute. These sheets are placed under a piece of paper with the design that you intend to transfer so the carbon or graphite marks transfer to the wood as you draw over the source material. The main drawback with these options is the difficulty in removing any excess residue that can sometimes be left on the wooden surface after the burning. As with any tracing technique, it is always best to transfer as few lines as possible in order to prevent having lots of marks that may show through the burning. Only transfer the bare minimum necessary to construct the design that you are creating.
You can never check a design for accuracy too many times. If I’m working on a commission piece, I will send a concept layout to the customer before I start burning so that they can ensure everything is 100% accurate and correct before I start burning it. I will often even let them see the traced or drawn design on the wood prior to using the pyrography machine to give them a second opportunity to look for errors or problems. Fortunately, I’ve only had a couple of occasions when a mistake has been found after the design had been completed. These included a missing letter from a name and a couple of rogue apostrophes on a frame. Spelling or grammatical errors can turn a fantastic design into a failure; check, check, and check again.
This house sign had already been completed before the customer realized that “Mara” had been given an extra “R,” demonstrating how important it is to check thoroughly before you start burning.
Color and Finishing Treatments
Color can be combined in numerous ways with your pyrography designs to make an array of exciting effects. Various media that are available from all good art and craft retailers, such as watercolor pencils, colored markers, bottled inks, watercolor paints, and the like, are perfect for experimentation. Pyrography marks form a natural barrier of resistance and can prevent the colors of liquid substances from bleeding across into areas that they are not intended for. There are also a wide selection of colored varnishes, paints, and stains on the market that are specifically designed for application to wooden surfaces, and these can add a very exciting dimension to your work. I am particularly fascinated by the different options available that provide an iridescent colored sheen to the wood, as these can look simply beautiful when incorporated into your designs. A number of projects featured within this book use different colored media, so I hope you enjoy trying them as much as I do.
There is a range of methods with which you can protect your design once it is completed. Oils and waxes are particularly suited to designs where you still want to utilize the natural tactile surface qualities of the wood that you are working on. Danish oil is one of my favorite finishing treatments due to the warm luster that it brings out when applied to a wooden surface. I also regularly use a microcrystalline wax, as this protects and polishes the wood when applied in several layers but still feels naturally smooth and soft, making it a pleasure to handle. Beeswax is another treatment that gives a pleasing result.
If you need a tougher and more durable finish to protect your design, there are several varnishes and lacquers available on the market. These can be purchased in matte and gloss effects so that you can find something appropriate for what you have made. Such finishes can be purchased with different application methods to suit the purpose of your work. As well as traditional liquid treatments, spray varnishes can be better suited for irregular surfaces or items where you have applied a color or stain that may be disturbed through the use of a brush. Whichever method you use, ensure that you follow the instructions for that specific type and brand to get the best results, particularly in terms of how to prepare the surface beforehand, how to apply the coats, and how long to leave between layers.
Use a soft, broad paintbrush to apply liquid varnishes or finishes. This will allow you to cover the area smoothly and evenly.
If you are creating a design to be displayed outside or where it will be exposed to strong sunlight, consider using a yacht or marine varnish for maximum protection. Such substances generally contain a UV inhibitor that protects the surface below from the damaging effects of ultraviolet light. Pyrography marks fade when exposed to sunlight, and these finishes can reduce the impact and damage associated with it.
Above all else, the main consideration for any treatment that you choose