Learn to Burn E-Book

Simon Easton

• Herausgeber: Fox Chapel Publishing
• Kategorie: Lebensstil
• Sprache: Englisch
• Veröffentlichungsjahr: 2016

Seitenzahl: 108

Beschreibung

This easy-to-learn introduction to the art of pyrography offers fourteen step-by-step projects for making decorative gifts--from coasters and picture frames to bangles, decorative plates, and door hangers--illustrated with clear how-to photographs. Each pyro project can be completed using ready-made materials that are easy to find at your local craft store. Fifty bonus patterns will allow you to unleash your creativity on hundreds of additional woodburning projects.

Leseprobe

Dedication

This book is dedicated, as always, with my appreciation to the following people:

With love, to my beautiful wife, Jane, for inspiring me to be the best that I can be.

To my gorgeous daughter, Bethan, and my stepsons, Howell, Harry, and Freddie. Bethan won’t be happy unless I mention our Jack Russell, too... so thanks, Pickle!

To all my true friends out there—those who continue to walk in when the rest of the world walks out. You know who you are, but a special mention goes out to Chailey Illman, Tim Emery, Jason Murphy, Michelle Wolfenden, Barry Walker, Sarah Preston, Sam MacArthur, Rhys Miles, Alex Marshall, and Nigel Woodall.

From a crafty perspective, I’d like to thank Peg Couch, Kerri Landis, Katie Weeber, Mindy Kinsey, and the team at Fox Chapel Publishing; Chailey Illman for the additional patterns provided; Lindsey White at Splatt Art; Cam Merkle at Razertip; Christine Wallace at Walnut Hollow; Colin Ellis at Dalescraft; Jeff Govier at The Big Wood; Pete Moncrieff-Jury at Bodrighy Wood; Steve Jardine at Craftshapes; Heather Smith at Beadbubble; Colin and Ann Carlson at Woodworks Crafts Supplies Ltd.; my fellow moderators at the UK Crafts Forum...and in fond memory of the Beadsage himself, Peter Sewell.

And to all those with a preference for the handmade and handcrafted, particularly the members of the online forums and websites who’ve made contact or visited my pages—please enjoy!

About the Author

Simon Easton studied a BA (Hons) Three-Dimensional Design degree at Manchester Metropolitan University, where he focussed 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 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 UK 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 diverse and exciting 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.

Simon is the author of Woodburning with Style, a comprehensive guide to the art of pyrography, published in 2010. The book has received many positive reviews from readers around the world. You can also see Simon’s latest work by following him on www.facebook.com/woodtattoos and checking out his latest designs at www.flickr.com/photos/woodtattoos, where new photos are added regularly.

Contents

Introduction

Chapter 1: Getting Started

Chapter 2: Pyrography Projects

Napkin Rings

Gift Tags

Key Fobs

Fridge Magnets

Table Coasters

Key Holder

Bangle

Door Hanger

Jewelry Box

Photo Frame

Decorative Plate

Keepsake Box

Wall Clock

Memory Album

Chapter 3: Patterns and Gallery

Gallery

Patterns

Fonts

Index

Get Started with Pyrography

Practice creating various shapes and lines, page 20.

Find a list of the most important nibs, page 16.

Learn to shade with solid tones, as well as textures and patterns, page 21.

Understand the features of your pyrography machine, page 19.

Learn the importance of the right pyrography pen, page 14.

Understand the benefits of mirroring text for easy design transfer, page 24.

Understand applying color, page 53.

Create designs with a three-dimensional feel, page 36.

Enhance designs with texture and shading, page 58.

Learn how to wrap patterns around a box, page 50.

Understand how to create a shadow effect, page 30.

Learn to burn crisp letters, page 26.

Introduction

The publication of my first book, Woodburning with Style, was literally a dream come true. As an avid lover of books from an early age, I had always wanted to write a book— an ambition that ran alongside my creative streak and involvement in art, craft, and design. From childhood onward, I was always drawing, making, and constructing. I would always have a project of some sort on the go! I never anticipated that one day I would not only be able to realize my dream of becoming an author, but that my first book would also present one of my creative skills to the world in order to teach and instruct others wishing to learn the same skill.

Using pyrography to create the designs and items that I make is such a rewarding process, but the release of Woodburning with Style provided me with another source of satisfaction. After reading reviews on websites, Internet forums, and the like, I realized I was inspiring other budding craftspeople to think creatively and develop their newfound skills in order to turn their ideas into real works of art. I read the comments of people who had studied my book, recreated some of my ideas or projects to hone their pyrography skills, and were now excitedly planning their own individual designs due to the possibilities brimming in their heads.

That was truly the most exciting realization for me—my ideas, worked over for nearly two years prior to publication, were now reproduced and inspiring new ideas in others, forming new creative ventures that had needed a small nudge before they could be born in the real world. This suddenly made the whole project of my first book even more worthwhile in my mind, and it also spawned the reasoning behind the book that you now hold in your hands.

Learn to Burn can be viewed as a wholly individual book in its own right, or as the smaller and cuter sibling of Woodburning with Style. This book is a selection of new projects aimed at the apprentice pyrographer wishing to practice his own skills by following step-by-step guides, while building up the confidence to start designing his own creations. The projects are based on and influenced by my own personal Wood Tattoos style of woodburning, featuring bold patterns, subtle texture, and alternate sources of inspiration. While my first book was an in-depth guide to pyrography, covering all topics from start to finish, this book is aimed to be quick, punchy, and direct, and perfectly suited for the beginner. The projects are designed to be easy to follow so that you can pick up the book, complete the steps, create your own items, and be left wanting to burn some more!

The project instructions can be followed to the letter while you develop your own pyrography skills, and you can adapt them to suit your own style and personal preferences when you feel more confident in your skills. Many of the projects feature tips and pointers introducing other avenues you may wish to explore. The final chapter contains a selection of patterns and designs that can be used to vary your project designs, as well as a small gallery of some of my creations to show you where I have gone creatively with certain ideas or themes.

If you’ve read this and are now ready for some pyrography, what are you waiting for? Ready... steady... burn!

Chapter 1:

Getting Started

This book has been designed as a practical guide to pyrography through the use of step-by-step projects, allowing budding pyrographers to hone their skills in a hands-on fashion. Each project has been designed to allow the reader to quickly pick up the requirements of the project in a visual manner, with photographic illustrations and clear, concise captions. This first chapter contains a basic introduction to the art of pyrography for those crafters who are experiencing it for the first time. The chapter contains an introduction to pyrography machines and the correct way to use them, as well as available accessories, basic mark making, selecting woods, and finishing techniques. There are a number of brief exercises to help beginners gain experience using a pyrography machine before moving on to the projects. If you would like to examine this area more fully, my first book, Woodburning with Style, contains a more detailed introduction to the art of pyrography.

Hot wire machines (left) generally have a transformer unit, while solid point machines (right) usually resemble a soldering iron.

Hold your pyrography pen in the same way you would hold a pen or pencil, so that the movement feels natural when you burn.

ANATOMY OF A PYROGRAPHY MACHINE

The term pyrography is derived from words that mean “writing with fire” or “writing with heat,” and the primary feature that all pyrography machines have in common is the ability to generate heat in order to make marks on a surface. Modern pyrography machines are available in two basic types: solid point machines and hot wire machines.

Solid point machines resemble a soldering iron in appearance, consisting of a chunky pen (containing the heating element) with an electric flex leading directly from the base. The tips are made of solid metal and can be purchased in a variety of shapes to make different lines and marks. Solid point pyrography machines tend to be the cheapest in price.

Hot wire machines are generally more expensive than solid point machines, but are usually considered more versatile than their solid point counterparts. They are made up of a transformer unit (which is plugged into the mains) attached to a pen by a separate cable. This means the pen itself is often smaller and easier to handle than that of a solid point machine. The main unit usually has a variable temperature gauge so the pen can be used at a wide range of heat settings to suit different surface materials or create different qualities of lines and marks. The pens are also available with a range of differently shaped nibs or wires.

Like many pyrographers, I prefer using a hot wire machine. They are generally easier to handle in terms of size and weight, and quicker to heat up and cool down than solid point machines. At the end of the day, the pyrography machine you use is all about personal preference, so it is best to try a machine, if at all possible, before you buy it.

HOLDING A PYROGRAPHY PEN

Creating a design using pyrography means you need to hold the pen for considerable periods of time as you work. It is therefore vitally important that you feel comfortable while holding and using the pen. Think about the type of pen you prefer to use when writing normally: do you prefer using a slim, lightweight pen, or one that is thicker and has more weight? Considering these factors will help you select a pyrography machine that is most suited to your needs.

A pyrography pen is basically held in the same way as a normal writing pen or pencil, but you will have to consider the heat it produces. Position your fingers far enough from the heated end to avoid any pain or discomfort, but close enough that you do not feel you are struggling to control the nib as you work. Many pens have some form of protection to prevent injury, such as foam insulation grips or a shaped finger guard. These protective elements can help you get a good, comfortable grip on your pen.

If you are able to, it is well worth handling a pyrography pen before making a purchase, whether at a store or using one borrowed from a friend. The last thing you want to do is make a substantial financial purchase and find that you are not comfortable using the machine. It is essential for the pyrography pen to feel like a natural extension of your hand as you work. Any awkwardness or discomfort will come across in your designs, so spend time making sure you buy the equipment that best suits you.

Keep your fingers as far as possible from the hot nib while burning. In this photo, you may be able to see the small burn on my left forefinger from a time when I forgot this rule!

GENERAL SAFETY