Pyrography Plaque

Anna Muzzolon combines traditional pyrography with colouring techniques to create a floral design

In this project, we will explore fusing the traditional pyrography technique with the addition of some vibrant colours. We will see how these two artistic techniques can integrate harmoniously. The pyrography, thanks to its ability to engrave wood, will delicately combine with the expressiveness of the colours, creating an impactful chromatic work. With the use of a soldering iron model pyrograph and coloured crayons, even beginners will be able to create a unique plaque, enriched with coloured floral details.

Preparation

The base chosen for this project is a round section of plywood with a diameter of 200mm; plywood like this can be easily found in DIY stores. Although it may appear smooth when purchased, I recommend some additional sanding. In my case, when working with flat wooden boards, I prefer to use an electric sander using 240-grit sandpaper to ensure a uniform and well-prepared surface.

To start, I take a sheet of paper and draw the outline of the disc on it with a pencil. This step is essential to clearly define the area on which I will create my drawing. Inside the drawn circle, I draw the design (in this case a capital letter A) with the help of a ruler to ensure straight and precise lines. Once the letter is completed, I add floral details to the composition: I drew a branch of leaves on the left side and two peonies on the right side.

To transfer the drawing onto the wooden board, I use the graphite pencil technique. I start by blackening the back of the drawing sheet with a soft 5B pencil. Next, I cut out the circle with scissors and place the drawing on the board, trying to centre it. To attach it, I use a small piece of masking tape. After positioning the drawing, I trace all the lines with a pen which transfers the design onto the wooden board.

Pyrography

Pyrography

This project is designed for beginners, and can be done using the common pyrograph soldering iron, one of the most popular models on the market. Specifically, I’m using a Weller pyrograph with fixed temperature. It is important to note that this model of pyrograph has a design in which the handle is positioned further away from the tip than other pyrographs, such as those with wire tips. This feature requires greater care to use: if you tilt the tool excessively during pyrography, you could burn unwanted marks into the wood. To avoid this, I placed my wrist on a cup to raise it. In this way I can tilt the pyrograph without having to keep my hand raised for long periods, reducing the risk of fatigue and ensuring greater precision in the work.

I begin the pyrography phase using the universal tip, which is ideal for drawing precise straight lines. After inserting the tip into the pyrograph and waiting for it to heat up, I burn in the outline of the letter A.

To ensure greater precision when creating straight lines, I use a metal ruler: I place the blade of the tip on the ruler and, with slow movements, I slide the pyrograph over the wood, carefully controlling the pressure. It is important to highlight that the tip reaches temperatures above 500°C, therefore it is essential to use only metal tools to avoid damage.

After pyrographing the straight lines, I move on to the floral elements, characterised by more graceful and soft curves. For this step, I change the universal tip for the rounded profile tip, which is ideal for outlining small designs with a thin line. Once the tip is fixed in the pyrograph, I go over the outline of the flowers and leaves. Keeping the hand holding the pyrograph feeling relaxed and stable, I rotate the circular base with my free hand. This technique allows me to maintain precise control over the stroke and the pressure exerted by the hand on the tip.

Next, I add details such as leaf veins, drawing thin and thicker lines. When dealing with flower petals, the rounded tip proves particularly effective in imparting a delicate, life-like shape. I use the pyrograph to create shadow lines from the lower attachment of the petal, following the curvature of the petal itself. This approach adds dynamism to the petals, creating shadowed areas that help give a more three- dimensional effect.

Pointillism

After having finished pyrographing the drawing with the pyrograph, I move on to the next step: the pointillism technique inside the letter A. This method consists of creating an opaque black texture by pyrographing many dots close together. I simply place the profile tip on the wood for a few seconds, so it burns, then I pyrograph one dot next to it and one after that, leaving no space between one dot and another.

I find this technique relaxing as it does not require any particular skill or precision. I can let myself go and make lots of dots. The slower I work, the blacker the dots become and the greater the coverage effect. This process takes time and patience, but the end result is fascinating: a texture that adds not only depth, but also considerable visual interest to the project. The letter A is transformed into a three-dimensional element that is also pleasant to the touch. Once the pyrography phase has been completed, it is essential to remove traces of the preparatory drawing using a common eraser before adding the colour. Next, I wipe the project with a clean cloth to ensure the surface is completely free of gum residue to prepare it for the colour application.

Adding colours

There are different techniques for colouring, but I want to show you the easiest method using coloured crayons. This technique is easy for everyone, does not require artistic skills and does not use water; it’s simply colouring, just like we did as children!

My advice is to use soft pastels to spread the colour evenly on the wood. However, it is important to pay attention to details and avoid going beyond the edges of the drawing. I start with a shade of green on the leaves, then move on to a darker green, alternating the colours to create a chromatic effect in the leaves.

For the smaller peony, I add some pink, concentrating the colour more at the bottom of the petal and blending towards the top. I use the white crayon to colour the highlighted area on the top of each petal. To blend the two colours and avoid a sharp contrast, I blend with my finger using small circular movements directly onto the wood. I repeat the process with the larger peony, colouring it purple instead of pink, and using white for the highlights. In this way, I create brighter areas and shadow areas with purple shades.

Finishing

After completing all these artistic phases, it is important to seal the result by applying protection. When it comes to preserving colour on wood, my favourite choice is a spray finish. This type of protection offers a uniform application on the surface of the wood, avoiding the risk of fading or smudging the colours, as could happen when using a brush.

Conclusion

Whether you are just starting your artistic journey or are a more experienced artist, the union of these two techniques offers an accessible and rewarding artistic opportunity. Pointillism adds fascinating textures, while the use of pastels brings life and three-dimensionality. Experiment, explore and create, bringing to light the work that reflects your creativity and passion for wood craftsmanship.

PHOTOGRAPHS BY ANNA MUZZOLON/COURTESY OF LEGNO