Pyrography Rim

Janice Levi decorates Mark Palma’s platter with a Zentangle-inspired design

Decorative plate with intricate floral carvings.

When selecting pyrography as an option for enhancing a woodturning, the first thing to do is decide upon an artistic style. The pyrographer might choose a realistic setting, an abstract design, etc. – all the same decisions that an artist might consider when painting a canvas. For this platter, beautifully turned by Mark Palma, I have decided upon a whimsical approach, combining some realism with fantasy and a dash of Zentangle-inspired designs.

“There are three major factors in creating the burned pattern – temperature, pressure, and speed”

The making

Graphite transfer paper for art and crafts projects.
1. The first step is to apply the pattern to the wood. There are several ways to do this. A common choice is to select a pattern and trace it on to the wood using graphite paper
Wooden plate with intricate animal and floral carvings.
2. For this platter, I have chosen to draw the designs straight on to the wood using a 4B pencil, which is a little softer than the traditional No.2 pencils
Three pencils on a grey surface, different lengths.
3. There is less of a tendency for the wood to be dented and erasing the pencil lines is relatively easy
Pyrography pen with interchangeable tips on table.
4. Each pyrography machine manufacturer carries a similar set of burning tips. I like using the medium-sized ball tip for curved lines, the skew for thin, straight, or somewhat curved lines, and the several styles of shaders available
Woodburned designs and colourful marks on wooden panels.
5. There are three major factors in creating the burned pattern – temperature, pressure, and speed. The type of wood also plays a role. The platter on which I’m burning is box elder, a close-grained but somewhat soft wood. The next step is to experiment on a scrap piece of box elder before deciding which temperatures, how much pressure, and the speed I’ll need to create a pleasing burn
Ceramic plate with intricate floral engraving
6. Next, the wood burning begins. My process is to outline the designs using a burning tip suitable for each part of the pattern

“A burned piece can go from okay to fantastic just by adding shading”

Wooden plate with intricate floral engraving.
7. After the outlines have been done, the shading begins. A mistake that many woodturners make when deciding to add pyrography is to outline the pattern then stop. A burned piece can go from OK to fantastic just by adding shading
Assorted art supplies including dyes and markers.
8. Another decision now has to be made. Should the pyrographer stop at pyrography only or should colour be added? Many options are available. Acrylics are usually opaque and will cover the pyrography. They are water- based and will also raise the grain, so that has to be addressed earlier by wetting the surface with a spritz of water and sanding. The same issue goes if using watercolours. Alcohol- based inks and dyes are an option. Alcohol- based markers are also a good choice. After having used each of these, my preference would be to use markers. They go on easily and the colours can be blended. However, for this piece, I have decided not to add colour
Wooden plate with intricate floral and cat carvings.
9. Highlights can make a difference to the finished piece, whether using pyrography alone or adding colour. Just as shadows add interest and depth, highlights can make a large visual difference
Four coloured pencils on grey background.
10. Using a quality white pencil is the easiest way to add highlights. The pencil can be blended or smudged with a finger – simple
Krylon and Blick fixative spray cans side by side.
11. Because I have used a white coloured pencil, my choices for the final finish have to be carefully considered. Oil finishes will remove coloured pencil. For this piece, I used three coats of a fixative spray over the pyrography
Various wood and shoe polish products displayed.
12. Now that the images were protected, I used an oil finish over the rest of the platter and finished with a wax application
Intricate floral carved decorative plate
13. The platter is now completed

PHOTOGRAPHY BY JANICE LEVI

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