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FIRST STEPS IN PYROGRAPHY OR FIRE ART
Applying artificial colours may help to enhance your work but be careful not to 'over do it' and destroy the true features of the wood. If the colour is selected carefully you can enrich a pattern by defining it and colour can also add a finishing touch of professionalism to your design.
How do you introduce colour to your work?
There are several different ways to do this.
1. The most straightforward and natural way is to burn at different levels of heat creating a variety of natural sepia tones ranging from the lightest brown when a you apply a light quick touch with the correct nib to the darkest deepest brown from more concentrated burning. This may be the simplest way to add colour but it is not the easiest thing to do and requires accuracy and knowledge of the nib to be used and of burning time, it therefore takes determined practise.
2. Before you colour your design think about how much colour you need to apply and whether you would like the natural grain of the wood to show through. As with painting of any kind it is very easy to keep applying colour.
3.Materials for colouring are easily obtainable from craft shops and fairly inexpensive. Whether you are using watercolours, acrylics, inks, wood stains, pencils or felt tipped pens always take your time to test them out first on a small piece of the same wood. This way you can see the effect that will be achieved before you colour the actual piece. When the colour is dry you can also burn on top of this to finish of your project if you wish.
4. When applying colours or stains to wood the colour must be put on with great care. Add just enough colour on a small brush as you do not want the colour to run over the design. With all liquid based products always test them on a sample wood first as colour can bleed into the wood and ruin your design. It is wise to do a test check before you begin your work. If you dilute the colour with water and use it as a transparent wash this will allow the grain of the wood to show through allowing a more natural effect.
5. Wood absorbs the colour in a similar way to blotting paper, however if you are painting on top of wood that has already been burned, the paint will not be absorbed in the same way as a barrier to the surface of the wood is formed when it is burned. You can still colour on top of pyrography but the colour is more likely to be held by the wood that is left between the lines of your design.
6. There are also a variety of pens and pencils that you can choose from to colour in your pyrography designs. Water based felt tips blend well and you are able to see the surface of the wood more readily than with permanent markers or felt tip pens. Pencil crayons allow you to create a softer and more gentle range of colours. I have recently discovered Prismacolor Premier pencils from the USA. They are great for giving a good cover of colour and they have light fast properties and should not fade so easily!
7. Once you have completed your design and added your colour then you will probably want to finish it to protect it as pyrography can fade particularly if exposed to strong sunlight. You can buy acrylic lacquer or fixatives to spray your work and you can chose whether to varnish with a natural matt finish or a highly polished finish. If you piece of work is destined to be on display outside then a yacht varnish would probably be appropriate.
A further extract from Burnt Wood Etchings entitled Lustra Colours
Lustra Colours will apply to Heraldry, Japanese decoration, and as tips to the plumage of Tropical Birds, etc. I would advise that in putting them on, care should be taken to entirely cover the “ground,” i.e. to hide the wood or other material where they are employed, and in some instances, doubtless, a good result may be obtained by laying them so thickly upon the wood as to show in slight relief.
The beauties of Gold and Silver united with Pyrography will be easily discerned by the reader. Gold agrees with all colours, being in itself a glorious neutral. Silver, also has particular and symbolic qualifications. Many experiments might be made, but no inferior preparation of the metals should be used.
Source A Handbook of Pyrography or Burnt Wood Etching by Mrs. Maud Maude
Enjoy your burning passion!
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