How to Finish Your Wood Burned Art (2026 Update)

Why finish your wood burned art at all?

A finish protects your burn from moisture, dirt, handling and (to a certain point) the sun, so it looks the way you made it for longer. It also changes how the piece looks and feels, sometimes beautifully and sometimes in ways you really did not want. So the real question is not "should I finish it?" but "which finish, for this piece?"

I wrote the first version of this post back in 2024. Since then, the Burn Club has grown into a whole room full of pyrographers who test, compare and discuss finishes all the time. So I went back through our conversations and rebuilt this guide around what our members actually use, what they love, and the mistakes they made so you don't have to. A huge thank you to everyone quoted here and sharing in the club!

*Affiliate disclosure: some links in this post are affiliate links. If you buy through them, I earn a small commission at no extra cost to you. I only recommend products that I or our community members actually use.

A quick note on my own approach: I leave most of my personal pieces unfinished so I can re-burn them if they fade. BUT for client work and gifts, I usually go with mineral oil and beeswax. I usually burn deep so it takes my work longer than average to fade. I'm also just one burner, and there is no single right answer. That's why this guide covers the full range.

The one rule that applies to every finish: test it on the back of your piece or on a scrap of the same wood first (or keep reading to discover another testing method below). Every finish darkens wood a little, and some darken it a lot. Just take a look at this cherry wood below:

The quick answer

Before you finish: protect your shading

The most common heartbreak in our community is light shading that disappears the moment a finish goes on. The finish darkens the wood, the background catches up to your soft tones, and the contrast is gone. Here's how to avoid it.

1. Know that every finish darkens

Zona of BZFurFur summed it up perfectly:

"The truth really is: anything you put on the wood will 'darken' it even if just a little. Anything with 'oil' will darken it more than a 'poly' sealer." Zona

All species of wood will react to any finish. Some more than others, but even dark woods like walnut get a little darker, so just be mindful that you can lose your work by adding anything.

2. Preview the finish with rubbing alcohol

Thank you Zona of BZFurFur for sharing this amazing hack!! This is one of my favourite tricks from the club, and it costs almost nothing:

"If you lightly mist the piece with alcohol (I use 99%) it will darken the wood enough as if it was sealed and you can 'see' what it would look like sealed... before you actually seal it." Zona

The alcohol evaporates quickly and doesn't harm the wood, so if your shading looks too light under it, go back in and burn darker before you commit. No alcohol? A damp (not wet) microfiber cloth wiped lightly over the surface gives a similar preview. Try this before applying any other mediums!

See the full process in Burn Club+. Zona recorded her alcohol test step by step for our members, with before and afters of a burn that wasn't dark enough and one with the right amount of contrast. It's the clearest way to train your eye before you seal.

Not a member yet? Join Burn Club+ HERE.

3. Burn a little darker than you think

If you know a piece is getting oil or resin, push your contrast further than looks right on raw wood. Deeper burns also hold up longer against fading.

4. Use an isolation coat for light woods and colour

An isolation coat is a clear layer that sits between the wood and your finish, so the finish can't soak in and darken it. I wrote a whole experiment on it here: Isolation Coat/Primer and Wood.

5. USE FIXATIF ON COLOURED PENCIL

Coloured pencil smudges if you breathe on it wrong. Julie, Argosy_girl, sprays hers with Krylon Workable Fixatif to set it. It stops the smudging, and because it’s “workable,” you can keep adding colour on top.

Her other tip: a white polymer eraser lifts smudges better than anything else she’s tried.

6. Let colour dry completely

Watercolour, ink and marker need to be fully dry before any finish touches them, or they bleed. Give it a full day if you can. Patience is key here…

7. Think before you seal

"There is no way to take the sealer off without damaging the burn. That's why I always think long and hard about using sealer." John of Circle 8 Pyrography

If there's any chance you'll want to add more burning later, wait. You can always finish later; you can't easily unfinish. Ask us in the Burn Club if you aren’t sure!

Oils: warm, rich, and the grain pops

Oils soak into the wood instead of sitting on top of it. They bring out the grain and give a warm rich vibe. Be careful though! They darken the wood more than any other finish, and most take days to cure. They will also need refinishing (especially if they are functional, like a cutting board, or in a sunny dry area).

Mineral oils

This is my own go to for client pieces and anything food related. I pair it with wax on top (my full method is in the wax section below).

• Walrus Oil Cutting Board Oil and Howards Cutting Board Oil are the mineral oils I most often use.

• Walrus Oil Furniture Butter is Zona of BZFurFur’s pick when she wants oil and wax in one: it "dries to the touch in 24 hrs, fully cured after 30 days. It's food safe once it's cured." Being an oil, it will darken the wood a bit.

Safety: oily rags can catch fire on their own. Rags soaked in Danish, tung or linseed oil heat up as they dry. Lay them flat outside to dry completely, or store them in a sealed metal can with water, before throwing them out. Please don't skip this step.

Danish oil: the club favourite (and the club regret)

Danish oil (natural finish) is the most used oil in the Burn Club. Chuck of The Burning Wood Chuck finishes nearly everything with it, including his whole Sara's Spoons series on red oak:

"I just finished it with Danish oil and it pops like crazy!" Chuck

But this one is also the finish members most often wish they hadn't used, almost always on a light wood with soft shading. Julie learned this on her very first Sunny Girl, burned on basswood. The oil turned it yellow and she lost a lot of detail:

"I won't be using danish oil on basswood ever again!" Julie

Another member found the practical side tough too: the smell lingers for ages, it takes days to cure, and getting rid of the oily rags safely is a hassle.

My take: Danish oil is gorgeous on oak, walnut, cherry and other woods with character, and on bold, high contrast burns. Always test, especially with any delicate shading. Do the alcohol test first, or use an isolation coat underneath.

Tung and linseed oil

Zona of BZFurFur is a Walrus Oil Polymerized Tung Oil fan. She uses it for her food safe items, like coasters, bowls, trays. She says it takes longer to dry and fully cure but she likes the finish best! Several members use tung and linseed side by side. One heads up from the club: thirsty wood can soak up far more oil than you expect, so buy more than you think you need. Another member switched to boiled linseed oil after polyurethane smudged her colour.

Tip: pure tung oil and "tung oil finish" are not the same thing. The second is usually a wiping varnish with a little tung in it. Both work, but they just behave differently.

Hemp oil

One member switched from polyurethane to hemp oil for indoor pieces after getting tired of all the setup poly needs. They use a no VOC, food safe hemp oil for everything that stays inside. It's so easy to apply! They still use poly for outdoor pieces though.

Waxes: soft glow, natural feel

Wax sits on the surface and gives a soft satin sheen and a lovely smooth feel. It darkens the wood less than oil, it's easy to apply, and it's easy to redo. Wax does wear off over time and needs reapplying, usually every year or so.

One member put it perfectly: she loves the satin look, the natural finish and the smooth, moisturized feel the wood has afterwards.

Another member uses a beeswax and carnauba blend. Carnauba is a harder wax, so it holds up a little longer than beeswax alone.

And John of Circle 8 Pyrography’s reminder: “Beeswax is great but you always have to reapply it to keep the look.”

Waxes our members use

Howards Wax-It-All was recommended to me by several people. It’s tough enough to handle a little warmth (like a bowl of warm soup on a large wooden board), and Howard’s says it even works on metal.

Minwax Paste Finishing Wax is Julie’s favourite because it doesn’t change the colour of basswood at all. More on how she applies it below.

Dorland's Wax Medium is made for artwork, not food. It’s a sealant, varnish and medium in one. The feedback I’ve heard from other people is that it won’t yellow over time and they really enjoy using it.

Zona's tip: wax over colour

Zona of BZFurFur uses Dorland's Wax Medium to seal watercolour on bookmarks, ornaments and small pieces. She applies a thin layer, melts it in gently with a heat gun, adds another thin layer, lets it sit overnight, then buffs.

My oil plus wax method

For client pieces and anything food related, I use mineral oil first, applying a very generous amount and leaving it to soak in for a few minutes. I wipe the excess, let it dry at least overnight, and then finish with wax, applying in little circular buffing motions. I like that the whole piece stays natural and could eventually go back into the earth without harm. The oil feeds the wood and the wax seals it in. I don’t love the blends (wax and oils in one), as I want my mineral oil to go really deep into the wood and then seal it off with wax.

Tip: tell your buyers to rewax

One of our members in Australia burns on invasive timbers and finishes everything with soft furniture wax. She encourages buyers to reapply it every 12 to 18 months. That's a great habit to build into your care card if you sell your work.

Julie's tip: less is more

Julie, Argosy_girl, loves Minwax Paste Wax on basswood. She’s used it on Old Man on the Mountain, Lake Winnisquam and two dog portraits. Her method: a very thin coat with cheesecloth, let it dry, buff by hand with a microfiber cloth, then repeat. But on one piece she put it on too heavy and couldn’t get an even sheen. Minwax's advice when she called: gently warm the whole surface with a hair dryer to level it out, let it dry thoroughly, then buff with a soft pad. Thin coats from the start save you the trouble (like with any finish: less is more).

Poly: polyurethane and polycrylic

Poly finishes form a clear protective film on top of the wood. They're the most popular choice in the Burn Club for indoor wall art, because they're durable, they darken the wood less than oil, and they come in every sheen from ultra flat to high gloss.

Polycrylic vs polyurethane: what's the difference?

Brands our members swear by

General Finishes High Performance (water based polyurethane) is Zona of BZFurFur's top pick for her fine art:

"It's pricey but hands down to me the best finish I've ever used. 2 thin coats, smooth, no streaks, barely there finish. Dries fast, no smell." Zona

She loves their satin version: "you can't even tell it's sealed! It looks and feels like it's bare wood."

Minwax Polycrylic, in both the spray and the brush on version, is a club favourite and John’s go to water based finish in satin. Chuck finishes with the semi gloss, Zona uses it for her non fine art pieces, and Amanda of Works of Fire seals her display pieces with satin polycrylic and keeps the matte spray on hand (the spray is convenient when you’ve got additional mediums that might smudge when you use a brush on version).

Julie’s method for her coloured pencil peonies and coneflowers: 2 coats of spray polycrylic first, then 2 coats of brushed water based polycrylic over top. She normally goes with satin.

Minwax Polycrylic Max is the newer one coat version. Amanda tested it on a large piece:

"I do like the polycrylic max! If using a brush didn't smear both the marker and colored pencils I would definitely use it to do one coat and be done." Amanda

Varathane Triple Thick (water based) is what John uses for indoor projects. It builds a thicker coat in fewer passes, with much less smell than oil based poly.

Fixing streaks and rough texture

Two complaints come up again and again: brush strokes, and a dry, rough feel. One member loved the look of poly but not how dry and rough it felt, even after 2 coats. I've found the spray version feels a little rough too.

The fixes, straight from the club:

• Use the right brush. Zona of BZFurFur: "Try a brush specifically made for polycrylic. It's really soft and dense... Polycrylic likes to hold onto strokes." Brush one way, in long, light strokes, and don't go back over areas that have started to set.

• Sand lightly between coats. This is what turns rough into smooth (full method in the step by step below).

• Go thin. Two or three thin coats beat one thick one every time.

Outdoor pieces: spar urethane and spar varnish

For anything that lives outside (garden signs, plant stakes, cornhole boards, porch plaques), the club answer is clear: spar urethane or spar varnish. Spar finishes were made for boats. They stay a little flexible as the wood swells and shrinks, and most include UV protection to slow fading.

How many coats? Chuck recommends 5 to 6 coats for anything in direct sun. His pick is Varathane Ultimate Spar Urethane, the water based crystal clear satin spray. Julie uses Minwax Helmsman Spar Urethane and prefers the water based version. She used oil based on some plant signs and “it smells awful.” She puts 3 or 4 coats of spar varnish on her red cedar plant stakes, and they live outside from about April to November every year.

Outdoor tips from the club

• Seal every side. Front, back, edges and especially end grain, which soaks up water like a sponge. Brandy Roels sprays the back and bark too, so the whole piece is balanced and covered.

• Burn deeper. Chuck: "The deeper the burn the longer it'll take to fade since more wood material gets removed creating valleys that block sun exposure."

• Sand between coats. Zona's outdoor routine: two coats, a light sand with a fine (220 or higher) sponge once dry, wipe off the dust, then another coat. Sanding between dry coats is the key.

• Expect some fading anyway. Even with UV protection, the sun wins eventually. Plan to refresh outdoor pieces every year or two.

• Choose a durable wood. Cedar handles the outdoors much better than basswood or pine.

Resin and glossy accents

Resin gives a thick, glassy, juicy shine that nothing else can. In our community it's used far more for accents (eyes, gems, flower centres, keychains) than as a full finish, because covering a whole piece is messy and expensive.

Full pour epoxy resin

I've poured resin a few times, and here's what I learned:

• It darkens the wood, a lot on many species, especially cherry. Use an isolation coat first if you have light shading.

• Prep is everything. Set up a level surface, cover the piece with a cardboard box while it cures so dust doesn't settle in it, put something underneath to catch drips, and wear gloves.

• Pop bubbles with heat. A lighter works on small pieces; a torch is faster on large ones. Don’t go too hot though, otherwise you can burn it.

• Keep it indoors and out of the sun. Some resins can yellow and cloud with UV and moisture.

• Resin is not food safe, so skip it on anything that touches food.

I used ArtResin and would buy it again, partly because their customer service walked me through getting a frosted look step by step.

John of Circle 8 Pyrography’s take: “I would only use resin if I used it for a table.” Full pours are a big commitment, so save them for pieces that really need a hard, glassy top.

UV resin for small details

UV resin cures in minutes under a UV lamp, so it's perfect for tiny details. I got the Let’s Resin Kit which comes with a little flashlight style UV light and I used it to give my mushroom characters glassy eyes. It seriously blew my mind how realistic they looked. Zona uses it on keychains and has two big tips: seal the wood first, and use a doming (high viscosity) resin because it's thicker and won't run off the edges. Her favourite brand is Let's Resin as well!

3D crystal lacquer

John uses 3D Crystal Lacquer over Deco Foil (learn more about metallics on wood here) to make little raised, glassy accents: "I think it gives more dimension to the foil." He's also used it on flower centres to make them look puffy. It's a simpler, cleaner option than resin for small spots.

Quick hack: in a pinch, clear nail polish adds a glossy dot of shine (thank you, John of Circle 8 Pyrography, for sharing this hack). I tried it on eyes before I got UV resin, and it wasn't terrible! It gave me a shine, but if you want it to be more impactful, try the UV resin or 3D crystal lacquer. They are both VERY satisfying to look at and pretty simple to apply!

Step by step: how to finish your piece

This works for almost any finish. Where oil, wax and poly differ, I've noted it.

1. Clean up the surface. Erase any leftover transfer lines and brush away loose char with a soft brush (I like to use a microfiber cloth and then a clean toothbrush). Zona gently cleans stubborn spots and burn lines with the scrubby side of a dollar store sponge and a soft toothbrush, then lets it dry overnight.

2. Sand very lightly. Use a fine sanding sponge (around 320 grit), always with the grain, just enough to knock down raised fibres. Go gently over your burn so you don't lighten it.

3. Remove every bit of dust. A microfiber or tack cloth works well. Dust trapped under a finish shows forever. At this point, I use the microfiber cloth and then the toothbrush again!

4. Preview the darkening. Do the alcohol mist test from earlier. Burn darker now if you need to.

5. Got colour? Use a spray finish. Zona's rule: if she used any medium at all (paint, marker, chalk, ink), she always sprays at least 2 layers of sealant before anything gets brushed on. Light, even passes from about 30 cm (12 inches) away.

6. Apply your finish thin.

   • Poly: thin coats with a soft brush, in one direction, without overworking.

   • Oil: wipe or brush it on, let it soak for 15 minutes or so, then wipe off all the excess.

   • Wax: a thin layer worked in with a soft cloth. I press it into the wood, then take off as much excess as possible before buffing.

7. Sand lightly between coats (poly and spar). Once a coat is completely dry, give it a very light pass with a fine sanding sponge or 320 to 400 grit paper. As John says, "that's a LIGHT sanding just to take off the dust that's in the top coat!" Wipe the dust off before the next coat.

8. Add your final coat. Two to three thin coats is plenty for most indoor art. Outdoor pieces need more (see the outdoor section).

9. Buff. For wax and oil, buff to the sheen you like. Zona swears by old jeans: they have just enough scrub to buff without leaving scratches.

10. Finish the back and edges too. Sealing all sides helps the piece move evenly with humidity and keeps it from warping.

11. Let it cure fully. Dry to the touch is not cured. Water based poly cures in a few days; oils can take days to weeks (Walrus Furniture Butter takes 30 days). Oil based finishes cure faster somewhere warm.

Ventilation matters. Oil based products have strong fumes. Zona does her oil based sealing outside, and added an air purifier with a filter made for chemical fumes for the days she can't. Wear a mask rated for vapours if you're finishing indoors.

Can you burn over wood that's already finished?

Short answer: please don't. Always burn on raw, untreated wood, then finish after. This question comes up in the club all the time, usually with a commission: a surfboard already oiled, a charcuterie board, a guitar, an heirloom hope chest.

Burning through a finish releases fumes from the finish itself, and those are not something you want to breathe. Even if you try to sand it all off, you risk the substance being deep in the wood and not getting down to a place that is free of any chemicals.

It can also gunk up your tools, and change the feel of the finish making it feel sticky or tacky forever.

Caring for and refinishing your piece

• Oil and wax: easy to refresh. Wipe the piece clean, apply a thin new coat, buff. Plan on every 12 to 18 months for wax, or whenever the wood looks dry.

• Poly and spar: lightly scuff sand the surface, wipe off the dust, and add a fresh coat. Indoor pieces rarely need it; outdoor pieces every year or two.

• Everything: keep it out of direct sunlight and away from moisture. No finish fully stops it from fading.
  

Check out this blog post for more: Woodcare 101: Preserving Your Pyrography Art

Selling your work? Include a little care card with the finish you used and how to refresh it. One of our members does this with her wax finished pieces, and it's a lovely touch that helps your art last.

Frequently asked questions

• Do I have to finish my wood burned art?

  No. I leave most of my personal pieces raw so I can re-burn them if they fade. Some members ask the buyer which finish they'd like. For gifts and anything handled often, a finish is a good idea.

• Will a finish stop my burn from fading?

  It slows it, but doesn't stop it. Even with a UV protective varnish, burns can fade in sunlight. Burning deeper and keeping pieces out of direct sun help the most.

• Matte, satin or gloss?

  Satin is the club favourite for wall art. Matte looks closest to raw wood. Gloss shows every brush stroke and bump, so it's best on very smooth pieces.

• What's food safe?

  Only products labelled food safe once cured, like food safe mineral oil, beeswax, and specified cutting board products, and some hemp oils. Never use polyurethane, polycrylic or resin on boards, spoons or utensils.

• Can I use Mod Podge as a finish?

  This one is a commone question! I don’t recommend it. It’s made for crafts and decoupage, not fine art, and it clouds with humidity. It clouded on my bark edges, so now I use Titebond Translucent Wood Glue there instead.

Keep learning and get support

Want to ask about your own piece, see these finishes on real burns and share your experiences? Come join us in the Burn Club, our free pyrography community on Discord, where conversations like these happen every day.

And for monthly tips, templates and new posts like this one, sign up for The Burn Letters in the footer at the bottom.

With so much gratitude to Zona, Chuck, John, Julie, Brandy, Amanda, and to every Burn Club member who shared their wins and mistakes so generously. Go give them a follow!

September's 2026 Burn Challenge

Each month inside Burn Club, members take on a theme and burn it their way. There are no rules about technique, no skill level requirements: just a theme, a deadline, and a community of people showing up to make something.

August’s theme was ENTWINED

and the winner is…

🔥JDG🔥

JDG called his piece "A Never-ending Conflict." It's a double ouroboros, an old symbol of infinity, burned on basswood and finished with coloured pencil. They picked it because it fits "entwined" in two ways. You can see it literally in the two snakes wrapped around each other. But they also wanted it to say something about cycles and conflict. One snake is fire and the other is ice. In his words, they're opposites, and through their eternal conflict and the cycle of the seasons, they're forever entwined together in our consciousness.

When I first saw it, I loved the symmetry and the meaning behind it. The two snakes mirror each other, with one head at the top and one at the bottom, and every loop crosses over or under the other. It's the kind of piece you keep looking at and finding something new.

  And then there's that background. JDG burned the whole thing with an old Versa Tool shader and just kept going until it was as dark as he could get it. That's a lot of patience, and very worth it! The deep black makes the orange and pale blue scales jump right off the wood. The rest of the club noticed too. Members commented on his colour choices, and on how the snakes twist so you see their backs in one spot and their bellies in another.

For the prize, JDG chose a digital copy of all three Community Template Books!!

  Congratulations, JDG. Thank you for sharing such a thoughtful piece with us.

You can follow their incredible work and give them some extra fire in the Burn Club!

The next challenge is running now inside the Club; free to join and open to all skill levels.

To learn about the challenges before the public does, win some prizes and get burning: join us in The Burn Club!

7 Common Pyrography Mistakes (and How to Fix Them)

If your burn lines are coming out blobby, uneven, or just not what you pictured, chances are it's one of these habits, not your burner. Below are the exact mistakes I see over and over, both when I'm teaching in-person and when people ask for help inside the Burn Club. Fix these seven and your burns can get noticeably cleaner, while the whole process becomes much more enjoyable.

1. Not preparing your wood properly

Your burn is only going to be as smooth as the surface underneath it, and so is your experience getting there. It’s not my favourite part of the process BUT it sets the tone for the rest of the project so it’s crucial not to skip this step.

If your wood is rough, the tip has to travel over all those tiny bumps and fibres. That can make your lines look uneven and blobby, and make it much harder to control your speed and pressure.

Those uneven lines will stand out even more if you plan on adding colour, stain or a finish.

Sanding your wood properly before you start gives your burner a much smoother surface to glide across.

For a full breakdown, check out: Sanding Your Wood: Before and After You Burn + Prepping Wood Surfaces for Pyrography

2. Pressing too hard

This is probably one of the most common habits when learning pyrography because when a line isn’t getting dark enough, or maybe you’re a little impatient like I can be, it’s tempting to push harder.

But your burner isn’t a pencil —> the heat should be doing most of the work.

Too much pressure can make your tip dig into the wood, regardless of which nib you’re using. It can create grooves, make your lines thicker than intended and make it harder to move smoothly through the grain. It can also ruin your nib. Even if your nib just bends slightly, that bent point has become a tiny bit weaker. Bending it back and forth might not break it right away, but in time, it will break. Think of the tab on a soda can. Bend it back and forth a few times and eventually it breaks off.

Use only slight pressure to maintain control and adjust your speed or temperature instead.

3. Burning too hot

This one is a little ironic coming from me because I usually burn at a super high temperature, and I know a lot of other artists who do too. The common misconception, though, is that the hotter you go, the faster and easier burning becomes. There is some truth to that. BUT when your temperature is too high, your marks can become much harder to control, especially when you’re working with tiny details or varying tones.

You can end up with dark blobs where the tip first touches the wood if you do not start moving quickly right away. This is difficult to control. It took me several years to get the hang of it and still, there are times when I wish I’d turned it down, just a pinch.

With a high heat setting, you will also end up with a glow around your lines. Some people like this effect. It could be their style, and that is totally fine. But if you are looking for nice crisp line work, you will have to either sand off those glow lines when you are done burning (check out Sanding Your Wood: Before and After You Burn + Prepping Wood Surfaces for Pyrography) or turn down your temperature.

Remember that temperature and speed work together. Sometimes the difference between a light line and a dark one is simply how quickly you move the tip across the wood.

If you are running into frustrations, instead of immediately turning the heat up, try slowing down with the heat you are already at.

4. Ignoring the grain and knots

Wood grain is one of the things that makes pyrography beautiful, but it can also make it frustrating. Knots can completely change how an area burns. Some artists use them as a visual focal point, while others camouflage them into the design. Regardless of your technique or style, getting to know your canvas can save you a lot of frustration.

As you cross different parts of the wood, your nib reacts to changes in density, the direction of the grain, knots and even bark. It might suddenly slow down, sink in or start moving much more easily (sometimes too easily causing slipping around). Knots are generally denser and can resist the nib, while other areas can feel surprisingly soft. Going with the grain can feel like surfing, while going against it can feel like a bunch of speed bumps you never asked for.

Instead of fighting those changes, pay attention to what the wood is telling you. If you can, practice on a similar wood species or on the back of your piece first. Start with a lower temperature and move a little slower so you have time to notice where the wood resists you and where your nib starts to sink in. Once you get the hang of how ‘chatty’ that piece of wood is, a term Chuck introduced us to in The Burn Club and one I absolutely love, you can adjust your speed, pressure and temperature as you go.

5. Skipping the test burn

Even if you’ve burned on the same type of wood before, every piece can behave a little differently.

Some areas of the grain might be harder or denser, maybe there’s a knot or two, or the surface might be softer. Your burner might be running slightly hotter than it did the last time you used it.

Before starting your actual design, make a few test marks on the back. I like to put a little star on the back because it’s barely noticeable and it’s really cute if you do notice it! This lets me test the heat on that specific canvas and get a feel for where I want my temperature set.

If you don’t want to test on the back, turn it down and increase your heat from there. Or, you can also start in a less conspicuous spot. For example, if you are doing a pet portrait, don’t jump into the eye area right away, start with the fur. Or if you’re making a sign with lettering, start with a simpler or less prominent letter before jumping into the trickiest part.

6. Making your transfer lines too dark

If you don’t know how to transfer a design onto wood, check out this blog post —> How To Transfer Designs To Wood Without Using Heat.

If you do transfer a design onto your wood (or now you really want to try this method), it can be very tempting to press hard so you can see everything clearly.

The problem is that heavy transfer lines can be difficult to erase later. I give a few suggestions and tips here —> How to get rid of mistakes and graphite/pencil lines but in the end, if your transfer is too dark, you may not be able to remove it completely. Pressing too hard while transferring can also dent the wood.

Relying only on your transfer can also start influencing how you burn. You might find yourself following a graphite line simply because it’s there, even if it doesn’t make sense. The graphite paper can shift mid trace and leave parts of your design misaligned. Instead of looking at the design, you end up burning the mistake by accident (ask me how I know this one).

Keep your transfer lines as light as you can while still being able to see them. Think of them more as a guide instead of the final design.

I often transfer only about 80% of my design. I’ll transfer enough information to get going, but leave some details blank until the end so I can improvise a little with the final design. If I’m really unsure, I’ll burn the transferred portion first, then pause and pencil in the remaining marks. This really helps because drawing on paper (or digitally) is very different from burning that same design on wood. Sometimes it just helps to have that little bit of wiggle room without being influenced by an exact image.

7. Assuming a tip is only meant for what it’s advertised for

A tip called a shader does not have to only shade.

A writing tip does not have to only make lines.

And a tip marketed for one particular technique might become your favourite tool for something completely different.

The shape of the tip matters, sure. But what matters more is how you actually use it.

Try changing the angle you default to. Use only the edge, then try the flat side. Rotate it. Experiment with your speed and temperature. And really give each angle and rotation a chance. Don’t just make a line and move on. Choose an angle and try writing your name with that same angle. Then rotate it and try writing your name again.

Remember that names and descriptions manufacturers give their tips are useful starting points, but they are not rules.

The biggest mistake? Not experimenting.

Okay, technically that makes eight, but it’s more of a piggyback on number 7.

I really want to drive the point home that pyrography gets a lot easier once you stop looking for the one correct way to do everything.

Different artists use different temperatures, tips, movements and techniques. What feels awkward to one person might feel completely natural to another.

Learn the basics, understand what the heat and the wood are doing, and then experiment. See what happens when you play with one nib for a while. Give it a real chance and try every angle!

One thing I’ve been doing in Burn Club+ is creating focused texture boards. I take one wood slice and one nib and use it in as many ways as I can think of. Each one is documented with photos and written notes, and I also video record the full process so members can either watch me work through it or follow along at their own pace. These boards are by far my favourite way to learn and understand just how much your tool can actually do.

If you still haven’t found the answer to your frustrations, make sure to check out Pyrography Troubleshooting Guide.

Mistakes are part of learning this craft, but you don't have to work through them alone. Inside Burn Club+, there’s a growing library of Open Studio recordings, Burn Flow tutorials, recorded texture exercises with written notes, and plenty of real, step by step troubleshooting.. The first two weeks are free!

July's 2026 Burn Challenge

Each month inside Burn Club, members take on a theme and burn it their way. There are no rules about technique, no skill level requirements — just a theme, a deadline, and a community of people showing up to make something.

July's theme was FINE LINES.

and the winner is…

Julie!! (@argosy_girl)

This was a challenge full of firsts for Julie: her first time working with maple, her first time using two new nibs, and technically her second attempt at the cribbage board itself.

The final piece is a full reef scene, a lionfish, anemones, coral, and swaying kelp, worked in careful, fine line detail across the top of the board. She made it for her sister and her husband, who just took up scuba diving and share her love of cribbage.

For her prize, Julie chose full access to The Pyrography + Business Summit Recordings!!

Find more of her beautiful work on Instagram: @argosy_girl

You can also give her some extra fire in the Burn Club!

The next challenge is running now inside Burn Club, free to join and open to all skill levels.

To learn about the challenges before the public does, win some prizes and get burning: join us in The Burn Club!

June 2026 Burn Challenge

Each month inside Burn Club, members take on a theme and burn it their way. There are no rules about technique, no skill level requirements — just a theme, a deadline, and a community of people showing up to make something.

June's theme was TREE.

and the winner is…

Sandra of @SandrasalemaRT

Sandra opened up her process for this one, bringing members in to help with font choices, design ideas, and finishing techniques, and the result shows just how much care went into it.

The final piece is a tree with a deep root system burned into the base, paired with the words 'A well-lived life leaves deep roots.' Sandra brought so much life to the tree itself, the layering and shading give it real depth and dimension, like it's practically growing off the wood.

For her prize, Sandra chose full access to The Pyrography + Business Summit Recordings!!

Beyond pyrography, Sandra is a multi-media artist who works across clay, oil paint, coloured pencil, digital art and more to create pieces that are just as detailed and expressive as her wood burning. Find Sandra’s work here:

Instagram: @sandrasalemart

YouTube: youtube.com/@sandrasalemartstudio

Website: sandrasalem.com

You can also give her some extra fire in the Burn Club and join us there for this month’s challenge. The next challenge is running now inside Burn Club, free to join and open to all skill levels.

To learn about the challenges before the public does, win some prizes and get burning: join us in The Burn Club!

May 2026 Burn Challenge

Each month inside Burn Club, members take on a theme and burn it their way. There are no rules about technique, no skill level requirements — just a theme, a deadline, and a community of people showing up to make something.

May's theme was Botanical.

and the winner is…

This month's winner is Pascale of @bwa.brile

Pascale's entry is a densely layered piece inspired by botanical forms: leaves, florals, and natural textures woven together into a cohesive composition. There is so much for the eyes to move through, and yet the piece never tips into chaos. The textures read clearly against each other, and the added color is placed with intention. It's the kind of work that rewards a longer look.

Pascale wins access to the Wood Burning Session Recordings!!

Pascale shared that she made the piece back in 2023, when she was beginning to push herself into more intricate work and experimenting with adding color to her burns. She called it "Exploration". The template is actually from the Wood Burn Sessions by Bee Lock, which Pascale made her own through texture and color!!

Outside of pyrography, Pascale creates under the name Bwa Brilé, which means "burned wood" in French Creole (such a fitting name for someone who clearly has a deep connection to the material). She makes bold, colorful, one-of-a-kind wood earrings inspired by the French Caribbean, all handcrafted in Florida. Her work is vibrant and distinctive, and her earrings carry the same attention to color and detail you can see in her pyrography.

Find Pascale’s work:

Instagram: @bwa.brile

Website: Artisan Wood Jewelry | Bwa Brilé

You can also give her some extra fire in the Burn Club and join us there for this month’s challenge. The June challenge is running now inside Burn Club, free to join and open to all skill levels.

To learn about the challenges before the public does, win some prizes and get burning: join us in The Burn Club!

April 2026 Burn Challenge

Each month inside Burn Club we run a Burn Challenge: BC+ members pick a single word, and everyone is invited to interpret it in their own way, in any style, any level, any tool.

This time the word was “New Nib” —> pick up a tip you've been avoiding, or one you've never tried, and make something with it!

and the winner is…

Victoria of @mapleandfire

Victoria took that prompt and made something genuinely unexpected.

Victoria's entry depicts a whimsical cat/bunny/monster creature sitting atop a bungeoppang (a Korean fish-shaped waffle) presented as a dessert, complete with swirled cream, sprinkles, and a striped straw. The piece is so detailed! Not only that, but every scale on the fish body and every line in the swirled cream was built with hatching —-> a technique Victoria learned from a community Open Studio session led by fellow member Chuck, the night before submitting. The nib she used was a rounded shader, new to her, from a pack she already owned.

Victoria didn't just fulfill the brief. She showed up to an Open Studio, absorbed Chuck's hatching demo, and applied it the next day in a finished piece. That's the Burn Club loop working exactly as it's meant to and it fills my heart right up!

Find Victoria's work:

Instagram: @mapleandfire

Facebook: @mapleandfire

To celebrate, Victoria takes home a box of assorted wood slices, stickers and a burn club pin. A fitting reward for someone already planning her next project on better wood.

Give them some extra fire in the Burn Club and join us there for this month’s challenge. The May challenge is running now inside Burn Club, free to join and open to all skill levels.

To learn about the challenges before the public does, win some prizes and get burning: join us in The Burn Club!

7 Ways to Burn Wood Without a Pyrography Pen

Not every burn needs to come specifically from a pyrography pen. Some methods give you more detail, some give you atmosphere, and some create more organic textures.

Below are a few of the most popular alternative pyrography techniques and what you can use them for.

But first, a bit about the most common way to practice working with heat to create art:

Pyrography pen

A pyrography pen uses electricity to heat a nib/tip/point which is metal and it burns lines, shading, texture, and detail directly into the wood. Depending on the tool, you may have interchangeable tips or wire nibs designed for different effects, and some tools use solid brass tips that screw into the unit (learn more about that here: Wire Tip Vs. Solid Tip Burner).

This method is best for (but not limited to):

• detailed artwork

• lettering

• almost any texture work

• controlled shading

• fine lines

For most artists, this is what pyrography really means. It gives you the most control over line quality, temperature, and detail. Plus, the burners and pens are pretty easily accessible with a wide range of price options which is why it is the go-to method for beginner and experienced wood burning artists alike.

Okay, now to methods without using a common wood burning machine.

1. Heated metal tools (pokerwork)

I'm starting with this one because it's most similar to a pyrography pen, but there are some big differences.

Historically, this was one of the earliest ways people decorated wood with heat (check out this blog post for more: A Brief History of Pyrography)

Before modern pyrography burners became common, people also burned wood using heated metal tools. This approach is often called pokerwork, and it relied on metal points or shapes being heated (in a fire or stovetop for example) and then pressed onto the wood to leave a mark. Now we have electric versions as well (check out this blog post on the differences: Branding Irons: Traditional vs. Electric).

This method is best for (but not limited to):

• traditional style experimentation

• simple branding or marks (I use an electric branding iron on the back of my work because it gives me a clean and official looking logo. Every time.)

• repetitive marks

Compared to a pyrography pen, it offers much less flexibility for smooth drawing and detailed line work, but it creates a very different kind of mark that can feel bold, repetitive, and full of character.

Recently in the Burn Club, we started playing around with new nibs, and I made a few wire nibs that acted more like stamps. Even though they were made from wire and attached to a burner, they still fall into this heated metal tools category in my mind because of how they are used. I could technically draw with one of those nibs if I wanted to, but that is not really where they shine. They are much more fun and efficient when used as stamping tools, pressing the same heated shape into the wood again and again to build texture or pattern.

That is part of what makes this category so interesting. It reminds us that wood burning does not always have to be about drawing clean lines. Sometimes it is about repetition, texture, and letting the shape of the heated metal do the work.

2. Blowtorch

Using a blowtorch is a bit more aggressive and less controlled way to burn wood, but it creates a completely different look.

Note: less control DOES NOT mean no control.

You can use metal stencils or random object to help create sharp lines, shapes and different kinds of textures. The flame has some strength and can push your metal pieces around if they are light. It can also warp the metal if what you are using is too thin (like aluminium foil for example). Often you can adjust the strength of your flame, which will make a difference, not only for what metal pieces you use, but also for control and how quickly your wood gets scorched.

Look for metal that is:

• clean

• plain

• uncoated

• thick enough to hold shape

• not galvanized

• not painted

• not mystery scrap

Another factor is your angle at which you burn. You can burn a dot and centralize the heat, or you can burn across the top of the surface and get a sort of gradient. There is a lot you can do, and when I experiment more soon, I will share my progress.

I had a chance to try it last summer, and I'm excited for the weather to get better and get back into it. My garage does not have enough room for this kind of playing, so I need to set up in the backyard. In this photo above, I have gathered screws because they were the only metal pieces I could find. Below are the results. I can't wait to play some more!

This technique can be used for darkening wood, creating rustic effects, sealing certain looks into the grain, or adding dramatic contrast. Some artists use a torch as part of the background or finishing process rather than for the actual drawing. It is easier to cover large areas with a torch versus shading tiny area by tiny area with a pyrography pen.

This method is best for (but not limited to):

• bold texture

• rustic effects

• darkened edges

• background burning

• abstract work

• large surface effects

• bringing out the grain in the wood

A blowtorch is not ideal for detail, but it is not impossible with a bit of practice and experimentation. It can be interesting for style, atmosphere, and A LOT OF FUN. You can always mix it with other methods; try inverse carving or sanding using the Dremel on top of a scorched background for some really cool details!

Just to drive home the idea that even though it is difficult, with practice and passion, you can create any kind of art you want with any tools and mediums:

3. Open flame or direct fire burning (aside from blowTorch above!)

Some people experiment with other direct flame options, such as from a candle, lighter, or other fire source. This kind of heat source is easier to come by (you don’t need to buy a tank with fuel or a torch etc…) and after playing a little bit, I found that the effects are more subtle overall and have a smokier vibe to them with more layers and levels of burns that are visible if not held too long on the flame.

This method is even less controlled than the blowtorch above, but the organic gradients and smoky vibe is just so beautiful! It can produce these smoky edges, scorched patches, or distressed effects, which you can probably achieve with a torch and lots of practice. But with a small flame or candle, the effect isn’t as quick or powerful so you can build up layers slowly.

A big downfall is that you wood has to be upside down. The top of the flame needs to touch the wood so you need to get down low, under your work or put it up higher. Not the end of the world, just something to adjust to as you experiment.

You can still block out spots you don’t want burned to create edges and shapes (check out the below torch section for which metals to look for). It will just take a little bit more planning and figuring out since gravity will not be on your side with this one. Try aluminium foil and wrap it tightly around for sharp edges. Using strong metal, placing the wood on top and burning from below, for example…

This method is best for (but not limited to):

• distressed looks

• abstract surfaces

• experimental effects

• rough rustic designs

• smoke clouds and smokey vibes

• textured backgrounds

So maybe not the most intricate and detailed but really good if you want an organic looking texture, atmosphere, or creative experimentation!

4. Magnifying glass and sunlight

By focusing sunlight through a magnifying glass, you can create enough heat to scorch the wood surface. It technically works and very very satisfying!

The burn is slow and builds gradually, which actually gives you more time to react than you'd expect. You move the focal point to intensify or soften the heat, and the mark it leaves has a warmth and subtlety that's hard to replicate with electric tools.

I first experimented with this on a portaging trip using a tiny compass magnifier. The weather was not the best so the results were not as strong as I would have like them. I'm excited to get my hands on a proper large magnifying glass and take it out into the forest when the sun is beaming. There is something so beautiful to create art with no power, no cords, just sunlight and wood.

This method is best for (but not limited to):

• experimentation and process-based work

• outdoor demonstrations

• simple marks and organic shading

• projects where using sunlight is part of the concept

There is something kind of magical about burning wood with the sun, but it comes with obvious limitations. You need strong sunlight, the right angle, patience, and a safe setup.

Check out this artist who made a dog portrait just by using the power of the sun!

5. Scorch Marker/lemon juice:

Both of these methods work on the same principle: apply something to the wood first, then apply heat (most often using a heat gun), and a chemical reaction creates a burn effect.

Scorch markers use a special ink that reacts when you hit it with a heat gun. You draw or stencil your design first, then activate it with heat. It's accessible, reasonably clean, and great for bold or repetitive designs over larger areas.

Lemon juice is the natural, low-tech version of the same idea. Apply it to the wood, let it dry slightly, then use a heat gun. The acid reacts with the heat and darkens the surface. It actually works better than most people expect.

This method is best for:

• large surface areas

• bold shapes and repetitive designs

• experimental projects

• artists who want to try something different without investing in new tools

I tried lemon juice a long time ago and my honest take: it worked, but I didn't love it. I lost control over the final result more than I wanted, and burning over anything applied to the wood surface left residue on my nib — even with something as natural as lemon juice. The smell wasn't great either, and it wasn't even concentrated to where the juice was, which was strange.

That said, for quick, experimental, or repetitive projects with a reusable stencil, it's worth trying at least once.

Some of the more dangerous alternatives:

There are many different ways to burn wood, including methods that go far beyond traditional pyrography tools. While they may be part of the broader conversation around burning wood, I do not recommend these methods without guidance, support and safety, as they can be highly dangerous, unpredictable, and capable of causing serious injury, fire, or worse.

6. Gunpowder

Gunpowder burning is another extreme method sometimes mentioned in conversations about unusual ways to burn wood. It can create bold, dramatic effects, and some finished pieces may combine that raw burned surface with more controlled pyrography for contrast. Gunpowder burns by deflagration, meaning it rapidly combusts and generates expanding gases, which is part of what makes its effects so violent and unpredictable.

Here is the artist who burned this bear, @paintingwithgunpowder. He creates lots of art with gunpowder on canvas, wood and other materials! I really love the organic nature of the shading values and placement. It’s controlled but there is still an element of looseness in the work.

7. Burning with electricity

Commonly known as Fractal burning, also called Lichtenberg wood burning, this method uses high voltage electricity to create branching, lightning like patterns in wood.

The finished effect can be visually striking, especially when combined with traditional pyrography, but it is an extremely dangerous process and not one I recommend attempting.

Zona of @bzfurfur has collaborated with an artist who creates these stunning wood slices using the technique, resin and her detailed pyrography work!

Wood burning does not start and end with one tool. That is part of what makes this very satisfying medium so fascinating.

If you want to go deeper into any of these techniques — ask questions, share experiments, or see what others are creating — that's exactly what Burn Club is for.

We've already had members getting excited about gunpowder burning (you know who you are), and that kind of energy is what makes the community worth being part of. It's a space for people who take the craft seriously and still like to have fun with it.

Come burn with us → Burn Club.

I hope this blog post sparks something for you (pun intended). The more I experiment, the more I realize I have much more I want to try and I can't wait to experiment together!

March 2026 Burn Challenge

Each month inside Burn Club we run a Burn Challenge: BC+ members pick a single word, and everyone is invited to interpret it in their own way, in any style, any level, any tool.

This time the word was “ALTERNATIVE SURFACES”

and the winner is…

Des of Desi's Pyrography Inspirations

March's Burn Challenge asked members to step off familiar ground and burn on something other than wood. The timing was deliberate. Earlier this month, gourd artist Jenn Avery came into BC+ and taught a dedicated session on burning on gourds, which opened up a lot of conversation about what other surfaces might be worth trying. Members went in a range of directions. Des went to coffee paper and came back with something that barely looks like pyrography at all.

The piece is a Japanese-inspired landscape. A multi-tiered pagoda dominates the right side of the composition, its architectural detail rendered with fine linework across every level of the structure. A mountain rises in the background, its peak sharp against the sky and its base dissolving into a band of mist. Pine trees frame the left edge. A wooden dock extends into the foreground water, its posts reflected below. Birds cross the upper sky in loose formation. It is a complex, layered composition and it holds together.

What makes the piece striking is what the coffee paper does to all of it. The warm amber tones absorb the burn marks in a way that produces the quality of ink on aged parchment. The mist around the mountain's base is handled by leaving the paper largely untouched in that area, letting the natural variation in the coffee staining create atmosphere. Burning by restraint rather than addition (a technique that I learned in high school art class, working with pastels. This technique stuck with me and I would have never thought it could be applied to pyrography in such a stunning way). The unexpected tinting Des mentioned at certain temperatures is invisible as a flaw: it only adds warmth.

Des is a UK based artist working under the name Desi's Pyrography Inspirations. Her practice spans wood, leather, canvas, paper, and wood carvings, and she works frequently with reclaimed pieces and irregular forms, often building designs across multiple connected sections of oddly shaped material. Her philosophy around materials is genuine and consistent: she believes strongly in giving unwanted things a second life, and in treating the history and imperfections of a surface as part of the work rather than obstacles to it. This piece is a direct expression of that. Coffee paper is not a pyrography surface. She made it one.

Find Des's work:

Website: dpinspirations.co.uk

Instagram: @desi_pyrography_inspirations

To celebrate, Jen received all three Digital editions of

the Community Book of Templates.

Check out the Community Template Books HERE.

Give them some extra fire in the Burn Club and join us there for this month’s challenge. The April challenge is running now inside Burn Club, free to join and open to all skill levels.

To learn about the challenges before the public does, win some prizes and get burning: join us in The Burn Club!

Pyrography as a Mindfulness Practice

Most people think of pyrography as a hobby.

And sure. It is!

But for a lot of us, it's something closer to therapy.

Pyrography Slows You Down. Whether You Want It To or Not.

There's something about picking up a burning pen that forces a gear shift.

The heat takes a moment to stabilize.

The wood (or whatever surface you burn on) responds to pressure and pace.

The smoke gently rises and gets pulled into your fan as if it were alive.

There is also no undo button…

That irreversibility changes how you move.

You stop rushing. You stop multitasking. You can't be half-present at a hot nib and expect good results.

That forced slowness? That's not a side effect of the craft.

That is the craft.

Presence Isn't Optional. It's Required

There's something that happens when you settle into a burn session. I've felt it myself, and I've heard it from artists at every level… The world just disappears.

The mental chatter starts to quiet. You stop running your to-do list. You stop replaying that conversation from earlier. You start noticing the grain of the wood, the resistance under your tip, the way the smoke curls up when you slow down.

Psychologist Mihaly Csikszentmihalyi, who spent decades studying flow states, found that regular access to deep focus (the kind you can't fake) builds measurable improvements in well-being over time.

That shift is real, and it's not just something artists talk about. A meta-analysis of 17 studies involving over 10,000 people found that greater mindfulness is directly linked to higher levels of flow, that state of deep absorption where reality as we know it just stops. You know, where you forget to eat, lose track of time, and catch yourself holding your breath.

Pyrography is essentially a manual entry point into exactly that.

You're not thinking about the future. You're not processing the past.

You're just burning. Here. And Now.

What Making The Book, Presence, Taught Me

A few years ago, I made a book called Presence.

The whole idea came from something I noticed in my own practice. Drawing radial symmetry made me slow down in a way that nothing else did. There was something meditative about the repetition. The rhythm of it.

But when I started burning that radial symmetry?

It went even deeper.

The pace of the pen, the heat, the permanence of each stroke… It created a layer of presence that went deeper than what drawing alone gave me. I wasn't just making art. It became a meditative practice.

And I get it, it might not be for everyone…. But it’s unlocked so much for me and got me through some really difficult times so I can't resist sharing this form of meditation with the world!

I've always felt like I'm meant to spread peace of mind through art. It's the ‘why’ behind everything I make and every space I build.

So if technical hiccups are getting in the way of that for you, I've got you covered! Check out these two free blog posts if you are new or running into issues:

10 Steps for Wood Burning By Hand or

The Pyrography Troubleshooting Guide

And if you're past the technical stuff and ready to go deeper; that's where Burn Flows come in.

What a Burn Flow Actually Looks Like

A burn flow isn't a project. It's not something you frame or sell.

It's a short, focused burn exercise (a texture or a repeated mark) designed to get you out of your head and into your hands. No pressure to make something finished. Just you, the wood, and the rhythm of the tip.

Inside Burn Club+, burn flows are organized by difficulty and nib type so you can

1. choose by what nib's you already have on hand, or

2. by the texture you want to practice.

Each one includes a timelapse of the full process and a step-by-step video where I walk you through it start to finish.

I am adding new ones every month, and members are free to request textures or specific nibs, or even just any kind of ideas!

The burn flows are one way in. But even without them, a little intention is all it takes to go deeper. Try any of these — one, some, or all of them:

• Before picking up your burner, take a moment to breathe and think about why you’re creating.

• Take a second and say it out loud: “I burn today with the intention to free my mind”

• Take it a little deeper and try to sync your breath with your movements: inhale as you lift the pen, exhale as you burn.

• Focus on the process, not the outcome. Instead of worrying about making a "perfect" piece, enjoy the sensations: the way the pen glides, the smell of the wood, the sound of the tip sizzling against the surface. Let yourself be absorbed in the moment and in feeling of the burn.

• Try a repetitive pattern. It doesn’t have to be a burn flow. It can be as easy as filling up your wood slice with dots, or repetitive lines, or all swirls…. The act of repeating shapes helps bring a sense of calm and order and if you are not thinking of what to do next, it’s not only satisfying, but you free yourself from making decisions and can embrace not thinking, even just for a moment. That’s presence.

You Don't Have to Be Struggling to Benefit

This isn't only for the hard seasons.

Burnout, grief, anxiety, overwhelm… yes, pyrography can be a really helpful anchor in those moments. But it doesn't have to be a crisis response.

Mental health works a lot like physical health. You shouldn’t wait until you're injured to start moving your body.

Consistent, small steps build a foundation. A daily walk isn't dramatic, but it compounds.

A burn session (even a short one) works the same way. It's a rep. It's practice. It builds something over time that carries into the rest of your day, your week, your life.

And it doesn’t have to be a Burn Flow. It can just be any kind of doodling. It can be tracing a template or a hand drawn sketch. It can be a piece that takes you a year to complete because you go slow and move with intention.

Focus on the process, not the outcome.

The goal is to practice presence so it becomes something you can access more easily, even when you're not holding a burning pen.

What Has Pyrography Done for Your Mental Space?

Because that's the thing about pyrography. It starts as a hobby. And somewhere along the way, it becomes something you actually need.

What has pyrography done for your mental space?

Reply here or bring it into The Burn Club.

February 2026 Burn Challenge

Each month inside Burn Club we run a Burn Challenge: BC+ members pick a single word, and everyone is invited to interpret it in their own way, in any style, any level, any tool.

This time the word was “FURRY”

This challenge went hand in hand with our Open Studio guest session featuring Brandy Roels, who taught us all about burning furry textures. It was the perfect pairing for this month’s theme and gave everyone a chance to explore fur texture in a deeper way while learning from Brandy’s approach!

and the winner is…

Jen of @woodburnedwonders

There is so much to love about this piece. The furry texture in the darker patches is especially beautiful. It has so much richness and depth, and the way the layers were built makes the fur feel soft, full, and wonderfully dimensional.

And those eyes really pull you in. They feel soft, calm, and just a little bit soulful. This little cutie has such a gentle presence.

What makes this piece even more impressive is that it was burned on leather. That surface brings its own challenges, which makes the texture and detail stand out even more. Jen works on a wide variety of surfaces and creates all kinds of unique pieces, from book covers and sculptural puzzle art to earrings, door stoppers, and other one of a kind creations.

Be sure to check out Jen’s work and explore the range of creative things she’s making in The Club, on Instagram, and on Facebook.

To celebrate, Jen received all three Digital editions of

the Community Book of Templates.

Check out the Community Template Books HERE.

Give them some extra fire in the Burn Club and join us there for this month’s challenge!

To learn about the challenges before the public does, join us in The Burn Club!

January 2026 Burn Challenge

Each month inside Burn Club we run a Burn Challenge: BC+ members pick a single word, and everyone is invited to interpret it in their own way, in any style, any level, any tool.

This time the word was “SYMMETRY”

For this prompt, we asked you to lean into balance, repetition, and that satisfying feeling you get when a design clicks perfectly into place.

and the winner is…

Sinders (@LittleMissLou)

Sinders delivered SYMMETRY with a radial symmetry piece inspired by where they live, right by the sea in the UK. Their design feels coastal in the best way. A circle of little fish swims around the outer ring, evenly spaced like a living border. Between them, you can spot sea inspired details like shells, bubbles, and small ocean motifs that keep your eye moving around the piece without ever feeling busy. The centre has a clean, floral style core with layered shapes and dots that pull everything inward and make the whole pattern feel anchored.

To celebrate, Sinders is receiving all three Digital editions of

the Community Book of Templates.

Check out the Community Template Books HERE.

Give them some extra fire in the Burn Club and join us there for this month’s challenge!

To learn about the challenges before the public does, join us in The Burn Club!

Meaningful Personalized Gifts You Can Commission (or Learn to Make)

This blog post includes ideas for the kind of keepsake that begins with something real you already have: a handwritten note, your kid’s drawing, a map pin, a portrait, a memorial detail you want handled with care.

Personalized gifts are the ones people keep. They are not just “cute.” They hold a memory, a person, a place, a season of life.

If you want to make one yourself, you can learn the skills inside the free Burn Club. If you want something ready to gift, you can request a custom order from a Burn Club+ community artist and support an independent creator while you do it.

How Custom Orders Work

To request a piece, you’ll start by filling out the Custom Order Request Form. This will connect you with an artist first to confirm all the details, so everything feels clear and comfortable.

This questionnaire helps our Burn Club+ artists understand what you’re looking for, plus your general location, so we can keep shipping logistics smooth and realistic from the start.

After an artist responds to your request, you’ll continue working directly with them to complete your custom order. They’ll contact you to confirm details, timelines, payment, and shipping.

Payment goes directly to the artist, and they keep 100% of the amount you pay!

One important note: just like no two wood slices are identical, every pyrography artist has their own style, tools, and approach. Your custom piece will reflect that individuality, and that is part of what makes it truly one of a kind.

Personalized Gift Ideas

1. Portrait

Pyrography portraits are a a common request for a beautiful way to capture the things you love most, whether that is your home, a beloved pet, a family member, or a place filled with memories.

These pieces make incredible gifts and keepsakes because they are personal and one of a kind, created from your reference photo and shaped by the artist’s hand. They are the kind of artwork you display proudly, not just because it looks beautiful, but because it holds meaning every time you see it.

Brandy Roels, a Burn Club+ member, created this gorgeous wood burned portrait which captures a married couple in a way that feels both timeless and deeply personal.

The wood grain becomes part of the portrait, making each piece one of a kind, just as every relationship is. Burning the image into the surface gives it a sense of longevity and intention, turning a single wedding moment into something enduring, grounded, and meant to be passed down rather than replaced.

portrait Ideas:

• Pet portrait

• “Pet and owner” portrait

• Couple portrait

• Parent and child portrait

• Grandparent portrait from an old photo

• Family portrait from a group photo

• Wedding portrait with date

• Baby keepsake portrait with name and birth details

• Sonogram

• Best friends portrait

• House portrait (first home, childhood home, cottage)

• Cabin or cottage portrait with lake outline

• Farmhouse or barn portrait

• Favourite landmark building portrait

• Hands holding hands portrait (simple and sentimental)

2. Handwriting keepsake

There’s something kinda awesome about seeing someone’s actual handwriting preserved in wood. It keeps the essence of the person alive. Their personality and their the little quirks are preserved and it feels like you have a little part of them forever.

Check out this beautiful piece by one of our Burn Club+ members, Chuck, The Burning Woodchuck. He created a pyrography piece inspired by Ernest Hemingway’s quote “Good Writing.”

Art by BC+ member: Chuck, The Burning Woodchuck

Instead of just burning the words, he went all in on authenticity by researching Hemingway’s typewriter, the Corona 4, then tracking down a matching typewriter style font so the quote feels true to the era. He even found Hemingway’s distinctive signature and recreated it for the name, which adds such a thoughtful finishing touch.

It is the kind of piece that feels both classic and personal, and it is a perfect example of why handwriting based custom orders are so meaningful, because you are not just preserving the words, you are preserving the person behind them.

Popular ideas

• A child’s “I love you” note

• A kid’s name written by them

• “Mom” or “Dad” in a child’s handwriting

• Handwritten signature (grandparent, parent, partner)

• Short handwritten letter excerpt

• Recipe card snippet (on a cutting board for example)

• Family saying or inside joke

• A loved one’s nickname for you written by them

• Wedding vows

• First anniversary card message

• Handwritten “Will you marry me” note

• A note from a baby book or milestone journal

• A sample from a loved one’s journal

• Short poem written by the client

• A line from a child’s school work

3. A custom urn (or a memorial Piece)

A wood burned memorial piece can be a gentle, lasting way to honour someone you love, whether it is an urn with a name and dates, a meaningful quote, a favourite symbol, or a simple design that reflects who they were.

This urn project was especially meaningful because the client already had a beautiful wooden urn and asked if I could create an added plaque style piece to attach to it. I designed the addition to feel like it belonged there from the start, then stained and framed it to match the existing wood as closely as possible so it looks seamless and intentional. It was a reminder that memorial work is often about the small details, making something that honours a person quietly and respectfully while fitting perfectly with what the family already has.

This kind of art can hold the story without feeling heavy, giving you something you can keep close that is personal, timeless, and made with care.

4. Children’s art

A wood burned piece made from a child’s artwork turns a sweet drawing into a forever keepsake.

Those little lines and wobbly shapes carry so much personality, and burning them into wood gives them a warm, timeless feel that paper just cannot match.

It’s a beautiful way to preserve a favourite scribble, a first self portrait, or a family picture. It becomes the kind of piece you keep on a shelf (or fridge or wall) for years and still smile every time you walk past it.

This little llama was drawn by my 7 year old daughter (directly onto the wood) for her teacher who is obsessed with llamas. Burning your children’s art makes a great personalized gift too! The back of this piece has my daughter’s signature and the year it was made.

Extra touches not to forget:
When requesting or burning your own kids’ art, add their name, age, and the year on the back so future you gets emotional in the best way.

If you are doing the burning yourself, let the child add some colour! This gives even more meaning to the artist as well as the receiver of the gift.

5. “Where it happened” map piece

A mapped location piece is a simple but powerful way to turn a place into a keepsake. It can be the exact spot where something meaningful happened, your home, a cottage, a lake you return to every summer, a trail you love, or even the place you met someone important.

In pyrography, the map details can be clean and minimal or more detailed with roads and landmarks, and you can add coordinates, a date, a short phrase, or a tiny icon to mark the point.

Map art by BC+ member: Zona of BZFurFur

Mapped location pieces are not just for real world places. They can also celebrate the worlds we love, like a fantasy map that instantly brings you back to a story.

This stunning piece was done by one of our Burn Club+ members, Zona of BZFurFur. She created the Lord of the Rings map, and it’s a perfect example of how a burned map can feel like a keepsake, not just a reference. It turns a familiar layout into something you can actually display, a piece that feels personal, nostalgic, and full of adventure.

mapping ideas:

• GPS coordinates with a small marker dot

• Minimal map linework of a neighbourhood with “home” marked

• Lake outline with the cabin location pinned

• Two location pins connected by a line (long distance story)

• Cottage road map showing the route to the dock

• A meaningful city block where you first met

• Wedding venue location with date underneath

• Proposal spot coordinates with a tiny heart marker

• Trail map segment with the summit marked

• Topographic contour lines of a favourite mountain or park

• Campground layout with site number highlighted

• “Where we started” and “where we are now” two map pins on one piece

• Hometown map with the street you grew up on circled

• Map of a family farm boundary line

• A single coastline outline with a star where you visited

• “Long distance” two pins connected with a thin line

If you’ve been thinking about getting something made, this is your sign to do it. BC+ artists are available for custom order requests, and you can submit an idea as simple as a name and date, or as detailed as a portrait, a mapped location, or a memorial piece with specific design notes.

Once an artist picks up your request, you’ll chat directly to confirm the details, timing, and pricing before anything is paid for, so you feel clear and comfortable every step of the way.

When you’re ready, submit your custom order request and we’ll help match it with an artist who can bring it to life!

December 2025 Burn Challenge

Each month inside Burn Club we run a Burn Challenge: BC+ members pick a single word, and everyone is invited to interpret it in their own way, in any style, any level, any tool. This time the word was SNOWFLAKE!

and the winner is…

@LionsRoar

This piece is a classic winter scene: a cozy cabin sitting in the snow with mountains behind it, snowflakes drifting across the sky, and a little snowman out front to finish it off. There are a lot of thoughtful details packed in here too, like the log texture on the cabin, the simple depth in the background trees, and the mix of snowflake shapes spread throughout the piece.

To celebrate, @LionsRoad got full access to The Pyrography Summit!!

The summit is one huge collaboration of all things pyrography and business! My favorite part of The Summit? The 8 masterclasses with professional pyro’s sharing their techniques, tips and pyro expertise!

Thank you to everyone who jumped in and shared your work. I loved seeing all the different takes on this challenge, and it made the channel feel extra festive last month.

The latest challenge is already up in The Club, if you’re curious and want to jump in, please join us there.

To learn about the challenges before the public does, join us in The Burn Club!

How to Keep Burning Without Burning Out: A Conversation with Pyro Toasty Talks

Practicing pyrography means different things to different people.

For some, it’s a meditation (if this resonates with you, I wrote more about that here: Pyrography as a Mindfulness Practice)
For others, it’s business.
For many, it lives somewhere in between.

But whether you sell your work or keep it personal, one question eventually appears:

How do you keep coming back to the burner without burning out?

It’s a question that I should have asked myself a while ago, one that I ask myself even now, and one that comes up often in conversations across the pyrography community.

***If you’re already part of the Burn Club, join us in this conversation HERE.

If you’re not in yet, sign up here and head to the Burning Questions channel!

Over the years I have experienced the ebb and flow of creative motivation. Sometimes pyrography fit naturally into my life. Other times the motivation just wasn’t there. The most noticeable turning point, for me personally, came when this peaceful hobby became a business.

Making money from the craft was incredibly rewarding, but it also introduced pressures I didn’t fully anticipate…

That experience made me start thinking more deeply about longevity in practicing wood burning, and honestly creativity in other mediums too, because let’s face it… who really sticks to just one craft?

So the question becomes: how can I build a creative life that can actually last?

These are exactly the kinds of conversations happening on Pyro Toasty Talks, one of the first podcasts dedicated entirely to pyrography. Many of the discussions come directly from the lived experience of artists working within the craft, and every experience has similarities as well as their own differences.

The Conversation Happening on Pyro Toasty Talks

Pyro Toasty Talks is a podcast created for the pyrography community. The show explores wood burning not just as a technique, but as a creative practice and a profession.

Episodes dive into pyro tools, process, experimentation, and the realities of building a life around art.

Conversations often explore running a creative business, navigating motivation, and figuring out how to sustain the craft long term.

You can listen to Pyro Toasty Talks on several platforms:

• Official website

• Spotify

• Apple Podcasts

• Podcast Republic

• Instagram (episode announcements and updates)

The Voices Behind the Mic

Pyro Toasty Talks is hosted by Zona and Brian of BZ FurFur with occasional appearances from former co-hosts David and Renee of It’s David and Renee. The podcast also regularly welcomes artists and entrepreneurs from across the world, creating a diverse mix of voices all built around pyrography, creativity, and entrepreneurship.

For this article, I had the chance to pick Zona’s brain.

Zona is first and foremost an artist. Her pyrography is intricate, controlled, and deeply intentional. The level of detail she achieves reflects years of dedication and a strong passion for the craft.

That same care and thoughtfulness also comes through in the way she speaks about creativity, practice, and building a life around what you love.

What To Expect From Episodes

Episodes range from gear discussions and creative process conversations to business insights and guest interviews. Topics have included balancing creative work with the rest of life, processing your own wood, decorative mediums, hosting classes, pricing strategies, selling work at markets, planning art pieces, and interviews with other creatives in the pyrography world.

Whether you’re an experienced pyrographer, a newer maker, or someone curious about turning creativity into income, Pyro Toasty Talks offers valuable insight. The blend of artistic passion and entrepreneurship gives listeners a well-rounded look at what it means to pursue art with intention, and to make a living from it. 

Continuing the Conversation with the Hosts of Pyro Toasty Talks

The conversations happening on Pyro Toasty Talks, with the hosts and guest speakers, often circle back to something many artists eventually discover: that sustaining a creative practice requires both the art itself (in all its forms) and the systems that support it. Sometimes those systems are practical, like routines or business structures. Other times they are quieter supports, like time in nature, creative play, or moments of rest and reflection that help reconnect with why we create in the first place.

I am excited to hear how Zona thinks about that balance in her own creative life.

Wood Burning as a Long-Term Practice

It’s easy to feel motivated in the beginning. Everything is new and every new piece or technique learned feels like discovery. But inspiration shifts over time. It deepens. It matures. Sometimes it quiets…

For me, creativity comes and goes in waves. Sometimes I can’t sleep without getting an idea out of my head and onto wood. Sometimes, I have no desire or energy to make anything at all.

Sometimes it’s as simple as going for a walk in nature that gives me the mental space for those creative sparks to appear. Other times, I need a few days with nothing but a canoe and a fire. Nature really fuels me... 🌳

That balance between “nothing” and “everything else” has become important in my life. When there is enough time doing “nothing” (meditation, walking, art that is for pure pleasure etc…), the space to create is more readily available.

But getting into the creative state, or maybe out of a creative rut, looks different for everyone…

On Pyro Toasty Talks, these kinds of questions come up often, and Zona has been in the pyrography game since 2021, so I asked her directly:

What keeps you inspired and motivated?

“I often think about the first time I created a piece for “I Am the Storm.” It was a collaboration with another artist that incorporated fractals. A woman came by the booth, saw the piece, and told me that the quote meant something deeply personal to her—her daughter had just gone through chemotherapy and was finally in remission.

In that moment, the artwork meant something real to someone else. It wasn’t just something I made—it connected to someone’s life and their story.

That experience has stayed with me. Knowing that something I create can resonate with someone in that way is what keeps me inspired and motivated.”

It’s a feeling many members in Burn Club share, especially when a piece is made as a gift or created with someone specific in mind. That sense of connection can be deeply motivating.

But when art starts to carry expectations, deadlines, or financial pressure, the relationship with it can begin to change.

When Art Becomes Business.

Monetizing a craft can create freedom but it can also create tension.

I found myself creating not because I wanted to explore an idea, but because I needed something to post, something to feed an algorithm. And that shift changed how it all felt… I actually dreaded starting a piece because I would feel obligated to record it and guilty if I’m not recording it (insert the once trending tune of “everything is content, everything is content”).

Wood Burn Corner took a pause when Rachel stepped away from the business, and since I was also going through a difficult time personally, everything slowed down for a while. But that pause ended up giving me space to rethink how I wanted to move forward.

I stepped back from chasing consistency for the sake of performance. It was my meditation space and I wanted to protect that.

Now I only record tiny snippets or take a photo of the finished piece and burn guilt free, mostly whenever I feel like it. I say mostly because as a business, it require SOME consistent output, but the key is, that it is balanced with my own projects and stuff I do that is not for show.

I realize that kind of pause is not always possible when a business, audience, or other responsibilities are depending on you. So, it made me curious how the transition from artist to artist entrepreneur had shaped Zona’s relationship with pyrography.

What happened to your relationship with pyrography when you made it your business?

“There was a point when it stopped being fun. It became work, and at times it even felt like a burden. I realized something was wrong when I caught myself not liking it anymore—because if I didn’t like it, I certainly wasn’t loving it.

That was the moment I knew something had to change. I had to stop making things I didn’t care about and start focusing on work that actually filled my cup.

I don’t enjoy mass production. I don’t want to make the same thing over and over simply because I feel obligated to. If I get bored with a design, I want the freedom to say, “I’m not making this again for a while.”

The moment I stopped allowing myself that freedom was the moment the joy started disappearing. Remembering that this is my business—and that I get to make those choices—helped me reconnect with the work.”

How do you keep your practice grounded instead of performative or forced?

“For the most part, I don’t make things for the gram. I rarely go into a piece thinking about how it will perform on social media. Honestly, I usually forget to take progress photos entirely—beginning shots, middle shots, final shots. I’m still figuring out product photography.

Occasionally something works out. For example, the reveal for Majesty’s Dawn happened completely spur-of-the-moment, and it turned out great. But that wasn’t a calculated marketing decision—it was just instinct in the moment.

Brian handles much more of the social media side because it’s important for growing the business. For me, it’s always the last thing on my mind. If it were entirely up to me, I’d probably just snap a quick picture every once in a while and post it.

My focus is always on the work itself first. The rest comes after.”

I love that perspective. Making space to create things that are not for sale or for show can make a huge difference. When the work comes first and everything else follows, it’s much easier to keep the practice grounded.

But many artists run into another challenge once their craft becomes part of their livelihood.

So I asked Zona:

Have you ever caught yourself creating out of obligation instead of desire and how did you manage that?

“Absolutely. That’s what much of 2025 felt like for me.

Last year was a season of obligation—meeting deadlines, honoring commitments, and pushing through when my heart wasn’t always in it. There were events and opportunities we had committed to, and I knew the consequences of backing out would have been damaging to the business.

So I created because I had to. Not always because I wanted to.

That made it difficult to find motivation and reconnect with the joy of creating. At times it felt like I was running a business rather than practicing an art form I loved.

Recognizing that feeling was important, though, because it helped me realize that something needed to shift moving forward.”

I really relate to that. Knowing your threshold and understanding how you work creatively is huge. Being able to recognize when something feels off before it turns into burnout is even more important.

The Role of Community in Longevity

Community has many benefits. It can sharpen our skills, steady our confidence, and sometimes help us see our own progress more clearly. It reminds us that growth does not have to be solitary, and that creative risk feels very different when you are not taking it alone.

Zona has been a big part of that spirit within the pyrography community, generously sharing her knowledge and experience with others over the years. So I was curious how community has shaped her own journey as an artist.

What role has community played in your journey as an artist?

Community has been incredibly grounding for me. It inspires me, challenges me, and reminds me why I started in the first place.

In the pyrography world specifically, the community really lit the spark. Early on, when I was still figuring out where I fit and whether this was something I wanted to pursue seriously, I discovered the Wood Burn Corner Summit.

It felt like a godsend. I remember telling Brian that I wished there was a place where people shared knowledge and supported each other in this medium—and then I found it. Through the summit I connected with people like Minisa and a broader community of artists who were passionate about the craft.

That sense of shared learning and encouragement helped me realize that pyrography was something I truly wanted to pursue.

Hearing that really meant a lot to me. The Pyrography Summit was built around that same idea of artists coming together, sharing knowledge, and learning from one another.

It’s something Pyro Toasty Talks continues to nurture through the conversations happening on the show.

Moving Forward Intentionally

If there’s one thing I hope we continue to talk about as a community, it’s how to build creative lives that last. Not just projects, trends, or bursts of motivation… but practices that feel grounded.

If you are building a business, you need to build it in a way that protects your love for the craft.

If you are burning purely for peace, you need to protect that space fiercely.

And if you are somewhere in between, allowing it to evolve while keeping it sacred and balanced is key.

So I asked Zona:

What is your approach to maintaining balance in your creativity and what advice can you give artists to help them maintain theirs?

In some ways, my ADHD actually helps me maintain balance. I tend to move between tasks—starting something, remembering something else that needs to be done, and then circling back. Sometimes that means putting up a quick Post-it reminder or jumping away from the bench for a moment before returning.

Other times I’ll do the exact opposite and burn for twelve hours straight without realizing how much time has passed.

The key for me is intentionally setting boundaries around time. The same way you make time to create, you also have to make time for the other parts of your life. If you schedule time to work on a piece, you should also be intentional about time for chores, relationships, and rest.

Creativity shouldn’t come at the cost of everything else.

Brian and I try to approach it the same way we approach our marriage—with intention. We try to protect time for each other, whether that’s a proper date night or something simple like sitting at the workbench together, sharing a snack, and playing a quick game.

Balance isn’t perfect, but it’s something we actively try to maintain.

These kinds of conversations come up often on the show. Episodes like Season 1 Episode 12 and Season 2 Episode 15 dive deeper into topics like creative burnout, balancing business with art, and the realities of sustaining a craft over time.

That is what Pyro Toasty Talks does so well. It goes beyond technique and makes space for the deeper side of pyrography too. The shifts in motivation, the pressure that can come with turning art into income, and the effort to keep the craft meaningful.

Listening in feels less like a tutorial and more like being part of a conListening in often feels less like a tutorial and more like sitting around the workbench with other artists who understand the journey.

November 2025 Burn Challenge

Each month inside Burn Club we run a Burn Challenge: BC+ members pick a single word, and everyone is invited to interpret it in their own way, in any style, any level, any tool. This time the word was “Abstract”: instead of focusing on realism or perfect detail, the goal was to play with shapes, movement, pattern, and feeling. It was all about letting go of “what it’s supposed to be” and seeing what shows up when you just respond to the word.

and the winner is…

John of @Circle8Pyrography

John answered the prompt with something wild and clever. The winning piece is a pair of tall, wave-shaped wall panels. He cut those curves on his bandsaw and filled them with layered geometric patterns and bold contrast.

These started out as scraps from another project that he refused to throw away. Instead of heading to the bin, they turned into this beautiful, sculptural duo. That’s very on brand for John! His work is packed with unique builds: 3D pieces, things that spin, and designs that break out of the normal flat rectangle. And he’s already talking about planning even crazier ones after this!!

To celebrate, John got to choose Any 20 templates from WBC shop!

Check out the template shop to get royalty-free and practice only templates for your next wood slice project!

Give him some extra fire on Instagram or in the Burn Club and make sure to give him a follow, if you’re not already doing so! He is always up to something extra creative and inventive!!

To learn about the challenges before the public does, join us in The Burn Club!

8 Ways Writing Nurtures Your Mind and Mental Health

It all started with "The Artist's Way" by Julia Cameron. I didn’t know it at the time, but picking up that book would completely shift how I thought about writing as well as myself. My creativity came back after some hibernation and I felt newly inspired to make things again, and start burning and drawing again. And it didn’t feel forced. I just had mental space for the fun things, thanks to releasing the not-so-fun things floating around in my mind.

But at first…

I was reluctant to start writing.

Actually, I kinda really hated it.

I remember as a teenager, there was so much pressure around making my diary sound a certain way, trying to omit spelling errors, not knowing what to really write in general…. You would think that a diary is a private space and no one would read it so why worry about those things? But I didn’t know better. No one told me not to worry about what I sound like on paper. I wrote with the mindset that someone will (or might) read it and I wanted to sound cool. I wanted to sound interesting. I wanted to NOT sound like me (it’s almost like the cringe when you hear your own voice from a recording).

So I stopped.

Last year or two, I got a reccomendation to read this book, The Artists Way (check out that journey here: The Artists Way by Julia Cameron) and one of the daily exercises in it was the practice of freestyle, stream-of-consciousness writing.

Not for show.

Not for anyone.

Heck, not even for myself to re-read after!!

Seriously, I write so quickly that sometimes I cannot reread the chicken scratch that I wrote, and that is completely fine! Because it’s not all about the actual writing. It’s about process of it. It’s about getting the words, thoughts and ideas out of your head and onto something tangible.

It really, very quickly, gave me a peace of mind and helped me process things.

Then I stumbled across another book: The Power of Writing It Down: A Simple Habit to Unlock Your Brain and Reimagine Your Life by Allison Fallon and suddenly, the “why” behind it all snapped into focus. (here is a free audiobook on Spotify)

SO Why does this style of writing help heal and promote mental health?

This form of writing was a tool to help me heal. Almost immediately! Seriously, I noticed differences in the way I thought and what I though almost right away. It was magical.

Below are some reasons in the book, mixed in with my personal experience as to how beneficial it can be.

1. Emotional Processing & Stress Relief

Fallon emphasizes that this expressive freestyle way of writing lets you unpack what’s bottled up inside. This helps process emotions, reduce stress and anxiety, and gain emotional clarity.

2. Cognitive Clarity and Insight

By putting thoughts into words, Fallon explains how writing fosters clearer thinking, better decision-making, and goal setting. Expressive writing connects you with your subconscious, revealing clarity and helping crystallize what truly matters.

From personal experience, I found this to be really true! In my head, the thoughts are lightning fast, but my hand writing these thoughts down can only keep up so much… This forces my brain to slow down and process my thoughts without thinking 5 steps ahead and back to the beginning (goodbye rumination).

3. Provides a Safe Emotional Outlet

Journaling this way offers a private space to express thoughts and feelings without judgment, serving as a therapeutic outlet for emotions that might be difficult to share otherwise. If you are nervous someone might find it, then

writing and immediately burning or shredding or ripping it up is just as therapeutic as the writing itself!

4. Breaks Old Habits

Fallon shows how writing helps you identify and break those ruts in your brain. It helps rewire habits, reroute outdated thought patterns, and discover new pathways forward. Because once you take the time to think of these things and write them down, you see them more clearly. And once you see them more clearly, it’s much easier to do something about it!

5. Shifts your Mindset

Writing about challenges gives you space from them. It separates you, mentally and physically! You can see them more objectively, reframe the narrative, and respond with more compassion to yourself.

6. Improves Self-Awareness

Regular journaling encourages introspection, helping you recognize patterns in your thoughts, emotions, and behaviours over time. It’s not just the act of writing that matters, it’s the way handwriting naturally slows down your brain, like I mentioned in the first point. It’s creating space between thought and response. In that space, you’re able to “speak” without judgment and see yourself more clearly. Writing becomes a mirror, not just reflecting your experience but helping you look at yourself with more honesty, curiosity, and compassion.

Think of it like a muscle. The more you think about your feelings and emotions, the easier it is to recognize them!

7. Promotes Mindfulness

Mindful writing practices, such as focusing on the present moment during journaling, can enhance mindfulness, leading to greater emotional regulation and reduced rumination. I can go on for DAYS on the importance of mindfulness! There are many studies that suggest that focusing on the present can have a positive impact on health and well-being. And I feel it. This was a huge reason why I wrote my book, Presence, and a huge reason for creating The Burn Club with all it’s pyrography exercises (and non-pyrography exercises) to keep you in the here and now.

8. Strengthens Your Inner Voice

The more you write, the louder your real voice becomes underneath all the noise. Fallon describes this as a return to your intuition and inner knowing. This is huge for me because, all my life, I have unknowingly leaned into people-pleasing and perfectionism quite hard… I took more care of others, instead of myself. I am letting go of any blaming or feeling bad for myself, because kindness is this world is needed. But what I’ve learned was that I deserve my kindness too.

What writing has taught me is not only how to be kind to myself but also how to accept this kindness.

Incorporating writing into your daily routine can be a simple yet effective strategy to enhance mental health and cultivate mindfulness.

It’s very simple AND it’s FREE!

All you need is a paper and a pencil/pen.

How to write stream of consciousness style:

Writing in a stream-of-consciousness style means letting your thoughts flow exactly as they come. Write without editing, censoring, or worrying about grammar, spelling, or structure. This is not about writing well. It's about writing truthfully. Misspelled words, half-finished thoughts, tangents… It’s all welcome.

• Setting a timer helps to give it a start and a finish, therefore making it easier to complete. It also helps you not to get tempted to pause or overthink.

• Don't lift your pen or pause to reread. Keep your hand moving or your fingers typing, even if what you're writing is “I don’t know what to say right now.” That counts. Just keep going.

• If one thought leads to another, go there. Even if it feels random. That’s the point. You're learning how your mind moves, not trying to build a neat essay.

• Knowing that no one will read it (not even future you, unless you want to) frees you to be honest. If needed, plan to shred, delete, or burn it afterward. That alone can unlock a new level of depth.

If you are stuck, start by just describing what you see, hear or better yet, how you feel, even if it’s just “I’m feeling cold”. When a thought pop’s into your head, and it inevitability will, write it. Even if it’s “I have to remember to change over the laundry in 20 min”, then write that.

There are no rules.

Sometimes, I have started with a question to get me going. It can be as simple as “What am I grateful for today?” to something deeper like “Why did I react that way yesterday?” The question doesn’t need to be profound: it just needs to crack the door open.

When I get really really stuck or not in the mood, I ask google. (or AI) “what do I write about today?”

I have seen a lot of resistance to writing with a special person in my life who is going through some hard times. None of these things worked for her because she didn’t think she was valuable enough to spend 5-10min writing. Or she didn’t think it would help. Or maybe she just didn’t know where to start.

So I got her this book: One Line a Day: A Five-Year Memory Book. The dates helped her keep a track of when she is writing, the spaces were small so it was quick and not overwhelming and there still aren’t any rules here; writing just words or in point-form further makes it freeing.

It’s about taking a moment to think about yourself for once! It might not as quickly impactful as the stream of consciousness writing, but it’s something. And sometimes we just need to start somewhere. This is a good place for that.

Another good place for the same kind of freestyle release is your sketchbook. Drawing is a really fun way to get started or release some tension. If can be as simple as drawing a circle over and over again, making simple patterns or repetitive marks and can get as complex as drawing the view in front of you. As long as you don’t judge the end result, and just move your pencil in a way that feels good.

I recently started a sketchbook, which is for my eyes (and Burn Club+ members get to follow along my journey too). It has been really fun and insightful. I’m noticing things around me, sure, but I’m also noticing the things inside of me, like my reaction to trying to draw my view and then failing miserably. Instead of being angry with myself, I moved on and tried another subject. I tried drawing nature instead and it was amazing, becuase I did not have to get it perfect. My drawings didnt have to be exact, and they still looked like something which took a lot of pressure off and made me believe in myself more!

If you want more structure to start, Burn Club+ has a channel dedicated to freestyle exercises just like this zigzag design and all the drawings include step-by-step instructions and video guides too!

Journaling with kids

Studies with school-age kids show that regular writing can ease anxiety and low mood and even boost working memory, and that expressive writing (the freestyle kind where they put their feelings into words, instead of just writing about their day) has an even stronger positive impact.

My daughter and I share our “Happy thought of the day” every night before bed where we name at least one thing that made us happy. I wanted to document that in a more concrete way and get my daughter into the habit of writing so she isn’t as traumatized about it as I used to be and so she has a habit formed early on.

So, I started a journal with her!

We write our happy thought, along with what we’ve learned and how we felt (even if it wasn’t great). Some days we wrote a simple quote out and decorated it. Some days we wrote a whole page of thoughts and events that happened, and some days we just drew things!

Again. There are no rules.

I’m hoping it helps her express her feelings and get to know herself, much earlier than I learned to know myself. I want it to feel like a safe place to talk to me on paper, especially as she moves into her teenage years. I also want her to have this tool for herself. So far, its gotten us to both sit down and be present in the moment in a fun and bonding way.

Writing has become more than just a creative outlet for me: it’s a lifeline. What started as morning pages turned into something deeper. It’s now a way to care for my mind, sort through tangled thoughts, and create enough calm that I actually want to show up for the things I love, like wood burning, drawing and making art.

Whether you're navigating stress, seeking clarity, or just trying to slow down in a noisy world, writing gives you a place to land. When your mind feels less crowded, it’s so much easier to feel curious, playful, and creative again.

You don’t need fancy prompts, perfect grammar, or a clear goal. You just need a pen, a bit of quiet, and the willingness to listen to what’s already inside you.

So the next time your mind feels heavy, try writing it down. Not just to get it off your chest, but to find your way back to the creative things you love.

October 2025 Burn Challenge

After Dark was October’s burn challenge! Some people went for cozy night-time vibes, while others leaned into the spooky side. I definitely landed in the creepy zone myself. I was totally inspired by this month’s winner, not just by her challenge submission but also by what she shared earlier in the Inspiration channel in The Burn Club!

and the winner is…

Austine of tinibellcreations

Austine created some small pieces instead of one big burn which is such a smart way to explore an idea or technique without the pressure of a huge project!!

The eye piece has that juicy texture that pulls you in right away. It almost looks like tree bark staring at you… In the other piece, the layered trees are my favourite. The way the trunks stack and fade gives you that true night depth, and then the creepy creatures peeking through make you wonder how many more there are. I love the scratch marks on the bark too, like traces left behind as the creature is slipping into hiding…

Together the two burns play with depth, texture, what’s seen and what’s hiding. Such a fun and creative take on After Dark, and a great reminder that working small can still spark big ideas.

To celebrate, Austine got full access to The Pyrography Summit!

The summit is one huge collaboration of all things pyrography and business! My favorite part of The Summit? The 8 masterclasses with professional pyro’s sharing their techniques, tips and pyro expertise!

You can follow tinibellcreations on instagram or check out more of her awesome work in the club!

To learn about the challenges before the public does, join us in The Burn Club!

September 2025 Burn Challenge

FREEHAND was the word for September’s challenge, pushing us to put the pencil down and trust the burner. This proved to be a difficult challenge for many of us! The artist who took it to the next level is…..

Chuck of The Burning Woodchuck

One of my favourite parts of Burn Club is seeing an idea take shape from the very beginning and then grow into a finished piece. Back in an Open Studio, Chuck mentioned wanting to explore Cubism in his work. We got to see that spark before it even touched wood, and now it’s here.

Not only did he dive in and execute the idea in his head, he burned it freehand!!

He’s got confident lines, smooth gradients, and bold crosshatching that makes the burn feel alive, almost in motion. It’s a piece that grabs you from across the room and keeps rewarding you the closer you look, until you can’t help but want to reach out and feel the textures.

Chuck sparks curiosity with thoughtful questions, brings endless creativity to the table, and always shows up with a ridiculously positive attitude. Every time.

We’re so lucky to have this gem of a human in the club!!

To celebrate, Chuck got access to a full year of Burn Club+

Check out all the ways you can support Chuck and be sure to drop him some fire along the way:

Website

Instagram

Facebook

To learn about the challenges before the public does, join us in The Burn Club!

August 2025 Burn Challenge

August’s challenge grew out of Burn Club community conversations about how pyrography can be a meditative practice, bringing us peace of mind, slowing us down, and pulling us into the present moment.

Congrats to our winner for the August challenge:

Tanja of @Hatiae.within.fire!

Our prompt was SLOW, and Tanja really took it to heart. On only her second try at pyrography, she went all in on a full bed frame. What started as just wanting to burn a few tendrils grew into a picture that took hours upon hours. She said she was so immersed in the process she barely noticed the time passing, but she did notice how much it did for her soul. And really, isn’t that what keeps us all burning?

We’re so happy to have her in this community and can’t wait to see what future projects she brings to life.

As this month’s winner, she’s receiving:

full access to all to The Pyrography Summit recordings!

The summit is one huge collaboration of all things pyrography and business! My favorite part of The Summit? The 8 masterclasses with professional pyro’s sharing their techniques, tips and pyro expertise!

Want to see the project and cheer her on? Head to her post HERE in the burn-challenges channel in the Club and leave her some love.

You can also find Tanja on Instagram and Facebook!

To learn about the challenges before the public does, join us in The Burn Club!