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!

How to Store Wood Properly

If you’re anything like me, you’ve probably picked up wood here and there, from art supply shops, local lumberyards, maybe even scraps from a friend’s garage, and thought, “Perfect, I’ll burn on this someday.”

I think it’s okay to hoard wood if you can stay organized…. 😅

However, if you don’t store it properly, that perfect piece might warp, crack, or soak up moisture before you ever get to touch your burner to it…

Wood is alive in a way, even long after it’s been cut. It expands, contracts, and breathes with the environment around it. Storing it with a bit of intention will save you from a lot of frustration (and wasted surfaces).

By the way, this post came out of a great question that popped up in The Burn Club. We’ve been chatting about it in the Burning Questions channel, so if you’re curious to see how people are storing their wood, or what they use to help keep humidity at bay, join the conversation here (this link will take you directly to that convo! Sign up to The Burn Club to get access).

Flat Storage versus Upright

You may hear advice to always store wood flat, especially when it comes to longer pieces, but there is more to it than that. For pyrography surfaces which are generally smaller, especially thinner rounds or panels, bowing can happen whether they’re flat or standing upright.

What really matters is that the wood is supported and exposed to air evenly. If you’re short on space, it’s completely fine to store pieces upright as long as they’re not leaning at a sharp angle or pressed too tightly together.

Below I have wood slices in an old shoe rack. They are not fully upright but enough to save space without them bowing. They are on a slight angle which makes it easy to look through and take them out. In this case, I do not have spacers here (and there are little cookies at the bottom stacked on top of each other) because these are in constant rotation.

Also, the ones in this picture that are wrapped in plastic have been professionally kiln dried from a well known company which I have used many times so I know there is no moisture in there!

Flat stacks can work too, but always give them breathing room (using stickers or spacers, see air circulation below) so moisture doesn’t get trapped. And if a piece does pick up a bit of a bow, don’t panic: light warping often flattens out once you tape or clamp it down for a period of time (faster if there is more humidity or heat in the air. In the end, it’s less about position and more about airflow.

Some ideas for storage can include:

• Magazine racks or file organizers – perfect for upright storage of panels and slices, and easy to flip through like papers.

• Dish drying racks – they already have built-in slots that keep pieces separated with airflow.

• Wire baskets or milk crates – stackable, breathable, and easy to move around.

• Pegboard with hooks – hang lightweight rounds or thin slabs like art in progress.

• PVC pipe sections – cut into lengths and stacked like cubbies to slide wood slices into.
  
  

Air Circulation is Key

Wood needs to breathe. If you stack your pieces, don’t press them tightly together like pancakes. Place thin strips of wood (called stickers in woodworking) between each layer so air can circulate. This keeps moisture levels balanced and reduces the risk of mold or mildew.

If you’re working with smaller pyrography surfaces (rounds, plaques, offcuts), you can improvise stickers from:

• popsicle sticks

• thin offcuts

• even cardboard strips (not ideal long term, but works in a pinch)

Avoid Direct Sunlight and Heat

Too much direct heat or UV exposure will dry out wood unevenly. Cracks, splits, and discolouration are all risks. Instead, aim for a cool, dry, shaded spot — a closet, basement shelf, or dedicated storage bin.

Watch the Humidity

If you live somewhere humid, or with fluctuating temperatures, like I have in Canada, you’ll want to keep an eye on moisture. A dehumidifier in your storage area can work wonders for super humid spaces. On the flip side, if your air is bone-dry, consider adding a little humidity so your wood doesn’t get brittle. The goal is balance.

For smaller pieces, if you’re storing wood in a bin:

• Skip airtight plastic bins. They trap humidity inside like a greenhouse. Any moisture that’s in the wood (or the air the day you closed the lid) will stay there, which can lead to mold.

• Go breathable if you can. Cardboard boxes, wooden crates, or cloth bags allow air exchange. If you do use plastic bins (because hey, sometimes it’s the easiest option), keep the lid cracked or drill a few small holes for airflow.

• Add a moisture buffer. Toss in a handful of silica gel packets (like these or make your own) or a small dehumidifier pouch that will absorb excess moisture (I use these Charcoal Air Purifying Bags. What’s awesome about these are that they last for 2 years! All you need to do is dry them out in the sun once in a while; I do that about once every 2 months and there really is a difference - I have a sensitive nose and any smells that were present all disappear).

• Don’t stack tight. Just like before, use stickers or at least avoid pressing pieces flat against each other. Even inside a bin, you want air circulation.

Keep Surfaces Clean and Protected

Dust, oils, or chemicals can seep into wood and make burning unpredictable and even toxic. Store your surfaces in a clean space, and if you’re keeping them long-term, wrap them in brown kraft paper or cotton cloth (breathable, but protective). Avoid plastic wrap, which traps moisture.

Label Your Stockpile

This one might sound a little extra, but the future-you may thank present-you. If you’ve got different species of wood, you may want to consider labelling them. They all burn differently and recognizing them after you’ve ripped off the labels might be tricky. Having them organized means less guessing when inspiration strikes.

Besides airflow, at the end of the day there isn’t just one right way to store wood. What matters is that your surfaces stay stable, dry, and easy to grab when inspiration strikes.

Sign up to The Burn Club to join in on conversations, participate in wood burning challenges and learn everything you need to know about pyrography!!

11 Tiny Pyrography Project Ideas

Sometimes, the best way to hone your pyrography skills isn’t by tackling big, time-consuming projects—it’s by embracing the small ones. Tiny pyro projects are perfect for quick practice, thoughtful gifts, or even selling at craft fairs. Whether you’re a beginner or an experienced wood burner, these 11 ideas will inspire you to create something small but impactful.

*For safety reasons, make sure your surface is UNFINISHED, clean and dry. Check out our safety tips here: Safety in Wood Burning

**Some of the products or materials mentioned in this post may include affiliate links, primarily through Amazon. This means that if you purchase through these links, I may earn a small commission at no extra cost to you. I only recommend items I have tried and love.

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1. Guitar Picks

Burn cool designs onto wooden guitar picks for a customized, artistic touch. Add initials, music notes, or tiny flames to make each pick unique.

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2. Hammer

A wooden-handled hammer is the perfect canvas for a functional yet artistic pyrography project.

Whether engraving a name, a special date, or intricate designs along the handle, burning into wood transforms an everyday tool into a meaningful keepsake.

A personalized hammer makes a great gift for woodworkers, DIY enthusiasts, or anyone who appreciates craftsmanship with a personal touch.

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3. Bookmarks

Create beautiful, durable wooden bookmarks that will last a lifetime! Using thin wooden strips, burn floral borders, geometric designs, or even your favorite book quote.

A simple ribbon or leather tie at the top adds a perfect finishing touch.

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4. Tiny Magnets

Wood-burned magnets are a fantastic way to add personality to any fridge or magnetic board.

Use small wood rounds or squares, burn designs onto them, and attach a magnet to the back.

Personalized initials (or the whole alphabet!), miniature animals, or symbols are great choices for these tiny canvases.

Check out our full tutorial on these cute little magnets here: Make Mini Fridge Magnets

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5. Keychains

Small enough to carry everywhere but detailed enough to make a statement, pyrography keychains make perfect gifts, souvenirs, or even small-scale art for sale.

With endless design possibilities, each burn brings warmth, character, and a little piece of nature into your pocket. Try burning on these classic wood slices, leather or other wood designs for this fun project!

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6. Earrings, Pendant or Jewelry Charms

Lightweight wooden shapes can be transformed into custom earrings or necklace charms. Burn intricate patterns, abstract designs, or tiny flowers onto them, then add earring hooks or jump rings for an instant wearable art piece.

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7. Pocket Affirmations

Create small wooden tiles or small paper ones with positive affirmations or tiny symbols of encouragement. These can be carried in a pocket or a wallet and kept or given as little reminders to friends and loved ones.

Below are some pyrography themed ideas that can turn a small piece of wood into a meaningful keepsake:

• Burn bright

• Ignite your passion

• Steady as the roots

• Embers never fade

• Flame within

• Grow like the forest

• Fuel your fire

• Rooted in strength

• Let it smolder, then blaze

• Carve your own path

• Let sparks fly

• The forest whispers wisdom

• Rise like smoke

• From ash, we rise

• Fire and focus

• Stand tall like the trees

• Glow softly, burn fiercely

• Wood, fire, spirit

• Kindle your light

• Forge your way

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8. MAgic wand

Challenge yourself by burning on a small branch or chopstick. Sand either to make your surface smooth and look like a wand! This tiny project is perfect for adding intricate details like swirling vines, celestial symbols, or ancient runes along the shaft.

Burned textures can create a natural grip, while spirals or tiny stars give the wand an enchanted feel. Whether used as a whimsical desk ornament, a costume prop, or a personalized gift, a hand-burned wand brings a touch of mystery and creativity to any collection.

Finish with a light wood stain or natural beeswax to enhance the details and give it an aged, mystical look.

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9. Mini Plant Markers

Upgrade your garden with handcrafted plant markers. Burn the names of herbs, flowers, or vegetables onto small wooden sticks or popsicle sticks.

Not only are they functional, but they also add a rustic charm to any garden or indoor plant collection.

Check out this blog post for step by step instructions: DIY Wood Burned Plant Marker

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Burned by Aly of @alyoopsartistry

10. Music Box

A small wooden music box is a perfect canvas for pyrography, allowing for intricate designs on the lid and sides.

You can create a vintage feel with aged wood effects or carve out tiny borders for added elegance. This tiny project is a great way to add a personal, artistic touch to a functional keepsake, making it an ideal gift or sentimental treasure.

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11. Dice or Game Pieces

Love tabletop games? Make your own custom dice or game pieces by burning numbers, symbols, or even tiny illustrations onto small wooden cubes.

Whether you create a simple tic-tac-toe set or a fully customized RPG (Role-Playing Game) dice set, this project is a fun challenge.

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Tiny pyrography projects are a fantastic way to practice your skills without committing to large pieces.

They’re quick, satisfying, and make wonderful handmade gifts. Whether you’re making something for yourself or selling your art, these small projects prove that even the tiniest burned details can leave a big impression.

What’s the smallest pyrography project you’ve ever made? Let me know in the comments!

Metallic Gold and Wood

I am obsessed with metallics—there’s something about the way they catch the light and shift with every angle that makes them feel almost alive. But what I love even more is pairing that shimmer with something completely opposite, like the raw, organic texture of wood. There’s a contrast between the two that makes the shine feel even more dramatic.

Here is how this started.

A single mushroom and a gold gel pen. The idea was simple—just a touch of shimmer to highlight the design. But as I slowly filled it in, I realized how long it was taking (I was using a gel pen), and my mind started wandering. Were there better ways to add metallics to wood? Could I get the same shine with less effort? Or MORE shine????? That curiosity sent me down a rabbit hole, testing as many metallic mediums as I could get my hands on. As you can see in this little mushroom, I ran out of room…

So, I grabbed a wood round and an end grain piece and tried out a variety of metallic mediums to see how they performed. The results? Not as much difference between the two wood surfaces as I expected, but definitely some interesting discoveries when it came to the materials themselves.

Oh, I also experimented with adding an underlayer (check out: Isolation Coat/Primer and Wood) but I did not see a massive difference with or without it. I think the most important piece here is to have the wood sanded smoothly.

Here is what I tested

(from my most favourite to least) and the results I found:

*Please note that the following links are amazon affiliate links! At no cost to you, I earn a little commission if you buy the product I recommend. I only share products I have personally used myself!

• Gold foil

• Gold leaf

• Acrylic markers

• Watercolors

• Calligraphy ink

• Metallic gel pen

• Metallic pencil crayons

• Water-based paint markers

Gold foil

This is my dream medium! I only tried the Deco Foil brand in gold but it comes in SOOOO many different colours including the classic rainbow irridescent one. All of them are so solid and so juicy looking.

It’s fairly easy to apply: Put a liquid down solution down, it dries, then you apply the gold foil. The liquid part of gold foil (and gold leaf) application is typically called gilding adhesive or size. It does dry, but it stays tacky until the gold foil/leaf is applied. It seems straightforward but, as you can see in the video at the beginning, it does take a little bit of practice. Here are some tips I learned along the way:

1. You need patience: I tried to put the foil on too quickly and it was not fully dried so it didn’t stick.

2. Do not overapply: Its hard to get a smooth consistent thickness. If it’s too thick, it can stay gummy and not dry evenly.

3. Do not underapply: If it’s too thin, the wood can absorb it and so it dries without the tackiness. I think that is what happened on some of the edges of the mushrooms with both the gold leaf and foil. The leaf/foils just didnt adhere perfectly, especially in the tiny spaces.

4. Better on flat surfaces: The application process, as you can see in the picture, is the gold medium on a plastic film. Once you press the gold side to the gilding adhesive, the gold sticks and the plastic part is clear. Tis is not ideal for rounded, bumpy or imperfect surfaces (like if you want the bark gold).

For the perfect finish, next time I will ignore the burn lines and my details and just add the foil on top and then use an tiny knife or needle to gently dig them out if the burn lines if they do get stuck in there. It’s a delicate medium so its not difficult and I think it’s worth the work to have a perfect edge.

There were two different ways of applying the liquid. First was a pen/marker style and the other a paintbrush.

• Marker Style: I really disliked this. I found it took really long in large areas and was hard to get into super small areas because the tip was so thick. If I went over some spots to make it thicker, it would almost scratch the first layer off.

• Paintbrush: This applied like white glue. It just flows out of the bottle. It says not to leave strokes but that was really tricky, especially if the wood is not sanded perfectly. BUT I was able to use different sized brushes, getting into the nooks and crannies of my design. It was a much more pleasant experience than the marker, even being able to see some strokes. This liquid was actually meant for the gold leaf, but works with the deco foil too.

This is the pen/marker style applicator.

This one applies like a white glue (link is to the deco foil brand).

Gold leaf

Gold leaf is VERY comparable to the gold foil in the final look.

The application however... It is the same process as the foil; the gilding adhesive (liquid solution) is applied and the leaf sheets placed on top (once the adhesive dries and becomes tacky).

But the gold foil is very delicate. The sheets are super super thin and I felt some was wasted because they stuck to my fingers - you’re supposed to use tweezers but when I tried, it was too aggressive and ripped little pieces off… At one point I laughed too hard and pieces blew all over the place.

I just used the paintbrush application as I did not like the marker style one.

It’s a little more forgiving than gold foil when it comes to adhesion. I felt the foil was finicky and needed a perfect glue application but the leaf, because it’s so delicate, adhered to more.

Also, if you want to cover round areas, or bark that is jagged and imperfect - gold leaf would be ideal. It’s easy to get into any uneven space, not like the gold foil.

There are different colours now and even cool variegated patterns (having multiple colors or variations in color, often in a random or patterned way). These kinda look like weathered metal. I am yet to see the classic rainbow iridescent one (which I will be using in the gold foil for my next project so stay tuned)! I announce these fun things in The Burn Club, so if you aren’t signed up to this monthly(ish) newsletter and want to know what I am up to, sign up here.

Acrylic markers

I LOOOOOVE THESE oil-based paint pens! They have such good coverage, and they are supply easy to apply - just colour it in like a regular marker!

Artistro has a water-based version so make sure you get the acrylic one because there is a day and night difference!

These ones are no gold leaf or gold foil but still are shiny and metallic.

Use the coupon code WBC at checkout for an extra 10%off!

You need to shake these up to make sure the metallic-ness comes out. The tip comes unused so it needs a bit of pumping at the beginning, but it doesn’t take too long.

I was worried about them drying up, but I have let mine sit for a few months and it still flows nicely!
I used them in my sketchbook (on paper) and they are just as beautiful!

Watercolours

Soft, shimmery and controllable shine! So close to the acrylic markers, but because you need water and a brush for these, I chose them to be in 4th place.

The shine is stunning though!

These are from Zahra Ammar and she handmakes them! Check her shop out here. She sells other things, so you can peruse through her stunning artwork, or scroll to the bottom to see what she has available.

I will probably dive into watercolours themselves and experiment with a few brands because they are fun and versatile - you can add a thin layer of gold so you can see your beautiful wood grain AND have a shimmer or you can lay it on thick so there is no transparency. The acrylic markers can’t do this…

In the meantime, if your interested and have some watercolors already, check out: Adding Watercolor to Wood

Calligraphy ink

This ink medium really surprised me. I love the tone of gold compared to the others. It is more yellow than green (but that is something you can usually choose). It also came out more metallic than I expected.

The application was interesting. Normally, it is meant for a pen like tool, like this one I am holding. Using this tool, you can get a very consistent gold line - great for outlines and details.

I, however, wanted to fill in the whole mushroom cap, so I dropped it on the wood with the dropper and then used a paintbrush to spread it. It spread nicely but the liquid was a little finicky. You need to let the bubbles settle after shaking it up, otherwise it comes out a little curdly. Or I didn’t shake it enough… You need to shake this up a lot!

Metallic gel pen

These gel pens are really good (the silver and white are equally awesome). The application was smooth and from all the brands I’ve tried so far, I like this one the best (but it was also brand new, so maybe that has something to do with it…). I guess more experimentation is needed.

The shine is present, but still not super metallic.

I love this though because it’s easy to control - like a normal pen, and you can get super super small details!

Going over one spot creates a little bit of scratch lines which I really don’t like, so I think i will stick to using this for details instead of larger areas (which is fine because it takes a while to fill in a large area with such a small tip).

Water-based paint markers

Same as the acrylic version of these, the application is amazing - just colour in like a regular marker. The coverage is good, but the shine is nothing compared to the acrylic ones. I feel like you need to mix/shake them very very very well - more than the acrylic… These are the ones I used.

Use the coupon code WBC at checkout for an extra 10%off!

What I did like about them was that they are still “metalic” looking, AND they are easy to wash away, because they are water-based. This means I can let my daughter use them freely.

Metallic pencil crayons

More texture, less shimmer. I like my colours rich and heavy, and these fell a little flat, especially compared to all the other options.

Pressing hard while using them felt like I was denting the wood a tiny bit making it look a little scratched… SO I had to do layer by layer.

I also don’t love that its not solid metallic, its more sparkly. It’s like a goldish tone/colour but has tiny little silver sparkles in it. Not super metallic….

Have you tried metallics on wood before? What’s your favorite medium?

What Do Tree Rings Mean?

Trees aren’t just big, beautiful leafy giants. They’re like nature’s diary, quietly keeping track of what’s been happening year after year.

Tree rings tell the story of a tree’s life, reflecting years of growth influenced by environmental conditions.

When working with wood for pyrography, the natural grain and growth patterns play a big role in how the wood responds to a heated tool.

Variations in the rings create differences in wood density, which can affect how evenly it burns. Some areas may require more heat to achieve the same depth of burn, while others might be prone to cracking. Understanding these natural patterns helps artists choose the right wood and adjust their techniques for the best results.

Lets Start At The Beginning.

The center of the tree rings is called the pith.

It’s the very first part of the tree that formed when it started growing as a seedling. The pith is important because:

1. It Helps Identify Growth Patterns

The position of the pith in a wood slice can tell you how the tree grew:

• If the pith is in the exact center, the tree had even growth on all sides.

• If the pith is off-center, the tree may have experienced uneven growth due to environmental factors (e.g., leaning toward sunlight, growing on a slope, or stress from wind).

2. It Shows How the Tree Handled Stress

• If a tree experienced injuries, disease, or environmental challenges, the rings around the pith may be uneven or distorted.

• In this image above, the fact that there seem to be two centers suggests the tree may have faced early damage or split growth. More on that below.

3. It Affects the Wood’s Strength and Usage

• The pith is often softer and weaker than the surrounding wood.

• In woodworking or pyrography, we should try to avoid using wood slices with cracks around the pith because they are more likely to split over time, unless of course that is part of the vibe. Often the working with the natural cracks and knots of the wood is the most fun!

It Looks Like This Slice Has Two Piths

The appearance of two centers in the wood slice suggests the tree experienced early disruption, such as a forked growth where two competing trunks merged or a large branch fused into the trunk. Both scenarios result in irregular growth patterns, affecting the wood’s density and stability.

For pyrography, these variations can impact how evenly the wood burns, with denser areas near knots requiring more heat and potentially causing uneven burning or cracking.

What Tree Rings Say About a Tree’s Life

By counting the rings from the center outward, you can estimate how old the tree was when it was cut (for most tree’s - but not all of them)!

Each ring shows a year in the life of the tree.

Each ring is comprised of a light colour and dark colour ring: during spring and early summer, there is more water available and trees grow faster, forming a lighter, wider band called “earlywood.” As the year winds down into late summer and fall, moisture is reduced and growth slows; the tree adds a darker, denser band called “latewood.” Put those together, and you’ve got one year of growth.

Count the rings from the center to the edge, and you’ve got the tree’s age. But the story doesn’t stop there—the size, color, and little details in the rings reveal a lot more about what’s been going on.

Here is a good example image from NASA’s Global Climate Change News!

Good Times vs. Tough Times

• Wide rings: These happen during good years with plenty of rain, sunshine, and solid nutrients in the soil.

• Narrow rings: These pop up during tough years when there’s drought, bad weather, or not-so-great soil conditions.

Fun fact: Tree’s that grow in dry climates, versus wet ones can be the same age but the one growing in wet conditions are double, triple or more the size because their rings are wider!

Big Events Tree rings can capture snapshots of major events, like:

• Fires: If a tree survived a fire, you might see scars or weird patterns in the rings.

• Floods: Rings can look a little funky when the soil stays soaked for too long.

• Drought: Dry years usually mean skinny rings.

• Other Damage: A storm, pests, or even people can mess with a tree’s growth and leave marks in the rings.

• Disease: Some tree illnesses can leave their own signature in the wood.

Trees, History and Climate

Tree rings are like a cheat sheet for studying natural events in the past and also how the climate has changed over time. They give us a glimpse into weather patterns, temperatures, and even big shifts in the atmosphere. All this info helps us understand what’s happening now by looking at what’s happened before.

For example, in this article: A multifault earthquake threat for the Seattle metropolitan region revealed by mass tree mortality (Science Advances, 27 Sep 2023) scientists used tree rings from submerged forests in the area to uncover evidence of past earthquakes. A major quake around 900 C.E. caused landslides that drowned trees, and their sudden growth changes mark the event. This research helps date ancient earthquakes and shows the risk of multifault ruptures, which could lead to bigger, more destructive quakes in the future!

A Wood Burner’s Perspective

As someone who loves pyrography, I think tree rings add extra magic to every piece. Each burn interacts with those natural lines, bringing out the unique story in the wood.

The density and grain pattern of the wood will influence how a pyrography tool interacts with the surface. Woods with tighter grains may require different techniques compared to those with wider grain spacing. Got some knots in your wood?? These slow down the process even more than the rings do. On top of that, the species matters as well as the conditions it grew in. So wild!

Generally speaking though, the grains on the wood are more dense, therefore they will take just a pinch more time/heat to burn through which can make for some “blobbing” or inconsistent lines…

My best advice

Go slow. When you move fast, you need to act fast. But when you move slowly (start with a lower temperature), it gives you a chance to understand your wood slice and the grains in it.

Super bonus if you can practice on the back of the slice or on another slice of the same species.

In summary

Tree rings aren’t just about counting years… they shape the way your burn behaves! Softer rings can catch your tip and darken quickly, while denser ones slow things down or resist the heat quite a bit. They can guide your linework, interrupt your flow, or add unexpected texture. Understanding them doesn’t just help you work with the wood, it helps you read its story. Every piece holds its own rhythm, shaped by weather, drought, and time. The next time you sit down to burn, take a second to trace those rings with your eyes before your tool. It’s nature’s way of saying, “Here’s what I’ve been through. Now it’s your turn.”

To learn more about wood, check out: Intro to Wood as a Pyrography Artist

OR join the Burn Club Community on Discord to learn even more.

The Best Hanging Options for Your Wood Art

When you've spent hours crafting a beautiful wood-burning piece, the last thing you want is to struggle with how to display it properly. Hanging wood art requires a secure method that complements the piece while ensuring durability. Whether you’re working with thick slabs, lightweight panels, or odd-shaped pieces, there are multiple options to consider. Here’s a breakdown of the best ways to hang wood art, from traditional to creative solutions.

*This post may contain affiliate links, which means I may earn a small commission at no extra cost to you if you purchase through the provided links. This helps support my work and allows me to continue sharing valuable content. Thank you for your support!

1. Sawtooth Hangers

These are my go-to for when I started making art pieces, and now, when I am in a time crunch (if I have the option, I will go for the keyhole hanger). Sawtooth hangers are easy-to-install and one of the most common. The link here is to a large quantity of them which is good if you are making many pieces. Stores like Home depot or Rona sell them individually but buying them one by one means you are paying much more per piece.

They are small metal brackets with serrated edges that grip onto nails or screws. Simply hammer or screw them onto the back of your piece, and it’s ready to hang. These work best for lightweight to medium-sized wood pieces.

Since the hanger is long, you have a little more forgiveness with the placement of the hanger. Unlike the rest of the hanger options below, this style is great for oval or misshaped wood where its tricky to tell the center gravity point..

Pros:

• Affordable and easy to find

• Quick installation

• Ideal for small to medium pieces

• Ideal for misshaped wood slices

Cons:

• Not suitable for very heavy wood

• May not work well with uneven or rough wood backs

2. D-Ring Hangers

D-ring hangers offer a more stable option for heavier wood pieces. These are metal loops that screw into the back of your piece, allowing you to attach hanging wire or hook them directly onto nails.

Same as above, buying them individually will cost you a lot more per piece than buying them in bulk.

Pros:

• Great for heavy pieces

• Provides more stability than sawtooth hangers

• Can be used with wire for adjustable hanging

Cons:

• Requires precise placement for even hanging

• Needs additional tools like a drill and screws

3. Wire Hanging System

For larger wood-burning pieces, using a wire system with D-rings a great solution. Attach 2 D-rings to the back and then the wire to both, allowing for easy wall placement. You can get wire system that attaches to a screw, instead of using 2 a d-rings.

Pros:

• Adjustable height after installation

• Supports slightly heavier pieces

• Works well with gallery-style displays

Cons:

• Requires more setup and tools

• Wire may stretch over time and need adjustments

• D-rings may still not be strong enough if wood is large and very heavy

4. Eye Screws

A great option for very small pieces! Eye screws are a simple yet effective way to hang wood slice art - they are also really cute! These small metal screws feature a loop at one end, allowing for easy attachment to hanging wire, chains, or hooks. To use them, drill a small pilot hole in the top of your wood slice and twist the eye screw in by hand. They provide a rustic and natural way to display artwork.

Pros:

• Easy to install with minimal tools

• Great for hanging with twine, chains, or wire

Cons:

• Not suitable for very heavy pieces unless using multiple screws or larger ones

• Can be visible from the front, depending on placement
  
  

5. Keyhole Hangers

Keyhole hangers are embedded into the back of the wood piece, allowing it to sit flush against the wall. This method provides a sleek look and secure hold. It’s also an environmentally friendly option because it doesn’t require any metals or plastics to be used (except for what is going into the wall).

Learn how to make your own keyhole hangers here: How to Make a Keyhole Hanger by Hand

Pros:

• Professional and clean finish

• Very secure

• Works well for heavy or high-end pieces

• Earth friendly

Cons:

• Requires a router or keyhole bit for installation

• No room for adjustment once installed

6. French Cleat System

For extra-large or unusually shaped wood pieces, a French cleat system is one of the best choices. This method involves attaching one wooden or metal strip to the back of the artwork and another to the wall, allowing the piece to interlock securely.

You can choose a metal system, or check out this blog post by Little House On The Corner to learn to make your own wooden one.

Pros:

• Extremely strong

• Ideal for large or heavy pieces

• Even weight distribution

Cons:

• Requires more materials and installation time

• Not ideal for small pieces

• More expensive

Choosing the Right Hanging Method

The best hanging method depends on the size, weight, and shape of your wood piece. If you’re displaying a small decorative panel, sawtooth hangers may be enough. For heavy or irregular pieces, D-rings, keyhole hangers, or French cleats provide greater stability.

No matter which option you choose, always ensure your hardware is properly secured to the wood slice to prevent damage to your artwork or wall. ALSO, make sure the hardware you use for the wall is also properly secured (I ALWAYS opt for and prefer to pay more for metal anchors, or at least the heavy duty anchors or the metal ‘butterfly’ screws).

Non-Hanging Options to Display your art!

A major advantage of all the options below is that they require minimal or no installation, making them easy to set up and adjust as needed. They are also highly versatile, accommodating various sizes and shapes of wood slices. However, a downside is that they take up shelf or table space rather than serving as wall-mounted displays, which may not be ideal for those with limited surface area. Additionally, some options may not provide enough stability for larger, heavier pieces.

1. Display stands are an excellent alternative. They provide a flexible, non-permanent way to showcase artwork on shelves, desks, or tables. Stands come in various materials such as metal, acrylic, or wood, and can be customized to match the aesthetic of your piece. You can even make your own wooden stands!

2. Hanging with Twine or Wire – Drill a small hole close to the top of your wood slice and use twine, ribbon, or wire (often used as ornaments in a tree).

3. Shadow Box Frame – Place a wood slice inside a deep frame for a refined look.

4. Floating Shelf – Lean or prop slices on a floating shelf with other decor.

5. Embedded in Resin – Encapsulate in clear resin for a modern and polished look. This one takes a lot of work.

6. Tabletop Display with a Peg – Attach or drill in a dowel or peg to the back so it stands slightly tilted. For round pieces, you may need two.

7. Incorporated into Furniture – Use as a tabletop, coaster, or embedded decor in larger pieces.

Have any favorite methods for hanging wood art that I didn’t mention?

Let me know in the comments!

Isolation Coat/Primer and Wood

When adding a new medium, besides pyrography, to your wood slice, do you find your colours or paints sinking into the wood and loosing their richness?

Here is a little hack for you!

Adding a layer of isolation coat or primer can help prepare the surface so that your mediums do not get lost. It can also act as a barrier to your wood when applying finishes that tend discolour your wood slice, like resin or varnish. Read on to learn more.

What is primer?

A primer is a preparatory coating applied to a surface before painting. Its primary purpose is to create a suitable surface for paint to adhere to, ensuring better durability and finish of the final artwork or project. Primers can be used on various surfaces like wood, canvas, metal, or walls, depending on the type of painting or medium. Gesso is a common primer used for canvas and other surfaces. I have found a primer, the Folkart primer, which works the same way as isolation coat and is less expensive.

Another alternative is to use a wood sealer designed for wood specifically. However, wood sealers are usually intended for large areas (like a deck or furniture) so you need to buy a large amount at one time. The products I show here are more specialized for artist so they are available in smaller quantities at a smaller price.

What is isolation coat?

An isolation coat is a transparent layer applied to a painting (after painting), typically in acrylics, before the final varnish. It serves as a protective barrier between the painting surface and the varnish. This isolation coat prevents the varnish from sticking directly to the paint, allowing for easier removal of the varnish if necessary (e.g., for cleaning or conservation), without damaging the artwork underneath.

Golden's isolation coat product is specifically designed for use with acrylic paintings. It is a ready-to-use fluid medium that can be applied directly to a fully cured acrylic painting to protect the paint layers before varnishing. It makes the varnish layer easy to remove which means you can take off and reapply the varnish without messing up the paint underneath. Artists love this stuff because it helps their acrylic pieces last longer and stay looking great.

Aly of @alyooposartistry, introduced us to this magical liquid at The Burn Club Retreat back in 2018. She uses it as a layer on top of her finished wood burned piece that she finishes with resin, before the resin is applied. Resin, as with majority of finishes, darkens woods (generally, all woods change color and/or darken when a finish is applied).

before resin

after resin

This mushroom above was burned and watercolored on cherry wood. The resin made the grains pop and the redness super rich. ***There was no isolation coat or primer added here.

To learn more about finishes, check out this blog post: Finishing Your Wood Burned Art: How and Why to Finish Your Wood Burned Art.

Isolation coat doesn’t darken the wood as much, but you can see a slight difference.

Here you can see a triangular cherry wood slice. The primer darkens the surface slightly, but looking at the bottom, you can see that without any primer or isolation coat, the wood got considerably darker!

Applying isolation coat or primer before adding resin or Varnish is helpful to maintain the colour to what you see when it is unfinished

The darkening of wood can be great, but it can also make burn marks much less visible, especially if you are not going very deep, like with shading.

Some woods do not darken as much as others, so if you are unsure, do a little test on the back! Usually, darker woods get much darker then their original color and lighter woods do not darken as much.

How Else can isolation coat or primer be used in the world of wood?

Often, these products can be used to prepare the surface for another medium. I use them to create a barrier on the wood so that the medium I am using does not sink into the wood and get lost. The best example would be watercolour, which requires, well, water. The water often gets absorbed into the wood and the colours can loose their richness.

To learn about how and why different mediums get lost in wood, check out: Intro to Wood as a Pyrography Artist where I explain how the grain of wood and the way its cut can have an affect on mediums applied and pyrography itself!

Other mediums you can use on top of isolation coat are gold foil (which require a liquid glue for the gold to adhere, or paints that are more liquid/watery.

For wood-based art, a base coat serves crucial functions before painting:

• It improves adhesion, ensuring paint doesn't peel or flake

• It seals wood pores for uniform paint application, saving paint and reducing coats

• It enhances colour vibrancy by blocking the wood's natural hue from altering paint appearance

• It smooths out wood imperfections, providing a better surface for detailed work

• It blocks natural wood resins that can cause discoloration.

• The type of primer can even affect the final sheen of the paint, enhancing glossiness or creating a matte finish.

However, keep in mind:

• It can also make watercolor (or any liquid mediums) to behave more like acrylics, sitting on top of the surface rather than absorbing into it… Primer is more “clingy” than isolation coat (isolation coat is a bit more slippery) and this can cause watercolours to not bleed or blend as they would on paper or raw wood. It will still work, just the outcome will be slightly different.

How do they effect the wood?

In this example below, you can see that both isolation coat (on the left) and primer (on the right) darken the wood slightly. I tried both isolation coat and primer on an end grain (rounded slice) and face grain (rectangle slice) as the grain direction makes a difference! To learn more about the differences, check out: Intro to Wood as a Pyrography Artist.

The end grain (round) slice is maple and the face grain (rectangular) slice is basswood.

The instructions on either medium says “add multiple layers as needed”.

One layer gives a slight sheen, but the more coats added, it seem that the more shinier the surface gets (on both end and face grain).

The end grain (round) slices definitely require a couple coats as either product soaks in.

Woods that are lighter like this (basswood, pine etc…) are generally less effected by finishes. This slice below, is cherry wood and it is easily darkened by any finish.

So Should I use isolation coat or primer?

After some testing and experimenting, the verdict is so close that the two are essentially the same. My thoughts are, if you plan on sealing before adding colour AND after, then use isolation coat. Isolation coat is meant for going on top so therefore, instead of buying primer and isolation coat, you can just use isolation coat first, add your paint, and then add an isolation coat after.

If you want a durable finish, I still recommend finishing off your piece with a varnish in order to fully seal or protect your artwork after the medium (such as watercolor or acrylic) has been applied.

To learn more about finishes, check out this blog post: Finishing Your Wood Burned Art: How and Why to Finish Your Wood Burned Art.

A sealer or varnish are designed specifically to:

1. Protect: They create a protective layer over your artwork, safeguarding it from dust, moisture, and UV light.

2. Enhance Appearance: Varnishes can provide different finishes, such as matte, satin, or gloss, depending on the look you want.

3. Preserve: Sealers and varnishes help prevent fading, cracking, or other damage over time.

Thank you for reading!

We hope this information is useful and helps you in your journey discovering the world of pyrography.

Pyrography Troubleshooting Guide

Pyrography, or wood burning, is a beautiful and rewarding art form, but like any craft, it comes with its challenges. Whether you're a seasoned artist or just starting, it's common to run into problems that affect the quality of your burns.

In this guide, we’ve made it super easy to find solutions to common pyrography problems. Just scroll down and click on the issue you're dealing with to get quick tips and fixes. Whether it’s adjusting your heat settings, picking the right wood, or fine-tuning your technique, we’ve got you covered.

Find your issue below and get back to burning with confidence!

Burn Quality Issues

• Uneven Burn Marks

  Cause: Varying pressure or inconsistent heat distribution.
  

  Solution:

  • Ensure the tip is fully heated before burning. Allow the tool to reach its working temperature for consistent burns. Some tools heat up super quick, others take longer.

  • Practice even hand pressure. Try a few test strokes on scrap wood before working on your project.

  • Use a smoother wood surface to avoid uneven grain affecting the burn quality. Check out: Sanding Your Wood: Before and After You Burn + Prepping Wood Surfaces for Pyrography

• Splotchy or Patchy Burns

  Cause: Dirty tip, uneven wood grain, or resin in the wood.
  

  Solution:

  • Regularly clean the tool tip with a fine wire brush or cloth to remove buildup. Check out Tool Care for your Woodburning Tool to learn more about cleaning and caring for your tools.

  • Choose fine-grained, smooth wood types like basswood or birch for more uniform burns. To see a list of woods we like to use, go to: Best Wood for Pyrography

  • Avoid resin-heavy woods like pine, or sand and seal the wood before burning. Check out this blog post to learn more: Common wood types you should NEVER burn on

• Burn Marks Are Too Light

  Cause: Low heat setting or quick hand movement.
  

  Solution:

  • Increase the heat setting gradually, especially for harder woods.

  • Slow down your hand movements to give the tool enough time to burn the wood. Patience (and consistency) is the key with pyrography.

  • Clean the tip if it's dirty or has residue build-up. To learn more, check out: Tool Care for your Wood Burning Tool

• Burn Marks Are Too Dark or Deep

  Cause: Excessive heat or too much pressure.

  
  Solution:

  • Lower the heat setting or use a lighter touch with the tool. You should never be pressing too hard onto the wood anyways! But if you like to burn hot, then reducing the pressure and moving faster will help.

  • Not always the best solution, but you can try to use fine-grit sandpaper to reduce overly dark areas. This will most likely not take away the burn marks, but can lighten them a little. This is not the best solution though as sanding can damage the surrounding design and create a different look to your burn marks compared to what you do not sand...

• Lines Are Too Thick

  Cause: Wrong tip choice or excessive pressure.
  

  Solution:

  • Use finer tips for detailed work and intricate lines.

  • Reduce pressure when burning, as pressing too hard widens the burn line.

  • Consider using adjustable heat settings to create finer burns with lower heat. Lower and slower is the motto for thin and crisp lines.

Line Control and Precision

• Burn Lines Are Shaky

  Cause: Lack of hand control or movement.
  

  Solution:

  • Use a stable surface and proper support for your hand. I see many artists prop up their wrist with a bean bag or elevate their hand using another wood slice.

  • Practice straight lines and curves on scrap wood to improve steadiness.

    • Usually pushing the nib away from you is easier, but try pulling it towards you as well.

    • Rotate the wood to find the most comfortable and best angle.

    • Try different angles of the pen too. Experiment which one feels most comfortable.

    • You can try using different nibs. Ones with a sharp edge can often be easier to make lines with. A curved sharp edge is also very different than a straight sharp edge...

  • Consider using a stencil or guide to help keep lines smooth and consistent. A metal ruler for example could work great to keep a long straight line looking straight.

• Unwanted "Glow" Around Burn Lines

  Cause: Excessive heat or movement that is too slow
  

  Solution:

  • Lower the heat setting to reduce the amount of heat radiating from the tip.

  • Use a faster, controlled hand movement to limit the time heat is concentrated in one area.

  • Sand the wood after burning to remove the glow. To learn more about that, visit: Sanding Your Wood: Before and After You Burn + Prepping Wood Surfaces for Pyrography

  • Choose a wood that is less prone to scorching, like basswood or maple, which tend to produce less "glow" than softer woods like pine.

• Wrist pain or discomfort

  Cause: Unstable positioning and/or awkward wood size.

  Solution: Try one of the following but also make sure to take a lot of movement breaks (I like to set a timer for that).

  • Use a stable surface and proper support for your hand. I see many artists prop up their wrist with a bean bag or elevate their hand using another wood slice.

  • For tiny pieces of wood: use masking tape, roll it into a circle (sticky side out), stick it to the back of your small wood slice and onto a larger piece of wood for stability.

  • For large pieces of wood, try a turntable, an art easel, or propping against a wall.

Wood Surface and Tool Interaction

• Nib Sticking to Wood

  Cause: High heat or resinous wood.
  Solution:

  • Lower the heat setting to prevent sticking and charring.

  • Keep the tip moving steadily to avoid lingering in one spot.

  • Clean the tip regularly to remove sticky residue. To learn more, check out: Tool Care for your Wood Burning Tool

• Smoke During Burning

  Cause: High heat or burning on resin-heavy woods.
  Solution:

  • Lower the heat setting to reduce excessive smoke.

  • Work in a well-ventilated area or use a small fan to disperse smoke.

  • Avoid working on damp woods or highly resinous woods such as pine or cedar.

• Wood slice is tiny

  For tiny pieces of wood: use masking tape, roll it into a circle (sticky side out), stick it to the back of your small wood slice and onto a larger piece of wood for stability.

• Wood slice is very big

  When the wood slice is too big, it can be hard to get a good angle and be comfortable with the process. Two options here can include using a turntable or an art easel.

  If you still find the piece is too large for either option, try proping it on the wall and burning.

  Remember to take a lot of breaks to avoid any pains.

Tool and Equipment Troubles

• Tip Not Heating Properly

  Cause: Faulty tool, loose connection, or dirt build-up.
  

  Solution:

  • Check the power cord and make sure all connections are secure.

  • Clean the tip. Visit the following post for different ways on how to do that: Tool Care for your Wood Burning Tool

  • If you are using an interchangeable nib, ensure that it is properly installed. To learn more on which nib you have, check out: Wire Tip Vs. Solid Tip Burner

  • If the tool continues to malfunction, consider replacing the tip.

  • If you still don't have any luck contact the manufacturer for further information.

• Tool Tip Overheating

  Cause: Using a high heat setting for too long.

  Solution:

  • Use lower heat settings for longer sessions to prevent overheating.

  • Take breaks during your work to allow the tool to cool down and maintain consistency.

  • Use multiple tools or tips to switch out and give each time to cool.

• Entire Pen Overheating

  Cause: Low quality tool or using a high heat setting for too long.

  Solution:

  • Use lower heat settings for longer sessions to prevent overheating.

  • Take breaks during your work to allow the tool to cool down and maintain consistency.

  • Get a better tool. Check out out favourite tools here: What Woodburning Tool is Right for Me?

  • Wear finger protection, a half glove, or whole hand protection

Design and Transferring Issues

• I don't know what/how to draw

  You don’t need to know how to draw if you want to try out pyrography. Below are some options for you to get started:

  • Grab some free templates here.

  • Join Burn Club for FREE to get even more free monthly goodies.

  • Visit The Templates Store for even more designs including royalty free ones!

  • Check out our Community Books full of templates!

• How do I get the designs onto wood?

  There are two main ways to get designs onto wood:

  • How To Transfer Designs To Wood Without Heat

  • How To Transfer Designs To Wood Using Heat

• My transfer lines are not coming off the wood

  If you are left with lines from transferring your design, check out this blog post for ways to help you remove them: How to get rid of mistakes and graphite/pencil lines

Troubleshooting in pyrography is all part of the creative process. Don’t let a little smoke or uneven lines get in the way of your masterpiece! With the tips and fixes from this guide, you’re now equipped to tackle those pesky issues and get back to making beautiful, detailed woodburned art. Remember, every artist faces challenges—it's how you handle them that helps you grow.

If you come across any issues we didn’t address, feel free to drop a comment in the section below, and we’ll do our best to help out.

Or you can join the Burn Club to get answers to your burning questions, learn pyrography and grow with the community!

Keep practicing, stay patient, and most importantly, have fun with your craft.

Happy burning!

Branding Irons: Traditional vs. Electric

Branding irons are a tool used to burn designs into wood or other materials. When it comes to branding irons, there are two main types: traditional branding irons and electric branding irons.

A traditional branding iron is typically heated with fire (i.e. on a stove top) or with a torch.

Anf an electrical branding iron which uses electricity to heat the iron to a consistent temperature.

Each type has its own set of pros and cons though, and the choice between the two will depend on your individual needs and preferences. I own an electric branding iron and have used it time and time again to both add the Wood Burn Corner logo to art pieces, and to brand other products.

Traditional Branding Irons:

Pros:

1. Cost-effective - Traditional branding irons are often less expensive than their electric counterparts.

2. Customizable - You can easily create custom branding irons with unique designs, initials, or logos to add a personal touch to your work.

3. Portable - They are usually small and easy to transport, making them ideal for artists and craftspeople who work in different locations.

4. No power required - They don't require electricity, making them ideal for use in remote locations or areas with limited power access. You just need a heat source. Many people heat them with a blow torch or their stove top.

Cons:

1. Limited precision - Traditional branding irons require more skill and practice to achieve precise, detailed designs. The temperature may not be the same consistently for every burn.

2. Time-consuming - They require heating over an open flame, which can be time-consuming and inconvenient.

3. Risk of burns - Traditional branding irons can be dangerous, as they require heating over an open flame and can cause burns if not handled properly.

Electric Branding Irons:

Pros:

1. Precise designs - They allow for precise and detailed designs, making them ideal for professionals who need high-quality results.

2. Consistent heat - They heat up quickly and maintain a consistent temperature. This makes it much faster and easier when needing to brand multiple products.

3. Time-saving - Electric branding irons require some heating time, but tend to be so quicker because they don’t require heating between each burn.

4. Safer - They don't require an open flame to heat up.

Cons:

1. Expensive - Electric branding irons are generally more expensive than traditional branding irons.

2. Limited customization - They may not allow for as much customization as traditional branding irons, as they often come with fixed designs or logos or sizes.

3. Power required - They require electricity to function, which can be limiting in remote locations or areas with limited power access.

4. Less portable - Electric branding irons are often larger and less portable than traditional branding irons.

In conclusion, both traditional and electric branding irons have their own set of pros and cons, and the choice between the two will depend on your individual needs and preferences.

Consider the level of precision you need, the amount of time you have, your budget, and your power access when making your choice between traditional and electric branding irons.

I have loved my electrical one, but can also see why having one I can heat up on my stovetop would be useful. Either way, it is certainly faster for branding branding than traditional pyrography. (See what I did there?)

Top 5 Wood Burning Books Ranked and Reviewed

Getting into pyrography can be a fun and rewarding experience, whether you're just starting out or looking to take your skills to the next level. There are some fantastic books out there that can help you along the way, offering tips, techniques, and plenty of project ideas.

In this review, we'll take a look at FIVE great reads that can guide you through your woodburning journey. From learning the basics to mastering realistic animal portraits, these books have got you covered.

Let's dive into what makes each of these resources invaluable for any pyrography enthusiast.

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Creative Woodburning: Projects, Patterns and Instruction to Get Crafty with Pyrography

“Creative Woodburning" by Bee Locke is a comprehensive guide suitable for both beginners and experienced pyrography artists. The book starts with a thorough introduction to the basics of woodburning, covering essential tools, materials, and safety practices, just to start. Locke delves into various techniques, from basic shading and texturing to more advanced methods like stippling and crosshatching, burning feather textures and more. The book includes a wide range of projects, each with detailed step-by-step instructions and patterns, ensuring there's something for everyone. Additionally, the inclusion of original designs and motifs provides ample inspiration for readers to develop their unique style.

One of the book's strengths is the organization of all the clear and detailed instructions, which make it accessible for beginners and easy to find. The troubleshooting section is particularly helpful, offering solutions for common mistakes. Overall, "Creative Woodburning" is a valuable resource for anyone interested in pyrography, providing a balanced mix of instruction, inspiration, and practical tips.

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"The Wood Burn Book: An Essential Guide to the Art of Pyrography" by Rachel Strauss

"The Wood Burn Book: An Essential Guide to the Art of Pyrography" by Rachel Strauss is an excellent resource for both novice and experienced pyrography artists. The book opens with a thorough introduction to the basics of woodburning, detailing essential tools, materials, and safety practices. Strauss covers a wide array of techniques, from simple line work and shading to intricate texturing and pattern creation. Each technique is explained with clear, step-by-step instructions and accompanied by high-quality photographs, making it easy for readers to understand and follow along.

What sets this book apart is the variety of projects it offers. Strauss includes a broad range of ideas, from decorative household items to personalized gifts, ensuring there's something for every skill level and interest. The book also features unique and original designs, providing plenty of inspiration for readers to develop their own creative projects. Additionally, Strauss's passion for pyrography shines through in her engaging writing style, making the book not only informative but also enjoyable to read.

Overall, "The Wood Burn Book" is a valuable and inspiring guide that offers a balanced mix of instruction, practical tips, and creative inspiration, making it a worthwhile addition to any pyrography artist's library.

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"Wood Burning Realistic Animals" by Minisa Robinson

"Wood Burning Realistic Animals" by Minisa Robinson is a specialized guide focused on creating lifelike animal portraits through the art of pyrography. This book is particularly valuable for artists who wish to enhance their skills in rendering detailed and realistic animal figures. Robinson begins with a thorough introduction to the basics of pyrography, including essential tools, materials, and safety tips, which makes the book accessible to beginners.

The core of the book lies in its detailed tutorials for creating realistic animal portraits. Robinson provides step-by-step instructions, accompanied by high-quality photographs and detailed line drawings, to guide readers through each stage of the process. She covers various techniques such as shading, texturing fur, and capturing the intricate details of animal features, all aimed at bringing a lifelike quality to the woodburned artwork.

One of the book's strengths is its focus on realism. Robinson shares her expertise in capturing the essence and character of different animals, offering tips on how to achieve precise details and depth. This makes the book an excellent resource for artists looking to challenge themselves and elevate their pyrography skills.

Overall, "Wood Burning Realistic Animals" by Minisa Robinson is an exceptional guide for pyrography artists interested in creating lifelike animal portraits. Its detailed tutorials and expert tips make it a valuable resource for advancing one's skills in realistic woodburning.

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"The Great Book of Wood Burning" by Lora S. Irish

"The Great Book of Wood Burning" by Lora S. Irish is an extensive and detailed guide for pyrography artists, whether they are beginners or more advanced practitioners. The book starts with a thorough introduction to the basics of wood burning, covering essential tools, materials, and safety practices, which is particularly beneficial for those new to the craft.

One of the book's major strengths lies in its exploration of various techniques. Irish meticulously explains everything from basic line work and shading to advanced texturing and layering methods. Each technique is presented with step-by-step instructions and detailed photographs, ensuring readers can easily follow along and practice effectively.

The book also stands out for its wide range of projects. It includes designs suitable for different skill levels, from simple patterns to more intricate artworks. Each project comes with clear instructions, patterns, and helpful tips, making it easy for readers to recreate the designs or use them as inspiration for their own creations.

Another highlight is the extensive collection of original designs and motifs, ranging from nature-inspired scenes to abstract patterns. This wealth of design options is excellent for sparking creativity and helping artists develop their own unique styles. The link is to an extended version which has even more designs, techniques and projects!

Overall, "The Great Book of Wood Burning" is a valuable and inspiring resource, offering a balanced mix of instruction, practical tips, and creative inspiration for anyone interested in pyrography.

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"WoodBurning Workshop" by Court O’Reilly

"Woodburning Workshop" by Court O’Reilly is a practical and comprehensive guide designed for pyrography enthusiasts of all skill levels. The book begins with an in-depth introduction to the basics of pyrography, covering essential tools, materials, and safety practices. This foundational knowledge is particularly beneficial for beginners, ensuring they have a solid understanding before progressing to more complex techniques.

O’Reilly excels in providing detailed, step-by-step instructions for a wide range of wood burning techniques, from basic line work and shading to advanced texturing and detailing methods. The book includes a variety of projects tailored to different skill levels, each accompanied by high-quality photographs and clear instructions.

Additionally, the wealth of original designs and motifs, ranging from nature scenes to abstract patterns, serves as a rich source of inspiration for artists looking to develop their unique styles. Overall, "Wood Burning Workshop" is a valuable resource that balances practical instruction with creative inspiration, making it a worthwhile addition to any pyrography artist's library.

Wire Tip Vs. Solid Tip Burner

The difference between a wire tip/nib burner and a solid tip/nib burner primarily lies in their design and functionality.

Each type has its own set of advantages and disadvantages.

But first, please remember: The tools we use are undeniably important, but at the end of the day, it’s all about the user and what works best for them. Many artists can create incredible work with the simplest, most affordable tools, showing that skill and creativity matter more than price. On the flip side, even the fanciest tools can feel frustrating if we are learning the craft.

The same goes for wire-tip versus solid-tip pyrography pens—both have their strengths, but the best choice is whatever feels right in your hands and helps you create with ease. In fact, deciding between a solid-tip and a wire-tip tool is a great starting point when choosing your burner, as the functionality between these two types often has a bigger impact on your experience than the differences between machines from different brands. So let’s get into these differences.

Wire Tip/nib Burner:

• Design: Utilizes a closer-to-pen-like device with tips made of a looped wire or a wire nib. On some pens, these tips can be changed out, allowing for a wide variety of tip shapes and sizes (more on interchangeable nibs at the end). The pens are usually thinner and easier to hold, as the grip is located closer to the nib, allowing the pen to feel like an actual pen making it ideal for comfort, especially if you are burning for longer periods at a time.

• Temperature Control: Wire tip burners typically offer more precise temperature control, which can be adjusted quickly. This allows for quicker and more detailed and varied shading techniques.

  I have found that some pens with a thinner handle tend to overheat so be mindful of the company you choose (check out What Wood Burning Tool Is Right For Me to learn more about choosing a new tool).

• Durability: Generally these pens are more delicate than a solid nib making them more susceptible to damage over time. Proper care and a lighter hand will help them last longer.

• Learning Curve: Might have a slightly steeper learning curve due to the delicacy of the wire tips and the precision required in handling them.

• Heat Up Time: Generally, wire tips heat up and cool down much more quickly than solid tips.

Solid Tip/Nib Burner:

• Design: Features a pen-like device with a solid brass or copper tip. The tip variety is usually more limited compared to a wire nib, the pen is thicker and clunkier to hold and the grip is usually further away from the nib making it slightly more difficult to control, especially if burning for longer periods of time.

• Temperature Control: Solid tip burners are usually less precise in temperature control compared to wire tip burners, and adjustments may take longer to affect the tip temperature. However, because they are thick and solid, they do retain the heat better than a wire tip, making them ideal for large projects that require a lot of dark burning.

• Durability: Solid tips tend to be more durable than wire tips because they are less fragile and less susceptible to bending or breaking.

• Learning Curve: For beginners, solid tip burners might be easier to start with due to their durability and less delicate handling requirements.

• Heat Up Time: Solid tips generally take longer to heat up and cool down than wire tips, but, as stated earlier, they retain their hear better than a wire nib does.

Application:

• Wire Tip Burners are usually preferred for detailed art, fine shading, and where quick temperature adjustment is necessary.

• Solid Tip Burners are often used when learning the basics of pyrography due to cost and durability. The heat retention and covering large areas with shading is ideal with these style burners.

which one gets hotteR?

In terms of reaching a higher temperature, both types can be capable of very high temperatures suitable for pyrography. The key difference lies in how quickly they reach these temperatures and how precisely those temperatures can be controlled during the work.

Wire tip burners generally offer faster heat up times and more precise control, making it seem like they can get hotter faster, but in terms of maximum temperature capabilities, it's more about the specific company and its design rather than the tip type alone.

However, there are some general characteristics related to how each type manages and conducts heat that can influence their operating temperatures:

Wire Tip Burners are designed for precise control and can reach very high temperatures quickly due to their thin wire construction, which has less mass to heat. This design allows for rapid heat transfer and adjustment, making them suitable for intricate work that requires changing temperatures quickly for different effects.

Solid Tip Burners, on the other hand, have a larger mass in their tips, which means they take longer to reach the desired temperature. However, once heated, they can retain heat longer due to the larger thermal mass. The heat distribution over the solid tip is more uniform, which can be advantageous for certain types of shading and consistent line work.

Interchangeable nibs on wire tip burners:

Interchangeable nibs for wood burning tools allow artists to switch between different tip styles for various effects in their projects with only one pen. These nibs can range from fine points for detailed work to larger, flat tips for shading or transferring images.

Pros: Interchangeability offers flexibility and creativity, enabling users to achieve a wide range of textures and depths in their art without needing multiple tools. This versatility is particularly valuable for artists looking to explore different techniques or work on projects that require both detailed and broad work. It’s a good way to learn what you like using without spending loads of money.

Cons: Interchangeable nibs, while versatile, can have drawbacks such as requiring time to switch between nibs, which might interrupt the workflow. There's also a learning curve in mastering different nib types for optimal use. Additionally, the delicate nature of some wire nibs can lead to breakage if not handled with care. Exercise caution when tightening to ensure a complete connection, or your heating may not be even. High-quality interchangeable nibs might come with a higher initial cost, although they offer long-term flexibility and savings from not needing multiple dedicated tools.

In summary

Wire-tip tools are lightweight and heat up quickly, offering precision and flexibility for fine details and shading. Solid-tip tools are sturdier and retain heat longer, making them ideal for bold lines and consistent burning on tougher surfaces.

Choosing between them often comes down to personal preference and the type of project you’re working on.

When starting out, due to the low price point, we recommend a solid tip/nib burner (the Versa Tool from Walnut Hollow is our favorite). It gives you a fair chance to know if you will enjoy burning while keeping the price of starting this hobby at a minimum.

These are a good basic tool to have in your toolkit anyways, even if you upgrade to a wire tip. Some artists never even upgrade to another tool but at least you will have that option without breaking the bank.

If you plan on burning more often, want a faster heat-up time, more variety, a more comfortable grip, consider a wire tip burner. Check out What Wood Burning Tool Is Right For Me to learn more about choosing your new tool.

Woodcare 101: Preserving Your Pyrography Art

Pyrography is a beautiful art form that turns simple pieces of wood into timeless works of art. But like all forms of art, your pyrography projects are subject to the ravages of time, exposure, and wear.

Luckily, there are proven ways to protect your artwork and keep it looking as vibrant as the day you made it (or purchased it!).

Rules of thumb:

Keep Out of Moisture

• Especially if unfinished, any water (drips or splashes) can leave permanent marks on your wood. Even a sweaty fingerprint can linger on the surface.

• Enough general moisture can warp and bend the wood. The thinner your wood slice, the less moisture or humidity in the air it takes to start reshaping the wood.

• Long exposure to moisture can cause warping so hang your wood slices away from kitchen sinks, outdoors or any bathrooms…

• DO NOT place any wood in dishwashers or let them soak in the kitchen sink. Try not to let them soak in any food items either.

Keep Out Of Sunshine

• Sun will fade finished and unfinished wood slices. Keep out of direct sun to help prolong the inevitable.

• Burning deeply will help keep the artwork looking crisp. Shading and light burning will fade much faster.

Choose the Right Wood for your project

Your first line of defense against wear and tear starts with the type of wood you choose for your projects. Hardwoods like oak and birch generally last longer and are less susceptible to damage compared to softwoods like pine. If possible, go for kiln-dried wood, which has reduced moisture content, making it less prone to warping and cracking.

Check out this blog post for more information on wood: Best Wood for Pyrography

Sealing the Wood

Sealing your pyrography artwork with a finish adds a layer of protection against moisture, dirt, and UV rays. It also enhances the visual elements of your design by adding a glossy or matte finish.

If your artwork is going to be displayed outdoors or in a sunny location, consider using a UV-protective sealant. This helps in preventing the colors from fading and the wood from turning gray. For added moisture protection, particularly for outdoor pieces, use marine-grade sealants. Some resin’s also protect your wood from the elements. BE AWARE! Even with the most porotection you can apply, overtime, the weather will alter the look and colour of the wood, especially in harsher climates prone to freezing or humidity.

Check out Finishing Your Wood Burned Art: How and Why to Finish Your Wood Burned Art for more on this topic.

keeping your cutting boards, wooden spoons and other functional art looking like it did on day one is possible with a little bit of maintenance.

To prevent discoloration, cracking, warping and fading, follow the instructions below:

• Keep away from excessive moisture (do not soak the product or run it through the dishwasher): hand wash only

• Wax or oil your products: Oiling or waxing your wood will enhance the richness and prevent any cracking.

How to apply a WAX/Oil to your wood slice:

1. Remove any dust, grime or dirt: Clean the wood surface with a clean, dry cloth. It is imperative to remove any dust or debris, gunk or build up (especially if you will be eating with these things).

2. Apply the wax or oil: Apply the wax or oil with a clean cloth in small circular motions. I like to really get it into the wood with a little bit of pressure. It’s okay to saturate it here and let it soak in for about 15 minutes before wiping off any excess.

3. Remove any excess product: Use your cloth to remove any excess product and then grab a new cloth and go over it one more time.

4. Let it dry: Allow the product to dry completely before handling the wood.

5. Apply additional coats (optional): Depending on the type of finish, you may need to apply additional coats. Follow the manufacturer's instructions for the recommended drying time between coats.

6. Buff the finish (optional): After the final coat has dried, use a clean cloth to buff the surface of the wood to a smooth and shiny finish.

Following these steps will help ensure that your wood burned art is protected and looks great for years to come.

When to re-oil/RE-Wax your wood art

The more you use your stuff, the more you will need to oil it. I recommend oiling once a month (or every other month) for products that are used daily.

Look for signs of wear or damage such as cracking, peeling, or discoloration. Use the colour and texture of the wood to judge when to oil; if it looks lighter and dry, it’s time to reapply.

Ultimately, the best way to determine how often you should finish your wood art is to monitor its condition regularly and apply a new coat of finish as needed to maintain its appearance and protection.

Handling and Cleaning

Always handle your pyrography art with clean and dry hands to avoid transferring oils and dirt onto the wood surface. To clean your artwork, gently wipe it down with a soft, lint-free cloth. Avoid using water or cleaning products as they can penetrate the sealant and stain/damage the wood.

Storage Tips

If you need to store your pyrography artwork:

• Keep it in a cool, dry place away from direct sunlight.

• Avoid storing it in damp or humid areas to prevent mold and warping.

• Consider wrapping it in acid-free paper for extra protection.

• Protect the corners of your art by wrapping with pieces of cardboard and taping them secure.

Your pyrography artwork is not just a piece of wood; it's a piece of you. Like any valuable object, it deserves to be treated with care and respect. Proper preservation techniques will help you enjoy your creations for many years to come.

Burning is Art. Art is Therapy.

While many people enjoy pyrography as a hobby or artistic pursuit, it can also be a powerful tool for promoting relaxation and mental well-being.

“Burning is art. Art is therapy”

Rachel Struass

Here are some reasons pyrography can be used to support mental health:

Stress Relief:

One of the benefits of pyrography is its ability to promote stress relief. When engaging in this activity, individuals are often able to disconnect from the stressors in their daily lives and focus solely on their creative pursuits. It can provide a distraction from everyday life. When you're focused on the activity, you may be less likely to ruminate on negative thoughts. This can help reduce stress levels and promote a sense of calm.

Mindfulness:

Pyrography also encourages mindfulness, which is the practice of being present and fully engaged in the moment. When working on a pyrography project, individuals must focus their attention on the details of the design, which can help them remain mindful and present. Wood burning requires us to go slower than we are used to with other mediums. This slowed down pace can induce a state of "flow," which is characterized by complete absorption in the task at hand.

Improved Mood:

Studies have shown that engaging in creative activities can improve mood and promote a sense of well-being. Pyrography is no exception. By providing a creative outlet, this art form can help individuals feel a sense of accomplishment and satisfaction, leading to improved mood.

Increased Self-Expression:

Pyrography allows individuals to express themselves in a unique and personal way. By choosing their own designs and colors, individuals can create pieces that are reflective of their personal style and preferences. Wood burning allowing you to express your emotions, thoughts, and ideas in a nonverbal way. This can help increase self-expression and boost confidence.

Sense of Community:

Here, at Wood Burn Corner we are all about community and sharing each others art with the world. Being part of Burn Club can provide a sense of belonging and social support, which can be beneficial for mental health. We support and healp each other through the ups and downs of learning a new skill and art form as well the trials and tribulations of owning a creative business. If you want to know how to get more involved in the community, click here!

Pyrography is an excellent activity for promoting relaxation, mindfulness, and mental well-being. Whether you are a beginner or an experienced artist, engaging in this activity can provide a range of mental health benefits, including stress relief, improved mood, and increased self-expression.

Now, pair up pyrography with radial symmetry and it becomes a whole new world of practicing mindfulness!

Radial Symmetry patterns, also commonly known as a Mandala, have been recognized by psychology as a therapeutic tool. Swiss psychologist Carl Jung said they’re like representations of our mind. He thought they made it easier for us to concentrate on, transform, and internalize subconscious thoughts. His belief was that we project our emotions and thoughts into the mandala designs.

“For me, a radial symmetry pattern, or a mandala inspired art piece, is the end result of a mindfulness journey.”

-Basia Chmielowic

These repetitive patterns are what I get at the end of a creative meditation, a zone out, a doodle session (whatever you want to call it!).

It is a form of meditation for me as the repetition of each pattern allows me not to think about the end result, but rather a focus on each small section at a time.

Repeating the same design helps me zone out and immerse myself in the moment.

Two ways to learn how to draw your own mandala designs:

1. Read:

Choose from two books full of mandala inspired patterns complete with written instructions on how to draw your own designs from scratch!

The Community Book of Templates offers designs by Basia and the community in a variety of themes as well as pyrography basics.

The Presence Bundle features Basia’s designs inspired by the art deco & art nouveau movements. No pyro information but links to resources to get you started.

These two items each include a radial symmetry guide and a set of their own unique designs to practice pyrography with. Either way, you will learn to create endless unique radial symmetry designs!

2. Watch:

A step-by-step video tutorial on DIY radial symmetry patterns and how to wood burn them:

Intro to Wood Burning + DIY Radial Symmetry Patterns

CA$15.00

LEARN TWO CREATIVE AND RELAXING ART FORMS IN ONE!

Step-by-step instructions on how to wood burn and pyrography basics like safety, techniques and more (template included

+

Step-by-step instructions on how to create your own radial symmetry patterns and transfer them onto wood!

*Due to the nature of this product, we cannot offer refunds once the purchase has been completed.

Add to cart

Or the video tutorial on DIY radial symmetry patterns without the pyro part:

DIY Radial Symmetry Patterns

CA$10.00

Step-by-step instructions on how to create your own radial symmetry patterns!

*Due to the nature of this product, we cannot offer refunds once the purchase has been completed.

Add to cart

Intro to Wood as a Pyrography Artist

There are many surfaces one can burn on when it comes to pyrography. From egg shell to canvas, the world is your oyster! One rule of thumb to stick to is burning only on natural surfaces (versus human made or chemically treated items). Grab your Free Safety Guide to stay safe while burning. If you like experimenting, you can check out the blog post: Pyrography on Odd Objects.

The most common surface for pyrography is on wood!

Wood is usually readily available and comes in many different shapes, sizes, and colors It makes for a great canvas for wood burning. There are many different species of wood to choose from. Read on to learn more about wood or check out the Top 9 Wood Species to Burn On according to us and the wood burning community! There are also different ways wood reacts to burning on depending on how it was cut…

Always be mindful of what you are burning on. Some wood smoke is poisonous: check out the blog post about Which Woods to Avoid Burning On.

Wood Basics

Hardwood verus Softwood

The main difference between the two is not necessarily the density of the wood but rather the type of tree they come from.

Hardwoods are usually broad-leaved (deciduous) trees - the ones that loose their leaves every fall. Examples include ash, beech, birch, mahogany, maple, oak, teak, and walnut.

Softwoods are evergeen (coniferous) trees - the tree’s that have needles and cones that stay green year round. Examples include basswood, cedar, cypress, fir, pine, spruce, and redwood.

Generally, softwoods are cheaper because they grow faster and in abundance. Because of this, they are less durable so they are used more for building materials like lumber, plywood, and paper products. Hardwood is more common in high quality furniture, decks and flooring due to its hardness and durability.

The softer the wood is, it can be said that the easier it is to burn on. However, because of the way these tree’s woods differ, they make for very different canvases when burning on them using pyrography techniques…

Softwood tree’s (typically evergreens) create sap. Sap is not our friend in pyrography, especially when first learning the craft. Very often, common woods like pine are sappy and tricky to burn on. Although I have heard of some artists enjoying burning on pine, we would recommend trying a different wood for your first time.

WOOD Slices

The way a log is cut will change your canvas shape and the way your tool works on the wood’s surface.

As you can see here, the edge grain is the outer edge of your slice.

The end grain is the end of a log. This cut is vertical (when looking at a cut tree, like in this photo of the log on the ground) and typically gives you a circular wood slice with bark all around the edges (or none if trimmed off). The grain here is visible in rings.

A face grain cut is the log cut horizontally (on a log laying on the ground) which can give you square or rectangular wood slice canvases and only two edges will be covered in bark (or none if those are trimmed off). The wood grain is visible across the surface and generally spans horizontally across the wood. The wood is usually referred to as planks with this cut.

Wood Grain

and how it Affects pyrography

A common way to explain the grain of wood is using a handful of straws. Renee of @it’sdavidandrenee brought this up at our Pyrography Summit as an example to explain the way finishes (ie. paints, stains etc…) react when applied depending on the way the wood is cut.

This is also true for pyrography. The grain of the wood can affect the flow of your tools on the surface, the texture and appearance of the burned lines, as well as the overall quality of the final artwork.

Imagine the straws as a log. When you cut an end grain piece, you will usually get a circular shape. This makes all the “straws holes” face up. They are porous and will suck in any liquids, stains, paints etc… Burning on this is slightly harder so generally you need more heat and a consistent speed.

Cut it the other way, face grain, and you get the length of the straws. Burning along the grain (following the grain, up and down in the photo to the right) is easier as the nib of the tool usually falls into a grain groove and burn along it. Burn against the grain (side to side) and you can get little blobs of burn, or stop marks as you move across - try turning your heat down and have more of a consistent speed. Look ahead for any grain lines so you can adjust your speed. Reduce your pressure and let the burner do the work as you just gently, but firmly, guide it.

Tree rings and wood grain are closely connected, as both result from the tree’s growth over time. Tree rings form as the tree adds a new layer of wood each year, creating visible bands that vary in width depending on environmental conditions. To learn more about tree rings, check out: What Do Tree Rings Mean?

These rings influence the wood grain, which refers to the pattern of fibers running through the wood. The spacing and direction of the rings determine whether the grain is fine and smooth or coarse and uneven. When wood is cut in different ways, the grain pattern changes based on how the rings are sliced. For pyrography, understanding wood grain is essential because it affects how the surface absorbs heat and how smoothly the burning tool moves, influencing the overall detail and control of the artwork.

The rings on the wood

So what wood is the best to burn on?

We have compiled a list of woods that we enjoy burning on for a variety of reasons. These include Amazon Associate links to great options for these particular wood varieties. In a nutshell, below are our top 9 woods for pyrography.

You can check out this blog post to see why: Best Wood for Pyrography

1. Basswood

2. Cherry

3. Birch

4. Aspen

5. Walnut

6. Maple

7. Sourwood

8. Poplar

9. Cedar

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Want to learn more about pyrography?

Join the Burn Club Community

or check out this blog post: Start Here if you are NEW to Wood Burning

Pyrography + Sustainability

In addition to being a form of artistic expression, pyrography can also be used to promote sustainability and environmental awareness.

Keep reading to see some of the ways on how pyrography can do that!

One: Sourcing sustainable materials

Sourcing your wood from companies who care about the environment ensures the wood is harvested with minimal environmental impact.

Here’s what to look out for:

1. Sustainability Practices of the Supplier:

Review the company's environmental policies. Look for transparency in how they manage the forests they harvest from, such as replanting efforts, reduced chemical usage, and preservation of wildlife habitats. Check if the supplier follows carbon-neutral operations, uses renewable energy, or has sustainability reports available to the public.

2. FSC Certification:

Look for wood that is Forest Stewardship Council (FSC) certified. This certification ensures the wood comes from responsibly managed forests that provide environmental, social, and economic benefits. FSC-certified forests promote biodiversity and prevent deforestation.

3. PEFC Certification:

The Programme for the Endorsement of Forest Certification (PEFC) is another global certification that guarantees sustainable forest management. PEFC-certified products ensure wood is sourced ethically and sustainably.

4. Avoiding Illegal Logging:

Ensure the company complies with regulations like the Lacey Act (in the U.S.) or the EU Timber Regulation to avoid wood that comes from illegal or harmful logging practices.

Here are some alternative options for wood sourcing:

Reclaimed or Salvaged Wood:

Sourcing reclaimed wood from old buildings, shipping pallets, or other recycled sources is an excellent sustainable option. This method reduces the need for new wood and minimizes waste. HOWEVER! It is really important to know what you are burning on as some woods can emit very harmful chemicals when heated, especially ones treated with chemicals. This is really hard to tell sometimes so this is not always the best option… For a list of woods not to burn, check out Common Wood Types To Avoid. Always follow the safety precautions set out by the manufacturer and check out our Safety Guide for best practices when it comes to buying anything.

Local Sourcing:

Buying from local suppliers reduces the carbon footprint associated with transporting wood over long distances. Supporting local woodworkers or sawmills can ensure more transparency about where the wood originates.

TWO: Promoting Environmental awareness through words and design

One way to use pyrography in a sustainable way is by creating designs that promote environmental awareness. For example, you could create a design of a forest with the message "Save the Trees" or a design of a sea turtle with the message "Protect Our Forests." These designs not only showcase the beauty of nature, but also help to raise awareness about the importance of conservation and protecting our planet.

By showcasing the natural world in their art, pyrographers can help to inspire others to appreciate and protect the environment. A mountain landscape, for example, could inspire someone to take a hike and experience the beauty of nature firsthand.

THREE: Promoting Environmental awareness through Events, auctions and donations

To promote environmental awareness through events, auctions, and donations, focus on creating eco-conscious experiences that engage and educate participants. Host pyro workshops that teach wood burning techniques paired with sustainability and green living.

Organize green auctions, featuring eco-friendly art or services, and partner with local businesses to offer environmentally responsible products.

Raise funds through donation-based events or crowdfunding campaigns for environmental causes, and encourage corporate partnerships for sustainable challenges. Ensure your events are eco-friendly by reducing waste, using digital or plantable invitations, and incorporating education booths or online content to spread awareness.

Parts of a sale can be donated to companies that support the environment. We love to donate a part of all our sales to One Tree Planted which plants tree’s around the world! To this date, we have donated over 15,000 tree’s. Our donations have planted trees in places like the Andes as well as 10,000 fruit trees in India, where not only will it help with air quality, but will also provide food and jobs for people of that region.

Four: Functional Sustainability

Pyrography can also be used to create functional items that promote sustainability. Here is a list of some items you may burn that are also functional:

• Kitchen utensils (spoons, spatulas, cutting boards, and serving trays…)

• Coasters

• Jewelry or trinket boxes

• Serving platters

• Wall hooks or hangers

• Coatracks

• Plant markers or garden stakes

• Phone or tablet stands

• Candle holders

• Picture frames

• Serving bowls

• Storage crates

• Bookmarks

By using sustainable materials and creating items that can be used again and again, pyrographers can help to reduce waste and promote eco-friendly practices.

Five: Keeping It Natural

A natural wood slice is a biodegradable material that can return to the earth without causing harm, especially when untreated. Wood art slices (or those with function, such as in the above paragraph) can be kept natural or use only natural stains or finishes (more on this down below).

I recently learned about the Cradle to Cradle philosophy which focuses on designing products that can be reused or naturally decomposed, promoting a closed-loop system where nothing is wasted.

For further reading, the original concept is explored in Cradle to Cradle: Remaking the Way We Make Things by William McDonough and Michael Braungart, which outlines the framework in detail.

What can you do to make your wood slice sustainable?

Here are some alternatives to finishes and mediums often used with pyrography:

Finishing Options

Many pyrography artists opt for natural, non-toxic finishes like beeswax, linseed oil, or plant-based varnishes. These finishes not only protect the artwork but also reduce harmful chemical emissions and protect indoor air quality.

Hanging Options

A common solution to hanging wood slice art is to add a hanger on the back. This little metal piece can easily be added to majority of wood, however, it would have to be removed at the end of the lifecycle of that slice. A great option, if you have the tools, access to them, is to create a keyhole style hanger!

Alternative Stains

Natural stains are a great way to enhance pyrography projects while maintaining a commitment to sustainability. Unlike conventional wood stains, which often contain synthetic chemicals and solvents, natural stains are made from plant-based, food-safe ingredients. Here are a few popular options for creating and using natural stains in pyrography:

• Coffee or Tea Stains: Brewed coffee or tea can be used as a stain to give wood a rich, earthy tone. The colour intensity can be adjusted depending on the strength of the brew and the number of coats applied.

• Vinegar and Steel Wool: Soaking steel wool in vinegar creates a chemical reaction that can stain wood a weathered, aged look. The longer the steel wool sits in the vinegar, the darker the effect.

• Beet Juice or Other Vegetable Dyes: Natural vegetable dyes, like beet juice, spinach, or onion skins, can be used to create colourful wood stains. These are made by boiling the vegetable matter in water and applying the resulting liquid to the wood.

• Turmeric Stain: Turmeric powder can be mixed with water or alcohol to create a yellow stain. It's often used for giving wood a golden, warm tone.

• Walnut Stain: Boiling walnut hulls in water creates a rich, dark brown stain. Walnut stains have been used for centuries in traditional woodworking.

• Blackberry or Blueberry Juice: These fruits can be boiled down to create a stain that imparts a purple or reddish hue to the wood.

Natural Paints

Natural paints can be an excellent addition to pyrography projects, especially if you're looking for sustainable, eco-friendly alternatives to synthetic paints. Like natural stains, these paints are made from non-toxic, biodegradable ingredients, and they can add vibrant colours or subtle accents to wood-burned art without harming the environment. There are more and more options available, just make sure to read the fine print. Some companies like to use words like “natural” and “organic” or “earth” but they do not come chemical free. Another option is to go the DIY route. There are loads of tutorials on how to make your own paint.

Pyrography is a versatile and beautiful medium that can be used to promote sustainability and environmental awareness. Whether by using wood from sustainable companies, creating designs that promote conservation (or conversation), or making functional items that can be used again and again, pyrographers can help to reduce waste, protect our planet, and celebrate the natural world.

Thank you and happy burning!

How to Make a Keyhole Hanger by Hand

One way to hang your wood slice art is by using a keyhole hanger (also known as a mounting slot), which allows the slice to be hung flush against the wall.

In this guide, I will provide step-by-step instructions on how to make a keyhole hanger on a wood slice.

By following these simple steps, you can create a unique and personalized way to display your wood slice art.

This method uses a hand held router (which you can borrow from someone or rent from your local tool library if available!) along with a specific bit called the keyhole bit.

You can also use a router table if you have one.

Please note, any links below are affiliate links to the exact tools I am actually using and love!

Materials needed:

• Your wood slice

• Pencil and eraser

• Measuring tape

• Clamps or easy DIY guide: a straight edged scrap wood piece and nail gun or hammer and nails

• Sandpaper

• Router and a Tipped Keyhole Bit

Wood comes in all different sizes, thicknesses and shapes.

Measure the router bit with your wood slice to ensure the length is correct and doesn't go through your slice.

How to make a keyhole hanger on a wood slice

Step 1: Determine the Placement of the Keyhole Hanger

Decide where you want to place the keyhole hanger on the back of the wood slice. Make sure it is centered and level. Use a pencil to mark the spot.

I like to measure 2 inches from the top of all my wood slices to ensure there is enough space for the hole and enough wood left at the top to keep the hole strong. If it is too close to the edge, the wood can split or crack.

Measuring a square or rectangle piece is easy, but rounds are a little trickier, especially if they are imperfect circles, ovals or other shapes…

My trick to measure a wood slice that is not a square or rectangle:

This is not a 100% exact method. Wood rounds are often imperfect and come in all kinds of unique shapes and sizes. What I like about the keyhole hanger technique is that when the slice is hanging, it’s flush against the wall. So even if your measurements were off slightly, the friction of the wood on the wall allows for some forgiveness in the levelling and you can tweak it a bit once it is up. For really stubborn pieces that you may have mismeasured and they really don’t hang level, you can apply a tiny amount of double sided sticky tape or even sticky tack to the back side to make it more level. Do not try adjusting the keyhole by making it bigger or longer as the structure of the wood will deteriorate when manipulated enough times… Also, know that any sticky substances on wood will stain in, but this will be on the back of the wood piece.

First measure the largest point across your wood slice.

Then take a square tool and roughly eyeball the level. I use the edge of the table that I am working as a guide, lining up the bottom of my square to the edge.

Once I draw a line up, 2 inches away from the tops, I test how it hangs before I drill a hole by holding it up on the mark I just made and roughly seeing if it hangs level.

step 2: make a quick guide (optional) and clamp down your slice

This DIY guide is optional because you can essentially free-hand the hole. I like to make the guide because it only takes seconds and then keeps my holes nice and straight.

Start by grabbing any scrap wood (ensure it has a straight edge - this edge will be your guide) and attach it to your artwork. I am nailing it in temporarily but you can use clamps if you do not have a nail gun (clamps get in the way a little which is why I prefer to nail it). If your wood slice is big enough, you can hang the clamps over the edge of the table, or clamp the guide AND the slice to the table for maximum stability.

First, I measure the distance from the furthest edge at the top, and then the bottom - this ensures that it’s level.

Make sure to measure for the size of your tool.

Tip: Once I measure everything out, before I nail down my guide, I line up the router to where I am about to drill the hole just to double check my measurements!

Ensure that the nail you choose will not go through your wood slice. I used a 23 gauge headless finishing nailer because the nails are small and short which make them easy to take off once complete and you don’t have a big nail hole after the guide comes off. You can simply hammer in two temporary nails (two so the guide stays in one spot - one at the top and one at the bottom of your scrap wood).

Once my guide is on, I clamp my art down to the table.

step 3: drill your hole

Now comes the fun part, drilling the hole.

Using the router, I line up my bit against my guide and over the mark I made on the wood slice and I drill a hole, but only straight down at first.

I like to slightly lean the edge of the tool on the guide, coming in on a bit of an angle so the weight and pressure of the tool is on the guide, not me trying to hold it up in position. If you are doing it freehand, make sure to keep a sturdy grip.

Once you've drilled your hole, your tool will lay flat on the wood.

The hole should be at least 1/4 inch deep so a nail can fit snugly in the slot, just make sure your wood is thick enough so the hole doesn’t go through.

With the bit inside the hole, move the router up, away from you, very slowly to create the nook for the nail to sit in.

Move slowly.

Once you have gone up about 3/4 of an inch, turn off your tool, wait for it to stop and remove the tool from the hole by carefully sliding the bit down and out of the hole at the bottom.

Step 4: Sand the Wood Slice

Use sandpaper to smooth out any rough edges around the drilled hole and the wood slice.

And voila! You made a keyhole hanger!

You can now hang your art, flush to a wall anywhere you like by sliding the wood slice onto a screw. Adjust the wood slice until it is level and centered on the screw.

The Wood Burn Community Book of Templates - Radial Symmetry Edition

We are beyond excited to share The Wood Burn Community Book of Templates, Radial Symmetry Edition

This book is a dream realized: a radial symmetry guide and pyrography book of templates created by our community for the community. This book of templates is a beautiful collection of mandala-inspired designs for artists at all stages from our incredibly talented and diverse community.

Every one-of-a-kind piece of art you create from these community templates is a collaboration! Each design can be interpreted in an infinite number of ways.

The Wood Burn Community Book of Templates - Radial Symmetry Edition features pyrography design patterns created by the community for the community. It showcases 50+ original templates from 20 wood burning artists from around the globe, with the intention of helping artists of all skill levels past, present, and future to hone their craft, try new styles, and make beautiful art through collaboration. This collection of designs includes a variety of patterns in radial symmetry style.

Check out #thewoodburncommunitybook on instagram to view completed projects from all the template books!

Basia Chmielowiec guides you with step-by-step instructions on how to make your own radial symmetry patterns and includes 7 different creative variations. Her intention is to give you the knowledge and instructions for you to continue making one-of-a-kind radial symmetry patterns on your own!

Plus, she includes 3 outlines for you to practice on or doodle in!

Rachel Strauss includes a basic wood burning quickstart guide, and provides you with a list of essential materials needed for pyrography. She offers information on getting involved in the community, before presenting you with a feast of artwork, each begging to become your next creation!

The 20 Featured Pyrography Artists

Follow them and tag them in the pieces you create!

@finelinepyro

@woodburncorner

@Calisanja

@carolinerenck_art

@Soulfulmuse_

@prettyful.creations

@knotsandembers

@JenniferRHeuertz

@UrbanFarmFoods

@kraftinwithkate

@mapleandfernco

@itsdavidandrenee

@ReSaArtHouse

@alteredpathartstudio

@LittleBlackBirdDesigns

@RiverValleyPyro

@kelsieart

@blindlove.woodburning

@woodburnedandwired

@krishnascanvas

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Easily size and print the designs to match the wood you already have by downloading the digital version

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WANT SOME MORE PATTERNS?

Check out all the pattern books available

or the templates store full of individual patterns for sale.

LOOKING FOR A MORE IN DEPTH GUIDE and pyrography project ideas?

Check out The Wood Burn Book

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The Wood Burn Sessions: Learn How to Wood Burn With The Experts!

Learn from pyrography experts with 6 wood burning masterclasses. Learn new skills, discover new techniques, and explore new tools and mediums with The Wood Burn Sessions.

THANK YOU

To all who could join in the live from February 6-12, 2023 and all of those who supported the artists, us and the community!

If you’ve missed the live event, or couldn’t make it to all the classes, grab yourself the Recordings below.

Pyrography Gift Guide

Below is a collection of gift options that are perfect for wood burning artists. These include gift ideas for experienced pyrographers who are selling their art to those who are just discovering pyrography. The Holidays are here, and people in your life are looking for the perfect gift to get you. Send this list to people you love, or go ahead and treat yourself and your business to an awesome gift or two! Set yourself up for success this coming year.

WBC receives a very small portion of purchases made using Amazon links, but these are all supplies that we highly recommend.

Learn + Grow

The Pyro + Business summit Recordings 2022

39 classes with 35 presenters from all over the globe. Learn from pyro experts with the live wood burning masterclasses, pyro panel discussions, business panel discussions, interviews, community chats, challenges + so much more.

LEarn More

The wood burn sessions

Learn from 6 pyro experts with these recorded wood burning masterclasses.

Learn More

the crafters box

The Crafters Box is a small business run by female entrepreneurs that support handmade makers. It’s a service providing AMAZING, high-end, slow-craft kits with accompanying videos by experts to teach new & interesting crafts, like pyrography.

get crafting

Creative Woodburning School

Bee Locke creating a lesson by lesson Creative Woodburning School which will take all the guesswork out of pyrography for you.

check it out

Patterns For Tracing

High-quality art templates that inspire creativity and encourage artistic growth

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Books

The Wood Burn Book

A book I wish I had when I started wood burning. This book by Rachel of @woodburncorner is an essential guide for pyrographers.

Get the book

Community Book Of Templates

Pyrography design patterns showcasing 57 original templates from 34 wood burning artists from around the globe. Along with the woodburning instructions, the intention here is to help artists of all skill levels to hone their craft, try new styles, and make beautiful art through collaboration.

get the templates

Community Book of Templates, Volume Two

Similar to the first edition above, this template book has more unique designs as well as instructions on how to wood burn.

Take a look inside volume Two

Community Book of Templates, radial symmetry edition

Same idea as the first two editions above, this template book features radial symmetry patterns and includes step by step mandala making instructions as well as instructions on how to wood burn.

Learn more here

Creative Woodburning

One of Rachel’s favorite pyrography books out there. Bee Locke of @beesymmetry did a fantastic job creating this book.

Get Bee's Book

Woodburning realistic animals

This book by Minisa Robinson is fabulous if you are looking to hone your shading skills, and create realistic images.

Get Minisa's Book

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Tools + Supplies

Best tool for watercolor

These water pens will save you time when using water colors and are super portable. No need for a water cup with these pens.

Get water pens

best trick for resin

This is for Resin Finish lovers. I learned this trick from Aly of @alyoopsartistry, you put a layer of isolation coat first on your burned piece, and then pour your resin and it will keep the resin from soaking into the wood. Such a great trick!

Get isolation coat

best trick for transferring

Quite possibly Rachel’s greatest contribution to pyrography, the discovery of Tombow Sand Erasers to remove unwanted graphite marks left on wood.

Get these magic erasers

best wood

This Walnut Hollow Basswood Plank Value Pack is Rachel’s favorite wood to burn on.

Get Basswood here

fantastic alternative medium

You may have tried acrylic, water color, and colored pencils on wood, but have you trie gouache??? Check out these gorgeous metallic gouache paints from Arteza

get Gouache paints

stop propping your phone on weird surfaces

This is what I use to record videos, go LIVE, take photos, and teach classes. This gooseneck phone holder is a must have for recording your work.

Get Phone Holder

keep your space safe

Stay safe, and keep those around you safe with a Mini Smoke Extractor. This little machine works!

Get Smoke Extractor

Make it even safer

I use this guy in conjunction with my desktop smoke extractor to really keep my air clean.

Get an Air Purifier

comfort + safety

This is our favorite mask. It is comfortable, and protective. The link is to our favorite fit: the M2 style. It comes in many colors and many other strap combinations and fits.

Get RZ Mask here

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Merch

Burn Club Swag

Merch just for the pyrographers out there!

get burn club swag

Master of flames Pyro Shirt

Pyrography tshirt from Andreina of @reinamor_apw. From her original wood burning tools illustration.

Get Shirt here

pyro Clothing + Accessories

Merch just for the pyrographers out there! Several other options like: Pyro is Fire, Burn Babe, Burn Club, and more…

Get Pyro Clothing +

Burnin' Up tote

Perfect tote for wood burning or craft materials for on the go! Created by Andreina of @reinamor_apw.

Grab a tote

pyro bags for pyro pals

Grace of @piecelovemusic made this adorable pyro bag, perfect for all your loose nibs.

Get the bag

Send this list to your significant others, family members, or friends who are looking to get you the perfect gift. Or go ahead and treat yourself!

Happy Holidays + Happy Burning!

Learn to Wood Burn + Make Your Own Radial Symmetry Patterns!

Art has long been recognized as a form of therapy that promotes relaxation, mindfulness, and creativity. One specific form of art that has recently gained popularity for its therapeutic benefits is radial symmetry art, paired with pyrography, or wood burning.

Radial symmetry is a design technique where an image is divided into equal sections that radiate from a central point. This type of art can be found in nature, such as in the petals of a flower or the scales of a fish, and it can also be created by artists using various mediums. When drawing radial symmetry art, an individual can focus their attention on the repetition and balance of the design, which can promote a meditative state of mind and relieve stress.

Pyrography, or wood burning, involves using a heated tool to create designs on wood. When combined with radial symmetry art, the individual can transfer their design onto a wooden surface and use the pyrography tool to burn the design into the wood. The act of burning the design into the wood can be therapeutic in and of itself, as it requires focus, patience, and precision.

One of the benefits of using radial symmetry art and pyrography as a form of therapy is that it is accessible to individuals of all skill levels. The design can be as simple or complex as the individual desires, and the pyrography tool can be used to create varying degrees of shading and texture. The act of creating something with your own hands, regardless of the outcome, can be a powerful way to reduce stress and increase feelings of self-efficacy.

In addition to its therapeutic benefits, radial symmetry art and pyrography can also be a fun and creative hobby. The finished product can be used as a decorative piece or given as a personalized gift to a loved one.

Want to LEARN these TWO very CREATIVE + RELAXING ART FORMS?

Here are two was:

1. Read:

   Choose from two books full of mandala inspired patterns complete with written instructions on how to draw your own designs from scratch!

The Community Book of Templates (Radial Symmetry Edition) offers designs by Basia and the community in a variety of themes.

Presence Bundle features Basia’s designs inspired by the art deco and art nouveau movements.

These two books each include a radial symmetry guide and a set of their own unique designs to practice pyrography with.

2. Watch

DIY Radial Symmetry Patterns

CA$10.00

Step-by-step instructions on how to create your own radial symmetry patterns!

*Due to the nature of this product, we cannot offer refunds once the purchase has been completed.

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WHAT TO EXPECT

• Step-by-step instructions on how to create your own radial symmetry patterns!

RESOURCES AND TOOLS

If you don’t have any pyrography tools or materials and want to burn with us, check out the DIY Wood Burning Kit blog post for resources and links on where to purchase everything you need to get wood burning.

All you need for drawing your own radial symmetry pattern is a piece of paper (or wood slice you want to burn on), pen/pencil, a compass (can be improvised if you dont have one), and a ruler (also optional)!

The combination of radial symmetry art and pyrography is a unique and rewarding form of therapy. By focusing on the repetition and balance of the design and using a heated tool to burn it into wood, individuals can experience a sense of relaxation, mindfulness, and creativity. So why not try your hand at this therapeutic art form and see what you can create?

Happy DRAWING AND Burning!