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!

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.

---

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.

---

"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.

---

"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.

---

"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.

---

"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.

Best Wood for Pyrography

Wood is the most common surface for pyrography! There are other surfaces you can burn on, but wood is available almost everywhere and is definitely a great place to start if you are new to wood burning.

Always look for unfinished, sanded smooth, and dried wood. These are musts for pyrography.

There are also some woods you should absolutely avoid and that list, you can find here.

Always wear a mask and follow safety precautions when burning on any type of wood or alternative surface. This is super important regardless of wood type.

And onto what you will want to burn on! Below are the top wood surfaces to burn on according to our own experiences as well as from polling hundreds of pyrographers in the community.

Please note there are affiliate links below. We always link to products we know and love and personally have used ourselves!

Top 9 Wood Surfaces to Burn On

This is a list of my personal favourites combined with woods that offer a great experience for beginner pyrography artists. I continue to update it as I try new species and hear from the people I teach and our community members!

1. Cherry

Cherry is such a lovely wood to burn on. There are many variations (color and grain) which may be distracting for some, but for others, this adds character. Personally, I appreciate this aspect (in all woods) because I suffer from blank canvas anxiety and the colour and variations help me get over that!

Cherry contains natural compounds that produce mildly toxic fumes when burned. Nothing to panic about, but ventilation and a mask are non-negotiable (as always with ANY wood you burn on).

I love cherry for it’s warm, reddish tone and rich colour. You can create beautifully detailed pyrography art on it at a slightly higher heat setting (or slower pace).

Be careful in adding any finishes (stains or even colourless oils and sealers), as cherry wood darkens quite a bit. You can still see the burn lines, but it decreases the contrast the pyrography marks make.

This is an example of a cherry wood slice before and after a resin application. The colour is rich and beautiful but if your design has light shading, it could disappear after a finish is applied!

Below is one that I treated with oil (which I wish I didn’t….)

I do love the colour the oil gave it, but with the delicate line work, this piece needs to be in a bright area to be seen and appreciated…

So if you are planning to put any finishes on it, just make sure your burns are very prominent and bold.

---

2. Basswood

Basswood is a very common wood species that is easy to find and easy to burn on.

It’s a favourite amongst pyrographers because of its availability, light colour (creating nice contrast with burn lines) and for the way it burns. It is easy and smooth to burn on.

The grain is visible, but still smooth so it doesn’t effect your burn as much as other woods.

The even, light color makes it the perfect canvas for wood burning. Oh and the colour of the wood only darkens slightly when adding any oils or finishes. Other woods can get much darker.

It is easily found with the very classic tree-bark live-edge, making the perfect rustic rounds.

The bonus with basswood is that because it’s commonly available, it comes in loads of different shapes, sizes, live edge, no live edge, thick or thin, etc…

---

3. Birch

Birch is a harder in structure, when it comes to pyrography, which means you either turn up the heat or move slower with it. Because it is a harder wood, it allows for incredible details.

Even though it is slightly harder to burn on, it still has beautiful qualities like the light blonde colour, stunning white live edge bark and subtle grain lines that don’t interfere with the burning. It typically has a bright, creamy-white colour or yellowish tint and a satin-like sheen to its finish which makes for nice contrast when burning.

I enjoy burning on end grain, like on this round live edge wood slice above, especially when the wood slice has the bark in tact. Rachel prefers face grain wood which has the grain running across the entire wood slice.

In general, birch trees aren't as big (or thick) as other hardwoods, so the slices you get from them usually aren't big either. Because of this, companies make birch wood plywood. As with ANY plywood, these planks use a lot of glues which can be dangerous to burn on. Always wear the safety gear, no matter what.

Chelsea of @CGDesigns swears by birch plywood, especially for small work like earrings. It's smooth, stable, and laser-cuts cleanly — which matters when your pieces are tiny and precision is everything. If you're making jewellery or ornaments, birch plywood is worth keeping in your rotation.

---

4. Aspen

Aspen burns very similar to basswood in our experience, but isn’t just one solid color. It has lovely variations in color to it, which is my favourite part about this wood - it's easy to recognize and the colours on it can add to your design. If that doesn’t work for you or your design, try a face grain cut slice (the planks versus the rounds). Not sure what face grain is? Check out our Intro to Wood as a Pyrography Artist blog post to learn more.

Aspen is softer when burning making it feel buttery smooth and satisfying.

The grain is subtle and you can barely feel anything at all when burning, especially if sanded properly!

---

5. Walnut

Walnut is such a juicy wood to burn on. It has a lovely medium/dark brownish color to it, and smells amazing when you burn it, however it is more on the expensive side.

Walnut contains a natural compound called juglone, which can cause respiratory irritation, especially if you burn hot or for long periods. Mask up and keep your space well-ventilated, as you should with any wood.

This is one of those woods that soaks up finishes and darkens quite a bit when you put any finishes. This could make your lines and shading not as visible… Any light shading will disappear.

However, add a finish to this and just watch the natural grain pop and shine; So much dimension in this wood species!

The grains are visible but don’t interfere with burning. It’s a dream if you burn deep like I do.

---

6. Maple

Maple is one of Rachel’s personal favorites to burn on. She loves the subtle grain in it (which generally does not get in the way of burning), and the colour of the wood makes a great canvas.

It is harder than basswood, and is just lovely to burn on at a slightly higher heat. It’s nice and lightly coloured, lending itself well for pyrography. Finishes will darken the surface but not very much so you will not loose your work.

Maple is a bit more costly than basswood, but is worth it.

Our Burn Club community has some great things to say about maple too: Ambrosia Maple (also called wormy maple) —> “It's not a distinct species, but regular maple bored into by ambrosia beetles, leaving behind striking streaks of gray, brown, and black with small pin holes. Every piece is completely unique, which is honestly part of what makes wood such a magical surface to burn on. It burns the same as maple but with built-in character.” — Chuck of @TheBurningWoodchuck

Here's a piece Chuck created on ambrosia maple, embellished with intricate stain work. I was beyond thrilled to receive it through a charity auction he ran in support of mental health awareness.

John, of @Circle8Pyrography is also a fan of maple! He says he likes maple “because of the close grain lines and the ability to do so many different tones on it. I think it burns so much better than basswood because basswood is so much softer”

---

7. Sourwood

Sourwood is one of my favourites due to the large and intricate live edge bark on it. The bark is so stunning, it creates it’s own frame of sorts!

The surface is lighter in color making a great canvas for burning and even though it is a hardwood, with some patience, higher heat and a slower pace, it is still a pleasure to burn on.

---

8. Poplar

Poplar is another great choice for wood burning. It is another light colored option, although often it has a green tone to it which not everyone likes. There is a process you can take to get rid of this but it must be completed after you burn (because burning on the treatment is dangerous) and may require a bit of sanding so ensure your burn lines are fairly deep.

The grains can get in the way a bit, but otherwise it is a fairly smooth burn. It is quite similar to maple, but less expensive. A great choice for pyrography and very accessible and cheap.

Poplar is the practical favourite and mentioned in the community by several artists. Zona of @bz_furfur, Megan of @happicamperkc and Aney of Pyrocrafters reach for it when asked what they'd burn on a deserted island. It's widely available, affordable, and burns cleanly.

---

9. Cedar

Cedar has a beautiful rich red color in the center and a lighter color on its edges.

It burns really nicely and is lovely to work with because is a softer wood. It feels like butter. It’s easy to understand pyro tools and the variety of nibs and what they can do because you require less control when the wood is softer, and can burn at a higher temperature, therefore allowing you to play around a little.

Cedar is a very resinous wood. All kinds of cedar, but especially ones like Western Red Cedar, contain natural oils and resins, (creosote) which may release harmful fumes when burned (more fumes when heated very high). I wouldn’t go out of my way to buy this wood for a project, but I had a lot on hand after a building project. Always wear a mask and follow safety precautions when burning on any type of wood.

Also, beware when staining, that red colour deepens quite a bit, so always test it on the back before adding a finish to a cedar wood burned piece.

One more thing we learned from an Open Studio to note: “The red heartwood and the white sapwood burn quite differently. The red burns like melted butter: easy and forgiving. The white is more resistant, with grain lines that act up more. Slow down on the white sections and watch for sap, which can make the wood feel wet and cause buildup on your tip." — Myra of @MyraArtStudio

(Burn Club+ members can watch the full recording of this session anytime!)

A great place to learn more about your favorite wood types is at wood-database.com - here you will find all the specs you need!

---

Runner-up Wood Surfaces to Burn On

These are woods our community members have tried and recommend — with notes straight from the burners themselves. I'll continue to add to this list as I collect them from the community. Have a species you adore and want to include? Contact me or join us (free) in the live conversations in The Burn Club!

Apple Wood & Pear Wood:

"My absolute favourites. They produce less smoke than walnut, burn evenly, and respond well even with beginner-level pens which is great for anyone just starting out or teaching others." — Myra of @MyraArtStudio

Hornbeam

"A personal favourite because it is like burning on butter. Like beyond butter" and "there's not much grain lines. The lines aren't as bumpy as some other woods. And it's just a really easy wood to burn on." — Myra of @MyraArtStudio

Box Elder

"Box elder is a stunning wood to burn on, with beautiful bark and a grain that just sinks the pen right in. It's pricier and comes in large lumber-yard pieces rather than ready-to-burn blanks, but if you can get your hands on it, it's worth it. Look for pieces with interesting knots and live edge — the wood does half the work for you." — Myra of @MyraArtStudio

Beech

Cork

Be careful with this one! A lot of cork is made with glue, so be sure to dig deep into the source and use natural cork which is made directly from the bark of the cork oak tree.

Mahogany

Alder

Sycamore

Cypress

Willow

Olive Wood

It's last on this list because it can be a bit unpredictable to burn, but it’s really beautiful!! Megan of @unstrungstudios picked olive wood as her desert island choice. Olive has this tight, swirling grain and a natural warmth that makes finished pieces look almost polished straight off the wood. One thing worth knowing though: if you've ever tried burning an olive wood branch you found or picked up, it's not quite the same experience. Eve of @EmbersByEve pointed this out and she's right. Branch wood has a very different consistency than proper olivewood, so if you want to really try it, track down the real thing. It's not always easy to find, but it's worth it.

---

Check out the DO NOT BURN ON list here.

Click Here for pyrography non-wood surfaces to burn on.

Always wear a mask and follow safety precautions when burning on any type of wood or alternative surface. This is super important regardless of wood type.

---

Tool Care for your Woodburning Tool

Tool care and cleaning is important for getting a smooth burn, and for keeping your tool working for a long time.

Caring for a pyrography machine ensures its longevity and consistent performance.

If you are in the market to buy, but don’t know what to choose, check out this blog post: What Woodburning Tool is Right for Me?

Below are some general wood burning tool tricks for keeping your pyrography tool in tip-top shape.

We include products with Amazon Affiliate links to the tools I and other pyrographers use to clean their wood burning tools. We only recommend what we know and love.

For general wood burner (machine)care:

• Make sure your burner has good air flow.

• Make sure it is free of dust and dirt. Do not use harsh chemicals or water to clean the machine, as this can damage its components: Wipe the machine and pen with a soft, dry cloth instead.

• Be sure to give your burner breaks, especially if you are burning on high temperatures. This will help keep your burner and pens happy for a long time and avoids damaging internal components.

• Avoid pulling or yanking the cords; instead, unplug it gently.

• Follow manufacturer instructions: Refer to the user manual for specific care recommendations for your pyrography machine.

When traveling or Storing: take care to pack your burner well.

• Keep the machine in a cool, dry place, away from moisture or extreme temperatures.

• Do not to bend any of the cords with force or pressure or excessively. This will cause the wires to break or become weak inside the palstic. You usually can’t see this happeneing but it does, especially with lots of bending.

• Store the pen with its tip detached or in a protective case to prevent damage. Usually the pens come in individual cases… Keep these for travel or storage. I travel quite often with my burner and found that putting it in a hard shell duffel style case helps keep in tact and secure. Here I am using a vintage sewing case. It’s hard outer layer allows everything inside to keep from squishing!

nib care:

• Ensure the tips or nibs you use are compatible with your machine. Even if they look the same size, if the nib is slightly too big, it can get stuck in the pen easily…

• Handle tips with care, as bending or forcing them can damage the connectors. This goes for when in use and storing them!
  

Nib Cleaning:

You will want to have a way to clean your tools while they are hot, and a deeper clean while they are cool.

My favorite cleaning tool while my burner is hot is a brass brush. I give my nip/tip/pen a gentle little scritch-scrath whenever my lines are looking a little '“jumpy” or I see char build-up.

Every once in a while I also like to give my tools a deeper clean while they are cool. To do this, I use a leather strop with white compound. You rub the white compound onto the rough side of the leather, and then rub your nib until it’s nice and clean. This is the best way that I have found to clean nibs.

These are other ways that you can clean them.

Sand Paper: This method requires caution for wire tip burners. It can be very rough on their delicate wires. Even with a solid-nibbed burner, you will want to be gentle and go easy on the sanding. It will wear your nibs down over time if you rub hard, and this is why many pyrographers will even cringe at the idea of mentioning this option. This is a “use the tools you have on hand” situation. Since you already have sand paper, using it to carefully, and gently scrape off excess char buildup on your solid-nibbed burners just makes sense. I like to use it mid burn - make sure to give the nib a couple of seconds of rest (not actively burning but keeping the machine on) so that the buildup has a chance to burn off, then very lightly rub the sandpaper for that char to come completely off.

Tea Strainer: Many pyrographers use this, but I feel it is a little too rough on my tools. To use this method, take a simple metal tea strainer and give your nib a little scrape to brush off any excess char that might be getting in the way of a clean burn.

Parrafin Wax: This is a fairly new method that I learned about from Pat, the creator of the Optima 1 pyrography machine. You simply touch your nib to the wax while it is hot. The wax will burn right off and rid your nib of that extra buildup on the nib. It works just fine, but I didn’t enjoy the smoke it gave off. It is the exact same as a candle burning, though.

Damp High Heat Sponge: This is was soldering iron users use, and it works pretty well to get big chunks of char off. It won’t clean your nib’s surface completely, but it will keep your lines smooth. Does require minimal prep of dampening the sponge before you start burning, but is great because you can use it while it is hot. Be sure to use a high heat sponge for this.

In a pinch and with solid-nibbed burners, sand paper can work. I like a damp high-heat sponge as well. Not as big of a fan of the parrafin wax or the tea strainer, but I know other people in our community are. Do what works best for you!

What Woodburning Tool is Right for Me?

Choosing a burner can be quite difficult. There are so many brands, so many options, so many nibs and it can all be a bit confusing…

But before we dive into the price ranges and styles of tools, I want to start with an important reminder:

the quality of your art isn’t defined by the cost of your tools.

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, like struggling to get solid lines.

Now, lets talk about the function of tools. When you are looking into a wood burning tool, I like to think that you need to consider a couple things when choosing:

1. Price

2. Use

3. Style

Price - What will my money get me?

Price is first because, well, your budget is your budget and wood burning tools can range in price from $15-$300+, so lets starthere.

I like to think that there is 4 different levels in price.

⭐️ LEVEL 1: $15 USD

These are value tools that usually just have an on/off switch, recommended only if you are doing one project. They may come with several nib options but take some time to heat up and are a bit bulky to hold. This one from Walnut Hollow has been tried, tested and true.

If you can invest a little more money, especially if you want to continue pyrography, we recommend going up, at least one more level.

⭐️ ⭐️ LEVEL 2: $30 USD

These are usually your solid-nibbed wood burning tools with temperature control. They usually come with several interchangeable nibs, are portable, but take a little while to heat and cool. Still slightly bulky, but for learning, exploring and understanding the art of pyrography, this price range is what you should be looking for.

Be weary of anything around this price or cheaper, especially off of amazon…

We love the Walnut Hollow Versa tool. This was our first burner, and after trying many many others, this is still one we recommend for beginners and large projects the most! Click here to get yours.

⭐️ ⭐️ ⭐️ LEVEL 3: $80 USD to $120 USD

These are considered professional level machines, or entry level wire nib burners. Most come with interchangeable nibs. They may be lower quality wire nibs, when they are interchangeable, that may need some gentle tweaking before use or with a limited number of nibs, but this option is good if you want to learn what nib you like best. The grip will be more pen-like, it will have decent temperature control, and it will heat and cool faster than the previous tools. They are lighter weight machines and are not meant for heavy use.

⭐️ ⭐️ ⭐️ ⭐️ ⭐️ LEVEL 4: $200 USD and Up:

These are your professional machines. These are sturdy, heavy duty, professional equipment. A lot of the time you will need to buy the machine separate from the pens/nibs. Many of the nibs are hand formed. There are options for pen choices(fixed pen and interchangeable options) and tons of individual options for nib choices (flow, spade, writing, shading transfer hot stamps). Some companies will customize nibs, and some offer such a wide range you wont need customization (looking at you Razertip). The grip of these machines will be pen-like, it will have excellent temperature control(in some cases precise to the last degree), it will heat and cool in seconds, and in general these machines will reach much higher temperatures. Some great companies, our top three, include Razertip, Tekchic, PJL Enterprises.

You can watch a video where we review a bunch of pro burners and listen in as we dive into Razertip and what we like and don’t like about each of their machines, by joining Burn Club+ (then head to the Open Studio Recordings Channel!)

Use - How will I use my wood burning tool?

ONE TIME USE - If you are planning on using a wood burning tool for just one project, then go ahead and get yourself a single temperature, solid-nibbed value wood burning tool. A tool like the Walnut Hollow Value Tool is around $15. It comes with several nib options and you will be able to complete your project.

HOBBIEST and PROFESSIONALS - If you plan on doing more than one project, or very large projects, then we highly recommend that you get yourself a solid-nibbed, temperature-controlled woodburning tool. The Walnut Hollow Versatool is our favorite. This tool is so versatile, inexpensive (around $30 ), comes with a bunch of useful nibs, and works like a dream. This could easily be the only tool you buy. The level of detail that you can achieve with this one tool is astounding. Just go look at the #versatool to see what I mean. There are many professional wood burning artists who only use this tool.

PROFESSIONALS - If you are burning more than a couple times a week, then you should invest or start saving up to invest in a proper professional machine. These machines will decrease your time wasted waiting for you tools to heat/cool, will allow you to have a more ergonomic grip while working, they will allow for quicker nib changes, and will just speed up your whole process. They are worth the investment. Some great companies include Razertip, Tekchic, PJL Enterprises.

STATIONARY OR MOBILE - Will you have a dedicated wood burning station, or will you be on the move? This is something to consider when choosing the right burner for you. Some do not pack or travel well, while others are made to be portable.

Style - Solid vs Wire Nibs

For a detailed explanation between these two styles, check out the blog post: Wire Tip Vs. Solid Tip Burner. In a nutshell:

SOLID: A Solid-nibbed or solid-tipped burner has a long heated shaft, with nibs that screw directly into the shaft. Your hand placement is further away from the surface being burned, and is generally a thick grip that will take some getting used to. They can come in temperature-controlled and single temperature varieties. These range from $15-$30.

Now, a solid-nibbed burner, does have its drawbacks. It takes a little while to heat up and cool down, the grip is thick and requires your hand to be far away from the surface you are burning (can take some getting used to), and the docking station is not very solid. But… this compact machine can burn! It’s great for covering large areas too as a solid nib burner will retain its heat better than a wire burner. We recommend this tool, or something similar be in every wood burning artists tool bag.

There is also an amazing nib called the Transfer Nib. It is amazing for transferring images to wood precisely and quickly. Check out this blog post on Using Heat To Transfer Images Onto Wood.

WIRE: A wire nib burner, or often called a professional burner, generally has a more pen-like appearance with a wire at the end that heats up. Your hand placement is much closer to the surface burning. The machine heats and cools quickly. These usually have a solid docking station, great temperature control, and a wide range of nib options.

The different nibs can be changed in a variety of ways for these wire nib burners.

1. FIXED NIB - Some people prefer to have the entire pen switch out. It does decrease the chances of having connection issues, because changing nibs is so easy. These pens with a fixed nib usually just plug in quite quickly and easily. This is a more expensive option than the interchangeable nib, but more convenient and they tend to last longer than the interchangeable nib pens.

2. INTERCHANGEABLE NIB - This can be done in a couple ways. Sometimes the wire nib is in its own housing, and the housing switches out. Other times, you will fine that you are unscrewing the actual wire, and replacing it with a different wire. The ones in their own housing can be changed quicker and easier with less issue. I have found that when you are changing out just the wire, you need to be careful to make sure that all the connections are solid or your burner wont heat properly. Always test your temperature after switching out nibs.

Choose your Burner

Now that you know the different options, and what you should consider, it’s time to choose a burner. Here are some burners that we have personally held in our hands:

Here are some websites and Amazon Affiliate Links to the companies I trust: (Wood Burn Corner receives a small portion if you purchase through these links, or look below to visit the individual website’s of each manufacturer.)

Lower End Burners:

The Walnut Hollow Versatool for quick projects
and The Creative Wood Burner for a more comfy grip.

---

Higher end burners:

Razertip:

Take a look at the Razertip’s options and their wide selection. They have new digital burners with a bit of a higher heat, but even their older models are one of my favourites. They also have options to join multiple burners together but I like to keep it simple. Since it’s really easy to change out the pen while I burn, I don’t need anything more than the basic version. Personally I don’t like the digital machine either.

If you want to watch a video where we review this company and what we like and don’t like about each of their machines, join Burn Club+ and head to the Open Studio Recordings Channel!

🔥 Use the code BASIA at checkout to grab yourself a discount! 🔥

Yes, I am an affiliate! I have been using my SK and SSD-10 for almost 15 years now and it still works like magic. Razertip has great customer service and an excellent warranty as well!

---

Tekchic:

Check out Tekchic - this machine is powerful, compact and has a decent grip on the pen. Not the best grip - the pen is still a little thick, but otherwise it heats up quickly.

---

TruArt:

This machine is also really reliable and gets nice and hot. A bit thicker on the hand grip but works well.

---

PJL Enterprises - Optima 1:

Visit PJL Enterprises to see their collection of tools. These pens are more pen-like, machine gets hot and the switches are very satisfying.

---

---

Want to learn more about Wood Burning and improve pyrography Skills?

Join our FREE community of pyrographers in Burn Club where we share tips, tricks, pyro resources, and free templates and coupon codes for pyro materials and accessories.