7 Ways to Burn Wood Without a Pyrography Pen

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

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

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

Pyrography pen

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

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

• detailed artwork

• lettering

• almost any texture work

• controlled shading

• fine lines

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

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

1. Heated metal tools (pokerwork)

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

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

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

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

• traditional style experimentation

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

• repetitive marks

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

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

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

2. Blowtorch

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

Note: less control DOES NOT mean no control.

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

Look for metal that is:

• clean

• plain

• uncoated

• thick enough to hold shape

• not galvanized

• not painted

• not mystery scrap

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

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

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

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

• bold texture

• rustic effects

• darkened edges

• background burning

• abstract work

• large surface effects

• bringing out the grain in the wood

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

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

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

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

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

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

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

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

• distressed looks

• abstract surfaces

• experimental effects

• rough rustic designs

• smoke clouds and smokey vibes

• textured backgrounds

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

4. Magnifying glass and sunlight

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

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

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

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

• experimentation and process-based work

• outdoor demonstrations

• simple marks and organic shading

• projects where using sunlight is part of the concept

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

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

5. Scorch Marker/lemon juice:

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

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

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

This method is best for:

• large surface areas

• bold shapes and repetitive designs

• experimental projects

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

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

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

Some of the more dangerous alternatives:

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

6. Gunpowder

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

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

7. Burning with electricity

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

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

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

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

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

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

Come burn with us → Burn Club.

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

Pyrography as a Mindfulness Practice

Most people think of pyrography as a hobby.

And sure, it is.

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

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

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

The heat takes time to stabilize. The wood responds to pressure and pace. And the most important thing to remember — you can't undo a burn.

That irreversibility changes how you move. You stop rushing. You stop multitasking. You can't be half-present at a burning tip and expect good results.

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

Presence Isn't Optional. It's Required

There's something that happens when you settle into a burn session. For me, personally, and it’s something I've heard over and over, from artists at every level.

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

That shift is real, and it's not just something artists talk about. A meta-analysis of 17 studies involving over 10,000 people found that greater mindfulness is directly linked to higher levels of flow — that state of deep absorption where time disappears and the mental noise goes quiet. Pyrography is essentially a manual entry point into exactly that.

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

You're just burning. Here. And Now.

What Making The Book, Presence, Taught Me

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

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

But when I started burning that radial symmetry?

It went even deeper.

The pace of the pen, the heat, the permanence of each stroke… it created a layer of presence that drawing alone didn't give me. I wasn't just making art. I was practicing something.

That experience is also a big part of why I restarted Burn Club and Burn Club+.

I wanted a space that was completely separate from the noise of algorithms and performance metrics. A place where we could share our art because we love it, not because we're feeding a platform.

Inside Burn Club+, I have a dedicated space for mindfulness practices across different mediums. And in the Burn Flow channel, I share simple burn exercises and textures, things specifically designed to bring you into a mindfulness moment. Not complicated projects. Just focused, intentional burning that does exactly what it's supposed to do.

If You're Selling Your Art, Read This Too

One thing worth naming: if pyrography has become a business for you, protecting it as a mindfulness practice takes extra intention.

The moment you attach income to something that used to bring you peace, the relationship with it shifts. Deadlines, algorithms, output pressure… they creep in. And before long, you're burning out of obligation instead of desire.

I wrote about this recently: how to keep from burning out when you're selling your work and still want to cherish the craft for what it gives you mentally. You can read that here.

The short version: you have to build boundaries around the practice itself. Some burns are for the business. Some are just for you. Both matter. But if you stop protecting the second kind, the first kind eventually suffers too.

You Don't Have to Be Struggling to Benefit

This isn't only for the hard seasons.

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

Mental health works a lot like physical health. You shouldn’t wait until you're injured to start moving your body. Consistent, small steps build a foundation. A daily walk isn't dramatic, but it compounds.

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

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

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

What Has Pyrography Done for Your Mental Space?

I built Burn Club+ specifically for this: a space away from the algorithm where we can talk honestly about the craft, share what we're making, and support each other's practice.

Inside, there's a dedicated space for mindfulness exercises across different mediums, and a Burn Flow channel with simple textures and exercises designed to bring you into a present moment. No pressure, no performance.

If that resonates, come join us in Burn Club+. This is exactly the kind of conversation I want us having in there.

And I want to hear from you: what has pyrography done for your mental space?

Reply here or bring it into the Club.

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

Practicing pyrography means different things to different people.

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

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

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

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

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

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

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

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

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

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

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

The Conversation Happening on Pyro Toasty Talks

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

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

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

You can listen to Pyro Toasty Talks on several platforms:

• Official website

• Spotify

• Apple Podcasts

• Podcast Republic

• Instagram (episode announcements and updates)

The Voices Behind the Mic

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

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

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

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

What To Expect From Episodes

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

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

Continuing the Conversation with the Hosts of Pyro Toasty Talks

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

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

Wood Burning as a Long-Term Practice

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

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

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

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

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

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

What keeps you inspired and motivated?

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

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

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

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

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

When Art Becomes Business.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

So I asked Zona:

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

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

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

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

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

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

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

The Role of Community in Longevity

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

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

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

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

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

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

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

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

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

Moving Forward Intentionally

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

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

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

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

So I asked Zona:

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

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

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

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

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

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

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

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

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

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

8 Ways Writing Nurtures Your Mind and Mental Health

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

But at first…

I was reluctant to start writing.

Actually, I kinda really hated it.

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

So I stopped.

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

Not for show.

Not for anyone.

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

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

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

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

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

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

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

1. Emotional Processing & Stress Relief

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

2. Cognitive Clarity and Insight

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

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

3. Provides a Safe Emotional Outlet

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

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

4. Breaks Old Habits

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

5. Shifts your Mindset

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

6. Improves Self-Awareness

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

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

7. Promotes Mindfulness

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

8. Strengthens Your Inner Voice

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

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

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

It’s very simple AND it’s FREE!

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

How to write stream of consciousness style:

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

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

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

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

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

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

There are no rules.

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

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

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

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

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

Journaling with kids

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

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

So, I started a journal with her!

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

Again. There are no rules.

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

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

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

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

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

10 Art Book Recommendations

As an artist, there are countless books out there to inspire and teach. But the ones we’re sharing here aren’t “how to wood burn” books. They’re the foundation under the craft! From drawing, seeing, composition, confidence, presence. Those skills are what let you take pyrography further.

These are books we have actually read and love. The title’s are an affiliate link, and every click, at no cost to you, helps support this business. Thank you!

1. “Drawing on the Right Side of the Brain" by Betty Edwards

This book is a classic for a reason. It teaches artists how to see and draw objects from a different perspective, encouraging them to tap into the right side of their brain for a more intuitive approach to drawing. I love it because it rewired how I see negative spaces, edges, proportions, etc...

Pyrography takeaway: Understanding these concepts makes for cleaner linework and more accurate transfers… This means fewer “uh-oh” moments at 700°F. You’ll spot angles and gaps before you burn. You will spot AI and it’s weird irregularities before you purchase that template. For me, it created more trust in myself to burn a design that isn’t super clear on wood (like when the transfer doesn’t transfer 100% or when lines overlap and you’re not sure what is what).

2. "Painting Luminous Portraits for Artists” By Steve Forster

This book was recommended by a Burn Club+ member from our two-part colour class in Open Studio (watch the recording in Burn Club+ where we get to talking about the book, seeing inside it and exploring the techniques). It teaches you to build a black-and-white base, then add thin colour. These teachings apply to everything, not just faces —> plants, animals, objects, designs... Simple, step-by-step teaching on light and soft vs. sharp transitions and so much more.

Pyrography takeaway: Make a small value map. Burn from light to dark to practice shading at different depths. Add a thin colour wash over the burns to see how value affects the colours. A quick, fun exercise if you like mixing media with your burns.

3. "The Artist's Way" by Julia Cameron

This book is not just for artists but for anyone looking to unlock their creativity or get “un-stuck” when in a creative rut. It offers a 12-week program to help artists overcome creative blocks and tap into their full potential. It’s fun, it’s guided and it works!! Check out my journey with this book here —> The Artists Way by Julia Cameron

Pyrography takeaway: Every week, you are prompted to go on an artists date. Focus your dates on burning freestyle meditative art (Burn Club+ includes Burn Flows, which are just that! Guided burning exersizes in a variety of textures and styles aimed at practice and control to improve your pyro skills but in a less pressured way).

4. "The Complete Guide to Anatomy for Artists & Illustrators" by Gottfried Bammes

This book is a great resource for artists who want to improve their knowledge of anatomy. It covers everything from skeletal structure to muscle groups. It’s a helpful book if you want to make portraits and are interested in burning the human form.

Pyrography takeaway: Make your animal and human portraits come to life. This book will teach you how to use cylinders, planes, and bony peaks to help omit flatness and make your wood burned subject look more realistic.

4. "Steal Like an Artist" by Austin Kleon

This book is a fun and inspiring read that encourages artists to embrace their influences and find inspiration in unexpected places. Often a controversial subject, Austin says: nothing is original, so embrace influence, school yourself through the work of others, remix and reimagine to discover your own path.

Pyrography takeaway: Build a collection of images or make a reference board of leaves, feathers, skulls, lettering (Check out the list of royalty-free resources or the inspiration channel in The Burn Club ) . Combine 2–3 sources, change composition, and credit influences.

5. "Art & Fear" by David Bayles and Ted Orland

This book is a must-read for any artist struggling with self-doubt and creative blocks (who isn’t though). It explores the fears that hold artists back and offers practical advice on how to overcome them.

Pyrography takeaway: Perfectionism ruins more wood slices than heat ever will (or completely doesn’t allow to start burning on the wood slice in the first place. I’ve been there too many times). Build a “sacrifice board” habit: first 3 minutes of every session are throwaway drills (or Burn Flows) to burn off jitters… Then start the piece.

6. “Presence” By Basia Chmielowiec

Yes, this is my book. I might be biased, but I wrote it for two reasons.

First, after a lot of research and trial and error, I noticed that a many guides out there made things feel complicated and rigid. The instructions were so precise or extensive that I felt anxious about “doing it wrong.” I didn’t want that.

The second reason is more personal. Drawing (and burning) radial symmetry designs became a real mental health tool for me. It helped me slow down, focus, and breathe in a way I didn’t expect, and I wanted to share that with other people.

So I combined those two things and built this book to be simple, relaxed, and freestyle. It walks you through creating your own patterns step by step, then shows you a bunch of variations so you can use the same basics in pencil, ink, paint, chalk, and even on wood.

Pyrography takeaway: Merge the slow, relaxing rhythm of pyrography with your own radial-symmetry patterns. Create, repeat, and enjoy the calm while you burn. Burning repeating patterns is a great way to practice your techniques and improve your skills. Plus, you set the difficulty level when you learn to draw your own patterns! I created a digital version of this book so that you can easily take the designs in it and resize, print, trace then burn them as practice!

7. "The Golden Secrets of Lettering: Letter Design from First Sketch to Final Artwork” by Martina Flor

This is a friendly, picture-heavy walkthrough from rough sketch to polished lettering. It shows how to build letterforms (not just copy a font), keep spacing consistent, and add simple flourishes and layouts for quotes, signs, and nameplates.

Pyrography takeaway: Draw light pencil guidelines (baseline, x-height, slant), sketch the letter “skeletons,” then use only pyrography to burn the final letter. Lettering is often found in pyrography, but you can also find or create a font you are comfortable with and love, and make it into your signature for you to burn on your completed artworks!

8. Mindful Sketching: A Drawing Book for Adults Paperback by Peggy Dean

This book provides gentle, low-pressure prompts that build a daily sketch habit. Short, timed exercises focus on noticing shapes, breathing through the line, and letting go of perfection. It’s a great quick and fun book.

Pyrography takeaway: Complete one of the exercises directly onto the wood! Use a pencil to follow the guidelines and then complete your artwork using pyrography. This freestyle way might just help loosen up those perfect lines.

9. Draw Yourself Calm: Draw Slow, Stress Less Paperback by Amy Maricle

This book is another (but more abstract) gentle, slow-drawing book with prompts (pods, pebbles, branches, simple repeats) that lower the pressure and build a steady, mindful rhythm. Short, timed exercises make it easy to show up for 5–10 minutes and leave feeling grounded.

Pyrography takeaway: Kinda like a Burn Flow, get doodling with your pyrography pen!

10. "The Creative Habit" by Twyla Tharp

This book offers practical advice for artists looking to establish a regular creative practice. It explores the habits and routines of successful artists and offers insights into how to develop your own creative process.

Pyrography takeaway: This straight-talk guidance on building a repeatable creative routine can easily apply to your wood burning! Create those rituals with the steps and guidance provided.

In the end, this is our real-life stack of books we reach for (or remember lessons learned) when we want to reset our hand, push our values, or just fall back in love with making. Whether you’re new to burning or deep into commissions, there’s at least one idea here you can take straight to the board today. Grab one book, steal one tiny takeaway, and give it ten minutes, just to start.

Using household items to stain wood

In our last live Burn Club Open Studio session, we dove into 10 natural wood stains and had a blast experimenting with them on 4 different wood species.

Everyone got to guess which stain was which on a test board, and we even played with vinegar and baking soda to see how some colours would shift right before our eyes.

Burn Club+ members have access to the replay and the extended conversation. That is where I shared photos of the piece once it has dried the next day and what they look like sealed. I’ve left them in the sun and in a little while, I want to see just how much these stains fade compared to eachother…

Below, I share four simple kitchen ingredients that anyone can try: coffee, black tea, herbal tea, and red wine.

Coffee

Coffee is packed with tannins that soak in and leave behind a soft, earthy brown.

Freshly brewed coffee gives a gentle wash, while letting it sit overnight deepens the tones and creates a richer effect.

In this photo, I brewed a regular cup of coffee and even after 4 coats, it was still pretty light so go stronger if you want a darker tone. I am using Basswood here.

The bottom half of the test piece has a layer of oil/wax blend which clearly enhances the colour!

How to use it:

1. Brew a strong cup of coffee.

2. Let it cool, then brush or wipe it onto raw, sanded wood.

3. Allow it to dry completely, then add more coats if you want a darker color.

4. For an even deeper effect, let the coffee sit overnight before using; the extra strength makes a noticeable difference.

Oh and if you get little coffee grinds on it, I just let them be and wiped them away when it dried. They didn’t effect the the colours at all! I kinda wish they did, though! I envisioned them making a cool galaxy effect…

Black Tea

Tea is another tannin powerhouse. A fresh brew gives warm golden-browns. Just like coffee, if you let the leaves steep for 24 hours or more, the liquid becomes more concentrated.

On pale woods like the basswood in this photo, it can show up nice and subtly. I left the coffee example here to differentiate the two. The black tea is a warmer tone compared to the coffee.

How to use it:

1. Brew a cup of black tea and let it steep for at least 15 minutes.

2. For a stronger stain, steep the leaves 24 hours or more until the liquid is very dark.

3. Apply with a brush or rag to bare wood.

4. Let dry, then add additional coats if desired.

Herbal & Berry Teas

Berry teas often carry anthocyanins, pigments that can shift color depending on pH. You might see pinks, purples, or soft reds, especially on light woods.

The results aren’t always predictable, but that’s part of the charm (we are used to this, right? No wood is exactly the same…).

I was quite surprised with how much colour this did give. Even though I used a raspberry tea, I expected a bit more subtle earthy brown, more than this purplish tone! The bottom section is with an oil/wax mixture to see how long the stain lasts in direct sun with and without a finish (the results are all located in BC+)!

How to use it:

1. Steep berry or hibiscus teas until the water is richly colored (for my example in the photo above, only waited 15min).

2. Apply directly to light woods like basswood or pine for the most visible results.

3. Build up layers if you want stronger color.

Note: These colours are more delicate and can fade quickly without sealing.

Red Wine

Red wine seeps into wood with deep purples and burgundy tones that mellow into a warm, reddish brown as they dry. At least this is true for basswood. The other woods we tried red wine on, all had varying tones of reddish/purplish brown…

Again, the bottom half has an oil/wax on it to test it against time and sun.

How to use it:

1. Pour a small amount of red wine into a cup

2. Brush or rag it onto bare wood.

3. Let dry, then repeat coats for deeper color.

Tip: Like berry teas, red wine colors can shift with acidity — vinegar makes it more red, baking soda can push it toward blueish tones.

Sealing Natural Stains

Once the stain has dried fully, sealing helps protect the colour and bring out the richness of the wood. Warning! It can also take away or hide any colouring, especially if the colours were light and subtle…

For a natural finish, simple mineral oil and/or beeswax works beautifully, though both will need refreshing from time to time. These give a soft, organic look and are perfect for small projects or decorative pieces. My top favourite brands for food safe finishes are:

• Walrus Oil: Try their Cutting Board Oil and Wood Wax

• Howards: Try their Cutting Board Oil and Wood Wax

For a longer-lasting seal, harder finishes like shellac or polyurethane can be used, but they take the project away from a purely natural approach. I like to use Minwax Polyurethane as the spray version for most projects since it won’t smudge my added mediums, but for stains, the brush-on version works too!

No matter what you choose, sealing is what keeps the stain from fading too quickly and makes the colours come alive. For more information on this step, check out Finishing Your Wood Burned Art: How and Why to Finish Your Wood Burned Art.

Exploring natural stains is a reminder that creativity can come from the most ordinary places. A cup of coffee, a pot of tea, or even a splash of wine can completely change the character of wood and make it feel alive in a new way. Plus, these natural ingredients are better for the environment and our lungs and most likely for our wallets!

Inside Burn Club+ we take the exploration further with 6 other natural stains on each of these 4 wood species. Members also get the replay of the full Open Studio session along with follow-up photos that show how the stains deepen and shift over time.

Whether you join us there or just experiment in your own kitchen, natural stains are a simple way to slow down, connect with the process, and see what unfolds.

Can I Burn That? A Friendly Guide to Copyright for Artists

Whether you’re doodling with us in Open Studio, tracing a favourite anime still, or experimenting with Canva templates—at some point, you’ve probably wondered:

Is this okay to use?

Can I sell this?

Copyright is one of the most important and misunderstood topics in the art world.

Many artists think if they “change the medium” (like painting from a photo or burning a drawing) or “add their own twist,” it’s enough to make it theirs. It’s not. If the result is still a recognizable copy or derivative of someone else’s work, it could still be copyright infringement—even if it’s altered a lot.

And that myth about “changing 30%” to make it legal? That rule doesn’t exist. Copyright law doesn’t measure by percentage—it’s about whether the original work is still clearly present.

Lets start here: What Inspires Us?

Steal Like an Artist by Austin Kleon is a small but powerful book packed with creative wisdom. It’s written for artists, writers, designers — anyone doing creative work — and its core message is:

“Nothing is original. Everything is a remix.”

Great art comes from remixing, borrowing, and building on what inspires you. You don’t need to be a genius or wait for a lightning bolt of originality — you just need to start.

When I was 9, my family went to Disney World, and I spent the whole trip drawing Mickey Mouse over and over. As my sketches got closer to the real thing, my confidence grew. That practice — copying characters I loved — helped me believe I could draw anything. It shaped the way I learned, and I’m grateful no one told me I couldn’t draw those things.

Later, I started noticing patterns in nature — how plants, pinecones, and trees all grow outward from a single point. I filled the corners of my books with florals and spirals, then slowly moved into the center of the page. Bit by bit, my style emerged: inspired by nature, Art Nouveau and Deco, especially the lines and florals in the work of Alphonse Mucha (my favorite artist!), and repeated over time until it became my own.

That’s the thing — style isn’t born from a single source. It’s a mashup, built over time, shaped by the things you love and the ways you practice.

But while remixing and drawing what you love is a huge part of finding your style, there’s a fine line between inspiration and infringement.

As artists, we grow by learning from others — but as we share our work publicly, especially online or for sale, it’s important to understand what’s legally allowed and what crosses into copyright territory.

In a nutshell:

🚫 It’s NOT OKAY when…

• You’re copying style and subject so closely it feels like a replica

• You haven’t transformed the idea in a way that feels personal or original

• You’d be uncomfortable showing it to the original artist

• You can’t point to what you added or how you made it your own

• You’re tracing without adding new interpretation or energy

It’s probably okay when…

• You’re combining influences from multiple sources, not just one

• You’ve infused it with your voice, your perspective, your weirdness

• You could confidently say, “This inspired me,” but it clearly looks like you

• You’d be proud to credit your inspiration, not afraid of getting “caught”

• You’ve taken the seed, not the whole plant — and grown something different
  
  

Key idea: Changing the medium or adding your own flair doesn’t automatically make it legal. What matters is whether the result is still a recognizable copy or derivative of someone else’s copyrighted work.

What Is Copyright?

Copyright is the legal protection given to original creative work—art, writing, photos, music, etc. The moment something original is created and fixed (like drawn on paper or saved digitally), the creator automatically owns the copyright. No registration needed.

That copyright gives the creator the exclusive right to:

• Reproduce it

• Sell or license it

• Display or adapt it

• Prevent others from copying or profiting from it

🚫 Copyright prohibits artists from:

• Redrawing or repainting someone else’s work, even in their own style, without permission

• Reproducing it in another medium, like wood burning, embroidery, or sculpture — even if it’s by hand

• Selling artwork that is a copy or close derivative of someone else’s copyrighted design

• Tracing someone’s work and claiming it as their own

• Modifying a copyrighted work and distributing it as “inspired by” or “fan art” if it’s still recognizable as the original

If Someone Copies You Without Permission

You are legally allowed to:

• Ask them to take it down (e.g. via a *DMCA takedown or message)

• Request credit, removal, or payment

• Send a cease & desist letter

• You can’t take legal action unless you register.

*DMCA stands for the Digital Millennium Copyright Act (a U.S. law), but it's widely recognized by platforms globally — like Instagram, Etsy, YouTube, Pinterest, and even Discord. You can use a DMCA takedown even if you haven’t registered your copyright. Learn more here —> https://www.copyright.gov/dmca/

Why would you want to take legal action?

Because if someone profits off your work, damages your reputation, or refuses to comply with takedown requests, registration gives you the power to actually enforce your rights. Without it, you can ask nicely—but you have no real legal ground to sue or claim damages.

You can register after infringement happens, but you can only sue from that point forward (not retroactively).

Registering Your Copyright (optional but helpful)

In Canada, the U.S., and many other countries, registration gives you stronger legal protection—especially if you ever need to sue.

• In the U.S., you can register online with the U.S. Copyright Office.

• In Canada, it’s via the Canadian Intellectual Property Office.

Does one copyright help cover your other art?

Nope — each piece is only protected by its own copyright. Even though all your art is technically protected the moment it’s created, if you want to enforce your rights (e.g. sue or claim damages), you’ll need to register each piece (or batch) separately. One registered piece doesn’t automatically protect the rest in court.

But — having one registered copyright can help show a pattern of original authorship if someone is copying your entire style or portfolio.

How Copyright Works Internationally

Thanks to the Berne Convention, an international agreement signed by over 180 countries (including Canada, the U.S., and the EU), copyright law is pretty consistent around the world.

What if i don’t sell it? Can i redraw it, just for fun?

Fair Use or Fair Dealing can cover drawing something for fun — if it's for private, non-commercial use and not being shared widely or sold.

But…

🚫 It doesn’t automatically protect you if:

• You post it online as if it’s yours

• You sell prints or products with it

• You build a following off copied work (even if it’s "fan art")

• You claim copyright over your version of someone else’s design
  
  

Fair Use or Fair Dealing

Fair Use (U.S.) and Fair Dealing (Canada and other Commonwealth countries) are legal exceptions that allow people to use copyrighted material without permission in certain specific cases.

But they’re not the same—and they don’t mean “anything goes.”

Fair Use (United States)

Fair Use is flexible but vague. It’s judged on a case-by-case basis using four factors:

1. Purpose and character

• Is it transformative (adds new meaning, message, or purpose)?

• Is it commercial or educational?

2. Nature of the original work

• More protection is given to creative works (art, music) than factual ones.

3. Amount and substantiality

• How much of the original was used, and was it the “heart” of the work?

4. Effect on the market

• Does your use hurt the market for the original or act as a replacement?

Example of likely Fair Use: A YouTuber analyzing a painting and showing clips to comment on techniques.

Not Fair Use: Putting a filter on someone else’s art and selling it as your own.

Fair Dealing (Canada)

Fair Dealing is more limited and specific. It only applies to certain purposes, like:

• Research or private study

• Criticism or review

• News reporting

• Education

• Satire or parody

Even then, your use must be “fair” — courts consider:

• Amount used

• Purpose

• Availability of alternatives

• Impact on the original’s market

Example of likely Fair Dealing: A teacher using a portion of an artist’s image in a classroom presentation for educational purposes.

Not Fair Dealing: Copying an artist’s design and using it on a product you're selling.

Bottom Line for Artists

• Neither law lets someone sell your art or republish it fully without consequences.

• These exceptions are mostly for commentary, education, or parody—not for bypassing permission.

What About Canva Designs, Pinterest Photos or stock images?

Canva:

If you use Canva’s elements (Pro or Free), you can sell your own finished design (like a print or burned artwork), but not just the element by itself. And never resell the templates. Here is a little run-down:

• YES: Use Canva’s elements in your designs for social posts, presentations, etc.

• YES: Sell physical products (e.g. mugs, shirts) using your original Canva creations, if you're using Canva Pro content and following their commercial license.

• NO: You cannot resell or redistribute Canva templates, elements, or stock photos as-is.

• NO: You can’t upload a Canva template and sell it as your own template without major customization.

Rule of thumb: If it’s plug-and-play and you didn’t change it much, don’t sell it.

Pinterest

Straight up: grabbing images from Pinterest or Google Images and using them in your art, products, or posts can get you into legal trouble — even if everyone else seems to do it.

These are not sources, they’re search engines. However, you can use them privately for inspiration or practice.

But it’s NOT OK to:

• Trace or copy someone’s photo or art and sell it.

• Use Pinterest/Google photos directly in your designs, even if you “edit” them.

• Print or post images that belong to others, even “just for fun,” if you’re gaining followers or monetizing it in any way.

• Even if you're using 100 tiny pieces from 100 different Pinterest artworks, each one could still be protected by copyright — and you don’t automatically get away with it just because it’s small or part of something you made.

Stock Images (e.g. Unsplash, Shutterstock, Adobe Stock)

• Free stock sites (like Unsplash): Typically okay for use in blogs, websites, etc. — but not for resale as art.

• Premium stock sites: You need to check each license.

  • Standard license: OK for web use, not for merchandise.

  • Extended license: Needed for high-volume commercial products.

🚫 Never use a stock image as the base for a digital product you're selling unless you’ve carefully read the license and have the right to do so.

In Summary

Changing the medium or recreating the artwork in your style doesn’t make something yours if it’s still a recognizable copy. Also, just because an image is online doesn’t mean it’s free to use.

Whether you’re drawing for fun, making collages, burning them or designing with templates, it’s crucial to understand copyright rules and know what’s actually allowed.

Do your due diligence and check the original source and usage rights before including anything in your work.

You can always ask members of The Burn Club to help you out if you’re not sure.

If you want to stay safe and creative, stick with public domain resources, licensed stock photos, or your own original content. There are tons of free, legal sources out there that make it easy to build something completely yours. (I share a list of them in The Club!)

Respecting copyright doesn’t have to limit your creativity—it protects it.

Want to Read More?

Here are some solid, trustworthy resources if you want to dive deeper:

WIPO – International Copyright Law
https://www.wipo.int/copyright/en/

Canadian Intellectual Property Office
https://ised-isde.canada.ca/site/canadian-intellectual-property-office/en/copyright

U.S. Copyright Office – Fair Use Basics
https://www.copyright.gov/fair-use/

Stanford Fair Use Center
https://fairuse.stanford.edu/overview/fair-use/

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!!

Why Is My Pyrography Fading? (And What You Can Do About It)

One of the most common and heartbreaking frustrations in pyrography is when a piece that once looked rich and beautiful starts to fade over time — even when you've sealed it! I recently got a message from a fellow pyrographer, Mary, who's been burning for years but noticed her pieces fading within 6–12 months, even when they're kept out of direct sunlight. She’s using UV-protective Varathane (both oil- and water-based), applying 2–3 coats, and still watching her art disappear.

So, what’s going on?

Well, first just know that you are not alone. One thing every pyrographer learns eventually — sometimes the hard way — is that wood is alive, even after it's cut. It breathes, it shifts, it absorbs, and it ages. No matter how careful you are, no matter what finish you use, wood will change over time. And so will your artwork.

Why? Because wood is porous, hygroscopic (a material that can absorb moisture from the air), and reactive. It contracts and expands with the seasons. UV light, even in small amounts, can affect its color. Finishes can deepen, amber, or dull. And depending on the species, the burn may sink into the grain or slowly soften as the wood moves.

Sometimes these changes are visible (especially with thinner pieces of wood - they may bow slightly) and sometimes you wouldn’t have a clue that wood can actually shift so much.

This doesn’t mean you should stop burning — it means you’re working with a living canvas. Understanding how wood changes helps you anticipate, adapt, and choose the right methods to give your work the longest life possible.

Let’s explore the possibilities and what you can try to prevent fading:

1. Burn Depth and Darkness Matters

If the burn is very light or surface-level, it may not stand up well, even under varnish. Try burning a little deeper and darker on test pieces — even a small difference can help the image hold up over time.

To be honest, this is ALWAYS my main advice.

Especially when you want the art to be finish-free, try to burn deep.

The way I burn my art is more like carving into the wood, I don’t do very much traditional shading. I generally use linework with my chisel tip.

And to create darkness or for covering larger areas, I love to stipple because its super satisfying and allows me to go deep into the wood.

However, your style is your style and the piece might have no other option (especially in realistic burns, or portraitures and such) than to shade using other techniques to achieve a smooth gradient shade (or tonal shade) and so we move on to other options below.

2. Know Your Finish

Not all finishes are created equal.

Most finishes (especially water-based ones) and most wood species (especially dark toned ones) can soak into the wood and the burn, slightly diluting or softening the edges of your burn marks. This can reduce the crispness and contrast you worked hard to create — especially if your burn was on the lighter side. Check out this isolation coat trick to prevent this first step in protecting your burned art from fading: Isolation Coat/Primer and Wood

Glossy finishes (even clear ones) can reflect light in a way that makes the burn appear lighter or less defined, depending on the viewing angle. This effect can be stronger on lighter woods or if the piece is seen under strong lighting.

Always test first and check out this post for finishing your artwork: Finishing Your Wood Burned Art: How and Why to Finish Your Wood Burned Art

3. Pre-Sealing or Fixative Tricks

A coat of UV-resistant finish is your best bet. There are some options here from most intense (and best) to least strongest:

1. Marine Spar Varnish: It’s designed for boats, so it holds up in harsh environments, but it can yellow slightly because it’s oil based. Can be easily reapplied every year or two (or when needed). You just have to clean it, give it a light sand and reapply!

2. Spar Urethane: Easier to work with since it’s water-based. Also easy to reapply when needed.

3. Epoxy Resin (with UV stabilizers): This add a thick clear coat which is beautiful and long lasting, but make sure you get one that is resistant to UV. Most resins tend to yellow over time and if the environment is harsh, they still can crack. Re-applying requires a lot of work (sanding it down properly). It’s also a very pricey option that is messy to work with.

4. Acrylic UV-Resistant Spray: This one is the easiest to apply and reapply (just spray on which is great if you have colours since they will not smudge) but it will not last quite as long as the above options.

5. SunShield Outdoor Furniture Wax: It’s not so much a ‘finish’… It’s a wax. It’s designed to protect both the wood finish and wood colour from sun fade.

As mentioned in the previous step, Isolation Coat can be used as a pre-seal: Isolation Coat/Primer and Wood. It creates a clear, non-reactive barrier that protects your burn from the final varnish soaking in or shifting tones. It will NOT work with the wax. Wax is meant to soak into the wood! But it works well under both water-based and oil-based varnishes and sprays and can also be used on top of other mediums, like watercolour.

4. Wood Type and Prep

Soft woods like pine or basswood absorb burns differently than hardwoods like maple or cherry. Make sure your surface is well-sanded and dust-free, and consider experimenting with harder woods if fading is a frequent issue (or if piece will be exposed to harsh elements).

The way wood is dried before you burn on it can make a big difference in how it performs over time. Kiln-dried wood is heated in a controlled environment to quickly remove moisture. It’s more stable than green or freshly cut wood and less likely to warp or crack after burning. This makes it a common choice for pyrography, especially for pre-cut blanks.

But here's the catch: kiln-drying doesn’t eliminate all movement. Wood still responds to its environment. Humidity changes, heat, and light will continue to affect it, even after it's been dried.

Air-dried wood, on the other hand, is dried slowly and naturally over months (or years), which some woodworkers believe helps the wood retain more of its natural character. But it can also be a bit less predictable — and if it’s not fully cured, it might still release moisture or warp as it continues to dry post-burning.

But, no matter how it’s dried, wood will still expand and contract, and that motion can subtly affect your burn lines or the way finishes sit on the surface.

5. Time and Environment

This piece here was hung outside and battled the intense Canadian weather for about 4-5 years now, which is not actually too bad!

It was finished with resin - and even with the strongest kind of finish, it still aged greatly. I think when I re-do this sign, I will use the boat varnish and just reapply every year or two…

This piece however, was done around the same time and is as crisp as day one:

It’s been in my studio, up on a shelf out of the sun…

But even pieces kept out of sunlight may still be exposed to UV light or fluctuating humidity levels but your best bet is to keep it our of direct sunlight and out of moisture (no bathrooms or near kitchen sinks), no matter how it’s finished.

Store or hang your art in dry, stable environments when possible, and educate customers on ideal display conditions.

Extra Tips:

• Even UV finishes degrade over time—reapply yearly if kept in direct sunlight.

• Avoid placing it in direct window sunlight if possible—UV glass or films on windows can help.

• Use archival ink or pigments underneath your finish to resist fading better.
  

Have your own tip or experience with fading burns?

Drop a comment or or join the conversation in The Burn Club!

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 Secret to Organizing Without Overwhelm

Growing up, Sundays were designated cleaning days. My three brothers and I would rotate tasks. Each task would include a section of the house; such as cleaning a bathroom, vacuuming the entire house or helping in the kitchen which included taking out all the garbage everywhere.

My dad had a ruthless rule. Sunday cleaning waited for no one and if things were left on floors in our bedrooms before it was time to vacuum, everything would get dumped on our beds.

One weekend, my room was a disaster, and he piled it all—books, toys, clothes—onto my bed, forcing me to deal with it before I could sleep in my bed.

I didn’t love the process, but I eventually learned something: tackling a mess is easier when everything is in one spot first.

It was easier to sort through everything when you can see it all at once.

This was revolutionary (Thanks, Dad!)

I consider myself very lucky because I genuinely love organizing. I love sorting and compiling everything around me.

I love doing it even more for others. Over the years, I’ve helped organize other people’s homes, both professionally and just for fun. Yes, for fun. It’s a LOT easier to organize for other’s as I am not sentimentally attached to anything… I don’t spend time thinking about what I want, its more of a logical choice.

When I took all peoples things and consolidated it all one place, like my dad did to me, people could see what they had and, with my guidance and support, were able to make choices of what to keep or not. It made me realize that consolidation didn’t just work for me, it helped others too.

Professionally, I needed to know how to charge them. I needed a plan of what we are tackling and how long it would take. When doing it for friends, I couldn’t tackle too much at a time otherwise they would be left with a disaster when it was time for me to go home, so a plan needed to be made.

This made me realize another thing. Choosing a focus or theme just made sense for timing and to not feel overwhelmed.

And so the steps were created:

STEP ONE: Choose a Theme

When there is a theme, or a space that I need to focus on, it makes it easier and faster to complete. 

I’ve realized that often when I try to organize a space or deep clean without a focus, I get sidetracked, overwhelmed, and stuck.  I end up jumping from room to room which turns into the entire house and very often leaves me in more of a mess than before… I start putting away one thing, notice something else that needs attention, and before I know it, I’m overwhelmed and nothing gets finished. But when I focus on a single theme, it’s so much easier.

You can choose as narrow of a theme (marker brands) or as wide of a theme (art supplies) as you want. Generally the more stuff in that theme, the more narrow you can usually get.

If you know you get overwhelmed easily, start with a small theme.

There is no hard rule here as themes can sometimes overlap (for example the dreaded junk drawer - it tends to have every theme you can think of in it!). Sometimes a theme is not related by similar items, but by location!

SMALL HACKs FOR CHOOSING A THEME:

If you are stuck on a theme, choose a space. Choose an area in your house that needs your attention: Where are you getting frustrated loosing items? Where do you avoid going? What do you avoid putting away? For example: 

• Is your front closet overflowing? Take everything out of it and you will see a theme emerge.

• Do you keep loosing your sponge or rubber gloves under the sink because it gets lost in all the stuff? Take out everything from under the sink, this is your theme.
  
  
  

Everyday themes You Can Organize:

If everything feels like a mess and you’re not sure where to start, another strategy is to choose an everyday category:

1. Hobby or creative supplies

🎨 Art materials (I am not a hoarder but I have A LOT of art materials. When I am organizing my art materials, I break it down even further, for example pens and markers, paper, sewing, beads and jewelry, oil pastels and chalk pastels etc.)
🔥 Pyrography tools
🪵 Wood for burning (or all burnable surfaces)
📚 Books & sketchbooks

2. Home and living essentials

🛏️ Bedding & towels
🍽️ Kitchen gadgets & utensils
🕯️ Candles & home decor
🔋 Random junk drawer items (this one is a tough one… It always takes the longest because everything is, well, random)

3. Clothing and accessories

👕 T-shirts & sweaters
👖 Jeans & pants
👟 Shoes
👜 Bags & accessories

4. Paper or office supplies

📂 Important documents
🖊️ Pens & markers
📒 Notebooks & planners
💌 Old greeting cards & letters

5. Sentimental and miscellaneus

This one takes long too so give yourself extra time for anything sentimental! this one is mentally taxing too so breaking it up into different days helps.

📸 Photos & keepsakes
🧩 Board games & puzzles
🛍️ Seasonal decor
🛠️ Tools & hardware

Again, if you get easily overwhelmed, choose a small area to sort, one that brings you joy (I can organize my art supplies for days…) or tackle one that has been a constant irritation.

STEP TWO: Consolidate

This is that fun moment of throwing everything into one heaping pile. Yes, it’s also terrifying as there is no turning back after you do this.

I can’t prove my dad throwing everything onto my bed was the moment that shaped my approach to organizing, but as an adult, I’ve realized that the best way to get organized is to consolidate everything into one place before sorting.

During the consolidation process, (if you don’t want to just dump it all at once) I try to sort slightly as I remove everything from it’s current spot:

• Designate a spot on the floor or a corner of the room for the beginnings of categories: i.e.. if i am sorting my art closet: I will try to put all my scissors in one pile, all my paper in another pile, all my pyro stuff in another and so on. This is a rough sort (more or less) until the closet is empty. Stuff that takes more than a couple seconds to decide where it goes, goes right in the the center as a miscellaneous pile.

• Throw out obvious garbage right away.

• If there are items that aren’t garbage but you know immediately that you do not want them, put them in a “donate” pile. Try to locate this pile the furthest away from where you are organizing so it’s “out of sight, out of mind” as much as it can be.

• If there are items that belong in another room or section of the house, put them in a pile by the door. Don’t go organizing these things, but get them out of your line of sight by placing them in a pile FURTHER away and by the exit.

• I usually make a “to fix” pile at this point too.

Don’t to think too hard about this part. It’s more of a rough categorization (I’ll give you some examples later on). The goal is to just clear the space. So, if starting to categorize is slowing you down, then just do the dump.

STEP THREE: Categorize

I absolutely love organizing things into categories and groups. There’s something so satisfying about gathering similar things together, seeing exactly what I have, all in one space. 

Make sure everything is in a category that makes sense. Put items together that match by type and or function.

For example, if you’re organizing the front closet, all the shoes (type) would go in one pile, all the jackets (type) in another pile, all the umbrellas in another, dog leashes in another etc… you may be surprised how many duplicates you have. 

You can then sort by function. All winter gear would be categorized (mittens, hats, boots) and the winter section would be a functional category because these items work in the winter and can be put away in a deeper location until they are needed).

The key here is to zoom in on each category of item so you can deal with the item.

STEP FOUR: Finish

In each category, you will have three options (if you haven’t already started doing this during the dump).

1. Keep

2. Donate

3. Trash

Donating and trashing items are self-explanatory.

Now. The keep items.

Essentially we want to designate a spot for each category of items. This means to put them away and give them a permanent home. This is the moment where you can start putting back the items where they came from.

Some tips to remember:

• I like to fix items that are easy to fix right away. If it takes longer than a few minutes, I designate a place in my house for things I need to fix/repair that will take longer and get to them when I have time.

• Put loose things that belong together in one container (i.e. all charged batteries in a small plastic bin, all batteries that need charging in another small plastic bin - label these for less confusion).

• Labelling may sound a little much but a label goes a long way (even if its just temporary). I use masking tape and a sharpie and keep the label on for a little while until everyone in the house learns the new spot. Often, I will make a nicer looking label with a label maker but sometimes I just leave the tape on forever or eventually take it off once the habit to put the item it’s spot is created.

• Make it accessible according to their function. For example, Winter holiday stuff can go in a box and be put away deeper than other boxes, or at the bottom because you take them out once a year. Art supplies, however, should be more accessible and easy to take out and put back in. 

• You don’t need to spend money to have an organized space. Sure, it’s nice to have the perfect pantry with all matching clear boxes organized in rainbow colours... But the idea is to have accessible and functional storage that makes sense to what you are storing. I use boxes that I have on hand, like shoe boxes and plastic bins, even food containers!
  
  

HOW I ORGANIZE: An Example

I use this method every time I clean. Instead of tackling an entire room, I

1. Choose and focus on a theme. In this case: puzzles.

2. Gather all the puzzles I own (consolidate) and put them in one place.

3. Then I sort them (categorize). In this case, the categories are:

• My puzzles (I have a couple puzzles that go high up in a place no children can reach because they are very special to me)

• Kids’ puzzles

• The rest of them (I put the kids on one side and more difficult ones on the other)

During this process. I make sure to:

✔ Fix up any broken boxes or peeling pieces—tidy the boxes, tape up any worn edges, and make sure all the pieces are there (this step is obviously easy for kids’ puzzles. for larger puzzles, I just wait to complete them). For boxes I cant fix, I will put all the loose parts in a container.

✔ Donate the ones I no longer love (after they have been repaired)

✔ Trash any that have no hope

And then I store them neatly so they’re easy to access and give them a designated spot on my shelf.

A Bigger Example:

I recently used this method to organize two really big categories in my house. 

First was Christmas stuff (step one: theme)

I collected and gathered everything in one room (step two: consolidation). Once the holiday season was done, I took all the decorations and supplies, along with a bunch of hand-me-downs from my parents (which live part time in Mexico so they spend winter down there and they had a lot of Christmas stuff to give away).

There were boxes that have seen better days, ribbons from presents everywhere, lights, and general decorations….

Once it was all there, I started sorting (step three: categorize).  I took anything that was broken and either fixed it, took it apart to use in other ways or tossed it. This allowed me to see more clearly what I have.

Then I sorted everything into categories.

I put all the ornaments that could break in small boxes (which I taped up and fixed), I tied up all the lights with this awesome reusable Velcro straps made for cables, and put anything breakable in tissue paper or brown packing paper.

There was one section of the Christmas stuff that was kinda big: gift wrapping stuff. I found I had a lot of different ways to wrap gifts, so I further sorted this category:

• Gift bags

• Wrapping paper

• Tissue paper

• Gift boxes

• Gift tags

Then I found the gift wrapping items a home (first part of step four: finish)

As you can see below, I used random boxes that made sense and fit all the items. I could have put everything in a large box, but instead kept them like this in the shed because I like to be able to pull individual ones out when I need them. I don’t do all my wrapping at one time, so this will be more accessible and convenient to see and find the right size during the holidays.

Large Gift Bags, Tags, Boxes and Soft Bags

Wrapping Paper (new and used that I will reuse)

Small Gift Bags

Tissue Paper

The tissue paper is actually a category that overlaps. I keep it accessible all year-round with the gift bags and wrapping paper that is not holiday themed.

I labelled each box and put everything away in the shed (step four: finish).

The other theme I tackled was all my pyrography supplies and books—especially since I got a lot of goodies from Rachel recently. I gathered everything in one spot, sorted and categorized into the following categories: 

• Wood and surfaces to burn on

• Burners

• Tips and pens

• Other accessories (erasers, cleaning tools)

• Tracing things (graphite paper and all designs)

• Books 

I put everything in a large box and kept the items I used most out for now. Since it’s getting warmer here, I will be bringing everything out to my garage art space and will write a detailed blog about how I organize my wood burning supplies in the next few weeks! I will show you all my hacks for storing wood and cables and tools etc…

Even just doing this step made such a difference and now finding things is easy!

Some themes are more fun than others, but in the end, when things are easy to find and look neat, it’s totally worth the effort!

Last bit of advice and final thoughts:

Organization isn’t set in stone—it requires some upkeep, especially for items used often. The easier it is to put things away (physically), the longer your efforts will last.

It’s much easier to keep track of your belongings when you can see them, which is why clear containers are ideal for frequently used items. Being able to quickly spot what you need helps prevent overbuying, misplaced items, and clutter from piling up. But when clear containers aren’t an option, labels are the next best thing. A simple, well-placed label removes the guesswork, making it just as easy to find and put things away.

Since belongings fluctuate (things get donated, new items come in, and some break), having a little breathing room in containers allows for flexibility and prevents constant reorganization.

Staying organized doesn’t have to mean massive overhauls (although sometimes things get so out of hand, they need to be big steps). Essentially small, consistent steps make a big difference. Taking a few minutes to return things to their place, decluttering one drawer at a time, or doing a quick reset at the end of the day prevents mess from piling up. These small habits add up, making organization feel effortless rather than overwhelming. A little effort now saves a lot of time and frustration later.

Do you have an organizing trick that works for you? Let me know in the comments—I’d love to hear!

3 Easy Ways To Wood Burn Texture Onto Wood Without Shading

Shading is wonderful, but it isn’t the only way to add depth to your pyrography.

Sometimes smooth gradients are tricky, or you’re working on a tiny area where shading feels fussy and unforgiving, or maybe you want something more than a solid black background. That’s where texture comes in. Repeating shapes and marks can build up rich, dark values and create something visually interesting at the same time.

In this post I’ll show you three simple textured circles I burned, all using basic movement patterns. You can use them as stand-alone designs, or tuck them into larger pieces for backgrounds, fur, scales, flower centers, skies, abstract fills, and more. They are great for practice and are very simple and satisfying to achieve!

Texture 1: Bubbly Dots (or Stippling)

This circle is made entirely of dots, layered and overlapped until they form a dark, almost velvety surface. Up close, it looks like bubbles or droplets; from a distance, it reads as a rich, textured shadow.

In this example, I used 3 different sized ball nibs.

On the right side, all three sizes are scattered and randomly placed.

On the left side, I wanted to compare what using only the small ball nib looks like, then the medium, then the large. It’s wild how different the textures look like using the same technique and different sized nibs!

I used:

• a small ball nib (0.8mm)

• a medium ball nib (2mm)

• a large ball nib (4.7mm)

• with the Razertip SK

(use code BASIA at checkout for a discount: applicable on all Razertip products)

How I build it (for any size ball or a mixture of them):

Start with scattered dots. Simply tap the nib onto the wood, lifting straight up. Don’t press too hard and let the heat do the work! The key to having it look organic, is to lay down a loose spread of dots in random places first versus making an outline, or stippling row by row.

Fill the gaps. Keep placing more dots in between the first ones. Try to keep it random all the way till the end or you may see a pattern in the dots, which is fine if that is what you are going for!

Let them overlap or touch. This is where the texture starts to feel like pebbles or bubbles.

I personally enjoy this technique the most as it is super satisfying and really easy!

For a video guide and more information, check out this post in the Burn Club+ on Discord!

Texture 2: Tiny Spiral Rings

This one is built from little spirals, or tight circles all packed together. Think “tree rings” or “ripples in water.”

The repetition naturally creates a starry, Van Gogh–style effect that looks almost like energy radiating outward.

It gives your burn a very organic, hypnotic feel.

I used:

• a medium ball nib (2mm)

• with the Razertip SK

(use code BASIA at checkout for a discount - applicable on all Razertip products)

How I build it:

Place your ball nib pen down firmly in the centre to make your dot, then begin moving in small, controlled circles around it. I made about 4-5 circles until I moved to a new spot (in order to keep the organic look).

Keep your motion steady and light (pressing too hard will dig into the wood so let the heat do the work for you). Start with a lower temperature and move slower than you think you need to.

Same as with the stippling above, start in random spots to ensure you are not getting an organized pattern (unless you want that). Circle by circle, your texture will evolve and fill up the space. Once you dont have room, fill in the tiny spaces between the circles with short lines that match the flow of a close-by circle.

This texture works beautifully for backgrounds, tree bark, flower centers, or anything that wants a swirling, organic feel.

(Burn Club+ members can see a close-up demo here)

Texture 3: Overlapping Petals / Scales

This circle is built from rows of overlapping petal or scale shapes. It looks like a flower, a pinecone, or even dragon scales depending on how you use it. Spreading out the petals will give a very different vibe than keeping them tight together. A different shape or angles of your stamping will also change the look!

It’s a great way to cover a larger area without relying on traditional shading.

I used:

• a medium spear shader

• with the Razertip SK

(use code BASIA at checkout for a discount - applicable on all Razertip products)

How I build it:

I started on the outside making a big ring, stamping your nib down, one next to the other.

All you have to do is stamp the tip down along the flat side with just a slight angle (sharp point downwards). In a fairly quick motion, flatten the nib out and then drag away from the point and lift off in that dragging motion.

Depending on your heat setting, you will need to adjust your speed. If you are burning hot, go faster. I recommend turning down the heat and going slow until you get the hang of a smooth gradient at the end. You will be covering it up in the next row, so don’t fuss too much about perfection.

Go row by row, inwards and keep stamping around the circle (of course you can make any shape you want)!

This texture is amazing for flowers, feathers, scales, and even armour or fabric if you stretch and reshape the petals.

(Inside Burn Club+ you can watch me doing it here)

Why Texture Is a Great Alternative to Shading

If shading stresses you out, you’re not alone. Smooth gradients take practice, control, and a lot of patience. These texture styles give you another path:

• It hides small wobbles and inconsistencies.

• It lets you create depth just by repeating simple shapes.

• It keeps your piece visually interesting, even in large dark areas.

You don’t have to choose one or the other, either. You can shade the main subject and use texture for the background, or mix textures together inside one design.

Have fun practicing these textures and make sure to sign up for Burn Club+ for more!

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?)

Digitizing Your Wood Slice for Extra Revenue

In today’s digital age, pyrography artists have more opportunities than ever to expand their reach and monetize their art beyond traditional sales. By digitizing your wood art, you can transform physical creations into digital assets, opening the door to a variety of new revenue streams. Instead of just selling a design once, you now have to options to sell it numerous times in numerous ways.

Whether you're creating high-resolution scans or professional photographs of your work, digitization allows you to share, sell, and promote your art on a global scale.

So, how do you decide if you want to take photos or scan your art?

When deciding between scanning and photographing a woodburned wood slice, there are several factors to consider, as both methods offer distinct advantages and disadvantages:

1. Quality of Detail:

• Scanning: Scanners capture very high-resolution images with consistent lighting, making them ideal for showcasing intricate details like fine lines or subtle shading in pyrography.

• Photography: A high-quality camera with proper lighting can capture detailed textures, giving a more three-dimensional look to the woodburned surface. The texture of the wood, shadows, and natural imperfections will be more visible, which can enhance the piece's appearance but might require careful lighting to avoid glare or overexposure.

2. Colour Accuracy:

• Scanning: Scanners generally provide more accurate colour reproduction, especially with flat artwork. However, woodburned slices can be uneven, and the light from the scanner might not capture the natural wood grain or the depth of the burn as authentically as a camera could.

• Photography: Depending on your camera and lighting setup, you might have to tweak settings or adjust in post-production to achieve colour accuracy, especially if natural lighting changes or creates warm or cool tones. Personally, this one was my toughest issue. After experimenting with what I thought was consistent lighting, the photos were not all exactly the same and this drove me crazy! I set up a light in my living room and blacked out the sun, but it was such a hassle and took over my entire living space…

3. Lighting:

• Scanning: The lighting is always even and consistent, which is excellent for avoiding shadows and glare but can flatten the appearance of the wood's texture.

• Photography: Photography gives you full control over lighting, allowing you to experiment with different angles and intensities. This can highlight the texture of the woodburning but requires careful setup to avoid shadows or highlights from uneven lighting. Same with the colour accuracy though… If you're not sure what you’re doing, this is a hard one to get consistent.

4. Ease of Use:

• Scanning: A scanner is easy to use for smaller pieces. You simply place the wood slice on the bed, scan it, and get a high-resolution image. For larger pieces, this can be limiting as the wood slice might not fit properly. However, there are companies that offer large-format scanning services, which are ideal for digitizing oversized or three-dimensional pieces.

• Photography: Photography gives you more flexibility for larger or irregularly shaped pieces like wood slices. You can photograph the piece in natural light or a controlled studio environment. However, it takes more time and effort to set up the shot, manage lighting, and ensure focus. Also, consistency is key and this may be difficult if you do not have a studio set up…

5. File Size and Versatility:

• Scanning: Scanners can create very large, high-resolution files, which is useful if you want to print the image at a larger scale. However, the files might be unnecessarily large for online sharing.

• Photography: A photograph can be just as high-resolution, depending on your camera, but it allows for more flexibility in post-editing for various uses like social media or print.

6. Textural Appearance:

• Scanning: Scanning tends to flatten the texture of the wood, making it appear more like a 2D image. This is great for many uses such as stickers, prints etc…

• Photography: Photography, especially with angled lighting, can better capture the 3D texture of the woodburning and the natural grain of the wood slice. Depending on the look you are going for, this can be a hit or a miss!

Generally, if you're aiming for a flat, highly detailed reproduction (for example, to use in print), scanning might be the better option. However, for a more dynamic and natural feel that captures the texture and shape of the wood slice, a high-quality photograph would likely be more effective.

My art is digitized. Now what?

1. Prints: Digitize the wood burned design and create high-quality prints to sell as posters, art prints, or greeting cards.

2. Stickers: Turn the design into stickers, which can be sold individually, in sets, or as part of themed collections. Here is a great example that Chelsea Glade of @oopschelseaarted (formerly pickleshopcuriosity) made.

3. Digital Downloads: Offer a digital download that customers can purchase and print at home.

4. Merchandise: Create merchandise such as T-shirts, mugs, phone cases, and tote bags through print-on-demand (POD) services. There are tons of options available, always get a sample before selling to ensure great quality.

5. Calendars: Incorporate the design(s) into a calendar, either as part of a collection of wood burned art or as a unique feature for a particular month.

6. Gift Wrap and Tags: Create gift wrap paper and gift tags featuring the wood burned design.

7. Journals and Notebooks: Print the design on the covers of journals, notebooks, and planners.

8. Home Decor: Produce items like cushions, blankets, or tapestries with the wood burned design printed on them. There are may POD services that can do this!

9. Books and Bookmarks: Use the design for custom books, book covers, bookmarks and more, either for personal use or to sell to others. Heidi Clinite of @ember_maypop wrote a children’s book called Sassy Susie Sasquatch Sets Sail and used her wood burned art for the cover, as well as throughout the entire book!

10. Art Prints: Enhance the design with digital art techniques and offer as limited edition art prints.

11. Custom Stationery: Create stationery sets including letterheads, envelopes, and notepads with the design.

12. Wall Decals: Turn the design(s) into removable wall decals.

13. Puzzles: Create custom jigsaw puzzles featuring the wood burned design.

14. Fabric Patterns: Use the design to create fabric patterns, which can then be sold to crafters and designers.

15. Digital Wallpapers: Offer the design(s) as a digital wallpaper for computers and mobile devices.

With the growing technology, the options to make extra revenue with your art are continuously growing. By embracing digital tools, you can scale your creative business while staying true to the craftsmanship that makes wood art so unique.

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.

Leveraging Technology in Your Pyrography Business: Canva

In the digital age, leveraging technology can significantly enhance your business, and specifically your pyrography business. Canva, an online design tool, offers a wide range of features that can help you create stunning designs, marketing materials, and more. This guide will explore how you can use Canva to boost your pyrography business.

Why I Love Using Canva

1. User-Friendly Interface

Canva’s intuitive interface makes it easy for anyone, regardless of design experience, to create professional-looking designs. There are many good online tutorials too, if you get stuck.

2. Versatile Design Tools

With a vast library of templates, fonts, images, and graphics, Canva provides all the tools you need to create a variety of designs, from logos to social media posts. The paid version has more stock images and features available, but the free version still lets you complete tasks and create beautiful content.

3. Accessibility

Canva is a web-based platform accessible from any device with an internet connection, allowing you to work on your designs anytime, anywhere. I have tried to use my phone AND my iPad to create on the go, however, it was not as easy to use as on a computer or laptop. In a pinch I was still able to get done what I needed, but I prefer using the computer.

4. Collaboration Features

Canva enables real-time collaboration, making it easier to work with team members or clients on design projects. This was a game changer for me!! Instead of downloading your design from the program, uploading to email or a folder in google drive, then emailing it to whomever I wanted to share it with, just to have them download it, all I do is share a link directly to the source. I can make the design editable too so if I am working on a design with someone, we can both change it together in real time. We can leave comments or each other too! This is one of my favorite features.

Getting Started with Canva

Create an account HERE and choose your level. As mentioned before, the free version really does everything you need it to do. It is a great way to get started with the program without paying while you are learning and exploring.

Designing for Pyrography

1. Creating Patterns and Templates

• Custom Dimensions: Start a new design with custom dimensions that match the size of your wood pieces!

• Templates: Use Canva’s pre-made templates as a starting point and customize them to suit your needs.

• Shapes and Lines: Utilize shapes and lines to create intricate patterns and designs.

• Import your own designs and photos: Easily add layers to your own content to create new and unique content.

2. Experimenting with Fonts and Text

• Canva offers a wide range of fonts. Experiment with different styles to find the perfect one for your designs.

• Use text effects like shadows and outlines to add depth to your designs.

3. Adding Visual Elements

• Graphics and Illustrations: Access Canva’s extensive library of graphics and illustrations to enhance your designs.

• Photos: Upload your own photos or choose from Canva’s stock images to incorporate into your designs.

Marketing Your Pyrography Business

1. Social Media Content

• Templates: Use Canva’s social media templates to create eye-catching posts for platforms like Instagram, Facebook, and Pinterest.

• Consistency: Maintain a consistent brand aesthetic across all your social media channels using Canva’s brand kit feature (available with Canva Pro). This is really cool because once you save your brand kit, it is easy to create content that is on brand with just one click!

2. Promotional Materials

This is what we use Canva for the most and is probably the most common use.

The image here of the book is not a real book on wood. It is a digital image, shadow added and put on a background of wood making the vibe completely different than a standalone book…

The bonus is that you can create content to be printable and digital! Below are a just a few ideas, but the world is really your oyster here. You can do so much more. We’ve even created published books using Canva!

• Flyers and Brochures: Design professional flyers and brochures to promote your pyrography workshops and products.

• Business Cards: Create customized business cards to hand out at events and craft fairs.

• Thank you cards: create content that is personalized for your clients!

3. Online Presence

• Website Graphics: Design banners, buttons, and other graphics for your website.

• Email Marketing: Create visually appealing email newsletters to keep your customers informed about new products and promotions.

Enhancing Your Customer Experience

1. Custom Orders

• Mockups: Use Canva to create digital mockups of custom orders for clients. This helps them visualize the final product. I like to insert the image onto the actual wood slice I will be burning on so they can almost see the finished product before I burn it.

• Approval Process: Share the mockups and designs with clients for approval before starting the actual burning process. This step really eliminates any miscommunication or mistakes.

2. Instructional Guides

• Create step-by-step guides and tutorials for your clients, helping them learn how to care for their wooden items in a neat and on brand way. Remember, these can be printed or sent via a digital document!

Canva is a powerful tool that can greatly enhance your pyrography business. Whether you’re designing patterns, marketing materials, or customer guides, Canva’s versatile features and user-friendly interface make it easy to create professional-quality designs.