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.

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?)

What is the difference between Wood Burning and Pyrography?

Wood burning and pyrography are two terms that are often used interchangeably, but there is a slight difference between the two.

We prefer the term 'pyrography' but recognize that 'wood burning' is more commonly understood so we use both terms interchangeably across all our communication platforms—ranging from our website to verbal interactions and written materials—to ensure clarity and accessibility for all our audience.

Wood burning is the general term used to describe the process of using a heated tool to burn designs onto wood.

It is a subset of pyrography.

Wood burning is often associated with the traditional use of a heated tool (like a wood burning pen) to create art on wooden items. It typically implies a handcrafted approach and may be perceived as more craft-oriented.

This term is often used to describe the process of burning simple designs onto wood, such as lettering or basic shapes. It involves less precise designs and basic patterns.

Pyrography, on the other hand, is a more specialized form of wood burning with more diverse techniques and designs.

It is considered a form of art, and it requires more skill and precision than simple wood burning.

Pyrography typically involves using a specialized tool with temperature control, various tips, and techniques such as shading to create intricate designs.

Pyrography artists may also use stencils or transfer/graphite paper to create a design on the wood surface before burning it as well as hot metal brushes, combs or other objects to create texture.

While both wood burning and pyrography involve burning designs onto a burnable surface using a heated tool,

pyrography is a more intricate and specialized form of wood burning

that involves creating detailed artwork and designs using a variety of techniques and specialized tools.

Wire Tip Vs. Solid Tip Burner

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

Each type has its own set of advantages and disadvantages.

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

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

Wire Tip/nib Burner:

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

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

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

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

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

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

Solid Tip/Nib Burner:

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

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

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

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

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

Application:

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

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

which one gets hotteR?

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

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

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

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

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

Interchangeable nibs on wire tip burners:

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

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

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

In summary

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

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

When starting out, due to the low price point, we recommend a solid tip/nib burner (the Versa Tool from Walnut Hollow is our favorite! Get 15% off your order using the coupon code: WBC15). It gives you a fair chance to know if you will enjoy burning while keeping the price of starting this hobby at a minimum.

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

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

Woodcare 101: Preserving Your Pyrography Art

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

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

Rules of thumb:

Keep Out of Moisture

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

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

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

• DO NOT place wood in dishwashers or let them soak in the kitchen sink

Keep Out Of Sunshine

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

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

Choose the Right Wood for your project

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

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

Sealing the Wood

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

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

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

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

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

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

• Wax or oil your products: the more you use your stuff, the more you will need to oil it. I recommend oiling once a month (or every other month) for products that are used daily. Use the colour and texture of the wood to judge when to oil; if it looks lighter and dry, it’s time. Oiling or waxing your wood will enhance the richness and prevent any cracking. Check out Finishing Your Wood Burned Art: How and Why to Finish Your Wood Burned Art for more on this topic.

Handling and Cleaning

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

Storage Tips

If you need to store your pyrography artwork:

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

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

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

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

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

Intro to Wood as a Pyrography Artist

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

The most common surface for pyrography is on wood!

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

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

Wood Basics

Hardwood verus Softwood

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

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

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

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

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

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

WOOD Slices

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

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

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

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

Wood Grain

and how it Affects pyrography

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

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

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

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

So what wood is the best to burn on?

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

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

1. Basswood

2. Cherry

3. Birch

4. Aspen

5. Walnut

6. Maple

7. Sourwood

8. Poplar

9. Cedar

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

Pyrography + Sustainability

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

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

One: Sourcing sustainable materials

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

Here’s what to look out for:

1. Sustainability Practices of the Supplier:

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

2. FSC Certification:

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

3. PEFC Certification:

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

4. Avoiding Illegal Logging:

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

Here are some alternative options for wood sourcing:

Reclaimed or Salvaged Wood:

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

Local Sourcing:

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

TWO: Promoting Environmental awareness through words and design

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

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

THREE: Promoting Environmental awareness through Events, auctions and donations

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

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

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

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

Four: Functional Sustainability

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

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

• Coasters

• Jewelry or trinket boxes

• Serving platters

• Wall hooks or hangers

• Coatracks

• Plant markers or garden stakes

• Phone or tablet stands

• Candle holders

• Picture frames

• Serving bowls

• Storage crates

• Bookmarks

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

Five: Keeping It Natural

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

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

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

What can you do to make your wood slice sustainable?

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

Finishing Options

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

Hanging Options

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

Alternative Stains

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

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

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

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

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

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

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

Natural Paints

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

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

Thank you and happy burning!

How to Make a Keyhole Hanger by Hand

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

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

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

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

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

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

Materials needed:

• Your wood slice

• Pencil and eraser

• Measuring tape

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

• Sandpaper

• Router and a Tipped Keyhole Bit

Wood comes in all different sizes, thicknesses and shapes.

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

How to make a keyhole hanger on a wood slice

Step 1: Determine the Placement of the Keyhole Hanger

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

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

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

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

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

First measure the largest point across your wood slice.

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

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

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

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

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

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

Make sure to measure for the size of your tool.

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

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

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

step 3: drill your hole

Now comes the fun part, drilling the hole.

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

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

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

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

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

Move slowly.

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

Step 4: Sand the Wood Slice

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

And voila! You made a keyhole hanger!

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