Thanks so much for your detailed reply, and yes it did make a lot of sense. Since I do pyrography more on gourds than wood blanks, these textures were a real treat for my eyes and gave me new ideas for enhancing my gourd art. Although you get the credit for my love of pyrography, I also take classes at some gourd shows from other artists and teachers to get their perspective, and just because I love this method of designing!
I'm very interested in the idea of a collection of tutorials, but I use iMac computers .... they don['t have optical Drives. Would it be possible to have a membership website were the tutorials can be accessed, or a cloud? It's a shame to miss out because of a lack of optical drive. Cheers .... I love your work, and great to hear info from a fellow Aussie. :-)
These are wonderful Sue! I wonder how you handle burning these textures on an object that is curved, with uneven areas of roundness, such as a gourd? Referring more to the Tread and Burst techniques :)
Good question....and glad you like them:) Certainly this isn't much of an issue with burst, because it radiates outwards and you would just need more strokes to fill the voids as the girth gets fatter. Flicker is much the same....more flicks to fill larger areas. But tread is linear. There would be problems If you kept all the strokes the same length and started your lines in the one place and spaced them the same same. When the sections meet you will have a noticeable seam and also a crooked pattern. What I would suggest is to draw evenly spaced lines from the north pole to the south pole of your project....just like longitudinal lines on a map of earth. Draw as many as you need to keep on track. I'd draw a line from one pole to the other; East, then West. Then a line North, South. Then a line dead in between those lines, like orange segments. Keep drawing a line dead in the middle of already drawn lines and you will have evenly spaced longitudinal lines. Obviously you will have lines that are further spaced on the 'fat' part of the gourd compared to the poles. To evenly fill in these variable spaces you will have to do one of 2 things. 1) Burn shorted tread impressions at the poles and gradually lengthen them as you approach the 'equator'. 2) Burn each impression evenly in length along the lines. When the tread impressions meet at the poles there will sill be a widening unburnt section where the pencil lines are further apart. Next, burn a even tread pattern next to the previous tread lines but you will be starting the strokes higher up on the gourd, where the unburnt area is. As you keep doing this each subsequent pair of lines will start higher up the gourd because the narrower ground will be filled with texture and the fat part will remain unburnt. As the seam comes together there will be less and less area to fill....as you approach the equator. The gap will decrease as each set of lines is burnt until there is just a little gap to fill, at the widest part of the gourd. Fill this tiny section with a stroke that fits...even if it's dots. Good god....that was long winded. I hope it made sense? Copyright Sue Walters 2017
Hi Victor. Definitely fixed tip. That's not to say you can't get away with doing textures with interchangeable tips but fixed tip pens are more robust and the heat conduction better. the burst can be done with any tip that impresses an oval shape....in this case it was a basic bent wire writing tip.
The 3D work is on birch, I think. (It's a generic wood that can be found in lots of craft shops.) The flat work is on birch also. Lots of varieties of blond wood can be used for 'flicker' but keep in mind that any textures that fully cover the surface can be burnt on any coloured wood. In that case the contrast between timber colour and burnt stroke is irrelevant. Timber that is heavily grained may cause issues with some patterns. The pattern impression might burn uneven in that case. Heavy woods might also be hard going when burning deep impressions. If you are using a wire tip try and let the burning do most of the work so as not to put undue strain on the tip.
Thank yiou kind TH-cam creator, us blessed students are loving it ❤✔
Thanks so much for your detailed reply, and yes it did make a lot of sense. Since I do pyrography more on gourds than wood blanks, these textures were a real treat for my eyes and gave me new ideas for enhancing my gourd art. Although you get the credit for my love of pyrography, I also take classes at some gourd shows from other artists and teachers to get their perspective, and just because I love this method of designing!
Hello Sue I just subscribed
So excited I found your channel. Outstanding videos. Thanks for the time and effort. Greetings from Huntington Beach
I'm very interested in the idea of a collection of tutorials, but I use iMac computers .... they don['t have optical Drives. Would it be possible to have a membership website were the tutorials can be accessed, or a cloud? It's a shame to miss out because of a lack of optical drive. Cheers .... I love your work, and great to hear info from a fellow Aussie. :-)
These are wonderful Sue! I wonder how you handle burning these textures on an object that is curved, with uneven areas of roundness, such as a gourd? Referring more to the Tread and Burst techniques :)
Good question....and glad you like them:)
Certainly this isn't much of an issue with burst, because it radiates outwards and you would just need more strokes to fill the voids as the girth gets fatter. Flicker is much the same....more flicks to fill larger areas.
But tread is linear. There would be problems If you kept all the strokes the same length and started your lines in the one place and spaced them the same same. When the sections meet you will have a noticeable seam and also a crooked pattern.
What I would suggest is to draw evenly spaced lines from the north pole to the south pole of your project....just like longitudinal lines on a map of earth. Draw as many as you need to keep on track. I'd draw a line from one pole to the other; East, then West. Then a line North, South. Then a line dead in between those lines, like orange segments. Keep drawing a line dead in the middle of already drawn lines and you will have evenly spaced longitudinal lines.
Obviously you will have lines that are further spaced on the 'fat' part of the gourd compared to the poles. To evenly fill in these variable spaces you will have to do one of 2 things.
1) Burn shorted tread impressions at the poles and gradually lengthen them as you approach the 'equator'.
2) Burn each impression evenly in length along the lines. When the tread impressions meet at the poles there will sill be a widening unburnt section where the pencil lines are further apart. Next, burn a even tread pattern next to the previous tread lines but you will be starting the strokes higher up on the gourd, where the unburnt area is. As you keep doing this each subsequent pair of lines will start higher up the gourd because the narrower ground will be filled with texture and the fat part will remain unburnt. As the seam comes together there will be less and less area to fill....as you approach the equator. The gap will decrease as each set of lines is burnt until there is just a little gap to fill, at the widest part of the gourd. Fill this tiny section with a stroke that fits...even if it's dots.
Good god....that was long winded. I hope it made sense?
Copyright Sue Walters 2017
Burning with sharon
That burst pattern makes me dizzy. 😂😁😋
I'm trying to hypnotise you;)
Sue, what pen are you using for the Burst pattern. The tip looks fixed?
Hi Victor. Definitely fixed tip. That's not to say you can't get away with doing textures with interchangeable tips but fixed tip pens are more robust and the heat conduction better. the burst can be done with any tip that impresses an oval shape....in this case it was a basic bent wire writing tip.
Thank you.
What materials are you burning on please - thanks
The 3D work is on birch, I think. (It's a generic wood that can be found in lots of craft shops.) The flat work is on birch also. Lots of varieties of blond wood can be used for 'flicker' but keep in mind that any textures that fully cover the surface can be burnt on any coloured wood. In that case the contrast between timber colour and burnt stroke is irrelevant.
Timber that is heavily grained may cause issues with some patterns. The pattern impression might burn uneven in that case.
Heavy woods might also be hard going when burning deep impressions. If you are using a wire tip try and let the burning do most of the work so as not to put undue strain on the tip.