realistic Fabric Texture Pyrography Tutorial shading techniques in wood burning

realistic Fabric Texture Pyrography Tutorial shading techniques in wood burning


Hi. Welcome to Pyrography Made Easy. I’m Brenda In this tutorial episode I’m going to show you how to create the look of denim fabric This is the second installment of my mini project series. The purpose of the series is to focus on one or two skills and then use them in a project so you get a chance to use those skills in a meaningful way. The skills taught here are circular motion and uniform strokes. I consider these to be essential skills. I’ve used them in almost every piece of
pie ography artwork I’ve ever created. As always, there is a written tutorial and a
free pattern on my website to help you with this project. The written tutorial covers some basic items like wood prep and tracing in the pattern to get the project ready for burning. I’m not going those here. Instead we will start with the pattern already traced on on the board and ready for burning. The first thing we’re going to work on are the dark seams along the edges. Let’s get to work Keep the end of the pen tip so it’s on the lower piece of fabric. The top fabric has a folded edge that is stitched in place. The folded edge is thick enough to cast a slight shadow onto the lower fabric and that is what we are burning keeping your pen tip in this position is
what I call optimal position. It ensures you can only burn on the lower fabric, and not on the folded edge. With the seam lines burned in, the next thing we will work on is embossing the stitches. This means we will carve the stitches down
into the wood so that we can burn over the top of them without darkening. I’m going to show you two tools to accomplish this. and the first is the card embossing tool. The card embossing tool can be found in
craft stores and online. The other tool is to use the writer pen tip on super low heat. Creating the stitching is actually a little easier with the writer pen tip, but depending on the style of writer you have there could be danger of damaging the tip. I discussed this in greater detail in the written tutorial. One more thing before we get back to work. During the embossing process all of the pencil marks get shoved down into the bottom of the stitch To keep the stitches as light as possible remove most of the graphite by gently rubbing over the stitches with an eraser. Leave just enough with a pencil mark so you can see where you need to emboss. Let’s emboss the stitching. I started with the card embossing tool Take your time as you firmly press the tool into the wood and pull it towards you along the stitch mark to deeply score the wood. Try to leave a very small gap, about the
size of a small dot, between each stitch. I am now using a writer pen tip to do
the embossing. Make sure you have a very low heat setting when doing this. The heat will help the pen tip gouge into the wood and if the heat is low enough it won’t color the wood. For reference my burner goes up to ten and I had it set on 0.5 when doing this step. If you place a small lamp above and to the side of where you are working the light will illuminate the edge of the embossed stitching making it easier to see what you’ve done. Since I’m left-handed I placed the lamp in the upper right corner of my work table With the stitching embossed we are going to burn in the basic shape of the shadows on the fabric. Our ultimate goal with this step is to erase the pencil marks. The pencil marks are right on the transition zone where the shadows start forming, or end, depending on how you view it. Another concern is that graphite can smear, especially when rubbed over, and that would interfere with our Pyrography work. I use a circular motion when I burned in the basic shadow shapes. So let me show you what I mean by that. As you can see I am literally burning a continuous chain of small circles. Obviously this is a highly exaggerated example for demonstration purposes only. My next burn is what circular motion
really looks like. I’m still burning a continuous chain of small circles, but the circles are much smaller and closer together. This results in a solid looking band of color. My last example is a patch of circular motion I don’t lift the pen tip often while doing this. Even when I change burn directions. One common feature of circular motion is that the color isn’t uniform throughout the burn. There are often subtle irregularities within the area. To darken up a patch, all I have to do is burn over it using circular motion. Another feature of circular motion is how easy it is to extend the color. Just burning around the patch and this will soften the transition between the dark area and the surrounding area, And that circular motion. As I mentioned in the demo you can darken an area by re-burning over it but there’s another way I want to talk
about: hand speed it is really easy to get in the habit of
constantly adjusting the heat setting on your burner to control how dark your
burning. Instead use your hand speed to control the darkness. By reburning and altering your hand speed you will gain so much more control and flexibility in your artwork. when I am burning I very seldom change the heat setting on my burner. So let me show you what I’m talking about. This line is being burned in real time and I’m moving my hand pretty slow. This gives me a really nice dark burn. Whereas now my hand is moving much faster, so the color is a lot lighter. Okay we are ready to burn in the basic shadows. Keep the color within the tan to medium tan range. Remember we are just lightly coloring the shadows so we can erase the pencil marks. Speaking of pencil marks. try to stay within the pencil lines when you’re burning. Don’t worry about making the color uniform By keeping the shadows pretty light in color we’ll be able to darken them up to their proper levels after the pencil marks are out of the way the last thing to do after you’re all done with the shadows is to thoroughly go over all of the pencil marks with an eraser to remove them. Let’s get to work The pencil marks indicate where shadows
are located on the fabric so I use circular motion to lightly burn in the area between the pencil marks. Try to stay within the pencil marks. Keep the color of your burn in the tan to medium tan range. Don’t worry about making the color uniform as we will adjust the shadows later after the pencil marks are gone. Again, the ultimate purpose of this step is to erase the pencil marks So after the basic shapes of the shadows are burned in thoroughly rub over the pencil marks with an eraser to remove them. I burned the fabric in sections and with the first section I began by burning uniform strokes to give it a base color. My definition of the uniform stroke is this: a uniform stroke is created by
moving the pen tip at a set speed that allows the resulting burn to be the same color throughout the entire stroke. Our goal with the fabric is to create a base
color of medium tan using the uniform strokes. How hot your pen tip is determines how fast you have to move your hand to keep an even color tone. I have a video to show you about this but I first want to mention heat buildup. At the beginning of the video you will see me tap my pen tip on a scrap piece of wood. I did this to remove any heat buildup. When your unit is on and the pen
tip is just setting the heat builds up. This buildup can cause dark blotching on
the wood when you first start to burn, so a quick tap or two on scrap wood takes
care of the problem Let’s watch the video. Notice how I pull the pen tip towards me
in a slow and controlled manner. When I start a new stroke, I burn it adjacent to the previous stroke Each stroke should be touching or even slightly overlapping the other strokes. I prefer to use the side of my pen tip because it produces wider strokes and that means I get the area filled in more quickly. As I mentioned before I burned the
fabric in sections. The first section was the far-right one marked on the photo as section 4. right here I picked this section to start because it didn’t have a lot of shadows There is a seam running down the right
length of it and a few horizontal wrinkles. A piece of folded fabric marks the left border of this section and there’s a thin dark area along this border. Mostly this section is pretty flat so we’ll be using uniform strokes to give it a base color. Let’s get to work. Start out with uniform strokes to give the seam a base color. I rotated the wood so I could easily see
the edge of the seam and then I wouldn’t accidentally burn past the edge as you fill in the seam with base color darken up the wrinkles you encounter. Obviously, each individual uniform stroke does not need to extend for the entire length of the seam. I find it’s much easier for me to work in 1 inch or 2.54 cm increments. Rotate the wood and use the razor edge
of the pin tip to burn a thin line along the right edge of the first row of
stitching. Do the same with the second row of stitching. Use a writer pin tip to burn a tiny dot between each stitch. If there is room for more than one dot
between the stitches you can instead burn a dot at the end of each stitch. This means you will have two dots between the stitches. Or, you can just center one dot. I’ve done both methods and I think the single dot looks better. But I doubt anyone’s really going to notice how many dots there are. For the rest of the fabric in this section begin by darkening up the shadows. The top wrinkle has the darkest shadow, but all of the shadows need to be at least one to two shades darker than the base color of the fabric. Rotate the wood to keep the pin tip an optimal position when burning in the dark area along the fold. Also, use really small circular motion to extend the color a little. Next burn the fabric to give it the base
color using uniform strokes. I find that burning with the grain makes it easier to burn uniform strokes. The board I’m burning on has horizontal grain direction, so keeping the board in this position makes it easier for me to burn. As you are filling the fabric with the base color you might discover that some of the shadows need to be darkened up even more. Just reborn’ over them to fix the problem Extend the color or the shadow just a little along the seams using really small circular motion The next section we will work on is the
lower triangular area marked on the photo as section 5. right here This section has a little more going on. There are a couple shadows near the folded edge on the right plus there are lots of little shadows along the seam that marked the edge of this section. Lastly, there is a small part of a pocket
showing along the bottom. Let’s burn in this section. Start by darkening the top shadow near the folded edge Use circular motion to burn along the darkest area of this shadow and then blend the color out from there by burning lighter around it. And, of course, to get a area darker, simply re-burn over it and adjust your hand speed if needed. Notice how I frequently reborn’ small sections as I work. I often compare my artwork with the reference photo and then fine-tune areas that I notice aren’t matching yet Continue to work along the top of this
section burning in the shadows found there. Also slightly extend the color along the seam Now work on the lower shadow near the
folded edge. Pay attention to how I build up the color and give shape to the area. I want to point out that both of my hands are on the board, so I’m not adjusting the heat setting to alter the darkness level. Instead I re-burn and/or alter my hand speed. By doing this you can get a large range of color hues in your work similar to those in this video. Don’t forget the little pocket. Use uniform strokes to give it a base color and burn around the stitches just like
we did in the first section Now we’re going to work on the little
triangular area marked on the photo as section 3. right there this section has a seam running along the bottom of it and a large shadow fills most of this
section well. Let’s get to work. Again, start by burning the darker areas on the shadow Work your way around the shape of the shadow consulting the reference photo often. You may have noticed that I took a break from working on the large shadow area and then went back to working on it. I find this helps me view the area with fresh eyes, so I evaluate my work better when I return. When working near edges make sure to rotate the board to keep the pen tip in optimal position. Another benefit of rotating the board is that it forces your brain to readjust to
what the eyes are seeing. This can make it easier to determine what areas need to be darkened. oh and make sure to rotate the reference photo so it matches the board. This will make it easier to compare the two. Notice how I build up the color levels fairly slowly by reworking areas a lot. I take my time and I consult with the reference photo frequently. Even though this section is pretty, small there is a fair amount of stuff going on. Take your time with it. Check the reference photo frequently. Rotate your board to evaluate the art at
a different vantage point. Mostly just keep at it and you will get the section done. The next section of fabric we will work
on is the largest area marked on the photo as section 2. right through here it has a lot of shadowed ridges or wrinkles in it. and there’s a seam running along the lower portion of this section. Let’s get to work. start with the large shadow on the lower right ridge. When you burn remember to consult the reference photo and ask yourself questions Are the shadows dark enough? Is the shape correct? Are the light area staying light? Are transition smooth? These are the type of questions that run through my brain as I’m burning. and I compare my artwork with the reference photo. Continue to build up the shadows along the right ridge. Notice how I work and re-work areas as i adjust the color levels. This method of slowly building up the color gives a lot of tonal depth because of the subtle layers of color Plus, it is much easier to darken a burn than it is to lighten it, especially on wood. I know I already stated this, but ever so often rotate the board and the reference material Doing this really does help you reevaluate
your work as the image isn’t as familiar now. This process can make it much easier
to compare your work with the reference material and see what still needs to be done. I started out trying to replicate the
photo seam wrinkles, but that was very tedious given their size and quantity. I quickly realized that all I had to do was burn a lot of wrinkles, and that would give my fabric a realistic look Our very last section is the top of the
fabric which is section 1 on the photo, right along there This one has a little pucker ridge near the center. A tiny pocket or something is above that ridge and there’s a seam that runs along the entire lower section. Let’s get this artwork finished up. The last section isn’t much different than the others. Wrinkles get burned in between the stitches. The stitches get lines burned on either side of them. The shadows get darkened up using circular motion. The fabric is burned to the base tone with uniform strokes. The pen tip is kept an optimal position when burning along edges. Use varied hand speed and re-burning to control the darkness levels and consult the reference photo often The very last thing to do is to burn the
tiny dots between the stitches. I had skip the step on a few of the other sections, so I made sure to take care of those sections now. We are all done. As I said in the beginning, I considered uniform strokes and circular motion to be essential burning skills. The next time you’re watching a pyrography video ignore the art and concentrate on the hand movement of the artist. At some point you will most likely see one, if not both, of these burn types being used. Now let me clarify, that I am talking about videos where the artist is creating something more than a simple line drawing or a silhouette. In the remarks below I have provided a link to the written tutorial on my website: Pyrography Made Easy. the written tutorial has the pattern and the reference photo that I used for this artwork. Now to answer a couple questions I get asked a lot. I use a Colwood Super Pro II. The artwork was burned on a piece of die-cut birch plywood and it took me 5 and 1/2 half hours to complete it. Thank you for watching and please subscribe

6 Replies to “realistic Fabric Texture Pyrography Tutorial shading techniques in wood burning”

  1. Nice video Brenda! 😁 I will say, I have no names for different strokes… LMBO 😆 I use circular for a lot of gradients & blending. Did you draw on your lines with a pencil or transfer with graphite? I ask because you mentioned smearing. I have found that with a "H" or harder pencil, I don't get smearing. The softer or "B" the lead the more possibility of smearing. Have you caught your paint brushes yet? I know they can be a little squirrelly… lol 😂

  2. Please dont sweat the videos. I love them. They are calming and to the point. I do have a question. Do you always work on an easel? I have a bad shoulder that really hurts when i use a slightly tilled board under my work. Would it help to get an easel so am not putting pressure straight down on it?

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