KERAMC STUDIO 
217 
ART OF PYROGRAPHY OR BURNT WOOD ETCHING 
O. A . I r an der Leeden 
SECOND TAPER 
HE outfit being complete, the first step is to 
prepare the implements for use. Take the 
small square bottle, filling it from one-half 
to two-thirds full of benzine. Insert the 
metal stopper in the neck of this bottle, 
attaching the loose length of tubing at one side, and the tubing 
with the bellows at the other. Now securely fasten the point 
to the metal handle, attaching this to the other end of the 
loose tubing. A small amount of alcohol is necessary for the 
lamp, also a piece of wood for practice work. 
Lighting the lamp, hold the point in the flame for a few 
moments, letting the heat extend well up into the point, then 
slowly commence to press the bulb. A perfectly new point 
should be held longer in the flame before commencing to 
press. At first it will seem awkward to use both hands at 
once, but this will soon be overcome, and you will find that 
your left hand almost unconsciously presses the bulb, accord- 
ing to the heat desired. 
First practice making straight lines, holding the point 
with a free, swinging motion, removing it from the wood while 
in motion. Avoid stopping at any particular part of it, as the 
least hesitancy will produce a dot. Practice these lines until 
you can make them with ease and confidence. Next practice 
curved lines, holding the point loosely and turning the handle 
in the fingers, at the same time keeping a steady .heat in the 
point. Resting the hand firmly upon the wood, move the 
point with the direction of the curve, doing this slowly and 
evenly, as the least jerk makes an irregular, jagged line, or 
may cause the point to skip the grain of the wood (see illus- 
tration). To become thoroughly familiar with the uses of the 
point, the pupil must prac \ \ -\. >. J\ y\ 
tice these lines with great \ \ \ J / y" J 
care. When selecting the 
wood, care should be taken 
to see that it is well sea- 
soned and as free as possi- 
ble from all knots and 
blemishes. Oak, ash and 
elm will be found useful 
for large pieces. Holly, 
sycamore and lime may ^*- ^ 
be used for delicate work, but on account of its pure white 
color and soft texture, which does not injure the point, I prefer 
the basswood, and use it almost entirely for burning purposes. 
After overcoming the mechanical difficulties of the art, 
we now turn our attention to a simple design. This design 
given is for a small round frame (see illustration). 
First carefully outline the design, making the lines of 
medium thickness. Having the outlines in, next put in a 
very light fine background. To obtain this background, hold 
the point in an almost straight direction, making the strokes 
converge towards the center. Make the strokes short and 
fine, and closely together, letting no white spaces appear. 
Try to put the pressure of the point in the middle of the 
stroke, blending the stroke together, so that an even and reg- 
ular background is produced. 
Finish the outer edge of the frame by making dots. Hold 
the point flat, burning the dot-- in deeply, making them even 
and slightly slanting; 
In the inner part of the design make a darker, dotted 
background. To make this background, hold the point 
straight and slightly to the side, inserting the point deeply 
into the wood, making each dot perfectly round and close 
together. Follow the direction of the inner edge of the frame, 
making the second row fit into the first, so that no white 
space shows, and so that the round shape of the dot is pre- 
served. Finish the inner edge of the frame by making small 
