2^6 
KERAMIC STUDIO 
ART OF PYROGRAPHY OR BURNT WOOD ETCHING 
O. A. Vau dcr Leeden 
THIRD PAPER 
T IS absolutely necessary for the pupil to thor- 
oughly understand the lines, so he will have no 
difficulty in making them in any direction, with- 
out moving the wood. The point should always 
be kept as hot as possible, the best results being 
then obtained. 
In illustration No. I, Fig. A, a few lines are shown which 
the beginner should practice carefully. The curved lines 
shown are produced by holding the point in a slightly slant- 
ing position, turning the handle in the fingers, starting quickly 
and lightly, with a swinging motion, and ending lightly, put- 
ting the pressure in the middle of the line. These lines, 
which should be made an inch long are similar to the curved 
lines described in the February issue of the KERAMIC Studio, 
and which are shown in Fig. D of this issue. 
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Another line is obtained by holding the point in a medium 
straight position, putting the pressure upon the wood at the 
beginning of the stroke, and ending lightly, as shown in Fig. 
E. Practice these until you can do them perfectly, then 
practice the opposite stroke, by holding the point in the same 
position, starting lightly and putting the pressure at the end 
of the stroke ( Fig. C). Any extra care taken by the pupil at 
the beginning of his " pyro career" will more than repay him 
later. 
Next practice making half-circles, holding the point 
straight, and then turning the handle loosely in the fingers 
Practice these half-circles to the left, and right, as shown in 
illustration No. 2. Having become familiar with these half- 
curves, next practice circles. Turn the handle continuously 
in the fingers, and keep the line of the same thickness 
throughout. In making these curves, be careful that the hot 
air opening, on the upper surface of the point, is not down- 
ward, thus scorching the wood, as shown in illustration No. 3. 
When practicing these curves, always move the hand in the 
direction of the curve, never holding the point so that it comes 
under the hand, as in so doing the heat is thrown into the 
hand. In making a circle, burn as much as possible of it, 
>0O0C 
*JW 
before taking the point'off the surface of the wood. When 
you can make these circles with ease and regularity, outline 
some simple scroll or leaf, as shown in illustration No. 2. 
making the outlines clear and sharp and of medium thickness, 
Having the figure outlined, put in one of the backgrounds. 
In illustration No. 4, a simple design for a border is 
given. The design should be first outlined carefully. Then 
a light brown background, slightly curving instead of straight, 
should be put in. 
#f 
Around the outer 
edge put a narrow 
darker background. 
To^make this back- 
ground, hold the 
point in a medium 
slanting position, 
making four to five 
short strokes in one 
directions, and four 
in the opposite di- 
rection, following the 
outer edge of the 
border. To finish 
the inner edge of 
border, make a dark background, obtained by holding the 
point flat. When carefully burnt, and the light and dark 
tones preserved, this border is very effective. 
By combining different backgrounds, beautiful effects 
may be produced. The rich contrasting effects between the 
very light, fine backgrounds and the coarser, heavy ones well 
repays the student for the care expended. In the accom- 
panying illustration No. 7, a very effective background suita- 
