I know many of you like what I--and other artists--do, but don't quite know how to support us. Maybe you love the art, but haven't found that just right piece to purchase yet. Maybe you love the art, but have no use for it personally, and so (reasonably) haven't purchased anything. Maybe you just don't have the money to spend on an artist's work--I think many of us have been there! But, you still love the art, and you still do want some way to support it.
Let me introduce you to Patreon.
Patreon is a website that allows people to become patrons of their favorite artists. It also allows artists to connect with their fans by creating campaigns explaining their work, their goals, and what they are trying to achieve. Artists can set whatever goals they like, and patrons can donate any amount they like; artists are supported, and patrons get special perks and gifts for supporting something they like anyway. It's a great win-win situation!
Since quitting my job to care for my son and pursue art full-time-- a decision you can read about in full here--I've been struggling to meet all my goals. I can usually meet my business bills, and I can usually put food on the table, but that's about as far as it's gotten. Do I think it can get better? Yes. Do I have the patience to persevere? Yes.
But I'm not ashamed to ask for help, either.
I've got some lofty goals I want to meet with this business. First, I want to make enough to put food on the table and pay some basic bills, which I'm pretty much doing. But I could do better with some equipment upgrades and supplies, and without support it's going to take quite a long while to get those. Still, that's my Selfish Reason, and it's low on my priority ladder.
More importantly for me, I want to spread the knowledge of pyrography as much as I can. I want to educate people about this (obscure) artistic medium, spread some knowledge about it's history and modern applications, and help people to get into the hobby themselves.
Doing this means I have to accomplish a few specific things, including:
--Getting out to Festivals, Cons, and other events.
--Getting vendor insurance, so events and festivals are more likely to allow me to demonstrate on-site.
--Getting equipment to record proper, high-quality tutorials and training videos.
And, ultimately:
--Eventually, getting funds to rent space for hands-on pyrography workshops.
That's where you and Patreon come in. I've set up my own Patreon account, explaining my goals (which will change from month to month, depending on need) and giving perks for each level of contribution. These perks include 20% off of ANY order at ANY time in my Etsy shop, for the length of your patronage.
(NOTE: payments are automatically reoccurring, so if you only want to make a one-time contribution, please be sure to set a calendar reminder to cancel your contributions at the end of the month!)
I hope you'll consider giving the site a visit, and perhaps becoming a patron yourself. There are a lot of worthwhile artists on that site, so please brows around while you're there!
And, as always, thank you so very much for your support.
Thursday, May 1, 2014
Monday, April 14, 2014
Want to do Pyrography? Yippee!!!!
What do you NEED to do pyrography?
I get asked pretty often what tools I use to create my work. Here’s a list:
7) A Pyrography Pen.
If you’re starting off, get a cheap pyro pen at your craft store. For years, I used Walnut Hollow’s. It’s inexpensive and serviceable. Invest in the interchangeable tips, too, as different tips are useful for different techniques. Also, keep a set of pliers on hand to change the tips while they’re still too hot to touch; these pens take a ridiculously long time to heat up and cool down.
Walnut Hollow Pen
Walnut Hollow Tips
They also get uncomfortable to hold after a while, so you may have to get creative with insulating the handle. (I used to use tissues and duct tape, but for obvious reasons, I don’t recommend you do the same.)
If you know you like pyrography, and you’re interested in investing in better tools, then it’s time to get an adjustable-temperature pen. There are two main types: fixed tip and wire tip. Fixed tips have interchangeable pen attachments with different shaped tips. Wire-tips have, well, a wire tip, that you can bend, shape, and grind down to suit your needs. I prefer the fixed-tip kind, but they both have advantages.
I recommend getting an Optima 1, which is what I currently use. The adjustable temperature settings are extremely useful, and it’s one of your least expensive choices, as well.
Optima 1 Resources
If really want to invest in an excellent pen, I hear nothing but wonderful things about the Razortip. Be warned, though, it’s obscenely expensive. I haven’t been able to afford one, yet, but I hope to someday.
Razertip Website
REMEMBER: WORK IN A WELL VENTILATED AREA.
I hope this is helpful!
- Wood - unfinished. Never use anything you suspect has been finished or treated in any way!
- Sandpaper - I use 150 grit, then 220 grit, but you can certainly go higher.
- No. 2 Pencils - better than graphite paper or other transfer techniques; it’s non-toxic, erases/sands off easily, and it’s cheap!
- A white eraser - the pink ones can leave pink smudges on your wood.
- Exacto-knife - even the best of us make mistakes, and an exacto works as a useful “eraser.”
-
Something to clean your pen with - Ideally this should be a soft
brass brush, or a polishing material (aluminum oxide) and leather strop
to clean. You can also use your exacto-knife for this. I use a whetting
stone, which is WRONG AND BAD AND DON’T DO IT, but whatever, I’m a rule
breaker.
And finally:
7) A Pyrography Pen.
If you’re starting off, get a cheap pyro pen at your craft store. For years, I used Walnut Hollow’s. It’s inexpensive and serviceable. Invest in the interchangeable tips, too, as different tips are useful for different techniques. Also, keep a set of pliers on hand to change the tips while they’re still too hot to touch; these pens take a ridiculously long time to heat up and cool down.
Walnut Hollow Pen
Walnut Hollow Tips
They also get uncomfortable to hold after a while, so you may have to get creative with insulating the handle. (I used to use tissues and duct tape, but for obvious reasons, I don’t recommend you do the same.)
If you know you like pyrography, and you’re interested in investing in better tools, then it’s time to get an adjustable-temperature pen. There are two main types: fixed tip and wire tip. Fixed tips have interchangeable pen attachments with different shaped tips. Wire-tips have, well, a wire tip, that you can bend, shape, and grind down to suit your needs. I prefer the fixed-tip kind, but they both have advantages.
I recommend getting an Optima 1, which is what I currently use. The adjustable temperature settings are extremely useful, and it’s one of your least expensive choices, as well.
Optima 1 Resources
If really want to invest in an excellent pen, I hear nothing but wonderful things about the Razortip. Be warned, though, it’s obscenely expensive. I haven’t been able to afford one, yet, but I hope to someday.
Razertip Website
REMEMBER: WORK IN A WELL VENTILATED AREA.
I hope this is helpful!
Wednesday, March 5, 2014
A Word on Copycatting
Hey all! This is really important, so please read!
I truly enjoy creating tutorials for you guys. I want to see more people involved with pyrography, and I like helping people get better at this unique art form.
But I would ask you--I would beg you--to use my tutorials as examples and inspiration only.
Please do not directly copy my designs.
I've seen quite a few people use my tutorials to make their own art, and that's wonderful! What isn't wonderful is when that art is clearly attempting to exactly copy my own.
It really does not take much to change the design, and make it uniquely yours.
I would deeply appreciate it if you would make a unique design of your own, rather than attempting to directly copy one of mine.
Thank you so much for your consideration!
I truly enjoy creating tutorials for you guys. I want to see more people involved with pyrography, and I like helping people get better at this unique art form.
But I would ask you--I would beg you--to use my tutorials as examples and inspiration only.
Please do not directly copy my designs.
I've seen quite a few people use my tutorials to make their own art, and that's wonderful! What isn't wonderful is when that art is clearly attempting to exactly copy my own.
It really does not take much to change the design, and make it uniquely yours.
I would deeply appreciate it if you would make a unique design of your own, rather than attempting to directly copy one of mine.
Thank you so much for your consideration!
Tutorial : Pentacles Part 2 - Make It Fancy
First, please read this disclaimer. Thanks!
Now that you've created your pentacle shape, you have to decide whether you want your pentacle to be simple and clean, or all fancy.
Let's assume you want to make a fancy pentacle. Here's how I, personally, find it easiest to create the design.
First, decide what sort of design you want. For the example, I'm going with the theme of "abundance." I've chosen to decorate the pentacle with crop plants, specifically beets, wheat, and grape vines. Since this design is for a client, and I have to get the client's approval before I start working on the wood, I'll be creating the design on paper first. You can work on paper or directly on the wood. If you choose to work directly on the wood, however, you must use a very light touch with the pencil. Frankly, I would suggest working on paper first.
Start by transferring the dimensions of the wood piece onto the paper.You can do this with a compass and a ruler, or you can use tracing paper to trace the pentacle you've already drawn on the wood.
Now that you've created your pentacle shape, you have to decide whether you want your pentacle to be simple and clean, or all fancy.
Let's assume you want to make a fancy pentacle. Here's how I, personally, find it easiest to create the design.
First, decide what sort of design you want. For the example, I'm going with the theme of "abundance." I've chosen to decorate the pentacle with crop plants, specifically beets, wheat, and grape vines. Since this design is for a client, and I have to get the client's approval before I start working on the wood, I'll be creating the design on paper first. You can work on paper or directly on the wood. If you choose to work directly on the wood, however, you must use a very light touch with the pencil. Frankly, I would suggest working on paper first.
Start by transferring the dimensions of the wood piece onto the paper.You can do this with a compass and a ruler, or you can use tracing paper to trace the pentacle you've already drawn on the wood.
Tuesday, March 4, 2014
Vendor POV: Wicked Faire IX: Through The Hedge
This year, I didn't attend Wicked Faire as a congoer. I attended as a vendor. VENDOOOOOOOOOOR. Yes! Let me tell you, vending is definitely a different experience from being a guest. If you're thinking about vending at a big con or festival like Wicked, this post might help you out.
First: What is Wicked Faire? And why was I so excited to vend there?
From the webpage: “The Wicked Winter Renaissance Faire is a miniature explosion of entertainment and activity, wrapped up in a fresh-baked Renaissance Faire exterior, filled to the brim with big tasty chunks of well-seasoned festival, spiced with a bit of convention, then dipped in a sauce of unconvention, and served at a terribly low price during one fantastic frenetic weekend every year. Only not so much with the “miniature” part. There are so many madly diverse fun things going on at any one time that, in general, if you come looking to find a good time, you are damn likely to find one.”
That's a pretty good description. The event takes place in the Doubletree hotel in Somerset, NJ. Every conference room in the hotel has vendors, or panels, or workshops, or some type of performance (musicians, magicians, burlesque, dancers, and more). They're all filled, all day, every day of the con. Frankly, there's almost too much to do. And even if you don't want to do anything, the people watching is pretty great. A lot of people come in costume, and since this isn't an anime or fandom convention, the costumes run the gamut of genres and genre-bending creativity.
It's also 16+, and while it isn't as risque as it used to be (the creators of Wicked have started some new cons specifically for the kinky and risque) it's still NOT a kid's faire. The entertainment, panels, and costuming is definitely adult-oriented.
I've attended six out of the nine Wicked Faires. Wicked was also my very first ever vending gig. So it has a pretty special place in my heart. Being accepted to vend again was a huge deal for me.
First: What is Wicked Faire? And why was I so excited to vend there?
From the webpage: “The Wicked Winter Renaissance Faire is a miniature explosion of entertainment and activity, wrapped up in a fresh-baked Renaissance Faire exterior, filled to the brim with big tasty chunks of well-seasoned festival, spiced with a bit of convention, then dipped in a sauce of unconvention, and served at a terribly low price during one fantastic frenetic weekend every year. Only not so much with the “miniature” part. There are so many madly diverse fun things going on at any one time that, in general, if you come looking to find a good time, you are damn likely to find one.”
That's a pretty good description. The event takes place in the Doubletree hotel in Somerset, NJ. Every conference room in the hotel has vendors, or panels, or workshops, or some type of performance (musicians, magicians, burlesque, dancers, and more). They're all filled, all day, every day of the con. Frankly, there's almost too much to do. And even if you don't want to do anything, the people watching is pretty great. A lot of people come in costume, and since this isn't an anime or fandom convention, the costumes run the gamut of genres and genre-bending creativity.
It's also 16+, and while it isn't as risque as it used to be (the creators of Wicked have started some new cons specifically for the kinky and risque) it's still NOT a kid's faire. The entertainment, panels, and costuming is definitely adult-oriented.
I've attended six out of the nine Wicked Faires. Wicked was also my very first ever vending gig. So it has a pretty special place in my heart. Being accepted to vend again was a huge deal for me.
 |
| My First Booth: Wicked Faire 2005 |
 |
| Wicked Faire 2014 |
Monday, March 3, 2014
Pagan.
For anyone who might have been wondering why I make so many Goddess figures, Green Men, and Pentacles... yes, I'm actually Pagan.
 |
| As a matter of fact, sometimes I DO dress as a witch for Halloween! |
Sunday, February 16, 2014
Tutorial: Pentacles Part 1 - Shaping the Pentacle
First, please read this disclaimer. Thanks!
This is Part 1 of 3 on Making a Pentacle. The only things we'll cover here is preparing the wood and drafting the pentacle shape.
Part 2 will be about adding embellishments, and Part 3 will be about burning the design.
This is Part 1 of 3 on Making a Pentacle. The only things we'll cover here is preparing the wood and drafting the pentacle shape.
Part 2 will be about adding embellishments, and Part 3 will be about burning the design.
1. Collect your Materials
You will need the following:
- A wooden disc
-Sandpaper (150 grit and 220 grit, or higher.)
-No. 2 Pencil
-Eraser, white
-Tracing Paper
-Compass
-Protractor
- 12" ruler
I draft each and every pentacle from scratch. I could make a
- A wooden disc
-Sandpaper (150 grit and 220 grit, or higher.)
-No. 2 Pencil
-Eraser, white
-Tracing Paper
-Compass
-Protractor
- 12" ruler
I draft each and every pentacle from scratch. I could make a
October 2013, and I Quit My Job.
Goggles Make Life Better.
I quit my job.
In the beginning of September, 2013, I had something of a revelation. I was 34 years old. I was at a job I liked, but didn't love. It wasn't making me all that much money; really, enough to pay for gas, tolls, childcare, and a little left over for food. I certainly couldn't support myself on it, let alone support the family if my husband lost his job. There was really not much of a possibility of a significant raise. The only way to "move up" would be to take my supervisor's job, and, frankly, no. I've been a supervisor twice before. It's not a position I relish having again.
In the beginning of September, 2013, I had something of a revelation. I was 34 years old. I was at a job I liked, but didn't love. It wasn't making me all that much money; really, enough to pay for gas, tolls, childcare, and a little left over for food. I certainly couldn't support myself on it, let alone support the family if my husband lost his job. There was really not much of a possibility of a significant raise. The only way to "move up" would be to take my supervisor's job, and, frankly, no. I've been a supervisor twice before. It's not a position I relish having again.
Moving careers--again--meant starting from the ground up. Again. I'd already done that several times.
In college, I held down a steady job in the university IT department, with temping as a lucrative side-gig. After college, temping was just about all I could find. It wasn't until I moved in with my husband (then fiance) that I struck on a career of sorts.
Unfortunately, we lost our apartment in New Jersey and had to make an emergency move to Pennsylvania. Career change.
I got pregnant, and the pregnancy was very rough; sustaining the job I'd landed became far too difficult, so I went back to temping: career change.
I've learned over the years that temping is definitely a sort of career. It takes a level of expertise that is not only rare, but extremely marketable. But the pay isn't as steady I would have liked, especially once the baby came.
After my son was born, my salary couldn't support my share of the living expenses and childcare. So, to take advantage of employee discounts, I entered the childcare field myself: yes, career change.
It was a great job, and good for a while. But it payed even worse than my previous jobs, and after my son got to a certain age (and the financial benefits of working where he went to school got progressively smaller) it was time to change again.
I got a job on the Port of Baltimore, doing customer support and data-pushing, and it was a field I excelled in, if I do say so myself. But, like I said above, it wasn't really going anywhere. And I still couldn't support the family, if the need arose.
In college, I held down a steady job in the university IT department, with temping as a lucrative side-gig. After college, temping was just about all I could find. It wasn't until I moved in with my husband (then fiance) that I struck on a career of sorts.
Unfortunately, we lost our apartment in New Jersey and had to make an emergency move to Pennsylvania. Career change.
I got pregnant, and the pregnancy was very rough; sustaining the job I'd landed became far too difficult, so I went back to temping: career change.
I've learned over the years that temping is definitely a sort of career. It takes a level of expertise that is not only rare, but extremely marketable. But the pay isn't as steady I would have liked, especially once the baby came.
After my son was born, my salary couldn't support my share of the living expenses and childcare. So, to take advantage of employee discounts, I entered the childcare field myself: yes, career change.
It was a great job, and good for a while. But it payed even worse than my previous jobs, and after my son got to a certain age (and the financial benefits of working where he went to school got progressively smaller) it was time to change again.
I got a job on the Port of Baltimore, doing customer support and data-pushing, and it was a field I excelled in, if I do say so myself. But, like I said above, it wasn't really going anywhere. And I still couldn't support the family, if the need arose.
And the apartment was constantly a mess... I CAN'T LIVE LIKE THAT.
Now look
carefully over that history for a moment. I was 34, well-educated, with
several accomplishments under my belt and with highly marketable
skills, true, but...
I'd had a string of jobs. None of them had paid a sustainable wage. I had a child to care for (and yes, when you're a woman, that absolutely matters; in my extensive and diverse experience, employers almost always assume that motherhood is going to adversely affect your job dedication. In my case, they're right; if an employer isn't going to pay me what my husband is making, it's only logical that the "taking a day off for a sick kid/doctor's appointment" falls on me.) While my competency and skill sets were, frankly, enviable, my resume looked frightening.
And if I wasn't going to be able to command a high wage--which, with my job history, wasn't going to happen--I could not guarantee my employer full dedication. Without a paycheck to justify staying in the office, my family was going to have to come first. I would have to be the designated "parent on call."
Add to this: my son was having problems at school. Serious problems. Behavior problems, primarily, but they were starting to affect his learning. He wasn't able to follow the rules, or control himself in class. He wasn't making friends, and he wasn't making progress. Me spending all my time at the office was not what he needed. He needed help. He needed his parents.
(We later found out that he--legitimately-- had severe ADHD and was "somewhere on the Autism spectrum," but you know what it took to learn that? Conferences, meetings, doctor's appointments, psychologist appointments, therapy, and testing... in short, "time off work." And lots of it.)
So, really, where was I? Stuck in a job that wasn't going to advance and still didn't pay the bills, unable to commit fully to any career because of being "parent on call," unable to afford to take the time off when my son needed me, and, honestly, unqualified to find a better position. This, too, was unsustainable.
I'd had a string of jobs. None of them had paid a sustainable wage. I had a child to care for (and yes, when you're a woman, that absolutely matters; in my extensive and diverse experience, employers almost always assume that motherhood is going to adversely affect your job dedication. In my case, they're right; if an employer isn't going to pay me what my husband is making, it's only logical that the "taking a day off for a sick kid/doctor's appointment" falls on me.) While my competency and skill sets were, frankly, enviable, my resume looked frightening.
And if I wasn't going to be able to command a high wage--which, with my job history, wasn't going to happen--I could not guarantee my employer full dedication. Without a paycheck to justify staying in the office, my family was going to have to come first. I would have to be the designated "parent on call."
Add to this: my son was having problems at school. Serious problems. Behavior problems, primarily, but they were starting to affect his learning. He wasn't able to follow the rules, or control himself in class. He wasn't making friends, and he wasn't making progress. Me spending all my time at the office was not what he needed. He needed help. He needed his parents.
(We later found out that he--legitimately-- had severe ADHD and was "somewhere on the Autism spectrum," but you know what it took to learn that? Conferences, meetings, doctor's appointments, psychologist appointments, therapy, and testing... in short, "time off work." And lots of it.)
So, really, where was I? Stuck in a job that wasn't going to advance and still didn't pay the bills, unable to commit fully to any career because of being "parent on call," unable to afford to take the time off when my son needed me, and, honestly, unqualified to find a better position. This, too, was unsustainable.
The cats approve of my career choice.
Now is where I tell you something you probably aren't used to hearing from, well, anyone.
I was extremely luck.
Because aside from all the trouble with finding a sustainable career, I had this neat little "side-thing" going on since 2005. I was artsy. I did woodburnings. And people actually liked them enough to buy them. I was also getting pretty good at it; my work was getting progressively better, and I was able to command higher prices for my efforts. I had a growing fanbase--actual fans, can you believe it?--who supported me in my work. My business--Greenwood Creations--had shown a steadily increasing profit since its launch; I had a network of professional contacts happy to share support and advice; and with my son in school, not daycare, I didn't have to worry about childcare expenses if I set my own schedule.
And I had over a decade of experience in nearly every aspect of running a business, from finance to management to customer service.
Do you see where this is going?
In short, I had just about everything in place to launch into a new career. A career that stood a chance of filling all of my needs: financial, familial, and, finally, emotional. A career I could actually, maybe, succeed and grow in.
When you put it that way, the decision was sort of obvious, wasn't it?
So I quit my job.
And I started--really started--my business.
Now, I know it's not going to be easy. These last few months have been extremely difficult, in terms of time, and definitely money, and just about everything else, too. I've had to learn a lot in a very short time, and the learning curve is far from over. I'm still going up the hill, in fact. And, at the end of the day, I may find that this, too, is unsustainable. I may have to go back to having a "regular job." I know this, and I'm prepared to take that step... but I'm going to do my best to make this work, first.
The most important thing is: I'm here for my son. I'm here for my family.
And I'm finally doing the career I was born to do.
I was extremely luck.
Because aside from all the trouble with finding a sustainable career, I had this neat little "side-thing" going on since 2005. I was artsy. I did woodburnings. And people actually liked them enough to buy them. I was also getting pretty good at it; my work was getting progressively better, and I was able to command higher prices for my efforts. I had a growing fanbase--actual fans, can you believe it?--who supported me in my work. My business--Greenwood Creations--had shown a steadily increasing profit since its launch; I had a network of professional contacts happy to share support and advice; and with my son in school, not daycare, I didn't have to worry about childcare expenses if I set my own schedule.
And I had over a decade of experience in nearly every aspect of running a business, from finance to management to customer service.
Do you see where this is going?
In short, I had just about everything in place to launch into a new career. A career that stood a chance of filling all of my needs: financial, familial, and, finally, emotional. A career I could actually, maybe, succeed and grow in.
When you put it that way, the decision was sort of obvious, wasn't it?
So I quit my job.
And I started--really started--my business.
Now, I know it's not going to be easy. These last few months have been extremely difficult, in terms of time, and definitely money, and just about everything else, too. I've had to learn a lot in a very short time, and the learning curve is far from over. I'm still going up the hill, in fact. And, at the end of the day, I may find that this, too, is unsustainable. I may have to go back to having a "regular job." I know this, and I'm prepared to take that step... but I'm going to do my best to make this work, first.
The most important thing is: I'm here for my son. I'm here for my family.
And I'm finally doing the career I was born to do.
And the apartment--and the studio--are, mostly, clean.
Cosplay: Steampunk MLP Meeting at SPWF 2013
Steampunk World's Fair, May 2013. A Steampony Meeting occured.
And I was there.
And I was there.
Photo above is by Lady Ikari Cosplay.
The
costume still needs work! A wig is a must. For this shoot, however, I
couldn't figure out how to get the wig to stay on. Too much real hair. I'm still working on
that.
Also, the skirt needs some more detailing, as does the shirt.
Finally, the cutie marks were made out of cardboard. NO. I'm re-making them using wood.
I'll be trying the costume again in 2014; hopefully it will be much improved at that point.
I'll be trying the costume again in 2014; hopefully it will be much improved at that point.
Dr. Whooves and Twilight Sparkle. Dr. Whooves is portrayed by the lovely Ms. Sapphire Skye.
Cosplay: Steampunk MLP
I like making costumes.
No, back that up.
I HATE making costumes.
But I love designing costumes, and I REALLY love wearing costumes. So, I make costumes. Grudgingly, painfully, and with a fair amount of blood, sweat, and tears, I make costumes.
I started out making historical or historically-based costumes, particularly from the Renaissance and Elizabethan periods.
No, back that up.
I HATE making costumes.
But I love designing costumes, and I REALLY love wearing costumes. So, I make costumes. Grudgingly, painfully, and with a fair amount of blood, sweat, and tears, I make costumes.
I started out making historical or historically-based costumes, particularly from the Renaissance and Elizabethan periods.
Then I did a few Steampunk pieces. They're always fun. Loosely historical, but lots of room for modification.
Now I'm getting into Cosplay.
But, seriously, cosplay's hard. You have to be all accurate and stuff, and accuracy is not exactly my forte. So I've decided to ease into cosplay by doing crossovers.
A crossover is when you take a cosplay and modify it to fit a theme. In my case, that would be Steampunk, because, well, I like Steampunk. For example:
On
the left you have the original Pixar characters. On the right, you have
my interpretation of them, all Wild West-ified and vaguely Steampunked.
These costumes are still in progress--the shirt's being remade and the
accessories are getting changed up--but you get the idea.
So now I'm playing with this idea of Steampunk Crossovers, and I've decided to tackle another one: Steampunk My Little Pony.
No, really. My Little Pony. Steampunk. Because WHY NOT.
I'm actually not alone in doing this. There's a whole group of "steamponies" that will be at Steampunk World's Fair this year. We've even got a semi-official meet and greet/photo op planned.
SO IT'S NOT JUST ME.
Anyway, I thought you might like to see some pics of the dress in progress. Here you go:
So now I'm playing with this idea of Steampunk Crossovers, and I've decided to tackle another one: Steampunk My Little Pony.
No, really. My Little Pony. Steampunk. Because WHY NOT.
I'm actually not alone in doing this. There's a whole group of "steamponies" that will be at Steampunk World's Fair this year. We've even got a semi-official meet and greet/photo op planned.
SO IT'S NOT JUST ME.
Anyway, I thought you might like to see some pics of the dress in progress. Here you go:
| ||||||||||||||
If you aren't familiar with My Little Pony, this is a costume based on Twilight Sparkle. She's very bookish, so I've gone with a Victorian librarian look.
The bustle mimics the colors in Twilight Sparkle's mane and tail. I couldn't find striped purple fabric, so I made my own. The pattern called for something like five yards of fabric, so I got two yards of three colors of fabric, which makes six yards, which, MATH, should work, right? No. MATH NO WORK THAT WAY. I was short a good yard of fabric. So I had to leave off the apron (the front of the bustle.) But that looked silly. So...
I pieced together a modified version of the apron from the scraps of fabric I had left. I still can't believe this worked.
The bustle's honestly a little small. It could have probably been another two inches around the waist. But whatevs. Once the corset is cinched it *should* be OK.
Maybe?
Fine, there might be a small gap.
But no one should notice.
Why are you looking at my butt???
 |
| Cutey Mark designed by Brassy Steamington |
I still have to finish the cutey marks (the designs on the pony's butt; my cutey marks were created by Dr. Brassy Steamington) and trim the underskirt... and figure out how to fit all of my hair under the wig. But it's mostly finished.
I'll post pictures of the finished costume after Steampunk World's Fair. Promise. :-)
I'll post pictures of the finished costume after Steampunk World's Fair. Promise. :-)
Tutorial: Greenman Spoons
I
spent today working on Green Man spoons, and thought it was a perfect
opportunity to walk you through How to Make a Green Man. So, here we go.
But first, please read this disclaimer. Thanks!
Begin by drawing a green man face. I start off by tracing the object I'll be burning on (this time around, it's a spoon) and drawing the eyes, nose, and mouth more or less in the center of that object, like so:
You might not be able to tell from the pic, but that's tracing paper and a No. 2 pencil. Drawing right on the tracing paper saves me a step later on.
Next, I add a leaf-like beard, two leaves for a mustache, and a leaf at the forehead. I like to put a spiral where the Third Eye would be, but you can omit this if you like.
Even though there's a lot of detail on the example to the left, if you look closely you'll notice something: only the face and a few key leaves are dark. They are the only parts of the design that will transfer over to the wood.
Cut out the design and transfer it to the object you're working on (again, in this case, it's a spoon.)
The pencil marks that transferred onto your wood are going to be faint (see the pic on the left.) You can use your pencil to darken the marks, and fill in any gaps in the design.
DON'T PRESS TOO HARD. The harder you press, the more difficult it will be to erase the pencil lines later on.
Start burning. For my spoons, I use the smallest "knife" tip available through my manufacturer (Nibsburner). It cuts deeply, and burns hot, but gives me a reasonably fine line.
Burn the design the same way you created it on the paper:
Start with the eyes, nose, and mouth.
Then burn the beard, mustache, and forehead.
Before you add any more leaves, take a moment to add detail to what's already burned in. Add veins to the leaves and lines around the eyes.
I've learned from experience that, if I don't add the details as I go, I'll forget to add them later.
Now it's time to add more leaves. Put leaves above the eyes, leaves below the mustache, leaves on the cheeks... you know what, just go crazy. The more lush your Green Man design is, the better he'll look.
Just keep two things in mind:
1. Keep the design symmetrical.
2. Keep the leaves proportional. A mixture of tiny leaves and large leaves looks odd unless you are very, very careful.
Finally, add the shading.
Unfortunately, the details of how to shade are beyond the scope of this tutorial. To be honest, I don't know if I could explain "how to shade" if I make a series of tutorials on it. It's just one of those things you have to practice.
I will say this, though: shading around the edges of your leaves makes them "pop" very nicely. It isn't the most realistic technique, but it's easy, and it looks great.
But first, please read this disclaimer. Thanks!
Begin by drawing a green man face. I start off by tracing the object I'll be burning on (this time around, it's a spoon) and drawing the eyes, nose, and mouth more or less in the center of that object, like so:
You might not be able to tell from the pic, but that's tracing paper and a No. 2 pencil. Drawing right on the tracing paper saves me a step later on.
Next, I add a leaf-like beard, two leaves for a mustache, and a leaf at the forehead. I like to put a spiral where the Third Eye would be, but you can omit this if you like.
If
you want, you can add additional leaves at this time. Be warned,
though, that complex transfers can be confusing to work with.
Also, let me take a moment to apologize for the poor pic quality. I don't have any editing software right now. (>.<)
Also, let me take a moment to apologize for the poor pic quality. I don't have any editing software right now. (>.<)
Even though there's a lot of detail on the example to the left, if you look closely you'll notice something: only the face and a few key leaves are dark. They are the only parts of the design that will transfer over to the wood.
Cut out the design and transfer it to the object you're working on (again, in this case, it's a spoon.)
I've
gone over the transfer process before, but here's a quick recap: place
the paper where you want it, pencil side down, and rub.
The pencil marks that transferred onto your wood are going to be faint (see the pic on the left.) You can use your pencil to darken the marks, and fill in any gaps in the design.
DON'T PRESS TOO HARD. The harder you press, the more difficult it will be to erase the pencil lines later on.
As
you can see, I took some of my pictures outside. Outside pictures don't
need as much editing. Unfortunately, I can't do the "action shots"
outside--the power cord doesn't stretch that far--so we'll have some
decent pics and some very bad ones.
Again, my apologies. :-(
Again, my apologies. :-(
Start burning. For my spoons, I use the smallest "knife" tip available through my manufacturer (Nibsburner). It cuts deeply, and burns hot, but gives me a reasonably fine line.
The tip you use will depend on how large your piece is and what type of burner you use. Use the tip that works best for you.
Burn the design the same way you created it on the paper:
Start with the eyes, nose, and mouth.
Then burn the beard, mustache, and forehead.
Before you add any more leaves, take a moment to add detail to what's already burned in. Add veins to the leaves and lines around the eyes.
I've learned from experience that, if I don't add the details as I go, I'll forget to add them later.
Now it's time to add more leaves. Put leaves above the eyes, leaves below the mustache, leaves on the cheeks... you know what, just go crazy. The more lush your Green Man design is, the better he'll look.
Just keep two things in mind:
1. Keep the design symmetrical.
2. Keep the leaves proportional. A mixture of tiny leaves and large leaves looks odd unless you are very, very careful.
TIP:
If you're using a "chisel" or a "knife" nib, and you're having a hard time burning the details--especially the curves--try this:
Flip your pen the "wrong" way.
Doing this will force you to use only the very tippy-tip of the knife. It's hard to manage, and it takes a lot longer to burn, and you may have to use a higher heat setting (if you're fortunate and have a multi-temp adjustment on your pen). But, it will give you a nice, tiny tip to work with, and that may make those curves easier for you to manage.
If you're using a "chisel" or a "knife" nib, and you're having a hard time burning the details--especially the curves--try this:
Flip your pen the "wrong" way.
Doing this will force you to use only the very tippy-tip of the knife. It's hard to manage, and it takes a lot longer to burn, and you may have to use a higher heat setting (if you're fortunate and have a multi-temp adjustment on your pen). But, it will give you a nice, tiny tip to work with, and that may make those curves easier for you to manage.
...Oh yes, the details. This is where you add more veining to your leaves. You don't need a lot of detail; a little goes a long way. Still, it's the veining that's going to make this design look super-complex.
Finally, add the shading.
Unfortunately, the details of how to shade are beyond the scope of this tutorial. To be honest, I don't know if I could explain "how to shade" if I make a series of tutorials on it. It's just one of those things you have to practice.
I will say this, though: shading around the edges of your leaves makes them "pop" very nicely. It isn't the most realistic technique, but it's easy, and it looks great.
And,
voile, you have a Green Man! Breaking it down into steps, it's really
not that complicated. And it's one of those designs that looks so
impressive once it's done.
Steampunk World's Fair 2012: A Review
Steampunk Worlds Fair was AMAZING.
I risk gushing, so I will keep this as brief as I possibly can, and simply say this:
If you can get to New Jersey, any way possible, and you even *think* you might enjoy the Steampunk aesthetic, GO TO THIS EVENT.
A little bit of insight from the vendor end of things:
1. The staff was incredibly sensitive to our needs, very courteous, and extremely helpful. They were by several times a day to see if we were happy, and did their utmost to take care of any troubles or concerns we had.
2. The location was fantastic. We were in what I felt to be a prime location: we could step out of the booth and watch the performances on the midway stage, and there was a good amount of traffic. I heard that most of the other vendors felt the same way. And it's a very good event when most of the vendors think THEY had the "prime" locations!
3. The staff went "above and beyond" to make sure I had power during the show. This was AWESOME because it meant that I could give burning demonstrations! The power actually went out three times in quick succession Friday night--no, I have no idea why--and all three times the staff was quick to respond, quick to restore power, and always very attentive to our needs.
4. The hotel and the staff were both extremely accommodating when it came time to do my class. YES, I actually got to TEACH pyrography at Steampunk World's Fair! They provided me with space, extension cords, a generator--in short, everything I needed to make my class a success.
Some insight on the Personal End:
1. I got to see some of my best friends at this event. It was amazing being able to share this weekend with such fantastic people!
1. I got to see some of my best friends at this event. It was amazing being able to share this weekend with such fantastic people!
Above
you are two of my good friends, Erik (left) and Joe (right). Joe is the
one who took all of the photos you see in this blog post. Erik kept me
supplied with both humor and libations, which definitely helped those
12-hour vending days sail by smoothly. Let's all take a moment and,
wherever you may be, give Joe and Erik a round of applause. THANKS
GUYS.
2. The attendees at this event are, largely, wonderful people. I was nearly overwhelmed with the creativity on display! And seldom have I been to a convention or a fair filled with such courteous, considerate, and gracious people. Perhaps it's simply part of the Steampunk aesthetic itself, but this was an event filled with delightful patrons.
If I may give you just one example? Not only was there zero shrinkage (that means nothing was stolen, for those of you who haven't had the dubious pleasure of working retail)... I actually had someone find some merchandise I had dropped... and return it to my neighbor (because I was not at my booth)... who returned it to me the next morning. That's the level of courtesy we're talking about here.
3. The acts were great! I was fortunate enough to be vending near the Midway Stage, and I got to see some fantastic acts: juggling, tribal fusion dancing, fire spinning by HUBRIS,and of course the amazing (and disturbing) Wick.
4. I GOT TO MEET VICTOR SIERRA. It was brief, but, hey, I got to say hi!
2. The attendees at this event are, largely, wonderful people. I was nearly overwhelmed with the creativity on display! And seldom have I been to a convention or a fair filled with such courteous, considerate, and gracious people. Perhaps it's simply part of the Steampunk aesthetic itself, but this was an event filled with delightful patrons.
If I may give you just one example? Not only was there zero shrinkage (that means nothing was stolen, for those of you who haven't had the dubious pleasure of working retail)... I actually had someone find some merchandise I had dropped... and return it to my neighbor (because I was not at my booth)... who returned it to me the next morning. That's the level of courtesy we're talking about here.
3. The acts were great! I was fortunate enough to be vending near the Midway Stage, and I got to see some fantastic acts: juggling, tribal fusion dancing, fire spinning by HUBRIS,and of course the amazing (and disturbing) Wick.
4. I GOT TO MEET VICTOR SIERRA. It was brief, but, hey, I got to say hi!
Some Cons to the Con:
You know there have to be some downsides. Here they are.
1. The hotel was so-so. We weren't pleased with some of the features in the room (tiny sink with no counter space, limited outlets, curtains that didn't close all the way, leaky shower...) but I admit, hubby and I are royally spoiled when it comes to hotels.
There was also the issue of the hotel food. It was, frankly, crap. And they made you pay BEFORE you sat down at the table, which was just bizzare, and anything you bought outside of the resteraunt had to be bought with the hotel's own special "funny money," all of which, as my friend Amanda put it, "made me feel like a second-class citizen." And I didn't get correct change back for ANYTHING I bought. But maybe that's a Jersey thing. I don't know.
2. Man, was it crowded in that hotel. We were lucky to be on the midway, where there was a lot of space. Inside the hotel, the panel rooms were insanely small and tightly packed, and the vendor rooms were inevitably too crowded to really peruse. NOT that this stopped me from enjoying my time away from the booth! And, really, I suppose it's just one of the marks of a wildly successful event... but it was unpleasantly cramped to be squeezing around in a bustle and corset.
And finally:
3. We didn't make a profit. In fact, we barely covered our expenses.
Now, to be fair, I was severely under-prepared for this show. I didn't have a lot of the items that I wanted to have--items that I feel would have sold well. And, let's face it, this economy is crap. People just don't have a lot of money to "waste" on luxury expenses like art. I get that. So it really doesn't bother me that we maybe broke even.
You know there have to be some downsides. Here they are.
1. The hotel was so-so. We weren't pleased with some of the features in the room (tiny sink with no counter space, limited outlets, curtains that didn't close all the way, leaky shower...) but I admit, hubby and I are royally spoiled when it comes to hotels.
There was also the issue of the hotel food. It was, frankly, crap. And they made you pay BEFORE you sat down at the table, which was just bizzare, and anything you bought outside of the resteraunt had to be bought with the hotel's own special "funny money," all of which, as my friend Amanda put it, "made me feel like a second-class citizen." And I didn't get correct change back for ANYTHING I bought. But maybe that's a Jersey thing. I don't know.
2. Man, was it crowded in that hotel. We were lucky to be on the midway, where there was a lot of space. Inside the hotel, the panel rooms were insanely small and tightly packed, and the vendor rooms were inevitably too crowded to really peruse. NOT that this stopped me from enjoying my time away from the booth! And, really, I suppose it's just one of the marks of a wildly successful event... but it was unpleasantly cramped to be squeezing around in a bustle and corset.
And finally:
3. We didn't make a profit. In fact, we barely covered our expenses.
Now, to be fair, I was severely under-prepared for this show. I didn't have a lot of the items that I wanted to have--items that I feel would have sold well. And, let's face it, this economy is crap. People just don't have a lot of money to "waste" on luxury expenses like art. I get that. So it really doesn't bother me that we maybe broke even.
In fact, over all, the Steampunk World's Fair was such an overwhelmingly positive experience, both hubby and I agree that we want to do it again... even if that means taking a significantly greater loss next year.
It's that good of a show.
Here's to NeoVictorians, Makers, and Steampunks everywhere!
We loved it!
We applaud it!
And, Gods willing, we'll see you again next year, better equipped, better prepared, and ready to party like it's 1899!
Material Review: Bamboo
Bamboo stinks.
I mean that literally, not figuratively. Bamboo is actually a fun wood to work with. But it stinks. Maybe it's just the type of bamboo I've worked with in the past. Maybe the bamboo I was using was coated in a protectant that gave off a foul stench. Or maybe time and use had given it an unpleasant scent. I don't know.
What I do know is, I've worked in bamboo four times now. And three of those times, it stank. The smell is, to me, something between a dirty wet rag and a burning water chestnut.
If you can get past the smell, though, bamboo is a novel choice to burn, extremely eco-friendly, durable, and yields quite a unique look.
I mean that literally, not figuratively. Bamboo is actually a fun wood to work with. But it stinks. Maybe it's just the type of bamboo I've worked with in the past. Maybe the bamboo I was using was coated in a protectant that gave off a foul stench. Or maybe time and use had given it an unpleasant scent. I don't know.
What I do know is, I've worked in bamboo four times now. And three of those times, it stank. The smell is, to me, something between a dirty wet rag and a burning water chestnut.
If you can get past the smell, though, bamboo is a novel choice to burn, extremely eco-friendly, durable, and yields quite a unique look.
Photo taken by Karina of Divergent Crafts.
In
color, bamboo is a rich ochre (a dark yellow-orange brown). It has a
close-spaced, pronounced, straight grain. It's very dense, very hard,
and naturally resistant to just about anything. Including heat.
Like balsa wood, burning bamboo can be a nightmare, but for exactly the opposite reason. What makes it so very useful in the kitchen--density and natural resiliency--makes it tough to burn. If you have a professional pyrography pen, be prepared to use a higher heat setting than you are used to. If you're using a craft-store pen, be prepared to spend a very, very long time on your project.
No matter what, it's going to be difficult to shade on bamboo. That heat resistance comes into play here, too; at first, nothing, and then, POW! a black scorch mark.
It takes a fair amount of practice to "feel" when that "pow" is going to hit, and getting the bamboo to show any values between Nothing and Black is tricky.
Like balsa wood, burning bamboo can be a nightmare, but for exactly the opposite reason. What makes it so very useful in the kitchen--density and natural resiliency--makes it tough to burn. If you have a professional pyrography pen, be prepared to use a higher heat setting than you are used to. If you're using a craft-store pen, be prepared to spend a very, very long time on your project.
No matter what, it's going to be difficult to shade on bamboo. That heat resistance comes into play here, too; at first, nothing, and then, POW! a black scorch mark.
It takes a fair amount of practice to "feel" when that "pow" is going to hit, and getting the bamboo to show any values between Nothing and Black is tricky.
Day of the Dead Sugar Skull (Calavera) cutting board, in bamboo.
I
know, I know, it sounds confusing! But for the life of me I can't
think of how else to put it! You're going to need to practice the
shading, and there's just no getting around that.
In fact, you might want to just stick with linework (like the cutting board to the right) and forget about shading all together.
The good news is, this wood looks gorgeous when it's done. It gives a strikingly rich black burn. The burned lines are slightly raised, but since bamboo is very hard to gouge, the finished design looks smooth and even.
Burning on bamboo is dynamic and dramatic, and looks, simply put, rich.
My
advice? Bamboo is great if 1) you're eco-conscious, 2) you need
something that will last (just remember to burn deeply!) or 3) you want
something very striking in appearance. Be prepared for the smell, and be
prepared for the burned fingers. But the end result is probably going
to be something you'll be quite pleased with.
In fact, you might want to just stick with linework (like the cutting board to the right) and forget about shading all together.
The good news is, this wood looks gorgeous when it's done. It gives a strikingly rich black burn. The burned lines are slightly raised, but since bamboo is very hard to gouge, the finished design looks smooth and even.
Burning on bamboo is dynamic and dramatic, and looks, simply put, rich.
The Victorian Art of Pyrography
Historically
known as pokerwork, wood burning, fire painting, fire drawing, and
even Fire Needle Embroidery, pyrography is, simply, the art of writing
with heat.
Pyrography is an art form that has appeared all over the world, all throughout history... though we seem to have practically forgotten about it here in America.
The Victorian American, however, was quite enamored of it. Encapsulating the height of technology, and riding the coat-tails of a crafting craze, pyrography was a highly popular pastime for the era's fashionable ladies and gentlemen.
The Victorians pyrographed everything, from wooden thimbles to wardrobes, from pill boxes to—yes—pillows. They even gave this art it’s modern name; the word “pyrography” is a Victorian invention.
In ancient times pyrography was done by heating a metal utensil, such as a poker, until it was red-hot, then using it to sear the canvas (often wood, though other materials were used.)
The Victorians, however, brought this art into the modern age. In the late 19th century, Melbourne’s Alfred Smart invented the benzoline pen. This pen shot benzoline fumes through a hollow platinum tip: essentially, it “painted” with burning paint. This was a massive improvement over traditional pokerwork!
Advertisements from the time show that one of these kits sold for around $1.50 (about the price of a good corset).
Today we use electric pens rather than chemical ones, but the principle remains the same: sear the material to create the design. Modern pyrography can be used to decorate anything that burns, including wood, fabric, paper, and leather.
Perhaps you would like to embellish your leather gloves? Or make a wooden bracelet? Or decorate a frontpiece for your corset? My favorite materials, of course, are those that can be used in the home. But really, you’re only limited by your creativity… and the flammability of your material.
More information, and some great pictures, can be found at the Antique Pyrography Tools exhibit at the E-Museum of Pyrographic Art:
http://pyromuse.org/oldtools.html
Pyrography is an art form that has appeared all over the world, all throughout history... though we seem to have practically forgotten about it here in America.
The Victorian American, however, was quite enamored of it. Encapsulating the height of technology, and riding the coat-tails of a crafting craze, pyrography was a highly popular pastime for the era's fashionable ladies and gentlemen.
The Victorians pyrographed everything, from wooden thimbles to wardrobes, from pill boxes to—yes—pillows. They even gave this art it’s modern name; the word “pyrography” is a Victorian invention.
In ancient times pyrography was done by heating a metal utensil, such as a poker, until it was red-hot, then using it to sear the canvas (often wood, though other materials were used.)
The Victorians, however, brought this art into the modern age. In the late 19th century, Melbourne’s Alfred Smart invented the benzoline pen. This pen shot benzoline fumes through a hollow platinum tip: essentially, it “painted” with burning paint. This was a massive improvement over traditional pokerwork!
Advertisements from the time show that one of these kits sold for around $1.50 (about the price of a good corset).
Today we use electric pens rather than chemical ones, but the principle remains the same: sear the material to create the design. Modern pyrography can be used to decorate anything that burns, including wood, fabric, paper, and leather.
Perhaps you would like to embellish your leather gloves? Or make a wooden bracelet? Or decorate a frontpiece for your corset? My favorite materials, of course, are those that can be used in the home. But really, you’re only limited by your creativity… and the flammability of your material.
More information, and some great pictures, can be found at the Antique Pyrography Tools exhibit at the E-Museum of Pyrographic Art:
http://pyromuse.org/oldtools.html
Material Review: Balsa, the most Gods-Awful Wood Ever
Of
the wood commonly sold in craft stores, balsa wood and pine are the
most common and least expensive. I don’t mind working with pine, but I
have come to despise balsa. This is why.
In color, balsa is brownish, whitish, or yellowish—usually all of them at once—unevenly colored, with a grayish cast. It has a small, close-spaced, speckley grain. It’s almost weightless, extremely soft, and can be put together easily using only glue.
Balsa wood is great to decoupage, since it’s absorbent enough to work with almost any adhesive. It isn’t terrible to paint, either, though the paint does tend to soak up into the wood, pale out, and bleed. Burning it, however, is a nightmare.
The wood is so light and airy that the pen will gouge deeply with the slightest misapplication of pressure or heat. If the pen is hot enough to leave a strong black line, it will also be hot enough to dent the wood. Truthfully, it's very difficult to burn this wood without carving it.
It also doesn’t yield the rich array of browns and russets that other woods will give; it burns in shades of gray. Your finished burning usually ends up looking “sooty” and dull.
Finally, it’s a fairly ugly, cheap-looking wood, so whatever areas you don’t burn black will look crusty and sickly.
My advice? If you’re looking for a wood that you can carve into, yielding an interesting raised effect, then balsa might be a good choice. Just be prepared to struggle with it a little, and treat it very, very gingerly. If you’re looking for a wood that’s cost effective, though, don’t bother. It might be the least expensive wood out there, but no matter how budget-conscious you are, you’re always better off spending a few extra cents for pine.
In color, balsa is brownish, whitish, or yellowish—usually all of them at once—unevenly colored, with a grayish cast. It has a small, close-spaced, speckley grain. It’s almost weightless, extremely soft, and can be put together easily using only glue.
Balsa wood is great to decoupage, since it’s absorbent enough to work with almost any adhesive. It isn’t terrible to paint, either, though the paint does tend to soak up into the wood, pale out, and bleed. Burning it, however, is a nightmare.
The wood is so light and airy that the pen will gouge deeply with the slightest misapplication of pressure or heat. If the pen is hot enough to leave a strong black line, it will also be hot enough to dent the wood. Truthfully, it's very difficult to burn this wood without carving it.
It also doesn’t yield the rich array of browns and russets that other woods will give; it burns in shades of gray. Your finished burning usually ends up looking “sooty” and dull.
Finally, it’s a fairly ugly, cheap-looking wood, so whatever areas you don’t burn black will look crusty and sickly.
My advice? If you’re looking for a wood that you can carve into, yielding an interesting raised effect, then balsa might be a good choice. Just be prepared to struggle with it a little, and treat it very, very gingerly. If you’re looking for a wood that’s cost effective, though, don’t bother. It might be the least expensive wood out there, but no matter how budget-conscious you are, you’re always better off spending a few extra cents for pine.
It's About Layers
Pyrography,
like most art forms, is accomplished in layers. A piece of pyrography
is built up, layer by layer, step by step, one detail over another.
Take, as an example, this closeup of the Tendrils pentacle, in progress.
You can see each layer unfolding in one snapshot: the delicate line work; the graphic blackwork; the more subtle shading; the final bold outline.
Sometimes,
a piece develops very logically, step by step. The spoons are a good
example. Nearly every spoon design follows a definite pattern during it's creation. You can see each layer unfolding in one snapshot: the delicate line work; the graphic blackwork; the more subtle shading; the final bold outline.
More often, the layers flow more naturally, overlapping. The techniques used, the layers being worked, change as quickly as metal can heat and cool.
The key to pyrography is patience: being willing to wait. Not only does burning take a long time--far longer than it takes to make a pen line or a brushstroke--but the layering process takes its time, as well. Often, each layer will require a new pen tip, and each pen tip needs to cool down and heat up. It takes longer to heat a pen tip than it does to, for example, clean a paint brush. Think of this time as a meditative period, to reflect on your work, examine your progress, or just clear your mind before the next layer begins.
Subscribe to:
Posts (Atom)