sharon bechtold © 2016 · sharon bechtold © 2016 begin laying in the main land elements with a...

Sharon Bechtold © 2016 www.BurningWithSharon.com

Copyright © 2016 Sharon C. Bechtold

All rights reserved.

No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without prior written permission. All images, copy and diagrams are copyrighted by the artist Sharon C. Bechtold. Patterns may be used without special permission for handcrafted items. For permission on additional uses contact me at www.BurningWithSharon.com. Please note that much of this publication is based on personal experience. Although I (the author) have made every reasonable attempt to achieve complete accuracy of the content in this guide, I cannot assume responsibility for errors or omissions. Also, you should use this information as you see fit using common sense and discernment. Your particular situation may not be exactly suited to the examples illustrated here; in fact, it is likely that it won’t be the same, and you should adjust your use of the information and recommendations accordingly. Any trademarks, service marks, product names or named features are assumed to be the property of their respective owners, and are used only for reference. There is no implied endorsement if we use one of these terms.

Finally, use your head! Nothing in this guide is intended to replace common sense, legal, spiritual, medical or other professional advice, and is meant to inform, inspire, and educate the reader.


Before beginning to burn the landscape make sure you identify all of the elements

and adjust them to complement your wood grain. You will have the following;

Connect these elements to the grain of your wood to take advantage of your

surface for a dynamic composition. Pencil in any areas that can be adjusted so

that you don’t lose your way as you proceed with your burning.

If necessary cut apart the pattern and position by eye.


Begin laying in the main land elements with a medium to soft line. You can use a

writer or bent wire skew for this work. Stay away from shaders and sharp skews

at this time since you are not adding detail yet, simply laying in the elements.


Begin outlining the tree. As you approach this element take note of the rhythms

of the branches and how they grow. All trees are different and these patterns

identify the type of tree.


Begin adding different grasses. Make sure you are adjusting your quality of line so

there is variety. One big mistake is to use the same type of line for everything.

This will produce a boring burning. It is not necessary to change pens but merely

to adjust your heat, pressure, angles and such to allow for various effects.


As you continue to work through the landscape pay attention to the values

between each section. In order to maintain interest you will want to carefully plan

your light and dark areas. Remember that to create a light area, burn dark around

it as shown.


I finally switch to a shader to create the smooth rocks on the cliffside. Watch your

textures. Even though the erosion on the cliff is somewhat smooth it has many

craggy planes.


Take note of shadow areas beneath the tree to further emphasize the lightsource.


Use your shader again to create texture in the trunks of the trees. I pull the

shader vertically to simulate bark while keeping my heat high for a nice dark

shadow. Make sure you leave one edge unburned as shown. This will emphasize

the backlighting from the sunset.


Due to the dark shadows in the leaves of the trees I use a solid point burner to

create a dark textured surface. A shader with high heat could also be used.


Before beginning to burn the water make sure you identify all of the elements in

the anatomy of the seashore. You will have the following;

Horizon

Distant water

Surf that crashes on rocks

Incoming waves

Dispersing waves

Sand and shore

Connect these elements to the grain of your wood to take advantage of your

surface for a dynamic composition. Pencil in any areas that can be adjusted so

that you don’t lose your way as you proceed with your burning.

When burning in the bill use a sharp skew and burn in a clean fine line. Hard

surfaces won’t have feathering so there is no need to break up your outline here.

Just a few long fine lines will give you a realistic looking bill.


Begin identifying the main sections of the water with a very light burn. Using a

shader will produce a smooth burn that blends well. Watch what you are burning.

Be sure to burn the shadows only.

Notice that the curl of the wave will be backlit so make sure the peak area is

lighter than the trough.


As you burn in the top section of the wave pull forward to show the movement

and structure. Then blend these lines with horizontal shading as you move back

toward distant water.


Although the foam is “white” remember that it is in the shadow side. The very top

of the foam will be white but the area crashing into the water is slightly shaded.


Continue working your way out adjusting to the grain and patterns on your wood.

Remember to leave the sunset’s reflection very light so that you can later

enhance it.


As you approach the shore be sure to add shadows beneath the incoming waves.


As you move into the clouds enhance the grain again. Use very light shading to

show where the dark areas of the clouds are. DO NOT burn in the full cloud! Just

focus on the shadow areas.

Continue refining until you are satisfied. At this time you will decide if you want to

add color or leave the design in a natural state.


Adding Color

I saturate the board to create a wet on wet surface for my watercolors. I float in a

diluted French Ultramarine Blue in the outer areas of the sky. I avoid the sunlit

areas. Then I float in Cadmium Yellow in the center where the sunlight is. Be sure

not to touch your yellow and blue areas. Stay far away from the other color.

Because the wood is wet the colors will float and meld together in a natural way

without creating an odd greenish sky.


After the wood is completely dry, begin adding wax pencil color lightly to the

surface. I use the following colors from Prismacolor* for this work.

Tuscan Red

Goldenrod

Marine Green

Sienna Brown

Chartreuse

White

Deco Yellow

Periwinkle (muted purple color)

French Grey Medium

Feel free to adjust your choices.

*Please note that many of my pencils are very old, these color names may be

different now.


Use your blender pencil sparingly to smooth out sections. It is better to let the eye

blend the colors instead of using this technique, but in small areas you may need

to blend anyway.


Carefully apply white to the surf. Be very careful with this. If you overdo it you will

not achieve the sparkling effect. Use white the same way you would use salt in

cooking – very sparingly.


Use a kneaded eraser to soften color in any areas that may have become too

heavy. This will only remove a little color and allows you a great deal of flexibility.


Use your pencils to enhance color in the sky. Be very careful since you already

have watercolors in here. If you hold your pencil nearly parallel with the wood

you can simply skim over the wood and deposit only a small amount of pigment.


Continue working through your burning and stepping back periodically. Stop

before you think you are done and give it a day rest. This is the best way to

prevent overworking. Don’t continue adding color if you are not 100% sure this is

the best thing to do.


Final Burning


Pattern for Transfer


Burning Value Sample


Sharon C. Bechtold is an Artist in Residence at Life Force Arts Center in Chicago, a Shamanic Practitioner and member of the Society of Shamanic Practitioners, Artist, Writer, Bard, and Teacher. She studied shamanism through Life Force Arts Shamanic Training, holds the Bardic Grade from the Order of Bards, Ovates and Druids. As a shamanic artist she views art as a spiritual practice. She is a professional award winning pyrographer who has published numerous books on pyrography. A columnist and writer for international print magazines, she also teaches art as energy work throughout North America, has been recognized as an Illinois State Artisan and is represented by museums, galleries and collections throughout the world.

sharon bechtold © 2016 · sharon bechtold © 2016 begin laying in the main land elements with a...

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