Hi. Welcome to my YouTube channel Pyrography Made Easy.
I'm Brenda
In this tutorial episode I'm going to show you how to create the seashells,
the third in my mini project series.
This project will use circular motion and uniform strokes
the same as my last mini project.
So this will be a great project to continue their use.
What I want to do a little differently in this tutorial is to help you critically
analyze reference material so you can better replicate what you see.
My website has a written tutorial, free pattern,
and the reference photo for this project.
The written tutorial covers some basic items to get the project ready for burning
like prepping the wood and transferring the pattern.
I'm not going to cover those here.
Instead we will start after the trace lines have been burned in.
Now before we get to work we need to talk
about the burn types used in the artwork. As I mentioned before, this artwork uses
circular motion and uniform strokes. And I have a couple short videos
demonstrate them. So let's watch 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
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.
Notice how I pull the pin 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.
Let's recap the information.
Circular motion is used to create transitions where you want a gradual increase or decrease in color.
Circular motion is also used to create a patch of color that has subtle or not so subtle variations in it.
Uniform strokes, on the other hand, are used to give an object a solid base color
that has very little to no color variation in it.
I often do both burn methods in the same area.
For example, I'll use uniform strokes to burn in the base color,
and then use circular motion to gradually darken up the bottom edge of an object.
Or I will use uniform strokes along the edges of an object,
and then switch to circular motion.
The first thing we will work on the seashells is the cast shadows on the ground.
So let's critically look at the reference photo
and determine what needs to be done, and then we'll start burning.
Here's the reference photo for the seashells mini-project
Ignore the seashells and concentrate on the shadows.
What do you see?
Ask yourself a question like, "Are the shadows uniform?"
The answer is no.
The first thing that caught my eye was the pale areas along the back of the shadows
that I've marked with the yellow arrows
The next thing I noticed were the really dark shadows under the shells
and I've marked those with blue arrows.
let's examine the shape of the shadows.
The green arrow is pointing to the cast shadow from the left seashell.
Notice how the shadow is shaped like the seashell.
The yellow arrow is pointing at the shadows between the two front seashells.
This area has the most tonal or color variation of the shadows.
Lastly the red arrow marks the location of a small dark curved shadow
that follows the contour of this seashell.
There is a tiny dark shadow found under the entire base of this seashell.
Now that we've critically examined the reference photo let's replicate what we found.
Begin by burning along the edges of the seashells.
Look closely at my pen tip as I do this.
The end of the pen tip is right on the edge of the seashell,
and the rest of the pen is angled over the shadow.
This is Optimal Pen Tip Position.
Optimal pen tip position ensures you burn only where you intend to burn and right now that is on the shadows.
The only way I could burn the seashell is if I went past the seam line
where the shadows end and the seashells begin.
After burning along the edges of the seashells then burn in the shadows.
Start by the scallop and burn short dark uniform strokes along the left side of the base.
Continue to use uniform strokes to burn in the rest of the shadows,
but make them lighter in color than the short dark strokes.
I will mention
that the majority of the shadows were created using uniform strokes
but in the really dark shadowed areas I did occasionally use circular motion.
Rotate the wood when working near the lower edges of the shadows.
You should always be able to see the end of your pen tip and the edge of the area you are burning on.
This will help make sure you burn only where you want to burn.
With the cast shadows done we will burn in the brown and white seashell in the back.
Let's analyze the reference photo and then start burning in the shell.
Here's our reference photo for the shell we will be working on.
Look carefully at the shell and make observations about its shape, texture, markings,
location of shadows, and any highlights the shell has.
This seashell looks like a stack of rings that gets smaller as they near the top of the stack.
Each ring has rounded sides so this means that the upper and lower edge of each ring curves inward.
I used blue arrows to point to this on one of the rings.
The surface of the shell looks smooth,
but it has many brown and tan colored streaks running along the length of it.
I've marked a few of the brown streaks with reddish brown arrows.
The black arrows are pointing to the left side of the shell that is in shadows.
The yellow arrows are pointing to a shadow found along the lower edge of each ring on the shell.
Lastly, the white ovals are pointing out where the light is striking the seashell,
so this is the palest area on the shell .
Well now that we've examined the reference photo, let's get to work
Burn in the top ring so that it is tan in color.
Burn the lower edge of the ring, or the seam line, to a medium tan color.
Burn in the second ring in a similar fashion.
The base color is tan and the bottom edge is a medium tan in color.
With the third ring, burn the shell the base color of tan
and then burn in the streaks so that they are brown in color.
Rotate the wood to burn in the shadows along the lower edge of the ring.
Make them a shade or two darker than the base color of the shell.
While the wood is rotated, burn in the shadows along the lower edge of the other rings.
Also burn along the left edge of the second ring so that it is a shade or two
darker than the base color. This will make it appear to be in shadows.
The left side the third ring should also be a shade or two darker than the base color.
and, if needed, darken up the brown streaks a little more.
Burn in the streaks on the fourth ring.
I find it helpful to burn along the edges of the streaks
before filling them in as this helps keep the edges crisp and clean.
Rotate the wood when burning along the bottom edge of the streaks.
This will keep the pen tip in optimal position.
Also, burn in the shadows along the lower of this ring.
Burn the rest of the shell so that it is the tan base color,
but burn the left side of the shell a shade or two darker to give the impression that it is in slight shadows.
With the last ring burn in the streaks,
but consult the reference photo to determine how dark the streak should be as they vary in color on this ring.
Rotate the wood as you burn along the bottom edge of the streaks.
This will keep the edges nice and clean.
Also, burn a tan to medium tan line all along the lower edge of the seashell.
The purpose is to provide contrast between this seashell and the one in front of it.
So we want very crisp, clean, and clearly defined edges between the two seashells.
So keep your pen tip and optimal position while doing this.
Also, burn the lower left side of the seashell so that it is medium to dark tan in color since it is in shadows.
Rotate the wood, if needed, to keep the pen tip an optimal position
while burning along the left edge of the seashell
Burn this edge so that it is medium to dark tan in color
as we want the edge to stand out from the unburned background and give the impression that it is in shadows
This dark tan streak I'm just starting is part of a wide swath of assorted tan colored streaks.
The right side of the swath begins with the dark tan streak
and the left side has a brown streak. Between the two are colors of tan to medium tan.
Finish up the left side of the seashell.
Fill in the right side of the shell so that it is medium tan in color.
Then darken the area along the top of this ring to make it look like it's curving inward.
Darken the ring along the bottom for the same reason.
Add some small dashes in the large color swath to replicate the irregular color along this area.
Add the small dashes on the band just to the right of this.
Now it is time to look at your seashell and see if you need to fine-tune any areas.
I decided that the left side the seashell needed to be darker.
Plus, I burned along the top and the bottom of the white streaks on this side of the shell.
I also decided that my brown streaks needed to be darker,
so I re-burned all of the brown streaks on the seashell.
I also darkened up the left side of the seashell just a little bit more
After I darkened up all my brown streaks
I lost the shadow on the lower portion of the rings.
So I had to re-burn the shadows, but just on the brown streaks
Lastly, I gently rubbed over the light reflection area on this ring with a
spot sanding pen to remove a little color as I had lost my subtle highlight
In the last part of the video I used a spot sanding pen to add some highlights.
I want to mention a few things about it. As I said the spot sander is made out of
fiberglass and it is designed to remove the rust from automobile metal, so it's very abrasive.
Use a very light stroke when rubbing it across the surface of the board
as it can quickly gouge channels into the wood especially with plywood.
You can find the spot sander on numerous websites,
but don't waste your money on fiberglass sanders advertised for watches.
They are too soft to effectively work on pyrography. Well at least on wood.
Okay let's get back to the seashells.
The next seashell we will burn in is the scallop shell on the right.
So let's critically look at the reference photo and afterwards we'll start burn in this shell.
Here's the reference photo for the scallop sea shell.
Critically look at this sea shell to discover its shape, texture, markings,
shadows, and highlights that it has.
This shell is fan-shaped with ribs running down most of its length.
The yellow arrows are pointing to one rib
and notice how much wider it is at the top of the fan compared to the base.
The red arrows are pointing at the slightly rectangular base that the fan sits on.
This seashell is also smooth looking and the red arrows are pointing at some of the bands
of reddish streaks arching across its surface,
the blue arrows are pointing to the shadows found in the valley between each rib.
Like each rib, the shadowed valleys decrease in width the closer to the base you get.
The orange arrow is pointing to the shadowed left side of the seashell.
The area between the white lines is showing the light reflection area on the shell.
notice that the light is hitting along the right edge of each rib in this area.
Well now that we've critically looked at the reference photo,
let's replicate what we've seen.
Begin by burning in the lines as indicated by the pattern.
Then fill in the area using circular motion,
Rotate the wood to burn the shadows along the very bottom of the base,
and to burn the thin lines along the curved ends.
Afterwards finish burning in this side of the base
Burn the right base along the lower right edge of the fan.
Next burned the line that runs vertically down the base.
Then fill in the rest of the base with color using the reference photo as a guide.
Burn in the shadows at the bottom of the ridges on the fan.
Start at one end of the fan and pull the pen towards the other end as you burn in the shadow.
The shadow should be wider or thicker at he top of the fan and thinner or narrower at the bottom of the base.
Continue to burn in the rest of the shadowed ridged bottoms on the fan
Burn uniform strokes to get the shell a base color of tan.
Avoid burning between the two pencil lines that indicate the lightest area of the shell.
After you burn above and below the pencil lines, then erase the pencil marks as they have served their purpose.
Resume burning uniform strokes to give the shell a base color of tan
Use circular motion to burn along the left side of each ridge.
This is to extend the shadow a little and make the rib look curved.
The circular motion is done along the entire length of each shadow
Including the light reflection area on the seashell
The black arrows point to a couple of spots or lines that I burned too dark, so I need to fix them.
I'm using the flat of an Xacto knife tip.
Notice how I'm holding the knife and look at the end of the knife.
The end of the tip is not pointing down into the wood.
Instead the flat of the blade is in contact with the wood.
If I had just used the blade tip, it would dig into the wood leaving pits and gouges.
I use extremely light pressure as I scraped the blade on the wood to remove a thin layer of color.
It takes me many, many gentle passes with the Xacto knife remove a super thin layer of color.
Here's a before and after picture of the area once I was done with the Xacto knife
Now you get to decide if you want any markings on your seashell.
If you do, I recommend starting the first band near the top as the marking should follow the basic arch of the shell.
If you watch my hand motion you will see that I'm moving it in a vertical up-down motion
as I work my way across each rib.
I'm burning a zigzag type of line.
This motion produces lots of small lines that are touching each other.
Doing this makes the edges of each marking a little irregular or jagged.
Continue to work your way across the shell burning one rib at a time.
Add as many or as few rows of markings as you want.
The last shell we need to burn in is the green and white shell on the left.
Again, let's analyze the photo to figure out what we need to do and then burn in this shell.
Here's the reference photo for our last seashell that we need to burn in.
Again, look carefully at the shell and determine its shape, texture, markings,
location of shadows, and any highlights this shell has.
This seashell has a spiral shape and the surface is covered in ridges.
The red arrows are pointing to a couple of those ridges
compare the appearance of the shell texture between the opening, indicated by the yellow arrow,
and the surface marked by a white arrow.
Both of them look smooth, but the opening looks super smooth almost glass like.
The green arrows are pointing to a few of the green markings that run the length of the shell.
The blue arrows are pointing to areas that are in shadows on the seashell;
such as the shell opening, along the bottom of each ridge, and along the bottom of the seashell.
Lastly the white oval indicates where the sun is striking the shell
And the white arrow is pointing to a pale ring around the shell opening.
Well now that we've analyzed our reference photo let's get to work.
Burn a thick brown line along the upper edge of the shell opening
and then fill in the opening with uniform strokes.
extend the brown color to the dotted line as indicated on the pattern
burn the area between the dotted line and the outer edge of the super smooth
shell opening so that it is tan in color.
Continue to burn in the super smooth shell area
around the opening so that it is tan in color
Burn medium tan lines on the super smooth shell to represent the indication
of where the ridges are on the outer portion of the shell.
Then finish burning in the rest of the super smooth shell opening.
Rotate the wood so your pen tip is an optimal position as you burn in the
first of the ridge bottom so that it is brown in color .
This first one is the darkest one.
Continue to burn the ridge bottoms that extend from the starting point.
After that work your way along the surface of the shell burning in the shadowed ridge bottoms.
Make sure to keep the edge or the end of your pen tip in optimal position
as you burn the shadows, so that the tops of the ridges remain unburned and clearly defined.
Rotate the wood if needed to finish burning in the shadows
Burn in the spiral end of this shell so that it is brown in color.
Also burn in the really dark shadows that the scallop seashell on the right is casting onto this seashell.
Burn a dark-brown line between the last two spirals
to help define the end of one in the start of the other.
Also, if needed, darken up the shadows just below the spiral end
to help the shell stand out slightly from the shadows below it.
Burn in the green markings along the bottom edge of the shell.
Consult the reference photo as there are some whitish markings down there too.
Make sure to rotate the wood so the end of your pen tip is right on the edge of
the shell when working along the left edge.
Notice how I've got my pinky finger down on the wood.
Most of the time the side of my hand is resting on the wood as I work,
but if I need to get a steep angle on the pen,
then I have to lift my hand up like I am now.
When this happens I put my pinky finger down for support because as easier to
burn when your hand is supported.
Use a white charcoal pencil to draw in the white ring around the opening as
this will help visually mark the area to avoid burning on it.
Burn the whitish area along the bottom of the shell so they are light tan to tan in color.
but avoid burning on the charcoal.
Also burn in the first two tiny ridges so that they are light tan the tan in color.
Burn a tan line that extends from the dark ridge shadows to the super smooth area of the shell.
Erase the white charcoal with a pencil eraser.
Switch to a writer pen tip to burn in the green markings along the top of the ridges.
On the larger markings you can use a shader pen tip,
but if it's more comfortable to continue with the writer pen tip then please do so.
Rotate the wood and use circular motion next to the shadow bottoms.
The purpose is to extend and transition the shadow so that the color fades away.
This will also help give each ridge a more curved look.
Take a look at your seashell and decide if it needs any fine-tuning.
I decided that the pale lip above the super smooth opening needed to be darkened a little on my seashell.
Lastly, lightly burn along the left edge of the shell so that it is tan in color
and gives the impression that it's slightly shadowed
We are all done. I hope I was able to clearly explain how to create the artwork
and provide an understanding of how to critically analyze reference material.
In the remarks below I provided a link to my website: Pyrography Made Easy.
The website has a written tutorial, free pattern and the reference photo for this artwork.
Get the pattern and try the artwork for yourself.
I love hearing from you so let me know what you think about this video and if you tried the project
I'm very interested to know how it turned out
send me a picture I'd love to see it.
Well just a couple more things before I go
I use a Colwood Super Pro II. The artwork was burned on die-cut plywood
and it took me five hours to complete it.
Well thank you for watching and if you enjoyed the video please subscribe to my channel.
I have a new video every Tuesday and a new tutorial at least once a month, if not more.
Well thanks again for watching and see you next week.
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