The Art of Leather Burning Step by Step Pyrography

Techniques

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Acknowledgments
I would like to extend my deepest appreciation to the team at Dover
Publications, Inc., who contributed to the creation of this book:
Vanessa Putt, the book’s acquisition editor; Janet Kopito, the book’s
in-house editor; and Jennifer Becker, the book’s designer; as well as
Marie Zaczkiewicz, Design Manager, Fred Becker and Segundo Gutierrez,
who performed the color correction for the book’s images, and
Susan Rattiner, Supervising Editor, Jim Miller, Editor, and Kathy Levine,
Copy Editor/Proofreader, who carefully checked the pages for accuracy,
consistency, and continuity.

Copyright
Copyright © 2017 by Lora Susan Irish
All rights reserved.

Bibliographical Note
The Art of Leather Burning: Step-by-Step Pyrography Techniques is a
new work, first published by Dover Publications, Inc., in 2017.

Library of Congress Cataloging-in-Publication Data

Names: Irish, Lora S., author.
Title: The art of leather burning : step-by-step pyrography techniques
/ Lora Susan Irish.
Description: Mineola, New York : Dover Publications, Inc., [2017]
Identifiers: LCCN 2016046660| ISBN 9780486809427 | ISBN 0486809420
Subjects: LCSH: Leatherwork. | Pyrography.
Classification: LCC TT290 .I75 2017 | DDC 745.53/1—dc23 LC record
available at https://lccn.loc.gov/2016046660

Manufactured in the United States by LSC Communications

80942001 2017
www.doverpublications.com
Contents
Measurement Conversion Chart iv

Basic Leathercrafting Supply List v

Basic Leather Kit v

Basic Pyrography Supply List v

About the Author vi

Chapter One: Pyrography Tools and Supplies 2

Chapter Two: Basic Pyrography Techniques 6

Chapter Three: Tonal Values 14

Chapter Four: Simple Pattern Techniques 18

Chapter Five: Basics of Leather 24

Chapter Six: Simple Leathercrafting Techniques 28

Chapter Seven: Pyrography Practice Board 44

Chapter Eight: Pyrography Projects 56

Project 1: Carousel Horse Book Cover 57
Project 2: Steampunk Dragon Purse  61
Project 3: Desert Landscape Journal 64
Project 4: Flower Garden Lunch Box Purse 71
Project 5: Mandala Lunch Box Purse 78
Project 6: Winged Wood Spirit Journal 86
Project 7: Read with Me Owl Wristband/Bookmark 94

Project Patterns 96
Measurement Conversion Chart
1/
16 " (2mm) 2" (51mm) 7" (178mm) 13" (330mm)
1/
8" (3mm) 21/16" (52mm) 7¼" (184mm) 13¾" (349mm)
3/ " (5mm) 21/8" (54mm)
16 7½" (191mm) 14" (356mm)
1/ " (6mm) 23/16" (55.5mm)
4 7¾" (197mm) 14½" (369mm)
5/ " (8mm) 2¼" (57mm)
16 8" (203mm) 14¾" (375mm)
25/ " (10mm) 223/64" (60mm)
64 8¼" (209mm) 15" (381mm)
½" (13mm) 2½" (63.5mm) 8½" (216mm) 16" (406mm)
5/ " (16mm) 241/64" (67mm)
8 8¾" (222mm) 17" (432mm)
¾" (19mm) 2¾" (70mm) 9" (229mm) 18" (457mm)
7/ " (21mm) 27/8" (73mm)
8 10" (254mm) 19" (483mm)
1" (25mm) 3" (77mm) 10¼" (260mm) 20" (508mm)
11/16" (27mm) 3¼" (83mm) 10½" (267mm) 21" (533mm)
11/8" (28.5mm) 3½" (90mm) 11" (279mm) 21½" (546mm)
13/16" (30mm) 3¾" (96mm) 11¼" (285mm) 22" (559mm)
1¼" (32mm) 4" (102mm) 12" (305mm) 22½" (572mm)
13/8" (35mm) 4¼" (108mm) 12¼" (311mm) 23" (584mm)
1½" (38mm) 4½" (115mm) 24" (610mm)
139/64" (41mm) 4¾" (121mm) 34" (864mm)
1¾" (44.5mm) 5" (127mm) 36" (915mm)
17/8" (48mm) 5¾" (146mm)
6" (152mm)
6¼" (165mm)
6¾" (171mm)

iv
 Basic Leathercrafting Supply List
Adjustable stitching groover—hand tool used to cut Overstitcher, stitching wheel—toothed wheel with
a shallow line at a pre-set measurement from the pre-set spacing used to make stitching holes
edge of the leather Poly board or thick cork board—pounding and
Artificial sine , waxed thread, linen thread—stitching cutting boards
threads Rotary hole punch or round drive punch—tools used
Craft knife, rotary cutter, bench knife—tools used to to cut holes for rivets, screw posts, and snaps
cut out the construction pieces Self-healing cutting mat—used for work table
Edge beveler—tool used to “round-over” the sharp protection and grid-work cutting
outer corners of the leather Sewing awl—tool used to cut holes for stitching
Edge slicker—burnishing tool used with Gum Skiver—tool used to thin the edge of the leather
Tragacanth where two pieces are stitched together
Gum Tragacanth—medium used to seal, slick, and Soft #6–#8 pencil—used for marking and transferring
burnish the edges of the leather guidelines
Harness needles, tapestry needles—dull-pointed Synthetic all-purpose eraser—used to clean the
needles used in leather stitching leather of dirt and pencil marks
Maul, mallet, ball peen hammer—tools used with Transparent ruler, metal ruler—used for measuring
round drive punches; used to set rivets and snaps stitching and hole placement

Basic Leather Kit Basic Pyrography Supply List

Belt buckles, belt keeper staple Assorted grit foam-core nail file for pen-tip cleaning
Cotton daubers, cotton swabs Document cleaning pad, synthetic eraser, white artists eraser—
Dee rings, split rings, and trigger used to remove tracing lines
snaps Emery cloth—400- and 1600-grit for pen-tip cleaning
Leather bracelet crimp end caps— Graphite paper—used for tracing
jewelry findings High-range one-temperature pyrography pen
Rivets—double capped, single Leather strop and honing compound for pen-tip cleaning
capped
Low-range one-temperature pyrography pen
Rivet setters—rivet setter, rivet anvil,
Pen tips—medium writing tip, wide-ball tip, micro-ball tip, shader
domed rivet setter
tip, micro-writing tip, large round shading tip
Screw-post conchos
Rheostat-controlled pyrography pen
Suede lacings 1/8" (3mm) and 3/16"
Scissors, rulers, and low-tack masking tape
(5mm)]
Variable-temperature pyrography pen
Synthetic eraser (all-purpose)

v
 About the Author
I was so thrilled when Vanessa Putt, the Acquisitions Editor at Dover
Publications, Inc., called in the early spring of 2015 to propose that I
write a book for Dover. I grew up in a household where the pursuit
of arts and crafts flourished, and you never bought what you yourself
could create. The dining-room table was always full of someone’s
current project, from piles of fabric for Mom’s quilting to pans of oil
and bluing for Dad’s antique rifle restoration or jewelry work. Our
bookshelves were packed to the brim with Dover books that offered
ideas, instructions, and patterns, ready to use for that next craft project.
Over the years of loving use, many of those books have become
dog-eared, have dirty, hard-used pages, broken spines, or loose pages
stuffed in the back. But they are still treasured and now reside on my
craft bookshelf, with new titles being added all the time.
Having the opportunity to become a Dover author is an achievement
that I never expected as a young woman beginning my career in craft
book publishing. The thought that this title, The Art of Leather Burning,
with my name as the author, will soon join the decades of Dover craft
books on my art shelf is beyond imagination.

Lora S. Irish is a nationally and internationally known artist and author

who currently has twenty-five woodcarving, pyrography, and craft
pattern books in publication, including Chip Carving 1 and 2, Classic
Carving Patterns, Landscapes in Relief, Wildlife Carving in Relief, Great
Book of Fairy Patterns, Great Book of Dragon Patterns, Great Book of Floral
Patterns, Great Book of Tattoo Patterns, Easy and Elegant Copper Jewelry,
and Wood Spirits and Green Men. Twelve of the author’s purebred
dog-breed oil on canvas paintings have been published as limited-
edition fine art prints.
Working from their home studio, Lora and her husband and webmaster,
Michael, are the owners of two websites: www.ArtDesignsStudio.com,
which features Lora’s digital arts and crafts patterns, and www.LSIrish.com,
where the artist offers free online tutorials and projects.

vi
Step-by-Step Pyrography Techniques
 CHAPTER 1

Pyrography Tools and Supplies

In this chapter we explore the basic pyrography tools and supplies that
you will use for your projects. The Owl Barrette (page 19), is worked
using a one-temperature pyrography burner and a simple outline and
solid-fill echnique. The Henna Flower Key Fob adds a softly shaded
texture-fill background to the outline technique. Detailed shading,
texture fill , and outlining are used to create the Wild Rose and Practice
Board Journal on page 46. Each burned line or shaded area of a
project’s pattern drops into the surface of the leather, creating an
instant sculptured effe t in the burned image.

2 The Art of Leather Burning

Styles of
Figure 1.1. The one-temperature pyrography pen is a multi-task
Pyrography Units tool. It has a high-temperature range of around 950 degrees to
allow for the heat needed for soldering. Its high range can cause
both scorching and excessively deep burn lines; therefore, it is not
There are three basic types of pyrography units—the suggested for leather work.
one-temperature pen, the rheostat-controlled pen, and
the variable-temperature unit. The style of pyrography
unit that you choose depends on your budget, your skill
level, and how often you will be burning. One-tempera-
ture and rheostat-controlled–style pens are excellent for
new pyrographers, as they allow you to experience the
full range of the craft without a heavy financial invest- Figure 1.2. The one-temperature tool is specifically made or
pyrography work that has a high range of only 750 degrees. This
ment. Variable-temperature units give you total control lower heat range is perfect for any leathercrafting project. This is
over the exact temperature you need to create values. the primary tool that I used for the projects in this book, and it is
They also have a wider selection of pen-tip profiles. capable of handling any pyrography technique or skill.

One-Temperature Pens
One-temperature pens are readily available at most large
craft or hobby stores and are inexpensive tools with
which to begin your craft of pyrography. This style is one
piece, with the pen and cord permanently attached. The
pen is pre-set to reach a specific temperature, and thus is
similar to a basic soldering-iron pen. The tips for this style
are interchangeable, with threads on the tip that screw
into the top shaft of the pen. There may be an on/off line
switch on your particular model of one-temperature tool.

a TIP b A one-temperature pen can become hot to the

touch in the handle area—it may be uncomfortable to hold for
an extended period of work. If the pen is becoming hot, simply Figure 1.3. One-temperature tools use interchangeable brass tips
unplug it and allow it to cool for about a half hour. that screw into the shaft of the pen. Note that the tip of the pen has
been left slightly open to show the threading. Five pen styles are
available, and these can be used for the projects. The pen is shown
with the universal tip, which creates fine lines and wide shading
strokes. From top to bottom on the left are the wide ball tip, the
medium ball tip, the micro-ball tip, and the square lettering tip.

Pyrography Tools and Supplies 3

 Rheostat-Controlled
Soldering-Style Pens
One-temperature–type pyrography pens are now avail-
able with rheostat temperature controls built into the
cord. These pens use the same brass interchangeable
pen tips and have the same one-piece body styles of the
Figure 1.4. Rheostat-Controlled Pyrography Tool one-temperature pens. The rheostat gives you some con-
trol over the heat range, using a dial set for low, medium,
high, and hot burns. This type of burning pen gives you
both temperature control and interchangeable tips for a
modest financial investment.
The simple addition of a rheostat temperature control
on the cord of this unit gives you the financial investment
advantages of a one-temperature tool with the tempera-
ture control of the higher-priced variable-temperature
units (see Fig 1.4).

Variable-Temperature
Figure 1.5. This variable-temperature unit is set up to run two Pyrography Units
burning pens at the same time. The on/off swi ch allows you to
move easily from one pen profile o another with little effort. The Variable-temperature units give you full control over your
temperature range for this unit is far greater than the temperatures
pen tip, from extremely cool temperatures for very pale
needed for burning wood, gourds, paper, and leather. This particular
manufacturer also offers several options, including high-voltage tonal values to very hot black-toned burns. Beyond the
cords, and extra-thick wire pen tips for added strength. temperature range the greatest advantage to a variable
unit is that the pen styles allow you to burn comfortably
for extremely long periods of time.
Most variable units are multi-task tools that can also be
used for acetate template cutting, soldering, and stamp-
ing. This style comes with corded pens that plug into
the temperature control unit. Pens are available as either
fixed-tip or interchangeable-tip pens, with a wide variety
of pen-tip profiles.
Which manufacturer’s brand of variable-temperature
Figure 1.6. These pen-tip profiles sh w a few of the basic
writing, detailing, and shading pens that are available with
units you choose determines the range of temperature
variable-temperature units. Pyrography pens are made to fit the for each unit, the style and grip of the burning pen, and
manufacturer’s specific b and of burning unit—therefore, it is not the pen profiles you are most likely to use. Variable-tem-
recommended that you use one manufacturer’s pen with another perature units can be ordered either through mail-order
manufacturer’s burning unit. Check the product information for
compatibility on the manufacturer’s website before purchasing
woodworking catalogs or online.
pens that were not made for your unit.

4 The Art of Leather Burning

Pen-Tip Cleaning
Supplies
As you work your pyrography strokes on any natural
surface, the tips will develop a layer of black carbon Figure 1.7. Synthetic and Leather Strops and Honing Compound
residue. Carbon build-up lowers the temperature of your
pen where it touches the leather, creating uneven tonal
values in your lines and texture. If the carbon become a TIP b As shown above, using yellow wood glue, a
wooden paint stir stick, and two pieces of 6/7-ounce vegetable-
excessively thick, it can leave black pencil-like lines on the tanned leather, you can quickly make your own leather strop. Cut
leather that are difficult to erase. two leather strips the size of your paint stir stick. Then spread an
Extremely fine grit—1500 to 6000—emery cloth, avail- even layer of wood glue on one side of your stir stick. Lay one
leather strip on the stir stick, with the rawhide side up, and press
able at most hardware stores, is used for polishing metal.
well. Allow to rest for several minutes to set the glue. Turn the
It comes in 9" (229mm) x 12" (305mm) sheets that can be stir stick over and adhere the second leather strip to the stir stick
cut into small pieces to fit the pen tip you are using. Rub with the tanned side up. Place several heavy books on top of
the pen tip gently across the surface of your emery cloth, your strop to act as pressure clamps, and allow to dry overnight.
returning the tip to a bright, polished look.
Your local drugstore may carry foam-core nail files that
have six to seven grit strengths. I keep several in my pyro
kit to use when my pens need just a small touch-up for Additional
better heat transfer. The heavier grits of these nail files are
strong enough to remove the heaviest of carbon build- Pyrography Supplies
up without damaging the polished surface of your tips.
As a wood carver I also have a leather or synthetic Along with a pyrography pen or variable-temperature
strop and rouging compound in my pyrography kit. The pyrography unit, you will need some common craft
strop has two sides—one is the raw-leather side up and supplies for the projects in this book. Many of these
the other is the finished tanned leather side. Stropping supplies you will already have in your crafting kit. These
rouge is rubbed over the raw leather; then the pen tip include scissors, low-tack painter’s or masking tape,
is pulled across the strop to remove the rough carbon graphite tracing paper, and tracing or vellum paper. A
particles. To brighten or polish the tip, turn the strop over surge protector is recommended for use with both the
and work the tip of the tanned leather side. one-temperature–styled burning units and variable-
temperature units.

Pyrography Tools and Supplies 5

 CHAPTER 2

Basic Pyrography Techniques

Basic pyrography strokes include simple outlining, solid-fill a eas, and
shading using the tonal value sepia colors. Any pattern in this book
can be worked in a number of diffe ent techniques, giving you a full
palette of potential finished p ojects. In this chapter we will explore
which pen tips to use, how each pen tip creates its own unique stroke
pattern, and how those strokes can be used to create outlining, shading,
and detailing in your burned images.

6 The Art of Leather Burning

Pen-Tip Profiles and Burning Strokes
Outlining and
Writing Tips
The three burning pen tips shown in Figure
2.1 are used to create even, uniform lines or
texture-fills. The loop-writing tip, left, also
burns small oval spots for background fill
and decorative accents. The ball tip, center,
makes even, consistent medium-sized lines Figure 2.1. Loop-Writing and Figure 2.2. Medium Writing-Tip
Medium-Writing Pen Tips Strokes
and perfect little circle dots in your design.
The medium writing tip (see Fig. 2.2) creates
mid-sized, even lines when held against
the leather with a normal, or natural, hand
pressure. A light touch to the leather lets this
tool tip create a fine detailing line.

Shading Tips
Graduated shading strokes are created using
the three pen-tip profiles shown in Figure
Figure 2.3. Shading and Wide-Ball Figure 2.4. Wide Ball-Tip Strokes
2.3. The flattened surface of the tips spreads
Pen Tips
the heat across a wide area of metal, giving
the tip edge a low temperature when it hits
the leather. The two pens to the left are used
primarily along the curved side edge of the
tip. That curve means that your shading
stroke has no harsh edge lines along the
outer edge of the stroke.

Fine-Line Detailing Tips

Extremely fine lines can be worked using a Figure 2.5. Fine-Line and Micro-Ball Figure 2.6. Micro-Ball Tip Strokes
micro-writing loop pen, the point of your Pen Tips
shade pen, or a micro-ball tip cone (see Fig.
2.5). This style of pen tip is perfect for the
fine detailing inside the folds of a flower
petal, animal fur lines, and cross-hatch
shading lines.

Basic Pyrography Techniques 7

 a TIP b Using a scrap
piece of leather, experiment
with each of your pen tips to
discover the lines, strokes,
and texture-fills that you can
create. You can make nota-
outlines packed dots random curl ball tip tions on your practice scrap
to identify which tip and
temperature setting you used
to work each sample square
for easy reference as you work
through these projects.

scrubbie packed lines dark fil loop tip

simple shading edge shading short-line shade spear shader

detailing short hair edge shading curved shader

Figure 2.7. Pen-tip Profile St okes

Safety
Let’s take a moment to consider a few simple safety precautions:
1. Your project media should be an untreated, unpainted, and 5. Use a surge protector for your pyrography pen or unit, plugged
unfinished natural surface. Paints, polyurethane sealers, varnishes, into a fully dedicated wall socket.
and chemicals used to treat wood can release toxic fumes during 6. Make it a habit to turn off the unit or pen and unplug your burn-
the burning process. Vegetable-tanned leather is suggested for ing unit from the wall socket or turn off the surge protector. An
your woodburning leather projects. Leathers that have been unattended hot pen tip can cause fires.
dyed or chemically treated should be avoided.
7. While working, set your pens either on the pen stand provided
2. Do an Internet search on the media that you will be burning to by the manufacturer, on a ceramic tile, or on a large ceramic
discover whether it has any toxic properties; there are several dinner plate to avoid the pen touching your pattern paper, tracing
excellent data bases available. paper, or any other flammable surface.
3. Work in a well-ventilated area. A small table fan that points 8. Pyrography pens can easily reach 750 to 950 degrees and can, if
toward your work will move the smoke and fumes away from touched, cause severe burns. So if your hands are getting tired
your face. Whenever possible, work near an open window. or you are distracted from your burning, or if the pen handle
4. Avoid laying your project in your lap during the burning steps. becomes too warm to use comfortably, take a break.
This places your face directly above the fumes, increasing your
chances of inhaling the smoke.

8 The Art of Leather Burning

Hand Positions:
How to Hold the
Pyrography Pen
Hold your burning pen in a relaxed, lightly
gripped handwriting position in relation to
the leather. Let your hand float just above
the surface of the leather with only the side
of the hand grazing the work. The more
comfortable your grip and hand position,
the more even and smooth your burned
lines will be.
The pen tip shown in Figure 2.9 has a
sharp side edge and crisp ending point that Figure 2.8. I use my smallest finge tip as a resting point for the weight of my
hand. Having just one anchoring point—that finge tip—lets me pull long, even
can be used to work extremely fine detail
strokes while controlling both the position of the pen tip and the distance
lines. To keep these lines as thin as possible, between my hand and the work.
raise your hand into a more upright position
so that as little metal as possible contacts
the leather.

Tracing a Pattern
To trace a pattern onto your work surface
(in this case, leather), lay a sheet of graphite
paper under the paper pattern so that the
transfer side is against the leather. As you
trace the lines of the pattern, the graph-
ite paper transfers the lines to the leather.
Alternatively, you can blacken the back of
the paper pattern with a soft pencil, cover-
ing the paper completely. Place the pattern
onto the leather and trace over the pattern
lines, transferring them to the leather. The
pencil lines can be removed later on using a
white artist’s eraser.

Figure 2.9. Upright Hand Position

Basic Pyrography Techniques 9

 Figure 2.10. After the outline
of the parrot was burned and
the background solid-filled with
a dark tonal value, acrylic paint
added bright white, greens,
blues, and reds to the feathers. Adding Color
Two to three light coats of satin
acrylic leather finish ere used
to seal the leather and protect
and Finishes
the paint. This project was
worked with 5/6-ounce leather. There are several excellent brands of leather
(See pattern, p. 103.) dye on the market that can be used to color
the entire leather project or to add color
to your leather sculpting or burning. Dyes
are alcohol- or oil-based and come as pre-
mixed liquids, ready for use. If you choose to
use a leather dye for your pyrography work,
remember that the dye will change the
tonal values as well as the unburned leather
used in the project. There are several col-
oring agents that you may already have on
hand—acrylic paints, permanent marking
Figure 2.11. You can thin your acrylic paints and craft paints with water to create pens, and artist-quality colored pencils.
a semi-transparent wash that adds just a light hint of coloration. The Mayan Wrist-
Before you add either dyes or coloring
band was burned using the same technique as the Mayan Boot Belt. White, yellow
gold, and raw sienna acrylic paints were thinned by half with water and then agents to your finished project, do a test
washed into the hieroglyphs’ faces and stone designs to add just a touch of color sample on a scrap cut from the same leather
without losing the pyrography work. (See pattern, p. 100.) as that of your project. Work a small burning
on the scrap that contains a sampling of
the tonal values that you have used in your
larger project. You can now experiment with
which type of coloring agent works best for
your design.

Acrylic Paints
Acrylic paints can be used to add small
touches of bright color to your leather
burnings, or thinned with water to create
semi-transparent stains for working shading
Figure 2.12. Pink Henna Flower Figure 2.13. Yellow Henna Flower painting. Water-thinned acrylics soak into
Key Tag Key Tag the vegetable-tanned surface of the leather
Permanent marking pens add bright color to your leather pyrography. Since they very quickly, almost instantly, and cannot be
are semi-transparent, medium- and dark-burned tonal values show through the blended to create a smooth, even, over-all
pen ink. Apply two light coats of satin acrylic leather finish o your completed stain for your leather background. Acrylics
pyrography burn. Allow each coat to dry completely before adding the next. Work
used straight from the jar or bottle do not
your marking pens over the finish o allow the ink to fl w smoothly and to create
even coverage. Permanent marking-pen colors can be blended by working a paler soak into the leather as an alcohol or oil dye,
color over a darker color. The alcohol in the paler color refreshes the darker color, and, therefore, can chip, crack, or peel over
allowing the two to blend. When the inking is complete, allow the project to dry time.
overnight; then apply one more coating of acrylic finish. ( ee patterns, p. 114.)

10 The Art of Leather Burning