Upon entering my booth, she was immediately drawn to one specific piece: Obsidian Flight. A mixed media piece of a bee on a walnut oval, about 10” tall. This piece used a variety of techniques and materials such as stippling and shading to create texture, blue black foil to color, and rhinestones for dimension.

The Request

She went on to request, “Tell me about this piece”. Maybe the fact that it was not a question but, rather, a request that threw me off.  I am used to fielding questions like “What wood did you use?” or “What did you use to color?”. It could also have been that I don’t typically talk to art connoisseurs. Whatever the reason, I was not prepared with a response. Part of working these shows, however, is being able to think quick on your feet, and I gave what, I hope would be perceived as a well-rehearsed answer. So I told her about the wood and the technique I used. I suggested she touch the wood and told her about the foil and rhinestones. She simply nodded her head, said she would take it, I packaged it up for her, and she went on her way.

The experience got me thinking about being prepared for the types of questions you get as an artist. They are not the same kind of questions you get at pop-up markets and farmers’ markets. I need more than just a fact sheet about the piece; rather, I need to have a story. People who are out to purchase art are here to buy an experience. They want to know how the artist was feeling, what their motivations are, not just the materials that were used.

Preparing for Questions to Come

This reminded me of something Brian asked me for.  He asked me to make him cheat sheets for the pieces with general information like what type of wood I used, what I used to color, what techniques, etc so that when he spoke about the pieces he knew what he was talking about. Brian is generally the salesman while I burn on site or talk to customers about commissions. Here are some things I think will help to be prepared when these types of questions come up at shows:

1. Be ready to tell a story: Not just bullet point one-word answers but rather, a comprehensive description. 
2. Keep it short. Two minutes is more than enough to convey your thoughts and emotions. 
3. Gather your thoughts around all your pieces. Generally, I am prepared to tell a story with my “bigger”, show-stopper pieces. This needs to extend to the smaller pieces as well because even those can have an impact. 
4. Capture the highlights of the piece: the look, canvas, techniques, colors, mediums, and any extras
5. Be ready to talk about how the piece makes you feel. This is key. People who buy art are purchasing an emotion. Make sure that, when you are pitching your piece, you are explaining what the piece made you feel when you were creating it. What inspired you?  No one can tell that story better than you.

In my case, I told her that the wood was solid walnut, locally sourced. I pointed out some of the techniques I used, such as shading and stippling, to create color and texture. By having her feel the bee, feel the indentations of the dots, I made sure she could connect with the piece. When she asked about the foil, thinking maybe it was peeling, I addressed her concerns that the glue I used gives added texture. The rhinestones, I honestly told her, were just an added bling because I loved sparkle. 

Lastly, I expressed to her the emotional connection I have to a piece.  Bees are extremely powerful creatures, and I am inspired by them. I think that resonated with her.  She referred to herself as the “Queen Bee” and that solidified her connection to my art.  Do you have any stories about customers surprising you with unexpected questions? Share your story and tag us @bz_furfur and, as always, stay unique.

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In art, you don’t always need to follow what other people are doing. Sure, when you start out, it is good to try and replicate others’ styles and techniques to get better at your craft. After years of following others, there comes a time when you must venture off the beaten trail and create something that is uniquely yours, even if it means you may upset those purists who are out there.

Meet Burnie

As a kid I didn’t have a lot of toys so, as an adult, love my toys.  Maybe I am making up for lost time.  My latest toy is a Fookos FE20 (modded to 40 Watts) laser engraver. We call him Burnie the Intern. The deal I made with Brian was that, if we were going to “employ him” for the business, we would need to find a use for Burnie.

I started by taking flat stock and making some shapes. I used this to create tiny canvases for jewelry. The idea was that not everyone who comes to our markets and shows has the money for a $100+ piece of wall art. By creating small pieces that capture the same beauty and charm as my larger pieces, people could own a piece of my art without having to break the bank but, also, without me having to devalue my work.  With the success of these ,I have expanded out to sell the jewelry blanks online, using It’s David and Renee’s stellar flat stock, and have introduced a whole new selection of artists to this form of expression.

Off the Beaten Path

Not one to be satisfied with simply using Burnie for only one purpose, I was looking for other ways to incorporate the engraver into my process. The idea hit me when I was preparing for my submission for The Mint Museum. I was tasked with making a piece that is almost 4’ by 3’. Creating something that is that large, that has the level of detail that I expect in my pieces, was a tall order. So, instead of doing one single large piece, I decided to leverage Burnie to create many smaller pieces that could be incorporated into one larger piece.

I used Burnie to create a number of, what I call, “stickers”.  These are cutouts of shapes that I can then burn on and layer over a larger piece to create one, large, cohesive work.  For instance: Take the shape of a flower, cut it out with the engraver, then, using my Razortip, burn the details onto the sticker and layer it onto the larger piece. I cut out small square spacers that I can use to add the stickers at different depths and overlay them. 

Getting to know Burnie

Obviously, as with any tool, it is important to know what you are working with and understand what materials work best. Plywood, for instance, isn’t of great quality and is comprised of thin slices of wood that are glued together. I was getting air pockets, and it would snap really easily. Additionally, the glue would give off toxic fumes when burned, causing me to get sick.  Hence why I switched to using solid wood instead of plywood, and I look to our friends at It’s David and Renee for all our flatstock.

Tips if you want to use your own laser engraver:

• There is a steep learning curve for the software and for the machinery. Expect a lot of trial and error.
• Make lots of practice cuts. Until you are more proficient with the machine and the software use cheap flat stock wood (typically birch) for practice. You are going to need to figure out the speed, strength, and how many passes are required to get the best results. Learn how to configure the software correctly for this.
• You will need to figure out where to position your machine on the flatbed so that it is centered properly.
• Get a honeycomb bed.  It is worth it. The honeycomb sits on a metal plate that will prevent you from burning straight through into whatever your engraver is sitting on top of. Use pegs in the honeycomb to keep the wood from moving around.
• Cameras are available as an optional accessory to help with positioning. Note: We don’t have one so we can’t speak to how well it works.
• I use light tack transfer paper, typically used for vinyl craft (runs about $0.10 per ft; https://a.co/d/8EtL9YF) on the flat stock before I burn. It helps with flashback (The burn on the back of the wood). I put it on the front and the back. This reduces the amount of sanding I have to do at the end.  Instead of using a heavy grit to sand down the flashback, I just need to use a fine grain sandpaper to smooth it out. 

Some general safety guidelines:

• Looking directly at the laser can damage your retinas. Some laser housings will have tinted plastic.  This can be remove,d but it’s best not to unless you’re doing it temporarily to clean your laser.  They also sell glasses you can use to protect your eyes.
• Burnie produces a lot of smoke and can be toxic.  It is best to not breathe the fumes in. Make sure you have an enclosure, with proper ventilation, and fan.  I purchased a 4” fan and accordion tube to vent the smoke produced outside. I also purchased an air purifier to help with the smell.

Burnie is not the enemy

As pyrographers, we are predisposed to think that laser engraving is detrimental to the art.  It doesn’t need to be that way.  You can use it as one of your tools in your toolkit, along with your pyrography tools, your paintbrushes, your milling tools, and your sanding tools. Embrace the art in all its forms.  Do you have a story about how you go “Against the Grain”. Share it with us. Tag us @bz_furfur and, as always, stay unique.

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It may seem strange that, in a series about pyrography, it isn’t until the fifth blog post that we actually talk about burning. That is because a thoughtfully planned and carefully considered piece of art will often yield a better end product than one which is hastily assembled. For that reason I spend a lot of time making sure that I have the right wood, it is properly milled, I am satisfied with my patterns, and they are carefully transferred to the wood.

Burn, baby, Burn

Now, with our canvas and patterns assembled, it is time to start burning. Some basic tips for creating a good burn:

1. Know your tips. Experiment with the tips you have and really get to know the tips. Try burning at different temperatures, holding the tip at different angles, turning the tips, different pressures (softer / harder). See what kind of different textures you can create. It is important to practice with your nibs.  The only way you are going to know which nibs suit you best is by using them. What suits one pyrographer may not suit another. Some pyrographers prefer bigger nibs for small details. Some can create big details with small nibs. Personally, I prefer the smaller nibs because they offer me better control for more accurate results.
2. Try different woods. Feel free to go out of your comfort zone and try different woods. Just as you need to be familiar with your different tips you need to have experience working with different woods.  Knowing how different woods will react to different temperatures, pressure, and tips will ensure that you’ll be able to have a professional looking piece every time, regardless of the canvas.
3. Turn up the heat. I burn hot. Burning hot gives me overburn which I can then sand down.  This will give me deep, crisp lines. These will serve as the basis for your burn and, after sanding down the overburn, I can add in more details and shading.
4. Plan beyond the pattern. Your pattern gives you the basic lines of your piece but  you have to consider where your details and shading are going to be.  Do you plan to add a lot of shading to this one portion? Maybe use softer lines so that you can blend it in.
5. Think about color. If I am going to add color my art I am not going to do as much shading as it’ll get lost under the paint.  If I am going to do an all black and white, however, I will do more shading. If I am planning to add embellishments I may use fewer details in those spots as the embellishments will be the highlight.

These tips are obviously what works for me and might not be what works for everyone. Experiment and get to know your wood, your tools, and your comfort levels.

The Finishing Touch

The little finishing touches you add to your pieces may not seem like much but they can, ultimately, be what allows your piece to stand out from the crowd. A little glitter, some shine, or some vibrant color might be exactly what draws people to your art so they can then really examine it and see all the hard work and details you have put into the piece.  Some tips for adding finishing touches:

1. Embellish, embellish, embellish: There are may forms of embellishments: foil, gold leaf, acrylics, watercolors, rhinestones, chrome markers, gel pens, resin, beads, gems, and a myriad of others. Pick the ones you are comfortable working with and experiment with the ones you are not. This will enhance your artwork and make it truly unique.
2. Clean up. Go over and clean up any stray marks on your piece. Look for areas where your piece needs to be evened out. Erase any graphite or pencil markings. 
3. Give it a once over. Look over the art and make sure that it is exactly as you want it.  This is your last chance to make any changes before sealing / framing. Double check that you have all your stipples, make sure your lines are complete. Complete lines are especially important if you are planning on using watercolors as they’ll bleed. Make sure overburns are clean and sanded down well.
4. Check the edges: If you are using live edge make sure it looks good. Check for pieces that may be falling off. Glue them back on if necessary.

Bonus Pro Tip: Do you have pets? Make sure that there are no stray hairs from your fur babies on your piece. We love our critters but we don’t want their fur to be a permanent part of our artwork.

Hopefully this gives you a good idea of how to refine your work and get the best final product you can. Do you have your own suggestions for burning and finishing? Tag us @bz_furfur and, as always, stay unique.

The post Planning the Art Part 5 – Burning and Finishing Touches appeared first on Burning with Purpose.

The Big Three

There are three things to consider when deciding what to create: What do people want to buy, what are you good at, and what do you love to make. Starting out you may not know the answers to the first two, but you probably have a good idea about what you want to make. So that is where you start. Here’s the rub; the things that you love to make may not sell great initially. You have to test the market with things. The most important thing to remember is that not immediately connecting with your audience isn’t a bad thing. Pay attention to what people are saying they like/don’t like about your work so that when you can start answering that question about “what people want to buy”. Pay attention to which items do sell and consider making more of those.

You also need to try to answer that third question: Things you are good at. There are a few ways to do this. It can be hard to sometimes to have an unbiased critical eye on your own work so seek advice from others. Ask friends and family. Post online to FB groups, Instagram, and Reddit and ask for others’ opinions of your work. Ask people at markets. Sometimes I’ll have two versions of the same piece that is each slightly different and I’ll ask customers which they like better. Be warned; if you post online, be prepared for honest criticism. If you cannot take harsh critiques or aren’t used to receiving negative feedback you should brace yourself when posting your work online because honesty can sometimes be hard to hear and some people can be downright rude.  Just remember that your work is not a reflection of who you are and, with criticism, you can only improve.

Narrowing your scope

Now that you are starting to get to know the big three it is time to start segmenting those into different categories of work. I am going to break these down individually:

• Aspirational Projects These are the things that you love to make and people want to buy but you haven’t mastered the skills yet to create them. For me, these are photo-realistic portraits. I get asked for them all the time, I would love to make them (especially pet portraits) but I don’t feel my skills are there to quite do these pieces justice. I aspire to be good at this and one day I will but, until then, they are out of my wheelhouse.
• Things that make money but can burn you out These are those projects that you have made that everyone loves, you have perfected the skill of creating them, but you just aren’t passionate about doing them. I had a lot of success with coasters early on. I made dozens of coaster sets and, eventually, got sick of them. They sold well so I kept making them but eventually, I got burnt out. So I raised my price on them so, if people really want them, they can still buy them but I don’t find myself making them as frequently which means I am less likely to be frustrated when an order comes in for them.
• Things that you make for yourself There are going to be those things that you make, that you love, and that look fantastic but never seem to sell. This can be because they only suit your particular taste or because they just don’t have the broad appeal of some other things. That doesn’t mean you shouldn’t do those things. You do what you do because you love it. If these projects bring you joy then make them, hang them up in your house, and share them with your loved ones. Not every piece is going to sell and that is ok. It is about keeping your passion alive and, if you can do that by making the occasional piece for yourself, c’est la vie

The Sweet Spot

Obviously, as time goes on you’ll start to find that sweet spot.  The place where all three converge: Things people what, that you love to make, and that you are good at. Me, when I realized how much people loved my florals, it occurred to me that I found something special. Something that makes me happy, that I have honed my skills at, and that people absolutely adore.  Once you find that, try your best to capitalize on that. Make large statement pieces to draw customers in, make small affordable pieces to get those volume sales, and make mid-size pieces for those people who want some beautiful wall art but can’t afford the big statement piece prices.

Remember, finding that sweet spot isn’t going to happen overnight. It takes time to hone in on each one of these categories. If you listen to our podcast, PyroToastyTalks, you’ve heard Renee and I talk about this in “How to Stay in Love with Your Art”. Take your time, have fun doing it, and make sure you are constantly learning and adapting along the way.  Have you found your sweet spot? Let us know and tag us @bz_furfur and, as always, stay unique.

The post How to Find Your Niche in the World of Art and Pyrography appeared first on Burning with Purpose.

Four Reasons to Give Homemade

1. A gift should be unique. When you are choosing a gift for a family member or friend it should be representative of that person. Although getting a neat gadget or knick-knack might seem like a great idea those gifts are less likely to make them feel like you recognize what makes them unique to you. Handmade gifts are one-of-a-kind. Every crochet stitch, brush stroke, and marking is a one-of-a-kind. It will contain imperfections but, like us, those imperfections are what make it special. The receiver will know, without a doubt, that this was made with them in mind.
2. A gift should tell a story. One of the things I like to tell my clients who commission work from me is that the wood I use has a story behind it. Whether it is the tree itself that it was cut from, where it came from, a mishap or mistake that turned into your favorite part of the piece, or some new technique that you needed to learn to complete the piece. These stories become a part of the piece. They are the stories you tell when someone comes to your house and you are admiring it. They become a part of what makes the piece special.
3. A gift should last a lifetime. I never like to throw away a gift. This is something that was given to you because the gifter thinks you are special and deserving to be remembered. Giving something that is only meant to be used a few times only to be discarded or re-gifted means that the receiver will not cherish it. Something that is made with care, love, and quality materials is going to withstand years of use. These are gifts that will move with someone from home to home. These are the things that will be passed down between generations.
4. You don’t need to be an artist to make something homemade. There are plenty of ways to make simple, homemade gifts that don’t require you to be a master craftsman. Beginner crochet kits and Paint by Numbers are great ways to be creative while maintaining guardrails to help you along. Pinterest has tons of ideas for things that you can create that are beautiful and personal. Or, if you simply don’t have the confidence or the time, you can commission a handmade gift for a loved one. Artists such as myself love creating unique and personal gifts. These make wonderful gifts because, even though you didn’t create them yourself, it show that you took the time to find an artist whose art represents what you want your loved one to think of when they think of you.

Happy Holiday Shopping

The holidays are so hectic and being creative may be the last thing on your mind for this time of year. Maybe, this year, set aside some time from your busy schedule, make a list of those loved ones who you know would appreciate the care and consideration that only comes from something handmade, and come up with a plan for how to make their holiday extra special. Have you ever received a homemade gift that you cherish? Share your story and tag us @bz_furfur and, as always, stay unique.

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As an artist, social media is both a help and a hindrance. It is both time-consuming but mandatory in today’s market. The struggle many artists have is finding a balance between personal and professional. How much of yourself do you put on display for the masses? Many artists show off only their professional side and their work. Others fully integrate their personal lives alongside their art. I’ve tried to sprinkle in bits of my personal life here and that, of what makes me who I am, but tow the line between too much and not enough.

My life outside the social media and markets

Earlier this year I was pregnant. Brian and I were ecstatic after having been told that, due to medical reasons, we would not be able to conceive. We had previously lost two babies due to miscarriages and were very pessimistic that we would get pregnant again. So we hoped and prayed until the seventh week. Our previous babies were both lost at week six, therefore, week seven was a victory for us allowing us to grow less wary and more hopeful. 

I had decided this pregnancy would be the one where I simply enjoy being pregnant. Foregoing the stress over what might happen in favor of enjoying the moments of knowing I was growing our little bean. Rather than plan too far in advance I approached it with a degree of cautious optimism. Despite wanting to dive into being pregnant, being a Mom finally, I knew that I needed to be realistic.

Complications

In April I was admitted into the hospital for shortness of breath which had gotten progressively worse over the last several weeks.  Assuming it was due to an increasingly sedentary lifestyle I attributed it to me being out of shape. That was until the day that I almost passed out walking a mere ten feet. It turned out I had developed a serious and potentially deadly saddle pulmonary embolism (blood clot) in both my lungs.

As a precaution, I was told to go see my OB for a post-hospital check-up. It was then that we received the heartbreaking news; our baby had stopped growing at nine weeks. To say we were devastated fails to capture how hurt and saddened we were, are, and probably always will be. The tiniest bit of solace came from the fact they were able to get a sample which allowed us to test for the gender of the baby and the cause of the miscarriage. With that information she was granted her name, one we had carefully chosen, Felicity Emma. 

Loss, honoring a life, and friends

When we first found out we were pregnant, I asked David and Renee (of Its David and Renee) to make a memory box. A place to store “All The Things” that come with being pregnant: baby books, sonograms, letters, post-it notes, hospital knick-knacks, and such. Knowing how amazing they are I gave them full creative freedom to create it however they saw fit. My only criteria was size and that it be able to close. It would be like receiving a surprise gift even though it was something I commissioned.

When we lost Felicity, her memory box became her memorial box. It still holds her baby books, her first and last pictures, letters, and notes. The box itself is truly a work of art. David crafted it using Curly Maple and Walnut. The chatoyance in the maple is truly beautiful and mesmerizing and I love moving it so I can watch the light dance on the grains. The walnut trim adds a beautiful contrast to the maple’s creamy light color. It was so beautiful I almost didn’t want to burn on it.  I knew, however, that to help me heal and to grieve I needed to complete it. We treated this piece as if it was a commission from a customer. I put us first and created a pattern that paid homage to us and her by creating bouquets of our birth flowers according to our month of birth. I lost myself in the burn, seeking solace as I created as I always do.

Felicity’s box is so much more than a box. It is a hug from afar, a simple comfort in a time of great sorrow. You can tell when the artist has become a part of the piece. I am blessed to have them as friends.

Facts about Miscarriages:

Miscarriage is the sudden loss of a pregnancy before the 20th week. About 10% to 20% of known pregnancies end in miscarriage. But the actual number is likely higher. This is because many miscarriages happen early on before people realize they’re pregnant. And because of the stigma of having a miscarriage.

Most miscarriages happen because the unborn baby doesn’t develop properly. About half to two-thirds of miscarriages in the first trimester are linked to extra or missing chromosomes. 

Things that don’t cause a miscarriage

• Exercise, as long as you’re healthy. 
• Sex.
• Arguments.
• Use of birth control pills before getting pregnant.
• Working, 

Things that may cause a miscarriage

• Uncontrolled diabetes.
• Infections.
• Hormonal problems.
• Uterus or cervix problems.
• Thyroid disease.
• Obesity.

If you or someone you know is in need of counseling, please do not hesitate to seek help. Loss and grief can be overwhelming. There are groups that specialize in infant and pregnancy loss. There are many groups and counselors available for support.

October 15 is Pregnancy and Infant Loss Remembrance Day. I may be early, but I am honoring my girl.

If you read this far, I love you, and you mean the world to me for hearing our story. Stay unique my friends.

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