Creative Woodworks & crafts 2000-08, страница 57

Pragon Silhouette, by Mark Meyers, from the September 1998 issue. This demonstrates the excellent contrast that can be obtained between the inside cuts, all 220 of them, and the white birch plywood It is cut from. Only the inside of the mouth is not burned to indicate that it is an internal area as opposed to the outside skin. Because of the many inside cuts, the burning time on this project was unusually long. Edge burning took 2:20 hrs. and chamfer burning took 1:05 hrs.

No line burning or shading was needed here.

Tiger Wall Clock, by John Nelson, from the June 1993 issue. While this project seems to have a lot of separate inside cuts, there are

actually only 40. They tend to "flow" into one another, with one drilled entrance hole covering a lot of cutout area. Burning time on this project consisted of 1:15 hrs. of edge burning and 0:48 hr. of

chamfer burning, with no line burning or shading. Note: "his pattern is presently available from ""he 'Wooden Teddy Baar, Bex 33817, Portland, OR 97292-5917.

Whltetail Silhouette pattern No. 1180 from Wildwood Pesigns. Only the deer figure was taken from the pattern. The wood fence arid tree background were added to give more action and depth to the circle. Burning times are estimated here. Line burning of the grass, fence and tree required approximately 0:10 hr„ edge burning took 0:45 hr„ chamfer burning 0:30 hr„ and shading required 0:10 hr. This project was cut from white birch and stained along the double row circle with walnut Panish oil finish.

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Victorian Wall Clock, by Pirk Boelman, from the April 1997 issue. This is a good example of just what woodburning can

add to a project. By burning the edges, more depth is added, and the chamfer burn gives the outline of the subject much more clarity and definition. The time involved In completing the burning was 3:30 hours total, broken down into

line burning 0:15 hr„ edge burning 2:15 hrs., and chamfer burning 1:00 hr. No shading was required because this project was made of an oak plywood, with the natural grain and color inherent in oak providing all the contrast needed.

Wolf Plaque, by Billie Bowman, from the July 1998 issue. When a project is cut from a mahogany plywood which is naturally dark, It usually requires extending the chamfer burn further into the surrounding area to give it the necessary contrast.

A higher burning temperature is used to make it almost a black outline around each cut. Because of the few and very large inside cuts, this plaque only required slightly more than one hour burning time broken down into edge burning about 0:40 hr. and chamfer burning about 0:20 hr. No line burning or shading was required for this project.