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Wood Burning
Animal Hair and Fur Textures
By L. S. Irish

Mule Deer Wood Burning

Woodburning 101
The Basic Woodburning Tool

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Burning Animal Hair and Fur Textures

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Wood burning animal hair and fur can seem to be a huge task to new pyrographers. So we will look at a few simple techniques that make the project both easily managed and dramatic. 

Let's take a few moments and study the cow portrait wood burning. Notice that there are many different lengths of hair and texture of hair for this cow. An animal's hair length and texture can change in different body areas.

1. The hair along her neck and shoulder is short and lies against the skin.
2. The hair inside the top edge of her ears is the longest hair on her face.
3. The cluster of hair at the horn base is the next longest area.
4. She has a star of hair between her eyes that is a medium long length.
5. The remaining facial hair is rough and clumped into small clusters.
   


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pattern used in
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When I began the drawing for this burning I marked the hair by defining those clumps and clusters of hair. In the early stages of the wood burning I treat each clump as if it were one unit or element, not as individual hairs. 
My birch plywood has been well sanded. The sanding dust was removed with a clean lint free cloth. Next I rubbed the back of my pattern paper with a soft pencil, taped the pattern to my board and used an ink pen to trace the cow portrait to the board.

My first stage of burning on the face is at a medium heat setting to establish the darkest areas of the fur clumps. Those areas are where the fur is tucked under another clump of hair or where you can see down to the skin area. Create a medium color tone, you can darken these areas later in the work.

I used a variable temperature wood burning tool on a setting of 5 for my system. You can also use a one temperature tool and control the coloring by using a smooth quick stroke with your tip.
   

In the second stage of burning I have strengthened the first stage by darkening the shadows were the clumps tuck under each other. Then I moved into the left side of her face. Since my light source is coming into the burning from the left this side of her face is brighter in color tone. The darkest areas for the left side of the face are at the horn base and surrounding her eye. I adjusted my heat setting to a lower temperature for these areas. I have added the darkness to the eyes, nostrils, mouth line and the dark color spot on the right side of her neck. Here I turned up the heat setting slightly.

Because I am working the fur clumps in stages each clump will eventually develop very dark areas, medium tone areas and pale highlights before the individual hairs are added to the wood burning.
   

Adding the darkness in the ears pushes the pale area of her face forward in the burning. At this point you can see the dramatic tonal change between these two areas. 

Sometimes in a wood burning an area is created by not burning that area. This is true for the nose ridge area of her face. Because this area and the eye brow area of her left eye are receiving direct sunlight the fur or hair appears extremely pale in color. There are very few shadows in these two areas and those shadows that do exist are very pale in color tone.

At this point the burning has definite shadows for each clump of hair, dramatically dark areas in the ears, eyes and nostrils, plus very pale areas along the nose ridge and left eye brow.
   
Areas of fur that receive bright or direct sunlight do not show individual hairs. Nor do areas that are either dark because of color or dark because they are in shadow. 
The cow's neck is a deeper color than the white fur of her face. Her shoulder area is almost black in color. Some hair lines will show in the neck coloring area but the shoulder area will appear solid in texturing.

In the shadow areas and medium color area I have begun to add individual hairs by burning thin fine lines that flow in the direction of that hair clump. Each hair will be slightly darker at the shadow area and become pale at the end or outer edge of the clump. A smooth pulling stroke with your wood burning pen will create this changing color in your lines.
   
Medium dark clumps of hair will show the most individual hairs. Medium area will be nearly full of fine line hair and light or pale areas will use only a few lines. The whitest areas of your fur may have no individual hair lines at all. 
As you work the hair lines turn your project so that you are in a comfortable position to pull the stroke smoothly towards you. Don't hesitate as you pull through the burned line, this can cause small dark spots or ragged lines.

You can use a very fine v-gouge carving tool to cut fine white lines into the darkest areas of a burning. I have used my v-gouge in the ear area where the long hair along the ear's upper edge flows over the very black shadow inside the ear. Cut these hairs in several light strokes until you are back to the original color of the wood.

A quick look at what we have done: 
1. Find the clumps of hair in your pattern and trace those, not the individual hairs.
2. Shadow and shape the hair clumps gradually to create many color tones in the animals body or face.
3. Find some areas of hair that will be almost black in tone and others that will remain the white of the wood to add drama.
4. Add individual hairs in the last steps of the burning. Use more in the dark areas and almost none in the very palest areas.
5. Cut fine line hairs into the darkest areas using a v-gouge carving tool.

And remember ... Cows don't own or use combs or brushes. Let your individual hairs cross, change directions and even be a touch wild to create a realistic look to your portrait.

Hope you enjoyed this article
L. Susan Irish

Woodburning 101
The Basic Woodburning Tool

Basic Woodburning Strokes and Textures
Woodburning Scene Samples
Step by Step Instructions Project
Working With Watercolors
Adding Skin Color to your Portraits
The Color Wheel or Who is Roy G. Biv?
NEW! Wood Burning Sepia Values

 

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Copyright L. S. Irish, 1997 - 2007

 

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