My name is Joe and I am a pyrographer. What was a 23 year hobby / part time side hustle turned into this “trial” business of Burnt Relic as of November 2024. My focus is primarily people portraits and memorial plaques. When in between custom order bookings, I may make something with elephants, dolphins, turtles… to add to the wood burning online shop.

I started out making wood burnings as a different creative outlet as I was bored with traditional drawing and painting.

This Pyrographer’s method.

I’ve tried various techniques over the years, from freehand, transfers, stencils, and to projections to get the image onto the wood. While all of those have their pros and cons. I found that a combination sometimes works best depending on the size of the piece.

Personally, I prefer to draw what I call an under burning with pencil (akin to a painter’s underpainting method). Where I do block form basic shading as a general guide. Then I’d proceed to burn in the shadows and then freehand the finer details while looking at a reference photo. That’s just my method. And what works quickest and best for me.

A lot of pyrographers don’t like to add much graphite but I burn most of it away. I feel the resulting tone combinations sets my work apart as it’s highly contrasted which makes it more adaptable to view at any distance. It also stands up against fading longer than if I don’t do it. Keep the plaques away from sunlight and UV Rays.

How I Fell Into Making Memorial Plaques.

I found that over time people would request wood burnings of their dead loved ones… memorial plaques. Which at first I hated. And I stopped doing pyrography for years as a result. Because it was depressing as hell and the pressure of getting the likeness just right was a bit tough for a few of the clients.

To be honest, most people, they selected really crappy photos. Like faded and stained ones from the 50’s. Or ones that I’d have to reject. But I didn’t say anything because I didn’t want to offend them in case that’s all they had. In some cases they told me it was all they had when I asked if they have any other photos for reference.

For instance, the one with a baby in a cradle that you couldn’t see it’s face. It was from the 70’s which had that low grade cheap discolored K-mart photo faded orange effect. And it was the only photo of the baby… and that baby died in a fire. They were wanting to get it for their friend, the mother. I couldn’t do it because there was no details to work with and I felt really bad rejecting that potential client. Didn’t even get to make one and it got to me. So I do have to be selective on what photos I work with and I will have to reject some photos and potential clients. Please do not take offense.

A Difficult Project.

The one that hit me the hardest was of a 6 year old that died in a car crash. His uncle ordered a plaque for the mother. I took a gamble and removed some of the baby fat from the face to age progress him to be the age that he would of been on his birthday of that year. Which was the day it was gifted. He would of been 9.

Since, she already had photos of him, that one used for reference in particular. The mother ended up really loving it, because it allowed her to see her child as he would be as if he was still around. It was a gamble that paid off for them. But I felt a lot of pressure. Not from them in terms of critique or anything. But the need to get it just right, feeling the vibe of the uncle and his intent. Wanting it to feel as if he was still around and not lost.

What I Struggled With As a Pyrographer.

I was just starting. I hadn’t perfected my techniques or anything. At the time I was basically just charging for the wood and a few bucks and hour. Half of what minimum wage was at the time. While she loved it. I felt I didn’t do the kid enough justice. I had the wrong nibs and should of used different techniques for the shading. My pens burned out in the process and didn’t really get to finish it to my liking and I didn’t have enough money to get more pens. The man seemed happy with it so I shipped it to him.

Plus it was really sad, knowing that every person’s portrait that I end up doing is dead got to me. The least of which was knowing they’d never get to see the plaque themselves. The most of which was the feeling that I was responsible for the final image of those people.

Coping with Pyrographer Frustrations.

Some people wanted idealism and not realism. I draw what I see and NOT what I think I see. With the exception of the 6 year old. And a few of the living subjects as well clients wouldn’t see the details that I see. People think that they look different than they actually do. And that bugged me. I mean ask me to remove a scar…fine. But asking me to not shade something how I actually see it, how it actually is… that’s delusional and defeats the purpose. Thinking the “dimple” makes them look “older” When that’s a key characteristic of their face which doesn’t exaggerate their age at all. Those kind of clients stress me out.

People Portraits in General.

For living subjects, I’d get people wanting 3 grandchildren or a couple’s photo on a single small plaque which I now refuse to do. I got a strict One Face per Plaque rule now. And not full bodies. Clothing and such is too busy and bothersome. So I focus on faces.

Here is one of my earliest pieces, gifted to these coworkers. I had to sand down what was the proper cheek shading and shape (it made her look “old”) in order to please her taste…making it look off. I also didn’t bother softening up his ear or doing the finer details of the hair, liking the fact that it looked illustrated. Going for a block style. I forgot to take a photo after adding more shading to his nose and forehead.

And this is before I started sealing the work with resin and whatnot. I’ve since improved the process and I only depict what I see.

In Conclusion.

I’ve learned to see and accept the positive side of the memorial plaques and portraits in general. Not many people do it and I can see some of the reasons why they don’t. I’m sure you do now as well.

But it seems to be my calling. As the people that receive them are often overwhelmed with joy (So I hear, as I never got to see it …in regards to memorial plaques). Tonight I will see one being unboxed on YouTube. I did it as a portrait and not as a memorial plaque though (no Text). As a pyrographer that will be cool to witness.

I also learned to distance myself from the aforementioned pressures and focus on the artistic choices. What details jumps at me to add or leave out. Whether I go for Van Gogh like grunge style or a soft pointillism approach like the portrait below. I let reference photo decide for me if that makes sense.

You may have seen this one on other pages on this website, it was a work Secret Santa thing that I made for the subject’s boyfriend aka my coworker…

Thank You For Reading About This Pyrographer.

I now view being a pyrographer as a chance to do something unique and my work as a way for people to honor their loved ones that involves the human element. Meaning the love and time that goes into each plaque. The careful consideration and planning involved. Rather than tedious busy work.

I’ll always think that I could of done better as a pyrographer no matter what I do or how I do it or what the subject is. Even though I don’t know the people in the memorial plaques. I figure I don’t know the living ones either. So what difference does it make, right? I can only do my best and if that’s not good enough then oh well. The dead can’t complain and the living can lighten up. So can I. So I shall. Thank you for reading this “about me” page. Thank you for considering what I do.