Fig. 3. Fig. 4.
After the outlining has been done, the background should be burned in with the curved iron D. Fig. 5 illustrates the manner in which this may be accomplished; the left side is partly finished, and shows the simple and effective mode of lining or “dragging” the ground. The right side is a finished ground, where the cross-strokes may be seen with an occasional oblique stroke to lend added density. It is not always possible to complete a ground until the ornament is shaded, and what may seem to be a finished background before the shading will sometimes afterwards prove too weak or flat, and will necessarily require going over in places to strengthen and darken it.
Fig. 5.
Fig. 6.
Fig. 6 is a piece of finished work where the ornament is shaded to give it character, and where also the background has been retouched in some places to give it a stronger feeling. This illustration is a good example of pyrography, and gives the relative tones of high light and shadow.
Before beginning on an ornamental piece of work, it would be well to practise on clear pine or white-wood, and to become dexterous in the use and manipulation of the tools, and to find the ones best adapted to certain kinds of work. The round-pointed tools B and C, shown in Fig. 1, are good grounders, and where large work and bold patterns are carried out they will be found of use.
As some very fine work is possible in fire-etching, the art can be applied in many ways to decorate pieces of useful and ornamental furniture about the house.