Although the place and time of the art of wood burning in history is unknown, it is among the rumors that it is very old.


A copy paper on wood or a picture to be drawn by overhead or projection is copied. We have to make sure that the pictures to be copied are not very detailed. When you select a detailed picture it will be very difficult to go into detail and when you say the details, you can ruin your close work. With the wood-making machine made by the copy, first of all, it should be carried out as top line. Of course we should be able to predict the degree of wood burning machine and the severity of the burning machine otherwise we will be able to pierce the wood we use. In wood burning art, remember that your floor is not wood, not a lead, but a pencil, but you can still apply shading or intonation techniques like a paper and a pen. However, it is useful to emphasize that when we draw a copy of the picture we will do, you can think of how we will be rigorous when burning it on wood. Wood You can do this art by heating simple iron soldering iron or a iron as well as special machines for burning art. Currently, there is little support for the art of wood-burning, since young artists do not pay enough attention to the art of wood burning, since marketing has an unqualified customer base.


With a special sense of what others throw away or try to avoid, designer Tina Astrup explores visual stories in wood. The works at the exhibition could well resemble furniture, but Tina Astrup’s own interest lies somewhere else. She works intensively to create and highlight characters and patterns. In the machining, tactile materialities arise in an interaction that calls for touch.

The raw material, the processed fineness
A number of large, triangular wooden blocks stand in a group on the floor of her workshop in Højbjerg outside Aarhus and are waiting for an exhibition. They are raw, some have an open, porous structure with cracks after rapid drying. Tina Astrup has carefully treated them and emphasized the tactile qualities: one side sanded smoothly and almost glossy, another still rough and black brown in time in the forest. The dimensions are like a sitting furniture – but they are just as much sculptures free standing in the room.


Wooden structures have existed since the earliest days of Man’s life.
Knowing the stone, and having probably a notion of its possibilities of support when contemplating the roof of the cave where it inhabited, the first beam will have appeared to him in the form of a trunk of tree fallen of margin the margin of a course of water and on which he could pass confidently.


The man has always been able to use, with more or less advanced techniques, wood both as an energy source and as a starting material for the realization of goods. Woodworking was one of the first human limbs: from clubs and lances to the dawn of civilization, to canoes dug in tree trunks, to plows used in agriculture, to three-legged stools to complex structures of modern era.

Primitive man used wood to defend himself, to hunt, to keep warm and to erect stilt houses. Over time, river navigation began to develop and it is here that the Egyptians and later the Greeks and Romans used this material to build boats. Then, it was medieval and Renaissance art that made wood an indispensable means for building furniture and creating beautiful sculptures.

Even today, despite the availability of other materials, wood continues to be used in large quantities in construction, for the construction of furniture and for obtaining products useful to humans, such as paper and all other cellulosic materials.


Wood is a living and natural material. In the trunk, the part closest to the center is called heartwood, while the outer part is called the sapwood. Always in the center there is the marrow around which are arranged the rings that indicate the growth of the tree. Each ring corresponds to a year of growth and from the number of these we can easily calculate the age of the tree.

The trees, cut with special machinery, are taken to sawmills where the trunk is cut according to some well-defined patterns. After that, the wood is seasoned in which its moisture content is reduced to acceptable levels in order to work it. Normally natural drying is the most followed and consists in placing the wooden planks, appropriately spaced and protected by a covering, outdoors. After a set period the boards are ready to be worked, but often the level of humidity reached is still a bit high for the timber destined for the interior and must be treated artificially.

The multilayers are generally made with sheets of poplar or birch arranged orthogonally to each other so as to cancel the forces along the direction of the grain. They are ideal for some structures and can be of different sizes and thicknesses. The cut and the drilling do not present obstacles, but the surfaces can be slightly frayed after the operation: you must therefore always intervene with sandpaper. The use of screws does not present problems on the flat face of the sheet, while on the thickness, ie where you see the various glued veneers, it is not desirable because a good seal is not guaranteed.