Behind the Scenes: The CharBorn Process

Introduction

I spent years testing different methods and techniques before committing to my current process. In this article, I'll take you through how I achieve my signature style and explain, step by step, what I do and why I do it.

Chapter 1 – Beginnings

Everything I do starts with the wood.

I select timber with characterful grain patterns and a bright yellow tone. I avoid wood that is too dark, orange, red or brown, as these colours tend to dull the final result. I particularly enjoy working with chunky pieces of reclaimed pine and spruce, provided they are clean and dry.

After levelling the wood perfectly square on all sides, I rip it down into planks, cutting through the growth rings to expose the grain patterns on the surface.

This is the point where compositions begin to suggest themselves. Is it symmetrical? Subtle or bold? Elegant or dramatic? Sometimes a surprisingly interesting pattern emerges from the core of the timber and becomes a key feature in my art. Sometimes a section I thought would look great appears unbalanced or compressed once cut and is discarded or re-cut along another plane to reveal something else.

For anyone with an interest in woodworking: I use a DeWalt table saw fitted with an extremely accurate rack-and-pinion fence to cut all of my wood tiles to their final size and thickness, ready to be charred. I love that tool. It's high quality, accurate and reliable, but it is also one of the more dangerous tools I own and needs to be treated with respect. Push sticks keep my hands away from the blade, and eye protection is an absolute must.

I like to consider the ratios of my art's dimensions: the ratio of the overall size to its width, the frame thickness, the spacing of the tiles, and the difference from one tile size to another. Some size ratios are naturally more beautiful to me than others.

Chapter 2 – The Burn

The wood tiles are arranged on a non-flammable surface and charred with a blowtorch. This is the first opportunity for the process to go wrong. Burn too long and the wood can crack, bend and turn to ash. Burn too little and the distinctive grain lines won't reveal themselves properly after brushing.

If I want the edges of my tiles to sit neatly together, I give them only a light pass with the flame. If I want to create tiles with visible sides, I burn the edges to match the top surface.

Smouldering corners need to be extinguished before they eat away at the shape and size of the tile. I prefer to do this dry rather than wet, to avoid creating a paste from the carbon-black char.

Dead knots can be a challenge. These are areas where branches once grew before falling away from the tree, leaving weak points in the timber. They can loosen during heating and leave holes in the tile. They're best avoided unless the void is intended to become part of the design.

Live knots, where the branch was still attached when the tree was cut, can become beautiful features in the finished piece. However, if they are rich in sap, you need to be careful. Boiling sap can drip or even squirt from the knot while burning.

Chapter 3 – Brushing

There are several options available here, and each produces a different result.

A soft brush leaves more of the char behind, creating a darker, moodier finish. A stiffer brush removes more carbon and reveals greater contrast within the grain. The choice depends entirely on the character I want the finished piece to have.

Brushing is where the hidden structure of the wood begins to emerge. The softer growth rings wear away more quickly, while the denser latewood remains proud of the surface. The result is texture as well as pattern, allowing the grain to be seen and felt.

A nylon brush on a power tool can do most of the work to start with. A face mask is required here, as brushing creates a lot of fine black dust. Then a handheld wire brush carefully removes the remaining char until the grain pops just right. I brush with the grain, not across it, to avoid scratching or breaking any of the fine textured details.

Chapter 4 – Adding Colour with Wood Stains

When I first started staining my wood, I purchased different brands of pre-mixed water-based wood stains. I wanted vivid, bold colour without risking the "rainbow look" that can lack elegance and restraint.

However, I felt restricted by the colours on offer. I tried mixing them together myself to create new ones, but they did not always blend well and lumps sometimes formed. White particularly caused problems by settling to the bottom and forming a paste. I found that lemon yellow worked better, but I still was not satisfied with the level of control I had over my colours.

So that is when I started buying concentrated powders and making up my own custom wood stains. I measured out exact quantities and added them to water. I developed a range of signature colour recipes and particularly enjoyed making oranges, blues and greens. These colours looked like rivers, trees and the warm glow of the sky. This is how I came to name my first collection, "Forest Sunrise".

I went on to develop other collections, such as "Mineral Vein", where I used more rust and terracotta colours in layers like a geological section of the earth, and "Driftline", where I focused on teal and ocean blues.

The other advantage of this part of my process is that when a customer wants a piece made in a certain colour palette, I am able to create something unique to order.

Chapter 5 – Finishing with Epoxy Resin

I spent quite a while weighing up the pros and cons of different wood finishes. These included oil, shellac, lacquer, varnish and wax. They either dulled my colours or provided poor protection to the finished art.

I then tried a high-quality, UV-resistant, crystal-clear epoxy resin and I never looked back.

I achieved excellent visual depth, great strength and durability, and found that it worked well with mica powders, helping to make my colours shine. Charred wood areas were fully sealed so they did not shed any black dust and, when I did not flood the surface with a deep pour, the wood texture was revealed through moving light and changing viewing angles.

Chapter 6 – The Philosophy Within CharBorn Art

The wet epoxy finish needs to be protected from dust whilst it cures, and any bubbles need to rise to the surface and pop. Once that is done, I can stand back and take in the character of the finished piece.

What story does it tell?

The art I make would not have become what it is had it not been through the fire. Life is like that in many ways: you need the dark to appreciate the light.

Some things in life, and some people, have strength and beauty because, at some point in their past, they went through the flames and got burned. My art is like that. Its beauty stands not despite its burns, but because of them. The wood used won't rot on a forest floor; it will be sealed and preserved. It won't be discarded or forgotten; it will be displayed, considered and enjoyed.

Because it was burned.

It stands as a symbol to everyone that your burns are part of you, and that's okay.

Chapter 7 – Framing Wood Art

You might have guessed from the control I seek over my art that I do make my own solid wood frames from scratch.

I cut the wood to length and then cut an L-shaped profile into it to seat the art. I mitre the corners carefully, join and sand the wood before finishing it with carbon-black furniture paint. Once permanently fixed, the frame becomes part of the art, compressing and holding the colour and design. I keep the frames simple to avoid competing with the bold patterns of the wood tiles, and reasonably lightweight for ease of hanging.

Selling is something I am still working at. It did not come naturally to me, but I am improving my photography skills. It is hard to appreciate the depth and character of my art unless the photography, lighting and angles are carefully considered.

Final Words

I hope my finished art represents CharBorn well, finds a home where it speaks to its owner, complements the space it is in, and brings warmth, interest and a pop of colour.

If you have time, I would welcome your feedback, and please do join my mailing list for exclusive news and offers in the future.