To this day, when I see the work of others whose work I consider better than my own (and after getting over the kick to my ego's shins...), it makes me want to be that good. I ain't even halfway there yet.
This week, remembering the first time I'd ever seen anyone burn a Milton Greene Marilyn, I find myself burning, well, a Milton Greene portrait of Marilyn Monroe.
Greene's 1954 Ballerina...
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvnydigymrVsBlXO__qztG_v0NC3taRMGl2wDoTQZY2ik_YFnT-FRZvHh8z5L70Nv_kb0FfhR53GCvyVOvXYrnhIpSiA7vAFWGkvb8OQtOoAS71EJGibbdwDunVX8zGFZuFMlLSxnVcV57/s320/163852_SP.jpg)
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfuTpv7aif7w8YPttnPSUnQmN_pZ4sMkGy5e_US8Rv1ysiiPofhfqQ3E6CQwUmlcjYlRktg4fVa65jTnEGYs6Weg9W5Nf7iL3XlLHswTzxw7-m4btu8FMdhEIWX6MzLQhSYyzQ38QnfVIg/s320/MarilynLines.jpg)
A burner can be an unforgiving medium. Though I tend to keep it to a minimum, I find pencil sketching invaluable. The heavier lines on Marilyn's shoulder and forearm have already been lightly cut in with a burner.
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjviNhsI9dLejTh2ufRiI9ONEJkgA0RnPeWvsuSWo0Le19owoUUJt-AbTqSluVp0YtGUZQmR61qY5hLN7RDAJ-5owpq4xcVO4kcz5-HTnlFG0O7WHuN4REu8FVtajiKNQALXNGgfUpGak_S/s320/ATT00015.jpg)
I've opted to begin this piece with the dark background tapestry. Often, when I'm working a section that will have areas of heavy scorch (such as the bark of a tree), I start by cutting the darkest lines. I find this helps texturing the burn.
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxIhVERr1ThRS6N0kBRqm9GyAaxixdWCfpw_egR6MbilAUncaJ0ZtebXHa9DpJNxYUGcpP3-qUAUXWhrzT81AD66V4UqxUTOQHetnsCEZfK9vxhZb3oYGCFTq9UAvgXWGjcSQMEeHzCvpl/s320/ATT00028.jpg)
I then 'fill' the now well-margined area I'm working. Take care to work from light to dark. You can always darken a light spot. Lightening a dark spot tends to be more problematic. Charred wood likes to disagree with the process.
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSlGPpDENQTddRZASF1TwNSLUb-06mTVlJQozjbAKFFfvRi_NISyrvlZbiVp6BmTKgKOjQWincFKIE5M1cCKfZC6MgHh_ziChpnfFP5joJOC2jtQInpnEkGV4MXlQfveHHtbLWPCGyH5eD/s320/ATT00008.jpg)
As the area is darkened, this is when you get to "play painter" and burn the highlights and contours.
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjUxqiGW8WHrW3AMNMQ09XYNq2P1bog8Y7h8URYbotFnUNICefehL7bzjAVj16If_QzUdDpZrLU2AguBkk8GciLLtcaRlvuJbPA73rq3KjDEBiKv-UaauDCdX5IOE6Vc2ppVsRjcgWdddW/s320/MarynDay1.jpg)
At the end of the first day, the work is sketched in and the burn begun. Unlike paint on a canvas, wood will only burn at a certain rate. Large, very dark areas will take hours. This piece measures 30" x 24". The tip of the pencil indicates the studied area.
Tomorrow will likely be hours more of the same.