Every piece that comes out of this shop starts the same way — with a clear idea of what it needs to be and a realistic plan for how to get there. I don’t cut until the design is right, the wood is right, and the toolpaths are dialed in. What follows is how that actually works.
STEP 01 — DESIGN
Every project begins in Vectric Aspire — professional CAD/CAM software built specifically for CNC woodworking. This is where the idea becomes a plan.
For commission work, the design process starts with your input. Subject matter, text, dimensions, references, intended use — all of it informs the layout. I build the design from scratch, model the relief geometry, set carve depths, and run a full simulation before anything touches wood. You see a digital mockup before I cut a single line.
For original work, the design phase is where the piece either earns its place or gets scrapped. I’m not interested in running wood through a machine just to produce something. If the design isn’t right, the carve won’t be right.
Nothing moves to the next step until the design is approved — by you on commission work, or by me on everything else.
STEP 02 — SELECT
Wood selection isn’t an afterthought. The species, the board, and the grain orientation all affect how a carve looks and how it holds up over time.
I match the material to the job. Deep 3D relief carves go on hardwoods with tight, consistent grain — walnut, cherry, sapele, hard maple. Pieces where the wood character is part of the aesthetic might call for southern yellow pine with its bold, dramatic figure. Intricate detail work where the carving itself needs to be the focus often goes on basswood, where the grain doesn’t compete.
Once the species is chosen, I select the actual board by hand — checking for flatness, looking at grain direction relative to the design, and inspecting for any defects that would land in a bad spot. All stock is kiln-dried and acclimated in the shop before it runs.
A mediocre board will produce a mediocre result no matter how good the toolpaths are. I don’t shortcut this step.
STEP 03 — MACHINE
The X-Carve runs the work. What it doesn’t do is make decisions — that’s already been handled in Aspire.
Most pieces run multiple passes with different bits. A roughing pass removes the bulk of the material quickly. Finish passes with smaller ball-nose bits define the surface detail. For V-carve work, a V-bit cuts the crisp lines and lettering. Each pass is set up with specific feeds, speeds, and step-over values tuned for the wood species and the level of detail required.
Workholding matters as much as the toolpaths. A board that moves mid-cut ruins everything. I use an L-fence and clamp system that keeps the material locked down for the full run, no matter how long it takes.
Machine time varies widely — a simple sign might run under an hour. A detailed 3D relief carve on a large board can run four to six hours or more. I don’t rush the feeds to save time. Surface quality comes from correct settings, not speed.
STEP 04 — FINISH
The machine produces a carve. The finishing process produces a piece worth keeping.
After the cut, I hand-sand the flat surfaces and any areas that need cleanup — careful to preserve the crisp edges and detail in the carved sections. The goal is to remove machining marks without softening what the bit worked to define.
Finishing starts with Watco Danish Oil, applied by hand and allowed to penetrate fully. Danish Oil enhances the natural grain color and brings out the depth of the wood without building up a thick film on the surface. It’s what makes walnut look like walnut and cherry look like cherry.
Once the oil has cured, I apply wipe-on or spray polyurethane for protection. The number of coats depends on how the piece will be used — a wall piece gets a lighter build than something that will see handling. Between coats I sand lightly with fine paper to keep the surface level and smooth.
The finish is the last thing anyone sees and the first thing anyone touches. I don’t rush it.
That’s the process — four steps, no shortcuts. If you have something in mind, the commission form is the place to start. I’ll walk you through it from the first conversation to the finished piece.