Home CNC Engraving
Specialty studio
Words, marks, and places — cut into hardwood.
Bible verses, Christian imagery, company logos, topography and site layouts, and custom artwork. Carved, pocketed, or inlaid — and always proofed before the slab goes on the machine.
The premise
Engraving is not decoration tacked on. It is designed into the slab.
Most engraved furniture is built first and marked afterward, which is why the words so often sit in the wrong place — across a knot, into a seam, upside down from where anyone sits. We work the other way around. The layout is drawn on the actual board before it is jointed, so the passage, the logo, or the contour lines land where the figure of the wood makes room for them.
Everything here is cut on our own machine, in our own shop. Nothing is sent out, which means a test cut costs a piece of scrap and an afternoon rather than a shipping cycle.
Close-up of script carving with resin fill
Verse left bare, raking light showing carve depth
Theme 01
Bible verses
Words that remain.
A verse on a table is read at an angle, upside down, and from across the room — which makes layout the whole job. We set the line breaks to the grain and the seating, not to a text box, so the passage reads naturally from where people actually sit.
Type is chosen for how it cuts, not how it looks on a screen. A flowing script needs a fine V-bit and enough stroke weight to hold a fill; a Roman capital can go deeper and stay crisp. We show you both on the proof.
- LayoutSet to the seating and the grain, proofed at full size
- Carve60° or 90° V-bit for script; flat-bottom pocket for heavy type
- FillTinted resin, contrasting inlay, or left bare for a quieter read
- ReferenceBook, chapter, and verse set small beneath the passage
Carved cross with stained-glass line work
Ichthys detail with brass inlay
Multi-color resin fill, sanded flush
Theme 02
Christian imagery
Symbols cut, not stuck on.
Crosses, the ichthys, a crown of thorns, a shepherd's crook, stained-glass-inspired line work drawn to fit the slab's proportions. We draw the artwork for the piece rather than scaling a clip-art file until it fits.
Stained-glass work is where multi-color resin earns its place: separate pockets, each filled and leveled in turn, then sanded flush so the surface stays a surface.
- ArtworkDrawn in-house, or your artist's vector file
- Line workConsistent stroke weight held across curves
- Multi-colorPocketed and filled in sequence, sanded flush
- ScaleComposition drawn to the actual slab, never scaled to fit
Logo carve at the center of a conference table
Reception desk face with carved and filled logo
Brand-color resin fill, curing
Theme 03
Company logos
Your mark, made permanent.
Reception desks, conference tables, retail counters, and recognition pieces. Send vector art and we work from it directly; send a JPEG off a website and we redraw it to vector before anything is cut.
Brand color is matched with tinted resin. If your mark has hairline strokes that a carve would blow out, we will say so and propose an inlay instead — that conversation happens before you commission, not after.
- FilesAI, EPS, SVG, or PDF vector preferred
- RedrawRaster art rebuilt as vector in-house at no surprise
- ColorTinted resin matched to your brand spec
- RolloutsMulti-location builds held to one written spec
Topographic carve of a lake in a coffee table top
Contour detail, raking light
Site plan carve with brass pin markers
Theme 04
Topography & site layouts
A place, at depth.
A lake, a mountain range, the property line, a campus, a job site. We build the toolpath from real elevation data and cut the contours in stepped passes, so the surface you touch is the terrain rather than a picture of it.
Contour interval is a design choice: wide intervals for a bold, readable relief; tight intervals for a quiet, topographic-map read. We cut a sample in the same species before committing the slab.
- SourceSurvey data, USGS elevation, or your site plan
- IntervalChosen for the piece — bold relief or fine contour
- CuttingStepped passes; ball-nose finish pass on terrain
- AccentsWater in tinted resin; boundaries and markers in brass
Family crest carved into a table corner
Floor-plan carve with brass room markers
Signature carved at fine depth
Theme 05
Custom imagery
Whatever the piece should say.
Family crests, floor plans of a first house, a signature, a child's drawing reproduced at scale, line art commissioned for the piece. If it can be drawn, it can usually be cut.
The honest limits are stroke weight and depth. Very fine detail carved shallow disappears under a finish; carved deep it chips. We test on an offcut of your species and show you the result before the slab goes on the machine.
- InputVector, clean scan, photograph, or a napkin sketch
- PreparationTraced and redrawn for cutting, not auto-traced
- TestCut on an offcut of your species, photographed for you
- LimitsStroke weight and depth discussed before you commit
How a carve happens
Four gates. You hold the third one.
Vector proof
You get a full-size layout showing type, artwork, placement, depth, and fill color on a drawing of your actual top.
Test cut
We cut the artwork on an offcut of your species and photograph it, so you see how the wood takes it.
Client approval
Nothing touches the real slab until you approve the proof and the test cut in writing.
Final carve & inlay
Cut in-house, filled and leveled if the design calls for it, then sanded flush and finished.
Start a commission
Start an engraving project.
Send the passage, the logo file, or the coordinates. We will come back with a layout question or two and a proof.