About the service
I cut wood, birch plywood and furniture board on a router, from a single decorative overlay for a cabinet door to a repeatable run of several hundred identical parts. Everything starts with the file. If you already have artwork, send it as vectors and I will check it for open contours, self-intersections, bridge thickness and how the shapes nest on a sheet without wasting material. If all you have is a photo, a pencil sketch or a description in words, I redraw the pattern from scratch at your size and send it back for approval before anything goes on the machine.
Material is chosen for the job, not out of habit. Birch plywood holds fine fretwork calmly: the veneers are cross-laid, so a bridge of five or six millimetres survives being lifted off the bed. Solid wood looks better on the edge and feels better in the hand, but it stays alive — the board moves with humidity, so thin fretwork cut into a single solid board can warp over time, and for patterns like that I will honestly steer you towards plywood or a glued panel. Furniture board goes where the part will be painted in an opaque colour. One more thing to plan for: the cutter is round, so an inside corner can never be tighter than half its diameter. The machine will round it off. That is geometry rather than a defect, and we either build the radius into the drawing or add relief holes at the vertex so the corner reads as sharp.
What I make most often: furniture overlays and door panels, fretwork screens and radiator grilles, standing letters and interior logos, surface engraving, and jigs for repeat batches. Parts never leave raw — I break the burr, work the edge and the end grain, sand, and on request finish with oil, wax or paint. Routing dust is fine, so the machine runs with extraction throughout, and finished parts are handed over cleaned and packed: film, interleaves between layers, a rigid box for anything fragile. Artwork carrying someone else's logo or protected imagery is cut only once you confirm you hold the rights; state and award insignia I do not produce.
What to send in the file:
— vectors in curves (dxf, svg, cdr), contours closed, drawn 1:1;
— raster images as reference only — I will redraw them as vectors;
— part size and material thickness, or simply the task in words: where it goes and how it is fixed;
— material and finish colour, if a finish is needed;
— quantity and deadline: a batch costs less per piece, because the jig and the nesting are done once.
Material is chosen for the job, not out of habit. Birch plywood holds fine fretwork calmly: the veneers are cross-laid, so a bridge of five or six millimetres survives being lifted off the bed. Solid wood looks better on the edge and feels better in the hand, but it stays alive — the board moves with humidity, so thin fretwork cut into a single solid board can warp over time, and for patterns like that I will honestly steer you towards plywood or a glued panel. Furniture board goes where the part will be painted in an opaque colour. One more thing to plan for: the cutter is round, so an inside corner can never be tighter than half its diameter. The machine will round it off. That is geometry rather than a defect, and we either build the radius into the drawing or add relief holes at the vertex so the corner reads as sharp.
What I make most often: furniture overlays and door panels, fretwork screens and radiator grilles, standing letters and interior logos, surface engraving, and jigs for repeat batches. Parts never leave raw — I break the burr, work the edge and the end grain, sand, and on request finish with oil, wax or paint. Routing dust is fine, so the machine runs with extraction throughout, and finished parts are handed over cleaned and packed: film, interleaves between layers, a rigid box for anything fragile. Artwork carrying someone else's logo or protected imagery is cut only once you confirm you hold the rights; state and award insignia I do not produce.
What to send in the file:
— vectors in curves (dxf, svg, cdr), contours closed, drawn 1:1;
— raster images as reference only — I will redraw them as vectors;
— part size and material thickness, or simply the task in words: where it goes and how it is fixed;
— material and finish colour, if a finish is needed;
— quantity and deadline: a batch costs less per piece, because the jig and the nesting are done once.
