The CNC Process at Outta Timber

Every piece that comes out of the workshop starts with the same question: can the machine actually do this? Most of the time, the answer is yes — even when it shouldn't be.

Where it started

I taught myself CNC machining the hard way — starting on an old machine that was programmed in DOS, punching in X, Y and Z coordinates by hand, line by line. There was no CAD software translating a design into a toolpath for me. If I wanted the machine to cut a curve, I had to work out the coordinates myself. That grounding means I understand what the machine is actually doing at every step, not just what a software package tells it to do — which matters when a job pushes outside normal limits.

Since then I've moved into full CAD/CAM design and programming, but that early experience is still why I can take on jobs other CNC operators won't — pieces that experienced operators have told me are ahead of what the equipment is meant to handle.

What I cut

CNC cutting, engraving and machining across timber, plywood and MDF — from precision architectural components to decorative cutouts, wall art, signage and custom one-off shapes. Whether it's a single feature piece or components for a larger structure, the process is the same: accurate to the piece, not just close enough.

Built to hold

Cutting the shape is only half the job — how it's joined matters just as much. I've run my own joinery testing on real builds: different combinations of glue, screws, nails and clamps, left for 48 hours, then broken apart to see what actually holds under load. That's not theory — it's testing done on jobs that had to perform, including work on one of the largest timber structures in the Southern Hemisphere, where I built components before going on-site to help construct it.

Scale

This process has been used on jobs from single custom pieces up to million-dollar builds — including community hubs and university zone projects. Same machine discipline, same attention to joinery, whether it's one wall arch or a structural component.

Have something tricky, unusual, or outside the normal CNC playbook? Get in touch — that's usually the kind of job I like best.

Resin Craftsmanship

Choosing the Right Resin for Every Piece

Not all resin is the same — and using the right product for the right job is the difference between a piece that lasts decades and one that yellows, clouds, or cracks within a few years.

At Outta Timber, I work with a range of trusted resin brands, each chosen for a specific job:

  • Deep-pour casting — for the large, crystal-clear pours used in river tables and statement pieces, I use U Resin and Health of Mind, chosen for clarity and the ability to cure evenly through thick sections without cracking or overheating.

  • Top coats — for the glass-like surface finish that shows off the timber grain underneath, I use Luciclear and Stone Coat, giving that deep, glossy "wet look" and a durable, scratch-resistant surface.

  • UV resin — for fine detail work, small inlays, and pieces needing a fast, precise cure, I use Total Boat UV Resin and Art Tree UV Resin.

  • Speciality effects — for coloured pours, pigmented details, and standout finishes, I use Dalchem Crystal Clear, Total Cast, and U Resin.

Every brand is commercial-grade and paired with proper timber preparation — slab stabilisation, sealing, and controlled pour temperatures — so the finished piece holds its clarity and strength for years, not just on delivery day.

See it for yourself. Curious how resin actually holds up over time? You're welcome to visit Art Tree Creations to see resin samples now over six years old — real proof of how these materials age, not just a sales pitch.

Bolding the brand names makes it clearer at a glance that these are specific products you've chosen to work with, not resin "types" a customer would need to research separately.