16 pieces we make today

Breadboard-look top with a mitred border frame, square tapered legs, aprons set in. Finished in a white wash that leaves the grain visible.

Entirely 2x4. Square arms and back frame, seven-slat seat with even gaps, mitred outer frame. Painted solid black, which is what makes framing lumber read as furniture rather than as a pallet.

X braces on both ends, shiplap back, two fixed shelves. Dark walnut stain over pine. All butt joints with pocket screws from inside faces.

Top is a mitred geometric field built from offcuts in alternating tones, inside a mitred border. Legs and stretchers are plain 2x4 left natural.

Peaked-roof frame on a plinth base. Two-tone: frame left natural, roof and base painted black. Hook centred under the ridge carries a 10 in hanging basket. Word routed into the gable board.

Horizontal slats, torch-charred then wire-brushed so the grain stands up. Union field routed and painted, one stripe left red. Charring is the finish and the labour both.

Live-edge slab, subjects carved as recesses and filled black so they read against the orange heartwood. Not cut through: this is a relief carve, which the CNC does in one operation.

Pine plank torched to bring the grain up, wire-brushed back, then the lettering masked and painted. Two colours as standard, a black word and one accent word. Edges burnt darker as a frame.

Plywood round, edge distressed to raw ply, face painted cream, lettering applied. Finished with a ribbon bow and faux greenery at the hanger.

Plywood round painted cream, the rim sanded back to raw ply so it reads scalloped. Lettering in two weights, script over block. Gingham, lace and burlap bow with eucalyptus, jute hanger.

A BOX, not a panel: face board, two sides, back, and a flat cap that overhangs on all four sides. Face routed with a guide bushing off an acrylic template. Flameless tea light inside.

Cast in a shaped silicone mould, so the stone is a butterfly rather than a square with a butterfly on it. Demoulded, cured, then hand painted panel by panel and sealed.

Petal outline with a deeply textured seed centre. Painted yellow over a dark seed head. Laid as a run down a lawn or bed, which is how it sells: five or seven at a time, never one.

Same casting process, autumn subject. Runs the mould inventory into a second season rather than letting it sit from October to March.

Round cast with a bee centred on a honeycomb field and a flower border. Painted in four colours plus a wash to settle pigment into the relief, which is what makes the detail read from standing height.

Scalloped form, printed pattern set under clear resin, rim gilded. The pattern is a printed graphic, so the design changes for pennies and the mould never does.