Frequently Asked Questions


Straightforward answers about the artwork, materials, available pieces, custom work, and what to expect from Found in the Grain.

FAQs

About the Work

  • Found in the Grain creates one-of-a-kind artwork shaped by the natural character of wood.

    Grain, color, figure, edges, shape, and movement can all influence the direction of a piece. Rather than treating the wood as simply a surface for an image, I try to make the material part of the composition itself.

    Original studio work is the primary focus, along with a limited number of custom pieces created for clients who are comfortable allowing room for artistic interpretation.

  • Yes.

    Natural wood varies in grain, color, figure, shape, and character, and each composition is developed around the individual piece of material.

    Similar subjects may appear in different works, but I’m not interested in producing exact duplicates. The wood and the artwork should give each finished piece an identity of its own.

  • Mostly by what catches my attention.

    Color and contrast are often the first things I notice, but shape, unusual grain, figure, edges, movement, and natural imperfections can all make a piece interesting.

    I tend to gravitate toward wood that is a little less predictable. Once something catches my eye, I bring it into the shop, prepare it, and spend some time figuring out what direction it wants to go.

  • Usually not.

    Sometimes a piece suggests an idea almost immediately. More often, the direction develops through exploration.

    I may turn the wood around, look at it from different angles, prepare the surface, try an idea, and then realize that another composition fits the material better.

    There is a process to making the work, but much of the creative part is intuitive.

  • It means I try to let the material influence the work instead of forcing every idea onto the same shape or surface.

    The grain may suggest movement. An edge may affect where a subject sits. The shape of the wood may change the balance of the composition entirely.

    The wood doesn’t make every decision, but it gives me something to respond to.

  • The laser is a tool that gives me precision, control, and the ability to create detail while allowing the wood itself to remain visually important.

    I combine that technology with hands-on material preparation, finishing, composition, and design.

    The goal isn’t simply to put a laser engraving on a piece of wood. The goal is to bring the material, image, and process together into a finished piece that feels like they belong together.

  • There is hands-on work throughout the process.

    I select and prepare the material, sand and clean it, make decisions about shape and edges when needed, develop the composition, engrave the design, and finish the piece in the shop.

    Laser technology is part of the process, but it doesn’t replace the decisions or craftsmanship that go into the finished work.

  • Most pieces retain true live edges created by the natural growth of the tree. Others may be lightly shaped or refined while keeping an irregular, organic form.

    I generally try to preserve the character that made the material interesting in the first place rather than forcing every piece into a standard shape.

Available Work

  • Yes.

    A changing selection of finished, one-of-a-kind pieces will be available directly through the website.

    Because each piece is individual, availability changes as work is completed, sold, or placed elsewhere.

  • No.

    The Gallery is a broader collection of work and may include available pieces, sold work, pieces in private collections, and selected commissions.

    If you’re looking specifically for artwork that is currently available, the Available Work section is the best place to start.

  • Yes.

    I’m open to conversations with galleries, retailers, interior designers, hospitality businesses, and other partners whose spaces, clients, or customers are a good fit for the work.

    That may include direct purchases, curated collections, consignment, or other arrangements depending on the situation.

Custom Work

  • Yes, selectively.

    I enjoy custom work when a client brings a story, place, memory, subject, or idea and is comfortable allowing me room to interpret it through the material and composition.

    The strongest custom pieces are collaborative, but artist-led.

    If you’re looking for an exact reproduction of a predetermined design with very little room for interpretation, I may not be the right fit. If you’re looking for someone to take what matters to you and turn it into something original, I’d be glad to hear about it.

  • No.

    A place, memory, person, subject, photograph, story, or general idea is often enough to begin.

    Part of my work is figuring out how those ideas can become a finished piece. The material and composition are developed as the project takes shape.

    You do not need to arrive with a finished design.


  • Your story, subject, important details, and overall goals form the foundation of the piece.

    From there, I need enough creative freedom to make decisions about material, layout, imagery, proportion, and composition.

    I want you to feel connected to the finished work, but I also want the piece to benefit from the same artist-led process I use in my original work.

    I will provide a design proof for you to review before committing to the final engraving, but the best custom projects are built on trust.

  • It starts with a short inquiry where you tell me what you’re thinking about.

    I’ll review the idea and may follow up with questions about the subject, intended space, size, timing, or anything else that will help me understand the project.

    If it feels like a good fit, we’ll confirm the general direction, pricing, deposit, and expected timeline. Once the deposit is received, I’ll begin developing the design and selecting or preparing the material.

    You’ll receive a design proof before engraving begins.

    Once that direction is approved, the piece moves into production, finishing, and delivery.

  • Yes.

    Custom pieces include a design proof for review before engraving begins.

    The proof is intended to confirm the major direction, subject matter, layout, and important details before the work becomes permanent.

  • Reasonable changes can be made during the design phase.

    I want to make sure the important parts of your story or idea are represented correctly, but the process works best when revisions are used to refine the piece rather than continually redesign it from scratch.

    Once the design is approved and engraving begins, changes may no longer be possible.

  • No, and that is intentional.

    The Gallery is there to show the range, style, and direction of the work—not to serve as a catalog of templates.

    A Gallery piece can absolutely be used as inspiration, but your material and composition will be developed for your project.

  • I’m most interested in pieces that have room for both meaning and interpretation.

    That might begin with a landscape, wildlife subject, family story, important place, memorial, photograph, personal symbol, or another idea that matters to you.

    The specific subject matters less than whether there is enough creative room to turn it into a strong piece of artwork.

  • Not every project will be.

    Timing, budget, subject matter, material requirements, or the amount of creative control involved can all affect whether I’m the right person for a project.

    If I don’t think I can create something I’ll be proud to put my name on and you’ll be proud to own, I’d rather be honest about that before either of us invests too much time.

    That is not a rejection of the importance of your idea. It simply means the fit needs to be right for both sides.

Timing & Pricing

  • Custom projects currently take approximately 4-8 weeks.  

    Design approval typically takes 2–4 weeks depending on demand and client response time, with an additional 2–4 weeks for production and finishing after design approval. This does not include shipping time.

    More involved pieces may take longer depending on size, design complexity, material availability, finishing, and the amount of development required.

    I can give you a clearer expectation once I understand the project.

  • Occasionally, but not often.

    Found in the Grain prioritizes the quality of the work over speed. Material preparation, design development, engraving, and finishing all need the time they need.

    If you have a specific date in mind, let me know when you submit your inquiry and I’ll tell you honestly whether it is realistic.

  • Most custom projects currently fall in the $500–$2,000+ range, depending on size, material, design complexity, and the overall scope of the piece.

    Smaller or simpler projects may fall toward the lower end, while larger statement pieces and more involved work can go beyond that range.

    Because each project is different, pricing is based on what the work actually requires rather than a fixed menu of options.

    You will know the expected price before committing to the project.

  • Yes.

    A deposit is required before design work begins. Most projects currently require approximately 20–30%, while more involved work may require up to 50%.

    The exact amount will be explained before you commit to anything.

    The deposit secures your project in the schedule and allows me to begin design development, material selection, and preparation.

Shipping, Installation & Care

  • Yes.

    Finished work can be carefully packaged and shipped. Shipping requirements and costs may vary depending on the size, weight, value, and destination of the piece.

    Local pickup may also be possible by arrangement.


  • Display and hanging requirements vary with the size, weight, and shape of the work. When a piece is intended for wall display, appropriate hanging considerations will be included or discussed before delivery.

  • Most pieces need very little maintenance.

    Occasional dusting with a soft, dry cloth or duster is usually enough. Avoid prolonged exposure to direct sunlight, excessive heat, high humidity, or moisture, as natural wood can change over time.

    If the surface needs cleaning, use a lightly dampened cloth and dry it promptly. Avoid harsh cleaners, abrasives, or soaking.

    Wood is a natural material, and subtle changes in color or tone over time are normal. If a particular piece has special care requirements, I’ll provide those when it leaves the studio.

Still have questions?


If there’s something you’d like to know about the artwork, an available piece, a custom project, or working with Found in the Grain, feel free to get in touch.

 Contact Found in the Grain