Wood Grain and Bespoke Furniture: Part 3

Wood Grain Patterns, Figure, and Practical Implications for Bespoke Furniture

In Part 1 we explored what grain is: the orientation of wood fibres left behind by annual growth, and how it reveals structure. In Part 2 we saw how grain direction influences strength and movement. In this final sector, we turn to grain patterns and figure - the visible surface effects that arise from different fibre directions, sawing techniques, and structural irregularities. These patterns, while familiar to the eye, have real physical meaning in how wood behaves and are important to understand when designing bespoke furniture.

The term grain has many facets. At its core, it describes the alignment of fibres, which governs strength, shrinkage and workability. A related but distinct concept is figure: the visual patterns that result when fibre direction varies, interacts with growth rings, or is revealed by different sawing methods.

Grain Patterns Defined

Woodworkers and bespoke furniture designers use a set of descriptive terms to categorise the way fibres are arranged and appear on the sawn surface. Common descriptors include:

·       Straight grain: fibres run in an even, consistent direction along the board.

·       Spiral grain: fibres twist around the trunk in a helical path.

·       Interlocked grain: fibres reverse direction periodically, creating alternating orientations.

·       Irregular grain: fibres run in varying, non-uniform directions.

·       Wavy grain: fibres change direction in a regular undulating pattern.

These basic patterns are structural rather than decorative: they tell us how fibres are aligned, which in turn affects mechanical performance (stiffness, shrinkage, susceptibility to twist and warp) and workability.

Straight grain is the easiest to work with and best for dimensional stability [1]

Open Grain vs. Closed Grain

A separate but related distinction describes how visible and porous the surface pattern is:

·       Open grain (coarse grain): associated with hardwoods that contain larger, visible pores, for example oak and ash. The pores, formed by vessel cells, create a distinctive, pronounced pattern on plainsawn surfaces.

·       Closed grain (fine grain): found in woods with smaller, more uniform fibres and smaller or fewer visible pores, such as maple or cherry. These tend to show more subtle surface patterns.

The distinction matters both visually and physically: open grains often absorb finishes differently, require grain filling for a smooth surface, and can exhibit more pronounced texture, while closed grains typically finish smoother and more uniformly. For example, a recently finished bespoke walnut desk felt like glass to touch it was so smooth.

Figure: Structure Translated to Surface Pattern

While grain refers to the fibres’ direction, figure refers to the visual effect when grain deviates, interacts with rays, or is revealed by sawing orientation. Some common figured patterns include:

Bird’s Eye

A pattern of small, circular swirls that resemble miniature eyes, often found in maple and other hardwoods. The cause is not fully understood but is likely due to localised stress and fibre distortion during growth.

Birds eye maple timber [2]

Burl (Burr)

Resulting from a deformed or turbulent growth, often due to injury or infection, burls create highly irregular, swirling figure with dramatic appearance. They occur in many species, including walnut and elm.

Dark walnut burl [3]

Crotch Grain

Occurs where a large branch meets the trunk, producing a “Y”-shaped pattern with dramatic contrast. Common in walnut and mahogany and prized for fine veneers.

Crotch grain [4]

Curly / Fiddleback / Flame

Caused by small, regular undulations in fibre direction, this produces a shimmering, wavy effect across the surface. This figure is highly sought after for its chatoyance — a three-dimensional shift in appearance with light movement.

Flame maple on the back of a violin [5]

Ribbon and Quilted Patterns

Seen in species like sapele and maple, these arise from more complex fibre interactions and reflect light differently across the surface.

Ribbon figure found in sapele [6]

These patterns are often collectively described as figured grain, though strictly speaking, grain refers to fibre alignment and figure refers to what the variation in that alignment makes visible once sawn. Understanding the difference is critical in interpreting what you see in a board.

How Sawing Methods Reveal Grain and Figure

The way a log is sawn substantially dictates how grain and figure appear on the board’s surface. The principal cutting methods — flatsawn, quartersawn, and riftsawn — produce very different appearances and movement behaviours.

·       Flatsawn (plain sawn) boards show broad “cathedral” or arch patterns with the growth rings at a shallow angle to the board face. This style can emphasise bold figure and grain contrast.

·       Quartersawn boards result from cutting the log into quarters and sawing radially. Grain appears straighter with more vertical orientation and these boards exhibit less cupping and twisting with changes in moisture. In oak this often exposes the medullary rays.

·       Riftsawn is a variant offering very consistent straight grain and improved dimensional stability. It is a premium, highly stable lumber cut where boards are milled perpendicular to the log's growth rings (typically a 30°–60° angle, ideally 45°). This process creates a straight, vertical, or "combed" grain pattern with no medullary rays (flecking). It is the most expensive and least common cut due to high material waste during production, making it ideal for high-end furniture and cabinetry.

The choice of sawing method affects both appearance and performance: flatsawn boards can be dramatic but less stable; quartersawn and riftsawn boards are structurally more predictable and exhibit more uniform shrinkage patterns.

Workability, Stability, and Grain

Straight grain is generally easier to work with hand and machine tools because the fibres move in predictable directions and are less prone to tear-out. In contrast, interlocked, spiral, or highly figured grain can lead to more tear-out, requires sharper cutting edges, and demands a steadier hand with careful attention to the changing grain direction while working it.

In addition, grain pattern interacts with moisture-related movement: boards with more uniform fibre orientation tend to expand and contract more predictably across their width than boards with irregular or wavy patterns. This does not make figured grain unusable; it simply adds another layer of behaviour that must be accounted for in design and joinery.

Why Grain Patterns Matter in Practice

For anyone working with solid timber, from furniture makers to cabinetmakers and woodworkers of all kinds, recognising and understanding grain and figure is essential. Grain patterns affect:

·       Visual character and surface texture

·       Machining behaviour and finish quality

·       Dimensional stability in service

·       How wood responds to changes in humidity

Figured boards may be used for non-structural surfaces, panels, or decorative elements, while boards with more uniform grain are preferred for long spans, load-bearing members, and components where predictability is paramount.

Grain and Figure: Practical Categories

To summarise some commonly used terms and what they imply:

·       Straight grain: predictable, easy to work, stable.

·       Irregular / wavy grain: increased figure, potentially more movement.

·       Interlocked grain: decorative ribbon but more difficult to machine.

·       Open grain: bold texture, visible pores, may require grain filling.

·       Closed grain: subtle pattern, smoother finish.

Closing Thought

Understanding grain patterns and figure is not about aesthetics alone. It is about reading the wood - seeing where fibres run, how they might move, and what that means for design, construction, and long-term behaviour. The visible surface is just the beginning of the story; the patterns you see reflect the internal structure, growth history, and physical behaviour of the material.

[1] Burton, K. (2019) Vertical Grain Douglas-Fir [online]. Woodcraft. Available at: https://www.woodcraft.com/blogs/wood/vertical-grain-douglas-fir?srsltid=AfmBOoprynL4te1ibj-Q2sE-cPuFD_7z3U4685KrUJoxG4Q92sGiEawZ (Accessed: 13 November 2025)

[2] Surrey Timbers (n.d.) Bird’s Eye Maple Timber [online]. Available at: https://www.surreytimbers.co.uk/product/birds-eye-maple-timber-11-24/?srsltid=AfmBOoqzL41Cl3Keb_LOLp0mAC3EC5aRmrha_H0Fq8U3GiiclP9gOcJY (Accessed: 13 November 2025)

[3] Wood-Veneer.eu (n.d.) Brown Oak burl veneer [online]. Available at: https://www.wood-veneer.eu/woods-and-veneers/brown-oak-burl.html (Accessed: 13 November 2025)

[4] Snow Woodworks (n.d.) Crotch Woods [online]. Available at: https://www.snowwoodworks.com/crotch-woods (Accessed: 13 November 2025)

[5] Wikipedia (2026) Flame maple [online]. Available at: https://en.wikipedia.org/wiki/Flame_maple (Accessed: 13 November 2025).

[6] Elkhaddar, A. (2025) Wood Grain Pattern: 5 Designs to Love [online]. Glamorwood. Available at: https://glamorwood.com/types-of-wood/wood-traits/wood-grain-pattern/?srsltid=AfmBOorDS_Okm8dbIfeIeNYXQTRaP518hozdUlLClHf9XJoP6CI7s9Op (Accessed: 13 November 2025)