Dimensions, timber, thickness, shape, resin colour, base, seating, finish, care, budget and delivery all influence the result. Here is how to make those choices in a sensible order — so your table is as comfortable to live with as it is good to look at.
Start with the room, not the resin colour
A photograph often sparks the idea: beautiful timber, a resin river and a striking base. When it comes to commissioning your own table, start with the room and how you will use it.
How many people need to sit comfortably? Is it your everyday dining table or an occasional piece? Will you use the ends? Consider chairs, nearby furniture, children, lighting and the timber already in the room before choosing a board and resin colour.
A dramatic table is not a successful purchase if you cannot pull the chairs out, the base gets in the way of your knees or the design overwhelms the rest of the room.
Three tables. Three different design decisions.
These tables feature in our B2B portfolio. Their format, grain, resin layout and bases show why a bespoke design is about more than choosing a colour.
Azure River Dining Table
A statement live-edge table with blue resin, expressive grain and a geometric steel base.
Deep Blue Round Table
A round table combining characterful timber with translucent blue-violet resin.
Live-Edge White Resin Table
An organic timber edge and a white resin river create a lighter visual direction for a dining or meeting space.
These photographs show genuine Ahoj Epoxy pieces. The descriptions use features confirmed in our portfolio; dimensions and timings are agreed separately for each new commission.
A quick starting point
Oak is a versatile starting point for many interiors — but choose the actual board, not just the species.
Walnut can bring a darker, warmer character.
Ash can suit a lighter, contemporary scheme.
As an initial seating allowance, consider around 60–75 cm of table edge per person, then check the actual chairs and base.
A dining-table width of around 90–110 cm can be a useful starting point, subject to your room, seating and intended use.
A thicker top adds visual weight, but also increases the load and reduces clearance underneath.
Clear, smoky and darker neutral resin can sit quietly within a scheme. Strong colour can work beautifully when it is a deliberate part of the design.
The base needs to provide support, leave comfortable legroom and accommodate the timber's movement.
Use a trivet for hot cookware and a chopping board for cutting.
For overseas delivery, discuss a removable base or other appropriate transport arrangement at the design stage.
Illustrative dining-table dimensions
| Seats | Starting length | Starting width | Possible shape | What to check |
|---|---|---|---|---|
| 4 | 120–150 cm | 80–90 cm | Rectangle; round sizes assessed separately | Actual chairs and usable seating space |
| 6 | 160–190 cm | 85–100 cm | Rectangle / oval | Seating at the ends and base position |
| 8 | 200–240 cm | 90–110 cm | Rectangle / live edge | Support, span and clearances |
| 10 | 250–300 cm | 100–120 cm | Large dining table | Access route, handling and weight |
| 12+ | 300–360+ cm | 110–130+ cm | Bespoke / meeting table | Structural design and any planned modules |
1. Match the dimensions to the room
Allowing around 60–75 cm per person is a useful first check, not a complete sizing formula.
Chair width, seating at the ends, the base and circulation space can all change the layout.
Eight genuinely comfortable places may serve you better than ten squeezed into a room that feels cramped every day.
2. Leave room to move
You need to pull a chair out and move around the table.
Around 90–110 cm between the table edge and nearby furniture or a wall can be a useful planning starting point. It is not an accessibility standard or a guarantee that people can pass behind every occupied chair.
For a busy route, allow more and test the layout with the actual chairs. Specific access needs require their own assessment.
3. Choose the shape
A round table can make conversation easy. Its usable capacity depends on the diameter, chair width and base.
A rectangular table often fits a longer room and can suit a larger seating arrangement.
An oval softens the outline and removes sharp corners.
A live-edge rectangle keeps the timber's character, but its narrowest usable areas still need enough space for place settings.
4. Think beyond tabletop thickness
A thickness of around 35–50 mm can be a design starting point, not a structural specification. The timber, resin layout, span and support determine what is appropriate.
A 70–80 mm top makes a substantial visual statement, but also adds considerable weight.
At the same overall table height, a thicker top leaves less clearance for knees and chair arms.
An edge detail or different construction may create visual depth without making the whole top unnecessarily heavy. It needs to be designed for the actual piece.
5. Oak
Oak is familiar for good reason: its character can work with a wide range of interiors.
Its grain can sit naturally alongside dark metal, stone or a contemporary kitchen. The selected board and finish determine the actual colour and contrast.
It is worth considering when you want the timber's texture to play a prominent part in the design.
6. Walnut
Walnut can bring rich, warmer tones and a more understated statement.
Expressive walnut grain may need only a restrained resin detail.
Clear, smoky or graphite-coloured resin can complement it; compare the actual timber and a finish sample rather than choosing from a screen alone.
7. Ash
Ash often offers a lighter appearance and a distinct grain pattern.
It can work well in contemporary or Scandinavian-inspired interiors.
Darker resin creates contrast; clear resin can keep the composition visually light. The particular board and finish remain important.
8. Choose the board, not just the name
Two oak boards can look remarkably different.
Look at the outline, live edge, cracks, knots, sapwood, width and overall grain pattern. Any defects need a suitability assessment, not simply a decorative cover-up.
For a bespoke order, agree the actual available timber rather than expecting an exact copy of someone else's photograph.
9. Ask about moisture and preparation
Timber needs appropriate drying and preparation before manufacture.
The USDA Wood Handbook explains how moisture exchange affects timber dimensions and performance. Timber that is too wet for the intended use may continue drying after manufacture and change shape.
This preparation may be invisible to the customer, but it matters to the finished piece.
10. Understand the live edge
A live edge does not mean leaving unstable bark in place.
Unsound bark is removed while the timber's natural outline can remain part of the design.
A strongly irregular working edge may need careful shaping to keep it comfortable to use.
11. Decide how much resin the design needs
A river table does not have to feature a wide central strip.
The resin proportion follows the board, layout and suitable casting system. It is not a fixed recipe or proof of structural strength.
When the timber already has strong character, a quieter resin detail may be all the design needs.
12. Clear resin
Clear resin reveals depth and the timber edge within the design.
It can suit an expressive board or a carefully prepared cavity.
It also makes bubbles, inclusions and colour changes easier to notice. Preparation and the chosen system matter; ‘clear’ does not mean permanently unchanged.
13. Coloured resin
Smoky, graphite, black, dark green, amber and restrained translucent tones can be easier to coordinate with an existing scheme.
A vivid blue river remains a valid choice — make it a considered part of the room.
Choose a colour you want to live with, not just one that looks striking in a social-media photograph.
14. Gloss, satin or matt?
Gloss can emphasise optical depth, but fingerprints and fine marks may be more noticeable.
Satin can offer a quieter everyday appearance.
Matt creates a restrained finish. Local repairs still need to match the actual coating and sheen; not every finish can be blended invisibly.
15. Choose a base that works
U-shaped or trapezoid metal bases are options worth considering, subject to the actual support and seating layout.
An X-shaped base may look right but restrict seating at the ends in some layouts.
A central base can free up legroom, but stability and support need careful design.
For a long table, an appropriately engineered support arrangement may matter more than the visible leg style.
16. Explore the metal finish
A steel appearance, stainless-steel accents, brass details or painted metal may suit different briefs. Suitability, finish and maintenance need agreeing.
The base should complement the interior; black powder coating is not the only design direction.
Dark metal can sit well with walnut, while ash can work with either contrasting dark or warmer metallic accents.
17. Accommodate timber movement
Solid timber should not be fixed to steel as though it were an inert concrete slab.
The connection needs to account for seasonal movement across the grain.
Slotted holes or suitable furniture fixings are possible approaches. The actual detail must provide secure support while accommodating the expected movement.
18. Check the height with your chairs
Around 72–76 cm is a common dining-table planning range, not a universal ergonomic target.
Comfort depends on the chair seat, tabletop thickness and the people using the table.
If you already have chairs with arms, check the clear height underneath before approving the design.
19. Make the end seats usable
Seating at the ends can be useful, but the base may get in the way.
If you regularly need eight places, check that the intended end seats have real knee and foot space — not just room for a chair in a render.
Position the base around the seating plan.
20. Protect the surface from heat
Heat resistance depends on the selected resin and finish.
Do not assume a tabletop can tolerate hot cookware simply because it contains epoxy.
Use a suitable trivet for pans and oven dishes, and follow the care instructions for the actual finish.
21. Wipe up spills
An ordinary spill need not be a disaster.
Wipe it up promptly, particularly on timber areas with an oil finish. Do not leave water standing.
Remove wine, coffee and grease rather than leaving them overnight. Use cleaning products appropriate to the finish.
22. Use a chopping board
Do not cut food directly on the tabletop.
A hard resin surface is not scratch-proof.
A suitable chopping board protects the finish. Direct food-contact suitability also depends on the complete finished surface; ‘epoxy’ alone is not a food-safety certification.
23. Consider sunlight
UV exposure can affect resin systems over time.
For a table in strong direct sunlight, discuss placement and a compatible protective finish. UV protection can reduce exposure effects, not guarantee permanent colour stability.
Clear and very light resin areas can make colour changes more visible.
24. Can it live on a terrace?
Only consider outdoor use when the complete piece has been designed and specified for it.
An indoor timber and resin table is not automatically suitable for rain and sunlight.
Outdoor exposure changes the requirements for construction, finish and ongoing maintenance. Suitability must be reviewed for the actual setting.
25. Design a desk around the setup
A desk has different requirements from a dining table.
Consider monitor distance, cable routes, clamp mounts and specified charging hardware. A height-adjustable frame also needs to be compatible with the top's weight, dimensions and fixings.
The resin detail should support a useful design; ergonomics come first.
26. Plan a meeting table as a complete system
A meeting table may need agreed power or USB-C fittings, cable management and structural support. Transport arrangements should be planned alongside the design; not every piece needs the same equipment.
Camera positions and screen sightlines can influence the shape and seating layout.
It is a commercial furniture brief, not simply an oversized dining table.
27. Understand the cost drivers
Timber selection, dimensions, resin volume, base, machining, finish, support details, integrated fittings, packing and delivery all contribute to the quotation.
A particular walnut board may cost more than an available oak board, but species alone does not establish the final price.
A complex clear casting can require more preparation than a simple narrow infill. Compare the actual specifications.
28. A photograph is not enough for a firm price
It does not establish the dimensions, thickness, material availability, support or finish.
For a first discussion, send the intended length and width, preferred timber and a design reference.
Selecting the actual board and agreeing the remaining details allows a more precise quotation.
29. Agree a realistic programme
A bespoke table involves material selection and preparation, casting and curing where applicable, machining, sanding, finishing and base manufacture.
It is not an off-the-shelf product.
The actual programme depends on the design, materials, curing requirements and workshop capacity. Confirm it before ordering rather than assuming an express turnaround.
30. Approve the details before production
Start by agreeing the dimensions and design direction.
Select the actual timber.
Confirm resin colour, the base and finish.
Prepare the relevant drawing or 3D model as agreed.
Production starts after the required specification and approvals are in place.
31. Can the design change once work starts?
Sometimes, but feasibility and additional cost depend on what has already been done.
A colour decision may still be adjustable before casting. After curing, a change may require substantial rework or a new component.
Confirm key decisions early and agree any later change before further work proceeds.
32. Plan packing and access
A removable base can make delivery easier where the design allows it.
A large top may need separate protective packing and an appropriate handling plan.
For an unusually long table, planned modules may be an option, subject to appearance, support and connection details.
Check the full access route — doors, lifts, stairs and turns — before production.
34. White-label commissions for studios
An interior studio can enquire about a table made to its own approved design and presented under its brand.
We can discuss the manufacturing scope, branding, communications and responsibilities as your production partner.
Agree confidentiality, drawings, approvals, packing and any portfolio permissions at the outset.
36. Claims worth questioning
‘Every epoxy surface is completely heat-proof.’
‘The timber will never move again.’
‘We can copy someone else's board exactly.’
‘Any five-metre table will fit through the building in one piece.’
‘The resin will never change colour.’
‘Every oak board costs the same.’
Clear limitations are worth more than blanket promises when you are commissioning a one-off piece.
The right table is the one that works for you
A bespoke table does not succeed simply by being different.
It succeeds when it fits the room, makes seating comfortable, complements the interior and has a base and finish suited to everyday use.
When these decisions work together, the result is more than a striking photograph: it is a piece you can enjoy living and working with. Its ongoing condition still depends on use and appropriate care.
We make bespoke timber and resin tables in Bratislava for homeowners and commercial partners in Slovakia and elsewhere in Europe. Start with an idea and reference images, or send your studio's drawings and 3D files for review.
Let's work through the choices in the right order
Send the dimensions, intended seating and a visual reference. We will discuss the timber, resin, base and finish as one coordinated design.