Malay woodcarving involves simple tools, some self-made and others bought from stores. These consist of an assortment of chisels, large and small saws, hammers, and files. In recent times, a motorized chainsaw and a drill called bendso are used. The bendso removes the unwanted part of the panel before the actual carving work is done.

This has speeded up work.  The most common wood used for carving is cengal, which is one of the hardest wood found in the jungles of Malaysia. Other types of wood used are the medang, sena, merbau, meranti and nyatuh.

The surrounding environment is, an important source of inspiration for a woodcarver's creativity. The design and motif- in woodcarving are largely based on objects found ill the natural and socio-Cultural environment. Popular designs among Malay carvers are of two basic types: cut out (ukiran tebuk) and low relief (ukiran timbul). A cut-out design oil a panel, which serves as a ventilation panel, would admit air and light. Ventilation panel are normally placed above the main door or window of a house or on the upper part of a wall. A folded screen divider also uses the cut-out design.

An excellent example of cut-out panels of this design call be seen in the palace of' Raja Besut and the palace of Tengku Nik of Terengganu.  Low relief does not allow air and light to pass through. The common design of this category is the awan larat that is normally represented in the form of spiral leaves and branches. The design is repeated from one end of the panel to the other.

There are five different types of motifs, namely cosmic motif floral motif, faunal motif geometric motif, and calligraphy. Both cosmic and faunal motifs are remnants of the pre-Islamic cultural tradition.

Today, faunal motifs are rarely used in Malay woodcarving, as carving of living creatures is forbidden in Islam. However, this prohibition is not fully adhered to, and we can still see many works of art with such motifs. Among the common faunal motifs is "itik pulang petang" ("clucks returning at dawn") which, by depicting ducks walking in a row, emphasizes social discipline.

The most common motifs are floral motifs and in recent times, calligraphy. Flora always present in the immediate surroundings of the Malays, are useful either as food items or as traditional medicine.

A carver usually selects of his natural surroundings certain items (like leaves, flowers, plants, or even insects) that lie is most familiar with and that have it special meaning to him.

The motifs in wood carvings are guided by several principles which reflect the cultural values of the Malays. First, a new emerging branch of a plant must be featured as appearing from behind or below the original branch.

This represents a Malay cultural value that the elderly must be given precedence. As the Malay saying goes, "orang tua makan garam lebilh dahulu" ("older people tasted salt earlier than younger ones").

Second, when two leaves are portrayed in close contact, the sharp end of one must not touch the other. This is to indicate that in one's life, one must not hate or despise or cause hardship to others.

Living in harmony and having good relations is a virtue, as opposed to conflict and antagonism.

This underlines the maxim that all Muslims are brothers. It also conveys the message that "liok tak patah, tajam tak menikam" ("though soft it is not easily, broken, though sharp it does not  pierce"). This literally means that we must be flexible and not practise back-stabbing. 

Third, a design should not be too elaborate. There should not be a mixture of several motifs to form a sophisticated pattern. Such a design is regarded as mabuk (drunk) and mabuk is not permitted in Islam. It is also riot pleasing to the eve.  Fourth, the design should not be stiff. It must express the softness of tile carver. And finally, a small branch should end in a fold. This means that life ill this world is full of mystery and that our life does i tot end in this world.