Top quality restoration is achievable by scanning the original work and replicating the original saw line. To produce a line drawing of the piece to be restored can be difficult. Ideally, a radiograph trace drawing is used, the finer the line the better. In some cases it has to be decided what the design may have been, as central pieces may be missing. Our extensive library comes in useful here. Once the design is programmed it is laser etched onto a piece of transparent acetate. The acetate is then placed on the actual piece of furniture and the lines are pulled and pushed till they exactly match. Obviously, this process is simpler if the piece of furniture is on site. At Anita Marquetry, inlays are usually produced with little or no "gaps" but for restoration the clients` needs are altogether different. Slight deviations in the fit of veneer pieces can be programmed in to produce a more authentic restoration. The next challenge in restoration is veneer thickness. Marquetry was traditionally produced in veneers up to 2.5 mm, the uniformity depending on the expertise of the cutter. Today, the standard thickness is 0.7mm. The restorer can produce a thicker veneer from modern or antique wood using a good quality band or circular saw. Inlaid brass was also thicker. It is difficult to produce a brass inlay thicker than .9mm so to allow for this, brass can be backed with scrap veneer to match the overall veneer thickness. In some cases it is difficult deciding what veneers were actually used in an antique. After hundreds of years, veneers fade and become stained. At Anita Marquetry, it is normally recommended that the restorer source and match the veneers to be used. To produce a clean finish using thicker veneers the laser speed is greatly reduced. Once the cutting is complete, the restorer has two choices. The job can be sandshaded and assembled on site at Anita Marquetry, or alternatively, the inlay can be cut in all the veneers being used and dispatched in pieces. This enables the restorer to have full control over the final process. The restorer can decide where to place each piece in which veneer, depth of sandshading and distressing techniques.

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