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Client meetings
An initial consultation, typically at the client's location, is the starting point to gain a true understanding of the project regardless of its
size or complexity. We are great listeners and strive to bring out the client's concepts as well as provide ideas. A portfolio of our work as
well as countless books on historic and contemporary art glass, aid in the formulation of an original design.
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Design/concept and scale drawings
The space, surroundings, architecture, current or future décor, are all critical elements that factor in to a successful design.
A monochromatic or full color scale rendering is produced for each panel in the project. Often times, it is only until this step is
achieved that the full scope and overall investment of a project can be realized.
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Proper measurements and templates
Early on in the project design, full sized templates and other critical measurements are taken. This provides for a more rapid
and trouble-free installation. Tolerances are typically within a millimeter, with no room for error. This art form just doesn't allow
one to shave a little off the top after arriving with the completed work.
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Glass texture and color selection
We have between two and three thousand samples of glass colors and textures that are available for viewing. This affords you the
opportunity to actually see what combinations of glass will look like before your artwork is produced. Glass colors cover the visible spectrum
in machine made as well as mouth blown full antique styles.
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Full sized cartoon
Prior to actual fabrication, a cartoon or actual sized blueprint is produced. This becomes the road map for production. All the details
are meticulously noted so that little is left for final interpretation. At this stage, it's there or it doesn't become a part of the end result.
Lead lines, framing and rebar (where necessary) are detailed as well.
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Glass cutting
Cutting the glass is the next most critical step. With an exacting technique, nearly surgical in nature, the glass must be cut
to match the cartoon. Tolerances are measured within a millimeter. Accuracy at this stage produces a strong, stable and
uniform panel. This is also the last place where changes, such as glass selection, can be made.
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Leading, metal channel or copper foil
We produce panel using three methods: lead came, metal channel and copper foil. Lead came is extruded lead strips that are
precisely cut to fit around the glass, which will be later joined together at their intersections. Metal channel is either brass copper
or zinc strips, formed to a specific profile. Copper foil is a method of wrapping the edge of the glass with a very thin copper foil "tape"
and then soldered.
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Soldering
The intersections of lead came or metal channel are joined by solder on both sides of the panel. With the copper foil method, a bead
of solder is then run on both sides of the entire panel around all pieces. The result is a very strong and stable panel. This technique was
made famous by Tiffany in the late 1800's and is most recognizable in today's stained glass lamps.
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Cementing
Cementing a completed panel is done only when the lead came or metal channel method is used. This special stained glass cement
(which has no portland cement in it, by the way) is used to weatherproof and firm up the panel. This fills the voids between the irregular
properties of the glass and the lead came. Whiting or a chalk powder is used to finish the process.
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Installation
Installation is typically one of the quickest steps of the entire process. This may involve some carpentry, especially when insulated
glass units are produced. Although in most residential cases, only special stained glass fittings are needed to install a panel. This is
especially true when panels are place against modern double pane windows and doors.
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