1. The commissioner contacts the studio. The information required at this initial stage is the dimensions of the window, the direction it faces, budgetary limits and proposed themes.
	2. The studio then considers the possible design/s. The design usually occurs like a lightning strike of inspiration in the quiet of the night. The design concept is then refined over the coming days.
	3. If this design concept is mutually agreeable it is worked up into written form and forwarded to the commissioner for consideration. This is an extract from an actual submission.
	4. If the written description, cost, etc. are agreeable the studio then does a colour scale sketch. We will not commence the labour intensive and expensive production of a colour sketch until the theme, subject matter and cost that the studio is designing to is mutually established. The sketch is remarkably close to what the stained glass window will end up looking like.
	5. The full size cartoon is drawn. This usually requires a substantial amount of historical or natural reference material. Note the syzygium paniculata leaves and fruit which are being drawn.
	6. When the drawing is complete the glass colours are chosen and cut.
	7a. The window is then painted using traditional kiln fired glass paints, stains and transparent enamels. This shows the tracelines.
	7b. This photo shows the shade or matt firing, of which there may be as many as eight layers each requiring a separate firing.
	7c. This is Jill concluding the painting of a Dedication.
	8. This photo shows a window nearing completion. The missing pieces are in the kiln being fired.
	9. This window is being leaded using international standards and techniques.
	10. The window is then installed.
	11. The Unveiling Ceremony. This window was unveiled at night and is being blessed by the Archbishop and the Parish Priest.

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