• The subject matter of the window was determined to suit the location, a particular theme, or the whim of the patron. A small design called a Vidimus was prepared which could be shown to the patron.

• A narrative window would have glass panels which related a story. A figurative window would have rows of saints. Certain scriptural texts would sometimes be included and perhaps the names of the patrons or the person as whose memorial the window was dedicated. It was usually at the discretion of the designer to fill the surrounding areas with borders, floral motifs and canopies.

• A full sized cartoon was drawn for every "light" (opening) of the window. A small window might typically be of two lights, with some simple tracery lights above. A large window might have four or five lights. The east or west window of a large cathedral might have seven lights in three tiers with elaborate tracery. In Medieval times the cartoon was drawn straight onto a whitewashed table, which was then used for cutting, painting and assembling the window.

• The designer would take into account the design, the structure of the window, the nature and size of the glass available and his own preferred technique. The cartoon would then be divided into a patchwork as a template for each small glass piece. The exact position of the lead which held the glass in place was part of the calculated visual effect.

• Each piece of glass was selected for the desired colored and cut to match a section of the template. An exact fit was ensured by grozing the edges with a tool which could nibble off small pieces.

• Details of faces, hair and hands were painted onto the inner surface of the glass in a special glass paint which contained finely ground lead or copper filings, ground glass, gum arabic and a medium such as wine, vinegar or urine. The art of painting details became increasingly elaborate and reached its height in the early 20th century.

• Once the window was cut and painted, the pieces were assembled by slotting them into H-sectioned lead cames . The joints were then all soldered together and the glass pieces were stopped from rattling and the window made weatherproof by forcing a soft oily cement or mastic between the glass and the cames.

• When the windows were inserted into the window spaces, iron rods were put across at various point, to support the weight of the window, which was tied to the rod by copper wire. Some very large early Gothic windows are divided into sections by heavy metal frames. This method of support was also favored for large, usually painted, windows of the Baroque period.

• From 1300 onwards, artists started using silver stain which was made with silver oxide. It gave a yellow effect ranging from pale lemon to deep orange. It was usually painted onto the outside of a piece of glass, then fired to make it permanent. This yellow was particularly useful for enhancing borders, canopies and haloes, and turning blue glass into green grass.

• By about 1450 a stain know as Cousin's Rose was used to enhance flesh tones.

• In the 1500s a range of glass stains were introduced, most of them colored by ground glass particles. They were a form of enamel. Painting on glass with these stains was initially used for small heraldic designs and other details. By the 1600s a style of stained glass had evolved that was no longer dependent upon the skilful cutting of colored glass into sections. Scenes were painted onto glass panels of square format, like tiles. The colors were annealed to the glass and the pieces were assembled into metal frames.

• In modern windows, copper foil is now sometimes used instead of lead. For further technical details, see Lead came and copper foil glasswork.

• Once the pattern on your substrate has dried over night it is then filled in with colored resins, and fillers to achieve the desired results. (because the glass is one piece it is much stronger and will take more abuse.)

That is all there is to creating stunning faux stained glass.

You will use easy to learn software to create unbelievable stained glass pieces. You will be responsible to find and work with wholesalers and retailers. Work with glass suppliers. Learn to design and price each project. You will design decorative pieces as well as logo pieces for business customers. The profit potential on this one is enormous. If you have the right attitude then you have youself a winner with this one.

The special blend of acrylic resins provide a high build profile with a gloss finish and are available in a range of colours including gold, copper, silver, black, grey, white, clear and antique and are easy to use.

Our unique blend of high density organic pigments combine outstanding tinctorial properties with excellent light fastness. Thirteen concentrated pigments are available which are all intermixable providing an infinite range with options to marble or texture giving you complete freedom of design.

We are here to give you the support you need. We can teach you everything you need to know to make this opportunity very successful. Remember we only need one partner for this opportunity. Call now and make your dream of owning your own business a reality....