New Works

Design and Fabrication : Our Process

• DESIGN: Glass, metals and wood can be stubborn materials. We are a team of artists, designers and craftspeople that works closely with our clients to help fine tune and realize a vision, from concept to unveiling.

• COLLABORATION: We often host artists, designers and architects who are new to the world of stained glass, and it is part of our mission to share the esoteric nuances of our craft such that the quality of the new works are borne from an understanding of how the materials work, in real time and space.

• SITE VISIT: Understanding the location is paramount in designing a window, from the qualities of the natural light to the type of setting in the building, be it wood, metal or stone. In person or virtual site visits always ensure that the outcome of the project is successful.

• GLASS SELECTION: There are many types of glass, which function differently in different light and in different locations. There are many traditions to be steadfastly observed, and some to be set aside. We share these insights with our colleagues and clients, as part of our collaborative design process

• GLASS PAINTING: Stained glass art is moderated light passing through the medium of glass.  Vitreous paints and stains, kiln fired into permanence, are an ancient traditional method of moderating light.  Paint and stain can add depth, energy, nuance and narrative content to a work.  We have talented glass painters on staff that can advise on and execute the most intricate of painting.

• ETCHING & ENGRAVING: Etching with Hydrofluoric Acid (HFL) results in gorgeously subtle gradations of color, achievable by no other method.  Sandblasting and other abrasive methods can bring new elements into a design. Our team regularly employs all of these diverse tools in service of a work.

• FABRICATION: There are many methods of assembling pieces of glass into a panel with strength and beauty: Lead Came, Copper Foil, Silicone Lamination, and others.  These all have their unique traits, benefits and drawbacks, and must be considered when approaching the design of a new window.

• REINFORCING: Every panel is unique, and some windows require additional structural support, such as saddle bars. We will identify the means and methods for each situation and be certain that the reinforcements are harmonious with the design scheme of the window.

• INSTALLATION: Stained glass windows are not only designed for aesthetics, but also to function as protection from the elements. From mobilization and site protection to removing the last particles of dust, our crews specialize in the successful transport, handling and the weathertight installation of the artworks.

• PROTECTION GLAZING: For several reasons, some stained glass windows benefit from the application of protection glass on the exterior. Some windows are perfectly suited to stand against the exterior for centuries. The conditions and situation must be carefully considered before exterior glazing is applied.

• VENTILATION: If exterior protection glazing is deemed necessary, the interstitial space must be carefully attended to, lest heat and condensation infiltrate and cause damage to the window or the building.  These decisions are weighed in the design process, and are an essential part of a successful project. 

Conservation

Ethics in Preservation : Our Approach

• INSPECTION: The process begins with an honest and unflinching look at the existing conditions of each unique location, to assess a general scope of what might be needed. There is much information to be gathered and processed, and this begins with experienced eyes doing careful analysis of the many crucial elements, from the glass and lead to the woodwork and/or masonry.

• DOCUMENTATION: Crucial to a successful conservation project is the periodic and systematic documentation of the many stages of the process. We will perform written and photographic documentation before any proposals are made or windows touched. This ensures universal agreement about processes.

• CONDITION REPORT: Formal condition reports are available. These involve careful preparation and submittal of the notes and photographs taken at site visits and serve to establish a base line from which an appropriate restoration or conservation project can be designed and executed.

• SETTING CONDITION: WOOD, METAL OR STONE: A window is a system that extends beyond the stained glass itself to the opening that surrounds it, and the condition of the opening must be evaluated and also maintained if the art glass is to be secure and functional.

• DOES THIS WINDOW ACTUALLY NEED WORK: Many people have been told that their windows are collapsing, and require complete re-leading, when they frankly are not. Deflection, or bowing to the interior or exterior, may be stable and utterly unproblematic. It could also indicate severe lead fatigue and require serious intervention. The Gil Studio is committed to providing an honest assessment of the conditions and needs of your stained glass windows.

• PROCEDURAL DOCUMENTATION: Many times when working on windows, we wish there was a record of how and when things were previously done. Throughout the process, at every stage, we document each step of the work, and provide reportage to the client upon completion. These records will help future conservators understand our discoveries, decisions and interventions.

• REMOVAL: From site protection to crating and transport, the process is carefully staged, executed and documented.

• RUBBINGS: Before any work on the window begins, wax rubbings are made; one on craft paper for the workbench, and one on archival vellum to be submitted to the client, annotated with details about what we discovered and what we did. These rubbings are essential in the long term care of the works.

• CLEANING: Dirty glass is cleaned with a gentle and ph neutral detergent, such as Orvus, taking care in painted areas not to disturb any loose or flaking paint. In these cases, cotton swabs and solvents like acetone can target specific areas without harming more sensitive and delicate features.

• BROKEN GLASS TREATMENT: Each break in an old window requires analysis before a repair solution is chosen. Each of the three main techniques has its advantages, but they are not interchangeable. Copper foil repairs, silicone edge bonding, and Hxtal Epoxy are all good options, but only to be deployed into the appropriate existing conditions.

• DAMAGED PAINT CONSOLIDATION: Failing paint can be stabilized and recreated using several techniques. Most importantly, our work must be clearly documented, and completely reversible by the next conservator.

• REPLICATION PAINTING: Our staff artists are skilled glass painters with a deep understanding of the tools, materials and techniques involved in unpacking how the original works were achieved, and how, with today’s materials, we may be able to create believable replacements for missing or badly damaged originals.

• RELEADING - PARTIAL OR COMPLETE: The age old debate. Beware the common myth, and sales pitch, that 100 years is the lifespan of lead came, and that it must be replaced once a century. Our strong belief is that the original lead is an integral part of the artwork, and that where possible, it should be saved. If the lead is destroyed, it must be replaced. We try to alter the window as little as possible, maximizing its originality for as long as possible.

• INSTALLATION: We deliver and install windows with the intention that they need no attention for many decades. Whether the building is a landmark, or a new facility, we employ both traditional and modern setting materials and techniques, to provide outstanding longevity to the installed artwork.

• PROTECTION GLAZING: Should it be determined that the window needs protection, we will analyze and design an appropriately vented system by which the art glass is safe from outside elements, but is not compromised by the thermal gain notoriously present in poorly executed protection glazing systems.