There is no surface for stained glass color to flow onto. Like a picture puzzle, it must be constructed, each piece of colored glass cut to shape and fixed into a supporting matrix or armature.
A wooden frame, round or square, is required to enclose the composition and to give depth and support. Brass rod inserted in the frame at various levels takes the place of the armature in medieval stained glass windows. The support and linear expression of the design begins with bending the brass rod. Connecting various levels adds strength. Once the design becomes self-supporting, glass pieces can be cut and bound with foil to be soldered into the armature. Natural light floods the interior to enhance the contrast between the intensity of clear and colored light.
Instead of soldering glass together in a flat plain, I separated and superimposed them to produce a design of subtle variations in color. The space between pieces allows light to come through and become part of the composition.
Reliance on color and structure of stained glass alone allowed for freedom of personal interpretation.