At the first, it is necessary to prepare the templates that will be used to give to the glass the final aspect: the artist models the refractory material, in this way he obtained the wishes shape, then, the templates must be cooked three times, at least, by u sing hardenings before their use.

The artist work in progress with the manual cut of the glass plates, which have a thickness of three mm in order to obtained smaller pieces that have a form and dimension already drew and calculated depending on what the artist would like to obtain.

So the forms obtained in this way, are positioned into the furnace in two or more layers over the templates.

Into the furnace, the complete heating and cooling cycle of the glass plate is long about 20 hours, this depends on its dimension, the kind of glass, its thickness and even so, the aesthetical results that the artist wants to obtain.

Theoretically, it is possible to apply this technique to all the various kind of glass, whatever is changed is only the temperatures and the heating and cooling times; they depend on the composition and the thickness of the material that is used.

This technique requires a very well knowledge of the material since its origin. In fact, the glass plates must be treated differently, also according to the method by which the have been made.

There are many qualities and kind of glasses and they are not compatible between themselves, sometimes even the different colours of the same type of glass are not compatible: characteristic of the very high quality of the glasses, like Murano and Bullseye, it is really that one to exist in several colorations, all compatible between themselves (obviously Murano with Murano, Bullseye with Bullseye).