The process of creating authentic stained glass has many steps and uses many different types of artistic skills, but I think my favourite part is drawing the full size cartoon. The word “cartoon” derives from the Italian word “cartone” meaning large paper, artists would use this preparatory drawing as a blueprint for the primary artistic endeavour which was in a different medium. The concept is worked out in the scaled water colour design; the placement, the flow and the colour scheme – the cartoon is all about structure, detail, tonal values and really bringing into focus how the window will appear, but without the distraction of colour. Obviously colour is one of the main events with stained glass, but the cartoon stage is more raw and the contrast between white paper, grey pencil and black ink bring to the fore any design element that isn’t working as it should – there is nowhere to hide! Even though my designs are to scale, I always find that I make multiple adjustments and improvements in the cartoon; I start off very loose and just keep on refining until what is in front of me is exactly what my mind’s eye sees for the project. A recently completed cartoon is for our series of Old Testament windows and depicts Ezekiel and his vision of the valley of the dry bones, in which all the bones start to reform tendons and flesh and come back to life – drawing skeletons and partially formed muscle is definitely a first for me.