Michelle working on the full size pattern in the Sherwood Ranch studio.

Each line is carefully re-positioned and then drawn in with a pencil.

We are working on the full size window pattern before we even know the configuration of the dividing mullions, so Michelle has the entire 14' panel for each side on a single piece of paper.

Drawing and erasing in the Sherwood Ranch Studio.

Michelle works on the long table in another work room.

The positioning of the panels on the cartoon is critical to getting the design to work and the finished panels to fit on installation day.

Getting the background lines right was a challenging job.

Michelle inks in the pencil lines on the pattern with a sharpie marker.

Michelle works on the difficult six-pointed stars first, to figure out what the best method is going to be to produce this complex shape in glass.

Cutting by the English method, Michelle first scores the glass...

...and then breaks out the piece.

Michelle works on the light table to score the denser colors.

As the pieces of glass are cut, they are each numbered and laid out on a duplicate numbered pattern.

Michelle, at the cutting table, scores another piece of the background glass.

The flower petal pieces are laid out in the kiln room after having been airbrushed with transparent enamel.

Painted flower petals having been fired and returned from the kiln are laid out on the pattern awaiting assembly.

Flower petal pieces are incorporated into the asssembly.

David works on putting the first pieces together using the traditional method of assembly with lead channel.

Michelle cut out the letters for the pomegranate etchings.

Michelle, at the light table, cuts pieces for the third panel.

David works on an intricate section of the assembly of the first panel.

Pieces of the third panel begin to accumulate on the lay out table.

The completed assembly of panel #1 is awaiting soldering, glazing, reinforcement, cleaning and crating.

Michelle breaks out a piece for the pomegranate window.

Michelle places completed pieces on the lay out table as she continues cutting glass.
 

The panel on the lay out table grows toward completion.

After covering the glass with resist and cutting out the Hebrew letters with an xacto knife, the paint is applied to the revealed glass and then the excess resist is removed.

Michelle examines the drying surface of the paint on the glass, looking for spots in need of touch up.

The edges of the painted letters are cleaned with a paper stump.

Michelle examines the painted piece for flaws and light spots before releasing the piece to the kiln for firing.

David finishes up the assembly of the center panel on the right side.

A flower petal is adjusted using the glass grinder.

Michelle in the glass room chooses glass for the grape leaves and fig leaves.

The steel bars are laid out on the surface of the window and soldered to it.

A bend is put in a steel bar using a hand operated bending jig.

The bars are bent to follow existing lines in the composition.

The steel bars having been welded to the surface of the window are masked off in preparation for painting.

The steel bars are given several coats of paint.

In the meantime, Michelle continues cutting glass for the second of the grapevine panels.

Michelle in the glass room.

Progress on cutting the glass for the bottom panel on the grapevine side.

Panel #4 awaits the application of the painted text and some additional painting prior to removal to the assembly table.

Assembly of panel#2 is complete and is ready for final cleaning and crating.

Michelle continues cutting the grape leaves and grapes for panel #5.
 

Michelle work on cutting the glass for the final of the six panels.

Pieces for the sixth panel are laid out on a piece of plywood as they are cut out.

The pieces accumulate as Michelle pushes through the last pieces.

The glass for the final panel is all cut out and laid out in preparation for assembly.

David, working on the assembly of the extremely intricate fifth panel, makes steady progress.

David works on the assembly of panel #5.

David works with the glass grinder to fine tune pieces during the assembly of panel #5.

The assembly of panel #5 approaches completion.

The tendrils are drawn with a Sharpie marker in preparation for painting them on.

Michelle prepares pieces for the painting and firing on of the tendrils on the grapevine window.

Michelle works on the windows in the upright position, cleaning them from both sides.

Michelle touches up the glazing on one of the pomegranate panels.

The windows are packed two to a box, after cleaning in preparation for delivery.

The final panel, on the assembly table, awaits the return of the tendril pieces from the kiln, before completing the assembly, soldering, glazing, reinforcing, crating and cleaning.

The tendrils are first marked with a sharpie marker, using the window pattern.

The tendril pieces are covered with resist and the tendrils are first drawn on and then cut out with the xacto knife.

The prepared pieces will be painted and fired in the kiln, before being integrated into the assembly of panel #6.

The beginning of the Lincoln Highway, the first transcontinental road, begun in 1915.

Our truck and load crossing the Sierra at Donner Pass on the first day of our journey to Temple Isaiah of Fulton County.

Michelle stands next to our rig overlooking the Great Salt Lake from Promentory Peak.

Our truck and windows parked in front of the Golden Spike Visitors Center in Promentory, Utah.

Breakfast at Little America.

The windows cross over the continental divide.

Atop Scott's Bluff

Chimney Rock, Nebraska

The Archway, Kearney, Nebraska.

Rabbi Rick Block Susie and Michelle in the new chapel under construction at Temple Tifereth Israel.

After delivering the glasswork for the new ark doors, David and Michelle pose in front of the new construction at Temple Tifereth Israel.

David, David and Carson roll the first crate of windows into the Temple.

Michelle begins unpacking the windows in the sanctuary at Temple Isaiah.

Michelle works on the final cleaning of the panels before installation.

Working off a scaffold, David, David and Carson hoist the first panel, in its crate, up to the scaffold platform.

Removing the panel from its box and taking the box back to the floor.

David prepares the notches in the stop which will retain the window in its frame.

David works on the stops for the first panel.

Michelle watches David, working on the scaffold.
 

Hoisting panels number two into position on the scaffold.

Setting the panel and removing the box.

Positioning panel number two.

The third panel moves into position.

The first day's work accomplishes three panels fully installed.

David, David and Nick remove the top panel on the left side from the box on top of the scaffold.

Setting the top panel into the frame.

Staging the second panel to the top of the scaffold.

David Rosenburger awaits the stops while installing the second grapevine panel.

David Rosenburger inspects the install of the second panel from the top on the left side of the sanctuary, at Temple Isaiah.

Michelle puts finishing touches on the pomegranate panels.

The top two panels of the grapevine composition.

The lower panels of the grapevine composition.

Nick touches up the painting on the new frame around the pomegranate panels.

The completed grapevine composition in the sanctuary at Temple Isaiah of Fulton County

The completed pomegranate composition.

David Plachte-Zuieback, David Rosenburger and Nick.

Rabbi Axler poses with Michelle Plachte-Zuieback in the sanctuary at Temple Isaiah.