Hello all,
I am a relatively new glass artist and a friend of mine at work has asked me if I'd be interested in creating a fireplace screen for her (logistics to be determined).
I was wondering if any of you could give me any tips, hints, things to avoid, things to insist upon, or pricing guidelines when negotiating a commissioned piece of art.
I searched through the message board archive for any discussions about how an artist should handle a commissioned piece. I'm assuming that a lot of it is dependent upon the person and the situation.
Thanks in advance.
Tips for accepting commissions
Moderator: Brad Walker
it's better if you have a contract, but hard to get one from a friend.
signoffs are mandatory at various stages.
get a deposit to do the design (5%). draw up on paper what you're planning on doing. get them to sign it when done, any changes by them are chargable. get them to pick out, or agree to your choice of colors. get them to sign for that. collect 45%. start making it. collect the other 50% upon delivery or installation. give receipts spelling out what each payment is for.
signoffs are mandatory at various stages.
get a deposit to do the design (5%). draw up on paper what you're planning on doing. get them to sign it when done, any changes by them are chargable. get them to pick out, or agree to your choice of colors. get them to sign for that. collect 45%. start making it. collect the other 50% upon delivery or installation. give receipts spelling out what each payment is for.
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Geri Comstock
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Whew! That's quite a question!
One of the challenges of doing commissions is that the person who wants the job done has an idea in their head for exactly how it's going to look and they may not be able to adequately convey it to you. I'd make sure you did detailed drawings and made them sign off on them as they were revised/approved. I'd spec out the exact glass you were using as well, just to make sure there was no miscommunication.
A commission for a friend gone awry could damage your friendship.
Good luck!
Geri
One of the challenges of doing commissions is that the person who wants the job done has an idea in their head for exactly how it's going to look and they may not be able to adequately convey it to you. I'd make sure you did detailed drawings and made them sign off on them as they were revised/approved. I'd spec out the exact glass you were using as well, just to make sure there was no miscommunication.
A commission for a friend gone awry could damage your friendship.
Good luck!
Geri
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Amy Schleif-Mohr
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- Location: Milwaukee
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jim simmons
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And, Besides, if you finish ahead of the quoted time you will look really good.Amy Schleif-Mohr wrote:One thing to add to all the good advise. Be sure to figure out the amount of time you will need and then tell them that it will take longer to complete. Just incase you run into problems you can still stay on track with time.
Amy
Jim
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Paul Housberg
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Regarding the payment schedule for a commissioned work, I usually require anywhere from five to twenty percent of the total cost of the work as a design fee depending on the size of the project. The smaller the project the larger the percentage. (My work is mostly site-specific, architecturally integrated projects, but the principle holds true for portable works such as a fireplace screen. I find that designing a small piece can take as much time and effort as a large piece).
I will then ask 50% (of the balance) to start and 50% upon completion for a small job. For a larger job, I may ask 50% to start, 40% upon completion and prior to delivery or installation, 10% within 30 days after installation. I don’t always get the 50% to start, especially if it’s a very big job, but I will agree to more frequent smaller payments, 30,30,30,10, for example.
I may provide samples and, depending on the project, some quick studies at no charge in order to get a project to the formal design stage, but this is usually for the designer and architect only who are used to looking at "back of the envelope" sketches. I generally don't like the client to see these, but it's a judgement call. In any case, I require the design fee in full before I begin any formal design. It's tough to ask for it if your design is rejected or if you're asked to make a lot of changes.
I may do quite a few studies for a given piece, however, I will select only one design for submission. I've found that if I submit, say, three designs, the client will invariably choose the one I'm least happy with. Or, worse, they will pick individual elements from all three designs to be incorporated into one design. This never works.
I will, however, show one or two variations on the one design, perhaps different color combinations or textures provided I'm happy to make any of them. This makes it easier for the client to respond and lets them get invested in the design. I figure that I am going to make some modifications to the design after the initial submission and I don't charge for that provided the spirit of the design hasn’t changed. This builds trust and I rarely have to make extensive modifications. Another reason not to offer too many options. I will negotiate a fee if I’m asked to create an entirely new design.
Think of a contract as a tool for communication. It's good to get things on paper, but it's not necessary to do formal contract. You can do a letter of agreement: "Dear John, Based on our conversation of such and such a date, I will design a fireplace screen with such and such characteristics, etc." It can even be a list of bullet points: size, color, cost, terms, etc. This doesn't need to be signed. If you get the deposit, that signifies an agreement.
If you feel even that is too formal, you can scribble a bunch of notes about the project (including payment terms), make a copy and hand it to your friend. Say, "Here, I made some notes, look them over, I just want to be certain we're agreed on the scope of the project." And while you’re discussing it with him, you can each make additional notes.
It's not about covering your ass. It's about ensuring there's good communication. When you're involved in a larger project involving significant sums of money, liability issues, copyright, coordination with various trades, etc., a contract does become more about covering your ass (sadly), but it's still primarily about communication and making clear who is responsible for what if there are unforeseen circumstances.
I would not worry about signing off at various stages as others have mentioned, though it’s not a bad idea if you’re comfortable asking. I would keep a record of when you meet with your friend, briefly what was reviewed, and I would date anything you submit, so if there is a problem, at least you can reconstruct the order of events. I mean, he or she is a friend, what are gonna do?
I will then ask 50% (of the balance) to start and 50% upon completion for a small job. For a larger job, I may ask 50% to start, 40% upon completion and prior to delivery or installation, 10% within 30 days after installation. I don’t always get the 50% to start, especially if it’s a very big job, but I will agree to more frequent smaller payments, 30,30,30,10, for example.
I may provide samples and, depending on the project, some quick studies at no charge in order to get a project to the formal design stage, but this is usually for the designer and architect only who are used to looking at "back of the envelope" sketches. I generally don't like the client to see these, but it's a judgement call. In any case, I require the design fee in full before I begin any formal design. It's tough to ask for it if your design is rejected or if you're asked to make a lot of changes.
I may do quite a few studies for a given piece, however, I will select only one design for submission. I've found that if I submit, say, three designs, the client will invariably choose the one I'm least happy with. Or, worse, they will pick individual elements from all three designs to be incorporated into one design. This never works.
I will, however, show one or two variations on the one design, perhaps different color combinations or textures provided I'm happy to make any of them. This makes it easier for the client to respond and lets them get invested in the design. I figure that I am going to make some modifications to the design after the initial submission and I don't charge for that provided the spirit of the design hasn’t changed. This builds trust and I rarely have to make extensive modifications. Another reason not to offer too many options. I will negotiate a fee if I’m asked to create an entirely new design.
Think of a contract as a tool for communication. It's good to get things on paper, but it's not necessary to do formal contract. You can do a letter of agreement: "Dear John, Based on our conversation of such and such a date, I will design a fireplace screen with such and such characteristics, etc." It can even be a list of bullet points: size, color, cost, terms, etc. This doesn't need to be signed. If you get the deposit, that signifies an agreement.
If you feel even that is too formal, you can scribble a bunch of notes about the project (including payment terms), make a copy and hand it to your friend. Say, "Here, I made some notes, look them over, I just want to be certain we're agreed on the scope of the project." And while you’re discussing it with him, you can each make additional notes.
It's not about covering your ass. It's about ensuring there's good communication. When you're involved in a larger project involving significant sums of money, liability issues, copyright, coordination with various trades, etc., a contract does become more about covering your ass (sadly), but it's still primarily about communication and making clear who is responsible for what if there are unforeseen circumstances.
I would not worry about signing off at various stages as others have mentioned, though it’s not a bad idea if you’re comfortable asking. I would keep a record of when you meet with your friend, briefly what was reviewed, and I would date anything you submit, so if there is a problem, at least you can reconstruct the order of events. I mean, he or she is a friend, what are gonna do?
Paul Housberg
Glass Project, Inc.
Art Glass Feature Walls
http://www.glassproject.com
http://www.facebook.com/housberg
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Paul Housberg
- Posts: 103
- Joined: Fri Mar 21, 2003 1:08 pm
- Location: Rhode Island
- Contact:
Regarding the payment schedule for a commissioned work, I usually require anywhere from five to twenty percent of the total cost of the work as a design fee depending on the size of the project. The smaller the project the larger the percentage. (My work is mostly site-specific, architecturally integrated projects, but the principle holds true for portable works such as a fireplace screen. I find that designing a small piece can take as much time and effort as a large piece).
I will then ask 50% (of the balance) to start and 50% upon completion for a small job. For a larger job, I may ask 50% to start, 40% upon completion and prior to delivery or installation, 10% within 30 days after installation. I don’t always get the 50% to start, especially if it’s a very big job, but I will agree to more frequent smaller payments, 30,30,30,10, for example.
I may provide samples and, depending on the project, some quick studies at no charge in order to get a project to the formal design stage, but this is usually for the designer and architect only who are used to looking at "back of the envelope" sketches. I generally don't like the client to see these, but it's a judgement call. In any case, I require the design fee in full before I begin any formal design. It's tough to ask for it if your design is rejected or if you're asked to make a lot of changes.
I may do quite a few studies for a given piece, however, I will select only one design for submission. I've found that if I submit, say, three designs, the client will invariably choose the one I'm least happy with. Or, worse, they will pick individual elements from all three designs to be incorporated into one design. This never works.
I will, however, show one or two variations on the one design, perhaps different color combinations or textures provided I'm happy to make any of them. This makes it easier for the client to respond and lets them get invested in the design. I figure that I am going to make some modifications to the design after the initial submission and I don't charge for that provided the spirit of the design hasn’t changed. This builds trust and I rarely have to make extensive modifications. Another reason not to offer too many options. I will negotiate a fee if I’m asked to create an entirely new design.
Think of a contract as a tool for communication. It's good to get things on paper, but it's not necessary to do formal contract. You can do a letter of agreement: "Dear John, Based on our conversation of such and such a date, I will design a fireplace screen with such and such characteristics, etc." It can even be a list of bullet points: size, color, cost, terms, etc. This doesn't need to be signed. If you get the deposit, that signifies an agreement.
If you feel even that is too formal, you can scribble a bunch of notes about the project (including payment terms), make a copy and hand it to your friend. Say, "Here, I made some notes, look them over, I just want to be certain we're agreed on the scope of the project." And while you’re discussing it with him, you can each make additional notes.
It's not about covering your ass. It's about ensuring there's good communication. When you're involved in a larger project involving significant sums of money, liability issues, copyright, coordination with various trades, etc., a contract does become more about covering your ass (sadly), but it's still primarily about communication and making clear who is responsible for what if there are unforeseen circumstances.
I would not worry about signing off at various stages as others have mentioned, though it’s not a bad idea if you’re comfortable asking. I would keep a record of when you meet with your friend, briefly what was reviewed, and I would date anything you submit, so if there is a problem, at least you can reconstruct the order of events. I mean, he or she is a friend, what are gonna do?
I will then ask 50% (of the balance) to start and 50% upon completion for a small job. For a larger job, I may ask 50% to start, 40% upon completion and prior to delivery or installation, 10% within 30 days after installation. I don’t always get the 50% to start, especially if it’s a very big job, but I will agree to more frequent smaller payments, 30,30,30,10, for example.
I may provide samples and, depending on the project, some quick studies at no charge in order to get a project to the formal design stage, but this is usually for the designer and architect only who are used to looking at "back of the envelope" sketches. I generally don't like the client to see these, but it's a judgement call. In any case, I require the design fee in full before I begin any formal design. It's tough to ask for it if your design is rejected or if you're asked to make a lot of changes.
I may do quite a few studies for a given piece, however, I will select only one design for submission. I've found that if I submit, say, three designs, the client will invariably choose the one I'm least happy with. Or, worse, they will pick individual elements from all three designs to be incorporated into one design. This never works.
I will, however, show one or two variations on the one design, perhaps different color combinations or textures provided I'm happy to make any of them. This makes it easier for the client to respond and lets them get invested in the design. I figure that I am going to make some modifications to the design after the initial submission and I don't charge for that provided the spirit of the design hasn’t changed. This builds trust and I rarely have to make extensive modifications. Another reason not to offer too many options. I will negotiate a fee if I’m asked to create an entirely new design.
Think of a contract as a tool for communication. It's good to get things on paper, but it's not necessary to do formal contract. You can do a letter of agreement: "Dear John, Based on our conversation of such and such a date, I will design a fireplace screen with such and such characteristics, etc." It can even be a list of bullet points: size, color, cost, terms, etc. This doesn't need to be signed. If you get the deposit, that signifies an agreement.
If you feel even that is too formal, you can scribble a bunch of notes about the project (including payment terms), make a copy and hand it to your friend. Say, "Here, I made some notes, look them over, I just want to be certain we're agreed on the scope of the project." And while you’re discussing it with him, you can each make additional notes.
It's not about covering your ass. It's about ensuring there's good communication. When you're involved in a larger project involving significant sums of money, liability issues, copyright, coordination with various trades, etc., a contract does become more about covering your ass (sadly), but it's still primarily about communication and making clear who is responsible for what if there are unforeseen circumstances.
I would not worry about signing off at various stages as others have mentioned, though it’s not a bad idea if you’re comfortable asking. I would keep a record of when you meet with your friend, briefly what was reviewed, and I would date anything you submit, so if there is a problem, at least you can reconstruct the order of events. I mean, he or she is a friend, what are gonna do?
Paul Housberg
Glass Project, Inc.
Art Glass Feature Walls
http://www.glassproject.com
http://www.facebook.com/housberg
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Amy on Salt Spring
- Posts: 270
- Joined: Sun Mar 09, 2003 5:43 pm
- Location: British Columbia, Canada
- Contact:
I'm going to be reiterating a bit here but I think the good news is that my experience seems to be the same as others so that must mean that this process is relatively universal. Definitely get some kind of letter of agreement and a deposit. Make sure you tack on extra time to your estimate of how long its going to take because if your agreement says you will be done November 20th and on November 15th you drop a piece that takes you a week to redo...well you're screwed! I have had great success with giving the client two different design ideas and letting them pick, like Paul said any more choices than that seems to confuse people. Also before I design anything I insist that they come to the studio if its at all possible and look at my work and at all the color choices. When it comes to color they have to see it themselves and I find when they wander around the studio and look at pieces or tests that I have done I learn a lot about what they like and what they respond to which helps me in the design process. Sometimes even they are surprised by what they are drawn to. In the end what you want is a happy client so its best to make sure you get a feel for what they will love. Here was a big thing I learned on my first large installment piece which probably doesn't apply to this particular commission of yours but is good to know. I did many small commissions when I was doing platters and bowls etc. but of course never had to worry about installation--and I didn't think it would be that big of a deal, well the installation turned out to be a ROYAL pain in the posterior and all the time and effort was not paid for. Don't forget to charge if you are going to install it!
Amy
Amy
Rejuvenating this thread....
Hi everybody...I work in leaded glass and copper foil, not in warm glass (yet). This board seems to have the best, most responsive group of participants, so I'll ask here:
I'm visiting the home of my first commission tonight. This family bought this screen from me at auction:
http://f1.pg.photos.yahoo.com/ph/oldvee ... pg&.view=t
...and they want another piece done. The auctioneers set the retail price of the screen at $1300, and it was won for $950. I read somewhere else on this board that someone charges $80 a square foot for their work. I've also heard from an old instructor that her shop charged $5 a piece for the studio work.
Does anyonehave any thoughts on pricing work? There's 1) materials, 2) my labor, and 3) my profit margin. Does anyone figure profit margine as a pecentage of 1 or 1+2? I think this is the hardest part, figuring out the estimate.
As an aside, I'm very disappointed I missed out on the gathering in Arlington last month! I live in the next town over, but hadn't found this board yet.
Cheers and thanks for your input,
Susan
I'm visiting the home of my first commission tonight. This family bought this screen from me at auction:
http://f1.pg.photos.yahoo.com/ph/oldvee ... pg&.view=t
...and they want another piece done. The auctioneers set the retail price of the screen at $1300, and it was won for $950. I read somewhere else on this board that someone charges $80 a square foot for their work. I've also heard from an old instructor that her shop charged $5 a piece for the studio work.
Does anyonehave any thoughts on pricing work? There's 1) materials, 2) my labor, and 3) my profit margin. Does anyone figure profit margine as a pecentage of 1 or 1+2? I think this is the hardest part, figuring out the estimate.
As an aside, I'm very disappointed I missed out on the gathering in Arlington last month! I live in the next town over, but hadn't found this board yet.
Cheers and thanks for your input,
Susan
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Geri Comstock
- Posts: 340
- Joined: Mon Mar 10, 2003 4:16 pm
- Location: Northern CA
- Contact:
There's some good information about pricing work in Wendy Rosen's book, "Crafting as a Business."
There are zillions of formulas out there for pricing work used by artists. Basically, for a commissioned piece, I charge more than I would for a "spec" piece I made. There's a lot more of your time involved in creating a commissioned piece because of the process involved with the customer.
Good luck!
Geri
There are zillions of formulas out there for pricing work used by artists. Basically, for a commissioned piece, I charge more than I would for a "spec" piece I made. There's a lot more of your time involved in creating a commissioned piece because of the process involved with the customer.
Good luck!
Geri
We always did 50% down and 50% upon completion on all commissions up to $50,000. Over that amount, the contract was written percentage of completion usually in 3-4 steps/payments. Working with churches, there usually aren't a lot of changes/sign-off/jumping through hoops and definitely no concerns about bounced checks. And come to think of it, we haven't really had problems with any clients. The only concern I would have about this job is the wisdom of having a glass fireplace screen if your friend plans to have a fire. I would encourage her to use it as a "summer screen". I know of a situation where a guest spilled a cocktail on a sandblasted screen hot from a fire and the glass blew up. And it wasn't even New Years. I imagine fused glass could act in a similarly ill-mannered way at even the poshest party. Something to think about. 
THank you for your input!
I hear you re: having the fireplace screen in front of an actual fire. I made sure the buyer understood that the screen was art, not a functional piece.... but suddenly this will no longer be an issue:
I was at their house last night to discuss doing a piece for their bathroom, and after all the discussions wound down the patrons commented that the dark fireplace just doens't do the glass justice, and would it be possible to un-hinge the three parts of the screen, mount the two side panels in windows flanking the fireplace and mounting the center panel in a window in the dining room. Since there are two windows flanking each other, they also asked if I could make a seperate "cousin" panel to compliment the existing center panel, and mount them both in the dining room side-by-side.
I now have to figure out how to mount these two panels in the window casement in a solid, sturdy manner. This post has wandered off the business topic, but where do you find the various mounting hardwares you use to display your warm pieces? I have some ideas, all of which require removing hte glass form the center frame, fabricating a mounting mechanism, welding it to the frame, and then re-painting the frame black, remounting the glass.
Any ideas, please?
Cheers,
Susan
I hear you re: having the fireplace screen in front of an actual fire. I made sure the buyer understood that the screen was art, not a functional piece.... but suddenly this will no longer be an issue:
I was at their house last night to discuss doing a piece for their bathroom, and after all the discussions wound down the patrons commented that the dark fireplace just doens't do the glass justice, and would it be possible to un-hinge the three parts of the screen, mount the two side panels in windows flanking the fireplace and mounting the center panel in a window in the dining room. Since there are two windows flanking each other, they also asked if I could make a seperate "cousin" panel to compliment the existing center panel, and mount them both in the dining room side-by-side.
I now have to figure out how to mount these two panels in the window casement in a solid, sturdy manner. This post has wandered off the business topic, but where do you find the various mounting hardwares you use to display your warm pieces? I have some ideas, all of which require removing hte glass form the center frame, fabricating a mounting mechanism, welding it to the frame, and then re-painting the frame black, remounting the glass.
Any ideas, please?
Cheers,
Susan
if you can hang the piece as it now exists, it would be better. tout it as 'take it with you when you move' as if you frame it in, then it's part of the house and can't be removed upon moving.
if you want to inset it, you'll have to build a frame or put it against an existing window frame and then add extra wood framing to hold it in.
email me offline to discuss stained glass mounting if you need more hints. there's also a glass mailing list at glass-request@bungi.com, and archives at http://www.bungi.com/glass.
if you want to inset it, you'll have to build a frame or put it against an existing window frame and then add extra wood framing to hold it in.
email me offline to discuss stained glass mounting if you need more hints. there's also a glass mailing list at glass-request@bungi.com, and archives at http://www.bungi.com/glass.
Thank you, Charlie
The idea is to keep the frame (unhinged) as it is, but figure out a way of suspending it in the window in a solid way (not just from chain).
Unfortunately I can't sketch what I'm thinking of for you, all i have at my disposal is a keyboard ;/
One thought was to fabricate four rings that would be attached two on each side of the frame. The thought is I could:
1) just have the four rings welded to the frame in the four corners. These four rings would rest in four hooks on the window casement. Solid installation, not much welding, quickly removeable by the homeowner.
2) Have the four rings. Take a strip of steel and "fold" it in half with the ring at the one end. Put a 90 degree twist in the steel so that it can be flush mounted to the side of the frame (hidden), and the ring is off to the side to be mounted to the wall in a similar fashion as #1.
This is all i have for right now. How hot does a weld get? It would probably wise for me to remove the glass panel from the frame before welding, but that will be a whole weekend's worth of effort cutting away the silicone adhesive that keeps it in the frame.
Thanks for listening, I really appreciate it. A lot of this is just thinking out loud.
Cheers,
Susan
The idea is to keep the frame (unhinged) as it is, but figure out a way of suspending it in the window in a solid way (not just from chain).
Unfortunately I can't sketch what I'm thinking of for you, all i have at my disposal is a keyboard ;/
One thought was to fabricate four rings that would be attached two on each side of the frame. The thought is I could:
1) just have the four rings welded to the frame in the four corners. These four rings would rest in four hooks on the window casement. Solid installation, not much welding, quickly removeable by the homeowner.
2) Have the four rings. Take a strip of steel and "fold" it in half with the ring at the one end. Put a 90 degree twist in the steel so that it can be flush mounted to the side of the frame (hidden), and the ring is off to the side to be mounted to the wall in a similar fashion as #1.
This is all i have for right now. How hot does a weld get? It would probably wise for me to remove the glass panel from the frame before welding, but that will be a whole weekend's worth of effort cutting away the silicone adhesive that keeps it in the frame.
Thanks for listening, I really appreciate it. A lot of this is just thinking out loud.
Cheers,
Susan
you won't be able to weld to the frame with glass installed.
if it's large enough that the rings can be hidden, i'd be tempted to drill holes in the frame and screw/bolt it directly to the casement. paint the screwheads black and you'd never see them, or add trim on top of the frame edges to hide both the frame sides and the screwheads.
if you just rest the frame against the existing casing and window, and add additional framing (i use quarter round, stained to match the existing casement), you don't need to fasten the panel to anything.
if it's large enough that the rings can be hidden, i'd be tempted to drill holes in the frame and screw/bolt it directly to the casement. paint the screwheads black and you'd never see them, or add trim on top of the frame edges to hide both the frame sides and the screwheads.
if you just rest the frame against the existing casing and window, and add additional framing (i use quarter round, stained to match the existing casement), you don't need to fasten the panel to anything.
<<if you just rest the frame against the existing casing and window, and add additional framing (i use quarter round, stained to match the existing casement), you don't need to fasten the panel to anything.>>
I was thinking about that, too, becaue it's the easiest and doesn't require anything beyond a mitre box, saw and finish nails. And it's still removeable.
Since the panel is just over half the height of the window, I could just make a pocket of sorts with 1x1 against the existing window, enough room for the thickness of the panel and frame, and quarter-round as you suggest.
Hm. Thank you for helping me think this out!
I was thinking about that, too, becaue it's the easiest and doesn't require anything beyond a mitre box, saw and finish nails. And it's still removeable.
Since the panel is just over half the height of the window, I could just make a pocket of sorts with 1x1 against the existing window, enough room for the thickness of the panel and frame, and quarter-round as you suggest.
Hm. Thank you for helping me think this out!
yes, removable, but legally, it's installed and thus part of the house. has to be left when selling unless specifically excluded on purchasing papers. that's why i recommend hanging first in all the installs i do. then it's just like pictures hanging on a wall and a house buyer expects to not have them left.
Usually we just stop the window into the existing frame with quarter round painted or stained to match existing frame. Old windows are easiest. But even office windows with aluminum or steel frames can be stopped using appropriate materials. Miter the corners for neatness and use little brass nails to hammer in the wood stops.... this will make it easy to remove the stained glass should the client want to. Metal stops will have to be screwed in. Newer window frames can be a surprise if they look like wood but are fiberglass because you'll have to get an appropriate drill bit to screw into those. As usual, the simplest job becomes complicated!charlie wrote:if you can hang the piece as it now exists, it would be better. tout it as 'take it with you when you move' as if you frame it in, then it's part of the house and can't be removed upon moving.
if you want to inset it, you'll have to build a frame or put it against an existing window frame and then add extra wood framing to hold it in.
email me offline to discuss stained glass mounting if you need more hints. there's also a glass mailing list at glass-request@bungi.com, and archives at http://www.bungi.com/glass.
or it's drywall on top of an aluminum frame from the window, which then has bricks behind it. or the time the windowframe had a 1/4" thick steel header rather than wood underneath the drywall.
i figure factor of 3. it's either 3x the cost, or 3x the time, or both, on almost any job around the house.
i figure factor of 3. it's either 3x the cost, or 3x the time, or both, on almost any job around the house.