Beginning with the faces and working down the robes of the figures, Bill incorporated lustre glass, minute details and pressed glass lustre jewels to create the effects he wanted to impart in this large mosaic. 
He also used shards of mirrored glass to give the figures a unique look.
Klimt used many techniques to alter the surface of the canvas when creating paintings. One of the challenges on this mosaic piece was to create different looks for each of the fabrics which are all in gold tones. Using lustre glass, shifts in color and transparency were utilized to make the woman’s dress different from the cloak of the man that enfolds her in his embrace.
Once the figures were completely rendered in glass, the field of wildflowers had to be put down. Letting the pressed glass lustre flower jewels cascade from the woman’s hair and dress down into the lower floral portion gives the impression that she has just been gently lifted by her lover to be embraced, and that many of the wildflowers in which she had laid became entwined onto her person.
The next stage of the mosaic was to put down a lustre background that complimented, but did not compete with the main image. The subtle tonalities of the background glass support and enhance the golden tones of the radiant figures.
The final step in the construction of this piece was to grout the entire surface of the mosaic which filled the spaces between the pieces. Bill grouted the mosaic in small sections and once the grout had dried and hardened, the mosaic was framed and made ready for delivery. The Manhattan clients who commissioned this piece have hung the work in their home. The composite photo below shows the progression of the piece from beginning to completion.
