is an Ecclesiastical Arts Studio that specializes in the design, fabrication and installation of Art Glass Windows. IHS is also active in the restoration and conservation of Stained Glass. The Artist and Craftsmen of IHS Studios also work with stone, metal, wood and wall murals, often combining these mediums with stained glass designs. The Owner and Chief Artist started the studio in 1981.

Since 1981 Dennis Roberts has worked primarily with on-site specific ecclesiastical commissions. He works closely with the architect and church representatives interpreting the needs of the client. He uses a creative mix of traditional symbolism and contemporary design elements that harmonize with the architecture in which they exist. He often combines contrasting media within his designs, not only designing with the color of transmitted light, but also with reflected light and textures. In the fall of 1982 Dennis organized IHS Studios to begin fabricating his own designs in house, In order to gain greater control of the finished product. His goal was to create a studio that would execute God given talents in the creation of works that would glorify and honor God. In the past 20 years he has gathered several Artist and Craftsmen who together under his supervision have completed over 500 commissions.

Arkansas Little Rock Arizona Peoria California Bakersfield Oakland Georgia Augusta Hawaii Honolulu Illinois Park Ridge Louisiana Eunice

Lake Charles Shreveport Mexico Carrizo Missouri Kansas City Ohio Dayton Oklahoma Bartlesville Lawton Tulsa Michigan Acme

Hattiesburg Pennsylvania New Tripoli Tennessee Nashville Texas Alvin Amarillo Angleton Arlington Aubrey Austin Bandera Bateson

Baytown Beaumont Belton Benbrook Big Springs Blanco Boerne Bonham Brenham Brownsville Brownwood Bryan Buchanan Dam

Buda Buna Burleson Burnet Carmine Carrollton Carthage Cedar Hill

Cherry Springs Clear Lake College Station Colleyville Comfort Commerce Conroe Copperas Cove Corpus Christi Corsicana Crosby Cypress Dallas Decatur Denison Del Rio Dime Box Doss Duncanville

El Campo Farmers Branch Flower Mound Fort Worth Fredericksburg Friendswood Galveston Garden Ridge Garland Gatesville Georgetown Goose Creek Gonzales Graham Grand Prairie Grapevine Grapetown

Gun Barrel City Hempstead Highlands Hilda Hillsboro Horseshoe Bay Houston Huffman Huntsville Iowa Park Irving Katy Kaufman Kerrville

Killeen Kingsville Kingwood La Feria La Grange Lampasas Lancaster La Porte Laredo League City Lewisville Lindale Lucas Lumberton Mabank Malone Manor Mansfield Manuel Marble Falls Mason

Mc Allen Mc Kinney Mc Queeney Midlothian Missouri City Montgomery Mt Belview Mt Pleasant Nassau Bay Navasota Nederland New Braunfels New Ulm Odem Orange Pampa

Pasadena Pattison Pearland Plano Port Aransas Port Arthur Richardson Richmond Roma Round Rock San Angelo San Antonio San Marcus Santo Schertz Seabrook Seguin Sherman

Silsbee Spicewood Spring Stafford Sunrise Beach Sugarland Taylor Temple Texarkana Texas City Thorndale Tomball Tyler Victoria Von Ormy Waco Weatherford Weslaco Virginia Norfolk

The Management staff at IHS Studios approaches its artistic and craftsmen talents more as a ministry than a vocation. This message is communicated to all our employees, not only in the subject and quality of the work we do, but also in how we go about accomplishing it. IHS Studios has been producing quality works of art since 1981. We generally work with 28 to 32 churches at a time in some phase of the design, fabrication or installation. We have worked throughout the United States from Hawaii to Pennsylvania and Mexico.

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If a window was made in the traditional leaded technique, then it was put together from pieces of colored glass, cut to shape and perhaps treated, and then arrayed in a pattern. The pieces were then set in place with a lattice of H-shaped lead strips, or cames, that were soldered at the joints. The panel was then installed in a window opening and became part of the building. A window�s success is much more than just the level of craftsmanship, important as that is. Stained glass within a Church exists within a web of connections- physical, architectural, historical, theological and social- that transcends the simple structure of the window itself. It is these connections that give a window meaning and context and place it within the assembly of God�s people. While a stained glass window is an arrangement of treated glass pieces in a lead matrix, it is more importantly a lasting and integral part of a church building. The window is inspired by and connected to a vast web of people, events and spiritual aspirations, past, present and future.

Fun Fact: A leaded glass window that is 8� round weighs approximately 175 pounds while a faceted glass window of the same size weighs approximately 650 pounds!

The most common technique for producing hand made glass is for the glass blower to begin by gathering a knob of molten glass on the end of a blow pipe. This knob or �gather� is blown and shaped into a long hollow cylinder and left to cool. The cylinder is then scored along its length and reheated in a lehr (a long oven), which allows it to cool and open up. Many techniques are used to enhance the beauty and character of the glass both during and after this process. Color is produced through the dissolution of metal oxides, sulfides and other substances into the molten glass.

S t reaky glass is made by mixing different colors of glass in the furnace. The resulting swirls and patterns can be subtle changes or more pronounced ones of multiple colors.

Re amy glass is made in a similar fashion, but, instead of color, different hardness's of glass are mixed. The glass that results has a surface rolled with waves and ripples similar to that of water.

F las hed glass is created by dipping a hot gather of molten glass into another. The result is a thin layer of color on the original base glass. Depending on how this is done, the color can change or almost disappear across the surface of the glass.

Se edy glass contains thousands of tiny air bubbles distributed throughout the glass. There are many ways to create these bubbles. One way is to pull the glass from the furnace before the air bubbles have been eliminated by time and heat. Another more interesting method is to toss a vegetable into the molten glass.

Crown glass is made by spinning a glass bubble on the end of a rod and cutting open one end to allow it to open into a circular sheet, or rondel. Casting is another way of making Crown glass. Bevels, jewels, prisms and lenses are made by pressing or casting molten glass into a mold. While incomparably beautiful, hand made glass is quite expensive. Glass suppliers balance this by offering mass-produced colored glass, which is considerably less expensive and more widely available. These machine made products can be produced in larger sheets than the hand made variety, but they cannot equal the textural variety and depth of color of traditional hand made glass.

Cath edra l glass is the most common type of machine made glass. It is made by flattening mol-ten glass with textured pollens. Cathedral glass is even in color and thickness and usually has a textured surface produced by the pollens. It is popular where stained glass is desired at a minimal cost.

Amer ican Opalescent is used extensively in Tiffany style windows and lamps. Tiffany him-self created sculpted glass sheets of intriguing beauty and depth. This glass tends to be more opaque.

Semi- ant iqu e glass, which is also called �Drawn� or �New Antique�, mimics the look of hand blown glass while providing a relatively consistent medium. It has a restricted pallet of colors and does not have the character of full antique. It is somewhat more interesting than cathedral glass, and its lower cost and availability make it a good substitute for full antique.

Dal le De Ver re glass is made by casting molten glass into 8� x 12� wood molds. During the 1940�s the French artist Labourette set thick slabs of glass, which were originally manufactured and set in a concrete matrix, for use as skylights in the Paris subway.

Good design gives structure, beauty and meaning to a stained glass window. The window�s design should work within the total environment of the building�s architecture- taking into account the building�s architecture, the quality of light, and the needs and expectations of the congregation. Another factor is the window�s spiritual role in the environment for the liturgy. Stained glass has the unique ability to modify the visual environment by adding color and form to the space, virtually changing the nature of light itself. Achieving this is not an easy task and requires a high level of care and commitment from both the Artist and the Congregation. In a commissioned window, the design is developed and proposed by a stained glass artist or studio and reviewed by the client. The building committee must strike a delicate balance between overseeing the design and trusting the Artist enough to let the design develop. In this dynamic process, the committee learns about the Artist just as the Artist is learning about the particular church building and congregation. In designing, an Artist draws on all of his or her resources; training, experience and artistry are combined with a deepening understanding of the spiritual, architectural and social context into which the window will be placed. In order to integrate these disparate elements and create an artwork of beauty, structure and meaning, the Artist must rely on the most impor-tant of elements- inspiration. As the Artist works, the drawings begin to take a life of their own. It is out of this creativity, faith and inspiration, that the design takes shape. After reviewing the Artist�s proposals for the windows, the committee may find that the design isn�t exactly what was expected. While changes and tweaking are in order, it is worth remembering that today's familiar styles of stained glass are the culmination of thousands of innovations over the art form�s long history. Every one of these innovations came about because somebody had the courage to challenge the accepted notions of what religious art should look like.

Once a committee has approved a design, it then moves into the fabrication process. Each of the following steps is part of a process designed to produce a strong, stable and weatherproofed stained glass window. Although window production is most clearly the �craft� of stained glass, the Artist has an important role throughout the process, including making decisions and taking part in certain steps in order to make sure that the artistic intent of the window comes through in the final product. Color and texture are critical elements in the creation of a window. Both the type of glass and the range of colors are considered in the design process, as even the best design can be ruined by cheap or inappropriate glass. It is a good idea to allow adequate time for the desired glass to be obtained. Cartooning is the process of enlarging the sketch to the full size of the window. This drawing becomes a working pattern; it contains all the information for fabrication, such as painting, etching, sand blasting and so forth. Cartoons may be black and white or color ; they will also indicate lead sizes and glass types. In cut-line or pattern-making fabrication, the size and shape of each piece of glass in the window is planned out. When the time comes for cutting the glass, an accurate guide is needed to make sure each piece will fit perfectly with its neighbors. Altering the width of the cartoon lines to match the hearth width of the came to be used creates a cut-line. The pattern-making method is created by making a separate paper template for each piece to be cut. Cutting the glass is a skill that takes considerable time to develop, especially for intricate, difficult shapes. Cutting is usually done with a small hand tool that scores the glass. The glass is then fractured along the score line. After cutting, glass edges are softened with a small grindstone or file. Grazing pliers can be used to break away bits of glass and to perfect the shape. Finally the pieces of glass can either go directly onto a glass easel or be set into trays to await further treatment.

Fun Fact: Came is the leading that is used in fabricating leaded glass windows.

Treatments are labor intensive and require special equipment. For many techniques, special skills are also needed. Often, a piece of glass requires a combination of treatments and must be fired in a kiln several times. The time involved in painting, staining and firing a piece of glass may be triple that of a plain glazed window (glass without treatments). The Waxing-up and glass easel stage is done after the various other treatments have been accomplished. The glass is moved from a flat worktable to a glass easel so that it can be judged in daylight. The individual pieces of glass are held in place temporarily on the easel with wax or plastiscine. Changes are made during this time until the Artist is satisfied that the glasswork looks as it was intended. Glazing occurs once all the pieces of glass are ready, and the window is leaded up. The cames are stretched and shaped around each piece of glass and cut so that the joints meet perfectly. As the panel is being built, the glass is held in place with horseshoe nails. Each panel is put together on a workbench until all of the pieces are in place. The joints are then fluxed to assure good solder adhesion. The soldering is done on the topside of the panel which is then flipped and soldered on the reverse side. Cementing weather proofs and strengthens the leaded panel, achieving an aesthetic merging of the glass and lead. The cement that is brushed into the leads is a mixture of calcium carbonate, linseed oil, turpentine and a coloring agent. After this mixture has been brushed into both sides of a panel, the excess is removed and the glass is further cleaned with saw dust or whiting. The panels are then inspected in the daylight and the lead is polished to bring it to a dark sheen. Faceted glass fabrication begins like leaded glass with a cartoon, but the cutting procedure is somewhat different. There are two primary ways of cutting glass dalles. In one method, the Anvil cut method, the glass is scored and broken over a steel anvil. In the second method, the Saw cut method, the glass dalle is scored and then cut along the score line with a diamond blade saw. Anvil cut is very primitive and results in little control over the pieces, resulting in a very chunky look. It also leaves razor sharp edges on the glass. Saw cut is a more controlled application and enables the development of more precise pieces.

Fun Fact: A painted piece of glass spends up to 6 hours in the kiln before it can be handled again. When painting a face, you may have to fire it in the kiln 7 or 8 times before it is complete, totaling approximately 48 hours in the kiln alone.

Form Preparation involves covering the cartoon with wax paper to prevent the epoxy from sticking to it and building a form around the perimeter of each panel to be poured. Once the form has been completed and waxed, the in-dividual pieces of cut dalles are then placed in their designated positions. Casting begins by placing an aggregate between the individual pieces of glass. This aggregate serves as a releasing agent to keep the panel from sticking to the table and, more importantly, as a UV blocker for the ultra violet rays of the sun. Concrete or epoxy is then carefully poured around the pieces of glass. Clean up takes place three or four days after the panel has been poured. This time is critical to allow the epoxy to cure properly. Even though the panel can be picked up in 24 hours, it needs to cure in a horizontal position to prevent undue stress in the panel. Typically this type of glass weighs 12 to 13 pounds

per square foot .

Faceted Glass Pouring Epoxy

Leaded Glass Glazing

Painting is the oldest form of glass treatment, dating back to the 11th century. Glass paint is made up of glass frit and metal oxides in powder form. Properly mixed with a medium, applied to the glass and fired, it will fuse to the glass and last nearly as long as the glass itself. With glass paint, an artist can temper a color, extend a lead line and create figures, objects and textures. Colored Enamels have been used since the 17th century. They are not as permanent as the oxides and cannot match the vibrancy of color found in antique glass. S i lver Staining involves the firing of silver nitrates onto the glass. The nitrate embeds itself permanently into the glass. In contrast to the opacity of paint, silver stain is luminous, catching the sunlight and holding it in the glass. This technique was discovered in the 14th century. P lating is an additive technique, which has been helped by modern materials. The development of clear, long lasting glues allows glass to be fastened to glass anywhere on a window. This allows for the addition of colored glass, prisms and lenses to the surface of a base glass. Etching allows the artist to alter the glass surface. Acid etching maintains the glass transparency rather than obscuring it. While painting draws attention to the surface of the glass, acid etching draws the eye through the glass, even as it adds shape and texture. Sand blasting cuts the surface shine of the glass and replaces it with a soft diffused whiteness. Carved glass refers to glass with a sculpted dimension.

Untreated leaded glass offers a wealth of possibilities, and many windows are made using only the colors and textures found in the glass itself. Large colored fields of glass usually require antique glass, with its subtle color shadings. A large expanse of primary colors and monotonous textures of machine made glass can be deadly. When figures, intricate details of special effects are required, glass treatments are necessary. Although the basic techniques for creating leaded stained glass date back to the medieval era, stained glass has evolved with the times. Technical and artistic developments over the centuries have given today's artist a wide range of techniques to choose from. In essence the techniques used to enhance glass either add or remove something from the surface or change the shape of the glass in the kiln.

IHS Studios offers complete preventative maintenance and repair services including:

A stained glass window is an art form, and should be considered as such, just as one might think of an oil painting. Stained glass is used both as a work of art, and in a practical form, as a window to the world. The same natural elements that enhance a stained glass window, also work to deteriorate the structure of that piece of art work.

Perhaps more importantly than any other part of the building�s exterior, stained glass windows should receive routine maintenance to minimize the effects of the natural Elements.

·Establishing long range maintenance programs and schedules. ·Glass and lead came cleaning. ·Waterproofing and re-caulking. ·Glass repair and replacement. ·Protective shielding.

In those instances where windows have deteriorated beyond the help of preventative maintenance, and need more extensive restoration, IHS Studios offers a complete restoration program.

·Documentation and Evaluation. ·Glass repair and replacement. ·Total reconstruction and Releading. ·Panel removal and frame Repair. ·Enhanced reinforcement Systems.

Part of our restoration program involves developing a complete photo survey, and detailed documentation of each windows condition. There are several publications available, which cover this subject in greater detail. These may be obtained by contacting us at IHS Studios.

General Information

Design The Designer/Artist shall consult with the Owner and/or Architect to ascertain requirements of the project and develop a design philosophy.

Submittals The Designer shall develop preliminary design concepts within the basic character and budget of the project. The Designer/Artist shall prepare from the approved preliminary concept fully-developed colored transparent designs, attractively and durably mounted, suitable for display. These designs may remain available to the owner for display of fund raising until such time as they are required for the manufacturing

of the design. Quality Assurance

The Designer/Artist shall develop full-scale working cartoons (patterns), select colors, and personally supervise the proper execution of the design.

Product Delivery, Storage and Handling Delivery and installation of the art glass will be coordinated with the Builder and/or Owner. A projected schedule will be agreed upon after final approval of the design.

Job Conditions The art glass will be installed in existing frames provided by the owner or contractor, specifications of which will be based on the final design concept. The average leaded glass panel is 1/4� in thickness and weighs approximately three pounds per square foot. Guarantee�Three years on product liability and one year on glazing. Products

Glass The glass to be used shall be of the hand-made, mouth-blown full antique and/or mechanically-made rolled type, with color selection made by the stained glass Designer/Artist in accordance with the approved design.

Metal Cames Zinc came shall be the primary came holding the glass pieces in place, to be used in any one or a combination of widths (1/4� to 1 1/4�) so as to best accent the overall design. Lead came will be used only when intricacy of the design dictates, and it will be of the extra hard type. Fabrication

Dimensions of Individual Panels No single panel shall exceed fourteen square feet, nor be longer than four times its width.

Panel Construction All joints shall be neatly fitted and soldered on both sides using a 60/40 antimony of free solder. All glass to zinc/lead contact shall be waterproofed on both sides, with a glazing mixture of pure boiled linseed oil, turpentine and whitting. Installation

Frame Requirements Leaded glass panels can be installed in mullions of masonry, metal or wood. Frames shall be detailed to receive the weight of 3 to 5 pounds per square foot, with a glass thickness on 3/16�.

Glazing Art glass panels shall be installed into existing frames and sealed to frames with one part silicone glazing and waterproofing sealant, such as Dow Corning 795 silicone building sealant which will cure to a durable and flexible silicone rubber building joint seal that can accommodate + or - 50% movement. Frames are to be furnished and installed by the Owner or the Owner/Contractor.

General Information

Design The Designer/Artist shall consult with the Owner and/or Architect to ascertain requirements of the project and develop a design philosophy.

Submittals The designer shall develop preliminary design concepts within the basic character and budget of the project. The Designer/Artist shall prepare from the approved preliminary concept fully-developed colored transparent designs, attractively and durably mounted, suitable for display. These designs may remain available to the owner for display of fund raising until such time as they are required for the manufacturing of the design.

Quality Assurance The Designer/Artist shall develop full-scale working cartoons (patterns), select colors, and personally supervise the proper execution of the design.

Product Delivery, Storage and Handling Delivery and installation of the art glass will be coordinated with the Builder and/or Owner. A projected

schedule will be agreed upon after final approval of the design. Job Conditions

The art glass will be installed in existing frames provided by the owner or contractor, specifications of which will be based on the final design concept. The average leaded glass panel is 1/4� in thickness and weighs approximately three pounds per square foot. Guarantee�Three years on product liability and one year on glazing. Products

Glass The glass to be used shall be hand-made Blenko/Heritage glass dalles 8� x 12� and 1� thick, to be saw or anvil cut with cut pieces being faceted according to the design requirements.

Epoxy Resin Matrix The product to be used shall be HCH Chemicals or Thermoset Slab Glass Compound or equal, which in a cured state as the matrix of a faceted glass panel, shall remain dimensionally stable, without cracking or loss of adhesion to the glass, under conditions of 130ºF exterior and 70ºF interior temperatures (simultaneously) with con-current humidity changes of 6% to 10%. Standard epoxy color shall be charcoal. Epoxy thickness shall be 5/8� to 3/4� using a resin and hardener in an environment with a temperature of 70º to 85º. Fabrication

Dimensions of Individual Panels The size of the panels shall be determined by the design and the physical opening. However it is recommended that any one panel not exceed 16 square feet in area, and that the length to width ratio not exceed 4 to 1.

Panel Curing Epoxy panels should cure for a minimum of one week at same temperatures as they were poured. They should also remain in a horizontal position for a minimum of 48 hours. Installation

Frame Requirements

Faceted glass panels can be installed in mullions of masonry, metal or wood. Frames should be detailed to receive the weight (10 to 13 pounds) and the thicker edge of epoxy panels (5/8� to 3/4�).

Glazing Glazing shall be with a one part silicone glazing and waterproofing sealant, such as Dow Corning 795 Silicone building sealant which will cure to a durable and flexible silicone rubber building joint seal that can accommodate + or �50% movement. Frames are to be furnished and installed by the Owner or Owner/ Contractor.

Every church window is a team effort. The Committee members, clergy, congregation members, donors, architects, builders, stained glass Artist and craftspeople all have a hand in the process. The artistic and technical quality of the final product will depend greatly on how well this team works together. As a stained glass window is planned, designed and built, the committee managing the process goes through four main phases: planning for the windows, choosing an artist, design, fabrication and installation and celebration.

Planning for the Windows This is a time for committee members to be gathering information, getting organized and establishing time lines and milestones for the commissioning process. The committee can begin to discuss what kind of window is desired, the budget, resources that are available, and any limitations that may apply. They can also begin to plan the overall process that will be followed, including what method will be used to identify and evaluate the artist in the selection phase. By the end of this phase, work responsibilities should be clear, and a budget and preliminary schedule established. Selecting an Artist/Studio The process of choosing an Artist/Studio can go in different directions, depending on the plans made in the first phase. The committee may schedule a series of studio presentations, or it may hold an open competition. A competition begins with an invitation to stained glass artists to send slides of previous work. The committee then narrows the field to two to five artists, who are paid to produce designs for the windows. They can then begin to make arrangements with the artist for finalization of the design, contracts and schedules. Design and Fabrication In this phase the committee works with the selected artist, completing the task of reviewing and approving the final design, and begins to shift its energy to managing the rest of the process. If not already done, the committee will need to raise funds to pay for the construction and installation of the windows. Some projects begin with money in hand; others may find it helpful to have the final designs for the fund raising. This approach may mean that there is significant lag time between the completion of the design and its fab-rication. Installation and Celebration In the fourth phase, the contractor, site supervisor and artist set schedules for delivery, scaffold arrangements and installation of the work. The committee can then begin planning for the dedication ceremony.

The following outline is a guide to commissioning stained glass based on the four phases listed previously. For each of these phases, there are answers to some commonly asked questions. Additionally, three of the phases have �to do� lists to help the committee get started.

Form a Committee or designate a person who will have the authority to act for the church.

Determine the decision making process of the committee. Majority rule-Vote on the process; the majority rules. Consensus� The committee discusses an issue until a decision is reached that

everyone can live with. Select a spokesperson or chairman. Prepare a brief statement concerning each of the following: What will the church�s personality be? For what purpose does the congregation want stained glass? What is the ministry focus of the congregation, and what activities is it

actually involved in? Does the congregation favor traditional, representational or abstract design

in art? Identify all of the windows that will be considered for art glass and note their dimensions. Set schedules and budget parameters. Establish how the committee will communicate information and decisions to the wider community. Determine the relationship of donors to the decision-making process and the

manner in which the contributors will be acknowledged. Research the available Artists and/or Studios and create a list to be contacted. Visit other churches to see and compare Artists� work. In light of these visits, discuss and note what members want or don�t want in the parish�s stained glass. Determine the method of Artist selection- interviews, holding a competition, etc. Send a request to the Artists for their Curricula Vi Tac, slides, brochures, videos and references based on previous work. Include information about your project. Review Artists� materials; create a short list of two to five Artists. Prepare a letter to the chosen Artists, inviting them to present their previous

work or to participate in a competition. Choose an Artist based on the selection method being used.

Commercial General Liability General Aggregate $1,000,000.00 Products and Completed Operations $1,000,000.00 Aggregate Limit $1,000,000.00 Personal and Advertising Injury $ 500,000.00 Each Occurrence $ 500,000.00 Fire Damage $ 50,000.00 Medical Expenses $ 5,000.00 Workers Compensation Each Accident $ 100,000.00 Policy Limit $ 500,000.00 Each Employee $ 100,000.00

Performance Bonds IHS Studio�s last bonded project was for approximately $100,000.00

NOTE: Any additional information, form 25s and references can be furnished on request.

One of the most popular ways for a religious institution to acquire art glass is to allow individual families or larger segments of the congregation to donate the work to the institution in the memory of a loved one.

IHS Studios will assist you in developing and promoting a memorial program. We will work closely with the individual donor or congregation�s committee in the design and presentation of the proposed work to the institution. Our Artist assumes the role of intermediary to insure the donor�s and the institution�s complete satisfaction in design, fabrication and installation. At IHS Studios we understand the concerns a congregation has for its worship facilities. Our memorial program is designed to build consensus and to strengthen the bonds of the members to their place of worship. These services are provided at no additional cost to the congregation when HIS Studios is commissioned to design and fabricate the stained glass.

1400 FM 2093 Fr eder icksburg Texas 78624 ● www. ihsstud ios.co m ● 800-259-1842

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1400 FM 2093 Fr eder icksburg Texas 78624 ● www. ihsstud ios.co m ● 800-259-1842

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