Her methodology involved the manipulation of the surface-coating of low emissivity glass by sandblasting and its fusion with surface manipulated traditional float glass at elevated temperatures. Through rigorous scientific testing, she observed the Pilkington K glass in four ways: for its colour; iridescence; reflectivity; and bubble formation. The glass was test fired from 600 degrees to 900 degrees, with an optimum firing temperature of 775 degrees. Under microscopic observation, she noticed that where the surface had a linear formation, which refracted light, it had a shiny look; but where the structure was chaotic, the resulting surface was dull. Colours ranged from gold to pink to blue. Gold had a bubbled surface, purple had no bubbles, just ripples and pink combined the two.
Prior her research, there had been no documented information regarding the creative use of functional surface-coated flat glass. As a result of her investigations, Eileen had effectively developed new methods of creating a colour palette, by exploiting the aesthetic qualities of the Pilkington K glass under certain conditions. She developed new techniques that can be applied to several areas of creative glass, providing the glass artist with an alternative palette of effects.