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The Creation of Our Stained Glass Windows
Fabrication by the Burnham & LaRoche Studio, Medford, MA.
Design & Painting by James Francis Smith.
Setting the parameters for a Church commission:
1. Subject matter, style, budget and liturgical questions will first be discussed in an on-
site meeting designed to produce a free exchange of ideas. At the direction of Kevin
Ryan, one of our associates will usually take this opportunity to measure the size of window
openings while Jim Smith studies the interior to become familiar with the
character of light and the amount of maximum sunlight. The typical viewing distance
of each window will be noted, as will the times of use of the room during a typical
day. Before any design work begins, we will seek answers to these and other
questions which will influence the mood of the stained glass and its effect on the
viewer.
The design is created and approval sought
2. Research on subject matter, symbolism and related matters will come next, followed
by exploratory trial designs and a series of preliminary sketches based on the selected
approach. Jim will then prepare a scale design in either black and white or in full
color for approval by the client. This is one of the most critical stages of the entire
process since the resulting drawing will include all significant details of the final
window and serve as the focus of discussion prior to final awarding of the
commission. The budget and details of the contract will be set at this time and will
include any necessary decisions regarding window sashes (new or rehabbed),
outside protection glass, ventilators to be supplied, etc.
Technical & aesthetic development of the Design:
3. A full size layout of the window will now be prepared from the sizes previously
measured. The layout, on sturdy drawing paper, contains details of all framing
components, necessary structural support in the form of reinforcing bars and the like.
4. The approved design is next drawn, at full size, on the window layout paper. We will
use this opportunity to enhance the details of the drawing and to add any drawing
details not possible to show in the smaller presentation design. Lead lines between
individual glass pieces will be rendered in their true size.
5. A pair of technical drawings must now be traced from the full sized maquette or
cartoon. These will eliminate all design detail to show only the path of lead lines
between the individual pieces of glass. Each piece will be marked with an identifying
number. One of these tracings is called the pattern copy, the other the cutline.
Design & Painting by James Francis Smith.
Setting the parameters for a Church commission:
1. Subject matter, style, budget and liturgical questions will first be discussed in an on-
site meeting designed to produce a free exchange of ideas. At the direction of Kevin
Ryan, one of our associates will usually take this opportunity to measure the size of window
openings while Jim Smith studies the interior to become familiar with the
character of light and the amount of maximum sunlight. The typical viewing distance
of each window will be noted, as will the times of use of the room during a typical
day. Before any design work begins, we will seek answers to these and other
questions which will influence the mood of the stained glass and its effect on the
viewer.
The design is created and approval sought
2. Research on subject matter, symbolism and related matters will come next, followed
by exploratory trial designs and a series of preliminary sketches based on the selected
approach. Jim will then prepare a scale design in either black and white or in full
color for approval by the client. This is one of the most critical stages of the entire
process since the resulting drawing will include all significant details of the final
window and serve as the focus of discussion prior to final awarding of the
commission. The budget and details of the contract will be set at this time and will
include any necessary decisions regarding window sashes (new or rehabbed),
outside protection glass, ventilators to be supplied, etc.
Technical & aesthetic development of the Design:
3. A full size layout of the window will now be prepared from the sizes previously
measured. The layout, on sturdy drawing paper, contains details of all framing
components, necessary structural support in the form of reinforcing bars and the like.
4. The approved design is next drawn, at full size, on the window layout paper. We will
use this opportunity to enhance the details of the drawing and to add any drawing
details not possible to show in the smaller presentation design. Lead lines between
individual glass pieces will be rendered in their true size.
5. A pair of technical drawings must now be traced from the full sized maquette or
cartoon. These will eliminate all design detail to show only the path of lead lines
between the individual pieces of glass. Each piece will be marked with an identifying
number. One of these tracings is called the pattern copy, the other the cutline.
| © 2010 - Burnham & LaRoche Associates Inc. |
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