Wavelengths

In the previous issue of Glass Art, the authors wrote about how an artist understands and plans for the available light when designing a window. In this article, they take a look at another important ingredient in the design process: color.

Have you ever been in a time machine? Probably not; but if you ever have the opportunity to sit for a while in one of the great medieval cathedrals of Europe, you will experience the next best thing. In the dimness of the interior, it’s quite possible to find a view with no modern objects or distractions at all; and from there, it is only a short journey to the 13th Century.

What would it have been like to sit in the Anew@ cathedral for the first time after the windows were installed? Imagine a time when books were rarely seen; when paintings were the preserve of the wealthy; when bright colors of any sort were more often found in Nature than in human works. To then see the sun shining through stained glass, giving almost unbearable brightness to the images in the window, and transforming the space all around with a rich patterning of colors: It must have seemed a miracle.

Even to our own eyes, which are filled every day with brightly colored objects and images, a stained glass window can be a stunning experience. What makes it so? Surely, light and the pattern of the design each play a part; but the big player is usually color.

The colors of stained glass have a clarity and intensity that is unequaled in any other medium. This is because light is transmitted through the material, rather than reflected off it. Light gives life to the color. In turn, the glass alters the light - changing its hue; smoothing its harsh edges; catching and holding the rays in its thickness - and in the process, transforms the very air with it.

In our own times, people have tried to understand color; to analyze it, and measure its psychological effects. These studies have their purpose, but the questions they ask were addressed hundreds of years ago by stained glass designers and glass-makers. They knew, and we know, that color touches the emotions in a way that words cannot. It can transform the atmosphere of a space, creating a sense of mystery, joy, contemplation, or excitement. Combined with designs or images, color can evoke strong spiritual feelings. Abbot Suger knew this, and his medieval cathedrals were filled with rich color. The Bernard of Clairvaux knew it too, and ceded as much power to color by banning it (thereby acknowledging its emotional impact) as Suger did by promoting it.

Designing for Color

Stained glass is an architectural art, and every window should be designed with the space and its uses in mind. Naturally, the window=s colors should contribute to the desired environment. Because each artist has their individual style, and every commission is different, there are no hard-and-fast rules for using color. What follows is an overview of the considerations that should guide the choice and use of color in a stained glass window.

Color in stained glass is never seen entirely on its own; it is always driven by light. As a consequence, the color is more intense than it is in applied media such as painting. While the applied-media artist sometimes has to intensify colors to make an impression, the glass artist is at least as often tempering colors so as not to overwhelm the viewer when the brightest light is coming through the window.

In the natural rhythms of light throughout the days and seasons, the intensity and the tone of each color in the window will be constantly changing. If the light is very bright, the color will be dazzling. To effectively design for this, the stained glass artist has to understand the range of lighting conditions that the window will undergo, and choose colors that will work in as many conditions as possible - with special emphasis on the times that the space will be most used.

Ultimately, the color must be right. It=s that simple. Color is the first thing that people see when they look at a window, and it remains a constant presence in the room, even when attention is elsewhere. The color from a window can make a room a wonderful place to be, or it can do the opposite. Unfortunately, an inappropriate color doesn=t get any better over time. It may become less jarring as people get used to it, but it has nevertheless altered the space, and not for the better. It is well worth the extra time and effort to get the colors right.

Because of the importance of color, it should be part of the window=s planning from the very start. The color plan usually begins with a very general sense of the main colors that will be used, and takes on more and more detail as the design progresses. Although no design can completely capture the look of stained glass, the rendering should give a good idea of the overall color scheme and the relationship between the colors. It is up to the artist to look past the paper on the drafting table, and Asee@ the stained glass window that will take shape. It is also a good idea to look at glass samples and sheets for reference during this process.

During the designing the artist has to remember and balance a number of factors: Within the window, there is the overall color of the window and the balances between the colors; the relationships of adjacent colors (complementary, contrasting); the intensity of the colors being used and their balance with others in the window; the use of accents. The artist also has to consider other qualities of the material. The texture of the glass will affect the perception of color, as will characteristics such as streakiness or tonal gradation.

The artist thinks beyond the window to its surroundings. This includes an awareness of how the light and the color from the window will affect the floor, the air, and objects in the room. It also takes into account the effect of other light sources. Surface light on a window will bleed it of color. These factors will determine the density of the colors that should be used, and hence how much, and what quality of light they will transmit.

Color has many personalities. It can be rich or spare; bright or dull; primitive or refined; pure or blended. Some windows are built around one color (Figure 1); some on the interplay between contrasting or complementary colors (Figure 2); some on the playful use of accents (Figure 3).

While it is primarily used as an artistic element, color in a window can be used for other purposes as well. Some of these are practical; others are symbolic or thematic.

In liturgical settings colors have symbolic meaning in addition to their ability to create an atmosphere for prayer or worship. The atmosphere or environment one projects through transmitted color is closely allied to the purpose of the space. Not only do we associate blue with tranquility, but blue light actually affects the parasympathetic nervous system to calm us (Figure 4). The color red can raise our blood pressure and stimulate or agitate our sympathetic nervous system (Figure 5).

The overall coloration of materials within the architectural setting should be taken into account when designing for color. During the first site visit the artist should make note of the floor and wall colors, observing whether it is the cool tones or the warm tones that predominate. They should also begin to consider what kind of color is needed - quiet or rich, exuberant or cautious. Although it=s exciting to work in strong rich colors, one must keep in mind that people will need to live with the windows for a long time! The artist must think: What are the client=s needs? What kind of environment do they want to create? Does the setting invite strong color, or would it best be served by more neutral colors? These considerations should be taken into account for all kinds of settings: residential, corporate, hospital, and liturgical.

It isn=t easy to keep all of these in mind at once, and there are bound to be surprises once the window is in place. The goal of choosing colors is to make sure those surprises are pleasant ones, rather than unpleasant ones. In case of doubt, it may be useful to experiment with different glass samples in the space. On larger works, it is sometimes worthwhile doing a color study in glass to see how the colors will work together.

Using Colors

After designing on paper, finding the actual colors in glass is sometimes very difficult. One may find exactly the right color, but in the wrong texture. During the design process, the artist will have checked through their own supplies, and would have gotten a good idea of what is in stock. There are bound to be some gaps, and this means that new glass will have to be bought.

Anyone looking through the stained glass suppliers= catalogs would think that there is an infinite variety of glass to choose from. Unfortunately, while there are a number of manufacturers of domestic glass, there is often not much actual variety in color. Machine-made glass is usually consistent and predictable to work with, however, these characteristics tend to apply to its visual effect as well. Some artists like this, as it fits within their design aesthetic. Others prefer the incredible range of colors, patterns and textures offered in hand-made glass. They also appreciate the artistic possibilities afforded by the variations that appear in hand-blown stained glass (Figure 6).

Luckily, it is possible to order hand-made glass for delivery within North America. Although this greatly expands the palette of the stained glass artist, selection is even better at the larger supply houses, and these are worth a visit.

Sometimes, the right color can=t be had from any source. In this case, the artist may choose a color that is close to the desired shade, and then rebalance the other colors in the artwork to compensate. Alternatively, he or she may use glass techniques to change the real or perceived color of the glass. For example, plating - adding a layer of glass to the back of a piece - can create a new color from the two. Paint and/or silver stain can also change or temper the color of a piece, and acid-etching can diminish the intensity of the color.

Into Glass

During fabrication, sections of the window are put up on the easel prior to glazing, so that the artist can view the work in progress. As the window takes shape, the artist is constantly watching the balances between colors, and the overall look of the developing artwork. In this time, there may be a need to change a color, or to use a different part of the sheet if there is significant variation in color intensity. Throughout this process, the artist should feel free to make the changes necessary to create the best work, even if this means sacrificing pieces that have already been cut. The worst thing to do is to move blindly ahead with the choices made on the paper design, without watching how the window really looks.

Stepping Back

When the window is finished, there is only one job left to do. This is to look critically at the color, and to decide what parts work best. After the window is in site, the artist should make notes on the color, and consider what he or she might want to do differently next time. This may seem a harsh discipline, but it=s part of developing an understanding of light and color. It=s also a recognition of the artist=s responsibility to those whose space will be lit by their works for the next century or so.

”The jump from reflected to incident light is a quantum leap... Color on the wall is not at all the same thing as color in your face... in music the comparison would be between a harmonica and the organ installed at Notre Dame. Stained glass artists should probably be licensed like electricians. The manipulate the same voltages.”

- Ted Goodden