Celebrate! - November/December 2002 (Vol. 41, Num. 6)
Light and Worship (Part 3)
Vision to Reality – Creating Stained Glass
Now that the artist you have chosen to work with is busy with the design, what is the role of the committee? During the design process it is helpful if either the chairman or another designated member can act as a sounding board for the artist's ideas and direction. The pastor can also help at this stage by contributing to discussions on the theological aspects of the work. The design process is different for every artist. Nonetheless, there are some basics we can describe.
- How much "direction" should we give the artist during design work?
Artists don't create new designs in a vacuum, and some input is essential.
The artist should be invited to attend services, or perhaps a building committee meeting or a social event where they can learn about the community in an informal way. The artist should know and respect the qualities and characteristics being looked for in the windows.
Committees sometimes feel they are being helpful by giving the artist pictures of what they would like to see in the windows, or a detailed description of symbols, colours and images. Although well-intentioned, that level of direction can only stifle the creative process. Certainly there are some studios who would prefer to copy a picture (or a window they have made before) rather than create an original design, but to my mind this is a lazy, uninspired approach that is no service to the client.
- Who decides on the themes for the windows?
This can come as direction from the committee, and may take the form of a "plan of iconography" for the windows. Sometimes the artist has the artistic and theological knowledge to create such a plan, and may prefer this autonomy. Other times, the themes are worked out in concert with the pastor and the committee. Not all artists - or committees - have the knowledge and experience necessary to create a plan of iconography, and the parish may need to consult an additional resource person for this work.
- Can we let various donors decide on the themes for the windows?
No. Allowing the donor's favourite subject, or image, or saint to rule the day does not provide a meaningful content for stained glass windows. However, in cases where there is a single window or there are many existing windows from earlier times, the donor's idea may be considered in light of what else is near the donated window.
- Can we take the artist's designs to another studio that is willing to do the work for a better price?
No. This is quite unethical, and probably illegal, as sketches and designs are protected under the artist's copyright. Also, you get what you pay for, and a studio that is willing to undercut an artist while appropriating his or her design is unlikely to produce inspired work. Translating a sketch into stained glass calls for artistry and vision. Studios that quote a low price will probably be using cheap glass and cutting comers everywhere they can, since they have no real investment of time or pride in the window, The end product will have little beauty or integrity and be quite unworthy of gracing a church. It is better to establish a budget or at least a range of costs that everyone deems fair before the process is too far along.
- What other resource persons will the artist need?
The artist will need to consult the architect, especially if the building is under construction. Before designing, he or she will need drawings, dimensions and material samples. As design work nears completion the artist and architect will need to consult on framing and installation specifications. As the work moves closer to completion they will need to coordinate with the contractor to ensure a mutually agreeable schedule for installation.
- What does the artist actually do when making the designs for our windows?
The artist will be taking many factors into account as they design. The style of architecture, the way light works in the building, and the surrounding materials, textures and colours are of primary concern. Some artists make a three-dimensional model of the church to help them visualize the space, and the passage of light throughout the day. This is particularly useful if the church is still under construction. The needs of the liturgy, the themes and theology to be expressed, and the qualities desired by the committee are also important. At the same time, budget restrictions, technical challenges, and integration with the other windows need to be considered. (We can ask ourselves at this point how anything creative has ever been done!)
All of these considerations are simply the groundwork, for when an artist begins the design process something else happens. The creative act of drawing takes on a life of its own, and leads to new ideas and images. These inspirations are like gems, and they are found not by intellectual imaginings or analysis, but through the true creative process. It is this marvellously transcendent experience - a spiritual connection - that is the biggest difference between a creative artistic process and the "window bin" approach used by studios who are content to turn any picture into stained glass.
As the design reaches completion, the artist begins to develop it into a format suitable for presentation. The challenge here is to try to create on paper what the window will look like when it is installed. Of course, only glass really looks like glass, but with a mix of materials and media, it is possible to get close enough to achieve a reasonable idea how the window will look. The inclusion of glass samples in the presentation to accompany the design can help committee members to visualize the window.
- How much should we pay for design work?
Generally, design work is ten to fifteen percent of the overall cost of the project.
- Can we ask the artist for a written proposal as well?
Certainly. The artist will generally provide a written proposal along with the design work. They can be asked to include: concepts, themes, design approach, location of the artwork and dimensions, techniques, materials, work schedule, fee schedule, framing specifications, installation requirements, lighting and maintenance requirements.
- Should we have a legal contract with the artist?
It depends upon the size of the project. Many times it is sufficient to have a Letter of Agreement with the artist, outlining the above considerations. This is signed by both parties. When the project is large (i.e., the artist is designing and creating all of the windows for a new church or other building) it is wise to have a legal contract. Many artists' studios have standard contracts.
- After the artist has designed the windows can we ask for changes?
Most artists are willing to make some design changes, but it is a delicate operation. The elements of a stained glass window design are interconnected - this line leading to that colour, and forming the edge of that image - and it is difficult to change one aspect of the work without making several other changes. Like surgery, design changes should be done only for a good reason, and they should result in an overall improvement. If the committee is changing previously agreed-to themes and concepts, they should be prepared to pay for the artist's additional time to make these changes.
Once the design has been agreed upon, the contract signed and payment schedule agreed to, there are a few questions which can be addressed.
- What should we do if the artist makes changes to the work as it develops?
Creating a window is an organic and artistic process - not a simple system of manufacture. As a window is being made, the artist is translating a sketch into glass. In the scaling up and realization of the work, there is sometimes a need to adjust the cartoons and the glass treatments to improve the proportions and "flow" of the window. The client will need to trust the artist in the creation of the work and understand that they want to create the best possible window from their design. The client should be informed of any major changes in the artwork and the reasons for it, and be given an opportunity to respond.
- Can we visit the studio while the window is being made?
This will be up to the individual artist. A studio visit to see the work in progress is an enjoyable and exciting event. It is great when the whole committee can be present at the same time and listen to the artist explain the process of constructing stained glass, watch the glass being cut and perhaps try their hand at glass painting. First-hand knowledge of how windows are made is much better than trying to visualize the process from descriptions.
Installation and Celebration
- Who is responsible for the delivery of stained glass to the church?
The artist should make these arrangements.
- Who will install the windows?
The artist, along with an experienced installation team, usually has this responsibility. The artist, in consultation with the architect, will have finalized the installation methods and framing details during the design and fabrication period. Co-ordination with the site supervisor of a building under construction is essential. Arriving with stained glass windows and scaffolding while the floor is being laid and the church inaccessible is nobody's idea of a good time. Having a site supervisor who is both good at scheduling and helpful to outside contractors is a blessing.
- Who pays for the scaffolding?
Usually the client pays for the scaffolding, lift, or other rental equipment within the church.
- Who pays for insurance on the project?
While the project is in the artist's studio, insurance is generally their responsibility. This includes their sketches, models, full-size drawings and materials. The artist should also cover insurance during transport. Once the stained glass arrives at the client's site it comes under the building's insurance policy. The church's insurance company should be notified of the new windows and they should be insured at full replacement cost.
- Who is responsible for cleaning the exterior windows and the framing that holds the windows?
The client should arrange to have the exterior clear glass windows cleaned inside and out before the stained glass is installed. The window framing in a building under construction is covered in plaster and paint and the window installation should wait until there is a clean, safe environment.
If the windows go in early, when there is still considerable construction to be done, the chances of damage are very high. A construction site is no place for stained glass windows, and their installation should be scheduled as late as possible in the building process.
- What should we expect in terms of a warranty of craftsmanship?
This will be up to the individual artist and can be addressed in the contract or letter of agreement. It is customary to offer 5-10 years warranty of craftsmanship. Left undisturbed, a leaded stained glass will stand the test of time; however, there is no way of guaranteeing against accidental or intentional breakage. Fortunately, windows can also be repaired. An additional concern is the framing system which holds the stained glass in place. The framing can itself put pressure on glass and cause cracking.
The framing system should be approved by the artist before a guarantee is given. If a window contains a very rare glass or a difficult-to-match colour, and is in a position where breakage may happen (i.e. at ground level) it may be worthwhile for the client to purchase a small amount of spare glass. This will come in handy in the event that repairs are needed.
- Who owns the copyright on the windows? Can we make cards and posters of the work for sale?
Legally, in Canada, the artist holds the exclusive copyright to their work. However, the copyright can be shared. It is essential to have this in writing. Most artists are happy to let their clients make cards and posters. Ensure credit to the artist on the items. Good (i.e. professional) photography and reproduction of the artwork is very much appreciated by artists.
- Should we arrange publicity for the artist and windows after installation?
By all means - especially with a large commission. The publicity and public interest will bring visitors and possibly new members to the church. Enjoy and celebrate the new work in your church!
- Should we formally dedicate the windows?
Usually, there is a dedication of the windows to the glory of God when the congregation is gathered for worship. The artist should be present at this ceremony and may be invited to speak during the service or at a reception afterwards. Donors and the committee members should also be present and acknowledged during the dedication ceremony. Some congregations have published beautiful booklets which commemorate their windows. These publications find their way around the country and bring visitors and new members to the church.
Reflecting a Spiritual Journey
The addition of a stained glass window into the fabric of a church is a special event. It is a reflection of the spiritual journey of the particular congregation at a point in time. It is a journey undertaken with an artist. It is considerably more than church ornament or decoration. Windows can breathe new life and light into the worship space, and thereby into liturgy, and thereby into our hearts.
