Glass Gazette - July 2000
Book Review
The Color of Light: Commissioning Stained Glass for a Church, by Sarah Hall
At last someone has taken the initiative to smooth the lines of communication between the stained glass artist and the client. With Sarah Hall's new book, The Color of Light: Commissioning Stained Glass for a Church, the commissioning of custom stained glass is celebrated as a fulfilling experience, the creation of stained glass is richly explained, and the concerns of the novice client are considered in a step-by-step manner. As a reassuring indicator of how clearly the The Color of Light intends to serve the reader, Hall states in the introduction, "The purpose of this book is to demystify the process of working with stained glass artists and to establish a format for the commissioning process." This she does well by conveying what stained glass is, where it came from, and what it can be. After many years of producing unique, award-winning stained glass and completing numerous commissions that place her exceptional designs in public buildings and churches across North America, Sarah Hall is in a perfect position to share the lessons of her trials and successes. The glass materials and their use are illustrated through sumptuous examples and explanations over two chapters.
The various handblown techniques used in the production of antique glass, the alternative machine-made materials, and the differences between the two are concisely described. Hall's experience as a vibrant, unique designer is evident as she stresses right from the beginning of the formative process how important the concentration of creative energy is in developing the design. Steps of construction are simply put and easily under- stood, as are the special effects that can change and enhance glass, such as sandblasting, acid etching, painting, and staining. In each case, beautiful, ample photo- graphic examples are shown.
We are next conducted by Hall through a history and development of stained glass that is boiled down to its essence, inviting the client/congregation to experience "a unique opportunity to make a meaningful contribution to the thousand year history of this unique and beautiful art." A handy reference for us all this chapter - far from dry - is an interesting story of political eras, architectural styles, and religious history inter- twined to influence a dynamic art In summing up, Hall observes that "Great church architecture and great stained glass are always expressions in, of and for their own time." With this in mind, the needs, philosophy, and architectural set- tings are all considered as the reader explores the choice of designer/artist in the chapter entitled "Design." Within a discerning explanation of the differences between commercial and independent studios and descriptive passages defining recognizable styles of stained glass, the message that Hall conveys in this chapter is that design is the foundation of good art and that it should be carefully and sensitively approached, with the past and future in mind. Thus far, The Color of Light is an illuminating read for the uninitiated; this after all, is the purpose of the book. But the final section on commissioning stained glass is food for all. The clearer we make this process, the more creative energy we can invest in the artwork, and the greater the collaborative experience will be. Sarah Hall leaves little unsaid as she lays out step-by-step guidelines for the commissioning process, including "to do" lists and relevant questions that may (and do) arise, along with clear, confident answers. Finishing the book with appendices of Maintenance and Restoration, Resources, and a Glossary, the manual is complete.
With these considerations in mind, not only will the client feel more al ease and in control, but the artist can approach a commission with a helpful, professional attitude. This is a win-win book. Together with its 85 spectacular colour illustrations, this guideline could become the new bible of the church building committee.
