All this past week I intended to get back into my personal studio to accomplish more on the cartoon for the Queen of Angels window but instead I spent the whole week compiling spread sheets for various projects. Since Thanksgiving I have estimated the restoration of the largest window at the Washington Memorial Chapel at Valley Forge, a vast restoration project at Bryn Mawr College and all new windows for a huge new monastery. At least Josh has been getting something done on this window. He has first been patterning (as seen in previous posts on this subject) and now selecting and cutting glass. I would normally not want anyone to start choosing glass before I am finished cartooning the whole window but in spite of how over-booked we are, we have stuggled to keep people busy. The holidays have kept us from working at various sites but that will end this week. Tomorrow two different crews begin removals for restoration at Catholic University and also at a closed church in the Philadelphia suburbs.
Meanwhile here is more to see on the Queen of Angels window, including some great glass cutting by Joshua Pride. I have been toying with the idea of doing lettering solely in glass instead of hand-painting the calligraphy as we normally do. This was popular with Tiffany and LaFarge but has not been done much since, at least not this delicately. I will be interested to see if this turns out to be more or less expensive a way to do lettering. I like the idea because to shifts some of the artistic contribution from the painters and on to those selecting and cutting glass.
Josh has been busy cutting glass. In this photo the top row of letters are the paper patterns for the spaces between the letters. the bottom row is the paper patterns for the letters. the middle row is the glass that has been cut from these patterns. The letters are a medium bold glass from Saint Just that I bought specifically for this border. the spaces between the letters are being selected from various glasses. These spaces change color gradually from blue to red through all marker of purples.Here is an up-close shot. In the immediate foreground are the thin paper patterns and beyond are the small pieces that were cut as of Thursday Jan 10th. so far I think this looks great. When the pieces are assembled they will be using a very narrow leading that will reveal only thin slivers of light for the letters. This will be fine because the light spreads out from these thin letters and will make them seem thicker. All these pieces need a thin layer of vitreous paint applied and then they will get kiln-fired.