Beginnings of the sketch

The Sketch

It is the function of the stained glass artist to make the design, or sketch. This is typically a one inch to one foot scale color rendering of the proposed new window. Through it, the artist conveys to the client his or her design concepts.

After approval, the sketch becomes the model from which the full size drawings or "cartoons" are made. From the cartoon is made the glazing drawings, upon which the window will be built. The artist is involved in all phases of this work.

The sketch takes shape

Before the sketch is drawn, certain preliminary work is done. Site visits are made. The architectural style and the style of existing windows, if any, need to be observed. In addition, the quality of light-- including outside obstructions-- must be taken into account. Visits with the client or the window committee result in decisions about the subject matter, budget and other considerations. These factors, along with the artist's knowledge, taste and imagination come into play before the sketch is begun on paper.

As the sketch takes form, the artist must be aware of two major concerns: art and structure. It is essential that both be considered from the outset. Structural support should not be considered as an afterthought or something to be added later to the design.

The linking of art and structure is typified by the leadlines of a stained glass window. Aesthetically, these leadlines can function like pencil lines in a drawing: describing forms, creating patterns and dividing areas of color. At the same time, leadlines are functional, holding the pieces of glass together, providing the structural skeleton of a window.

The finished window in Albany, NY

The sketch must include the division of the window into individually supported panels. Within these sections horizontal bars are added for support. The pattern of leadlines is drawn with consideration for stress within a section.

Stained Glass Resource's experience with the restoration of older windows has resulted in a wealth of information on the bowing and buckling of windows. This is often the result of sections being built too large, designed with insufficient support bars or with poor placement of leadlines.

The artist should, of course, be familiar with traditions in stained glass and architectural design. He or she should know how to organize space, to develop subject matter into strong, readable images and to use symbols and ornaments.

To be able to exploit the unique artistic qualities of the medium, the artist must be familiar with its techniques and materials. Knowledge of the variety of types, texture and color of glass is basic. Needed, too, is the knowledge of techniques that alter the effect of light passing  through glass: glass painting, enameling, staining and etching. A working understanding of glass cutting, leading and installation is also necessary.

Scott McDaniel adds the finishing touches

The challenge for a stained glass artist is to bring together many factors into a design that creates an effect both beautiful and meaningful. It must also be a plan for making a structurally sound window. Only then can work begin with glass and lead.

Scott McDaniel is a graduate of Syracuse University School of Art. He has been employed as an Artist-Designer in the stained glass field since 1974. Mr. McDaniel was Art Director at the historic Wilbur H. Burnham Studio from 1983 to 1990, where he designed scores of stained glass windows for churches throughout the Northeast. He also restored LaFarge windows for the Museum of Fine Arts in Boston. Scott is now the Art Director for Stained Glass Resources, Inc.