2 Park Lane, Saffron Walden, Essex CB10 1DA
Phone:
01799 501574Email: timandpaula67@btinternet.com
Contents and links to other pages.
Work in progress:
Memorial Window for the Church of all Saints, Cornard Parva in Suffolk
The three lights will depict Biblical stories which feature the roles of three women. Ruth and Hannah are from the Old Testament. Mary Magdalene is from the New, and plays her part in the essential Christian story of the Resurrection.
The subject matter and general approach were agreed, then ideas were exchanged by e-mail with the client and others involved. Some stages in the design process are shown here.
The Faculty was obtained when the design was more or less complete. Then a mason was consulted to check that the stone is sufficiently sound to accept the installation.
The church building dates mainly from the fourteenth century, and the style of the imagery will refer to this in a general way. My incorporates and adapts figures from a range of late gothic/early renaissance paintings and later works. A list is given at the end of this sequence. The earliest is by Duccio.
The attractive spider’s web pattern may be Victorian, or it was made early in the twentieth century. I will remake it for the new windows. The positions of the horizontal glazing bars will not be changed, but the ironwork, lead and glass will not be used again; the exception being the fifteenth century angel which will be returned to its present location. I will do the cutting, artwork on glass, leadwork and installation, but I will subcontract the making of the horizontal glazing bars to a blacksmith. One bar must be curved to accommodate Christ's halo.
After the Faculty was obtained a second set of measurements was taken, and the design was printed actual size. From this pencil drawings were made by hand, scanned into computer, and the final cartoon was printed.
The colours were chosen by selecting the lightest part of each area on computer screen. This anticipated the darkening which will occur when the design is applied to coloured glass by paint, stain and enamel.
Then they were mapped against the hue spectrum and grey scale. A second diagram mapped the gradations and areas of streaky glass.
The initial choice of glass was made by viewing samples against the sky.
Cardboard templates used to take the final measurements.
Links to other pages:
Home )
Tim Armstrong Stained Glass Products and Services.Page 1)
Window (1) Nanoscience Centre, Cambridge University.This Page)
Window (1) Nanoscience Centre, Cambridge University.Page 3)
Window (2) Stamford Shakespeare Theatre.Page 4)
Window (3) Private House.Page 5)
Window (4) Private House.Page 6)
Glass Constructions (1) Multiple ReflectionsPage 7)
Glass Constructions (2) Multiple ReflectionsPage 8)
Glass Constructions (3) Grandfather ClockPage 9)
Glass Constructions (4) MirrorsPage 10)
Designs and Processes (1) Matching styles, Translating the work of other artists.Page 11)
Designs and Processes (2) Colour and Light, Design Reference Files.Page 12)
Designs and Processes (3) Printing on Glass, Speculative Designs.Page 13)
Designs and Processes (4) Etching Glass.Page 14)
Panels Stacked Glass, Mirror with Leaded Lights.Page 15)
BibliographyAlso on Page 15:
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About the Artist ** Qualifications ** Awards. ** Exhibitions ** Purchasers. ** Terms and Price Guide ** Sample Prices. **Page 16)
Synopsis Summary for Printing.Page 17)
MAP Location of Tim Armstrong Stained Glass.End of this Page
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