…. the four seasons symbolised
We have been commissioned to make four large leaded panels on the theme of the tree of life / the four seasons. Currently in the design stage, these panels will be a bit of a departure for us and the design will be more organic than most. We intend to combine fused and leaded work into this creation with many of the seasonal symbols being rendered as pieces of fused glass then incorporated into the lead work. As the precise size of these pieces is impossible to control, those parts of the design that comprise fused glass and surrounding conventional lead work cannot be drawn in our usual way, digitally. The main frame of the panels will be done this way, but the for much of the detail, we will need to make the fused pieces, trace them onto the four drawings and then design the rest of the leaded work surrounding them to fit. While still very much in the design stage, work on the fused glass pieces is well underway as part of convincing ourselves we are on the right lines and, more importantly, being able to share the outcomes with our client, Lesley, so we know she too is happy with our direction. Some other of the detail will be achieved using traditional painting techniques.
The starting point for our design was a drawing by Lesley's daughter - at left. At this stage, a single panel was envisaged that would capture the four seasons in the four quadrants of the panel, starting in the bottom left with winter, and passing counter-clockwise through spring, summer and autumn. Subsequently, Lesley decided she wanted the glass in a different, better lit, location in her property, which was also larger. So the design we are currently developing is for four panels, arranged in two pairs, which will be arranged left to right, winter, spring, summer and autumn. They are in pairs only because their sheer size makes manufacture and mounting as two panels too technically challenging. The intent is that there will be a very narrow black bar separating each pair, along the axis of the tree, which will hopefully not detract from the impression of a tree.
|
The vast majority of the panels will comprise traditional leaded glass. However, to represent the changing of the seasons in the plant and animal life, would be very challenging given the scale difference between a bunch of snowdrops and a tree. So, though no attempt is being made to be photorealistic in glass, these symbols of the season will get their detail and hence clear identity with a mix of fused work and painting. The pictures at right show some examples produced to date.
Detail of the squirrel has been painted to enhance the suggestion from the shapes of brown streaky glass. The rabbit has been cut and will be similarly painted. The white lines show where lead work will play its part. The apples and leaves are a finished fused piece. Similar apples will be distributed through the summer foliage. The daffodil head and roses are to be fused, the rose after paint work for detail. |
The situation
The panels are to form part of a new use of the space currently occupied by a pair of large wooden doors, as shown at right. Lesley is having a new central door manufactured which will be plain glazed, while our panels will flank the door as shown in the drawing below. Reproduction's of her Daughter's drawing show the idea.
|
Each panel will be c 1600 mm by 425 mm, and as such, these will be the longest panels we will have ever made and will need to be highly reinforced.
The drawings as they stand ….
Winter Spring Summer Autumn
The drawings are very much a work in progress. Probably the key challenge in design, from an aesthetic viewpoint, is the balance between a purely symbolic approach and a realistic one. How much is enough detail? Relative size of the creatures and the tree, as well as perspective are also challenges. From the constructor's perspective, the design is most challenging when it come to the foliage of the trees and fallen leaves in autumn. How to do this with sufficient realism, without making the work involved too onerous, time consuming (and hence expensive) but also putting too much lead into the window and cutting down the light transmitted. Not yet cracked the solution, but it will be the next challenge once the fused and painted pieces are complete.
The drawings are very much a work in progress. Probably the key challenge in design, from an aesthetic viewpoint, is the balance between a purely symbolic approach and a realistic one. How much is enough detail? Relative size of the creatures and the tree, as well as perspective are also challenges. From the constructor's perspective, the design is most challenging when it come to the foliage of the trees and fallen leaves in autumn. How to do this with sufficient realism, without making the work involved too onerous, time consuming (and hence expensive) but also putting too much lead into the window and cutting down the light transmitted. Not yet cracked the solution, but it will be the next challenge once the fused and painted pieces are complete.
Current Work
Work on the drawings and investigating the options for foliage representation are part time activities, main focus is on the agreed "symbols" that require painting and fusing. Over the weekend I completed cutting the parts for the daffodil heads and fitting them together (grinding work needed!) I also started developing ideas for the next challenge, snowdrops for the winter panel.
Progress Slide Show
The story of design and construction will be represented below in an annotated slide show.