This is the most complex commission I have done to date (yes, I'll admit that publicly). First, it's really big--like it took up my entire drafting table sort of big. The paper measures 22x30 inches. Second, it involved quite a few number of elements and hands that all needed to be jig-sawed together into a cohesive hole: gilded and decorated Lombardic capitals for the name of the church and the recipient, Uncial for the titles, and a sort of gothicized Foundational for the main text. Third, the addition of decorative flourishes and the crest of Saint Thomas Church Fifth Avenue.
So how did I decide on "the look" of the piece? Part of it was done in consultation with the client, who specified a few things. He wanted the main text to be highly readable, which ruled out hands like Gothic (that stuff can really strain the eyes!). Additionally, he showed me a calligraphed resolution done in the 1950s that Saint Thomas had in its archive and he wanted something vaguely similar. He also very specifically wanted the church's heraldic crest added at the bottom. Lastly, he said, and I quote, "I want all the bling," which translated into a raised gesso gilding technique that uses A LOT of gold and the addition of shell gold paint in the decorative elements.
I also went on a secret mission to Saint Thomas Fifth Avenue myself to look at its architecture and famed stained glass windows to see if I could find any inspiration there (fortunately, I live in the same city). It's a Neo-Gothic church and so I decided that the completed resolution needed to reflect that style. So, while I could not use a Gothic hand for the main text (see the above comment about readability), I decided to slightly gothicize a Foundational hand by giving it a bit more angularity than is traditional. I did, also, sneak in a bit of Gothic for all the "whereases." I chose a modernized version of Uncial for the titles because I found signs throughout the church done in a variation of that hand. Picking Lombardic for all the big, fancy decorated lettering in the names was an easy call. It really lends itself to such things and--most importantly--I found it used throughout all those famous stained glass windows.
And speaking of stained glass windows, the decorative elements and color scheme I used for those same illuminated Lombardic letters were designed to invoke them. I even took some of the little curly-cues and such directly from the windows.
The remaining decorative bits, below the Lombardic capitals and between the two columns of text were also all drawn from the church, principally from the extremely ornate, wood organ cases. They have an abundance of rosettes, vines, and acanthus leaf motifs.
As for that bright, glorious red color that predominates, the client specified that himself. I certainly wasn't going to argue since it works so well. Saint Thomas Fifth Avenue is an Episcopal church (the American version of Anglican) and prides itself on using a more traditional liturgy (I think that's what it's called). Red and white are its traditional colors.
Comments