Roots of Knowledge: Behind the Scenes

About this exhibit:

The Roots of Knowledge: Behind the Scenes exhibit is comprised of photographs taken at Holdman Studios between March and November 2016, and various other videos and images. In Order to document the fascinating process and painstaking work behind the creation of the Roots of Knowledge windows, Sutherland Archives staff member Richard McLean visited Holdman Studios numerous times to photograph the process. Assistant Archivist conrtributed panoramic photographs and created this digital exhibit. additional photographs availible at: http://contentdm.uvu.edu/cdm/search/collection/ROK

One of the first steps in the process of creating the Roots of Knowledge stained glass windows was to create concept art. The "Storyboard" organized ideas about the scope and content of the project into a graphic sequence of interrelated events and key characters.

Trevor Petersen, conceptual artist, painter and historian at Holdman studios, drafts concept art for a storyboard for panel O-3

Trevor Petersen, conceptual artist, painter and historian at Holdman studios, drafts concept art for a storyboard for panel T-1

Trevor Petersen, conceptual artist, painter and historian at Holdman studios, drafts concept art for a storyboard for panel V-3

Tom Holdman and his son T. J. sketch out the concept art for the final column (Z) in the Roots of Knowledge

Tree Sketch time-lapse

Roots of Knowledge Preliminary Storyboard Panorama

A timeline and "mind map" was created to represent the many ideas and concepts of the project and to show relationships among the pieces of the whole. Hand-drawn sketches, photoshopped images, and internet printouts were placed along interrelated timelines to help provide structure to the vast scope of human knowledge to be portrayed in glass.

Designer Nick Lawyer uses Photoshop to create the imagery used in panel O-3 (Above his head is the mind map with a timeline of world history)

Mind map with a timeline of world history

Storyboard sketches, columns T and U

Mind map with a timeline of world history

Designers used photoshop to incorporate computer images and hand-drawn sketches together in sections to see how they would fit into the overall window display. The illustrsted sections then went to Tom Holdman and the design committee for approval before going on to the next step.

Hand-drawn graphite sketches of columns C-F

Tom Holdman and Kerry Transtrum discuss a graphite drawing of the Tree of Hope in column Z

Designer Riley Horn works on images for panels Q-2 and Q-3

Designer Nick Lawyer works on panel W-1

Roots of Knowledge Preliminary Graphite Panorama

The approved template was printed onto a big sheet of paper and the shapes outlined with colored markers as an outline. The template was printed on to vinyl sticker paper. Each shape was numbered with its corresponding color of glass. Each shape could then be peeled off and applied to the chosen glass, serving as a cutting guide.

Shapes outlined with colored markers

Vinyl sticker layout sheet

Martha Denzer peels the pattern off a vinyl sticker layout sheet

The approved template was printed onto a big sheet of paper

Martha Denzer peels the pattern off a vinyl sticker layout sheet

Sticker Printing time-lapse

Technical lead line drawers traced the section outlines on to large sheets of clear glass, like a huge puzzle, to be used as a template for each stained glass panel.

Tim Trent & Preston Powell prepare a sheet of plate glass to be used for tracing the lines of a window design

The traced layout for panel O-2 rests on a lightboard, ready for pieces of colored glass to be laid out

The traced layout for panel K-1, ready for pieces of colored glass to be laid out

The traced layout for panel O-2 rests on a lightboard, ready for pieces of colored glass to be laid out

The traced layout for panel M-2 on a table, ready for pieces of colored glass to be laid out

Eight types of raw colored & textured glass were used: Uroboros, Youghiogheny, Kokomo, Holdman, Oceana, Spectrum, Lamberts, and Fremont. After the glass for each image was chosen, it was cut and polished by hand or with a grinder.

Colored Glass Picking time-lapse

Choosing glass colors

Daniel Bradford unloads a sheet of raw glass

Choosing glass colors

Nathan Hatton grinds glass on a lightboard

Bryce Johnson cuts glass, sticker paper visible

Josh Butz grinds down a piece of glass to smooth the edges and help it fit more easily

Glass Shaping time-lapse

Computer Controlled Glass Cutter time-lapse

Many pieces of cut “raw” colored and textured glass were laid directly in place onto the panel templates. But most of the cut colored glass was sent on to the painters to paint details on to each piece. Over 60,000 pieces of glass were used.

Trevor Petersen, Tom Holdman, and T. J. Holdman view the layout of colored and painted glass

Raw colored and textured glass laid on panel templates

Tom Holdman, T. J. Holdman, and Kerry Transtrum discuss options for fused glass to create the planets seen in the Roots of Knowledge windows

Raw colored and textured glass laid on panel templates

Several layers of paint were applied to the glass pieces, beginning with Reusche (ro-shay) paint, a name brand that is a mixture of ground glass and a pigment oxide. Reusche paint provided a dark matte base layer, and was used for the writing on some of the panels and to create depth and shadow. After each application of Reusche paint, the glass was fired in a kiln at 1200°.

The paint room, where artists paint pieces of glass that have been placed on lightboards for best visibility

Artist Antonio di Donato shows his sketch of a man pouring molten metal, used as a reference for painting the glass for panel H-3

Artist Antonio di Donato paints a portrait of Marco Polo in Reusche paint for panel M-2

Artists Kaitlund Zupanic (background center) and Brianna Cooper (foreground) apply Reusche paint to glass pieces

Artist Irina Harding applies Reusche paint for a portrait of Benjamin Franklin for panel Q-3

An artist paints details of buildings with Reusche paint on glass pieces for panel O-2

Artist Jordan Lee Ring uses Reusche paint to paint the Karlskirche (St. Charles Church) in Vienna on glass, while looking at its Photoshop image for visual aid

The Photoshop layouts of columns T & V hang in the paint room, referred to by the artists when painting the glass

Painting Room time-lapse

The painters used colored enamel paints made of crushed glass mixed with clove oil to paint the images on to the glass. Paint was applied with a sprayer, a brush, stencil tools, or a pen.

The airbrush station, where containers of paint and alcohol are kept between uses

Paint sprayer

Artist Joshua Wirtz uses an airbrush to apply a coat of paint to a piece of glass

Artist Natalie Smith works on the portraits for the Founding Fathers featured in panel Q-3

Paint brushes

An artist at a miniature lightboard uses paint mixed with oil to add lines on glass for panel M-1

The public gallery at Holdman studios, being utilized as an annex to the paint room (In order to meet the completion deadline, the studio hired people to work around the clock to finish the windows on time)

Artist Jordan Lee Ring paints pieces of glass depicting birds for panel N-2

An artist writes the letters of advertisement posters on the Parisian kiosk, panel U-3

Artist Julie Ann Allen paints glass that will become part of the T column

After each application of paint, the glass piece was fired in a kiln to bake the paint in to the glass. Temperatures had to be just right in the kiln (anywhere from 570° to 1250° f. Depending on the paint & desired finish) Temperatures had to be just right in the kiln or the glass could crack and break.

Michelangelo's David, painted on raw glass, cracked and broke during firing

Pieces of painted glass for the Q column await firing in the kiln

In the paint room, the painted pieces of glass were laid out in place on lightboards for inspection and final touch ups.

Shae Anderson, Antonio di Donato, Michelle Wayman, Tom Holdman, Dallin Orr, and Jordan Lee Ring (seated) inspect painted glass laid out for panel M-3

Antonio di Donato, Shae Anderson, Tom Holdman, Michelle Wayman, Dallin Orr, and Jordan Lee Ring (seated) inspect painted glass laid out for panel M-3

Tom Holdman inspects the glass for panel M-3

Antonio di Donato and Katie Christiansen examine the finished glass pieces for panel K-3

Irina Harding, Michelle Wayman, Mary Evans, and Tom Holdman add the remaining pieces of finished glass to panel U-3

Laying Out Glass time-lapse

For the leading process, pliable lead was bent, shaped and cut to fit between the glass. The lead lines were secured with nails. Besides lead, other materials such as copper foil was used with the glass.

Tim Trent shapes a steel support to be soldered to the window for added support (The machine came from a candy company & was used to shape cookie cutters and candy molds)

Tim Trent inserts a shaped steel support to be soldered to the window for added support

Cameron Oscarson, Richard McLean (UVU), and Tom Holdman watch Tim Trent insert a steel support in place

The leading process

Venustiano Gregorio hammers in nails to secure the lead lines of panel K-2

Venustiano Gregorio hammers in nails to secure the lead lines of panel K-2

Venustiano Gregorio hammers in nails to secure the lead lines of panel K-2

Leading time-lapse

When all of the lead lines had been inserted & secured in place between the pieces of glass, the joints were welded and sealed, using soldering irons & more lead.

James Graham, Brent Best, and Curtis Graham solder the lead for the very detailed panel V-1 (In the background is artist Mary Evans)

James Graham, Brent Best, and Curtis Graham solder the lead for the very detailed panel V-1 (in the background is artist Mary Evans)

Nathan Hatton and Venustiano Gregorio solder together the lead lines in panel N-2

Doug Soelberg and Jil Rich solder the lead running between the glass pieces

Around the Holdman studios, motivation for the roots of knowledge project could come in many forms.

The lyrics to the sea shanty “Padstow’s Farewell”

An encouraging note from Nathan

A gentle reminder of a project’s due date

A visit from UVU president Matthew Holland

Cementing a completed panel with glazing cement & plaster filled the gaps between the glass and the lead lines, helping to strengthen and weatherproof the panel. It also added an aesthetically pleasing dark patina to the lead surface. Whiting powder cleaned up the excess cement and polished and cleaned the glass.

Whiting powder

Hannah Bradford applies plaster on a freshly cemented window to help the cement cure & dry quickly

David Bradford helps with the cleaning process

Dark patina on the lead surface

The finished glass panels were cleaned and polished, then insulated by being placed between two sheets of clear glass and sealed with glue in an iron cast frame. The finished frames of glass were stacked atop each other while the glue hardened.

Michael Bradford, Matt Manwaring, Cameron Oscarson, and Daniel Bradford work on insulating the finished windows

Daniel and Michael Bradford clean and polish the finished stained windows

Finished frames stacked while the glue hardens

When sections of stained glass were completed, they were displayed against a backdrop of light, on either the paint room’s big lightboard wall, or the studio windows.

Cameron Oscarson and Nick Lawyer lift up panel J-1 for display against the wall lightboard in the paint room

Natalie Smith, Joshua Wirtz, & Charlie Ottis paint glass in front of columns J and H displayed on the lightboard

Nathan Hatton and Michael Bradford admire the windows for columns H-K, displayed in the studio’s windows

The crew working in "Beast Mode" to complete the windows on time

Windows at Holdman Studios from the outside

Ross Wolfley & Jefferson Moss of UVU, who assisted Scott Cooksey with the financial work of the project

Tom Holdman examines figures in panel I-2

In preparation for the installation of the roots of knowledge windows, the UVU library’s first & second floors were partially remodeled. The unveiling of the windows was set for November 18, 2016, to cap off Utah valley university’s 75th anniversary celebration. There was a private unveiling ceremony for donors and dignitaries, and then an open reception for the public.

Gallery area before installation

Roots of Knowledge Gallery from outside during remodeling

Roots of Knowledge Gallery from inside during remodeling

Crew installing windows

Roots of Knowledge window installation

UVU President Matthew Holland observing Tom Holdman and crew installing windows

UVU President Matthew Holland observing Tom Holdman, Ross Wolfley, and crew installing windows

UVU President Matthew Holland helping crew to install windows

UVU President Matthew Holland observing Tom Holdman and crew installing windows

UVU President Matthew Holland, Tom Holdman, and Ross Wolfley posing during window installation

Installation time-lapse

November 18, 2016 was a momentous day for Utah Valley University because three interrelated events took place: the Roots of Knowledge unveiling was a huge success; the UVU library was named the Ira A. and Mary Lou Fulton Library; the area housing the Roots of Knowledge windows became the Marc C. And Deborah H. Bingham Roots of Knowledge Gallery. What a way to top off UVU’s 75th year!

UVU President Matthew Holland speaking before the unveiling

UVU President Matthew Holland speaking after the unveiling

Tom Holdman of Holdman Studios speaking after the unveiling

Holdman Studios crew and Matthew Holland after the unveiling

UVU President Matthew Holland congratulates the Holdman Studios crew after the unveiling

Marc C. And Deborah H. Bingham Roots of Knowledge Gallery after the unveiling