Behind the Scenes

Behind the Scenes at KayBee Glass

Scroll down for a behind the scenes look at some of my stained glass pieces. Stained glass work is time consuming. I don’t use templates, so I start with my own drawings. There is a whole host of things to consider when you begin planning a piece; size, colours, textures, balance, hanging, framing – or not. You have to avoid ‘impossible’ shapes and weak (hinge) points. I only do commissions that suit my style; I’m not drawn to symmetrical, traditional shapes. Once the design is done, I either cut freehand on the glass or prepare shapes to cut round if the glass is opaque. You have to take into account that you will be adding a layer of foil on every edge, so pieces have to be slightly smaller to compensate.

Below you will see some before and after photos, and the work that goes into creating a lovely piece of stained glass. 

Volcanic eruption at Mount Fagradalsfjall, Iceland, March 2021

Cutting is done with a special glass cutter using cutting oil to score the line or shape. Then running or grozing pliers are used to break the glass along the score line; easier said than done! Glass likes to do its own thing, so this takes practice and skill…and sometimes a lot of wasted glass! Rough edges and inaccuracies are then removed with a glass grinder or a carborundum stone and every piece is then washed thoroughly to remove all traces of cutting oil. Then each piece is edged with a very thin adhesive copper foil which is pressed onto the glass using a fid to give a nice smooth, close fit. The foil has to be applied evenly on the front and the back to minimise what you can see. Sounds easy, but it’s typically 3/16″ wide (4.8mm) so there’s not a lot to play with. Then you assemble your pieces and get the soldering iron out, using solder that’s typically 60% tin/40% lead but it depends on your preference and what you are soldering. It takes practice to get a nice round bead of solder on each line, and all the edges need to be soldered as well.

At the planning stage you will have thought about where any hanging hooks will be positioned and how they will be attached. Sometimes these need to be embedded in seams using wire to give strength. Frames can make this easier, but I will often leave the tops (and sometimes sides too) frame-free, for example with mountains that I think suit being open to the elements.

St Peter’s Church, Onchan, Isle of Man

Brahma Bull

I made this because I wanted to. 

St Andrews, Scotland

Two pieces; the same but different.

The brief; this sea in glass

The brief; this silhouette in glass

Sketching shapes

Tiny pieces

Cutting shapes

Ready for foiling

Foiling 1

Foiling 2

Silhouettes

Finished 1

Finished 2

Detail

Rainbow 18th

Make it a rainbow, add an 18th charm, make it quirky

Initial sketch

Choosing embellishments

Cut, foiled and ready to solder

Rainbow reflections

The finished article

Bla Bheinn, Isle of Skye

Three Sisters of Glencoe (Bidean Nam Bian)

Buachaille Etive Beag – Stob Coire Raineach, Glencoe

Ben Lui

Gladhouse reservoir

How to make a neutral landscape distinctive?

Lily of the valley

In memoriam

Bow Fiddle Rock, Portnockie

Catching the Contagious Yawn

The Kelpies

Using wispy glass to create the illusion of movement

The cat in the garden