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