The image used in the pendant is ''Many-Winged Angel,'' a stained glass window created by the William Morris factory in the late 1800s. The figure shown is probably interpreted from the art of Hieronymus Bosch. The figure is an artistic interpretation of the seraphim seen in the books of Ezekiel and Revelations. Seraphim are described as six-winged creatures singing ''Holy,'' near the throne of God. Two wings are covering the feet, two covering the head and two to fly. The church that the window was originally installed in was the St. James in West Yorkshire, England. The windows were all removed from the church to protect them from destruction during the Second World War. They were never restored to their original location.
Find an angel image for your design. If needed, copy onto copy paper. Cut out the trefoil shape then apply a layer of Mod Podge® to the surface. Allow the Mod Podge time to dry, about 5 minutes, then apply a thin layer to the back side of the paper.
Condition a block of metallic gold Kato Polyclay™. Roll the conditioned clay through the pasta machine at a thick setting. Trim to make a 4-inch x 4-inch sheet of clay. Texture the sheet with a silicone stamp, then set aside.
Roll a snake of gold clay then lay it into a hard plastic border mold. Use a brayer to roll the snake flat and squish it into the textured groove, creating a half-round textured strip that should be at least 12 inches long.
Place the sealed angel art onto the nontextured side of the gold polymer sheet. Using a craft knife, trim the clay to suit the design, leaving approximately 1/4 inch edge all the way around the paper image. Carefully lift the angel image off of the clay and set it aside.
Place seven 3-hole spacer bars onto the lower edge of the non-textured side of the polymer cut out. Place two spacer bars along the top edge, spaced apart so the pendant will hang properly once connected to a chain.
Note: Press the spacer bars into the clay so they lie flush but be careful not to press so hard you affect the texture on the under side.
Apply a drop of Signature Series Poly Bonder™ to all the spacer bars to secure them into place.
Cut the textured half-round border into three even pieces. Curve each piece so it mirrors an edge of the shape of the polymer cut-out. Using the craft blade, cut each end at a 45 degree angle. Press two angled ends together, working carefully not to disturb the texture of the polymer. Continue to miter the ends together to create a frame that mirrors the outline of the polymer base. Cure the polymer following manufacturer’s instructions.
Once baked, carefully remove the pieces from the oven and, while the polymer is still hot and malleable, set the mitered frame onto the base plate to ensure a good fit. You can gently reshape the pieces while still hot; let cool in place.
Apply an even, 1/4 inch band of E-6000® adhesive along the outer edge of the back plate and along the back side of the mitered frame. Place the sealed angel image evenly down onto the innermost edge of the E-6000 on the back plate and then lay down the mitered frame. Marry all the edges of the frame and back plate. Place a steady bead of Omni-Gel™ along the seam between the frame and the back plate to remove any gaps. If there is space left open, the ICE Resin® used in the next step may leak out.
Following manufacturer’s instructions, mix and pour ICE Resin into the frame, filling the frame two thirds full. Place in a warm place so any bubbles that are present rise to the surface and pop before the resin cures.
Note: I did not dome the resin with a second layer. Instead, I left it a little recessed to resemble a framed windowpane.
Using a black permanent marker, blacken the textured recesses on the front and the back of the pendant for an antiqued finish. Avoid getting black marks on the cured resin. Let the permanent ink dry for a few minutes.
Apply Inca gold Gilders Paste® to the entire pendant, avoiding the ICE Resin. Place irregular blotches of copper, Inca gold, African bronze and small amounts of silver Gilders Paste to various places on the mitered frame and the texture on the back.
Cut seven 2-1/2 inch lengths of chain. Cut the paddle pins so only 1/4 inch of wire remains above the paddle then form simple loops with the remaining wire.
Apply silver and a touch of Inca gold Gilders Paste to the metallic beads and the toggle clasp then apply a small amount to the lengths of antiqued brass chain. Using a paintbrush apply a layer of matte Mod Podge to all areas where Gilders Paste was applied.
Use jumprings to add a length of chain to each spacer bar along the bottom edge of the frame. Randomly place paddle pins along the lengths of chain. To make the bicone drops, place a Swarovski bicone onto a headpin, begin a wrapped loop, secure to the chain in a random order, then finish the wrapped loop. Place a Swarovski 8mm round onto a headpin, begin a wrapped loop, secure to the last link on one of the chains, then finish the wrapped loop. Repeat, for a total of three 8mm round drops.
Cut eleven 3-inch lengths of 24-gauge gold Zebra Wire™. Begin a wrapped loop on one end of one length of wire. Attach a jumpring to a spacer bar near the top of the pendant, slip the beginning of the wrapped loop through the jumpring, then finish the wrapped loop. Place a Swarovski 8mm round Capri blue crystal onto the wire then finish with a wrapped loop. Following the pattern in the finished design or one of your own, continue to create double wrapped loop beading components, connecting them together as you go, to create a length of beaded chain. Finish the end with one half of the toggle clasp.
Repeat Step 10 to create a length of beaded chain for the other half of the pendant.
The pieces featured in the Gallery of Designs are copyrighted designs and are provided for inspiration only. We
encourage you to substitute different colors, products and techniques to make the design your own.