This image, called Agnus Dei, combines two pieces of clipart of traditional Christian symbols, Alpha and Omega, and the Lamb of God.
The clip art was ungrouped in Serif Draw Plus 2, a 5 point outline given to each shape, and some of the colours were changed. The background was made with a customized graduated fill in Serif Draw Plus 3. Micke McKnelly's tutorial was followed to make the leading.
I tried to suggest that different types of glass had been used in this image - a slightly frosted glass for the background, an almost clear glass for the halo, and different types of patterned or textured glass for the lamb, the flag and the Alpha/Omega letters. The Blade Pro basic glass preset was used for all but the lamb, with the height and texture depth being varied to give the different effects - texture depth being taken to 0 for the halo. For the lamb, the .bmp texture file used in the basic glass preset was replaced by the file fibrous.bmp, which is in the Blade Pro environments and textures folder. The depth of the texture was increased so that when the layer slider was reduced to allow the light background to show through, there would still be enough texture visible to give the impression of a knobbly glass which looks like sheep's wool.
The curved top to the outline, to give an impression of a church window, was drawn with the bezier line tool, as a separate image on a white background. It was not possible to get sufficient curve on the line if it was drawn near the top of the image where it would be in the final picture, so it was drawn halfway down, selected and copy/pasted to its own layer so that it was easy to reposition it. The sides and bottom edge were placed on the same layer.
The pattern for this cute cat was downloaded from the Spectrum Glass site - where there is a real treasure chest of stained glass patterns.
The pattern was in PDF format, so in Acrobat Reader Tools/Select graphic was selected, a rectangle dragged around the pattern and copy/pasted it into Photo Impact 4. There are letters and captions around the pattern, so these were deleted. There were some missing pixels in the outlines, and these were filled in. The pattern was saved and loaded into Paint Shop Pro 5.
The process of making the leading begins with first using Image/Edge/Find all and Colors/Negative Image. At this stage it was clear that the single pixel pattern would not give a sufficiently wide leading. All the areas of the pattern were filled with a temporary colour except the single row of white pixels between the black outline lines. This row of pixels was changed to black using the colour replace tool. Using the same tool, the temporary colour was changed to white, which gave a new pattern with thick enough outlines to make the leading. The leading was made and saved as a separate image.
On a copy of the pattern, the cat was filled with an orange fill, except for its front paws, tail stripe and under the chin. The ears and tongue were made pink, with grey in the centre of the ears. The eyes were coloured green, and the nose black. The spray can tool, set to a narrow brush size, was used to make tabby stripes in a darker colour. This became the background layer for the cat image.
The individual sectors of the pattern were selected and promoted to layers. Blade Pro basic glass, was applied to each area of the cat, with the texture height at 0. The bevel height was at 100 for tail, ears, eyes, nose and front legs and paws. For other areas the bevel was lowered to give different degrees of rounding to the image. The layer sliders of the cat's back and stomach were lowered slightly to darken the colour there.
On a copy of the original pattern, the area outside the cat was filled with a contrasting colour, and the black lines of the cat changed to white using the colour change tool. The white cat shape was selected, copied and pasted as a new layer into the cat image, and moved to the top layer. Blade Pro was applied to the shape, using the basic glass preset with the texture and height at 100. The slider on this layer was then lowered until the cat showed through, now with a hint of texture, and other sliders were adjusted to get the final effect required. Finally, the leading was copied from the saved leading image, and pasted as the top layer of the cat image.
This fairy pattern also came from Spectrum Glass, and was prepared in much the same way as the cat pattern, except that its outline was already thick enough to use for the leading and I was able to go straightaway to Mike McKnelly's method for leading. (see link above for his tutorial).
I felt that opalescent fabrics were needed for the wings and for the dress. All these were made in Photo Impact 4. The wing fabrics were made with the linear fill tool, using some of the paler multi-coloured colour ramps. After filling a rectangle with the basic ramp colour, I went over it repeatedly, with transparency set at 80, changing the direction of the fill, clicking and dragging horizontally, vertically or diagonally until I had a material which looked opalescent. This was repeated for each of the wing fabrics. For the dress, I filled a rectangle with the basic solid colour. I then made a 3d trim rectangle with the path tool, lowered the bevel till it was almost flat, but not quite, so that the 3d options were available, and gave it a gold texture using the bump02.jpg file from the Materials folder. The gold material was made about 90% transparent and laid over the basic colour so that only the gold highlights appeared against the background colour.
These fabrics, plus one that I made but did not use, are available for download in a zip file.
A copy of the pattern was made, and coloured in Photo Impact. The fabrics were applied to the wings and dress using the Paste to Fit Selection option. The face and limbs were coloured flesh pink, except that the parts of the legs which would show through the dress were coloured a darker pink. Yellow was used for the hair, and a darker shade of yellow for the star on the wand. The turban was coloured turquoise and the crystal ball light blue. The area of the legs under the dress was selected, copied to a new image and filled with the dress fabric. This was saved as a separate image so that the dress fabric over the legs could have its own layer when the image was transferred to Paint Shop Pro. This would allow the layer sliders to be used to control the degree of transparency of the fabric over the legs. The coloured copy of the fairy pattern was transferred to Paint Shop Pro and used as the background layer.
The fabric over the legs was applied first as a separate layer and adjusted to make the garment appear diaphanous. Blade Pro was applied to each of the areas separately. For the wings, dress, hair, star and turban, the basic glass preset was used with the texture depth varied to give different effects in each area. For the limbs not covered by the dress and the face, basic glass was used with the texture set at 0. For the crystal ball the amr real pearl preset was used as described in Visual Sonnets Creating Pearls Tutorial. There is a link on that site to the source of the pearl preset.
Finally, the layer sliders were adjusted to give the required effect.