Studio Winter 2004-05 · Volume 7, Number 4 Member Magazine of the PMC Guild PMC

Experimental PMC page 4

Introducing Aura 22 page 8

PMC Conference Wrap-Up page 11

Summer 2003 • 1 Studio Winter 2004-05 · Volume 7, Number 4 Member Magazine of the PMC Guild PMC

Cover: PMC Box with Aura 22 accents by Tim McCreight. features Photo by Robert Diamante. Studio PMC 4 Beyond the Boundaries: Mitsubishi Materials Corp. P.O. Box 265, Mansfield, MA 02048 Experimenting with PMC www.PMCguild.com PMC artists Gerald Haessig, Martha Sayers, Marilyn Cook, Volume 7, Number 4 • Winter 2004-05 and Micky Roof share their experiments with PMC. Editor—Suzanne Wade Technical Editor—Tim McCreight Art Director—Jonah Spivak Advertising Manager—Bill Spilman 8 Introducing:Aura 22 Studio PMC is published by the PMC Guild Inc. The newest product in the PMC family, Aura 22 is a 22k • How to SUBMIT WORK to Studio PMC… We welcome your PMC photos, articles and ideas. You may submit for PMC and other objects.Tim McCreight traces the development by mail or electronically. Please include your name, address, e-mail, of Aura 22 and describes a new technique for fusing the material to phone, plus a full description of your PMC piece and a brief bio. PMC. Artist Angela Crispin shares the results of her first Slides are preferred, but color prints and digital images are OK. By Mail: Mail articles and photos to: Studio PMC, experiments with Aura 22. P.O. Box 265, Mansfield, MA 02048. Electronically: E-mail articles in the body of the e-mail, or as attachments. E-mail photos as attachments. We require an image resolution of 300 dpi. 11 PMC Conference 2004 • E-mail files (under 4 MB) to [email protected] CeCe Wire recounts the events of July's conference in Albuquerque, New Mexico. Deadlines: Nov. 1 for Spring issue; Feb. 1 for Summer issue; May 1 for Fall issue; Aug. 1 for Winter issue.

• How to Place Advertising in Studio PMC… 14 The Basics of Digital Photography Contact our Advertising Manager, Bill Spilman, for specifications, Sam Sokol of Cloud Dome explains what all those funny little deadlines, and prices. Phone Toll-free: 877-878-3260. icons mean on your digital camera, and how to use them to take E-mail: [email protected] better digital photos. • How to get answers to tech questions… E-mail Tim at: [email protected]

To join or renew your PMC Guild membership, to change your mailing or e-mail address, or to request back issues or additional copies of Studio PMC, visit the PMC Guild Web site at departments www.PMCGuild.com or call toll-free 866-315-6487. PMC Guild CeCe Wire, Executive Director 417 West Mountain Ave. 3 As I PMC It Fort Collins, CO 80521 USA Phone: 970-419-5503 Fax: 970-419-5504 Website: www.PMCguild.com 12 PMC Conference Gallery E-mail: [email protected]

Copyright ©2004 PMC Guild. 17 Happenings Printed four or more times a year. Reprints by permission only. All rights reserved. 18 Tips & Tricks Studio PMC, its staff and contributors, specifically disclaim any responsibility or liability for damages or injury as a result of any construction, design, use, manufacture, or any other activity under- taken as a result of the use or application of information contained in any Studio PMC issue or article. pg. 6

2 · Studio PMC As I PMC It by Suzanne Wade

ne of the most common questions and-shoot camera you've used for years to Oany editor gets asked is, "How can I take pictures of the kids to get good jewelry get my work featured in your magazine?" photos. Please, take my word for it. You will For most jewelry-focused magazines, need a decent camera, some type of light the answer is surprisingly simple: Send tent, and probably some photographer's good photographs. lights to do a good job. The better your equip- Seriously. Send good photographs. Not ment, the better your results will be. so-so photos, mind you. Really good pho- Can you get good results if you do it your- tos. A press release, an artist's statement, self? Absolutely. Elsewhere on this page, all the other PR goodies are nice additions you'll find a photo my husband took of a A close-up of Judi Weers' charm . to the package, but the first, most impor- This digital image was taken by my charm necklace made by Judi Weers from tant element is the photos. husband, Rich Wade. charms swapped at the PMC Conference. That sounds easy enough, doesn't it? It's a pretty good photo, especially for a guy Amazingly, that critical element eludes a propensity for starting up new technology who makes his living programming com- shocking number of otherwise profession- without reading the directions is so wide- puters, but it took a lot of effort to reach this al artists. I get a phenomenal number of spread, computer manufacturers routinely point. Rich has spent hours reading books photos that don't meet our minimum res- put a single-sheet "start up guide" in the and magazines about photography, and olution requirements for digital images, box in the desperate hope they can at least hours more playing around with lighting, that are improperly lit, out of focus, or so get us to the machine in correctly set-up, and camera settings. He has graduat- poorly composed that the jewelry is just a before we call tech support. But if you ed from a point-and-shoot camera to a 6.3 dot in a blinding sea of lime green fabric. want to learn what your camera can do, megapixel Canon10D digital camera body The reason is that many people have only the manual is not a bad place to begin. with both a 28-105 mm zoom lens and a limited knowledge of photography, and There's also no shortage of published 100 mm macro lens, a tripod, a Smith- know nothing at all about macro photogra- work on photography. A search on Victor floodlight, and a Photek phy. That's not a big deal if all you're taking Amazon.com for books about photogra- Digital Lighthouse shooting tent. (You can is snapshots of the kids to send to a doting phy produced more than 63,000 selections. certainly make do with simpler, less expen- grandmother. But if you want your jewelry For jewelry photography, Charles Lewton- sive camera stuff: We chose to indulge to be published in a national magazine, well, Brain's Small Scale Photography often gets a Rich's love for techie toys. For some insight you're going to have to do better than that. thumbs up from jewelers. into other people's equipment choices, visit One easy solution is to send your work to You can also turn to Studio PMC. In the Fall the Ganoksin Web site and search the a professional photographer, one who spe- 2003 issue (Vol. 6 No. 3), we published an Orchid archives for "digital photography.") cializes in jewelry photography. Sending article by Robert Diamante explaining how The photo isn't on par with what you your work to a professional photographer to compose jewelry photos for the greatest get when you work with someone like means you don't have to take time out of impact. (That article is available online in the Robert Diamante, Ralph Gabriner, or Hap your PMC studio to struggle with doing the Studio PMC archives on the PMC Guild web- Sakwa. But it's a decent photo, and it was photography yourself, and you get reliably site at www.PMCguild.com.) In this issue, achieved with a reasonable investment in good results. But hiring a professional can be Sam Sokol from Cloud Dome offers some equipment and the acquisition of a new expensive. The cost tends to limit the advice on using digital photography, and hobby. For important shots, such as those amount of work most artists have pho- demystifies all those funny little symbols on for a competitive juried show, you'll still tographed, and can even prevent some from your digital camera. (See page 14). want to hire a professional. But for good, having their work photographed at all. Digital photography is particularly good everyday shots, an investment in equip- Another solution is to learn something for amateurs because it allows you to ment and education is often all it takes. about photography. Happily, that's not as instantly see the results of your effort — and So go ahead, give it a try. Don't expect hard as you might think. to keep making adjustments until the photo your first efforts to be spectacular. Like all You can always start by reading your is as perfect as you can get it. Digital cameras new skills, it takes time, practice, and a camera's manual. Be honest: How many of have come a long way, as well, and you no willingness to learn from mistakes to gain us have actually read through the entire longer have to spend thousands of dollars on a mastery of jewelry photography. But as camera manual? For that matter, how a camera to get print-quality digital images. your skill level rises, so will the number of many of us have read the manual for any of You'll still need to spend some money, of times you hear, "We're going to use your the devices we use in our homes? Our course. There is no way to use the $100 point- photo in the next issue" from an editor.

Winter 2004-05 · 3

Experimental PMC – Special Section

From the Editor… Experimental PMC

recious Metal Clay has only been avail- thing new. From ceramics to , these Pable to artists for a decade. Compared to artists have brought PMC into new places, other forms of jewelry making, it's still in and discovered new ways of working with it. its infancy. But what an opportunity that I hope these stories will inspire many of creates! With PMC, there's no one to say, you to take out the PMC and try something "That's not how it's done." You never have you've imagined might work, but never to feel foolish for deciding to give some- tested. And if you find something new and thing wild a try. You just might discover a novel, drop us a note and let us know. new technique! Whether it's a tip for working with PMC or PMC begs to be experimented with. In an entirely new technique, we look forward the next few pages, you'll read about the to reporting on it for the benefit of the efforts of several PMC artists to try some- entire PMC community.

Gerald Haessig: PMC and Ceramic Glazes by Suzanne Wade

erald Haessig's experiments focus on Gcombining PMC with his ceramic work. "Basically, I am using the PMC as a 'glaze' on my ceramic pieces," he writes. He began by applying PMC to unglazed por- tions of ceramic that had been previously glazed and fired. "I found that sometimes my glaze color would get a little muddy after going through another firing for the PMC," he writes. "Then I found a series of raku glazes by Spectrum that sets at the same temperature as the PMC and is an electric fire glaze. After bisque firing, I apply the raku glaze and the PMC glaze and do just one more firing." Because the glaze is electric fire (com- pared to the traditional raku glazes which must be fired in a gas kiln), Gerald can fire his pieces in his PMC kiln. Gerald Haessig uses PMC like a glaze on his ceramic pieces, combining it with a raku electric-fire "Once fired, the piece can be placed in a glaze that sets at the same temperature as the PMC. combustion chamber just like traditional Gerald recently demonstrated this tech- sion segment. "Since I love raku, I always raku or left in the kiln to cool," he writes. nique on a segment of HGTV's show Crafters pull the piece from the kiln and place it in the "This yields two different looks. After cool- Coast to Coast, scheduled to air in Fall 2004. combustion chamber," he says. "However, ing, I polish the silver and presto, a pure Although Gerald loves raku, he opted not to HGTV was a little scared of raku, so for my silver and ceramic piece of art." use the combustion chamber for the televi- demo, I just let it cool in the kiln."

4 • Studio PMC

Experimental PMC – Special Section

Martha Sayers: PMC Bowl Experiment

By Martha Sayers

n the four years I’ve been working with IPMC, all my pieces have been an experi- ment of one type or another. But I had never experimented with enlarging the scale of a piece past jewelry size. I’d made a few PMC spoons, and was interested in moving toward other hollowware forms, so I decided to create a small bowl. I’d seen Martha rolled PMC a magazine article on Arts-and--style 6 cards thick and used a metal serving pieces that really appealed to scented geranium leaf for texture in creating this me. And, I had a lot of PMC+ that I didn’t silver bowl. want to use for jewelry, so I decided to make a bowl form as big as I could without having to purchase any more PMC+. To begin, I hypothesized that a large PMC structure would need a firm support to keep its shape through the design continuity, and three pieces of cast- However, since part of experimenting is process. After doing some research, I chose ing grain for feet, using slip to attach each. learning what not to do next time, I made a to use Paperclay as an armature, since it I developed a small handle end like a por- few discoveries on the negative side of the wouldn’t burn away during firing. Using a ringer, and strengthened that with two ledger. One key problem is that the bowl small stainless mixing bowl lined more leaves. itself is too heavy. Because I overlapped and with plastic wrap, I pushed a whole pack- After a few days I started refining the placed extra leaf forms on the reverse, I age of Paperclay firmly in and smoothed edges. Because of the complexity of the leaf could have rolled the PMC+ to perhaps four the bottom as best I could. I let this dry for forms, a nail board was unsuitable, so I used cards thick, or maybe even three. about a day, then inverted it and removed small round and flat files. I made sure the Another problem that occurred during the plastic wrap. The next evening I put it piece was stable and level on its three feet. firing was that even the small amount of in a slow oven and left it overnight to Firing was simple enough. I placed the shrinkage of PMC+ (about 10 percent) make sure all the moisture was out. mold flat side down with the silver bowl resulted in one of the leaves in the outer I started my design by rolling PMC+ to 6 draped across it in the kiln, and fired at rows pulling away from the next. To pre- cards thick, and then rolling a scented 1650°F (900˚C) for 2 hours for maximum vent this problem, I could have coated the geranium leaf (citronella) into the clay for strength. outer form of my Paperclay mold with jew- texture. This leaf has deep lobes and veins After the bowl had cooled I removed it eler’s wax or even a thin layer of cork clay, and provides wonderfully touchable tex- and the mold from the kiln. There was just enough to allow for the bowl’s shrink- tures. I used a neutral texture from some very little damage other than discoloration age but still enabling it to drape and keep wallpaper on the back, as I personally pre- to the mold itself. The PMC pulled away its shape on the mold. fer even a little texture to none at all. easily, leaving me with a beautiful object. Another issue, even with truly experi- As I cut each leaf out, I placed them It was way too big to tumble finish, so mental work, is cost and salability. I worked into the mixing bowl to begin to create brushing was the way to go. I used this on this piece over the course of a couple of my shape. I kept cutting and overlapping bowl at several demonstrations and let weeks, and I used up almost six packages of until I had a good layer, as it was never children in the audience actually brush for PMC+, so the initial cost is high. my intent to have a solid structure. After me! I also used a to shine and Knowing all that, is my experimental letting this dry a day or so, I pulled the finish the edges. bowl a success or a failure? I say it is a suc- silver out of the mixing bowl and placed What were the results, both positive and cess, as it gave me the general results I was it over the Paperclay mold. This allowed negative, from my experiment? On the plus hoping for. Will I repeat this experiment? me better access to the bottom of the sil- side I did create a lovely little bowl that is Yes, probably. Knowing what I know now ver bowl form, so I could add more leaves certainly a conversation piece at shows and should result in another equally beautiful where needed. events. It kept its rounded form, thanks to — but better planned — bowl in the future. I also added some coils for strength and the use of Paperclay as an armature.

Winter 2004-05 · 5 Experimental PMC – Special Section

Micky Roof: Gold PMC in Platinum

by Suzanne Wade

fter receiving a commission for a plat- "The platinum should emerge with Ainum with gold inlay, Micky almost no change," Tim predicted. "The Roof began contemplating the possibility gold might creep away from the edges a bit, of using gold PMC for the inlay. The inlay but light planishing or work with punches areas were large and irregular, and it would easily press it back into place. The seemed to Micky that PMC might be the exposed surface of the gold could be mod- perfect solution. eled when the PMC is pliable, modeled Still, with platinum and 24k gold PMC with punches after firing, or left smooth." Figure 1: The 24k gold PMC overfills the recesses in the cast platinum ring. as the raw materials, the experiment had Armed with that advice from Tim, Micky the potential to be a very expensive mis- undertook the experiment. First, she cre- take if it failed. So Micky posted a query on ated a wax carving of the ring, and had it the Orchid forum at www.Ganoksin.com, cast in platinum by a contract caster. She asking for advice. generously overfilled the recesses for the Studio PMC Technical Editor Tim inlay and fired. (Figure 1) McCreight the post, and encouraged After firing, she lightly hammered the Micky to attempt the experiment. "I think gold into the ring with a planishing ham- you've got a great idea here," he wrote. "I mer, repacked the receded areas with more haven't set gold into platinum, but I did the gold PMC, and re-fired. After the second same process successfully into , firing, she again planished the gold and and I don't see why it won't work here." then filed off the surface until the plat- He then also advised Micky to be sure inum appeared. (Figure 2) Figure 2: After filing, both the platinum surface the recess had an undercut edge, and to Sanding the surface revealed the plat- and the recessed gold can be seen. press the gold PMC into the opening, inum design. (Figure 3) A few pits were mounding it up about a third higher than repaired with a laser welder. At the cus- needed in the finished piece. (In other tomer's request, Mickey created a ham- words, if the recess was one millimeter mered texture so the gold was more deep, to fill it with 1.3 mm of gold.) The recessed into the spaces. (Figure 4) work would then be kiln fired for two "All went as planned," Micky reported. hours at 1850°F (1000˚C). "The customer was ecstatic! What possibil- ities this opens up!"

Figure 3: Sanding further reveals the platinum design.

Figure 4: A hammered texture for the gold completes the design.

6 · Studio PMC Experimental PMC – Special Section

Marilyn Cook: PMC and China Shards by Suzanne Wade

n Marilyn Cook's home of St. Croix, (538˚C), and then is careful not to disturb it IVirgin Islands, people often make jewel- until cold. "I have discovered that if the ry out of shards of blue porcelain china dichroic does not completely surround the found in the ruins of the sugar mills and cheney the glass will be less likely to crack," other buildings left behind by Danish set- she writes. tlers. "The town of Christensted was built The next step is to decoratively sur- in the 1650s, so there are plenty of old round the entire piece in PMC3. "I use the buildings and ruins," Marilyn writes. syringe a lot," Marilyn writes. "If there is a Called "cheney" (old china) and dating to crack in the dichroic, I can cover it with a the 1700s, the shards are frequently wire PMC3 decorative covering." wrapped or set in gold or silver bezels by Finally, Marilyn fires at the lowest tem- local jewelers. perature rating for PMC3. "Do not peek After discovering PMC at a show until cold!" she cautions. If there are too two years ago, Marilyn began experiment- many cracks, Marilyn has found she can ing with combinations of cheney and sometimes re-melt the glass. PMC, later adding dichroic glass to the "It has been a [lot of] experimenting to mix. "I have always been an experimenter, get the glass not to crack," she concludes. so PMC is perfect!" she writes. "My success rate has increased quite a bit After extensive experimentation, she Marilyn incorporated blue porcelain shards [with ongoing experimentation.]" has found a technique for combining the found on her island home with dichroic glass and PMC to create this necklace. porcelain and dichroic to produce pieces Marilyn Cook is a world cruiser who has like the one pictured here. "I first prepare spent many years sailing around the Pacific. the cheney by smoothing the edges. The She has been designing jewelry since the ‘70s less sharp the corner, the less cracking of around it and fire both at 1470°F (800˚C) and specializes in using locally found media. the dichroic glass when cooled," she for about 30 minutes. This melts the glass writes. "I then pick a small piece of cheney, around the cheney." arrange small pieces of dichroic glass Marilyn crash cools the piece to 1000° F

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Winter 2004-05 · 7 Aura 22 – Special Section Introducing Aura 22 by Tim McCreight

he first time I met Mr. Juichi THirasawa was in May, 1994. He had come to the U.S. with another employee of Mitsubishi Materials to teach a small group of Americans about a new product called PMC. Well, you know where that Chris Darway painted on Aura 22 story goes. But you might not know that after firing this bead of PMC+. He Juichi, a shy man with a broad smile and a then torch fired and burnished. sparkle in his eyes, is the leading force behind the advancing PMC technology. Juichi Hirasawa talks with Lynda McCann- Juichi was an assistant to Dr. Morikawa, Olson at the PMC Conference in Albuquerque. the inventor of Clay. He ran the production facility for many years, gold, that wasn’t good enough. More than might encourage fusion. A test batch of and is still in charge of the actual creation two years would pass before Juichi had a Aura 22 was created, and the hunch was and packaging of PMC. But he is also the formula he was willing to release. proven true. person who deserves credit for PMC+, On the day after the first PMC confer- More experiments followed, leading to syringe PMC, PMC Paper, and PMC3. He’s ence in July 2002, a group of PMC Guild adjustments in the percentages of metals a busy guy, my friend Juichi. consultants met to discuss a wide range of and the formula of the media, until the In the spring of 2001, Juichi returned to topics. One item on the agenda was an material reached an ideal consistency. the U.S., again to teach a small group of update on the “gold paint” and I remember Finally, all the factors came together in artists about PMC. His bag of tricks includ- making the point that we needed to find a May — just barely enough time to create ed several things: a thick version of PMC better name. As I recall, Darnall Burks, trea- the packaging and manufacture a first run sheet, a small kiln that could be fired with surer and resident scientist of the Guild, of Aura 22 to be debuted at the PMC gel fuel (now known as the HotPot), and a suggested “Aura,” a word that implies glow Conference in July 2004. Juichi worked gold-based liquid that could be painted on and also refers to the chemical symbol for with Japanese artist Hiroshi Kitiyama to silver. “What do you think?” he asked. “Is gold, Au. The high purity was also impor- create a conference presentation on Aura this worth pursuing?” You can guess that tant, so the karat designation was added. At 22. It generated immediate excitement the response of the group was a quick and that point the material was pure gold, so the and conference attendees snapped up all enthusiastic, "Yes!" A couple of us went working name became Aura 24. the packages available in Albuquerque. home with a small vial of the gold liquid to The product was released in a limited Even as we go to press, experiments begin experiments. way in Japan in 2003, but there were prob- with Aura 22 continue in Japan, in We found the gold liquid worked well lems with adhesion and with the material Canada, and around the U.S. about 95 percent of the time. In some drying out, so Juichi was sent back to the There are still more questions waiting to cases, a 95 percent success rate is accept- board. I think it was Darnall who be answered. Can we use it with stones? able, but with an expensive product like suggested that a small proportion of silver On platinum? With base metals? What happens when we refire the Aura 22, and how does it respond to enamels, acids, and solders? Just as when we were first intro- Tim McCreight duced to PMC, our questions outnumber made 50 of these our answers. And once again, it is an excit- small pins with a ing place to be! single bottle of Aura 22.

8 · Studio PMC Aura 22 – Special Section

Angela Crispin

Angela Crispin grew up between Hawaii and Brazil, and has lived in France for the past 17 years. She has designed and made jewelry since 1994, and has been working with PMC for almost two years. Certified with the Rio Rewards program in the U.S. and with Silver Alchemy in the U.K., Angela brought her pack- Photo 1: The Aura 22 Photo 2: Angela repaired Picture 3: After two more age of Aura 22 home to France from the confer- curled up in Angela's first the ring by scraping off coats, the Aura 22 showed experiment, applying Aura the loose Aura 22 and a deep gold color. ence, and relates the following results. 22 to a cast sterling ring. applying one more coat.

just finished two different pieces with IAura 22: one was a cast ring, the other was a PMC+ . I torch-fired the Aura 22 on both, because torch-firing was suggested as the better method at the PMC Conference. Below are the steps I took and their results. For the sterling ring, I first prepared the piece by depletion to create a fine Photo 4: Angela then Photo 5: When she began Photo 6: After repairing the chip and applying another coat silver skin. (Depletion gilding is done by applied Aura 22 to the burninshing, a small piece of bezel and as accents on a Aura 22 broke off the bot- of Aura 22,Angela finished the alternately heating and pickling sterling PMC+ pendant. tom right side of the bezel. piece by hand burnishing and an silver. This removes the from the application of liver of sulfur. surface of the piece, leaving behind a layer of fine silver.) I then painted on a layer of dry, and fired. (See Photo 4.) You may notice My general impressions of the Aura 22 are PMC+ paste and allowed it to dry. Next, I I didn't apply Aura to the sides of the bezel. that it has a beautiful rich gold color when painted on the Aura 22, let dry, applied When I began to burnish the Aura 22, a two to three coats are used. It's overall very another layer, let dry, and fired. small piece broke off the bottom right side nice to work with, and has a nice creamy tex- You can see the result in Photo 1: the of the bezel (Photo 5). ture once mixed. The media gives it an oily Aura 22 curled up! My guess is that the The Aura 22 hadn't come off anywhere sensation, so it needs a little mixing. It picks PMC+ didn't adhere to the sterling, and else, so I covered the chipped part with up and holds well on the brush and is nice to the shrinkage caused it to curl. more Aura 22, then added a new coat to apply. If applying on texture you need to dab So I scraped off the loose material as the whole bezel, including the sides, in it on little by little rather than brush it on. best I could, and applied one coat of the order to wrap the bezel and have a better I did find that Aura 22 dries up rather Aura 22 directly over the remaining Aura hold. I let it dry and fired it, then polished fast, and got lumpy after covering only two 22 and PMC+. I let it dry, and fired. The the entire piece with a steel burnisher, pieces, even though I was careful to close result is seen in Photo 2. using a very light hand. the container between coats and between Since the piece has texture, I wanted to The bezel is no longer as smooth and pieces. I had to add at least six drops of the make sure it covered the ridges. I applied flat as it initially was, due to the dent and media to recover its initial consistency. two more coats of Aura 22, allowing the added texture, but it holds well. I then Another interesting thing is that it turns piece to dry in between applications, then dipped the piece in liver of sulfur until the into a "film" when dry. This is important to fired. Although there was a little tip that silver reached a dark green color (Photo 6). know if you go beyond the design you want looked like it was going to come off, it sur- The areas where the Aura 22 was thin — to cover and need to scrape off the excess. It vived hand burnishing with a steel bur- for example, the side of the bezel, which has to be done carefully otherwise you can nisher. The finished ring is seen in Photo 3. only had one coat — the Aura 22 got a bit tear off part of the film while scraping. I Next, I applied Aura 22 to a PMC+ pen- oxidized, and darkened. The gold is darker found it best to first delicately cut the excess dant. I first fired the piece and let cool com- than before the liver of sulfur, but I'm with an X-Acto knife, then scrape it off. pletely. I added Aura 22 to the crevices in happy with the effect and the contrast of This is easiest when the Aura is dry; when the design, as well as to top of the bezel, let the gold with the darkened silver. wet, the Aura 22 tends to smudge.

Winter 2004-05 · 9 Aura 22 – Special Section New Method for Fusing Aura 22 to PMC by Tim McCreight

fter many months of testing various ways to fuse Aura 22 to PMC, we’ve hadA excellent results when using the process associated with the ancient Korean tech- nique known as Keum-boo. The following pages provide a summary of this technique as it applies to PMC. For more detailed infor- mation and more photos, visit the Resources section of www.PMCguild.com.

Tools used in Keum-boo technique. Using a burnisher, lightly press the Aura 22 Preparation of PMC Objects down against the silver. Aura 22 works equally well on all versions of PMC. Apply the Aura 22 onto untreated Fago (Summer 2003, Vol. 6 No. 2), both available 22 binder being driven off. No ventilation PMC; the slightly matte surface takes the in the online archives. Another helpful reference is is necessary for this harmless, almost liquid nicely. If the work has been tum- Keum-Boo on Silver, a new book by Celie Fago. odorless vapor. Press a toothpick against bled, or if you are concerned that the PMC Use an electric hotplate to bring the sil- the PMC object to test the heat. When the might be dirty, put the work in a kiln and ver and gold up to fusing temperature. chars, the metal is hot enough that heat it for a few minutes, or add it to your Hotplates are sold at hardware, discount, the fusing process has begun. At this next firing (it doesn’t hurt the PMC to be and grocery stores. The one in the photo point, secure the object with one hand as fired twice). You can also heat-clean with a has two burners, but a single burner unit you lightly press the Aura 22 down against torch: heat to dull red and allow the work will be fine. Cost should be under $20. the silver. The goal of this step is to press to air cool. Some hotplates have a smooth burner and out microscopic gaps that exist between are ready to use as purchased, but if yours the silver base and the gold layer. When Applying the Aura 22 has a coil with gaps that make it difficult to the two pure metals are in perfect contact, Apply the Aura 22 with a paintbrush, a position the work, lay a piece of copper or bonding is instant. rubber-tipped color shaper, a large needle, brass on the burner. Generally, start with a light stroke, then or a toothpick, depending on the line qual- You will need a steel or glass burnisher; rotate the piece and follow up with firmer ity you are seeking. The thicker the gold, other useful tools include gloves, a wood- pressure, using strokes that run in a differ- the richer the color. Two layers are typical, stove thermometer, a couple toothpicks, ent direction from the first. You will notice and we recommend two thin layers rather and a chopstick or similar tool to hold the that the burnisher leaves marks; these will than a single, thicker one. PMC piece as you work. be removed by polishing after the layers are bonded. Tools The Process If the color is weak, or if you have Space here allows only a short description of the Put the work onto the hotplate and turn it changed your idea for the piece and want tools and process. For details, see articles by Estelle up to "High." Within a few minutes, the to cover a larger area, you can paint on Vernon (Spring 2003, Vol. 6, No. 1) and Celie work will start to smoke — this is the Aura additional gold and repeat the process.

Aura 22 Photo Gallery

Two other artists who have begun experiments with Aura 22 are Rachel Dow and Judi Weers. Pictured here are Rachel’s and Judi’s reversible link , both made of PMC and Aura 22.

10 · Studio PMC Attendance: 496 States represented: 41 Concentration: California wins with 60 PMC Conference 2004 people. New Mexico sent 41, and Arizona comes in third with 34 attendees. by CeCe Wire Of the 148 people who turned in an eval- t seems like just yesterday we were presentation called, “PMC: We’re Serious uation form, about a third had attended together under bright skies About This.” Barbara inspired us with the first PMC conference.The most com- I mon reason for attending was interest in and vivid rainbows on the campus of the images she compiled from a call for slides the topics being offered, followed closely University of New Mexico, happy about from the PMC community. Her goal of by interest in networking. attending the PMC Conference 2004. I am showing innovative work in PMC was an pleased to report that after years of plan- inspirational way to start. Almost 90 percent of the respondents ning, the 2004 PMC Conference was an Our second day opened with Bill had visited the PMC Guild conference site.You’ll be glad to know that we own undeniable success. The campus in the Griffith’s humorous and informative slide the address “PMC-Conference.com,” so heart of the sunny Southwest served us lecture, “Sources of Inspiration." In his we can use it again. well. The Sandia Mountains provided an slide lecture, he introduced us to the work ever-changing dramatic backdrop in rose and backgrounds of five artists, clos- and violet, reminiscent of a liver of sulfur ing with images and insights about his patina on a lightly textured PMC piece. work in ceramics. His style was light and (This is probably not a metaphor other we laughed a lot, but his message was sin- Each attendee had an opportunity to conferences use when they visit cere and left us all thinking about how we attend eight seminars. The initial Call for Albuquerque!) integrate our work with our lives. Presentations yielded almost 50 proposals, It was great to see our PMC friends from The third day featured a panel discussion from which 30 were chosen. The presenters around the world. We were happy to greet about the future of PMC. Panel participants did a fabulous job; it would be impossible to about 20 guests from the PMC Guild of Sherri Haab, Tim McCreight, Akira Nishio, choose a favorite session. Seminar topics Japan who traveled with Mitsubishi leaders Earl Roberts, Mary Ann Devos, and Kevin covered a wide range of interests, from busi- Akira Nishio, Juichi Hirasawa, and Atsushi Whitmore shared their hopes and expecta- ness practices to techniques and new prod- Nishiyama to attend the conference. Our tions for the future of PMC — some near, ucts. Over 100 pages of handouts are avail- special thanks to Reiko Ichimura and some very, very far in the future! able online at www.pmc-conference.com. Tomomi Nawati who served as translators We learned a few things from the first While you’re there, check out the pho- and friends to the group. We also visited conference in Wooster, Ohio, in 2002. To tographs of the conference. Those who with Angela Baduel-Crispin from France, organize an event of this scope, we knew attended will be reminded of the fun; I Lisa Cain, Jacqui James, and Bonnie Cantor needed help. The success of the PMC think others might get a sense of the infec- from the U.K. and Jamie Chin-Hui, Conference 2004 is due to the generous tious enthusiasm. Cherry Hsu, and Hilda Yang from Taipei, volunteer efforts of our Conference Also available at the same site is a gift Taiwan. Representing our neighbor to the Committee. I would like to extend a spe- box collection of postcards of PMC work north were Kathleen Kane and Zahava cial thanks to our committee members: from 27 participating artists. Click on the Lambert from Canada. Serving a dual sta- Volunteers Coordinator Ginger Seiple; orange button PMC Postcards, print out, tus as attendee and presenter was Noortje Exhibitions Coordinator Claire Holliday; and mail it in soon because only a limited Meijerink from the Netherlands. Audio Visual Coordinator Mary Ellin number remain. Thanks to Patti Genack Our daily activities were divided D'Agostino; Open Studio and Show & Sell for coordinating the Postcard Project. between lectures, demonstration-style Coordinator Jen Kahn; Vendor Room One of the ways I knew the conference seminars, and sharing our hints, tricks, Coordinators Ken and Mary Ann Devos; was a hit was the question I heard most and mutual passion for PMC. The end of Publications Tim McCreight; and Finance often: “Where will the next PMC the day was left for the Vendor Room and Minister Darnall Burks. Conference be?” Research has begun on a Open Studio, which remained open until This group did a fantastic job and their site, but it’s too soon to say. What we can 10 p.m. for catching up with old friends, efforts showed in their professionalism and tell you, though, is to circle these days on making new friends, and shopping! attention to detail. We could not have host- your calendar: July 28-30, 2006. Each morning of the three-day confer- ed the conference without their hard work. ence, a keynote address provided a lively Thanks also go to Suzanne Wade for taking start to the day. Our emcee this year was time away from her busy schedule and fam- Mary Ann Devos, well known cheerleader ily to come to Albuquerque. for PMC and Director of Education for PMC Connection. After a rained soaked pizza party, the conference kicked off with Barbara Becker Simon’s 45-minute slide

Winter 2004-05 · 11 Conference Gallery

An unexpected downpour left many conference attendees scrambling for Carl Stanley demonstrates a technique ways to keep dry. Debbie Fehrenbach during Open Studio. models a popular form of improvised outerwear: a trash bag.

The PMC Guild wel- comed 20 guests from the PMC Guild Japan to the conference.

A contingent from the PMC Guild local chapter in Ohio, the Silver Slippers, enjoys the open house at Rio Grande.

Whether sipping drinks over casual conversation, or set- tling in for a seminar, networking was the order of the day.

Attendees had to dodge raindrops, but the opening night picnic was a big suc- cess nonetheless. 12 · Studio PMC “Travel Pin” by Patti Leota Genack. PMC, Pottery Shard. 2.5” x 3.25”

“Bamboo Treasure Box” Pendant by Ivy Soloman. PMC, Sterling, Epoxy Resin with Pigments. 4cm x 5cm x 2mm

“Seaform”,“ Blossom” by Kelly Russell. PMC, , 24K Gold. 3/4” Diameter with Pearl. 1 1 ⁄2” x 1 ⁄2” Gold Arch Photo by R. Diamante

“Ginko” Necklace and Earrings by Bianca Terranova. PMC+, 24K Gold, Sterling. Necklace 18”, Earrings 1.5” Photo by R. Diamante

Winter 2004-05 · 13 The Basics of Digital Photography by Sam Sokol

hotographing PMC jewelry has always tured by the camera. Therefore, what you lens, depending on the camera's minimum Pbeen a challenge. Reflections, shadows, can do with the picture you have taken is focus limit (typically between one inch hot spots, and a host of other issues have limited. On the other hand, when you take and 10 inches). led many artists to hand the job to profes- a digital photograph at high resolution, you To test the focus, place your object sional photographers. While the results of have a high quality image that can easily be approximately five inches from the lens, this approach are usually excellent, the cost sized down with photo editing software. lightly depress the shutter button halfway of using a pro can be discouraging. Like a haircut, you can take away, but you down, and look to see if your object Happily, the increasing availability of can’t add back. The factors that you will appears in focus. high quality digital cameras has given artists want to consider, beyond image quality, When you press the shutter button another option. Digital photography has are: larger images take up more memory, halfway down, your camera will try to made it easier than ever before for the aver- and taking pictures at a higher resolution focus on the object. You may see the age person to take high quality photographs. takes more memory and battery power. image get a little blurry and then more Digital cameras have a lot to offer. Because clear. If the image does not become clearer, digital images are immediately available, you White Balance. One of the biggest chal- then you need to either move the object can instantly tell whether the photos you lenges of digital photography is getting a further from the lens, or use your zoom. If have taken are of the desired quality, or if white background. Often, an item is shot your camera has a digital zoom, rather changes are needed. If you decide some pho- on what looks like a white background, but than an optical zoom, keep in mind that tos are not worth keeping, you can delete the final image looks gray, blue, pink, etc. using the digital zoom degrades the quali- them directly from the camera, with no wast- This can happen when the camera's “white ty of the photograph. ed film and the associated processing costs. balance” is not set correctly. Most new dig- Digital pictures can be easily edited, printed, ital cameras have a white balance manual Depth of Field. When taking pictures in put on a Web site, or e-mailed. preset control, which provides a list of com- macro mode, your camera defaults to tak- When people talk about their digital mon lighting situations, such as incandes- ing pictures with a narrow depth of field. cameras, the most common detail men- cent, twilight, fluorescent, sunlight, cloudy What this means is that part of your object tioned is the number of megapixels daylight, and shade. is in focus (the front/top part) while the inscribed on the side of camera. The reason White balance is important because it rest of it is not. This often happens with is this: more megapixels = more picture tells the camera what color should be con- rings. To increase the depth of field, you data = higher image quality. Basically, more sidered white under different lighting con- will need to increase the f-stop value in megapixels translates into larger print sizes ditions. To set your white balance, follow one of your manual setting modes because there is more data available to fill a these steps: (Aperture priority (A) or Manual (M)). On large print area. A 5-megapixel camera will 1. Set up your lighting and average, f-stop values on digital cameras print a higher quality 8" x 10" picture than white background. range from f3.5-8.0. a 2-megapixel camera. We’ll get back to 2. In your menu, find the white For good macro photography, set your this idea again when we discuss photo edit- balance submenu. white balance , turn on macro mode , ing software and how to save your files. 3. Locate the “manual preset” option. turn off the flash , and shoot with your The most important question in digital 4. Look at the LCD screen and visually timer (to avoid camera movement). An photography is, "How am I going to use determine if the background looks white. additional setting that can be changed is the image?" If you want to take pictures for 5. If the background does not appear exposure compensation (contrast). If you your Web site or for e-mail, a 3-megapixel white, select “set” or “measure.” can’t see fine detail in an image where camera works well. If, however, you plan there is strong contrast (e.g. light object on on printing the images, you will be happi- Macro Mode. Every camera is slightly dif- dark background), adjust your exposure er with a 4- or 5-megapixel camera. ferent when it comes to its focus range. For compensation up or down , take a regular shooting, the focus range is com- picture, adjust again, take a picture, etc. Camera Settings monly three feet to infinity. To photo- and then compare the images. Use this Resolution. One common question is, graph objects that are closer than three technique to develop your formula for tak- “Should I take pictures at the highest reso- feet, adjust your camera to work in macro ing pictures of different items. Once all of lution, or can I take pictures at a lower res- mode by pressing the button until this the icons above appear on your LCD olution?” The answer lies in the question. icon appears on your LCD display. screen, your camera is properly configured When you set your camera to take a photo- The macro mode will allow you to focus to start taking macro photographs. graph at low resolution, less data is cap- on objects as close as one inch from the

14 · Studio PMC

Digital Camera Icons Macro White Flash Timer Exposure Exposure Mode Balance Off UP DOWN

Lighting Saving and editing your images is a cate- The challenge and beauty of photography gory where some photographers fail while is lighting. Using a “warm” light can work others succeed. Have you ever gotten an e- well for photographing people, whereas mail that took a long time to download, using a “cool” light works well for pho- was too big to fit on your screen, and tographing gems. The goal is to find a light required use of the horizontal and vertical that accurately displays the colors of your bars to see the whole image? The person piece, and is reasonably intense. The two who sent you the image probably e-mailed most common options are flourescent ($6- the from the camera without ever re- $20) and halogen bulbs ($6-$1,000). saving it. flourescent “daylight” bulbs and “flip- Photoediting software is a necessary lights” (lights that turn on when flipped part of your digital studio. At a bare mini- open) are preferred because they deliver mum, you will need software that lets you the type of light that you would have at adjust the total size of the image (not just noon on a cloudless day. Daylight halogen the dimensions, but the file size), adjust bulbs are also widely used because they The Cloud Dome with reversible foil the brightness/contrast, and crop, rotate, reflector and a daylight flip light.The foil provide more intense daylight light. Full reflector and additional light increase the light and add text. spectrum lights can be purchased online intensity under the Dome. Saving image files requires understand- and at many hardware stores. ing how file size works. File size is made When considering which lights to buy, Homemade: Solutions that involve a trip up of three factors: resolution (dots/pixels there are two additional factors to think to the hardware store and some imagina- per inch), pixel dimensions (width and about: how hot will the light get (hot lights, tion. Descriptions of homemade light height measured in pixels), and file com- such as halogens, can burn you, and also tents and domes can be found in many pression (JPG algorithm). When saving a will heat up a small work area); and are the places on the Internet and in photography file, you will have the option to adjust all lights easy to move into position around books. ($20-$150). of these factors. your subject? Flip lights are popular because No matter which solution you choose, be they stay relatively cool, are easily portable, sure that the camera is stable (attached to a Resolution. Have you ever printed out a and can be used for other purposes such as tripod or camera mount), your subject can picture from the Web that looked great on reading, stitching, and detailed craftwork. be photographed at an angle, and you can your screen, but terrible on paper? The rea- The key to photographing objects that use different backgrounds and props. son is that web images are typically saved are reflective is light diffusion. Diffusing Versatility is important unless you will only at 72 pixels per inch (ppi). The reason? The light, whether ambient or additional light, have one size and type of subject. A portable average monitor only displays 72 ppi, even can eliminate hot spots. However, the solution may be important to you as well. though the average printer can deliver 300 material used to diffuse the light is critical. dots per inch (dpi). (For all practical pur- If the material is too opaque, the subject Photoediting Software poses, dpi and ppi are the same.) may not be lighted sufficiently; if it is too The golden rule of digital photography is transparent, hot spots and shadows may never overwrite your master. The master Pixel dimensions. Cameras are capable of persist. Here are some options: file from your camera is just like your 35mm capturing pictures at pixel dimension set- Cloud Dome: Plexiglas dome made of negative. There is only one, and if you mod- tings larger than the computer monitor will pure white plastic that diffuses external ify and then save over your master, the display. Let’s say that the camera captures a light evenly for small objects. Any camera image data is gone forever. Many profes- picture at 2560 x 1920. If the monitor size is can be attached to the dome, digital or sional photographers make a CD or DVD set at 800x600, we will have to move the 35mm. Ideal for jewelry. ($150-500) backup of all their original camera files, and scroll bars to see the whole thing. However, Light tent: White fabric tent that comes then store them in a safe place (like a fire- if we resize the image to 500 x 375, the pic- in a variety of sizes from 12” to 36” . proof safe). The practice of writing your files ture will still have the same aspect ratio (it A tripod should be purchased as well. Good to a CD or DVD is also smart because you won’t be skewed), and it will fit on the for medium-size objects. ($60-$120) can keep your computer’s memory from screen. When considering how large to save Light box: Metal box with internal light- becoming full. One way to prevent acciden- an image, remember that the average screen ing. Any camera can be attached to the tally saving over the master is to always is either 1024x768 or 800x600. box. Good for jewelry. ($1,000-$4,000) choose “Save as…” when saving your work.

Winter 2004-05 · 15 The Basics of Digital Photography

Let’s pretend that the image we wanted to print from the Web has the following Digital products require a digital attributes: 360 x 360 at 72 dpi. On a com- vocabulary. Here are some funda- puter monitor set at 72 dpi, the image mental terms and their definitions: would be exactly 5" x 5". If we wanted to print this Web image, we would need to Pixel: The smallest component of a change the dpi setting to 300. What that digital image that can change (color). means is that we keep the pixel dimensions, On your computer monitor a pixel is but we redistribute the pixels over a smaller square; when printed it becomes a area. The result is a 1.2" x 1.2" picture. round dot. If you want to submit your pictures to a publication, you will need to ask about the Megapixel: “Millions of pixels.” A Silver pendant with stone.This requirements. Typically, the editor will image was edited in Photoshop®, where a sim- one-megapixel camera is capable of indicate that your images need to be a cer- ple white to black gradient was added in the capturing a maximum of 3 million background. tain size, set at a certain resolution. The pixels (one million pixels per color default resolution for a print image is 300 make changes as desired. On the contrary, channel: red, green and blue). dpi. So, if you know that the space for your when you save a .JPG, the image data is flat- image is 2” x 2”, do the math: your image tened to one layer, and there is no easy way Resolution: Refers to the number of should be 600 x 600 pixels. to change text or other data in the file. pixels, both horizontally and vertical- Since there is always a degree of uncer- ly, used to either capture an image or File compression. Finally, when preparing tainty about how an image will be used in display it. For example, most comput- an image for the Web or e-mail, you can the future, always work with the large ver- er monitors are set at either 1024 x 768 choose how much to compress the file. sion of your image. Remember that you can or 800 x 600 pixels. That means if you Compression is a way of reducing file size make the image smaller in the future, but were to count the number of pixels on by letting a built-in mathematical equation not larger. Imagine that someone from a your monitor, you would count either (JPG algorithm) take out “unnecessary” publication visited your Web site, liked a 1024 or 800 from side to side, and 768 image data. Compressing the image data particular image, and contacted you to have or 600 top to bottom, respectively. too much results in low quality. The goal is the image featured in their publication. to compress the file so that its total memo- What would you do if the file was only ry size is low, while the image quality is available in the Web format? You might be still high. For example, the 2.8MB (2560 x able to recreate the look from your master, 1920) file from the camera described above but the issue is time and convenience. So, it can be reduced to 85KB (500 x 375), main- may behoove you to save each file in a print taining 80 percent quality. If your Web vis- version, large Web image, and thumbnail itor connected to the Internet using a dial- Web image. Together with your master and up connection (56K), the image would work file, you’ll be set! take approximately 15 seconds to appear. As you embark on your journey to take Web designers usually recommend that better photographs, you may find the need your largest image be no larger than to learn from an expert. One good way to 100KB, your medium size image be about become more proficient is to attend a 50KB and your thumbnail image 15KB. workshop, seminar, or class. Private When using photoediting software, you instruction, where you work on pho- Gold wire wrap drusy pendant on can save your file in a number of different tographing your subjects, with your cam- dark gray background.This image was not edited in Photoshop®, only formats, which may or may not involve era, may be the most effective solution, and cropped to size. compression. For example, when working some seminars offer this type of instruction with Adobe® Photoshop®, you can save with small groups. This kind of solution your file as a .PSD. When you do so, all of can keep you from racking up large bills the document information is saved, includ- with a professional photographer. ing layers, text, and any other graphical or meta-data you may decide to add. The rea- Sam Sokol is vice president of sales and market- son for saving your “work file” in this for- ing for Cloud Dome, Inc., and an independent mat is so that you can always return and consultant specializing in digital technology.

16 · Studio PMC

Happenings

new metal clay category has been members took the class with this nationally MC Guild members Sherry Aadded to Bead Dreams, a juried com- known polymer clay and PMC artist. PFotopoulos and Cheryl Lucas have petition of exceptional bead artistry from The Fairchester group also reports that its recently launched a new PMC venture, around the world sponsored by Bead & members have been busy with more than the PMC123, a Web-based company offering Button magazine. Accepted pieces are dis- chapter's monthly meetings. Robert Dancik PMC products and tools. PMC and fused played at the Bead & Button Show and rib- and Jeannie Thomma have opened a new glass classes with Sherry, a senior instruc- bons awarded in six categories. The most gallery in Seymour, Connecticut: “zoë and tor with the PMC Connection, and outstanding piece among the category win- floyd — art objects just a little off center,” fea- Cheryl, a Level 2 Certified Artisan, will ners receives a Best in Show trophy. In addi- tures contemporary works of art, craft and also be listed on the site, found at tion, exhibited pieces are published in Bead design by regional and national artists. (For www.PMC123.com. Dreams, a special issue of Bead & Button. more information, email the gallery at Entries in the metal clay category [email protected]). Robert also exhib- everal guild members have had their should consist of a collection of four or ited as part of a two-man show entitled “The Snames appear in print recently. The more beads or buttons; jewelry; or non- Cartographer’s Enigma” at the Branchville current issue of features a pro- wearable items made of at least 85 percent Gallery in Ridgefield, Connecticut. The file on Tim McCreight, while Lora Hart's metal clay. The deadline for entries is April show explored the artists’ ongoing fascina- work appeared on the cover of the July 11, 2005. For full contest rules, visit the tion with the maps and topography of the 2004 issue of AJM. Lora's work was includ- Bead & Button Show Web site at landscape of life. ed in an article on artists using PMC for www.beadandbuttonshow.com. Bronwyn Evans was invited to submit production pieces. The article also featured three pieces of her work to the Annual interviews with Holly Gage, Jennifer everal new local chapters of the PMC Silvermine School of Art Faculty Show in Bowie, Carl Stanley, and Stephanie SGuild have been formed in recent Norwalk, Connecticut. Linda Warner’s Olin. months, and are busily planning activities Polymer Clay Petroglyph were a for the year ahead. Gallery feature in the Autumn 2004 issue of he Lark book 1000 Rings, with intro- The Chesapeake Chapter, which has Belle Armoire. Lisa Kadison received rave Tduction by Robert W. Ebendorf, grown to 25 members since its inception in reviews for her three donated PMC, includes work by PMC Guild members April, meets every other month in amethyst, and dichroic glass for the Hattie Sanderson, Kathleen Browne, Worton, Maryland. One of the group's “A Night for Lights” fundraiser at Ossining Shahasp Valentine, Robert Dancik, first projects includes a PMC Holiday Sale High School in Ossining, New York. More CeCe Wire, and Christopher Darway. Nov. 13-14 at the Bead Bungalow in than lights were sparkling that night! Annapolis, Maryland. Officers are The New City Public Library in New hristopher Darway, senior teacher President Cookie Kliever, Recording City, New York gave Sherry Masters the Cwith the Rio Rewards program, will Secretary Ruth Newlin, Treasurer Penny floor for “Trends in Jewelry”, an exhibit fea- be teaching Metal: Mechanisms at the Harrison, Membership Chairperson turing Sherry’s work in PMC, polymer clay, North Country Studio Workshops, Barbara Parker, and Newsletter Editor sterling silver sheet and beads collected January 26-30, 2005 at Bennington Carleen Birnes. For more information from her travels both local to the U.S. and College, Vermont. For a brochure, contact about membership in the chapter, e-mail abroad. Pam Lacey took on the coveted North Country Studio Workshops, P.O. Barbara at [email protected]. position of volunteer coordinator for Box 875, Hanover, NH 03755. Brookfield Craft Center’s 29th Holiday n Minnesota, the Minnesota Metal Clay Exhibition and Sale. Last year’s sale boasted eCe Wire was one of nine metal- IGuild meets bimonthly at various sites over 12,000 pieces of fine craftwork from Csmiths exhibiting at the Centre around the Twin Cities and surrounding area. artists across the United States. What’s so Catala d'Artesania in Barcelona, Spain. The group welcomes new members at all skill desirable about this two-week inventory Twelve pieces from her barn and silo series levels, including those who have never taken management stint? First dibs, of course! constructed of PMC and sterling were on a class and are simply curious. To learn where exhibit for the month of September. She the Minnesota Metal Clay Guild is meeting MC Guild member Jennifer "Jeff" also taught a two day PMC workshop to next, contact Laurie Riekmann at 507-288- PBowie has opened a craft gallery in the advanced jewelry students of the 2878 or e-mail [email protected]. Salem, Massachusetts. The Picklepot l'Escola Llotja, a school whose famous stu- Gallery features contemporary New dents include dropout Pablo Picasso. n other local chapter news, Fairchester England craft artists, including PMC IPMC Guild hosted Celie Fago for a mem- artists Donna Shapleigh, Jen Mank, bers-only workshop in September. Twelve Chris Aharonian, and Kiki Kinney.

Winter 2004-05 · 17 Tips & Tricks Compiled by Celie Fago

reparing to teach his first PMC class, syringe for adding details, but was frustrated "When I teach a PMC class, I always create PWilliam Hegner realized with dismay when the PMC curled as she pushed it from a kit for the students so that they don’t have that his kitchen table, made up of 4" ceramic the tip. She found the solution in a film can- to buy a deck of cards or a hundred bamboo tiles, would not provide a large enough work ister filled with water. By keeping the tip skewers when they need only a few," she surface for his students. His solution was to submerged while she slowly extrudes the explains. Dollar stores usually have many purchase 18" black granite tiles for each stu- clay, she gets a straight snake of clay. "Since it essential items, such as toothpicks, playing dent. "I put small felt pads on the bottom of is wet when I lay it on [the piece], it holds cards, skewers, and even traveling tooth- each tile to prevent scratching my table top," better, too — an added bonus," she notes. brush holders to hold tools, for just a dollar. he says. At $7 per tile, and a package of 20 Edie has also developed a technique to "But wait, it gets even better!" Sidartha felt pads for $4, the tile work surfaces were avoid wasting even the tiny amounts of adds. "At Christmas there are always a num- both affordable and durable enough to last clay left on a paint brush when working ber of Mary and baby or angel statues; again, class after class. They also proved popular: with slip. "I formed a piece of cork clay into one dollar. These statues can be used to make "At the end of the class everyone wanted to a nice shape that I could make into a pen- wonderful polymer clay or silicone molds. buy their tile to use at home!" William says. dant once it is covered with multiple layers The fabric draping makes wonderful texture of clay," she says. "I keep this shaped piece molds, and even the molded trims on the ike many PMC artists, Edie Simons is of cork clay at my work station, and when I statues make great texture strips." The hard- Llargely self-taught. After a handful of am done using a paint brush, I swipe it over ware aisles can yield items such as bicycle classes at The Stamping Grounds in Royal the front and back sides until the bristles reflectors, which can be used for texturing. , Michigan, Edie moved to Seneca, are relatively clean. Eventually the cork "My students have shared with me some South Carolina, in 2002 and found herself clay will be built up to a usable thickness." of their great finds in the stores, and we all isolated from other PMC users. "So I worked believe that time spent digging through the at home and tried all sorts of experiments “ found heaven, or something close to it, shelves of pointy-nosed elves and cherubs just to see if they would work," she says. Ifor a dollar," writes Sidartha Gabriel is well worth the effort, and lots of fun," In the process, Edie has found a number Ellis. Dollar stores, where a wide variety of she concludes. "Part of what makes it so of tricks for working with PMC. For exam- products are sold for $1, has resulted in a much fun is putting on your ‘Hmmmm, ple, she notes that she loves to use the treasure trove for PMC artists, she says. what can I do with this?’ attitude."

18 · Studio PMC Rio Grande caters to a jeweler’s every need—from the materials to create, to the items that sell, discover more than 26,000 products and the technical support you need to help your business succeed! ADPMC ode: e c c phone 800.545.6566

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www.CreativeTextureTools.com Membership in the PMC Guild Hard-to-find tools for PMC Don’t miss a single issue of Studio PMC! Original Silicone Won’t K Texture Plates stick to New Membership PMC! K Renewal Membership 12/04 Member Name: ______ire CeCe W Business Name: ______147 Hillside Drive Colorado Springs, CO 00000 Address: ______THE DATE on your mailing label City: ______State: ______Zip: ______Elaine D. Luther (see back page of Studio PMC) Phone (day): ______PO Box 5292 • River Forest, IL 60305 (708) 488-9589 is the date your Guild Fax: ______membership EXPIRES! Phone (eve): ______Join or renew online at www.PMCguild.com. E-mail: ______“PMC:We’re Serious (You can also change your address.) Payment: K Check or Money Order Enclosed About This” • Or call toll-free (866) 315-6487 to join or renew K Charge Card - K Visa K Mastercard CD Now Available! using your credit card {Please note: returned checks are recovered by CrediCheck. The Guild is working with Barbara Becker A $20 fee (plus bank charges) will be added to all returned checks.} Simon to make available the presentation of • Or fill out and mail the attached form to: cutting edge work she presented at two con- PMC Guild, P.O. Box 3000, Denville, NJ 07834. Card Number: ______ferences this year. The CD will include Expiration Date:______scores of images of inspirational work along Sign me up for: Name on Card______with the software you'll need to run it. This Signature: ______will be available as a benefit to members for North America: only the cost of shipping ($5). "PMC: We’re K 1 year $25 K 2 years $45 K 3 years $65 Billing Address on card IF different from above: Serious About This" can be purchased by the public for $15 plus $5 shipping and han- Outside North America: ______K K K dling. Send check to PMC Guild, 417 West 1 year $35 2 years $55 3 years $75 ______Mountain Ave., Fort Collins, CO 80521.

For Advertising information: Call Bill Spilman toll-free at 877-878-3260 Winter 2004-05 · 19 PRSRT STD Studio U.S. POSTAGE Member Magazine of the PMC Guild PMC PAID P.O. Box 265 PONTIAC, IL Mansfield, MA 02048 PERMIT No.721 www.PMCguild.com Name & Address incorrect? Send corrections to the PMC Guild by mail, fax, or e-mail [email protected]

TIME TO RENEW your Guild membership? THE DATE on this mailing label is the date your PMC Guild Membership EXPIRES. If your expiration date falls before the next issue of Studio PMC (February, May, August, and November issues), you need to renew NOW to continue your subscription uninterrupted.