fusion journal of the pmc guild The Journal of the International PMC Guild

PMC Pro tm

14 2010 /4 barbara becker simon fusion fourteen

Jeanette Landenwitch, Bracelet, 900 , 24k

Last July, representatives of Mitsubishi Materials announced a new kind of clay they are calling PMC Pro™. Last month the new form of clay became available for purchase in the US and is currently sold by many of the companies that sell fine silver PMC and clays. In this issue of Fusion, we will do our best to provide practical information about the newest member of the PMC family.

What is it?

PMC Pro™ is an of silver and in the proportion of nine to one. That is, 10% is copper and 90% is silver. As with other clays, the only other ingredients are nonmetals (water and binder) that burn away in the process of converting the clay to solid metal.

How is it used?

PMC Pro™ is gray in color but other than that it behaves in ways very similar to fine silver clays. Or perhaps better. It can be sculpted, rolled, molded, and carved. Artists who have worked with it report that PMC Pro™ has a longer working time and better green strength than even their favorite fine silver clay. It can be rolled into sheets and rods, stretched, squeezed, reconditioned, and in every way treated like the other clays. To make slip with PMC Pro™, either press water into a bit of the clay or mix page 2 journal of the pmc guild

PMCguild International

The PMC Guild is a members organization with the mission of providing support, education, and exposure for artists working in Precious Metal Clay.

PMC Guild 1921 Cliffview Lane Florence, KY 41042

Executive Director Tim McCreight, knife, 900 silver, 4 inches Jeanette Landenwitch [email protected] water with filings and carving scraps. Early tests indi- Treasurer cate that adding an essential oil such as lavender oil Darnall Burks to slip increases the strength of a joint when bonding [email protected] previously fired parts. Communications At the workbench, PMC Pro™ requires very little Tim McCreight special attention. In most cases it is possible to use [email protected] the same tools, the exceptions being sandpaper and Journal Editor similar polishing materials what cannot be completely Bob Keyes cleansed of powders. For rollers, molds, blades, and [email protected] brushes, simple cleaning when moving from one kind of clay to another is sufficient. Scraps of PMC Pro™ Chapter Liaison should not be combined with scraps of fine silver clays. Jobie McCreight Fagans [email protected] Drying is similar to fine silver clays and at this point work can be in proximity. For example, there Web Manager is no problem in having pieces of PMC Pro™ in a Sadelle Wiltshire dehydrator alongside pieces made of fine silver clay. As [email protected] with all clays, allow sufficient time to ensure that the clay is dry all the way through. Thicker pieces require longer drying time. To Join, Renew, or Edit Info Online How is it fired? www.PMCguild.com Because of the copper content, PMC Pro™ must be fired in a reducing atmosphere. This is done by cover- Membership Questions (toll-free) ing work under about a half inch of activated carbon, 866–315–6487 usually contained in a stainless vessel. Assuming page 3 Speak with the Director 859–586–0595 fusion fourteen

Celie Fago Three Rings, 900 silver, 24k gold Square Bos, 900 silver, 2 inches high

the work is properly dry, the ramping, or rate at which the kiln heats up, can be fast. Bring the work to 1400° F (760° C) and hold there for at least one hour. For larger pieces or when many pieces are being fired in one vessel, the manufacturer recommends extending the time to two hours. Technically work can be removed from carbon as soon as the firing is completed but this is not recommended for two reasons. Handling a hot pan filled with glowing carbon is dangerous, and exposing the work when hot will create a gray oxide film on the metal. If possible, allow the work and vessel to cool to no more than a couple hundred degrees before removing the work. Experiments have also been done with a two-step or double-fire program in which work is fired first in air and then in carbon. This is required when making work that includes elements made from fine silver clay alongside elements made from PMC Pro™. When dry, set work on a firing shelf and heat it to 1000° F (538° C) for 30 minutes. Allow to cool until the work can be safely moved, then transfer it to a pan and see that it is surrounded by about a half inch of carbon. Heat to 1400° F and hold for at least a half hour. Some people prefer to use this two-step firing schedule for PMC Pro™ even when fine silver clays are not involved.

Finishing

PMC Pro™ can be filed, sanded, patinaed, and polished just like other versions of PMC. As mentioned, use separate polishing equipment to avoid contamination, but otherwise follow the same methods normally used. PMC Pro™ will achieve a pleasant silver glow when finished with a page 4 journal of the pmc guild

Hattie Sanderson, , 900 silver, soapy brush. To create a highly reflective shine, use polishing papers or a machine buff with tripoli, White , or similar compounds.

Can PMC Pro™ be soldered? As shown in the tables that follow, the melting point of fired PMC roP ™ is around 1475F (800 C). This tells us that we must be careful not to heat above 1450. This means that hard silver solder is not recommended for PMC Pro™, but easy or medium solder will be fine. Use any convenient silver brazing flux. It is also possible Barbara Becker Simon, Rings, to join pieces with low temperature 900 silver, solders like TIX or Sta-Bright. page 5 fusion fourteen

Comparisons of Some Metal Clays

The chart below provides some statistical comparison between Original PMC, PMC3, and PMC Pro™. The bottom four rows show dramatically how much stronger the alloy material is than its pure metal siblings. The tensile strength, measured in Newtons per square millimeter, is more than twice as great as PMC3 and almost four times greater than Original PMC. The figure for PMC roP ™ translates to about 30,000 pounds per square inch. To put this into jewelry-related terms, PMC Pro™ is less likely to stretch, much less likely to bend out of shape, and will stand up to abra- sion twice as well as even the densest fine silver clay. This is not a factor of firing, per se, but the result of the alloying process. Here is an example: copper and zinc are both soft metals but when they are combined the yield brass, which is much tougher than either ingredient. The same phenom- enon is at work here.

Original PMC PMC PMC 3 Pro ™ Metal Fine silver Fine silver 90% silver alloy

Metal Content 77% clay weight 90% clay weight 90% clay weight

Shrinkage (size) 25–30% 10–15% 15–20%

Recommended 1400˚F in carbon 1650˚F /120 min. 1650˚F /30 min Firing for 60 minutes

Elongation 15% 35% 30%

2 Tensile Strength 60 N/mm 140 N/mm2 210 N/mm2

2 Bending Strength 30 N/mm 30 N/mm2 150 N/mm2

Surface Hardness n/a ( Vickers) 30 HV 60 HV

Density 7.9 g/cm3 9.7 g/cm3 9.7 g/cm3 page 6 journal of the pmc guild

Shrinkage Tests

As with all forms of metal clay, the recipe calls for metal powder, water, and a binder. Because the water and binder are driven off or burned up during firing, the resulting object will be smaller than it was before. Because the water and binder are perfectly distributed in the clay, the shrinkage will be proportionate. As the miniscule bits of powder fuse to- gether, they merge and take up less room, adding to the rate of shrinkage (again proportionately). Because of this, extending firing time will usually result in slightly more reduction in size.What this shows us is that PMC Pro™ shrinks more than PMC3 but not quite as much as Original PMC. The rate is described as 15-20%.

28.8 mm Original PMC 32.8 mm PMC Pro™ 35 mm PMC3 40 mm The first step in the experiment is to make bars of a fixed size, here 40 mm.

Activated Carbon Carbon is often used for filters because it combines easily with oxygen and many other things. As with a sponge, the greater the surface area, the more active this absorption becomes and that is why we use “acti- vated” carbon. Note the great amount of surface area in this photomicrograph. Activated carbon at 1500 x. Photo by Microangela

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Special Case: Combining Metal Clays

First, let’s be clear on the difference between combining and joining PMC Pro™ with fine silver clays. Because of their different firing requirements, the manufacturer advises against physically mixing PMC Pro with any other metal clay. That said, some designs will invite different clays for dif- ferent reasons. Imagine a necklace clasp in which a cap that will connect with a strand is made of PMC+ while the hook and eye is made of PMC Pro™ for strength. Or again, a in which a thick top portion is made of PMC3 while a delicate shank uses PMC Pro™, again because of its greater strength. In such cases, work must be fired in a two-step process as described below:

1. Make the piece using any of the usual PMC techniques. Attach PMC Pro™ components to PMC3 with water or slip made from either type of clay. 2. When completely dry, set the work on a shelf and fire it in a kiln at 1000° F (538° C) for 30 minutes. This drives off the water and allows the binder in the PMC3 to burn away. 3. When you can safely do so, transfer the work to a container with a 10 millimeter layer of activated carbon. Cover the work with another layer of about the same depth. 4. Bring the kiln to 1400° F (760° C) and hold for at least another 30 minutes, longer if the work is large or if there are several pieces in the container.

Strip of PMC Pro™ with rods of PMC+ Same piece after firing and tumbling. and PMC3 on each side before firing. Your favorite one-stop shopping source for the metal clay enthusiast www.wholelottawhimsy.com (520) 531–1966 page 8 Register online for certified, store, or designer account journal of the pmc guild

Special Case: Keum-boo and Aura 22

Tests show that PMC Pro™ likes gold… but then who doesn’t? In the case of this new silver alloy, no special prepara- tion seems to be necessary. Fire as described above, using either the single-step one hour firing in carbon or the two step firing schedule that includes a first heating in air. Clean the metal with a scratchbrush, steel wool, pumice powder, or light abra- sive. Keep the use of solvents and soap to a minimum and rinse well in clean water to flush away all chemical residue and grit. For Aura 22, apply a layer with a clean brush and allow it to dry completely. We do not recommend hastening the drying process because this can lift the gold away from the surface. When dry, add another layer and again allow it to dry completely. Fuse onto the PMC Pro™ using any of the methods described in the Aura instruction sheet. The sample on the left above was fused with a torch by heating to bright red and the other was fused in a kiln held at 800 (425C) for a few minutes. For keum-boo, clean the metal as above and set it onto a heated surface, typically a small open kiln or hotplate. Lay the cut pieces of gold foil into place then warm the work to the proper temperature (650°–850°F / 340º–450ºC). To complete the fusion, burnish the gold foil onto the PMC Pro™. Cool and brassbrush or polish lightly.

Proud to support the PMC Guild! 800.545.6566 riogrande.com page 9

RGAD_PMC Guild_2010_Fusion_Rio.i1 1 6/16/2010 4:03:10 PM fusion fourteen

Special Case: Enameling

Enamelists were quick to take up PMC because they like to work on fine silver. The only drawback was that delicate designs were fragile because of the relatively high malleability of fine silver. Sterling is stronger but the copper component can affect some enamels differently. For this reason, enamelists are eager to see what can be done with PMC Pro™. It is still early in the life of this new ma- terial, but initial tests are encouraging. Even though the alloy contains copper, the fact that it is developed from pow- dered metals rather than by combining molten copper and silver seems to render a metal that is well suited to enamels. Unlike sterling, there seems to be no need to depletion gild Tim McCreight, 900 silver, enamel work before enameling. As long as pieces are allowed to cool in their cloak of activated carbon, the metal appears as clean white and can be enameled directly. Jeanette Landenwitch, an accomplished enamelist who has worked with Thompson Enamel for several years, has been testing PMC Pro™. Some tests are shown on the next page. Her recommendations are either: A: FIre 30 minutes in air @ 1000°F then 60 minutes in carbon @1400°F, or B: Fire for 60 minutes in carbon then depletion gild. In both cases it is important to allow the metal to slow cool in the carbon.

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Prepare test panels and fire the first batch I covered the panels with mesh to following manufacturer’s instructions: prevent the carbon from making direct contact 1400ºF for an hour. with the PMC PRO™.

This test used leaded and unleaded Three kinds of enamels being tested enamels that were torch fired. on PMC PRO™ that was prepared by depletion .

1 2 3 1 2 3

#1– 30 min. in air, 60 min. in carbon Same tests as photo at left. The color #2– 60 minutes in activated carbon used here was transparent #3– 60 minutes in carbon; mesh cage 2530 Water Blue.

“Your Complete Source for Enameling Supplies” Thompson www.thompsonenamel.com [email protected] Enamel Inc. (859) 291–3800 page 11 fusion fourteen

Editorial: Bob Keyes

We’re living in troubled times. We’ve just been through an election that felt more contentious than ever, and although some indicators suggest the economy might be recovering from the recession, many of us are hardly feeling confident. But amid the gloom and uncertainty, there is good news. My days brighten when I think about artists like Holly Gage and Thomas Mann, both world-class makers and designers who have found time and energy to reach out to others in need. Many Guild members have no doubt followed Gage’s work over the years. She is the Pennsylvania artist who, among other accomplishments, has helped spearhead the Charms for Charity fundraising event at recent PMC Conferences. With the help of many other talented artists, Gage has raised more than $10,000 for cancer research through the Charms for Charity program. Mann may be less familiar to Guild members because he’s not part of the PMC community, but his reputation is well established in the larger craft community. Mann is a highly respected jeweler and designer from New Orleans who has been active in the American craft movement for more than three decades. Mann, 63, oversees a jewelry design and production studio, a sculp- ture studio, and a gallery in New Orleans. He exhibits his jewelry and sculpture across the United States and abroad and at high-profile craft events around the country. As we all know, his adopted city has been through more turmoil in recent years than any other in America. First Hurricane Katrina brought its unforgiving destruction, and then this past summer the entire Gulf Coast contended with the devastation of the BP oil spill. To help combat the environmental crisis in the Gulf, Mann set aside his own personal financial worries to give something back. He created a line of nickel and brass pelican pins with the commitment that 10% of pro- ceeds go to the Coalition to Restore Coastal Louisiana. Similarly, a portion of sales of a new oyster necklace also benefit the coastal restoration fund.

Step by step PMC instruction on DVD series Silver in No Time, PMC Classes, products and services by Linda Bernstein. www.Artique.org 831-421-0161 [email protected] page 12 journal of the pmc guild

Mann sees it as his social responsibility to give back, to help out and to be a part of his community. He always has and always will. “I’ve always been very community oriented since my early days in business, and always participated when my particular talents would benefit a community- focused event,” he said. “It’s part of my karmic payback thing.” Mann’s story offers some hard perspective on the depth of the finan- cial meltdown. He freely admits the business side of his operation has sus- tained a severe toll. The natural and manmade disasters were hard enough to survive but the economy is something else altogether. In 1995, when business was booming, Mann had 26 people on the payroll. Today he has 9. He has not taken a paycheck in two years. He even sold his house and moved into an old bar that he bought two years ago and renovated into a live-work space. “I’ve done 20 other things that have reduced my personal expenditures,” he said. “We are all multi-tasking like crazy. There are four of us in the gallery doing customer service, graphic design, the website, marketing and accounting. There are five or six of us who are in the studio. I’ve cut everybody’s hours back, and we’re all down to four days a week. I am on the road this year 190 days, teaching workshops, giving lectures and attending fairs and trunk shows. We are doing everything that we see is potentially income-generating to keep the trickle of money coming in to keep us alive.” But Mann is not complaining—he is simply telling it as he sees it. Mann understands that being a giver is the right thing to do, on many levels. He feels it is his responsibility and it’s also good for business. He feels that people will always respond positively to a heartfelt gesture. The pelican pins are selling well.

For information about these artists, visit www.thomasmann.com and www.hollygage.com.

Supplier of Fine Silver Findings www.metalclayfindings.com for the Metal Clay Artisan Toll-free 888-999-6404 Phone 401-305-3999 Fax 401-728- 8038 Email [email protected] page 13 fusion fourteen

Profile: Linda Darty

Linda Darty teaches people how to make art. But that is not her motivation as an instructor. She’s more inter- ested in why we make art. “In my teaching, I have always found one of the most interesting aspects is not necessarily teaching people how to make things, but why we make them; I’m interested in our connection to our work as artists,” says Darty, who heads up the metals program at East Carolina University in Greenville, North Carolina. She will be familiar to some readers as a featured speaker at the PMC Conference this past summer in Indiana. In her summer talk, Darty spoke of the im- portance—indeed, the need—to feel a soul-level connection to the work she makes. She revealed feeling conflict, self-doubt and insecurity about making art, and said that for her, the most freeing moment as an artist came when she accepted those feelings as part of the art-making process. Many years ago, she simply stopped worrying about her fears and began making art to which she felt integrally connected. In turn, the art also better reflected what Darty was trying to express as an artist. It felt more honest. She no longer looked at her art as right or wrong, and no longer judged the success of her work based on the feedback of her peers or in terms of her sales or public acceptance. “The nature of art,” she said at the conference, “is that there are no right or wrong answers like in math, science or history class.” Darty views her art-making process as a kind of journaling exercise. Picasso once said that painting was his way of keeping a diary. Darty feels the same way about her metal and enameling work, which is shown all over the world. “For me, art is way of recording important moments in my life I want to remember,” she said. As an example, she brings up an ongoing body of work that she

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calls her garden series. It’s a collection of enameled garden badges inspired by the early years in Darty’s life when she learned how to arrange flowers as a member of the Junior Garden Club. Her mother was part of the club, and for these women making beautiful floral ar- rangements was their artistic expression. Darty’s garden badge series pays homage to her mother and the women of the town of youth. “It’s a way of me thinking about my past and my memoires. I am a sentimental person. I think it’s schmaltzy in a way, but I have learned that it’s who I am. It’s an acceptance of who I am. I believe the validity of ac- cepting who we are is the most important part of being an artist.” She knows when her work is right by her gut feelings. It’s not a matter of someone telling her so. She knows the work is authentic when it feels connected to her. “I know it feels right when I am locked in my work and time goes slack. When I go into my studio in the morning and suddenly it’s time for dinner, that’s when I know I’m doing something right,” she said. As an instructor, she tries to impart to her students the importance of accepting fear as part of the art-making process and, equally important, recognizing moments of authenticity. Everybody works in fear, she said. “Recognize it and accept it and it frees you from it,” she said. “When you are free from it, you can say, ‘I am only here one time on this earth. I can’t do it over again.’” That is when she makes the work she feels best about. Darty began her academic career as a psychology major, and turned to art after studying abroad in Italy in the early 1970s. She switched her major and earned a degree in ceramics and art education from the Univer- sity of Florida. After college she moved to the mountains of North Carolina to take a job at the Penland School of Crafts, and there she learned

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enameling. It has been her life’s work since. She is widely consid- ered one of the top enamellists working today. Her hands-on experience with PMC is limited. She has dabbled in PMC and seen a lot of PMC work in her enameling work- shops. “I have used a little bit of PMC to repair pieces, but I have yet to really make anything with it,” she said. That will change in the spring. She takes students to Italy every year, and this coming spring she plans to bring some PMC and the proper tools so she can immerse herself for an extended period and learn. She is eager to try. “I think with my background in clay, I should be OK. I think one of the most inviting things about it is that I can use my fingers. Because of my clay background, I am not afraid of PMC .” Darty lives most of the year in Greenville, but she and her family have a summer home in the mountains near the Penland School. For her, the mountains of North Carolina have been her creative touchstone since she arrived more than thirty years ago. She has her studio there and delights in the rural environment. “We wake up with deer grazing in the front yard. The mountains of North Carolina hold my heart,” she said. And it is where she makes art that stirs her soul and matters most.

Above: “Rabbit Hop Road” Previous page: “Winter ” , fine silver, enamel Sterling silver, fine silver, copper, enamel Champleve, 8” x 5” x 5” 4” x 1¾”

    page 16 journal of the pmc guild

Ask Sol I’m getting frustrated by the flood of requests for me to donate my work to fund-raising auctions. I wish I was in a position to give my work away, but I need the money—aside from my time, the materials are expensive! Any ideas on how I can answer the requests or at least stop my guilt when I am forced to say no? Thanks in advance, Conflicted Connie Dear Connie, In many ways, being asked for a donation is a great compliment. It says that people think highly of your work and believe that your work is of such value, both monetarily and also in terms of prestige, that your participation in an auction or some other kind of fund-raising event will raise the stakes and attract more interest. Unfortunately, the well-intentioned folks who make these requests often fail to recognize that artists are asked all the time for donations. Without exaggeration, an artist of good-standing in his or her community faces such requests at least monthly. One artist friend told me he gets calls almost every day. This artist has a system in place that I think is worth emulating. He makes his donations strategically. Everything he donates falls into what he calls “a mutual benefit kind of situation.” In other words, if it’s good for the charity, it has to be good for him too. He counts the value of the piece that he donates as part of his marketing budget, and to the best of his ability he makes sure the donation receives attention in local media outlets. Rather than simply make the donation, he makes sure his name is attached to the cause so that he receives equal benefit—a kind of guerilla market- ing. Viewed in this light, donations are simply another way of promoting your name and your work. At the same time, he has learned to say no. Each of us can give only so much. He allots a certain dollar amount to annual donations and puts that in his marketing budget each year. He does his best to match up his donations with the causes he believes in but when they do not match or he has hit his limit, he simply says no. There is no guilt involved because he

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knows that he has done his part to help groups and causes that he believes in. It sometimes is hard to say no, but it gets easier with time. How about trying something like this: “I’m sorry, but I can’t right now. I do my best to support as many causes as I can, but I simply cannot afford to satisfy every request that comes my way. I’ll be happy to consider your request again next year.” Good luck, and remember that being asked is a good thing—and it’s also OK to say no. - Sol

The Next Fusion Visual Trigger Challenge As the name suggests, the images used for the challenge are selected because they offer an interesting visual expe- rience. As always, we will select a first-place winner and runners-up to be included in the next issue of Fusion. In addition to this international exposure, the first-place winner will receive $100 worth of PMC.

Submitted work can be wearable, sculptural, or functional, and can include additional materials along with PMC. The winners will demonstrate creativity, craftsmanship, and a clear reference to the target image. Send a digital image to [email protected] any time before January 12, 2011. A larger image appears on the back cover of this issue.

Sherry Fotopoulos Serves metal clay artists 210-656-8239 page 18 ONLINE CATALOG :: PMC123.com journal of the pmc guild

Members’ News

PMC Guild members Susan Silvy and Christine Norton are curating an online exhibition on Crafthaus titled: “New Directions: Powder (Metal Clay) in a Sheet Metal World.” Fellow Guild member Ann Davis is heading the jury team that also includes Jeanette LeBlanc, publisher and editor of Metal Clay Artist Magazine, and Gywnne Rukenbrod, current Curator of Fine Craft of the Houston Center for Contemporary Craft and soon to be executive director of HandMade in America. The exhibition will run online from April 15, 2011, to May 15, 2011. “This is a terrific opportunity to show fellow artists from a variety of other fine craft mediums what we are accomplishing in the metal clay world,” says Silvy. “It is my hope that this exhibit will raise awareness of our medium and generate excitement about what we are creating.” Started in 2008, Crafthaus is a lively online social network of con- temporary fine craft practitioners and enthusiasts. It currently hosts more than 1,900 artist members from around the world as well as a number of art and craft related publishers, institutions and galleries. It is an edited website and an annual membership fee of $20 is involved in joining the community. Crafthaus regularly features a selection of their artists, and awards two artist grants each year. It hosts monthly changing online exhibitions, curated by and for the membership exclusively and lists a wide range of exhibition and publication opportunities. Members are encour- aged to display images of their work (photo guidelines apply) and to com- municate with each other both within and across media “borders.” Currently, there is an open call for entries for the exhibit which is scheduled to be viewable online at www.crafthaus.com. The deadline for submissions is March 1, 2011, and participation is available to Crafthaus members only. The call for entry, as well as the application to join Crafthaus, can be found at their website. The exhibition will remain online after the closing of the show.

Clay, Tools, Equipment Linda Stiles Smith 937.433.6249 www.naturescapesstudio.com page 19 fusion fourteen

Members’ News

Gage Designs announced the publication of the 2011 Art and Design of Metal Clay Jewelry 2011 Calendar. The 28-page wall calendar features fine silver jewelry from leading metal clay artists. Each page illustrates the diversity and artistry of transforming a moldable metal into fine jewelry. The work of forty-one artists from around the world were selected, including many Guild members: Jonna Faulkner, Cindy Miller, Juanita Burton & Karen Richard, Christine Norton, Deb Steele, Claudia Atkins, Donna Lewis, Gwen Bernecker, Tracey Spurgin, Hattie Sanderson, Susan Breen Silvy, Daine Sepanski, Lisa Barth, Emma Baird, Gordon Uyehara, Jennifer Smith-Righter, Delia Marsellos-Traister, Angela Baudel-Crispin, Pam East, Linda Kaye-Moses, Tim McCreight, Vickie Hallmark, Julie Beucherie, Laragh McMonagle, Sondra Hirssig, Wendy McManus, Lora Hart, Lorena Angulo, Maggie Bergman, Joy Funnell, Pat Gullet, Lesley Messam, Lorrene Baum Davis, Nicola Callow, Liz Hall, Natalie Knott, Julia Rai, Lisa Cain, Robert Dancik, erin lane meharg, and Holly Gage. In addition to the inspiring photos, the calendar lists more than 50 jewelry conferences, classes and competition deadlines. Senior Editor Holly Gage was joined this year by jewelry and metal clay artists Lisa Cain, Robert Dancik, and Julia Rai to jury the publication. Erin Meharg, Holly’s apprentice, assisted in many functions of the process such as jury assistant, data recorder and proofreader. The calendar is available for $22, plus ship- ping, at www.hollygage.com.

Bill Struve, inventor of BRONZclay and COPPRclay has been selected as the recipient of the Excellence in Artistry Award for 2011 by Bead & Button Show. The award has been associated with the country’s largest bead show since 2004 and is offered in recognition of creativity and con- tributions to the jewelry industry. The award will be presented at the Bead Social and Auction Night on Saturday evening, June 11, 2011.

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Local Chapters of the PMC Guild

We are nearing the end of another calendar year, which seems like the perfect time to take stock of Chapter activity. At the moment, the PMC Guild has 53 active chapters, of which three are from countries outside the United States. No matter the size of your group, we are thrilled to have so many artists interested and willing to gather and share ideas. From work- shops to coffee talk, we’re so glad you are doing what you’re doing. When you have a minute, check out the Local Chapters tab of www.pmc- guild.com. Along the left side of the page, you’ll find links to my e-mail address, as well as .pdf files that include a Chapter Application and our Chapter Welcome Packet. This is where new Chapters begin, so if you are considering getting a group together, take a look and shoot me a message. I’ll be happy to answer any questions you may have. This tab of the web page is also a great place to see what other Chapters are up to. Some Chapters make frequent updates to include new, fresh information, and others keep the information broad and basic. If you are interested in updating your pages, use the Chapter Welcome Packet to find a template for formatting, send me your text, and I’ll make sure it gets posted. We love photos, too! Finally, if you are a point person for your Chapter and you have not received e-mails from me every month or two, that means I do not have your current contact information. It’s an easy fix; please get in touch with me at [email protected]. — Chapter Liaison, Jobie Fagans

Bisque Beads make a great canvas for your silver clay creations. bisqueimports.com WE SUPPORT CREATIVITY 888.568.5991 page 21 fusion fourteen

Visual Trigger Challenge

This photo was published in the last issue of Fusion along with an explanation that in addition to the usual visual component, this challenge offered the option of a social one as well. For those who chose to pursue the fine print, we revealed that this is a stal- lelite image of the lower delta of the Mississippi River, an area that at the time of publi- cation was suffering from a massive oil spill. Only one piece makes clear refer- ence to the broken pipes and broken systems that led to the disaster, leading the judges to wonder whether the topic was too painful to address or the metal clay community seeks solace rather than comment through their work.

First Place

Siiri Di Lucca, Sydney, Australia Silver, Aura 22

Runner Up Phyllis Howard, Silver and page 22 journal of the pmc guild

Other Responses to the Challenge

Chris Berghofer, “Pristine Potential” Silver and polymer Marian Ward, Silver, and druszy

Sarah Merrill-Sampson, Lisa Heath, Silver and cord, Silver, dichroic glass “FlowingBreaking”

Virginia Huffman, “Coral Links,” Silver, glass beads. Beth Hylen, “Frosty Winter,” Glass and silver.

Now in its 11th year! Visit www.saulbellaward.com for more details.

Saul Bell Design Award page 23

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Fusion Visual Trigger Challenge See inside for details