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Fall 2007 • Volume 10, Number 3 Studio Member Magazine of the PMC Guild PMC

Speaking to the Spirit page 6

PMC Link Necklace page 14

Tips from our Contributors page 16

Aluminum Contamination of Fine Silver page 19 Studio Fall 2007 · Volume 10, Number 3 Member Magazine of the PMC Guild PMC features departments 6 Speaking to the Spirit 4 As I PMC It Six PMC artists share how their spiritual lives inspire their art. 12 Gallery 14 PMC Link Necklace 20 Happenings Dona diCarlo explains her technique for using PMC to make a large silver chain necklace. 23 Marketplace

16 Tips from our Contributors In our final issue, we turn to the people responsible for a decade of On the Cover: Jerusalem Cross by Martha Biggar. Studio PMC for a collection of tips and advice for working with PMC. Photo by Robert Diamante.

Studio PMC PMC Guild 19 Aluminum Contamination of Fine Silver P.O. Box 265, Mansfield, MA 02048 Tim McCreight explains why PMC artists are warned against www.PMCguild.com aluminum on their workbenches. Volume 10, Number 3 • Fall 2007 Editor—Suzanne Wade Technical Editor—Tim McCreight Art Director—Jonah Spivak Advertising Manager—Bill Spilman Studio PMC is published by the PMC Guild Inc. pg. 20

Contacting Studio PMC

Editor Suzanne Wade How to get answers to technical questions Phone: 508-339-7366 E-mail Tim McCreight at: [email protected] Fax: 928-563-8255 E-mail: [email protected] Join, Renew, Update your PMC Guild Membership 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 www.PMCGuild.com, call toll-free 866-315-6487 or write P.O. Box 3000, Denville, NJ 07834

PMC Guild Jeanette Landenwitch, Executive Director 1921 Cliffview Lane Florence, KY 41042 USA Phone: 859-586-0595 Website: www.PMCguild.com To contact Fusion, the PMC Guild's new professional E-mail: [email protected]

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 undertaken as a result of the use or application of information contained in any Studio PMC issue or article.

2 · Studio PMC

Farewell!

ith this issue of Studio PMC, the Guild marks the end of this Wvital publication. For the last 10 years, this magazine has been central to the creation of a thriving community of PMC artists and the businesses that support them. From the beginning it was clear that the Guild needed a physical document to be in touch with its members. Now we have an active Web site, a conference, and several dozen local chapters, but in the beginning, the Guild was mostly Studio PMC. Our first editor was a man named Steve Edwards, who, among other things, brought Jonah Spivak to our team. Jonah founded and runs a graphic design firm called Spectrum in Bennington, Vermont, and it is not an exaggeration to say that he has personally handled every page of every magazine for the last decade. Jonah is the person who lays out each page, working with the editor to achieve professional results in a confined timeframe. His company has also run the Guild's Web site since its beginning, and continues to do so, always with grace, intelligence, and sophistication. After five years at the helm, Steve Edwards left to pursue other tasks. The Guild was fortunate to find an energetic woman named Suzanne Wade to take charge of the magazine. Suzanne brought years of experience at large magazines in the jewelry trade, and wasted little time in shining the light of that knowledge through Studio PMC. Within weeks of her arrival, she tracked down a printer that could produce a color publication at almost the same price as we had been paying for our two-color version. We can also thank Suzanne for conceiving and then managing the transition from newsletter to magazine format. Turn back to the cover with its full size image and you'll see what I mean. In this regard as in many others, Suzanne elevated Studio PMC to a magazine deserving of its national following. Need another example? You can thank Suzanne for bringing Bill Spilman onto the magazine's staff, and through him, a range of advertisers who offer resources to metal clay artists while they simultaneously underwrite Guild publications. Take a minute and think back to November, 1997. Had you heard of Precious Metal Clay? Were you working in jewelry, or even involved in crafts? It's been since then that Studio PMC has been a lead- ing voice in the metal clay field. Think of all you've learned, all the inspirational photos you've seen, and all the technical information that has come your way, and you can see why we're so proud of our magazine's history. And you will be glad to know that the Guild is committed to keeping the past issues of Studio PMC available online to members. Frankly, this information and these photos are just too good to lose. As we begin a new chapter in our PMC Guild history, we bid a very fond farewell to Suzanne and wish her huge success as she transitions into a new profession. To Jonah we say thanks for your work on the magazine, and we look forward to your help as our site grows. On behalf of the staff at the PMC Guild and our members, we thank you both for your service, which has always gone beyond business to stretch into personal attachments. You’ve both brought us a long way.

With warm regards, —The PMC Guild

4 · Studio PMC As I PMC It by Suzanne Wade

s long as there have been human in a perfect match for her, but she rejoiced Abeings, we have reached for paint- in the others who were helped by the iden- brush and clay to share our experiences of tification of new potential donors. the divine, with amazing and often power- And in reaching out, she also invited oth- ful results. Even those who are not particu- ers to reach back to her. When she shared larly religious can hardly help but be moved her struggle with her friends on a Yahoo by Michelangelo's Pieta and Da Vinci's Last metal clay board, the online community Supper, intrigued by the intricate patterns Suzanne and Jonah prepare to ride off into the sprang into action. Although most had of Islamic art, or struck by the serene coun- sunset, heading towards their next adventure. never met her in person, several donated tenance of an ancient Buddhist statue. gregation. But whatever our differences, I pieces for an eBay auction that raised nearly So it probably isn't surprising that over found we all shared a desire to offer some- $2,000 to help cover Robin's mounting the years, I've talked to many jewelry thing that has been deeply important in medical bills. And they kept in touch with artists who have spoken about their faith our own lives to others, as a gift. her, sending cards and messages of encour- and spirituality as essential sources of inspi- That spirit of sharing is what I have agement when she needed to undergo addi- ration in their work. Some have been active loved most about working in the PMC tional treatment and sharing in her and her in organized religion, others practice more community. From the best way to rehy- family's joy and grief as they weathered the individual forms of spirituality, but all drate PMC to questions about the meaning ups and downs of the disease. think of their work as speaking to the spir- of life and faith and art, every time I have In my faith tradition, there is no greater it, inviting the viewer into contemplation asked, this community has answered. act than caring for one another. St. Paul of something greater than themselves. But the sharing goes well beyond the writes in his letter to the Galatians, “Bear This is the final issue of Studio PMC, and exchange of information. Over the years, one another's burdens, and thereby fulfill with its cessation is the end of my involve- many artists have told me about their the law of Christ.” Powerful calls for com- ment in the world of PMC. The theme of efforts to use their talents and the unique passion are found in Jewish, Islamic, and this issue was planned long before the deci- qualities of PMC to reach out to others. Buddhist teaching, among others. Love and sion was made to change the Guild's publi- Artists have written to me about their compassion for others should be the defin- cations, but I could not have chosen a more experiences working with the develop- ing characteristic of people of faith, appropriate one for my farewell issue. In mentally delayed, the disabled, and the although sometimes we seem to forget that. September, I will become a full-time stu- seriously ill. They have talked about using I have been blessed indeed to have been dent at Episcopal Divinity School in PMC to reach out to those who have strug- part of a metal clay community that lives Cambridge, Massachusetts, with the antic- gled to find a means to express themselves, out that spirit of caring, even though its ipation of being ordained an Episcopal particularly in the wake of grief and loss. members profess different creeds or no priest in four or five years. So this issue rep- One of the artists profiled in this issue, creeds at all. That unity in spirit is a great resents the convergence of two things I Robin Whittemore, exemplified this spirit gift, and the hope it offers is something I truly love: writing about jewelry and jew- — not only in her own work, but in the will carry with me on my new road. I elry makers, and exploring issues of faith way the PMC community rallied around thank you all for sharing it with me. and spirituality. her. Robin died in July, finally succumbing I hope you will be equally blessed by It strikes me as odd that in a culture as to the bone marrow disease she had fought Robin's story and those of the other artists saturated with religious symbolism and lan- for four years. in this issue. May you find in these pages guage as ours, faith is one of the last great Throughout her illness, Robin used her inspiration and encouragement to explore taboos for casual conversation. So I eagerly art to reach out to others. “This experience your life's deepest mysteries and greatest took this opportunity to invite artists to talk has been so rewarding,” she told me when joys in your own work, whatever your path. about the intersection of art and spirituality I interviewed her two months before her In closing and farewell, I would like to in their lives. death. “Not having this disease, but the offer you all this blessing from the Hebrew The artists featured here are not a group purpose it has given me. I have been told scriptures: of religious extremists. Few even create that my attitude has helped to inspire oth- overtly religious jewelry. But all tap their ers, and it just seems if I can be an inspira- May the Lord bless you and keep you, own sources of spirituality for inspiration tion to others and help bring them some May the Lord make his face to shine upon you and use their work in PMC as a means of sense of peace in their troubles, give them and be gracious unto you. translating the spiritual truths they have hope, not to give up… that's important.” May the Lord lift up his countenance upon you found for the world. When she was well enough, she made and give you peace. In some cases, that spirituality was very PMC bracelets inscribed with messages of different from my own, while in others, we hope, and led bone marrow drives to Suzanne might have been members of the same con- locate donors. Those drives never resulted

Fall 2007 · 5 Speaking to the by Suzanne Wade Spirit

he intersection of faith and art is a busy one. You can find artists there from every Tfaith tradition and artistic medium, as varied in their work and their motivations as the pilgrims in Chaucer's Canterbury Tales. You don't have to create sacred objects or rely on religious symbolism to be drawing on the wellsprings of faith and sprituality. For many of the PMC artists profiled here, it is the the act of creation itself that speaks to the spirit. "We all have the spirit of creativity," says Linda Kline. "We just have to allow ourselves to be open, a channel for that expansiveness. God is the Creator, and he created all of us in his likeness, so how can we not be creators? It's just a matter of finding your passion." For these artists, PMC has become the means of articulating what is powerful in their lives. The results are beautiful and as unique as the spirits that created them.

Martha Biggar

artha Biggar makes PMC crosses Martha says. “It was intricate and I really Mrooted in her Presbyterian faith and liked the design and shape. I had seen adorned with the quilt patterns of her Jerusalem crosses around for a long time, Appalachian home. but hers really set me off [in a new design “My faith is very traditional and very direction.]” conservative in a lot of ways, although I'm The large canvas that the arms of the not always a conservative person," she Jerusalem cross provided also gave her an says. "But my beliefs are pretty well opportunity to incorporate the quilt pat- grounded and I like to use the basic cross terns that are a staple of the Appalachian emblem, and then push the shape a little community where she lives. “Quilting sur- farther than the standard.” rounds people around here, even for my She began making crosses in her very students who are more urban,” she says. first PMC class, weaving together strands “Everyone has lots of quilts, so I've incorpo- of Original PMC into a cross shape. The rated a lot of those patterns into my work.” first pieces were small, delicate crosses, but brought up with an empty cross,” she says. As with a quilt, Martha joins together a she has also done bolder crosses in this “So I try to keep the empty cross image wide variety of themes, including quilts way. “I've done some very masculine and try to do other things with it. [For and frequent references to nature, in her pieces, with strands almost pencil width example], I will have an impression of body of work. “I think my creativity is a big extruded and woven, three bars across and grasses twined around the base of an part of my spiritual life,” she says. “I was three up and down,” she says. empty cross and growing up, like grass raised on a farm, and so I was really aware Raised in a strongly Protestant part of grows in the field.” of the plants around me, the seasons, and the country, her crosses are the empty She began making Jerusalem crosses, a the weather. I think that's all just a part of crosses commonly found in Presbyterian square cross with four equal arms, five how I see creation. When I take images and churches, rather than the crucifix more years ago, after being inspired by a piece make them into jewelry, whether it's as common in Roman Catholic symbolism. brought back from Jerusalem. “I saw a simple as a leaf or something that is very “My husband is Catholic, and he likes the beautiful gold cross that an older lady I complex and takes much more thought, forms of the crucifix, but I was always knew had purchased in Jerusalem,” that's a little part of the spiritual me.”

6 · Studio PMC Linda Allard

inda Allard turns to natural gemstones meaning as well as being a beautiful piece Lto carry peace and healing to others, of jewelry,” she says. and she uses PMC to help her do it. Lotus leaves also frequently appear in “I believe in energy, and that there are her work. “The lotus is a symbol of energy properties in stones that connect rebirth,” she explains. “It dies every night with the energy centers in our bodies,” she and reblooms in the morning.” says. “If you've ever walked into a room Trained as a traditional goldsmith, with and just felt the room weighed down, in degrees in art and design and gemology, my mind, that's the energy of the room. It Linda read about PMC in a jewelry maga- can just be because there's someone there zine. “I told my husband I wanted to take a who is a negative person. The crystals are class in it, so for our anniversary we took a good energy, and keeping your body sur- PMC class together. He'll never do any- rounded by good energy helps counter thing with it again, but we had so much that.” fun,” she says. “I didn't start out doing it to And one way to surround yourself with sell anything. I just started making things, gemstones is to wear jewelry, allowing and as I started wearing them, people Allard to combine two passions. “I have would say, ‘Will you make that for me?’” always loved jewelry, and I have always Sharing her love of stones and the beau- been drawn to stones,” she says. “If I have ty of her work is a source of joy to her. “I a bad day, I can sit and look at a box of just believe the earth has great energy,” she stones and feel better.” says. “Laughing and sharing with other Silver PMC works well for her purposes people, that's the way we're supposed to because it is a pure metal and has a certain be. When someone has [the right stone] it power of its own. “Pure silver is very good gives them a sense of peace and it feels for renewing energy,” she explains. “And good when they wear it, and it makes silver conducts with the body better than them smile because of the way it looks. gold does.” “I don’t believe gemstones are going to The goal, Linda says, is to create jewelry cure your cancer. My husband had cancer. that helps bring calm to a troubled world. Medicine and good doctors and God cure “Everything I make has a meaning behind cancer,” she says. “But I do believe calming what I'm making,” she says. “I'm making a our emotions and our selves gives us well lot of peace signs, because right now the being, and I believe that's very important.” world is in such a hard place. What I went through as a child is nothing compared to what my son is going through. So I make peace signs and put a stone in the middle.” Another favorite is oms, a symbol of meditation and peace. “I always put a stone in a part of the om that will work for the person I'm making it for, so that it has

Fall 2007 · 7 Robin Whittemore

ou might expect pieces of jewelry cre- While Robin was sustained by her faith in Yated in the shadow of the artist's strug- God, she consciously avoided creating pieces gle with serious illness to be somber or at that were overtly religious, focusing instead least muted. But Robin Whittemore’s jew- on universal messages of hope. “I have great elry asks the wearer to come out to play. faith, but I feel like we all have our own “I have real zest for life, so that little bit beliefs and faith, and that anyone should be of whimsy in there just goes with my atti- able to relate to my work,” she said. “I’ve tude,” she said in an interview several always prayed that others would be able to months prior to her death. “I don't know see Jesus in me, and that my faith would exactly how that happens. I like to think the shine through my life without me having to message just comes right from my spirit.” scream it out. That’s how I work, as well.” Robin's work includes both whimsical She loved creating pieces that reminded pieces featuring children’s toys and playful the wearer that second chances were possi- figures, and equally lively bracelets featur- ble, and that hope could be found even in ing messages like “Believe” “Hope” and the midst of trouble. “I think we’ve all “Second Chances.” wished we had a second chance some- Robin began making cancer awareness where along the way, whether with a bracelets in 2000, after overcoming breast friend, a husband, a health situation, a par- cancer. She frequently purchased beads ent, or even just making a piece of jewelry through a catalog company that sold that you wish you had a chance to make metal clay, and was intrigued enough that over,” she said. “I think people who are when the opportunity came to take a going through difficulties of some kind can class, she seized it. really relate to my work.” “Once I started with PMC I just fell in Her illness also taught her to appreciate love with it,” she said. “I’ve never worked things that last, and working with PMC with sheet metal or silversmithing. I think helped satisfy her need to create some- that would be fun to do, but since I’ve start- thing that would outlive her. “Silver is ed with PMC, I just can’t see how anything something that can last forever,” she said. would be better.” “I like to sign my pieces, too, so that some- She continued creating jewelry even day someone can look at it and say ‘That after she developed myelodysplastic syn- was my grandmother’ or ‘That was my drome, a bone marrow disease likely friend’ who did that. I get great pleasure caused by the chemotherapy that had out of this, both doing it and knowing that saved her life six years earlier. She began there will be something of me left behind.” an exhausting series of treatments and an Robin died on July 9, but she left behind unsuccessful search for a bone marrow many friends in the metal clay community donor. The illness often took all her and many wearers of her work, to whom resources, physical, emotional, and finan- her spirit of hope and her love of life con- cial, but whenever she was able, she tinue to speak. returned to her workbench. “I’m just a creative soul,” she said. “I think I always have been, and it means a lot to me to be working on something that I enjoy. My work just fills me with hope and the desire to keep going, and I just try to be an inspiration to others through my work in some way.”

8 · Studio PMC Alice Alper-Rein

or Alice Alper-Rein, PMC became a something I didn't plan: it Fmeans of remembering a moment of just happened.” comfort in the midst of crisis. Alice describes herself The story begins with a 5 a.m. phone as “spiritual but not reli- call. “The call was from my mother. She gious,” and the piece has was hysterical. I could barely understand become both a reminder her, but it was clear that something was of a profoundly spiritual terribly wrong,” Alice recalls. Her father experience and a way of had died during the night. sharing that experience A frantic trip to her parent's home was with others. “When I wear followed by an equally frantic trip back to this piece, I'm almost hoping pick up her 14-year-old son. “My husband someone is going to ask about it, so returned from work and the three of us I can share the story,” she says. drove back to comfort my mother,” she says. Alice has also used PMC to preserve the “On the drive back to my mother's home, in memory of her father for future genera- my grief, I looked up at the sky and silently tions. “My father was a happy spirit, who if asked my father for a sign that he was okay. he was awake he was singing,” she says. “So “Just as my tears began to flow, my hus- I've immortalized him by creating a music band told me to look up through the car's box that plays, ‘You are My Sunshine,’ the skylight. An enormous, graceful bird was song he sang for my children.” hovering over our car. It had a wing span She chose a music box, rather than a of about 4 feet. It stayed with us the entire wearable piece, because of its power to distance (about 3 miles) on a winding road gather the family. “It gathers a crowd and even when we made a few turns. As because it plays music and it spins, and it we reached my mother's driveway, the has family pictures on it,” she says. “So it's bird soared off, flying up and over the something that I'm sharing.” house. It looked back briefly and then flew out of sight. “I knew then that my father was at peace because he trusted that I would be there for my mother, his true love,” Alice says. “Now, whenever I see a lone bird flying above, I think of my beloved father and know that he is watching over me.” In response, Alice created a brooch enti- tled “Whenever I See One Bird I Think of You.” A flying bird was an obvious compo- nent, and she chose words that evoked the experience, but the shape of the piece was largely unconscious. “As it was evolving, I wasn't sure what shape it was going to take,” she remembers. “It turned out to be a heart shape with a pierced portion to it, almost like a broken heart, and some of the writing stretched over the break like a mend. That's

Fall 2007 · 9 Linda Kline

or Linda Kline, there is no more spiri- Her hope is that “The Boys,” as Linda Ftual place on earth than a rainforest. calls her tree spirit sculptures, will inspire “It just has an essence of pureness that I others as well. “They’re happy little guys just don’t feel anywhere else,” she says. and I’m hoping their happy energy will “When you are there, you can just feel that emanate out into the rest of the world,” she everything is alive. It’s teeming with ener- says. “Each one of their faces is unique, but gy and when you look out across the vast- they all have a serenity about them — that ness of this pure creation, you just can’t same serenity I find when I’m in the rain- help but feel your connection to spirits, to forest. So I hope whoever The Boys come God, to the Creator.” in contact with would also pick up a sense Linda has been traveling to rainforests of that peacefulness.” in Central and South America for nearly Linda also hopes the Boys will help her 30 years, and through that time, her love of bring a little of that energy back to the the forest has become deeply intertwined rainforest, as well. She is working to estab- with her art. “I discovered the indigenous lish a foundation that will preserve rain- people believe the trees have spirits in forest land, and hopes to begin teaching them that protect them, that all living PMC classes in the rainforest in 2008, first things do,” she says “And I started to see in Panama and later in Brazil. the spirits in the trees. That sounds a little She’ll also continue creating her happy wacky, but when you start looking at little faces. “I feel like I’m just beginning,” trunks and the gnarled edges of the roots, she says. “I feel like I can’t do it fast and the way the bark is formed, or the way enough. It takes me a little while to make the insects have eaten or nested in tree, each of these little guys, and I just feel like you can begin to see little faces.” I have this backlog of little guys wanting to So Linda began creating little PMC faces come out into the world.” inspired by these “tree spirits.” “It’s almost as though they create themselves,” she con- fesses. “When I sit down and begin to sculpt, I often start laughing. They really just come to life. I don’t have to work at it — I just start laughing because suddenly a little face will start smiling up at me. I always feel the spirit is moving through me as I create them.”

10 · Studio PMC Pam Lacey

’m a born again Christian and I believe “IGod is the Creator of all things," says Pam Lacey. “One of the greatest gifts he has given us is the ability to create. Whether its an organized closet or a beautiful piece of art, I think the act of expressing is the most beautiful thing we can do.” Pam’s pieces of glass and PMC are about transformation. “I love PMC. We have a material that is shaped and formed, but it’s still fragile and breakable — that’s a statement about us humans. Then it goes through fire, as we do throughout our whole “Drape.” Glass and PMC votive holder. “Destiny.” Pendant of etched glass, lives, and becomes clean and pure and gets sterling, and PMC. stronger,” she says. “That’s a statement about my faith walk and my life walk. I can “I don’t credit any of my work to me and always because I didn’t stop to acknowl- make as many things as I like, but if they my ability, I credit all of it to God,” she con- edge God, when my human nature was never go through that, they’re never trans- cludes. “I can tell when I’ve done some- focused on the fact that I’ve got to make a formed into what they’re supposed to be.” thing without connecting in to God — I piece. When I acknowledge and ask him to For Pam, there is no distinction between break glass, I waste a pack of PMC, and it’s be part of the process, it always works.” creating and praying. “When I sit down at grinder and grind glass into shape, it is a form of worship for me,” she says. “I feel directly connected to God when I’m working on my art. If I’m rolling out PMC or sit- ting with glass and grinding, if I’m creating there’s this free flowing stuff — I’m talking to God and God is talking to me.” While some of Pam’s pieces carry dis- tinctly spiritual messages, like the “prayer box” pictured here, most of her work is not overtly religious. But even when a piece is not intended to carry a spiritual message, Pam still believes God is present in the work. “There may not be a spiritual message in a piece, but it connects with someone and that prompts them into wanting it. Perhaps that piece was intended for that person all along. We’ll never understand the full working of God.” When someone commissions a piece as a “Open Prayer Box” gift, she asks them to write a few sentences about that person. “I take these descriptions, pray ‘Give me a piece meant for them,’ and then create based on what is written. I’ve never missed the mark,” she says. “To me, that’s God, not me. It’s God giving me the instincts to understand what the other person wrote to come up with the perfect piece.”

Fall 2007 · 11 Gallery

To submit your photos to the 2008 PMC Guild Annual, a collection of the year's best PMC work, send slides or CDs to:

PMC Guild Annual 58 Washington Ave. Portland, ME 04101

For submission guidelines, visit the PMC Guild Web site at www.PMCguild.com.

"A Shaman’s Broken Dreams" by Oscar Cordoba. PMC.

"Sam's Cross" by Debra Weld. PMC, dichroic glass, and 24k Keum-boo.

"Iris Vase" by Sara Jayne Cole. PMC vase with origami flowers of PMC Sheet. 12 · Studio PMC "Barb's Ashes" by Carol Augustine. Memory vessel of PMC.

"Mother's Love" PMC sculpture by Lucila Nassau. Photo by Pedro Nassau.

"Geranium Brooch" by Donna Papazian. PMC and pearl. Photo by Steven King.

Fall 2007 · 13 PMC Link Necklace by Dona diCarlo

ike to challenge yourself? I do. Trying al links. I also made the clasp after the chain Lsomething that hasn't been done was done so I could make up for any unex- before gives me a feeling of both excite- pected shrinkage. Deciding on the thickness ment and curiosity. Figuring out how to of the rolled snakes and the ultimate look of create what I have in mind is a process of the link is a design consideration and a prac- trial and error. tical one. I wanted a bold look for the In the metal clay Yahoo group I belong design, plus the links needed to be thick to, we have themed monthly challenges. enough to hold up to everyday wear. I ended The month I joined we had a “Personal up with links that were 12 gauge on the bars Challenge,” which invited members to try of the links and 10 gauge at the corners. something they had never tried before, in In addition, I needed to make the links order to test and improve their metal clay large enough that the connecting links skills. What a good way to push myself, I could fit easily through the opening in the thought. Besides, I enjoy pushing into new center and would move freely once all the territory and then sharing how I did it. So links were connected. If the space inside I decided to make a chain by creating hand the link is too small, the chain will be stiff rolled, three-dimensional links. and will not feel natural when it's worn As a classically trained sculptor, I was Dona DiCarlo's finished link necklace. around the neck. taught to use a material for its inherent I made half the links and allowed them properties. I like PMC because it allows me links later, I had to admit that my links were to dry. The remaining links needed to be to create unique textured surfaces with my too varied in size to be aesthetically pleasing. open so they could connect the links hands. I can manipulate the metal clay into I realized I needed to make a mold from together. When the links were half dry any shape, with peaks and swirls, or I can the “mother link.” I used Belicold mold and still cool to the touch, I cut out a small add dry crumbs of PMC for a marvelous material to make the mold, which allowed portion of the side with an X-Acto knife, three-dimensional texture. I can go from me to create links of a consistent size. I then removed it, and used the open link to con- idea to finished piece within hours, and carved each link with Dockyard carving nect two others. I then reapplied the cut without the extra steps necessary in casting. tools and sanded with thin sanding sticks portion by brushing water on the ends, I incorporated these properties into my from Cool Tools. The final step was to adding syringe clay, and smoothing the necklace. I began by making a first link — smooth the whole link with a wet finger. excess clay as much as possible with a the “mother link,” so to speak — by rolling I then calculated how many links I need- sculpting tool while the link was wet. I let out a snake of PMC3 and forming it into a ed for the entire chain. The length of the the pieces dry, and then refined the surface square. When the link dried, I sanded and chain is both a practical and a personal further with a wet finger. carved it into shape, finishing with a wet choice. With a thick chain like this, I like an I continued making sections of three finger to move the clay around and into an 18-inch-long necklace. To figure out how links, and let them dry. Once they were interesting texture. many links I needed for this length, I mea- dry, I carefully connected the sections into Problems arose, however, when I tried to sured the mother link and added up how a complete chain. In the green state, the replicate the link consistently. I thought I many links I would need for my desired links were very fragile, and I tried to avoid would be able to eyeball the size of each link. total length. To account for the 12 percent lifting the chain off the work surface to Wrong! Close to 30 grams of PMC3 and 15 shrinkage of PMC3, I added three addition- prevent breakage.

A link right out of the mold (left) and a carved link. Belicold mold with an unfired link. Joining the links together.

14 · Studio PMC I placed the linked chain on a kiln shelf in a natural position. The chain was fired without anything between the links: PMC will generally not stick to itself unless it is wet, and I was con- cerned that placing something between the links could distort them. What I did not anticipate was that the kiln shelf itself would provide enough drag as the links shrank during firing to stretch the links out of shape. Fortunately, I was able to gently reshape the fired links back into the square shape I had envi- sioned. A few repairs to cracks were necessary, but these repairs just added to the organic look I was seeking. Getting the necklace to hang well was a combination of skill and luck. Although I didn't consciously plan it, by making the corners of the links thicker and the bars in between more narrow, I allowed the links to lay flat so the chain is comfortable to wear. I finished the necklace by making a clasp to match. The finished necklace has a bit of heft to it. Personally, I like the feel of a substantial piece of metal. The total fired weight of my chain is 70 grams, created from 88 grams of PMC3. Designing with PMC continues to pique my curiosity and build my skill as a sculptor and artist. The medium allows me to interpret traditional design elements and update them for an original and organic look at beauty today. I seek to grow and change, and PMC allows me the freedom to create what I envi- sion and challenges me to develop techniques that incorporate function and design in new ways.

Dona diCarlo lives and works in Venice, California as a kinectic/elec- tronic sculptor and jewelry designer. Dona worked as a registered nurse until returning to college in 1985 to follow her other dreams. She received a bachelor's degree in fine art from Otis Parsons Art Institute and a mas- ter's degree in fine art from Claremont Graduate School. “Now it seems that all the things I have done melt together,” she says. “I have been fasci- nated by jewelry since I tried on my mother's when I was 2 years old.” Her work can be seen at several galleries in southern California.

Replacing the missing piece and closing the link.

Fall 2007 · 15 Tips from our Studio PMC's success over the past decade can be traced directly to our contributors. Their willingness to share the results of their experiments has inspired and encouraged us, and helped metal clay Contributors artists worldwide push the boundaries of what can be done with PMC. So for our final issue, it seemed only appropriate to invite our past contributors to share a bit of advice or a new technique. We hope you { enjoy these tips and tricks from past Studio PMC contributors.

Put a Plug in It By Elaine Luther

ou know how there is always excess Yclay left in the extruder that doesn't come out? I made a little polymer clay "plug" for my Kemper Klay Gun, so that I don't have to put as much PMC into it, and it reduces the wasted clay to a minimum. A polymer clay plug for a clay extruder To use the plug, just put the clay into the reduces PMC waste. extruder, then hold the plug against the end of the plunger as you put the plunger into the barrel.

Folding is Not Just for Squares

By Sara Jayne Cole

y love for origami has moved from package. In a pinch, I have used glycerin to Mfolding traditional origami models to rehabilitate the PMC Sheet, but I find this creating original folded components for my makes it almost too limp to fold. A better PMC creations. But folding remains one of bet is to repair the crack after it is fired my favorite ways of working with PMC. using PMC3 slip or save the sheet for You can find inspiration for folding another project. To avoid problems, use PMC Sheet in many places. The original the PMC Sheet within a few months of PMC Sheet size of 6 cm by 6 cm lent itself purchase and store in a cool, dark place. to many traditional origami models. Then The PMC Sheet is fired when the folds the 3 cm x 12 cm sheet appeared in the cat- are complete. I prefer to fire the folded alog, and I found that folds in Origami with piece for 30 minutes at 1470˚F (800˚C), Dollar Bills by Duy Nguyen could be adapt- and then add a stone or wire bail using Sara used a "horseshoe crab" origami fold ed to this strip. My favorite shapes are the as the starting point for this pendant. PMC3 clay and PMC3 slip and fire again. horseshoe crab, squid, and the eagle. The The folded PMC Sheet needs little sup- piece shown here is made using the begin- before folding the PMC Sheet. Once you port; most of my pieces rest flat on the kiln ning folds of the horseshoe crab. (The move to the PMC Sheet, don’t be afraid to shelf. When I want support I use a fiber stone is Oregon sunstone, which is safe to make the creases by pressing them in the kiln blanket that I have cut into strips. fire in the kiln.) sheet. If the sheet cracks or tears, it is old Whatever the source of your inspira- and some of the oils that keep it flexible tion, the first step is to work with paper have been absorbed into the paper in the

16 · Studio PMC Embedding Argentium Silver Two Tricks By Catherine Davies Paetz By Barbara Becker Simon Everyone has a little trouble n the Spring 2006 issue of Studio PMC, I with PMC3 at 1110˚F (600˚C) for 45 to 60 transferring their carefully cut Iwrote an article about firing sterling find- minutes to prevent brittleness caused by 1 circles to a light bulb or other ings in PMC. Since then, I have begun overheating. domed surface to create lentils or implanting Argentium Sterling Silver, a Argentium also offers the possibility of similar items. One day, I just put the clay tarnish- and firescale-resistant sterling sil- heat-hardening. After firing, heat the on the bulb first, then used the cutter ver, with good results. The main advantage piece to 580˚F (300˚C) for 45 to 60 min- directly on the clay-covered light bulb of Argentium is that it doesn't oxidize to utes, then allow to air cool. This step dra- and cut my clean little circle, complete black during the firing. It just turns a bit matically increases the sterling's hardness, with edges already pressed into place. dull and it is an easy matter to bring it to making Argentium a good choice for find- Talk about a light-bulb moment! No the desired finish. I recommend firing it ings and other components that need to be more asymmetrical lentil halves! A per- shaped prior to embedding in PMC. fect circle every time.

I've been experimenting with another water etching resist - 2 Delta Ceramcoat® Interior / Exterior gloss varnish. It's a water based polyurethane available in craft stores. It dries more quickly than wax and does not have the strong odor of nail polish. Unlike wax, you can dry this on a hot plate, although it air dries fairly quickly as well. The only trouble I've discovered is that drying the design side face down after applying the polyurethane can make the clay a little more difficult to wash away. I'm not sure why, but it only seems to happen when the piece is heat- Hadar's homemade PMC Sheet. Pendant made with homemade PMC Sheet. ed design-side down.

Make Your Own PMC Sheet

By Hadar Jacobson

f you don’t want your PMC Sheet to be Use an extra scraper to scrape clay off the Ilimited in size or texture, you can easily scrapers. Keep rolling until the clay regains make your own by mixing glycerin into its original consistency and does not stick either Original PMC or PMC+. The anymore. process is quite simple: roll a full package To make the sheet, roll the clay two to a thin layer, and smear glycerin onto it cards thick, with no texture, over a texture, with your finger to cover the entire sur- or between two textures (to texture both face. Roll the PMC into a scroll and roll it sides), and let it air dry. Keep whatever you down with a rolling pin under a plastic don’t use immediately in a sealed bag. It bag. The clay will be sticky at first and you will remain flexible for a long time. will need to scrape it off the work surface.

Fall 2007 · 17 Tips from our Contributors

Disappearing Act

By Hattie Sanderson

t happens to everyone: those pesky seam texture with a busy pattern. Fold over the Ilines that appear when you press togeth- lump of clay and press it into the texture er two or more small lumps of metal clay to again. Repeat until the seams are gone. make one large lump. You press, fold, and Now the lump of clay is ready to be knead the clay to no avail. Seams keep rolled into a beautiful seamless slab. My showing up in the lump of clay. favorite texture for this technique is the To make those unsightly seams disap- “large flowers” brass pattern plate avail- pear, press the lump of clay into a low relief able from most suppliers.

Toothpick Tip Slip to Fix By Lora Hart the Slip-ups

he longer I work with metal clay, the The long sides are perfect for reaching into By Susan Dilger Tmore I realize that the best tools are the middle of a tube bead. Glue a piece of often found in the corners of junk drawers. finishing paper around it for a quick fter using a mold, I often find My favorite tool, which I discovered years homemade sanding stick in whatever grit Athere are small imperfections in ago, is a round wooden toothpick. strikes your fancy. the surface. Sometimes, they can be I use toothpicks to ream perfectly round I also use my trusty toothpick for bur- fixed with traditional clean-up tech- holes in dry clay. Dampen the tip, insert nishing. There are often tiny corners in fired niques such as sanding, etc. But I into your starter hole, and rotate. If you metal clay that are difficult to get into to bur- often find that adding a bit of slip to forgot to include a starter hole, put a dot of nish, and ball burnishers small enough to do the surface with a paintbrush will not water where you’d like to drill one, cover the job may scratch. If you don’t plan on only repair the imperfection, it can with plastic wrap, and wait a minute or so using a patina, it can be very frustrating to enhance the design. for the clay to soften. Then just drill away. see a white ghost around the perimeter of an Remember to complete the hole from the applied element. Use the toothpick to light- back as well, since toothpicks have tapered ly burnish the metal into submission with- tips and a perfect hole is the same diameter out scratching. It’ll be a softer finish, but all the way through. better than the Casper effect. I use a toothpick to sand in a difficult I’m sure I’m forgetting some of my spot. Wood has enough tooth to be a very wonder tool’s uses, but you’ll discover effective sanding tool, and the pointed tip them soon enough if you just ask yourself, gets into all manner of nooks and crannies. “What if I used it to…” PMC Firing Chart All versions of PMC should be dry before firing. Air dry or use a hairdryer, stove, or lightbulb. PMC3 takes a bit longer to dry because of its high density. PMC 1650°F 900°C at least 2 hours PMC3 1290°F 700°C at least 10 minutes 1200°F 650°C at least 20 minutes PMC+ 1650°F 900°C at least 10 minutes 1110°F 600°C at least 45 minutes 1560°F 850°C at least 20 minutes 1470°F 800°C at least 30 minutes

18 · Studio PMC Aluminum Contamination of Fine Silver By Tim McCreight

erhaps you've heard this warning: Don't silver. This would happen eventually with Pallow any form of aluminum to touch a sheet of conventional silver, but the your PMC! That's a bit overstated, but good increased surface area of the silver flakes of advice in principle. This article will explain PMC accelerate this process. why you need to keep these metals apart. I fired the sample at the recommended There is a difference of about three volts schedule and the result can be seen in the in the electric charge between aluminum photo at bottom right. A brittle scaly mate- and fine silver (or fine gold). This means rial is interspersed in the PMC. During fir- that even at room temperature, these two ing, PMC does not become fluid, but we metals create a series of corrosive oxidation can think of it as "creamy." The alu- reactions. The photo at right shows a small minum/silver mixture will take the form circle of household aluminum foil pressed of miniature bits of gravel in this other- onto a wet slab of metal clay. This happens wise smooth material. These lumps will to be PMC3, but the effect would be the not dissolve, and they will prevent the sil- same for any silver clay. ver around them from bonding. The photo at bottom left shows a detail of Note that this contamination requires the same piece. After an hour at room tem- exposure for more than a few seconds. perature, you can see the formation of dark Using an aluminum tool to press a texture spots. If you rubbed your fingernail across or swipe a cut is fine. In addition, many this, you'd feel tiny hard bumps at each spot. aluminum tools and utensils have an elec- Aluminum on metal clay. The bottom center photo shows the trically produced tough layer created in a same piece an hour later, after I removed process called anodizing. If this layer is the aluminum foil. As you can see, the intact, no contamination will occur. These problem is a bit worse, as if the corrosion nuances are easy to forget or misunder- continues to grow. It does. The aluminum stand, which is why you often hear the foil has holes, and the metal that used to be overstated shorthand: No aluminum in attached to the foil is now embedded in the the PMC studio.

Corrosion spots continue to grow after aluminum is removed.

Aluminum contamination Dark spots form after an hour on fired PMC. at room temperature.

Fall 2007 · 19 Happenings

Saul Bell Award Winners Announced

atrik Kusek of Patrik's Studio in San PFrancisco received first place honors in the PMC category of the 2007 Saul Bell Awards for his "Botanical Bracelet," made of PMC3 textured with original photopolymer plates. Barbara Simon of Barbara Becker Simon in Cape Coral, Florida, was awarded second place for her "Big Links" necklace featuring hollow box links made from dry, textured PMC sheets. The texture sheets were made using photopolymer plates, low- tech photo etching, and carved linoleum. Patrick Kusek – first place. The necklace's PMC end caps were embed- "Botanical Bracelet" ded with pieces of 16-gauge sterling wire and torch-fired to the stainless cable. Finalists in the PMC category also included Pat Bolgar of Accessory Art, Valley City, Ohio; Celie Fago of Bethel, Vermont; and Donna Lewis of Belladonnasilver, Scottsdale, Arizona. Winners were chosen by a panel of judges that included Peggy Jo Donahue of Pat Bolgar – finalist. Jewelers of America, Tina Wojtkielo "Floating Flora" Snyder of MJSA Journal, designer Remy Rotenier of Remy Design, Paul Menke of Kabana, Mitch Horowitz of JCK magazine, designer, jeweler and studio owner Mike Rogers of M.M. Rogers & Co., and Hedda Schupak of JCK magazine. Barbara Simon – second place. The first place winner in each category "Big Links" receives a $2,500 Rio Grande gift certificate, while the second place winner receives a $1,000 Rio Grande gift certificate. This year's grand prize winner, Amy Roper Lyons of Summit, New Jersey for "Madagascar Jellyfish," featuring vitreous enamels over fine silver with 24k and 18k gold, received a $10,000 Rio Grande gift certificate. The deadline for entries for the 2008 Saul

Bell Awards is Sept. 21. For entry guidelines Celie Fago – finalist. and forms, visit the competition Web site at www.saulbellaward.com, or contact Rio Grande at 800-396-9896 ext. 13265, e-mail [email protected].

Donna Lewis – finalist. "Queen's Ransom"

20 · Studio PMC Happenings

MEMBER NEWS

simple encounter at an art festival Aturned into a historic commission for Ginger Seiple. The customer who had browsed through her booth several times that summer day turned out to be looking for an artist to help design and create a Presidential Ceremonial Medallion for Hiram College, a liberal arts college in northeast Ohio. The commission was to create a new medallion to replace one that had been used for more than 100 years, and which had once been worn by President Garfield. A new college president was due to be inaugurated, and a benefactor had sponsored a project to create a new medallion for the occasion. Presidential Ceremonial Medallion for Hiram College by Ginger Seiple. Photos by Jerry Anthony. After meetings with the college's board of directors and other members of the college, Ginger designed a 4-inch diameter medal- hahasp Valentine's work is now fea- lion showing the seal of the school, sur- Stured in three Web galleries at rounded by a texture reminiscent of a ginkgo PMCsupply.com, with a total of 69 images leaf, inspired by a 100-year-old gingko tree on view. Her work will also be included in that had been brought to the school's campus CeCe Wire's book New Directions in Metal from India by a former president. On the Clay, due out in August from Lark Books. reverse side, she replicated the medal hers was intended to replace. She finished the ickey Stuewe received three awards piece with six smaller medallions showing Mat a recent juried exhibition at the campus buildings, which she linked together Bear Street Gallery in Santa Ana. Mickey's with sterling silver frames. necklace "Bamboo Serenity" received first “At the inauguration, I watched a 30- place, a fused glass plate received second Detail of medallion back. minute procession of college presidents place honors, and her "Bamboo Basket" ring from all over the world, all in full ceremoni- was awarded third place in the glass and jew- MC enthusiasts can combine cruising al garb and wearing ceremonial medallions. elry division of The Artist's Eye exhibition. Pwith creating on a planned PMC and I felt humbled, and proud,” says Ginger. Glass Art cruise March 9-16, 2008. EVENTS Participants will enjoy the amenities of the usan Dilger was invited to show her Caribbean Princess cruise ship and the ship's Sline of jewelry at a trunk show at MC will be taught for the first time this Caribbean ports of call, including St. Bloomingdales Century City in Los Pfall at Revere Academy of Jewelry Arts Maarten and St. Thomas, while also taking Angeles in July. Susan was invited to show in San Francisco, California. The highly classes taught by J. Fred Woell, Mary Ann her work as part of a continuing effort by regarded jewelry trade school will offer Devos, Ruth Greening, Leslie Thiel, Stacy Bloomingdales to add excitement to their two classes, an introductory course and an Frost, and Kendra Bruno. jewelry and accessories offerings by intro- intermediate class, taught by Lorene For information about the cruise, contact ducing small and upcoming artists. Her Davis Sept. 7-8. Karen Beacon at Cruise Holidays of work incorporates a wide range of materi- “We are very pleased to add PMC to our Woodinville, 14450 Woodinville-Redmond als, including PMC, semi-precious stones, curriculum with an expert of Lorene Road, Woodinville, WA 98702, phone 425- vintage beads, fibers, yarns, leather and Davis's caliber,” said Alan Revere. Davis is 820-5936, e-mail [email protected]. “found objects” in her designs. She lives a graduate of Revere Academy and a For information about the classes, contact outside Taos, New Mexico, having recently respected instructor of metal clay classes in Kendra Bruno, Trovata LLC, phone 206-612- relocated from Hollywood after 30 years as California. 2378, e-mail [email protected]. a retail executive.

Fall 2007 · 21 Happenings

PUBLICATIONS GUILD NEWS

herri Haab has added DVD tutorials panel of jurors has selected work ewMetal Artists, the Los Angeles Sto her publishing repertoire. Her new Afrom 56 artists to be included in the Nchapter of the PMC Guild, enjoyed a DVD, Precious Metal Clay Jewelry, is nearly Guild's new publication, a 128-page book presentation on sculpting in clay by Kathy two hours and is geared for beginners to called the PMC Guild Annual. For a list of Davis at their June meeting. Kathy brought metal clay. It includes three sections focus- contributing artists, visit the News page at samples of her sculpted work and shared ing on PMC basics such as product differ- the Guild Web site at: tips for three dimensional sculpting, many ences and applications, basic technique, http://pmcguild.com/news/news.html. drawn from her experience as a polymer and five projects. A bonus section includes clay artist and sculptor of fantasy dolls. a gallery, Web resources, and a firing chart. LOCAL CHAPTERS Upcoming meeting topics include: “The In addition, her book, The Art of Metal Reality of Registering Trademarks” with Clay, has been re-released with a new one- French-speaking chapter of the PMC Mark Holmes on Sept. 13; “Gel Cured hour DVD featuring demonstrations of AGuild has been established in France, Resin” with Kathy Davis on Oct. 14; “Tax four all-new projects. Two of the projects called La Guilde PMC Francophone. The Time Part Deux: Those Darn Schedule C’s” demonstrate mixed media techniques new chapter officers are president Angela with Deborah Smyth on Nov. 8; and the incorporating resin and polymer clay, Baduel-Crispin, Secretary Véronique Fourth Annual Bubbles and Baubles Bead while a heart bead pendant and flower ring Petitgenet and Treasurer Sabine Singéry. Swap on Dec. 9. round out the metal clay video projects. The chapter has a Web site with much of the information found on the PMC Guild DEATHS ames familiar to Studio PMC readers International Web site available in French Nhave appeared in both Lapidary at www.guildepmc.com. arol Lynn Crow, a PMC artist living Journal, Jewelry Artist, and Art Jewelry maga- “The idea is to make metal clay infor- Cin the Netherlands who was inter- zines recently. Hadar Jacobson published mation accessible in French for French- viewed in the International PMC issue of “Three Rocks” and Gwen Bernecker pub- speaking artists interested in this amazing Studio PMC in Winter 2006, died in June lished “Pearls in Motion” in the May issue material, which remains quite new here,” after a brief illness. She leaves two sons, of Lapidary Journal, while Debra Weld's says Angela. “It's also a way to get the few Marcus and Max, and many PMC friends article “Colored Pencil on Copper” metal clayers together to feel less isolated, Carol's work included beading, paint- appeared in the relaunched Lapidary Journal discover others in their own area, and have ing, and PMC. She preferred organic tex- Jewelry Artist in June. In addition, PMC some support and a sense of community tures in her PMC, especially ginkgo leaves instructor and artist J. Fred Woell appears around metal clay.” and wood, and she got surprising results in Jewelry Artist's "Doer's Profile" in July. out of seaweed. But she was also inspired Irina Miech's “Calla Lily Suite” was he Southern Arizona Alchemists, the by wallpaper, buttons, and high-tech gad- featured in Art Jewelry in May, while work TTucson chapter of the PMC Guild, met gets, incorporating textures drawn from a by Debra Weld and Catherine Davies for its quarterly meeting July 8 at the Whole wide range of sources in both the front and Paetz appeared in the Gallery section of Lotta Whimsy studio to discuss upcoming back of her pieces. that issue. “Silver Wreath” by Linda Facci chapter events, including participation in “Carol was a remarkable woman — was featured in the July issue, while work the Tucson Pima Arts Council Open Studio strong, creative, and with great willpow- by Deborah Fehrenbach and Gwen Tour Nov 10-11, with PMC art and jewelry er,” says her friend, Yolanda Nieubower. Bernecker appeared in the Gallery. represented by chapter members in one stu- “She will be missed, but her passion for art dio location. Planning also began for the and jewelry will be carried on.” CORRECTION third annual wine and cheese reception sponsored by Rio Grande at the February he photo credit was inadvertently 2008 Tucson gem shows. rances Darby, the founder of Paragon Tomitted in Debbi Clifford's article on The group also plans to set up a Yahoo FIndustries, makers of the popular her plique-a-jour work. The photos are by group to help members and friends keep Paragon kilns, died June 17. She founded Richard Brunck. up with events and innovations happening Paragon Industries in 1948 and produced in Tucson. The next meeting will be Sept. one of the first electric kilns in America. 12, 7 to 9 p.m., at Jay Humphries home “The outstanding thing about Mrs. studio. The next quarterly meeting will be Darby was her sense of integrity and respect in October: details can be found at the for the truth,” said John R. Hohenshelt, chapter's Web site, www.pmctucson.com. who bought the company in 1985.

22 · Studio PMC Membership in the PMC Guild Join or Renew ONLINE! • FAST • SECURE • GRATIFYING www.PMCguild.com

For Advertising information: Call Bill Spilman toll-free at 877-878-3260 Fall 2007 · 23 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 P.O. Box 3000 Denville, NJ 07834, or update your account on our Web site, www.PMCguild.com.