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Studio Summer 2004 · Volume 7, Number 2 Member Magazine of the PMC Guild PMC

A Tale of Two Clasps page 6 Curling Up with PMC page 8 PMC Picture Frame Charms page 12 Conference Bound! page 14 Summer 2003 • 1 Studio Summer 2004 · Volume 7, Number 2 Member Magazine of the PMC Guild PMC

Cover: by Shahasp Valentine features Studio PMC Mitsubishi Materials Corp. P.O. Box 265, Mansfield, MA 02048 4 The Art of Self-Promotion by Suzanne Wade www.PMCguild.com How do some artists succeed so well in getting their names in print? Volume 7, Number 2 • Summer 2004 Editor—Suzanne Wade It's easier than you think. Technical Editor—Tim McCreight Art Director—Jonah Spivak Advertising Manager—Bill Spilman 6A Tale of Two Clasps by Ginger Seiple Studio PMC is published by the PMC Guild Inc. Two clasp projects that allow even beginner students to finish • How to SUBMIT WORK to Studio PMC… their PMC jewelry. We welcome your PMC photos, articles and ideas. You may submit by mail or electronically. Please include your name, address, e-mail, phone, plus a full description of your PMC piece and a brief bio. 8 Curling Up with PMC by Carla Levien Slides are preferred, but color prints and digital images are OK. Tips for working with PMC coils By Mail: Mail articles and photos to: Studio PMC, P.O. Box 265, Mansfield, MA 02048. Electronically: E-mail articles in the body of the e-mail, or as 12 PMC Picture Frame Charms by Sherri Haab attachments. E-mail photos as attachments. We require an image resolution of 300 dpi. Combine PMC and your own photos for a unique and • E-mail files (under 4 MB) to [email protected] personal . Deadlines: Nov. 1 for Spring issue; Feb. 1 for Summer issue; May 1 for Fall issue; Aug. 1 for Winter issue. 14 Conference Bound! • How to Place Advertising in Studio PMC… Updated information about the PMC Conference Contact our Advertising Manager, Bill Spilman, for specifications, in Albuquerque in July. deadlines, and prices. Phone Toll-free: 877-878-3260. E-mail: [email protected]

16 Water Etching with PMC+ by CeCe Wire • How to get answers to tech questions… E-mail Tim at: [email protected] Learn how to adapt this ceramics technique for use with PMC+ Contact the PMC Guild to… • Join the PMC Guild • Get information about PMC Certification Classes • Renew your subscription to Studio PMC departments • Change your mailing address or e-mail • Request back issues or additional copies

PMC Guild CeCe Wire, Executive Director 3 As I PMC It 417 West Mountain Ave. Fort Collins, CO 80521 USA 10 Gallery Phone: 970-419-5503 Fax: 970-419-5504 Website: www.PMCguild.com E-mail: [email protected] 17 Happenings Copyright ©2004 PMC Guild. Printed four or more times a year. Reprints by permission only. 18 Tips & Tricks All rights reserved.

Studio PMC, its staff and contributors, specifically disclaim any responsibility or liability for damages or injury as a result of any construction, design, use, manufacture, or any other activity under- taken as a result of the use or application of information contained in any Studio PMC issue or article.

pg. 12

2 · Studio PMC As I PMC It by CeCe Wire

reetings from the very active PMC slides and many of our members respond- GGuild home office. I am happy to ed with their latest and greatest work. The share with you our activities, announce presentation was well received and PMC the release of a new CD-ROM, and invite supporters were in good attendance to you to celebrate with me some of our heros cheer her on. A CD-ROM catalog of of the PMC World. images, entitled "PMC – Serious About This" available from the PMC Guild. The Growing Membership CD-ROM is available for $15 to non-mem- The PMC Guild is getting more and more bers, plus $5 shipping and handling. Guild popular. In 2003, The PMC Guild acquired members can get this CD free, paying only new members at a rate of 25 to 50 per the $5 shipping and handling charge. To month. This year we have doubled that order your copy, mail a check for $5 to CeCe Wire, Executive Director growth, with new members averaging over "PMC - Serious About This" CD offer, 417 PMC Guild 100 per month. In February, we registered W. Mountain Ave., Fort Collins, CO a staggering 171 new members! Wow! Our 80521. Make check payable to PMC Guild have planned a full schedule of events for Web site has grown from 500,000 to an and allow two weeks for delivery. PMC enthusiasts and hope you will be astonishing 800,000 hits per month, which Another presentation to an internation- among the participants. Current members represents thousands of people visiting our al audience was given by J. Fred Woell, who were sent a PMC Conference brochure reg- site each week. was the keynote speaker at the 2004 istration form with the Spring issue of The rapid growth in membership is also Jewelers and Metalsmiths Group of Victoria Studio PMC. If you need a registration evident in our reaching another major mem- Conference held in Melbourne, Australia in form, they are available online at bership milestone: In February, Donlyn A. February. Here is an excerpt from his pre- www.PMC-conference.com. To avoid the Whissen from Lafayette, Colorado became sentation, "The Good, the Bad, and the $25 late registration fee, sign up before the 3,000th person to join the PMC Guild. Beautiful: Art, Technology and Life:” June 25. Those registering for the confer- For this distinction, she received five ounces ence after July 2, 2004 will need to make of PMC, Five Years of Studio PMC on search- "Art is food for our emotions. It nourishes our lodging arrangements off campus. (There able CD-ROM, and an additional one year vital senses of sight, sound, and touch. It is a is a list of hotels in the area at www.PMC- membership to the PMC Guild. Turn to critical lifeline between each of us that reaches conference.com for those who wish to stay "Happenings" in this issue to meet Donlyn. across and through cultural fences and nature's off campus.) Who will our 4,000th new member be? methodically advancing time clock. It speaks Those not attending the PMC Conference I would also like to take this opportuni- eloquently of our human legacy. It creates should know that we understand not every- ty to send a special "Welcome Back" to our understanding and sympathy for others. It can, one can be there in person, so we will try to renewing members. Existing members are with its means of communicating, help us include you via the wonders of the Internet. choosing to renew their PMC Guild mem- appreciate our environment and save nature You can be part of the event by visiting the bership at a very high rate, which means itself! Most significant may be its contribution conference pages of the Web site in you have found we can provide you with in building and strengthening our self-esteem." September. We will post as many of the talks PMC information you value. Thank you! and seminar handouts as possible. ❖ We'd like to do even better in the future, so PMC Connections Introduces please let me know what what we can do New Senior Instructors Correction: for you. This is your guild. While we keep Mary Ann and Ken Devos, Directors of making improvements and changes Education, proudly introduce four new In "Mixing Enamel & PMC" in the intended to make membership more valu- Senior Level Teachers in the PMC Winter 2003 issue of Studio PMC, an able to you, we need to know what your Connection education program. Wendy error was made in the proportions of needs are and how we can best meet them. Schuster, Cathy Szemanek, Nancy Tang enamel to PMC3. The correct propor- and Donna Saint John have recently joined tions should be either equal propor- PMC Visability the ranks of Senior Level Instructors. We tions of PMC3 and enamel for a subtle Barbara Becker Simon presented "Precious welcome these talented teachers to the effect, or for more color saturation, : We're Serious About This" at PMC teaching team. twice as much enamel as PMC3 by vol- the Conference of the Society of North ume. We regret the error, and offer a American (SNAG) in St. PMC Conference Countdown big thank you to the readers who Petersburg, Florida, in March. Prior to her The days before our PMC Conference are called the problem to our attention. presentation, Barbara issued a call for dwindling, and activity is in the air. We

Summer 2004 · 3 The Art of Self Promotion

by Suzanne Wade

Shahasp Valentine's list of publications reads like a who's who of the craft publishing world. Her work has appeared in Studio PMC, Journal, AJM, Niche, Belle Armoire, and magazines, as well as several books, including Sherri Haab's recent release, The Art of Metal Clay. The artist has even appeared on television: Inside City Limits, a cable television show in Shahasp's hometown of San Francisco, aired a four-minute feature on Shahasp and her work in December 2000. From her success, you might conclude that Shahasp must have had connections with important people, the kind of celebrity that automatically brings attention and makes good things happen. The reality is much less glamorous. "The truth is you just have to keep trying and trying and trying," says Shahasp. "[It's just like] when you want to be an actor, you keep going to auditions. You apply for everything appropriate, and you put it out there. Eventually, you get a nibble, someone hears about you, then you get something else, and someone will call you because they saw that. It's just networking." The art of self-promotion is less about celebrity than it is about perseverance. Breaking into print doesn't take a magic touch or fabulous connections in the publishing world. It does take attractive work, some basic materials such as photos and press releases, a dollop of good luck, and a willingness to keep trying until that luck turns up.

Building Blocks he first step in any promotional effort good way for artists to break into print, & Button, and Lapidary Journal. Tis to put together materials that can since this type of article is always in If you have an idea for an article, but provide an initial introduction. For jewel- demand. In addition, magazine editors will aren't sure how to submit it to a magazine ry artists, the most important element is usually appreciate that your expertise is in for consideration, request a copy of the pub- the photos. Although some magazines jewelry making rather than writing, and lication's writer's guidelines. (Many maga- have the budget and inclination to photo- they'll gladly work with you to edit zines, including Studio PMC, make Request a graph your work, that's not always the and refine the article until it's as these available on their Web sites.) copy of the case. And while good photos will get you polished as a piece from a profes- Writer's guidelines contain a wealth publication’s noticed, so-so photos may decide the edi- sional writer. of information, ranging from how writer’s tor in the other direction. "I was very insecure about my long an article should be and how to guidelines. If you're not sure whether your photos writing skills [when I first start- submit it for consideration, to who are good enough, collect a couple of maga- ed]," says Linda Bernstein, whose first the publication's audience is and whether zines you admire. Look at the pictures, and published work appeared in The Rubber your tone should be formal or casual. put your photos side-by-side. Now be hon- Stamper magazine in 1997. "But [the editor] Finally, before you send off your pub- est with yourself — do they look as good as assured me she would edit it and help me, licity materials to an editor, it's always the images in the magazine? and all I needed to do was to write it. That helpful to have a second set of eyes look Remember that it's not just the work was the first article I ever had published.” them over. Ask a friend whose taste you you're looking at; it's the photo itself. Bernstein's success prompted her to admire, and who you can trust to give you Consider the lighting, the focus, the back- write another article, and that led to an an honest opinion, to look at your pack- ground, and the overall composition. If invitation by another editor. "I was asked age. A second opinion will point out the your photos can't stand up to this scrutiny, to write a groundbreaking article about so-so photos, the confusing wording, the consider hiring a professional who special- polymer clay for American Artist," she says. missing step in the how-to, and other izes in jewelry photography. "After that, I just took the ball and ran with problems. When you've worked on a pro- Next, you need to write something to go it. I'd approach anybody, anywhere, any- ject for many hours, it's easy to overlook with those photos. It might be a press time to offer to write things for them." mistakes, including errors that are obvi- release about your newest collection, an Today, her credits include articles in a wide ous to anyone else. A fresh perspective artist's statement, or perhaps an entire arti- variety of publications, including Studio can help you produce a more impressive cle. How-to articles are often an especially PMC, The Rubber Stamper, Jewelry Crafts, final product.

4 • Studio PMC Get Out There Once you have publicity materials, it's time tors] just so [they] have it on hand." to get out into the world. For some artists, It's Nothing Personal. Inevitably, not the biggest barrier to promoting their work all your work will fit the needs of the pub- is not indifferent editors or fierce competi- lication, and it's important to keep nega- tion – it's their own shyness. But if you tive responses in perspective. "Keep a sense never send your photos to a magazine, or of humor, and if that particular door does- introduce yourself at a conference, no one n't open, don't take it as a personal rejec- will ever know what you have to offer. It's tion," advises Trish. up to you to step forward. If your best and most persistent efforts Introduce yourself. Many artists begin Shahasp routinely photographs her new work are getting you nowhere, step back and their journey toward name recognition and sends photos to editors for consideration. consider why. Re-examine the quality of with a simple introduction. For Trish This is some of her newest work, your materials, consider how your work Tinsley, it was a chance meeting with Victorian Ballgown Necklace. compares to other work you've seen in the Jewelry Craft contributing editor Esther is online bulletin boards and forums, such same magazines, and think about whether Anderson at a certification class in as those hosted by the PMC Guild, the publications you've been targeting are California. "We just hit it off," Trish Women's Jewelry Association, and the the best match for your work. recalls. "I believe I had some of my beach Society of North American Goldsmiths, or You might also consider contacting an jewelry with me, and she saw some of independent jewelers' boards such as the editor and respectfully asking why your the pieces I was making in class. Shortly Orchid forum hosted by Ganoksin.com. materials haven't elicited the desired afterwards she said she'd like to interview A similar opportunity is an invitation to response. It may have been bad timing, or me and write an article." A couple years participate in the publicity efforts of craft excessive competition. But even if the crit- later, Trish met freelance writer Diana and trade shows. "If you do wholesale and icism is something you don't want to hear, Lambdin Meyer at the first PMC retail shows, when you're accepted there's such as that the editor didn't consider your Conference, which led to an article in Glass often a little blurb that says 'this agency is work sophisticated enough, try not to take Art magazine. doing our PR, send them your stuff,'" says the rejection personally. It might be that One introduction often leads to anoth- Shahasp. "Most people don't, but I always another piece of your work would have er, as well. Shahasp remembers that her do. And I've ended up [with photos] pub- made the cut, or that your original piece very first published piece of work was in lished in ads and newspapers several times would be appreciated by a different editor. Studio PMC in 1998. That photo brought because I sent the PR people something to Either way, the answer is to try something her work to the attention of Studio PMC use." new — a new publication, a different piece, technical editor Tim McCreight, who sug- Persistence pays off. The old saying is or both. gested Shahasp as a possible contact for an true: If at first you don't succeed, try, try, article in Manufacturing Jewelers again. If you don't start getting Just do it “I've ended up and Suppliers of America's calls from editors after your first Whether your dream of publicity means [with photos] monthly magazine, AJM. That press kit or article proposal, having your work published in the local published in ads article put Shahasp's work on the write another. If your first pho- guild newsletter, or a spread in a New York and newspapers cover of AJM. tos don't elicit the calls you want, magazine, the most important several times Listen for the Call. Open take some others. And again, and step you take is the first one. "I think the because I sent calls for entries and submissions again. "If you're going to achieve basic crux of the whole thing is that you the PR people can be the ideal opening to get your goal, you must keep trying," have to just do it, and not be afraid of rejec- something your publicity materials into the says Linda. "It may not happen tion," says Linda Bernstein. "The worst to use.” right hands. "I never would have overnight. To get where I am, it thing they're going to say is 'we don't want heard about the 1000 Rings book from Lark took me a solid 10 years." this, we don't need this.'" books if it weren't for the call for entries," Once the ball starts rolling, you'll prob- As one inspirational poster puts it, Babe says Shahasp. ably find the effort becomes easier: Editors Ruth may have hit 714 home runs, but he Association membership is a great way may even start calling you. But publicity is also struck out 1,330 times. So step on up to hear about these opportunities, since an ongoing effort, and you'll never be to the plate, and see what kind of celebrity many association newsletters and maga- completely finished. "Any time I've got you can achieve! zines print calls for entries of interest to some press-worthy announcement, I send their members. (Studio PMC prints PMC- it to all the newsletter editors," says What goes into a press release? related calls in the "Happenings" page.) Shahasp."When I create new work, I have Visit the PMC Guild's Web site to read Another good source for such information it photographed and send [images to edi- some examples! www.PMCGuild.com

Summer 2004 · 5 A Tale of Two Clasps Teaching Project

by Ginger Seiple

hese two clasp projects were developed for my students. Because I teach PMC classes in Ta bead shop where not all students have smithing skills, I try to create teaching projects where PMC can be used for all the findings necessary for the specific project I'm teaching. The students feel good about creating the entire piece themselves. Both these clasps are Figure 1 made in PMC3 for the greatest possible strength.

To ggle Clasp Choose a size for the toggle to fit, then increase the size 12 percent to account for shrinkage. Figure 5 Figure 2 1. Using either 18 or 20 gauge sterling sil- 4. Roll or extrude a rod of PMC3 for the ver wire, prepare two split jump rings. 3 other half of the toggle. (Figure 5) Make it 4 (Figure 1) For a ⁄ " toggle, I make 6mm 1 long enough to extend ⁄4" on either side of jump rings. Use flat nose to flatten the circle. Roll the middle third of the coil the area of the split on both jump rings to so that it is narrower than the ends. Let look like D-rings. (Figure 2) dry completely. 2. Roll out the PMC3 to an 8-card thick- ness. Cut a circle, then cut an inner circle 4 to 5 mm inside that circle and remove the inner circle. (Figure 3) Figure 3 3. Insert the flattened side of one jump into the outer edge of the circle. Figure 6 (Figure 4) Position evenly and let dry. 5. Cut a narrow strip of PMC3 approxi- When dry, add a lump of clay or syringe mately 3 cards thick, just wide enough to slip to fill the depressed area where the insert through the flattened edge of the flattened edge was inserted. Let this dry remaining jump ring, and just long and refill again if necessary; there should enough to overlap slightly around the nar- be no dimple in the clay where the ring is rowed center part of the dried rod. Slip this inserted. This will prevent it from being tiny strip of clay through the jump ring, pulled out, which could happen if just a U- then wrap it around your coil and bend shaped wire were inserted. Figure 4 closed with your color shaper. (Figure 6) Let dry completely. Clean up to prepare for kiln firing at 1110° F for 30 minutes. Finish by hand or tumble polish. (Figure 7 shows the finished pieces.)

Finished using a wide bracelet clasp… see facing page. Figure 7

6 · Studio PMC Wide Bracelet Clasp This is a simple and secure clasp for a PMC The number of holes required on each and bead bracelet. In this article, I describe side of the centerpiece depends on the size Figure 8 1" making the clasp and assembling the of the you use. The and PMC bracelet. You must first decide how wide a bracelet in the photo on page 6 used 3mm 3 bracelet you want to make. The bracelet pic- beads for linking and required 11 holes on 1 ⁄8" 1 tured here is 1 ⁄2" wide. These instructions each side of the center piece. (Figure 12) are written for a bracelet of this size, but my students have found it easy to increase or 3. For the clasp links, roll out a piece of decrease the size as necessary, once they PMC 7 to 8 cards thick and cut two pieces mastered this technique. the size of Piece A in Figure 11. Insert the Figure 9 sterling clasp findings into the sides of the Making the Clasp PMC as shown in Figure 13, making sure 1. Cut a 2" piece of 14 gauge sterling they are centered. round wire. Do not use fine silver: the clasp will not hold its shape. I have also experi- Important: Note the three solid circles in mented with several different gauges for this Figure 13, on the side of the clasp with the Figure 10 project, and found 14 gauge to be perfect. sterling sheet inserted. These indicate three circles cut out with a cocktail straw

2. Using 22 gauge sheet cut out on the back side of this link (the side that 3 ⁄4" 1" a piece shaped like Figure 8. (Note: 22 gauge touches your arm), to the depth of the ster- sheet silver can be cut with metal shears.) ling sheet. These holes will give the PMC some place to shrink and prevent curling. 3. Use flat- or chain-nose pliers to bend the You can either embellish around these Figure 11 Box A Box B 2" piece of wire around the sheet so the holes for an interesting look, or refill with

3 3 width of the narrowed part slides easily in clay after firing and refire. 1 ⁄4" 1 ⁄4" and out of the bent wire. (Figure 9) 4. Texture or embellish both clasp links as 4. Bend the tips of the wire slightly inward desired. On one side of the clasp, add the using pliers, and flatten the tips on an anvil holes for the linking bead strands, being or bench block. (Figure 10) These flat- careful to line these holes up equally. Dry tened tips are the parts inserted into the thoroughly. Where the clasp findings were PMC, and by flattening them you can use a inserted, you may need to refill with decreased thickness of PMC. Curving them syringe slip or lump clay. Dry again and slightly inward secures their positioning as refill as needed until the clasp-inserted the clay fuses into a solid mass around them PMC edge is completely smooth and there Figure 12 Figure 13 during firing. If you do not curve them are no gaps. Use an X-acto knife to ream inward, there is a chance they will pull out out all holes. Fire at 1110°F for 30 minutes. after firing. Finish as desired (patina, tumble, etc.).

5. Use a and sandpaper, or a flexshaft or 5. Use long chain-nose pliers to curl the Dremel handpiece with a coarse wheel to flat edge of the sterling sheet over on itself, smooth the edges of both parts of the clasp. so that this end can clasp the other side of Round off and smooth all sharp corner edges. the finished bracelet. (Figure 14) Figure 14

Making the Bracelet 6. Decide on desired length of beaded 1. For this PMC3 and beaded bracelet bracelet design. Lay out pieces using a ruler. design, you will need to make a center In Figure 15, we are laying out a 7" long piece and two side pieces to insert the clasp bracelet, with the middle of the center link at 1 findings. Figure 11 shows the two sizes for 3 ⁄2" on the ruler and the clasp edges at 1" and 1 Figure 15 these pieces for a 1 ⁄2" bracelet. 7" on the ruler. String the beads, crimping smoothly and tightly. Wear with pride! ❖ 2. For the center link, roll out a 4 to 5 card thickness of PMC3 and cut one piece the size Ginger Seiple is a certified PMC artist and can be of Piece B in Figure 11. Embellish as desired. reached at [email protected].

Summer 2004 · 7 Curling up with PMC

by Carla Levien

any PMC artists find the snake form the side nearest you and fingers opposite, Mdifficult to make and use in their and with the glass parallel to the PMC, press work. We have all had the experience of down gently but firmly as you move the dismal attempts ending with cracked, bro- glass away from you and back in a rolling ken, and useless snakes of clay. Recently I motion. decided to conquer this form and, with As your snake begins to form, move the good instruction and several months of rolling tool from side to side as you roll experimentation, I have gained some back and forth. This will extend and nar- insights to mastering this challenging and row the form. The PMC will resist you a bit rewarding design element. and want to contract, rather than rolling When I started concentrating on snakes, out easily. Moving the tool from side to I found that the challenges fell into the fol- side pulls at the ends of the forming snake, lowing four areas: and gives you the control you need to elon- • Forming the snake so that the gate the snake. If you want a snake that is PMC+ with polymer clay insert, finished form is consistent and has even from end to end, exert the same 2" x 2" the right tapered thickness. downward pressure on the rolling tool • The PMC drying out so quickly over its entire surface. If you want your that the finished snake either breaks snake to taper at one end, exert more pres- or develops cracks when handled sure at that end. When your snake is the and bent. length and diameter that you want, move • Controlling the snake as it is being immediately to the next step. put into place on the main PMC piece. • Attaching the snake to the main Preventing drying out. Dampen the end PMC piece. of a finger and wipe along the entire length of your snake. Be careful not to use too Forming the snake. Forming a snake much water or the snake will stick to your with the desired thickness becomes easy work surface. Taking a similar amount of with the right tool. I recommend having a olive oil, wipe this along the top of the piece of glass or cut approximately moistened snake to seal in the moisture. 3"x 6" for use as a rolling tool. Cover the snake with plastic wrap, press- Start by pinching off a piece of moist ing the plastic wrap firmly around the PMC and rolling it roughly into a ball in snake and to the surrounding glass surface lightly oiled hands. Roll this ball by hand so that there is no air trapped underneath. into a thick snake form on your preferred, Leave undisturbed for two to three min- 1 PMC+ hollow box with snake, 1 ⁄4" very clean, work surface (I use glass). utes for the water to be absorbed. (I have Holding the rolling tool with the thumb at left it up to five minutes with good results.) This procedure will provide the needed elasticity for you to work with the snake.

Controlling the placement. Before attempting to place the snake, know exact- ly where you want it to be on your finished piece. If possible, make a light pen or pen-

8 · Studio PMC CURLING TIPS

cil guide mark on the PMC piece itself. good idea, lightly lifting the area to be That said, though, I do sometimes allow a attached gently into position after placing recalcitrant snake to go where it seems to the slip underneath the snake. A bit of TIP #1 Take a tip from our polymer want to go, rather than adhere strictly to pressure is necessary at all points of attach- clay friends and roll out your snake my original design. ment. Excess slip should be cleaned up The snake should be put into place immediately with a dry brush. under a glass or plastic plate. quickly: It cannot be handled very much Original PMC, PMC+, and PMC3 all because it will stiffen. If it looses its elastic- work well for making snakes . With its ten- ity, it will have to be reformed. Gentle dency to dry out quickly, PMC3 is the most pushing with a flat dry brush will help it difficult to work with, but I have been suc- into place. cessful with this approach. A small amount of PMC slip at your The addition of snakes in your PMC TIP #2 Dampen formed snake with starting point and at several other points pieces can add both dimension and detail along the way will help to hold the snake in to your finished work. Snakes can be small amount of water and oil position as you work. If you wish to form a design elements, such as vines. They can before covering with plastic wrap tight coil at one end, I have found that be used as decorative elements, as bails, forming this area before picking up the or as connecting units. Snakes provide and allowing to rest. snake works best. You will need to support an organic touch and a feeling of move- the tight coil as you lift the entire snake. ment to a piece and demonstrate mastery Snakes can also be wrapped around a form of the material. ❖ such as a drinking straw to form rings.

Attaching the snake. Unless you are TIP#3 Plan placement of snake and working with Original PMC, which Carla Levien, a psychothera- requires slip at all points of attachment, a pist in private practice, lives attach quickly, nudging into place brush of water under the snake where it in Westport, Connecticut, with a dry brush. comes into contact with your main piece where she designs in PMC will usually be enough to attach it. The and teaches individuals or addition of slip at points of stress is also a small groups in her home.

TIP#4 Place water or slip under snake at points of attachment to main piece.

7 PMC+ hollow box with leaves and vines, ⁄8"

Summer 2004 · 9 Gallery

To submit your photos to our Gallery send slides or prints to:

Studio PMC, P.O. Box 265, Mansfield, MA 02048.

Please include your name, address, country if outside the US, phone, e-mail address, a brief bio, photo credit, plus the size and materials used in your piece.

“King” by Edna Kuhta. Photo by Chris Kuhta.

“Vernal Ficus” by Nancy Larkin

10 • Studio PMC PMC and pendant by Holly Gage

“Singing Stone” pendant by Pat Gullett, photo by Ralph Gabriner

“Nitric Bubbles” by Catherine Davies Paetz, photo by Dina Rossi

Summer 2004 • 11 PMC Picture Frame Charms

by Sherri Haab Steps: ne of my favorite projects from my 1. Roll out a thin sheet of PMC about 2 to 3 Obook, The Art of Metal Clay, is small playing cards thick. Cut the PMC sheet in picture frame charms. I shrink photos or half to make a sheet for the base and one vintage images and cut them to fit tiny for the frame. Texture the frame sheet and frames made with metal clay. These make cut out the inside shape of the frame from great gifts because they can be personalized the textured clay with a small clay cutter. with family photos. 2. Brush water between the two sheets of Supplies: clay and place the cut textured sheet on top • PMC (any type) of the base sheet of clay. Press the layers to • Metal clay tools. (Plastic roller, two strips adhere. of mat board or playing cards, Teflon bak- ing sheet or plastic work surface, olive oil, 3. Use the larger clay cutter to cut out the water in a spray bottle, cocktail straw, frame through both layers of clay. Use small paintbrush.) olive oil to prevent the cutter from stick- • Small cookie cutters or Kemper Klay ing. Check to make sure the cut is even all Kutters (smaller cutter for the inside of the the way around the frame; remove the frame and a larger one for the outside excess clay. dimension of the frame) • Images or photos reduced on a copier 4. Use a needle tool or straw to make a hole • Decoupage glue in the top of the frame. You can use fine sil- • Paintbrush for glue ver eyelets or make clay loops instead if you • Envirotex Lite® two-part epoxy resin do not have room to make a hole. Let the • Toothpicks or old paintbrush frame dry on a flat surface until bone dry.

5. Sand the edges of the frame with a nail file until smooth.

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12 · Studio PMC 1 2

6. Fire the frame on a kiln shelf for the time and temperature suggested for the clay you are using.

7. Finish the frames with a brush and Cut out the inside shape of the frame from Brush water between the two sheets and burnishing tool to bring out shine on high the textured clay. press to adhere the layers. spots. Patina the frames if desired before gluing images in place.

8. Reduce pictures or images on a copier or 3 4 printer. Seal both sides of the pictures with a coating of decoupage glue using a paint- brush. Let the glue dry.

9. Cut the pictures to fit inside the frames. A few hints: If you press a scrap piece of paper into the finished frame you can see where the paper conforms to the edges of the frame. The paper can then be cut to Use the larger cutter to cut out the frame Use needle tool to make a hole in the top of through both layers. the frame. use as a pattern. Check the fit of the pat- tern and trim if necessary. Use this pattern piece to trace around for your final image.

10. Mix the two-part resin according to 6 manufacturer's instructions and use the 5 resin to glue the image into the frame. Use a toothpick or an old brush to add a layer of resin to coat the surface. Refer to manufac- turer's instructions for more details on cur- ing epoxy resin.

11. Add a jump ring after the frame has dried. Hang the frames from a chain to Seal pictures with a coating of decoupage glue. Cut the pictures to fit inside the frame. make a necklace or attach multiple frames to charm . ❖

From The Art of Metal Clay by Sherri Haab. Copyright © 2003 by Sherri Haab. 7 8 Published by Watson-Guptill Publications. Reprinted with permission.

Coat the surface with a layer of resin. Add a jump ring to hang the frame from a necklace or charm bracelet.

Summer 2004 · 13 Conference Coverage

he 2004 PMC Conference will be held Inspiration: What, Where, and Why?" TJuly 23-25 at the University of New will highlight the work of a selection of Mexico in Albuquerque, New Mexico. artists working in clay, , metal, and Over the three-day period, attendees will fiber and examine the relationship choose from 30 different seminars and between their work and their sources of workshops to attend, get to know their fel- inspiration. low PMC artists over meals and social The conference will also include plenty events, and visit the more than 20 vendors of time for sharing ideas, techniques, and of PMC tools and supplies that will be on inspiration with your fellow artists. Meals hand to demonstrate their products. are included in the conference fee to allow Student Union building at the University of Keynote speakers are Barbara Becker you to extend the conference experience New Mexico. Simon and Bill Griffith. Barbara will speak with spirited conversations over meals. on "PMC: We're Serious About This," with Ample Open Studio time will allow you to a slide presentation focusing on the experiment with PMC techniques and Charm Swap remarkable evolution of artists' work in trade ideas with other artists. And of PMC Guild members attending the PMC PMC, from thumbprints in clay to the course, plenty of free time to meet up with Conference are invited to take part in an beautiful, innovative, and masterful work old friends, make new ones, or just explore unofficial charm swap during the informal we see today. Bill's address, "Sources of the beautiful city of Albuquerque. welcome dinner on Thursday, July 22. Swap organizer Lora Hart has suggested the fol- lowing guidelines for conference partici- pants interested in trading charms with other artists. • Charm design should include the use of Clay. After all, that’s what we’re here to revel in! • Charms may be of any size or use any amount of clay you wish. Welcome to Albuquerque Lodging: • Charm design should include a hole or some other way of affixing the piece to a The city is home to a wide variety of attrac- Conference attendees who register by July bracelet, necklace, or hat. A split or open tions, including an excellent science muse- 2 can take advantage of on-campus hous- jump ring would be nice, but is not strict- um, historic Old Town, a gondola ride to the ing in UNM's Redondo Village dormitory ly necessary. peak of the Sandia Mountains, Petroglyph suites. Each suite consists of four single • Be simple or be intricate — it’s your creation. National Monument, and a portion of bedrooms, a living room, kitchen, and a • Wear your personal charm somewhere on famed Route 66. Within driving distance are segmented bathroom. The suite is air-con- your body so the rest of us know you are wineries, Native American pueblos, and the ditioned, with separate controls for each “in the trade.” galleries and museums of Santa Fe. room. Linen, soap, and a cup are provided. • Make as few as five or as many as 50, but To learn more about the Albuquerque The cost is $50 per night. remember, the more you make, the more area, you can contact a member of the you trade. On-campus housing is also available if • Affix the charm to a business or other Albuquerque-based Sandia PMC Club, you are planning to extend your stay for type card with your name on it, so we’ll who have offered to help conference atten- pre- and post-conference workshops. Pre- remember who created what. dees who want to know more about the or post-conference housing must be If you are interested in participating, an opportunities in their town. E-mail them requested separately from your conference attendance poll has been created at the at [email protected]. registration: contact either PMC Yahoo! Metalclay Group Web site at Visitor information can also be found at Connection at 866-762-2529 or Rio Grande http://groups.yahoo.com/group/metalclay. the Albuquerque Convention and Visitors at 800-396-9896 ext.13247 for pre- and You'll need to join the group and log-in to Bureau Web site at www.abqcvb.org, or write post-conference reservations. access the "Polls" button on the left side of the bureau at P.O. Box 26866, Albuquerque, the screen. NM, 87125, phone 505-842-9918.

14 · Studio PMC Conference Seminars

Teaching PMC: Keum-Boo on PMC Minerals and Martyrs That Necessary Evil – Strategies & Projects with Celie Fago with Deric Metzger The Business Plan with Judi Anderson with Betsey Sloan and Lynn Cano for Non-Metalsmiths Adorning PMC with Sherry Fotopoulos with Bead Stringing Painterly Effects of Fusing Working with PMC with Yvonne Padilla PMC Gold onto Sterling with Linda Bernstein Publishing Your Art with Carl Stanley with Sherri Haab Basic Enameling for PMC and PMC Paper with Catherine Davies Paetz Basics of Fused Glass with Sara Jayne Cole Copyrights and What they Can with Allison Strauss-Willett Do For You Small-Scale Mass Production Mixing Enamels with PMC3 with Tammy Honaman Tips, Tools, and Techniques New Impressionism: Tools and with Mary Ellin D'Agostino with Catherine Davies Paetz Techniques to Texture PMC PMC Veneer with Valerie H. Temelat Now That I've Made It – with Jay Humphreys The Zen of Teaching PMC What Can I Do With It? with Nanako Regur PMC and with Robert Dancik Gold Surfaces on PMC with Kevin Whitmore with Hiroshi Kitayama New Alternate Firing Urban Myths About PMC Techniques Chance and Serendipity as with Chris Darway Combining PMC and Glass with Earl Roberts Tools for Designing in PMC with Pam Lacey with J. Fred Woell Ceramics as Armature: Ring Sizing Efficient, Affordable, and Simple A Dutch Ceramist's with Hattie Sanderson Flower Forms in PMC with Tonya Davidson Vision on PMC with Hideko Yonezawa with Noortje Meijerink Glass and PMC3 with Mary Ann Devos

Pre- and Post Conference Workshops For a full description of all pre- and post-conference Workshops sponsored by Ceramics and PMC: A Perfect Companion, workshops, visit the PMC Conference Web site at PMC Connection July 21, instructor Tonya Davidson, cost $170. www.pmc-conference.com, or phone the sponsoring PMC Connection workshops will be held at organization. the University of New Mexico. To register, call Hollow Sculptural Beads, July 21, instructor PMC Connection at 866-762-2529. Patti Genack, cost $175. Workshops sponsored by Rio Grande MULTI-DAY WORKSHOPS: Perfect Fit PMC Rings with Hattie's Patties, Rio Grande workshops will be held at Rio July 22, instructor Hattie Sanderson, cost $122. Grande's headquarters in Albuquerque. To reg- Level I Certification, July 20-22, 9 a.m. to 5 ister, call Rio Grande's Education in Motion at p.m., instructors Sondra Bush, Linda Kline, Adapting Traditional Enameling for PMC, 505-839-3247. Shery Viktora, Leslie Tieke, cost $375. July 22, instructor Cathy Szemanek, cost $165.

PMC Certification Class, July 20-22, instruc- Level 2 Certification, July 26-28, 9 a.m. to 5 A Marriage Made in Heaven: PMC3 and

FULLtor Barbara Becker Simon, cost $440. p.m., instructors Sherry Fotopoulos, Sondra Dichroic Glass, July 22, instructor Marlynda Bush, Mary Ellin D'Agostino, Linda Bernstein, Taylor, cost $165. Beading, July 22 (half-day workshop), cost $375. instructor Yvonne Padilla, cost $75 Color Your World: PMC Meets Polymer FULL-DAY WORKSHOPS Clay, July 26, instructor Leslie Tieke, cost $175. Joining, July 26 or July 27 (one-day work- ART AY ORKSHOPS FULL shop), instructor Liz Brehmer, cost $195. How to Fuse Glass, July 26, instructor Elisa P -D W Cossey, cost $145. Raku with PMC, July 22, instructor Sherry Fotopolous, cost $94. Go for the Gold!, July 21, instructor Linda Bernstein, cost $170. Soldering for Non-Metalsmiths, July 22, instructor Sherry Fotopolous, cost $80. Mixing Enamels and PMC3, July 21, instruc- tor Mary Ellin D'Agostino, cost $170. Applications of PMC to High Fire Ceramics, July 22, instructor Vera Lightstone, cost $25.

Summer 2004 · 15 Water Etching with PMC+

by CeCe Wire

everal issues back, I promised to share a bowl to get it thoroughly wet. Ring out Stechnique that I demonstrated during a most of the water and gently rub the trip to Tokyo to members of the PMC sponge across the surface of the clay. You Guild in Japan. Below is a step-by-step will notice that the PMC will attach itself description of water etching, a ceramic to the surface of the damp sponge. PMC technique used in glazing. I learned this will not be picked up where it is covered technique from my friend Dick Luster, with wax. professor emeritus of ceramics at the If the wax disappears, it was not thor- University of Northern Colorado. oughly dry, or the brand of wax resist is not conducive to this technique. Box bead necklace with sumi circle 1. Roll out a slab of PMC+ 6 cards thick. pattern etching on sterling ball chain. (Note: PMC3 works, but I prefer PMC+ for 6. Repeat, dipping the sponge in the bowl Photos by Kevin Yamashita this technique. Do not use Original PMC, of water, ringing most of the moisture out, because it doesn't hold up well for water and then rubbing across the surface until etching.) the desired background depth is obtained. This is water etching! 2. Cut out the shape you would like and allow it to dry. 7. Allow the piece to dry to bone dry again then fire. The wax will burn away, so for 3. Paint on wax resist with a brush. Wax safety, be sure to vent your kiln. ❖ resist is water soluble wax and is available from ceramic suppliers. I found Amaco brand wax resist through Dick Blick Art For another artist's approach to water Materials. etching, visit the PMC Guild's Web site at www.PMCguild.com, and click 4. Allow the wax to dry and become stable. on "Magazine." Depending on climate, that could be from 30 minutes to overnight. Ivy doodle water etched pendant. 5. Next you will need an elephant ear nat- ural sponge available through fine art and ceramic suppliers. Dip the sponge in a

Sumi brush pattern, sample. Bulls Eye pattern, sample. This piece of PMC+ Bamboo brush, water soluble wax in a plastic was rolled out to the thickness of popsicle film cannister, and an elephant ear sponge. sticks for a deeper and more dramatic water etched surface.

16 · Studio PMC Happenings

For being the Guild's 3,000th member, In addition, Anita writes, "We planned Donlyn received five packages of PMC and a special PMC group project to photograph a CD-ROM of Studio PMC's first five years. for postcards for the Conference. We will "I'm really excited about diving into all then present the item to the Valley Art those back issues and learning all that I can Center to sell in their gallery in thanks for learn," she says. "Even though I only had allowing us to use their space." one little product in mind when I first "Six of our members are local teachers," Donna Shonle and Donlyn Whissen show off started playing with PMC, I know it's Anita adds. "We have other members who the PMC package Donlyn received for being going to get my creative juices going." are interested in becoming certified, so we the Guild's 3,000th new member. Donlyn's already put the PMC to good are attempting to organize a certification ust a year after the PMC Guild welcomed use, making some of her signature silver program for them in September 2004. We Jits 2,000th new member, the Guild heart pins from the first package. "One of have a very enthusiastic group, and several passed another major membership mile- the things I wear is my little heart that has members plan to attend the conference in stone, when Donlyn Whissen became the the word 'beauty' inscribed on the side of July. We are also planning other local 3,000th person to join the PMC Guild. it, to remind me that my essential nature is activities, including a media experience to A native of Boulder, Colorado, Donlyn beautiful," she says. introduce the public to PMC." comes from a long line of craftspeople. "My She also says she particularly looks for- family has been here since 1859, and I can ward to meeting other Guild members. "I hahasp Valentine's Organic Ring #21 still go out into the country and see the barn plan to take classes, and if I'm not able to Swill be among the pieces featured in my great-grandfather built," she says. "My go to the conference this year, I hope to the upcoming book 1000 Rings, scheduled mother is a quilter, just an incredible seam- attend next time," she says. "I'm just look- to be published by Lark Books next fall. stress, and my father was a woodworker." In ing forward to connecting with other high school, Donlyn took silversmithing Guild members, sharing creativity and MC Guild member Robert Dancik of and jewelry classes, and later became inter- ideas, and learning from each other." POxford, Connecticut, recently partici- ested in rubber stamping, eventually found- pated in the design of a new logo for the ing a local rubber stamping club. wo new local chapters of the PMC Brookfield Craft Center's 50th anniver- She began craftwork in earnest, though, TGuild have been formed, in San Diego sary. The red and black logo incorporates in 2001 after she was diagnosed with myas- and in Northeast Ohio. the outline of Brookfield Craft Center's thenia gravis, a chronic neuromuscular The Southern California guild meets on restored grist mill, one of the center's six disease that causes muscle weakness and the third Thursday of each month, 6:30 to historic buildings on the Still River in rapid fatigue. Because her illness often 8 p.m. at Sha-Sha, A Bead Spa, 11689 Brookfield, Connecticut. The logo will be makes it difficult for her to move, she Sorrento Valley Road, Suite C, San Diego, used throughout the year on special 50th turned to an old passion, beadwork, to CA 92121, phone 858-755-2225. Sha-Sha is year commemorative gifts, including a T- help pass time. owned by Louise Shadonix, a certified shirt, cap, and engraved pin. The interest in beadwork led to a sub- PMC artist. scription to Bead & Button magazine, which The Northeast Ohio group meets the im McCreight, special projects coor- in turn introduced her to PMC. Fascinated third Sunday of the month at 2 p.m. at Tdinator for the PMC Guild, has just by the material's potential, she and a Valley Art Center, 155 Bell Street, in released a new edition of his book Complete friend, Donna Shonle, begin brainstorm- Chagrin Falls, Ohio. The group has met Metalsmith. This time around the book has ing ideas for using PMC. When Donna twice, and newly elected president Anita grown to double the size of the last edition, bought a kiln, the pair began making PMC Rosenbaum reports there were 15 to 20 and made the leap into color. He has creat- jewelry and offering it for sale on their people at each meeting. Other officers ed three separate versions—Student, Web site, www.adornedhearts.com. They elected were Debbie Perry, vice president; Professional, and ProPlus, which includes will also exhibit at their first craft show Katie Hanrahan, treasurer, Alece a CD. Details and samples can be seen at this summer in Erie, Colorado. Nordstrom, secretary, and Barbara www.Brynmorgen.com. "We've been having so much fun," says Silverberg, committee chair for the pro- Donlyn. "This is so healthy for me, because grams committee. The meeting also fea- the illness I have is really scary. Working tured member demonstrations of torch fir- with beading and PMC is an opportunity ing, making cards, and making ear- for me to stay in the moment and not get ring wires. scared about my future."

Summer 2004 · 17 Tips & Tricks

Patina Masks Cleaning Keum-boo "A great trick to try with patinas is to mask If the clay were immediately put back into Fine silver tarnishes much more slowly or coat areas that you don't want affected its original packaging, there'd be no prob- than sterling, but after a while, even a fine with a Sharpie ink pen before applying the lem, she admits. But artists frequently fail silver and 24k gold Keum-boo piece may patina solution," writes Carl Stanley, a to repackage it, preferring to simply need a bit of cleaning up to look like it did senior instructor in the Rio Rewards certi- rewrap it in its plastic wrap. Without the when it was brand new. Rex Steele Merten fication program. "After dipping in or packaging, all the clay looks alike, which is of Hurstville, New South Wales, Australia, applying the patina, rinse the piece in a problem because each clay has a different a 50-year veteran of the jewelers bench, clean water to remove any excess patina firing time and shrinkage rate. "Unless suggested this method of cleaning Keum- solution. Then wipe with denatured alco- one is looking for a surprise in their kiln, it boo to the Orchid e-mail forum. hol to remove the ink. Where the ink was is a good idea to keep track of which clay "Use a creamy-consistency mix of water painted the patina will not have left any you are using," Sidhartha notes. and sodium bicarbonate (baking soda) and stain. This not only allows you to mask off The solution can be found on grocery either rub it over the surface with your fin- areas but you can create patterns or fine store shelves, in the form of colored plastic gers or gently scrub with a soft-bristle designs in metal this way." wrap. "Each [type] of clay can be wrapped toothbrush," he says. "This will lift off the in a small piece of a different color wrap," oxidation/tarnish and will not affect Telling your Clays Apart Sidhartha says. "This is a quick and easy or surface textures. It's an old jewel- "One of the questions many of the students way to recognize the clays while working." ers' trick and works best with silver and in both my PMC101 and PMC102 classes It is important to make a note of which yellow gold alloys. Simply rinse off under have asked is how to tell the three PMC clay is wrapped in each color, she adds, or the tap, and you will find you have a beau- clays apart once the packets are opened you may still have a surprise in your kiln. tifully restored surface." and the clay is sitting on the table in its clear wrap," writes Sidhartha Ellis of Wilmington, Delaware.

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18 · Studio PMC www.CreativeTextureTools.com Hard-to-find tools for PMC Original Silicone Won’t Texture Plates stick to PMC!

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