journal of the pmc guild
The Journal of the International PMC Guild
Now More Than Ever
Photo by Dennis Griggs, Courtesy of Haystack Mountain School of Crafts
Don’t let the lousy economy fool you. Artisans are mindful
of their money, and many are adjusting what they spend
on professional development accordingly. But as they find
ways to save, they are doing their best to not allow a sour
economic outlook get in the way of improving their skills
and becoming better artists.
To become more efficient, members of the PMC Guild are taking
online classes instead of traveling to workshops. They’re experimenting
with dust, filings and shavings of PMC, learning to reconstitute the material
for future use. Some are selling off surplus art supplies and scraps of
silver so they can stockpile PMC to guard against price increases. Many are
looking long and hard at the shows they attend to ensure they’re spending
wisely. Some economize by sharing booths to reduce their fees.
Others are using this time to develop different art-related skills that
might lead to income, so they can keep learning and creating. One woman
said she is writing more freelance articles for magazine and other publications.
When she gets a check, she buys silver. Another said she is spending
more time in the studio to put to use the skills she has already acquired.
But the bottom line for everyone we talked to is this: They cannot
afford to stop enhancing their skills, and will find ways to justify the
expense of professional development, whether it is attending workshops,
networking with colleagues via the Internet or spending more time in
bookstores and libraries. Indeed, because of the economy, it may be more
important than ever to focus on skill development so they will be better
positioned to stand out in a crowded field when the economy improves.
“When a workshop is being offered in a specific skill or technique I
need and I am available, I sign up,” said Linda Kaye-Moses, a jeweler from
Massachusetts. “This does not vary with the economy, because no matter
what the financial state of the country is, I still need to learn those techniques
that will allow me to make the work I want to make.”
Melanie Miller, an artist from Georgia, agreed. “It’s a necessity for me.
It’s not a hobby or a desire. If it’s worth it, I will make way for it somehow
in my budget, because it will increase my income if I become better at
what I do,” she said.
Kelly Russell of Maryland is taking fewer classes than in the past.
“When things were really good, I would take three or four classes a year
and absorb the costs into my professional budget. If I have a good year
and go to a lot of shows, there are a lot more classes to take. This year, I
probably won’t take any classes,” she said.
That does not mean Russell will stop learning. She is buying more
books and making better use of other learning tools, redirecting her resources
to lower cost self-improvement tools. “I read a ton, and I use the
Internet,” she said.
Jocelyn Cooley of Arizona began working with PMC three years
ago, and “sucked up everything I could” in terms of workshops and
conferences, spending several thousand dollars in a short amount of time.
Confident in her skills and eager to put them to good use, lately she has
focused her attention on her craft, spending as much time as she can in
journal of the pmc guild
The PMC Guild is a
members organization with
the mission of providing
support, education, and
exposure for artists working
in Precious Metal Clay.
1921 Cliffview Lane
Florence, KY 41042
To Join, Renew, or
Edit Info Online
Speak with the Director
“For a good year and a half, I busted it out and
did all the hands-on training I could. I was going to
everything I could manage, always seeking out the
best teachers,” she said.
These days, she is content to learn by reading,
and is discriminating in the workshops and conferences
she attends. The only professional development
she has in her plans are next year’s PMC Conference
at Purdue and a preconference workshop.
Miller dedicates most of her professional development
budget to attending fairs and festivals,
where she sells her work. While those events may
not qualify as professional development in the strict
sense of the phrase, Miller points out that the fairs
allow her to meet people, exchanges ideas, and get
feedback on her work from a diverse public.
She attends as many as 20 a year, and does not
plan to alter her routine in 2009. Each show has a
booth fee that ranges from $95 to $650, Miller said.
“But that’s how I sell my work. At some of these big
shows where people come in hordes and come to
buy, it’s worth it.”
Because she stays busy year-round traveling to
shows, Miller generally does not attend workshops
or conferences. She does buy DVDs and books and
also has taken courses over the Internet. This winter
she took an online class about riveting taught by
Kaye-Moses invests in books. She learns from them and finds inspiration
within the pages. She also reviews books and needs to know what’s
out there and how it’s being presented. She subscribes to many magazines
and journals and does not plan to let her subscriptions lapse. “This will
remain constant,” she said emphatically.
She does not plan to attend a conference this year, but that is more
a matter of conflicting commitments than the economy. “My attendance
at conferences is essential to my ongoing life as a teaching, writing, and
working artist,” she said.
If there is a noteworthy change in her budget, Kaye-Moses said it has
to do with factors that are not only related to the larger economic picture.
For instance, for 20 years she has spent a certain amount of money on
stones each year. This year, she does not plan to spend as much as previously.
“One reason is that I don’t need any more specialty stones at this
stage in my life, and another is that the economy has slowed down considerably.
As shows progress throughout the year, I may see a change, but
right now I’m limiting what I spend on stones.”
For Russell, her big commitment in 2009 is the Bead and Button show
in Milwaukee, scheduled for late May and early June. In the past, she has
taken classes associated with the show. This year, she will show her work,
but not enroll in classes. She has greatly reduced the number of shows she
plans to attend, and is taking a wait-and-see approach to the economy.
“Two years ago, I did 13 shows in eight months. Last year, I did five.
This year, it will be two, maybe three. And I am sharing a booth to cut
my costs in half,” she said. Her hope is that people who attend the show
will continue to buy her work. If they do, she will use that money to take
classes, but until she has the money in hand, she cannot justify the enrollment
fees and travel costs associated with the classes. “I’m just trying to
hang on so people will remember me when the things improve again.”
Cooley said her decision to cut back on classes and workshops has less
to do with the economy and more to do with her place in life these days.
As an artist, she feels she is at a crossroads. She is ready for the next step
in her career, which may be a larger presence on the Web or gallery representation.
She is using this time to take stock and create work.
“It became apparent that it was time for me to go into the studio
and start making my own thing happen. I noticed that I would go to a
workshop and kind of feel like I’d rather be off playing instead of sitting in
a class. I think I know how to handle my medium now.
“I can’t imagine not taking classes again someday—it just feeds me. I
just feel that right now, I need to be doing my work.”
journal of the pmc guild
We’re all familiar with the helpless feeling. We sit at our bench, fiddling
with tools; our minds turn over ideas, but nothing sticks and the ideas
fade away. Creativity can be fleeting. One minute it’s there and you feel
like you’re on an endless roll. But then it’s gone and no matter how hard
you try, you can’t seem to find the spark that ignites the next body of
work, perhaps unable even to work variations on a piece that you’ve made
It’s called a creativity block, and it happens to the best of us, professionals
and amateurs alike. The question is, how do you move the block or
effectively navigate around it? Are there devices, or tricks, that are useful
in getting back to being productive? That’s a loaded question, because
there is no right or single answer. The answer is different for each individual
artist. Some people, when they run up against a block, sit and stare
at the studio walls until they figure it out. Others might go for a walk.
We put the question to a group of five artists who gathered in mid-
March in Portland, Maine. These five women, all friends, came together
in at one friend’s studio for three days to exchange ideas, engage in
conversation and work alongside each other. Their goal was not necessarily
to create, and in fact none of the women expressed a goal of leaving
with finished work. Instead, they were simply seeking a shared experience
outside their comfort zone in an attempt to freshen their perspective and
broaden their creative vocabulary.
All the women have taken workshops in PMC and are familiar with
the clay, but this gathering had nothing to do with metal clay. Instead,
they came together to experiment with encaustics, or hot wax painting, a
medium they were all familiar with, but knew little about. Their material of
choice was less important than the lessons and advice they shared about
creativity and visual thinking. For them, the gathering was an effort to
grow and evolve as artists and individuals, giving each person another tool
to use when confronted with a block.
“There’s almost always a good reason why you are blocked,” said
Nancy Moore Bess, a basketmaker from Massachusetts. “It could be stress
at home or at work. It could be health issues, or a distraction of some kind.
They’re all very good reasons.”
“You have to have a talk with yourself,” added Lissa Hunter, who
hosted the gathering. “What is it? It might be that you just did a big body
of work and you have what I call ‘post-artem depression.’ You spent it all,
and you can’t do it again. So you have to say, ‘This is what it is. I’ve seen it
before. I have felt it before.’”
This gathering was about taking the time to try something unfamiliar
in a collegial, non-pressure setting in hopes of triggering ideas that might
lead to new work, either directly or indirectly. As one participant said, “It’s
about finding a new way to think differently.”
In addition to Bess and Hunter, the gathering included Ann Grasso,
Carol Stein, and Abby Johnston, all New Englanders who have known each
other for some time. The decision to get together in Maine grew out of a
workshop the women attended in January in Bennington, Vermont.
“I have this nice studio, and it’s conducive to getting people together,”
Hunter said, explaining her initial invitation to her friends to come to Portland
for a few days of informal professional development. “A lot of people
do not have a space like this, so it’s kind of cool for me to be able to say,
‘Let’s use my space.’ I said, ‘Let’s get together and do this. Let’s try something
different.’ Usually you say that and you get, ‘Yeah, that’s a great
idea.’ But then you get home and you forget about it. But this time when I
got home, I sent out an e-mail and within two weeks we set the date.”
Each artist brought something to gathering – tools, materials, hot
plates, maybe a killer recipe for an after-work meal. They worked side by
side each afternoon, often in silence or quiet conversation, with bursts of
laughter and boisterous exchanges. They had fun, but were serious. They
called their experience play, but didn’t treat it as a game.
“What I want to come out of this is energy and discipline,” Hunter
said. “I want the energy that comes from working with other people.
When you work by yourself, after a workshop, you come home and you’re
all ready to go, and the next day it’s a little less and the next day you have
to go the dry-cleaners and run other errands. And it gets dissipated. So this
is good energy.”
The artists talked about techniques they use to move past blocks. One
said she busies herself by cleaning her studio when she cannot make work.
Another likes to read biographies of artists. Another said she simply keeps
trying. “I know I can get through this. I just have to keep working and try
not to be too judgmental,” said Stein.
Hunter cited something she read about the artist Chuck Close. “He
says, ‘You show up. You get to work. You just get to work.’ There is no
Bess said, “If I am stuck on something, I set it aside. A block is when I
just can’t wrap my mind around work, and I just don’t know where to go.
I put something aside and just pick up something new, something totally
not related to what my block is.”
Hunter said that if she is lacking ideas that inspire her, she goes
through old sketchbooks. She often is pleasantly surprised at what she
finds. “It’s amazing how much I forget that I knew was meaningful at the
moment I sketched it. It almost always leads to new work.”
journal of the pmc guild
Another device she uses involves music. She listens to a familiar CD and
gauges her reaction. “I find myself saying, ‘I like this music, it’s very rhythmic.’
And then I ask myself, what does that pulsation have to do with my
work, and how can I use it?”
Here’s another idea: Go to a museum, or gallery. Before they launched
into their encaustic experiments, these women spent a few hours at the
Portland Museum of Art. A curator arranged to show a few encaustic
pieces in the collection. Just the process of looking at other work opened
up their imaginations and led to ideas, the women agreed.
At the end of their gathering, the artists went home to their communities,
endowed with new creative tools and hands-on knowledge of a
medium they had been only vaguely familiar with days before. Time will
tell if that knowledge surfaces in their work. But they all agreed, the gathering
and exchange of ideas will pay dividends the next time they’re stuck.
“This gives me more vocabulary. It’s another tool I can use,” Stein said.
What works for you? Send your ideas to email@example.com. If we
get enough ideas, we will share them in an upcoming publication.
for Annual 3
Jeanette Landenwitch, Director of the Guild, has announced the jurors for
the third issue of the popular book, the PMC Guild Annual.
Bill Griffith, Tennessee
Linda Kaye-Moses, Massachusetts
Terry Kovalcik, New Jersey
Catherine Davies-Paetz, Ohio
These generous volunteers bring a diverse and varied range of experience
and esthetics to the competition and guarantee a spririted selection. By
the time you are reading this issue of Fusion, the May 16 deadline has
probably passed, but if an extension is possible, it will be announced in the
NEWS section of www.PMCguild.com. If you missed the chance this time,
start working on next year’s piece. The schedule for this annual event is
roughly the same each year —images due in the late spring with delivery of
the book to all members in the autumn.
Profile: Jeanette Landenwitch
As Executive Director of the PMC
Guild, Jeanette Landenwitch wears
many hats. She’s responsible for the
day-to-day operation of the Guild,
which involves everything from
answering emails and fielding phone
calls to paying bills and assisting
She helps determine the content
of the Guild’s website and sets the
tone and direction of the organization,
which has approximately
3,200 members across the globe.
When members have a question or
concern, more than likely, Landenwitch
is the person who provides the
answer or works for a solution.
She also helps test and develop
new products. For instance, she was
involved at the grassroots level with
bronze and copper clays, and tries out new tools that are in development.
But mostly, Landenwitch serves as all-around ambassador for the
Guild and for PMC. More than any other individual, she is responsible for
spreading the word about precious metal clay.
“I don’t have a routine,” said Landenwitch, who grew up in Cincinnati
and now lives nearby in Kentucky. “I do whatever the job requires.”
Landenwitch joined the Guild as a dues-paying member in 2000. By
the end of 2004, she had become so deeply involved in PMC that Guild
leaders asked her to take over as Executive Director and she’s been on the
job ever since.
It’s a part-time gig, and that’s a good thing, because PMC is only one
facet of this creative woman’s busy life. In addition to working with PMC,
she has experimented with all kinds of crafts and has mastered many. She
is an exceptional seamstress, and made a living sewing for many years. She
also knits and crochets, and those who know her best attest to her avid
interest in jigsaw puzzles. She is a voluminous reader, and quite a successful
gardener as well.
“I think I have been creative for as long as I can remember,” she
said. “I’ve always enjoyed working with my hands, always tried to keep
busy making things. It seems like I am always doing something. If there’s
journal of the pmc guild
a show on TV that I like to watch, I’ll be knitting along with it, or embroidering.
I just have that creative urge, I guess. I need to see that I am
progressing, always doing something, to make sure something constructive
is coming out of my time.”
She got started with PMC in 1999. As is the case with so many
members, Landenwitch’s foray into PMC began as a curiosity. As a student
at the College of Mount St. Joseph in Cincinnati, she enjoyed ceramics.
She never pursued that interest after college, but she kept it in the back
of her mind. Early in 1999, she read a magazine article about PMC and
learned that it required firing in a kiln, which reminded her a little of her
“I tried to do as much research as I could, but there was not much
information available at the time. I kept thinking about it throughout
that spring and summer, and I just decided I wanted to try it. It sounded
so interesting to work with this clay material, fire it and come away with
something made of precious metal. I bought a kiln and one package of
PMC, just one ounce, and I started to experiment.”
Back then, there were no classes. She had a booklet and sketchy information
about the firing schedule so she learned on her own, through trial
and error, and quickly took to the clay. “If you can work with your hands
in one type of craft, I think you can do a lot of things. You can adapt. The
first three pieces I tried all came out OK; rough, but wearable. That’s the
beauty of PMC—even newbies can have success right off the bat.” She’s
been hooked ever since.
It is with that sense of adventure and daring that she stepped into the
role as the Guild’s Executive Director. She is committed to ensuring that
the Guild remains at the forefront of PMC by making information widely
and readily available through www.pmcguid.com, Guild publications and a
“This August will mark the tenth anniversary of the creation of the
PMC Guild, and I’m honored to play a part in its growth. We have affiliates
in the U.K. and in Australia, and individual members in France,
Germany, Sweden, Turkey, Iceland, and beyond. More than anything else,
what the PMC Guild offers is information and a creative community.”
Nettie and her husband Dave have two sons and each is celebrating
a significant event in the near future. Their son Shawn will be ordained
into the Roman Catholic priesthood this spring, and their son Adam and
his wife Michelle are expecting their first child in July. Guild members join
together in wishing Jeanette and her family all the best in these exciting
Repetitive Strain Injury
Mark Allen sees it all the time: stiff backs, sore necks, and painful fingers,
hands and arms. Allen is a chiropractor in the creative hotbed of greater
Portland, Maine, and many of his clients are painters, sculptors, and musicians.
They all have something in common—they spend long hours at their
craft, focused and intent. For people working in the studio arts, it means
being hunched over at the bench, attention focused on tiny details at arm’s
length. His advice is constant for everybody.
“People need to take a break. A lot of folks wait until they are done
with whatever they are working on, but I strongly recommend that they
do stretching exercises while they are working,” said Allen, proprietor of
Advantage Chiropractic of South Portland.
“Really, the biggest challenge is that creative people get focused and
they don’t want to stop. You get into it, and work until the piece is finished,
but that’s really not the right approach.” Allen recommends several
exercises to avoid stress ailments, which present themselves as repetitive
strain injuries, or RSI. Those injuries tend to occur in arms, wrists, and
fingers. Symptoms include tenderness and pain, tingling and numbness.
Sometimes it also includes inability to grasp objects and tools securely and
the locking of fingers, hands, and arms. The causes are what Allen calls
“the intensity of creative people.” They engage in repetitive actions that
often are awkward, tension-filled, and
involve poor posture.
Here are his recommendations:
• Every 5 to 10 minutes, engage in
extension stretches of the hand by
pulling back on your fingers while
they are outstretched. Do the same
thing with your elbow locked and arm
journal of the pmc guild
While standing, reach your hand
over your head and down your back
to your spine. With your other hand,
push down on your elbow above
your head to create tension.
Place your hands on a flat
surface and spread your fingers
wide for 10 seconds, then relax
If you work hunched over, extend your back and
neck in the opposite direction, creating an inverse
arch with your back and neck. Hold your hands
at your sides and shake them gently.
“The most important thing is to be aware
of your habits,” Allen said. And don’t fool
yourself into thinking that your discomfort is
not related to your work. It may not be, but
chances are good that your work and your
work habits contribute.
“People come in complaining about a
back injury or other specific event, but I like
to monitor their hobbies or activities, because
more often than not, those tie in just as much
to the actual injury.”
Make us your destination for metal clay classes.
Fusion is officially two years old. The issue that you are reading now is
our ninth quarterly publication, and I dare say that we’ve come a fair
distance. Just as PMC itself took many years to develop and introduce to
the commercial marketplace, Fusion has undergone an evolution. We’ve
expanded our page count from 20 to 24, added color, features and, we
hope, become more sophisticated and discerning in our choice of stories
When the leaders of the PMC Guild approached me in Spring 2007
and asked if I would be interested in becoming editor of what was then a
still-unnamed new journal, I really didn’t know what to expect—and I’m
not sure they did either. After two years, we have a better sense of ourselves
and our role in the PMC community.
Fusion’s predecessor, Studio PMC, had a long and distinguished
history. For 10 years, it was a leading authority on PMC. But as PMC
became better known and widely used, the field of journals became
crowded. Toward the end of its run, Studio PMC was in competition with
several magazines that were providing significant coverage of metal clay
(which is a good thing, by the way).
The Guild thought it would be wise to change things up a bit, to stay
ahead of the curve by creating a publication that would be nimble enough
to react quickly, yet substantial enough to emerge as a must-read among
people in the field. As it turns out, we created a suite of publications, each
with a slightly different mission. Guild leaders envisioned a publication
that would keep the Guild in the forefront of PMC by providing the best
and latest technical information while also reflecting trends, issues and
concerns of the jewelry community in general.
Two years later, here we are. We’ve put out nine issues of Fusion now,
and along the way have led the discussion about an exciting new material,
bronze clay; provided reasoned and un-sensational coverage of the
economy as it relates to precious metal; profiled trendsetters and interesting
personalities; and set an agenda for the future.
Your favorite one-stop shopping source
for the metal clay enthusiast
Register online for certified, store, or designer account
journal of the pmc guild
Clearly, and I hope you agree, we are much more than a mouthpiece for
the Guild, although we are happy to be that, too. More important though,
we’re on top of issues that are timely and consequential. We believe that
Fusion offers important technical information, as well as personal stories
about your friends and colleagues.
We are not standing still. The world around us is changing in ways
unthinkable two years ago, and we’re doing our best to keep up with it. At
the beginning of 2009, we introduced iFusion, an electronic component to
Fusion that will show up as an email in your inbox at least once between
each issue of Fusion. We’ve published three of these already this year, and
we’re barely into the second quarter.
And let’s not forget, each fall members of the Guild also receive the
PMC Guild Annual, a handsome book in full color that presents a juried
collection of the best work of the year in PMC. Whereas iFusion might be
something you read quickly and then discard, the Annual is something we
hope you save and treasure. Fusion falls somewhere between those two.
As a member of the PMC Guild, you are part of our community, and we
a part of yours. As in any community, relationships evolve. Looking back,
we’re pleased with our progress. Looking ahead, we’re downright excited
about the future.
I’d love to know what you think
about our efforts, and as always, I
welcome suggestions and ideas. Feel free
to drop me a line anytime at journal@
— Bob Keyes
Supplier of Fine Silver Findings
for the Metal Clay Artisan
Fax 401-728- 8038
After two years, it’s easy to forget just where you saw a particular article
when you want to return to it to refresh your memory. Here is a summary of
the contents of the preceding eight issues of Fusion.
The Rising Price of Silver
Meet the New Editor
Make Your Own Oil Paste
Ethicals in Precious Metals
Meet the Annual
Should I Name My Work?
Artist Profile: Gerald Haessig
New Chapter Liaison
Phil London to Receive Award
Guild Joins the Carbon Fund
Radical Jewelry Makeover
Mitsubishi’s Environmental Position
FinishingTip — Sanding Sticks
Traveling with PMC
Ask Sol: Dodging Commissions
Business Profile: Metal Clay Findings
Enamelist Conference 2007
Metal Clay World Conference in Las Vegas
Ask Sol: Using Projects When Teaching
How to Read the Fusion Label
Editorial: Selling Ourselves Short?
Ask Sol: Spending Family Money?
Dealing Creatively with High Costs
Safety Report on Fumes
What is Good Design?
by Alan Revere
Jewelers Face the Economics of
High Metal Prices
Artist Profile: Cindy Silas
Editorial:Why do we make art?
Ask Sol: Limits of Responsibility
“Your Complete Source for Enameling Supplies”
journal of the pmc guild
Color on PMC
Round Table on Health & Safety
Comment on the State of the Field
by Annual 2 Jurors
Bead & Button by Celie Fago
Editorial:Pricing is Subjective
Ask Sol: How to Help a Friend
Improve Her Work
Interview with Bill Struve, The
Story Behind Bronze Clay
Introducing the Masters Registry
What Makes a Good Photo?
Rendering Made Simple
Hasbro Designers by Terry Kovalcik
Artist Profile: Cindy Durant
Workshops Tips by Terry Kovalcik
Technical Data on Bronze Clay
Metal Clay Comparison
How to Read a Phase Diagram
Interview with Kevin Whitmore
Firing Garnets by M. E. D’Agostino
Charms for Charity Update
UK Electronic Newsletter
Editorial: Conference Postgame
Ask Sol: Sending Out Photos
Announcing New Publication
Visual Trigger Winners Talk
Editorial: Time to Be Creative
Ask Sol: Using Email Addresses
Artist Profile: Donna Penoyer
Bronze Clay Gallery
Ask Sol: Emails Sent in Haste
Editorial: Metal Clay Doubters
Now in its ninth year!
for more details.
Saul Bell Design Award
Communication is key. Symbols are powerful. Through
the ages people have communicated within and outside
of their cultures through the use of symbols. Each culture
has its own unique expression, from Egyptian to Celtic to
modern America, and within each culture there exist subcultures,
from hippie to military to present-day texting.
Call for Entries
2010 PMC Conference Exhibition
Curator: Nettie Landenwitch
May through August, 2010
Every other year the PMC conference hosts an important international exhibition
of preeminent work made using metal clay. In the summer of 2010
this exhibition will be on display in the gallery at Purdue University where
in addition to the hundreds of metal clay artists who attend the conference,
the work will be seen by several thousand visitors to the college.
This juried exhibition is open to all Guild members and will receive national
coverage. This juried exhibition will celebrate the many and varied forms
of symbolic expression from ancient to contemporary times. You may
submit up to five (5) images of functional, non-functional, and/or jewelry
pieces for consideration. Now is the time to mark your calendar so you can
participate in this exciting thematic exhibition. Prizes will be awarded.
For details and a printable reminder, visit the Guild site and click on
the News button.
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bisque beads & more.
WE SUPPORT CREATIVITY
journal of the pmc guild
Deadline for images January 20, 2010
Notification of artists February 24, 2010
Receipt of work March 31, 2010
Show opening May 17, 2010
Show closing August 6. 2010
Work will be returned to the artist by the end of August 2010.
Please send digital images on a CD (no slides) to:
2010 Conference Exhibition
1921 Cliffview Lane
Florence, KY 41042
The Next Fusion Visual Trigger Challenge
This issue of Fusion contains the
sixth installment of a feature we
call the Visual Trigger Challenge.
As you see in each issue of Fusion,
our creative members have made
work that responds to a particular
image. We will select a first-place
winner and runners-up to be
included in the following issue.
In addition to this international
exposure, the first-place winner will
receive $100 worth of PMC.
Submitted work can be wearable, sculptural, or functional, and can
include additional materials along with PMC. The winners will demonstrate
creativity, craftsmanship, and a clear reference to the target image. Send
a digital image to Tech@PMCguild.com any time before July 17, 2009. A
color image appears on the back cover of this issue.
Serves metal clay artists
ONLINE CATALOG :: PMC123.com
I went away for the winter and invited my friend to use my studio. When I
returned, the place was immaculate and the plants healthy, but my flexshaft
was broken. My friend told me of the problem and offered to pay for the
repair. Since I’ve had that tool for about five years, it doesn’t seem right that
she should pay for the whole repair. We’re writing to ask how we can arrive
at a fair resolution.
— Two friends who want to remain friends
First let me congratulate you on your honest approach to the situation.
It is clear that you both value your friendship enough to figure this out. Assuming
the borrower used the tool in a normal way, it stands to reason that
the breakdown was the result of general wear and tear over the years. First I
think you should get an estimate (or have the repair done) so you know how
much money you are talking about. Since a new flexshaft costs about $200,
we can guess that a repair will be some fraction of that.
It is important to note that your situation is outside the traditional roles
of tenant and landlord. I’m guessing that your offer to loan your studio was
not a business decision, but a response to a friend’s need for a place to work.
Rather than apply the usual business models, think of your investment in
each other as part of your creative process. People travel great distances and
spend a lot of money to share ideas and gather inspiration, and here you
have it at your doorstep. A shallow view says you have a broken tool; a more
creative approach says you pay a few dollars to have a sympathetic partner
close at hand in a professionally stimulating relationship. Whatever the cost, I
think you’re getting a bargain that many people would envy.
But how to divide the responsibility? This trick might work: each of you
think of a range within which you would be comfortable. If the owner of the
flexshaft had a similar thought, it will be pretty easy to find agreement on a
proportion you both consider fair. In the end you will each decide how much
your friendship is worth. Thanks for writing,
Send your philosophical quandaries to Ask Sol, Journal@PMCguild.com.
journal of the pmc guild
News & Notes
From The Metal Heads, Feat
of Clay, the Tucson, Arizona
During the month of
April 2009 The Stained
Glass Shop in Glendale,
Arizona hosted their annual
Art Glass and Metal Clay
competition. More than
30 entries by 17 artists
were included in this year’s
competition. Members from
The Tucson Alchemists;
Elly Kadie, Doris King and
The judges: Elly, Doris, and Marnie
Marnie Ehlers performed
the judging with an all new
and improved judging criteria. The judging and awards consisted of three
areas; Creativity, Workmanship and Design.
With this said one entry could have as many as
A wonderful assortment of prizes were donated
by Metal Clay Findings, Whole Lotta Whimsy,
PMC Tool & Supply, Brynmorgen Press,
Jeannette Landenwitch, Kate McKinnon, Pam
East, Hadar Jacobson, Lorren Davis, Celie Fago,
Barbara Becker Simon, Jay Humphreys, Holly
Gage, Carol Babineau, and Jackie Truty.
This years Grand Champion is Diane Sepanski
with her necklace; “The Attic.” First place
winners include Florence Coleman, Penny
Dickenson and Diane Sepanski.
“The Attic” by Diane Sepanski
The finalists for 2009 Saul Bell Awards, sponsored by Rio Grande, have
been announced. Congratulations and good luck to all. Pieces are judged
on innovation and uniqueness of design, successful incorporation of media
into the design, quality of workmanship. Winners will be announced at the
JCK Las Vegas show, May 30 to June 2. The grand prize is a $10,000 Rio
Grande gift certificate, and first place in each category brings a $2,500 gift
certificate. Second place in each category nets a $1,000 gift certificate.
Congratulations to these nominees whose work placed in the PMC
Jennifer Smith-Righter, Wearable By Design, Redwood City, Cailfornia
Barbara Fernald, Barbara S. Fernald Jewelry, Islesford, Maine
Gail Crosman Moore, Orange, Massachusetts
Kay Adams, St. Louis, Missouri
LaVonne Nye, Lostant, Illinois
After several years in development, Mitsubishi Materials announces a new
package design that will unify the product line. The new packages were
designed by Guild Communications Director Tim McCreight and reflect a
western color sense and aesthetic. The look is new but the contents are
the same —three types of PMC, plus sheet, syringe, and slip. Firing schedules
and all other details remain as before. To see the full line of packaging,
Welcome to the new PMC Guild chapter in the San Diego County area.
Members meet the third Tuesday of every month at the San Diego
Lapidary Society, 5654 Mildred St. Contact Melissa at mwilcoxson83@aol.
com with questions.
Step by step PMC instruction on DVD series Silver in No Time,
PMC Classes, products and services by Linda Bernstein.
journal of the pmc guild
As reported earlier in iFusion, the PMC Guild will return to Purdue
University for its next Conference, scheduled for July 29-Aug. 1, 2010.
“The Guild debated moving to another location, but decided to stick with
Purdue,” reports Executive Director Jeanette Landenwitch. “After reviewing
the needs for our biennial conference, and much searching for alternative
locations, we have made the decision to return to Purdue University in
Indiana for our 2010 conference. Our goal is to have the best conference
experience for our attendees. Purdue has everything we need, has the
dates available for us, and is a great value for the money.”
The Phoenix Chapter “The Metal Heads Feat of Clay” hosted a workshop
with Christie Anderson (aka “The Birdhouse Lady”) in March. They just
completed a fantastic workshop with Jay Humphreys, learning the ins and
outs of metal clay veneer. They are looking forward to hosting workshops
this year with Kate McKinnon, Holly Gage, Pam East, Hadar Jacobson,
and a Rio Certification class with Barbara Becker Simon.
Diane Sepanski, leader of the group says, “My plan is to stimulate
the creative process by promoting contests and competitions, introducing
new processes for metal clay, and materials to include with metal clay and
bringing in guest instructors.
Reminder: Members are entitled (and ecouraged) to sign up for the Guild’s
electronic email newsletter called iFusion. If you are not getting this informative
mailing, go to the Members section of PMCguild.com to sign up.
Contributors to the Visual Trigger Challenge on the next page:
1 DeWalt Stevens 6 Phyllis Howard
2 D. Sims 7 Louise Shadonix
3 patsy monk 8 Mary Dierks
4 patsy monk 9 Sally Lamb
5 Carol Hamilton 10 R. Merrill Bollerud
Visual Trigger Challenge
This is a first! The jurors were
unable to choose a winner this
quarter, so we’re asking for your
help. Decide which of these
pieces shows the most innovative
response to the photo at the right,
then visit the Guild website to vote.
Go to www.PMCguild.com and
click on the NEWS button. A quick
link will give you a chance to record
a vote for your choice. To allow for
impartiality, we have left the names
off these pages. If you want to see who made what, cross reference on
page 21. Please vote as soon as possible. When the voting stops we’ll announce
journal of the pmc guild
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Fusion Visual Trigger Challenge: See inside for details