Now More Than Ever - Rio Grande

journal of the pmc guild 

fusion 

The Journal of the International PMC Guild 

PROFESSIONAL DEVELOPMENT 

Now More Than Ever 

Photo by Dennis Griggs, Courtesy of Haystack Mountain School of Crafts 

9 

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. 

2009 /3

fusion nine 

page 2 

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 

her studio.


PMCguild 

International 

The PMC Guild is a 

members organization with 

the mission of providing 

support, education, and 

exposure for artists working 

in Precious Metal Clay. 

PMC Guild 

1921 Cliffview Lane 

Florence, KY 41042 

Executive Director 

Jeanette Landenwitch 

Director@PMCguild.com 

Treasurer 

Darnall Burks 

Treasurer@PMCguild.com 

Communications 

Tim McCreight 

Tech@PMCguild.com 

Journal Editor 

Bob Keyes 

Journal@PMCguild.com 

Web Manager 

Sadelle Wiltshire 

Web@PMCguild.com 

To Join, Renew, or 

Edit Info Online 

www.PMCguild.com 

Membership Questions 

(toll-free) 

866–315–6487 

Speak with the Director 

859–586–0595 

“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 

Robert Dancik. 

page 3

fusion nine 

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.” 

page 4


CREATIVITY 

Bob Keyes 

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 

before. 

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 

page 5

fusion nine 

page 6 

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 

magic pill.” 

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.”


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 journal@pmcguild.com. If we 

get enough ideas, we will share them in an upcoming publication. 

Jurors 

Announced 

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. 

page 7

fusion nine 

page 8 

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 

new chapters. 

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


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 

ceramics class. 

“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 

biennial conference. 

“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 

times. 

page 9

fusion nine 

Medical Report 

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 

extended. 

page 10


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 

and repeat. 

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.” 

ffzstudio.com 

Make us your destination for metal clay classes. 

page 11

fusion nine 

Editorial 

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 

and topics. 

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 

page 12 

www.wholelottawhimsy.com 

(520) 531–1966 

Register online for certified, store, or designer account


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@ 

pmcguild.com. 

— Bob Keyes 

Supplier of Fine Silver Findings 

for the Metal Clay Artisan 

www.metalclayfindings.com 

Toll-free 888-999-6404 

Phone 401-305-3999 

Fax 401-728- 8038 

Email mcf@metalclayfindings.com 

page 13

fusion nine 

INDEX 

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. 

1 

2 

3 

2007/3 

The Rising Price of Silver 

Meet the New Editor 

Make Your Own Oil Paste 

Ethicals in Precious Metals 

2007/4 

Meet the Annual 

Yahoo Metalclay 

Argentium Silver 

Should I Name My Work? 

Artist Profile: Gerald Haessig 

2008/1 

Web 2.0 

Understanding Density 

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 

Conference Update 

Editorial: Selling Ourselves Short? 

Ask Sol: Spending Family Money? 

4 

#4 2008/2 

Dealing Creatively with High Costs 

Oregon Sunstones 

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 

page 14 

“Your Complete Source for Enameling Supplies” 

Thompson 

Enamel Inc. 

www.thompsonenamel.com 

info@thompsonenamel.com 

(859) 291–3800


5 

2008/3 

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 

6 

7 

8 

2008/4 

Interview with Bill Struve, The 

Story Behind Bronze Clay 

Introducing the Masters Registry 

What Makes a Good Photo? 

2009/1 

Rendering Made Simple 

Hasbro Designers by Terry Kovalcik 

Artist Profile: Cindy Durant 

Workshops Tips by Terry Kovalcik 

2009/2 

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 

Schedule 

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! 

Visit www.saulbellaward.com 

for more details. 

Saul Bell Design Award 

page 15

fusion nine 

Cultural Messages 

Symbolism Through 

the Ages 

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. 

page 16 

bisqueimports.com 

888.568.5991 

#1 supplier of 

bisque beads & more. 

WE SUPPORT CREATIVITY


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 



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. 

Sherry Fotopoulos 

Serves metal clay artists 

210-656-8239 

ONLINE CATALOG :: PMC123.com 

page 17

fusion nine 

Ask Sol 

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 

Dear 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, 

Sol 

Send your philosophical quandaries to Ask Sol, Journal@PMCguild.com. 

page 18


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 

three awards. 

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 

page 19

fusion nine 

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 

category: 

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, 

visit http://www.pmcguild.com/news/news.html. 

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. 

page 20 

www.Artique.org 

847-977-4444 

LBernstein@Artique.org


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 

 

 

 

 

page 21

fusion nine 

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 

a winner. 

1 

2 

3 4 

page 22


5 

6 

7 

8 

9 

10 

page 23

Fusion: The Journal of the PMC Guild, 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 Fusion issue or article. 

fusion nine 

PMC Guild 



Fusion Visual Trigger Challenge: See inside for details

Now More Than Ever - Rio Grande

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