2008 /1

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The Journal of the International PMC Guild

fusionWEB 2.0

It wasn’t too long ago that an artist would pack up crates of work and lug them from one show to the next, racking up miles, time and expense. Today, artists still go to great cost and effort to a�end art shows and art fairs, because there is no

be�er way to sell work than by showing it up close and personal. Increasingly, as the Web has become more sophisticated and user-friendly, it too has become an indispensable tool for reaching and developing an audience. “For me, it’s a huge piece of the puzzle,” said Colorado-based designer Jo Martin, who markets her line of jewelry, JBrady Designs, at www.jbradydesigns.com. Since 2004, Martin and many other tech-savvy artists have tapped into the second-generation Web phenomenon known as Web 2.0. Web 2.0 refers not to a new version of the Web, but to the sophisticated applications that people use to get the most out of the Web. �ey include such technologies as blogs, pod casts, social so�ware, and various two-way interactive services. Once viewed as a scary, confusing place, the Web is increasingly seen as an essential tool for artists to reach a wide and diverse audience, and also as a way to save promotional and travel costs. No longer scary to many, the Web has become a simpler and friendlier place as technologies have developed, making it easier to use for those with fewer techni-cal skills. �e PMC community has been Web connected since its earli-est days. Indeed, the PMC Guild launched its �rst site in 1998, long

before many individual artists made the leap, and the growth of the Guild worldwide is linked directly to its Web presence. Today, any artist interested in selling work or simply interacting socially must have some degree of Web presence, said Sadelle Wiltshire of Spectrum Design, a Vermont-based Web designer. Wiltshire, who maintains the PMC Guild sites, works with many artists to establish an effective presence on the Web. “I’m seeing the quality of Web presentations improve in general, as tools such as blogs and gallery so�ware make it easier for non-Web specialists to present their artwork,” Wiltshire said. �e biggest oppor-tunities on the “new” Web, or Web 2.0, are blogs, discussion boards and social networking sites, she said. Blogs, boards, and other com-munication tools offer opportunities for two-way interaction with visitors, who o�en also become customers. By communicating directly with people who are interested in their work, artists are able to demystify the art-making process by establish-ing a direct Web-based relationship. Wiltshire advises clients to establish a blog to help them reach their Web potential. An effective Web presence means more than simply pu�ing up a blog. It also means presenting com-pelling photography, how-to videos,

biographical information about an artist, information about a line of work and many other elements, she said. PMC artist and tool-maker Elaine Luther launched her website, www.CreativeTextureTools.com, in February 2004. Luther manufactures specialty tools for PMC and also sells tools made by other companies. Early on, she promoted her company with print ads in relevant magazines. In addition to print, she now uses such Web 2.0 sites such as Squidoo to publicize her company. With it, Luther has wri�en guides for jewelry making, tips for tool buyers, and advice for artists about using the Web to promote their work. She is part of the Metal Clay Gallery, the Metalclay Yahoo group, and several other forums. She main-tains her own blog, All �ings Metal Clay, which she began this year and now updates daily. She admits she was resistant at �rst, but in three years has become a dedicated Web convert. “My step-father has been telling me for years that I should have a blog. I didn’t get it—what would I talk about? Now I get it, and of course he was right,” Luther said. Instead of cra� shows, she sells on the Internet. “I love that people can place an order while I’m asleep, and then I wake up and ship the order to them the next day,” she said.

Colorado artist Tejae Floyde used her interactive blog in an in-novate way in December. For the holidays, she offered a silver charm to someone serving in the military, as part of her own “Pay It Forward” gesture. “Pay It Forward” refers to the social phenomenon in which someone does something nice for someone else, in hopes that the person on the receiving end will pass on a similar kind-hearted gesture to someone else. She posted on her blog, “I don’t have any relatives in the active military but my heart goes out to the military families and friends who have loved ones serving in this war. �e “Pay it Forward” drawing on this blog will be in honor of all military families. If you belong to a military family, or have a friend or extended family member serving that would enjoy having one of my “loved” heart charms, please leave me a comment here today.” Floyde’s blog can be read at www.tejaesart.blogspot.com. Jo Martin of JBrady Designs advises artists to be smart about ge�ing on the Web. It’s important to have all the pieces ready before launching a site. “I quickly came up with a business name, registered my domain, created a logo, printed up some business cards, and signed up with a Web hosting company. I was sure that one month a�er publishing

the site I was magically going to be able to quit my corporate sales job,” she said. �at didn’t happen. She jumped in too fast. She didn’t have a cohesive jewelry line, and quickly realized that having a website wasn’t the answer. She took a step back, changed her logo and further developed her jewelry line. �e process enabled her to present an image of her work in a uni�ed voice. “Web marketing is only as strong as the message behind it, but it does position you in front of more people than ever before,” she said. “I no longer think that money will magi-cally appear if I have a Web store, as I did in 2004. But I know that using my strengths and drive, as well as some of the Web tools available, will ultimately yield results.” Martin is a big fan of the poten-tial of Web 2.0, because of its ability to present her work in a unique way to untold numbers of people. “It’s truly amazing to me not only how many people see what I put out there on the Web, but where they’re from and how fast it spreads. Web 2.0 allows me to take the mystery out of the once-looming enigma of online marketing, to market my way with my talents and passions, not only saving thousands of dollars in marketing costs, but also having a heck of a fun time doing it.”

We live in disposable times, fueled by the energy of consumption. We buy things we don’t need and don’t expect to last, under the guise that this appliance or that cell phone or this handy-dandy new whatever are somehow going to make us feel more ful�lled. It’s out with the new, and in with the newer—and on and on we go. It’s what some people refer to as the Wal-Mart Effect, and it’s destroy-ing our culture’s sense of standards and quality. We as a society seem more accepting of mediocrity than ever before. We set low standards, and get what we deserve: things that don’t work, don’t last, and that we quickly realize we can live without. My fear is that our low expecta-tions are creeping into our creative and artistic endeavors. �e issue is not that there is no good work being made—there is an abundance of good work out there. �e issue, at least from my perspective, is that it is ge�ing harder to distinguish the good from the mediocre, because there is not enough critical discus-sion to elevate the bar. When was the last time a friend or colleague told you that the pendant you just posted on the Web wasn’t your best work? Or that

the necklace you just �nished might have been more appealing if you had taken a different approach? Of course artists are doing good work, all the time, all over the world, and in ways that are truly remarkable and worth celebrating. We just don’t distinguish it as much as we should. We celebrate all work as good work. I a�ended a discussion recently at a gallery in Rockport, Maine of curators and arts writers, and we all agreed that art criticism in America is almost non-existent. Some magazines still do it, and certainly major newspapers still make room for criticism and reviews. But at the community level where most of us live our lives day to day, there is paucity of thoughtful, well-meaning, and constructive criticism. �e consensus we reached is that we are afraid to criticize because we do not want to offend. As our circles grow wider, our worlds become smaller. It’s more polite to say “Good work!” than it is to say what we really think. As artists, we are responsible for raising the bar. When we begin compromising our standards, we begin to compromise our work.

Your comments are welcome at Journal@PMCguild.com

Are We Selling Ourselves Short? — Editorial by Bob Keyes

Understanding Density and its Relationship to Firing in Metal Clay

Some of the most �equently asked questions concern the relationship between �ring and strength in metal clay. It is a good question, and understanding the decisions and trade-offs can be helpful in the studio. �e scientists at Mitsubishi Materials Corporation have performed hundreds of tests on Precious Metal Clay (PMC®) to insure its strength. �eir data has been collected into the two graphs presented here, and it is worth taking some time to understand the stories they tell.

��� �� ���� ��� �������e vertical scale indicates hardness. �e bo�om edge shows so� clay and the top identi�es the hardness of cast �ne silver. �e objective is to get as high on the chart as we can. �e horizontal scale shows the passage of time, up to two hours.

������������� ��� �������Each test was run many times at speci�c temperatures. �e results were averaged to create the lines you see here. In both of the charts on the following pages, the dark line

indicates the lowest recommended temperature, and the upper line, in gray, shows the highest recom-mended temperature. �ese charts show one type of clay (PMC+) and two �ring schedules. On the Guild’s website you will �nd animations that show this data for all three recom-mended schedules, and for PMC3 as well as PMC+. Please visit the Charts section in the “Ge�ing Started” tab at www.PMCguild.com. We recom-mend that you download the instruc-tive page you’ll �nd there to help you get the most from these charts.

Check out the Guild website to see animated versions of the charts on the following pages.

�e top edge of this chart represents cast �ne silver and is assigned the value of 100%. A point halfway down, for instance, would read as 50% and would be half as dense as conventional silver. �e black line indicates �ring PMC+ at its lowest recommended temperature:1470° F (700° C). �e upper, gray line indi-cates �ring PMC+ at its highest recommended schedule, 1650° F (900° C). In both �ring scenarios, the lines arc upward rapidly. �is tells us that most of the hardening happens within the �rst ��een minutes or so. Notice that the curve associated with the higher temperature is the steepest. �is tells us that temperature is important—this sample gets harder faster than the other. Notice that the lines level out as they travel across the page. �is indicates that the hardening process is complete. To say it another way, �ve minutes early in the process makes a big difference. Five minutes, added or removed from late in the process doesn’t make much difference.

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Density of PMC at Two Firing Schedules

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Tensile strength refers to the ability of a metal to resist being broken when stretched. It is one of several ways to test strength. �is would be especially relevant when making chain links, for instance, and less relevant when making bu�on earrings.�e vertical scale indicates strength (higher is be�er) and the horizontal scale shows length of �ring time. �is chart shows the results for PMC+ �red at the highest and lowest recommended temperatures (the same schedules used on the preceding page). When tested in this way, the range of �ring temperatures shows greater differences in strength. �e data clearly shows that both time and temperature ma�er, but temperature ma�ers more. Fire to as high a temperature as possible for maximum strength.

��� ������� ��������e PMC Guild has hired Damian Albano as its new Chapter Liaison. �e position entails working as an advocate for the local Guild chapters, which means staying in touch with each chapter on a monthly basis and serving as a go-between with Guild management. He’s been in the posi-tion since October. Albano’s goal is to add ten chap-ters to the Guild in 2008. Ultimately, he’d like to see Guild chapters in each U.S. state. Presently, the Guild has 42 chapters in 26 states. “I see the chapters as a vital part of the Guild, because through them we can be in touch with the next wave of teachers and artists, the people who will be advancing the energy and accomplishments of metal clay work,” he said. Albano has a number of ideas for strengthening the chapters. • Adopt-A-Chapter: �is would pair established chapters with new chapters. Because education is an underlying philosophy of the Guild, the older chapters could ful�ll a key component of their mission, while new chapters would bene�t from the wisdom of their elders.• Chapter Conference Challenge: Beginning with the July conference, this quasi-competition would chal-lenge each chapter to display the work of its members. �e displays

would be judged, with the top three winning recognition and prizes.• Publicity Package: Albano intends to create press kits that each chapter can use to garner media a�ention in its local market, and to work with local chapters to promote themselves in their communities. Albano’s background is in the communications �eld. He has worked extensively with New Jersey-based PMC artist Chris Darway and taken the Rio Rewards Certi�cation course. “My personal goals as liaison are to see that each chapter receives the individual a�ention they need. Some chapters need more a�ention and some need less, but regardless, I’d like chapters to know that they have someone they can come to who will be there when they have a question.” Albano may be contacted at Chapters@PMCguild.com.

Damian Albano and his assistant, Spencer.

You might say that cool tools led Phil London into jewelry making. He was taking an a�er-hours wood-working class at a high school near his suburban Philadelphia home 30 years ago. To get to the wood shop, he had to pass by a classroom that was being used for jewelry making. �e students in the jewelry class seemed to be having so much fun, London wanted to �nd out why. “One night, I stuck my nose in, and I was intrigued by all the li�le tools, hammers, and pliers,” he said. “I decided that I would like to try it the following year.” Never one to se�le for modest ambition, London held fast to his promise and enrolled in the class. �e �rst

night, he told his instructor he wanted to make a sterling silver serving tray. �e teacher thought that might be too large a project for a beginner, so instead, London decided to make a sterling silver ring set with his birthstone, a ruby. “To this day, I wear that ring every day.” �e ring serves as a reminder of how far London has come as both an artist and a human being. For his accomplishments, London, 87, will receive the PMC Guild’s Fusion Award at its 2008 conference at Purdue University. �e award recognizes outstanding service to �elds of cra� and creativity. London, now retired and

Phil London to Receive Fusion Award

living in Florida, made his career in the insurance business. But his passion is jewelry making. He founded the Pennsylvania Society of Goldsmiths and the Florida Society of Goldsmiths, and also was instrumental in forming the National Metalsmiths Hall of Fame in St. Petersburg, Florida. Lately, he’s begun working with PMC. London has long been interested in helping people with visual dis-abilities, ever since a student of his asked if London could also teach his wife, who was disabled. “Unfortunately, at that time I had to turn him down, because I didn’t feel quali�ed to teach someone with a disability.” �at disappointment stuck with him for many years. In his experience, the vast majority of people who are visually impaired have some percentage of sight. PMC seems like a perfect material for people with sight difficulties to work with, he said. “�e moment I was introduced to PMC, the thought occurred to me that this would be a product that, a�er mastering the technique, I could teach those with a physical disability,” he said. “People can feel what they’re doing with PMC. It just seemed like it would be perfect for them.”

Barbara Simon has known London for more than 20 years. She was teaching a metalwork and jewelry class at a community college in the Fort Myers area when, out of the blue, London called her on the phone. He explained a li�le about his background, and then proposed to Simon that she begin a local chapter of the Florida Society Goldsmiths. At �rst, she hesitated. She didn’t know London at all, and wasn’t sure she had either the time or interest in taking on an ambi-tious project. But London would have nothing of it. With just a li�le arm-twisting, he convinced Simon that starting a chapter would be good for her and good for her com-munity of peers. “He is a force to be reckoned with,” Simon said. “You can’t say no to him. He’s just like that. He really gets the �re started under people. He’s very passionate and genuine.” Simon also is the person London called when he wanted to learn to work with PMC. She taught him a certi�cation class, en-abling him to teach others. “He’s all about sharing and giving,” Simon said. “He gets people excited. He is a very motivating person.” �at trait was evident in his background with the Pennsylvania Society of Goldsmiths. London is

a hobby jeweler, not a professional. He wanted to join the Society of North American Goldsmiths, but the organization wouldn’t let him. “�ey said it was only for profes-sionals. I got mad about that and said if they wouldn’t let me in, I’ll create my own organization. And that’s what I did.” Without the help of an a�or-ney, he researched how to set up a 501(c)3 non-pro�t organization and formed the Pennsylvania group in 1979. It now has two chapters catering to the needs for those who desire to learn art-jewelry in Pennsylvania. He did the same thing again when he moved to Florida in 1983. �e Florida group now has seven chapters and a total membership of several thousand enthusiastic cra�speople. Never one to rest for long, London went on to establish the Goldsmiths Hall of Fame. “I feel it is so important to recognize those artists that have made a contribu-tion to the world of metalsmithing. �at in itself makes it worthwhile for me,” he said.

For these reasons, the PMC Guild decided to honor London at its upcoming conference. He is thrilled with the award, and pleased that his efforts have helped so many people. “�is is one of the most excit-ing things that has ever happened to me. I have always felt it was my responsibility to give back to the community of which I have received so much. I have been �oating up on cloud nine since I heard about it. I am at a total loss for words.” At age 87, he shows few signs of slowing down. His health is good, his mind sharp. And he is enjoying life. He a�ributes all that to his decision many years ago to keep his hands busy. It all goes back to that night in Pennsylvania, when he stopped in to check on a jewelry class because it looked like fun. “Art is my joy in life,” London said. “When I visit an opening of an art exhibit, I leave feeling elated.”

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Guild Joins the Carbon Fund

One of the dilemmas we face in our daily lives is learning to become more responsible stewards of the fragile planet. At home, most of us recycle. We’ve learned to turn off lights when not in use. We’re willing to put on a sweater and turn down the heat in the winter. All that is well and good, but those measures alone won’t save the planet. “�at’s too passive. We’ve got to turn it up a notch,” said Tim Mc-Creight, Communications Director for the PMC Guild. �is fall, the Guild announced it has become a partner in the Carbon Fund, one of the leading organizations working to offset the creation of greenhouse gases. �e Guild tries to minimize travel and paper waste, but life in modern times creates pollutants that threaten the environment. �rough the Carbon Fund, the Guild supports reforestation, the purchase of carbon offsets and research into alternative energy sources.

McCreight said it was impor-tant for the Guild to do something, because it’s the socially responsible thing to do. “One way we can do more is to take responsible actions into our professional lives. It’s one thing at home to say, ‘I’m going to recycle my tin cans.’ It’s another thing to say I’m going to take it to work.” In addition to working for the PMC Guild, McCreight also runs a publishing house called Brynmorgen Press. With the press, he’s tried to be socially responsible by printing on recycled paper and using soy ink. Recently, he also partnered with the Carbon Fund. A�er making that investment, he brought up the topic with the

directors of the Guild. A�er much discussion, Guild leaders agreed to partner with the Carbon Fund. As a member organization, McCreight feels it’s important that members are aware of the Guild’s activities on their behalf. “I hope when people hear about this they will say, ‘�at’s good. I am glad to belong to an organization that is ethical and on the ball and shares my values.’” He fully realizes that by becoming a Carbon Fund partner,

the Guild is only making a gesture to help the environment. �e Guild itself is not digging a hole and plant-ing a tree, but instead is writing a check and trusting the Carbon Fund to do the right thing. But that gesture alone is a start. “In the end, something is be�er than nothing,” he said. “Something needs to be done, and this is some-thing. We hope our members agree with this step—maybe even enough to consider their own gestures.”

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www.ecobusinesslinks.com/jewelry-eco-friendly.htmwww.atmosclear.orgwww.carbonfund.orgwww.e-BlueHorizons.comwww.DriveNeutral.org

For a comparison of the effectiveness of various agencies, including those in the UK and Australia, see the “Carbon Offse�ing Report in the “Services” section of this helpful site: www.ecobusinesslinks.com

Dear Sol,I’m a stay-at-home Mom with two small kids and an abiding interest in metal clay. My husband supports my artistic pursuits, but I feel guilty spending money on workshops and equipment. Can you help me think this through? Anxious Annie (not my real name)

Ask SolHave you ever been in a philosophical quandary and asked yourself, “What would Solomon do?” Well, the Solomon is no longer available, but on this page we’ll try to think through professional issues that any of us might face. Please send your questions to Ask Sol, c/o Journal@PMCguild.com.

Dear Annie,First let me say that every marriage is unique, and it is beyond my role to get into your speci�c situation. But your le�er rose to the top of the pile because I think your situation might be more common than you know. First, I’d say that you should have a clear and detailed discus-sion with your husband. Accept that he is genuine in his support, but discuss with him the limits of that support. Presumably you are not spending the grocery money on PMC… the two of you should

establish clear guidelines for your spending. Maybe he plays golf, or enjoys expensive wines, and these guidelines are important for his activities too. Next, don’t sell short the ben-e�ts of your artistic work. It sounds like it is a hobby at the moment, and there’s nothing wrong with that. Have you looked into the price of therapy lately? If your work with metal clay keeps you grounded, helps relieve stress, and leads you to meet new friends, it might be worth a lot to the overall happiness of you

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and your family. And then there is the possibility of using your metal clay work as a source of income. I want to be clear that I don’t think this is necessary to justify your involvement, but I know that many people sell their work and teach classes. �is adds to their enjoyment of metal clay, but it also brings in money that helps to pay for classes, conferences, and materials. In a more subtle way, if

you are making gi�s, you are saving the money that would otherwise be spent. Perhaps it would help to jot down a list of the pros and cons of your interest in metal clay. Develop two lists and see which one is longer — I think you’ll be surprised how easy it is to resolve this with a li�le honest conversation.

Hope I’ve helped,

Sol

Response to the premiere issue of the Guild’s newest publication has been overwhelmingly positive. In November, each member of the Guild received this handsome 128-page book, �lled with examples of exciting work being made wiith metal clay. Members can buy up to three additional copies, and the book is being sold through retailers and at Amazon.com. We are now accepting submissions for next year’s Annual, which will be sent out in October. �e deadline for submissions is May 16, 2008. See the “PMC in Print” tab of the Guild site for details.

How to Read the Fusion LabelEvery once in a while, the Guild office gets questions from members who want to know when their memberships are due to expire. It is a fair question, so we asked our ful�llment house to change the information printed on the labels. What follows is a primer, along with some related information we want to share. �e new labels show your membership number and the �nal issue of the journal you will be receiving. �is is issue #3, so if your label has a 3, then it is time for you

to renew. If your label shows, say, FUSION #8, it means you are paid up for more than a year in advance. �is method is more accurate than a date because it re�ects full quarters. �at is, a person enrolling in early January and another joining in late March will fall into the same “class.” �ey will both receive four issues and a copy of the Guild Annual. �is is a quarterly publication, which means your membership entitles you to four issues. As a member, you have access online, not only to the current issue, but

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891C Mikuni Avenue, Northridge, CA 93124 (866) 762–2529 www.pmcconnection.com

Your source for PMC, Certification, Specialty and Master Classes, kilns, and supplies

to the full archives of our ten year publishing history. �e other useful number on the label is your seven-digit member number. With this and your ZIP-code, you can log on to the Guild database and change the details of your account. Next time you feel the urge to renew your membership or con�rm that your street address is accurate, at 3:00 in the morning, you can do it. �is is a good time to explain the Guild’s policy on renewal notices. Two months before your membership expires, you will receive a reminder by email. Most of our members, we’re happy to say, respond to this note by logging on to our secure server. �ose smart people will not receive any further notices. Others will receive a reminder notice in the mail a month before their membership runs out. And those who do not respond to that note will receive a last reminder a month a�er their anniversary date. Most organiza-

tions send out four notices, all by post. By using email, we are saving several hundred dollars each year, and by limiting our contacts to three instead of four, we are voicing our respect for your intelligence. We are very pleased to report that membership in the PMC Guild continues to grow, and this allows us to do more of what the Guild is here to do — research, resource, and renewal. If you’re a close reader, you might have noticed that this issue does not have a season designation. It is de�nitely winter for some of us, but it is a re�ection of our international scope that we are discontinuing those designations. And to our friends Down Under we say, take us along when you head for the beach. As always, if you have ques-tions, we will do our best to help. You willl �nd a list of names and contacts on the back cover of this journal. We look forward to hearing from you.

Serving PMC artists from San Antonio, Texas

210 - 656 - 8239PMC123.com

Conference Update

�is issue of Fusion includes a color brochure for our fourth biennial conference. �e same brochure is downloadable at our conference site, so feel free to pass yours along to a friend. �e brochure gives a periscope view of what promises to be an exciting event. For details and links, your best source is the confer-ence site, shown above. �ere you will �nd details on housing, food, transportation, and the program. �e more than four hundred people who a�ended last year seemed to enjoy themselves. Here are a few of the comments we received:

Too many good things happened to mention them all—countless examples of the helpfulness, kindness, enthusi-asm, and humility that helped make us all feel right at home and part of a fabulous community.

I thought I went for PMC, but it wasthe people that made the whole confer-ence so special.

Many beautiful pieces were displayed by the Local Chapters and there were so many more works of art adorning necks, ears, and �ngers…

wwwPMC–Conference.com

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I drove home with the window open and the music blaring, and in three hours I tried to process all the information and experiences. It was not possible! �e experiences and the inspiration will last me for months to come.

�ose people will see a few changes and a few additions this year. For in-stance, they will �nd more vendors in a larger space in a ground �oor hall. And they’ll �nd chairs and tables in that space so they can rest between shopping sprints. And speaking of sprints, we’re planning the �rst-ever PMC Sprints Relay Race. Teams of volunteers will compete for our very own Dubious Awards. We are proud of our new Ride Share program. �e Guild com-missioned a so�ware designer to develop a program that will make it easy for Riders and Drivers to �nd each other. Based on our very suc-cessful Find-a-Class so�ware, people looking to share a ride can �nd each other. �e Guild can’t guarantee that you will �nd a match up, but we’ll do our best to help. Drivers, think

about starting the conference early with a like-minded enthusiast who can share the cost of gas and help pass the time. Riders, be creative by mapping a line from your home to the conference. Maybe you can �nd someone who is passing through, or maybe you can drive part way to join up with someone and then share the ride from there. In these times of expensive gas and delayed �ights, creative people will carve out innova-tive solutions. Once you get to the confer-ence, you’ll �nd another innovation we’re calling the Technique Expo. Instead of commi�ing yourself to a 45-minute lecture, you can browse through a room �lled with tabletop presentations on a range of topics. �rough posters, photos, examples, and images, you can get a quick summary of everything. �ose subjects that interest you will merit a return visit, perhaps a conversation with the artist. Because this room is adjacent to the Vendors and open many hours each day, you’ll have plenty of time to visit, revisit, and share with your friends.

PMC in NYC212–947–6879

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Each year, the American Gem Trade Association hosts a large gem show in Tucson, Arizona. �is year’s AGTA GemFair ™ will be Feb. 6-11. �e Febru-ary show is one of three offered annually by the AGTA. Others are May 29-June 2 in Las Vegas and July 27-30 in New York City. �e show inspires creativity, said PMC Guild member Tonya David-son, who will a�end her 16th GemFair ™ in February. In addition to working as an exhibitor and teaching sessions during the show, she appreciates the opportunities to a�end free sessions and to interact with other artists. Davidson recommends the show to PMC artisans. “�e Tucson gem show as a whole is inspirational. Seeing the huge range of materials available to use with PMC, seeing the work of so many artists, being on the cu�ing edge of trends, and having that energy surrounding you, ignites your cre-ativity. It can be overwhelming to the �rst-timer.” Her advice is to come with a budget and stick to it. It’s easy to get carried away and over-spend. For details, visit www.agta.org.

News From and For the PMC Community

PMC Guild member Elaine Luther was included in a group exhibition, “Anti-War Medals Show,” which opened Oct. 6 at the �omas Mann Gallery in New Orleans. For more information, visit www.thomasmann.com.

PMC Guild’s Affiliate in Australia/New Zealand has increased its executive commi�ee to seven members to encourage wider geographic representa-tion. Pam Annesley from Western Australia and Carol Gregory from Victo-ria joined the commi�ee.

www.Artique.org847-977-4444

LBernstein@Artique.org

Step by step PMC instruction on DVD series Silver in No Time,

PMC Classes, products and services by Linda Bernstein.

�e 2008 Cra� Organization Development Association international lead-ership conference will be April 10-13 in Li�le Rock, Arkansas. �is year’s theme is “Creating Cra� Consumers, Collectors & Leaders.” Speakers, agenda and conference details are available at www.codacra�.org.

Call for WorkAlong with several exhibitions of work that will be on display at the confer-ence in July, we would also like to present a display of the spiffy tools that are so characteristic of the metal clay community. So start thinking about the tools you’d like to show. �is is not a commercial enterprise�the Ven-dors Hall will cover that�this is a chance to share the popsicle stick, cheese grater, chopstick tools that make your studio work so much fun. �is spontaneous show will be assembled on the spot from work you bring to the conference. Volunteers will collect work at registration and arrange the display, then you can pick up your work as the conference comes to a close. No need to apply, no jury, no forms to �ll out.

Anniversary congratulations go to Jeane�e Landenwitch, who took on the position of Executive Director of the PMC Guild on January 1, 2005. It is hard to believe that it has already been three years that Ne�ie has been at the helm. During that time, the Guild has grown in size and stature, and we have every reason to anticipate more of the same. �anks, Ne�ie!

Supplier of Fine Silver Findings for the Metal Clay Artisan

Toll-free 888-999-6404Phone 401-305-3999Fax 401-728- 8038Email mcf@metalclayfindings.com

www.metalclayfindings.com

�e Art & Design of Metal Clay Jewelry 2008Holly Gage Designs announces the publication of a 2008 calendar designed speci�cally for metal clay artists and patrons. In addition to several dozen photos of exciting work, the calendar highlights the dates of events and competitions of interest to artists working in metal clay. Available online at www.HollyGage.com. $19.99

In PrintEnameling on Metal ClayKalmbach Books has published “Enameling on Metal Clay” by PMC Guild member Pam East. �e 96-page book includes information for ge�ing started with metal clay and enameling, with eight step-by-step projects; $19.95.

“Your Complete Source for Enameling Supplies”

www.thompsonenamel.cominfo@thompsonenamel.com

(859) 291–3800

ThompsonEnamel Inc.

Across1 Metal strip that encloses and

holds a gemstone.4 Wire or “�nger” of metal that

holds a gem.5 Working end of a goldsmith’s

carving tool (two words).7 Popular patina chemical (three

words).9 Electric device used to sinter

metal clay.14 Ornament for hands.

Down2 Commercial polishing compound.4 Flaw in cast metal caused by

uneven shrinking.6 Known by chemists as Ag.8 Gold layering product.10 Can be done on water or snow.11 Graceful vessel; Greeks were

famous for these.12 Not near.13 Chemists call this stannous, Sn.

1 2 3 4

56 8

10

9

11 12 13

14

7

To see the answers, visit the Members section of www.PMCguild.com.

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