Studio PMC Member Magazine of the PMC Guild

Summer 2005 · Volume 8, Number 2

Studio PMC

Summer 2005 · Volume 8, Number 2

Member Magazine of the PMC Guild

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On the Cover: Gang blade from PMC Tool and Supply/Darway Design Studio, leaf cutters and rolling tool from Celie Fago, and tool kit from New Mexico Clay. Background image is Elaine Luther working on her butterfly pendant... see page 7

Word Art This beginner's project by Debbie Fehrenbach using rubber stamps is ideal for teaching the technique.

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Butterfly Inlay Pendant Elaine Luther demonstrates the use of some of her favorite tools in this pendant project.

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The Tool Trade For some PMC artists, developing and selling tools has become a welcome addition to their PMC careers.

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Tools, Tools, Tools Studio PMC's First Tool Buyers' Guide! A treasure trove of tools for use with PMC.

Studio PMC PMC Guild P.O. Box 265, Mansfield, MA 02048 www.PMCguild.com Volume 8, Number 2 • Summer 2005 Editor—Suzanne Wade Technical Editor—Tim McCreight Art Director—Jonah Spivak Advertising Manager—Bill Spilman Studio PMC is published by the PMC Guild Inc. • How to SUBMIT WORK to Studio PMC… We welcome your PMC photos, articles and ideas. You may submit by mail or electronically. Please include your name, address, e-mail, phone, plus a full description of your PMC piece and a brief bio. Slides are preferred, but color prints and digital images are OK. By Mail: Mail articles and photos to: Studio PMC, P.O. Box 265, Mansfield, MA 02048. Electronically: E-mail articles in the body of the e-mail, or as attachments. E-mail photos as attachments. We require an image resolution of 300 dpi. • E-mail files (under 4 MB) to [email protected] Deadlines: Nov. 1 for Spring issue; Feb. 1 for Summer issue; May 1 for Fall issue; Aug. 1 for Winter issue. • How to Place Advertising in Studio PMC… Contact our Advertising Manager, Bill Spilman, for specifications, deadlines, and prices. Phone Toll-free: 877-878-3260. E-mail: [email protected]

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As I PMC It

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Gallery

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Happenings

• How to get answers to tech questions… E-mail Tim at: [email protected] To join or renew your PMC Guild membership, to change your mailing or e-mail address, or to request back issues or additional copies of Studio PMC, visit the PMC Guild Web site at www.PMCGuild.com, call toll-free 866-315-6487 or write P.O. Box 3000, Denville, NJ 07834 PMC Guild Jeanette Landenwitch, Executive Director 2390 Acorn Drive #245 Hebron, KY 41048 USA Phone: 859-586-0595 Website: www.PMCguild.com E-mail: [email protected] Copyright ©2005 PMC Guild. Printed four or more times a year. Reprints by permission only. All rights reserved.

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

As I PMC It: Tools of the Trade

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ho knew there were so many tools for PMC? When I first proposed this issue, I figured we'd fill a couple pages with tools. I knew there was a lot of creativity out there in the PMC world, but how many tools for PMC could there be? Well, I could have filled an entire year's worth of Studio PMC's with the tools that were submitted – and still had lots left over. Wow! I knew I was in trouble when I got a call from Speedy Peacock, one of the folks at PMC Supply. "I know you say 'no limit' to the number of products we can submit," he told me. "But we have over 4,000 products related to PMC. I figured you didn't want all of them." "Oh," I said weakly. "How about sending me a dozen or so of your favorites?" And the submissions just kept on coming. An entire box of description sheets and slides arrived from Elaine Luther at Creative Texture Tools. Rio Grande – who I know offers dozens of cool PMC tools – showed considerable restraint and sent in just six of their best and newest offerings. Santa Fe Jewelers Supply sent a three-page list – just a list – of their products. Gulp. Obviously, I wasn't going to fit everything in the 20 pages of Studio PMC! Plus I really wanted to include a couple of howto projects to give you some ideas for how to use all these cool tools, and an article

by Suzanne Wade

about artists inventing and marketing their own tools. What's an editor to do? I turned to Technical Editor Tim McCreight, Executive Director Jeanette Landenwitch, and Executive Director Emeritus CeCe Wire to pick what to print. As artists themselves, I knew I could count on them to immediately identify the neatest, most creative, most wonderful tools – the ones they'd want for their own studios. That's what you'll find in these pages: Tim, Jeanette, and CeCe's picks for great PMC tools. But if that's not enough to satisfy your thirst, check out the PMC Guild Web site. I couldn't let all those wonderful tool submissions sit in a folder somewhere, so we've uploaded an expanded tools section to the Web site. And if that's not enough, you can always click through to the suppliers' Web sites and check out their on-line catalogs and specials, or request a print catalog to be mailed to you for a little light bedtime drooling, er, reading. Consider this fair warning: if you continue past this page, you are in imminent danger of discovering you cannot live without some tool that a couple minutes ago you didn't know existed. You might want to put this issue away until your company pays out that bonus, or your birthday nears, or Christmas rolls around, especially if you're the type who just can't help reaching for the credit card when confronted by incredible tools.

The irony of producing a special tools issue of Studio PMC isn't lost on me. Many artists are initially attracted to PMC because it doesn't require a large investment in tools – a torch, a bit of PVC pipe, some olive oil, and a deck of playing cards is pretty much all you need to get started. And here I am, offering hundreds of tools that you can buy for working with PMC. So much for calling PMC a less tool-intensive material. But while it's true you don't need a lot of tools to work with PMC, adding a few new tools to your workbench can expand the creative possibilities of the material. Sometimes, a new tool can inspire you to say, "Hmmm. I wonder if I could use this to do… that." And before you know it, you've begun creating more sophisticated and exciting designs than you'd ever imagined. So by all means, indulge a little bit after you finish reading this issue. After your membership in the PMC Guild, tools are probably the best investment you can make in your creative endeavors. And if you do decide to buy a tool you've discovered in these pages, please be sure to let the supplier know you saw it in Studio PMC. And remember, you've been warned: There are some mighty cool tools ahead!

—Suzanne

Quick Reference Card Contacting the PMC Guild

PMC Guild Web site

To join or renew your membership: 866-315-6487 P.O. Box 3000, Denville, NJ 07834

www.PMCguild.com Member user name: member (not your name, just this word) Member password: PMC2005 (be sure to use uppercase letters) Visit the PMC Guild Web site to join or renew your membership in the Guild, find certification classes in your area, view back issues of Studio PMC, or participate in online discussion forums.

Guild services: 859-586-0595 • [email protected] 2390 Acorn Drive #245, Hebron, KY 41048 Technical Help: [email protected]

Studio PMC Editorial: 508-339-7366 • [email protected] P.O. Box 265, Mansfield, MA 02048 Advertising: 877-878-3260 • [email protected]

Certification Classes Rio Rewards : 866-346-2698 PMC Connection: 866-762-2529 Summer 2005

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Teaching Project:Word Art Tools & Supplies: PMC+ or PMC3 PMC paste PMC3 Syringe 2 Word stamps 2 Texture stamps 6 Playing cards Olive oil and brush Tube roller Brush for clay Coffee or soda straw Tissue blade or X-Acto knife. Water 400 or 600 grit Sandpaper Black Max or Liver of Sulfur (0ptional) Plastic tongues or tweezers Steel wire brush Polishing cloth Burnisher

by Debbie Fehrenbach

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f you have never used rubber stamps, this pendant is a great way to start. There is an infinite variety of textures and realistic images available in rubber stamps that are just not available or possible in plastic or brass. However, not all rubber stamps are created equal. Two things to keep in mind when choosing stamps: • If at all possible, buy unmounted sheets versus stamps mounted on blocks. The un-mounted sheets are easier to use and are one-quarter the price of mounted stamps. Un-mounted sheets allow you to place your depth cards on top of the stamp and roll the clay into it, while mounted blocks can only be pressed. • Look over the manufacturer's entire line. If none of the company's stamps are etched deeply, the quality of rubber used may be of an inferior quality. Higher quality stamps will last longer and give a sharper image. The stamps used in this project are from Red Castle Inc., and are available at www.redcastle.com. Step 1. Select two texture stamps with a fairly flat texture. The word pieces will lay on top of the texture, and we want them to lay flat. Select one word from your stamps for the front and one for the back. Measure the length of the longest word and add 1⁄4 to 3⁄8 inch. Step 2. With a brush designated for olive oil only, brush a light layer of oil on all of the stamps to be used. (Figure 1) Rubber stamps need to be oiled or the PMC clay will stick. If you brush on a heavy layer, wipe off excess with your brush or finger.

Figure 1

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Figure 2

Figure 3

Debbie's finished Word Art pendant.

Step 3. Shape a piece of PMC into an oval ball. Starting with the word stamps, place the clay in the center of the stamp. Press slightly to make rolling easier. Place one card on each side of the word. Press down with your tube roller in the middle of the clay. With firm pressure, roll up once and down once. The less you have to roll, the sharper the image will be. (Figure 2) Place rolled clay on cutting mat. Using your tissue blade, cut off excess on all four sides to make a rectangle. Cut close to the word, leaving only a small gap. Repeat for the other word stamp. Set aside both rectangles and let dry completely. (Figures 3 & 4).

Figure 4

Figure 5

Step 4. Shape another piece of PMC into an oval ball. Place three cards on either side of the texture stamp. Place the clay on top of the texture stamp, and with your tube roller, press down in the middle and roll as in Step 3. Remove one card from each side. Place the remaining texture stamp on top of the rolled clay. Do not remove the clay from the textured stamp underneath. Gently roll over the top stamp. Remove a corner and check that the desired texture has been achieved. It is better to roll gently and re-roll than to roll too hard. Place textured clay on cutting mat. Cut a rectangle that is 1⁄4 to 3⁄8 inch longer and wider than the longest word. Step 5. Make the bail. You can prepare the pendant for hanging by drilling a hole in the top, or by making a rollover bail (which requires making the rectangle base approximately 3⁄4 inch longer than described here). I chose to make a bail using syringe PMC. To make a syringe bail, start by holding a straw in one hand and the syringe in the other. With even pressure, press out a coil while gently turning the straw. Keep turning until you have made two complete turns. Gently use the work surface or your finger to flatten the area where the coil starts and stops. Hang the straw between two stilts. (Figure 5) Let the bail dry completely. Step 6. Now it's time to construct the pendant. Sand the sides of each component with 400 or 600 grit sandpaper. The easiest method is to lay your sandpaper flat on the table, and holding your piece carefully but firmly, rub the piece on the sandpaper. Lay your texture piece on your work surface. Place a small amount of paste across the back of the first word. Center and press

Figure 6

Figure 7

your word onto the texture piece. Repeat for the other side with the second word. (Figure 6) Remove the bail from the straw. Place a small amount of paste on the bottom of the bail and a small amount on top of the pendant. Press the bail onto pendant and hold for two or three seconds. Let dry completely. (Figure 7) Decorate the bail with PMC syringe if desired. Let dry.

sulfur. Steel wire brush your piece. If you love color, try mixing a very weak solution of liver of sulfur (pea size piece to 11⁄2 cups of hot water). Have your jar of water next to your jar of liver of sulfur. With plastic tweezers, dip your piece into the solutions and immediately dunk in the jar of water. You should get a golden color. Keep dunking quickly in the solution immediately followed by a dunk in the water. The water step is crucial: it stops the coloring process. You should go from gold, pink, fuchsia, purple, blue, gray, and finally black. Stop dipping when you have the color you desire. Dry your piece with a cloth or paper towel. Finish with the polishing cloth and burnisher method as above.

Step 7. Fire as directed for the type of PMC you are using. Polish as desired. For this piece, I opted to apply a patina with Black Max to enhance the texture and readability of words. Liver of sulfur can also be used with this method. Apply Black Max solution with a brush or Q-Tip. This will turn the entire piece black. Rinse the piece in running water. Black Max is an acid-based solution, so it should not come into contact with your skin. If you do get it on your skin, flush the area with water. Once rinsed, rub the piece with steel wool, Scotch-Brite, baking soda, pumice, or polishing papers to remove the patina from the high relief areas of the piece. Finish by tumbling your piece in a rock tumbler with mixed steel shot for 30 minutes. Check your piece. The raised surfaces will be brightly polished, leaving the recessed areas black. If the finish is not bright enough, put the piece back into the tumbler until desired affect is achieved. If a tumbler is not available, you can use a polishing cloth and burnisher. Brush your piece with a steel brush before dipping in Black Max. Lay the polishing cloth on a hard surface, and rub your piece back and forth vigorously. This will remove the Black Max patina from the raised areas. Once you have removed enough black, finish off by rubbing your burnisher over the raised area to bring about a bright finish. The process is the same for the liver of

Debbie Fehrenbach has been involved with the arts since high school, working in pottery, glass, sewing, and gourd art before discovering PMC. She has recently begun selling her work and is represented in several galleries near her home in St. Johns, Michigan. A certified Level II artisan who has taught several introductory classes in PMC, she is working towards becoming a Senior Instructor with PMC Connection.

When selecting rubber stamps, be aware of the copyright policy of the stamp maker. All rubber stamps are copyrighted, and it is up to the rubber stamp company to determine what you can legally do with designs made from their stamps. Red Castle Inc. is an "Angel Company" and permits artists to hand-stamp as many pieces as they wish and to sell those pieces. Policies vary, however, so be sure to check with the maker of your rubber stamps regarding their copyright policies.

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Butterfly Pendant with Resin Inlay

by Elaine D. Luther

Editor's Note: This project incorporates a number of Elaine's favorite tools, many of which she sells through her tool supply company, Creative Texture Tools. In most cases, though, Elaine also suggests alternative tools. Experiment to see what works best for you! Completed pendant with resin inlay.

Tools & Supplies: PMC+ Thick PMC slip Olive oil Plastic food wrap Small pieces of Super Parchment (Teflon paper)

Silicone Texture Plate ™ or other texture plate such as a design made in polymer clay.

Playing cards Work surface Roller Water Paintbrush, pointed tip Paintbrush, square end Carving tool Tissue blade Precision Circle Cutter ™ or small round

Step 1. Place a piece of Super Parchment in the center of your work surface, and on either side place two stacked playing cards. Put a half package of PMC+ on the Super Parchment, cover with plastic wrap, and using your roller, roll the clay two cards thick. The bottom will pick up the woven pattern of the Super Parchment, but you want the top to be nice and smooth. You may wish to give it one final roll without the plastic wrap to get rid of any marks left by the plastic.

cookie cutter or pieces of metal tubing

Pink sanding board for acrylic nails Butterfly shaped cookie cutter Small round cookie cutter

Step 3. Use a butterfly cookie cutter to cut out the pendant. Be careful not to press too hard on the cutter, so you don’t cut the Super Parchment. To create the openings where the inlay will go, I use a very small round cutter, but you could also make your own plastic or card stock template, or cut freehand. Cut out round openings on each wing of the butterfly.

Step 4. Roll out the backing piece for the butterfly. (While you work on the back, be sure to cover the butterfly so that it won't dry out.) Roll as before, on top of Super Parchment, until the piece is larger than your butterfly and one card thick. Paint water on the backing piece, then gently pick up the butterfly and lay it on top of the wet sheet.

(or homemade template)

Two-part five minute epoxy Scrap of card stock Toothpicks Powdered enamel (to mix into the epoxy as a coloring agent)

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Step 2. To add texture with a Silicone Texture Plate, rub an oiled hand over the surface. This is all the oil that is needed. For other texture plates, add oil or baby powder. Pick up your rolled out piece of PMC +, place it on top of the texture plate, and roll over the top of the clay with your roller. If the texture is particularly deep, you may find that now your piece of clay is too thin. If that is the case, you’ll want to re-roll your clay to three cards thick before applying the texture.

Step 5. Place the same butterfly cookie cutter you used earlier exactly over the butterfly. Cut through the backing piece of clay and remove the excess. Turn the butterfly and add water to any seams that need it. Smooth them out so that they disappear. Remember to check the seams in the spaces for the resin inlay, as well.

Step 6. Allow the piece to dry to leather hard. Speed this if you like by placing the piece in the oven at 325˚F (165˚C) for 10 minutes, placing it in a dehydrator, putting it on a mug warmer or old fashioned buffet warming tray, or on top of a hot kiln. In all these cases, keep the Super Parchment under the butterfly until it dries.

Step 7. Once the piece is leather hard, refine the edges using a pink board. These are for acrylic nails and sold in the health and beauty section. Some areas may be too small to get to with the nail board. In those places, use a blade-shaped carving tool and gently carve away any excess, holding the tool and carving the way you might peel an apple with a paring knife.

Step 8. Make a bail using whatever technique you like. I usually use the method shown by Tim McCreight in his video, Push Play for PMC. He does it with a regular straw and a beverage stir straw. I love the technique, but I use metal cutters: a Precision Circle Cutter for the inner cut and a small cookie cutter for the outside. You could also use metal tubing, which you can find in an assortment bag at the hardware store. For this bail, make the outer cut with the larger tubing or small cookie cutter,

then make a center cut with the largest of the four Precision Circle Cutters. Using a tissue blade, cut the donut shape in half, creating two bails. If necessary, apply water to the cut edges to smooth them. Allow to dry to leather hard. Sand, if needed, with the pink nail board.

Step 9. Place the bail in the upper onethird of the butterfly pendant. Using the carving tool or a paintbrush, place a generous dollop of thick slip on each end of the leather hard bail. Push the bail onto the back of the butterfly, gently pressing down. Excess clay will move to the sides. Remove this with the dry, square-end brush. Dip your pointed paintbrush in water and paint water around the seams to smooth everything and remove the excess slip. You want this seam to disappear entirely.

Step 11. For this project, I'm using twopart five minute epoxy. Devcon is a common brand, available at hardware stores or craft stores. Squeeze out equal amounts of each part of epoxy onto clean card stock. Use a toothpick to quickly mix the two together. Throw that toothpick away. Add your coloring agent; in this project I’m using powdered glass enamels. Using a fresh toothpick, mix in the coloring agent. Throw away that toothpick, too. Why throw away all those toothpicks? When mixing epoxy, the first toothpick you use may have more resin or more hardener on it. Using that toothpick to apply the mixed epoxy to your project could alter the mixture of the epoxy. Now carefully apply the epoxy to the butterfly. Removing excess epoxy is messy, so you want to apply the epoxy as neatly as possible. Scoop up a bit of epoxy with another clean toothpick and place it in the center of one of the circles in the butterfly wing. Starting from the center, move the toothpick in a circle, gently spreading out the epoxy until it reaches the edges. Repeat on the other side. Work quickly! This epoxy cures in five minutes. Allow the epoxy to cure in a clean, dry, dust-free environment. Ta da! You’re done. Add a chain and go out into the world, ready for compliments.

Step 10. Fire the piece face down at 1470°F (800°c) for 30 minutes. Remove from the kiln, allow to cool, and tumble with stainless steel shot for 30 minutes. Remove, dry, and prepare your work area for the resin inlay.

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Gallery To submit your photos to our Gallery send slides or digital images to:

Studio PMC, P.O. Box 265, Mansfield, MA 02048. E-mail: [email protected] Please include your name, address, country, phone, e-mail address, a brief bio, photo credit, plus the size and materials used in your piece.

“Firecracker” by Christine Norton. PMC, seed beads, glass drops, and pearls.

"In Mercy and Kindness: Anti-War Medal" by Linda Kaye-Moses. PMC, sterling silver, 14k gold, lapis lazuli, moonstone, and vitreous enamel.

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"The Goddess Within" by Pat Gullett. 24k gold, PMC, and cubic zirconia. Photo by Ralph Gabriner.

Plique a jour cup by Louis Kappel

“Celestial Dreams” by Diana Contine. PMC, sterling silver wire, and gold-filled twisted wire. Summer 2005

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The Tool Trade

By Suzanne Wade

Where do tools come from?

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f you imagine the tools you find in catalogs are developed by white-coated technicians in an underground laboratory somewhere in New Mexico, think again. Then look around your own studio. It's a rare PMC artist who hasn't shaped a stray piece of wood, plastic, or metal into their own unique tool. And occasionally, those personal solutions to vexing problems prove to be such a good idea, they start to take on a life of their own. For PMC artists Hattie Sanderson and Chris Darway, what began as simple problem-solving has evolved into serious business. Thanks to a little serendipity, some good partnerships, and a creative approach to tools, both have made tool sales into a significant aspect of their PMC careers. Chris Darway Chris Darway began making PMC tools after Tim McCreight approached him in the early days of the PMC certification program to produce a tool kit for use in classes. "It sounded like fun," Chris says of the project that would soon come to dominate his work life. Chris developed a cutting tool of high grade stainless steel to replace the toosharp tissue blades used by polymer clay artists, and hired local college students to sew cloth bags to package the kit. Most of the initial tool offerings were simple items PMC artists could make for themselves, but rarely wanted to tackle. "We turn Home Depot PVC pipe into rollers," Chris says. "You can go out and do it yourself, but by the time you buy a 10 foot piece, get it in the car, get it home, and get out the hacksaw … Most people choose to buy one for a buck or a buck and a half."

Gang Blade by Chris Darway.

From being something done as a favor for a friend, the tool business has evolved into a full-fledged supply company. "I thought this was going to be a niche thing, but the demand quickly outstripped our supply," recalls Chris. He found a Philadelphia company to produce the tool bags in quantity, and began importing burnishers from India. With the tool business growing so fast, Chris has struggled to maintain a balance between his work and tool production. "I have had almost no bench time between workshops, the class I teach at the University of the Arts, and doing the tools," he says. "I also stopped doing the ACC and Rosen shows – I stopped even applying." Chris's solution to the burgeoning tool trade was to invite his sons to join him. After 25 years running Darway Designs as a sole proprietorship, Chris has recently incorporated the business and brought in his eldest son, a ceramics artist, to manage the tool business. The result, hopes Chris, will be a more efficient, professionally run business that will give him more time for his own work, and for developing new tools specifically for use with PMC. "I have some ideas for some unique tools for PMC, and I'd really like to spend a little more time on that," he says. Hattie Sanderson Hattie Sanderson began making HattieS Patties as a way to fix her own problems in creating accurately sized rings. "My passion is to mess around in the studio. I love to experiment and research and take a problem

HattieS Patties by Hattie Sanderson.

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and figure it out," she says. "Making PMC rings was something I loved, and I was really frustrated with the whole sizing issue, so I thought, there's got to be a better way." After plenty of trial and error, Hattie stumbled upon using casting investment to create inserts that would keep the rings from shrinking past the intended size. It worked so well, she began sharing the process with her students. When her students praised the solution, she shared the idea with other instructors and began selling the patties. "Pretty soon the word got out, and the demand began growing really, really fast," she says. Hattie had never intended to go into the tool supply business, and the growing demand began to be overwhelming. So it was a happy confluence of events that led to her first meeting with PMC Supply owners Joe and Speedy Peacock. "I met them at the PMC Conference in Albuquerque last July after I gave a workshop [on HattieS Patties], and they just thought it was a great idea," she says. "We found we share this innovative spirit, and they're not afraid to promote new ideas. They can do what it takes from the marketing and production end to make things happen." The result has been an entire line of products under the "HattieS" brand name, including a work surface, tool kit, and PMC-ready sterling silver findings. Next up is a series of DVDs produced in cooperation with the Peacocks: HattieS Contemporary Metal Clay 1: Fundamental Tools and Techniques was released at the end of April, with the second expected later this spring. "It is such a blessing and a gift that I have been given this opportunity," Hattie says. "As an artist, many times you come up with a product and all of a sudden you are doing the shipping and marketing and order taking. You become a business person, and you no longer have time to be an artist. But my relationship with PMC Supply allows me to continue to play in the studio and come up with new products. I am allowed to do what I love best." Read more about artists who make and sell tools at www.PMCguild.com.

Tools,Tools,Tools Cutting Tools Flexible Clay Blades, from Santa Fe Jewelers Supply. These flexible blades come in smooth or serrated edges, and are used for making long straight cuts. Craft Knife Set, from Santa Fe Jewelers Supply. This versatile set includes a sturdy handle and six different blades. Gang Blade, from PMC Tool and Supply/Darway Design Studio. This adjustable gang blade tool is used for cutting multiple strips of PMC sheet at once.

Shaping Tools Graduated Slat Set, from Pinzart Inc. These polystyrene slats offer an alternative to playing cards for rolling metal clay to an even thickness. Because they are longer and narrower than playing cards, they are less likely to slip during rolling, and they are washable, durable, and will not warp or deteriorate from usage. Although the slats can be stacked, the variety of thicknesses means stacking is normally not necessary. The set of six pairs includes thicknesses ranging from 0.25 mm (one card thick) to 2 mm (8 cards thick), each color-coded to make it easy to find the pair you're looking for. The slats can also be used to roll out clay on the edge of the company's rubber texture mats: one blue and one purple slat stacked next to the mat provide a level area to work. Clean up Tool, from Santa Fe Jewelers Supply. This double-ended tool is used for smoothing, cutting, and decorating. Clay Shapers, from Whole Lotta Whimsy. Imported from the U.K., these size 0 shapers feature silicon tips. Shapers are used for sealing seams in the clay, shaping, modeling, moving the clay, and making repairs, such as pushing clay into cracks or mending large areas. 4-in-1 Stylus, from Whole Lotta Whimsy. This stylus comes with four removable and adjustable tips and a soft-touch handle. Wipe Out Tool, from Bead Bungalow and Santa Fe Jewelers Supply. This wooden handle tool has angled rubber tips on both ends, for blending seams and wiping away fingernail marks and other imperfections in the wet clay.

Compiled by Suzanne Wade

Double Ball Stylus, from Santa Fe Jewelers Supply. This doubleended tool features different sized balls for smoothing and rounding out holes.

Carving Tools Micro Rotary Tool Carving Bits, from Whole Lotta Whimsy. These carving bits fit into any rotary tool with a 1⁄16" collet. Select from ball point or doublecut needle point in sizes ranging from 1.2 to 1.6 mm to carve tiny details into dried cork clay, PMC, or ceramic bisque. Carving Tool Set, from Whole Lotta Whimsy. Designed for cutting linoleum or rubber, this set of German carving tools includes a beech wood handle and five cutting nibs, a small V-shape, a small U-shape, a medium hollow U-shape, a broad hollow U-shape, and one sharpened blade for edge cutting. Carving Tools, from Creative Texture Tools. These stainless steel carving tools come in several shapes for carving leatherhard PMC, including a narrow-end tool, a wide-end tool, and a two-ended tool featuring a long end useful for applying and smoothing slip, and a small end handy for prying PMC out of molds. The octagonal handles prevent rolling and are grooved for gripping. Carving Tool Set, from Santa Fe Jewelers Supply. This set of 12 double-ended carving tools are used for detail work before and after drying PMC.

Finishing Tools Clean Up Sticks, from PMC 123. These 1 ⁄4" x 6" sanding sticks are two-sided, with different grits on each side. Washable and durable, they work well for shaping and finishing unfired PMC pieces. The three-stick set comes with coarse, medium, fine, and extra fine grits. Diamond Toothpick Files, from Whole Lotta Whimsy. At 80 mm long by 1.5 mm wide, with a 35mm long file section, these tiny diamond files can fit into places others can't. The answer for any PMC artisan who has wished for toothpicks with sandpaper on them. Continues on next page… Summer 2005

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Tools,Tools,Tools Slim Sanders, from Whole Lotta Whimsy. These flexible sanding sticks allow you to feel how hard you are pressing, to help you avoid breakage. Sanders have different grits on each side. Rubber Finishing Block, from Santa Fe Jewelers Supply. This rubber block grips pieces and holds them firm while you burnish or file. Brilliant Polishing Cloth, from Creative Texture Tools. This 4" x 6" cloth is embedded with polishing compound. Use on polished PMC to remove the yellowing caused by tarnish. Lortone Rotary Tumblers, from Santa Fe Jewelers Supply. This rotary tumbler is available in several capacities, including a three pound model, a six-pound model, and a model with dual three-pound tumbling barrels to permit tumbling two separate batches at once. Stainless steel shot and burnishing compound available separately. Gyroc Model B Vibratory Tumblers, from Santa Fe Jewelers Supply. This heavy-duty vibratory tumbler is available in three capacities: 1.5 pints, 3 quarts, and 6 quarts. Up to three 5" bowls can be stacked and run simultaneously. Magnetic Pin Finisher, from Santa Fe Jewelers Supply. This finisher uses tiny magnetic pins swirling in a centrifugal pattern to burnish even intricate filigree work. Features an auto-reverse feature to cut finish time and variable speed for delicate items.

Burnishers Pyrex Burnishers, from Whole Lotta Whimsy. These double-ended burnishers heat up more slowly than steel burnishers, making them a good choice for Keum-boo, and are less expensive than agate burnishers. Because these burnishers are custom-made, artists can request a specific shape for each of the burnisher's ends at little or no additional charge. Agate Burnishers, from PMC Supply and Allcraft Jewelry Supply Co. These stone-tipped burnishers are much slower conductors of heat than traditional metal burnishers, making them excellent choices for techniques that involve hot metals, such as Keum-boo. They can also be used to burnish fired PMC. Slim Burnishers, from Creative Texture Tools. These stainless steel burnishers fit into tight spaces with their slim silhouette. The curved burnisher can reach into places straight burnishers can't. 12 ·

Studio PMC

Straight Burnishers, from Santa Fe Jewelers Supply. This polished steel straight burnisher is 3.5 mm in diameter. Ball Burnisher, from Rio Grande. This set of three double-ended ball burnishers are used to burnish away the white surface left after firing PMC. Beveled ends help you get into deep textures and crevices without harming the surface.

Syringe Tools Syringe Savers, from PMC 123 and Whole Lotta Whimsy. These clear plastic vials with one-hole covers are used to keep PMC syringes from drying out. Fill the vial with water, put on the cap, and stick the syringe tip into the vial through the hole in the top of the cap. The container is watertight with the syringe in place, preventing water spills or dried out syringes. Syringe Tip Set, from PMC 123. This six piece set includes 24 gauge, 20 gauge, and 18 gauge plastic syringe tips, plus three stainless steel and three dark green plastic tips with shaped openings in flat, half-round, and square. Syringe Tips, from Whole Lotta Whimsy. Available in various gauges, these tips can be used to provide details ranging from delicate scroll work to structural elements. A significant amount of hand strength is required to use these tips. Syringe Design Tip Set, from Santa Fe Jewelers Supply. This set of six syringe tips includes three round tips in different sizes, one half-round tip, one flat tip, and one square tip.

Kilns and Kiln Accessories Paragon SC-2 Kiln, from Paragon Industries, ABR Imagery, and Santa Fe Jewelers Supply. The heating element in this PMC kiln is embedded in a ceramic fiber firing chamber, and heats from both top and bottom. The unit also features a Sentry Xpress digital controller that lets you control ramp rate, temperature, and hold time. Options include a high temperature glass window or bead door. The kiln heats to firing temperature within minutes and can reach temperatures up to 2000°F. Evenheat PMC Kilns, from PMC Connection. Available in four sizes, these kilns feature energy-saving ceramic fiber muffles for even heat distribution. A front door window allows the user to see into the kiln during firing. The included

Tools,Tools,Tools computer controller comes with five pre-programmed firing schedules, plus a user-determined eight-segment program. The kiln can reach temperatures up to 2000°F. Rio PMC Kiln, from Rio Grande. Designed for firing PMC and made exclusively for Rio Grande, this kiln can be used to fire PMC or enamel, fuse glass, or cure paint on china. The digital controller features five pre-set PMC Programs, including one to fire PMC3 for 30 minutes at 1110°F, and one user-determined program. The galvanized steel case has an inter-wall layer of air to keep it cool, and features a ceramic-fiber firing chamber with embedded heating elements. It includes a fiber shelf with four ceramic feet, and the newest model features a hinged bead door built into the front for beading and enamel work. Bar Stilt Kit, from Whole Lotta Whimsy. Designed for firing glazed beads in small PMC kilns, with or without silver, the kit includes two bar stilts and three high-fired nichrome wire bars in 9 gauge and 11 gauge. Each bead bar holds two to six beads, for six to 36 beads per stilt. Rio PMC Kiln Shelf Kit, from Rio Grande. This kit includes two ceramic shelves and eight shelf feet to increase your kiln's firing capacity. Stack shelves with feet in between to create firing layers inside the Rio PMC Kiln. Women's Welding Gloves, from Creative Texture Tools. These leather welding gloves come in women's sizes, smaller than the men's gloves usually found. Ideal for removing items from the kiln. Bead Firing Tree, from PMC Supply. Designed for firing multiple PMC-enhanced beads in a kiln, this holder is manufactured from heat-resistant heavy gauge nichrome wire embedded in ceramic. Each of the four arms is 11⁄2" long and strong enough to hold even heavy beads or pendants for a full Original PMC firing without sagging. The tree reduces the risk of damage to delicate components by holding beads and pendants so that the surfaces do not come in contact with anything during firing. Fiber Shelves, Blankets, and Paper, from Whole Lotta Whimsy. These ceramic fiber accessories are used to support your work and protect your kiln. Soft fiber shelf can be carved for molding glass and lasts for six to eight firings. Hard fiber shelf is the same material as soft fiber shelf, with a hardener applied to extend its life to 20 to 30 firings. It can be used for torch firing and soldering, or to replace the shelf in your kiln. Fiber paper is available in 1⁄8" and 1⁄16" thickness and is used for lining the bottom of the kiln during ceramic firings, or to wrap stones for test firing. Thinfire Paper is used for glass fusing in place of kiln wash, or to line ceramic ring mandrels. It can also be used to add a half size to HattieS Patties. Fiber blanket is made of non-asbestos fine alumina and silica threads and is used to cushion and support work during firing.

Kaowool Pad, from PMC Tool and Supply/Darway Design Studio. This refractory insulation material is used to support pieces during firing, without the mess of vermiculite. Materials Enameling on Metal Clay Starter Kit, from Pinzart. This kit is designed to include all the materials you'll need to begin enameling on metal clay: a 28-page instruction booklet called Enameling on Metal Clay by Pam East, 1 ounce Clear for Silver enamel, 12 half-ounce containers of enamel, two sifters, Klyr-Fire enamel adhesive, a sprayer, two trivets, a 6" firing rack, a firing fork, inlay tools, a sifting screen, an alundum stone, a Tri-M-Ite polishing paper sampler, a sanding sponge sampler, a 3M wet/dry sandpaper sampler, and a Sunshine polishing cloth. Enamel Kit, from Whole Lotta Whimsy. This starter kit includes 15 half-ounce containers of enamel, a halfounce Clear for Silver flux, a palette, a detail size 0 brush, an enamel spoon, packing palette, and a one-ounce bottle of Klyr-Fire glue for wet packing. Packed in a zippered, clear tool bag for easy carrying. Continues on next page…

Summer 2005

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Tools,Tools,Tools Enameling Supplies, from Schlaifer's Enameling Supplies. Available enamels include lead-free Thompson Enamels and Soyer Enamels, an enamel containing lead. Also offered are a variety of tools for firing enamels, including trivets, firing racks, and firing forks. Raku Kit, from PMC 123. This kit contains most of the components needed to create a graduated set of nine raku with PMC beads, including nine graduated ceramic beads, two stainless steel support rods, a steel raku rack, raku glaze, dry PMC paste, paintbrush and directions. All the artist needs to add is a container, newspaper, and a kiln. Keum-boo Gold Foil, from Allcraft Jewelry Supply Co. and Rio Grande. This 24k gold foil is sized specifically for use in Keum-boo.

Texture Tools Texture Sheets, from Whole Lotta Whimsy. These plastic sheets can be used to make impressions on all types of clay, including PMC, polymer, and earthenware. The two-sided sheets are light-weight and easy to clean. Texture Roller, from Whole Lotta Whimsy. Both ends of this texture roller feature different textures and roll independently of the handle. Brass Texture Plates, from PMC Supply and Santa Fe Jewelers Supply. These 2 1⁄2" x 4" plates are used to apply patterns to unfired PMC. They are available in 14 styles. Silicone Texture Plates, from Creative Texture Tools. These 1⁄4" silicone plates are non-stick and require little or no oil. They are flexible, allowing for easy release from the PMC, and unbreakable. Made by Creative Texture Tools specifically for use with PMC, they are currently available in 14 designs, with additional designs added frequently. Rubber Pattern Mats, from PMC Supply. These 3" x 8" rubber mats contain several different design areas for applying patterns to unfired PMC. The flexible mats are available in 26 styles.

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Studio PMC

Punches and Cutters Kemper Pattern Cutters, from New Mexico Clay. Designed for cutting shapes from wet clay, Kemper Pattern Cutters work like a cookie cutter, and are equipped with a spring-return plunger for ejecting clay cut-outs. The brass cutters are available in a variety of sizes and shapes. Precision Circle Cutters, from Creative Texture Tools. These four brass tubes with sharpened ends are used to cut small holes in wet PMC, such as holes for jump rings or earring wires. Mini-Punches, from Whole Lotta Whimsy. These 7mm to 9 mm punches are great for punching out accents from PMC Paper or Keum-boo foil. Nesting Tube Set, from Celie Fago. This tool is a set of nesting brass tubes used for cutting concentric circles out of PMC and for making disks and seamless bezels. The tubes are collected on a hammered brass pin that serves both as a plunger for the individual tubes and as a way to keep them together.

Tools for Ring Making Ring Mandrel Set, from PMC Supply. These non-tapered ring mandrels are for making rings in sizes 4 to 15. Rings can be created directly on the round parallel work surface, and the holding bracket can be turned to work on the ring horizontally or vertically. HattieS Patties, from PMC Supply. These ring-sizing inserts are used to ensure accurate sizes for PMC3 rings. The kit comes with instructions and three HattieS Ring Forming Strips. Adjustable Ring Gauge, from Santa Fe Jewelers Supply. This band allows you to measure your ring shank and then lay it flat for measuring. Measure two sizes larger to allow for shrinkage with PMC+ or PMC3. Economical enough to send to your customers for ring sizing. Ring Sizing Material, from Creative Texture Tools. This 12" long, 1 ⁄2" wide strip of fiber paper is used to wrap around a Rio Grande ceramic ring form to size a ring up a half size.

Tools,Tools,Tools Mold Compounds HattieS Brand Mold Compound, from PMC Supply. This two-part mold compound yields .75 ounces of mold material. Once blended, the mold compound has a five minute working time, and sets in 15 minutes. No mold release is needed when molding PMC. Polyset, from Zero-D Products. This two-part silicone mold putty offers a controlled set time of two to 10 minutes. Available in 8 ounce, 15 ounce, and 3.3 pound kits. Akron Polyset II, from Zero-D Products. This new two-part mold compound offers flexible finished molds with high tear strength. Both parts are a soft putty that are easily kneaded together to the proper texture before applying to a model or copying a flat design or texture plate. Available in one pound and four pound kits.

Castaldo Quick Sil, from Creative Texture Tools and Santa Fe Jewelers Supply. This two-part, room temperature vulcanizing silicone mold compound sets in 15 minutes. It is available from Santa Fe Jewelers Supply in a two-pound package, or from Creative Texture Tools in a 3 ounce size geared to artists who want to experiment with the material. Complete instructions from the manufacturer included. Rio Cold Mold, from Rio Grande. This two-part, no shrink mold compound does not require release agents or heat for vulcanizing. It is recommended for molding delicate originals or master models. Mega-Sil Impression Compound, from Microsonic Inc. This two-part silicone mold compound sets up in just five minutes, and easily withstands heat up to 400°F. Available in yellow, peach, or blue and in single-use or bulk containers. Continues on next page…

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Tools,Tools,Tools Other Tools Coil Cover, from Celie Fago. This brass cover for hotplate coils for Keum-boo is a 6" x 6" sheet of 20 gauge red brass with multiple depressions in the surface and turned down "feet." The cover evens out temperature fluctuations and prevents gold from falling through the heating element. The depressions allow the artist to easily apply gold to volumetric pieces such as spheres and cubes. Wire Rounder Tool, from PMC123 and Creative Texture Tools. A stainless steel cup bur mounted in a wooden handle, this tool cuts the sharp edges of wire to produce smooth, round ends for ear wires. Gold Brush, from PMC 123. This fine-tipped natural bristle paintbrush comes with a snap-on cap, allowing the brush to be carried without risk of damaging the tip or losing any metal still on the brush. Ideal for use with gold PMC.

Two-faced Mallet, from PMC 123. This 61⁄2" mallet fits easily into a tool kit. It features two detachable, replaceable heads, one chrome over brass, the other nonmarring nylon. Bead Rollers, from PMC Supply. These four different rollers permit you to make precisely sized PMC beads quickly. Roll cork in the bead roller, cover the cork with PMC, and fire. Wizard Pen Plater, from PMC Supply. This self-contained pen plater can be used to add 24k gold accents to PMC pieces, even around delicate stones and glass. The self-contained unit is simple to use: attach the clip to the piece, dip the pen point into 24k gold pen plating solution (sold separately), and begin plating. No additional firing required. PMC Humidifier, from Belladonnasilver. This two-inch terracotta bell features a movable handle and a treated liner that can be moistened with tap water to keep unused PMC moist for hours while you work. A square piece of clear, flexible plastic film is included as a base for the bell.

Favorite Tools from our Readers was just doing some repair work on a piece that had broken and I realized I was using one of my favorite tools: a toothpick. It makes a great medium grit sanding tool in tight spots like the inside of a bail or around inside corners where a piece of sandpaper won't fit and a file is too coarse. —Lora Hart

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fter working with Keum-boo and PMC it made sense that the way to get the Aura 22 to bond better to PMC was to burnish it while it was hot. The only tool that I could find to burnish into the textured areas of my piece was the double ended ball burnisher that Rio sells. I torch fired my piece with two layers of Aura 22. Immediately after pulling the flame away I burnished with the ball burnisher. It worked great! —Judi Anderson

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Studio PMC

y favorite tool is the color stick that comes in Chris Darway's tool kit. I also buy extras from him. I show my students how to use it, and tell them that the tool kit is worth the money just for the color stick! I also have a chiseled one and mini color sticks that work great too. —Linda Matteson like the plastic needles used for needlepoint. They are useful for starting holes and adding a scallop to an edge. I sometimes use them for stirring slip as well. They are inexpensive and can be found find in most craft stores. —Chris Brooks.

P

olymer clay is my thing. I cover the handles of a lot of my tools with it, make molds out of elastic Sculpy, create texture stamps, and create specific tools for shaping the PMC. Once the polymer tools are baked and buffed, they are a great addition to my tool jar. —Lorrene Davis

I

ran into a Sally Beauty Supply store a couple of weeks ago and was blown away by the variety of nail buffers and sanders there are. I picked up one of each of the eight grits. They make greenware sanding easy. One that I picked up had four grits, depending on which side and end you used, all clearly marked in the middle where it's not going to wear off. —Judi Weers

T

o keep your clay moist, get one of those disposable pudding cup plastic containers made by Glad. Place it, with lid, upside down, and put your clay in it. You can mist water into the cup to help keep the clay moist. While you are working this (or any jar/glass) will keep your clay moist. The nice thing about the lidded container is that when you are done, just press down and seal the lid to keep your clay moist overnight or longer. —Mary Ellin D'Agostino

Directory of Tool Suppliers ABR Imagery 3417 South Knightbridge Road Bloomington, IN 47401 phone 812-339-9147 • fax 812-339-8947 [email protected] • www.abrimagery.com

New Mexico Clay 3300 Girard NE Albuquerque, NM 87107 phone 800-781-2529 • fax 505-881-2350 www.nmclay.com.

Allcraft Jewelry Supply 205 West 29th St., Suite 205 New York, NY 10001 phone 800-645-7124 • fax 800-645-7125 www.allcraftonline.com

Paragon Industries 2011 South Town East Blvd. Mesquite, TX 75149 phone 972-288-7557 • fax 972-222-0646 [email protected] www.paragonweb.com

Bead Bungalow 105-B Annapolis St. Annapolis, MD 21401 phone 410-268-4774 • fax 410-268-9118 [email protected] www.beadbungalow.com

Pinzart, Inc. 10945 State Bridge Road #401-277 Alpharetta, GA 30022 phone 888-335-9884 • fax 509-352-1009 [email protected] www.pinzart.com.

Belladonnasilver 9699 N. Hayden Road 108-112 Scottsdale, AZ 85258 Phone 480-695-4295 [email protected] www.geocities.com/redbiz50/belladonnasilver.html

PMC123 5822 Oak Run San Antonio, TX 78247-1326 phone 210-656-8239 • fax 210-656-1419 [email protected] www.pmc123.com.

Celie Fago 1037 Christian Hill Road Bethel, VT 05032 phone 802-234-5428 [email protected] • www.celiefago.com.

PMC Connection 3718 Cavalier Drive Garland, TX 75042 phone 866-762-2529 • fax 972-487-2022 [email protected] www.pmcconnection.com.

CreativeTextureTools.com P.O. Box 5292 River Forest, IL 60305 phone 708-488-9589 • fax 708-488-9578 [email protected] www.CreativeTextureTools.com Microsonic, Inc. 1421 Merchant St. Ambridge, PA 15003 phone 877-376-7139 • fax 717-247-0364 [email protected] store.earmolds.com.

Rio Grande 7500 Bluewater NW Albuquerque, NM 87121 phone 800-545-6566 • fax 800-965-2329 [email protected] www.riogrande.com. Santa Fe Jewelers Supply 1513 Fifth St. Santa Fe, NM 87505 phone 800-659-3835 [email protected] www.sfjssantafe.com. Schlaifer's Enameling Supplies 1441 Huntington Dr. #1700 South Pasadena, CA 91030 phone 800-525-5959 • fax 626-441-1127 [email protected] www.enameling.com. Silver Sunset Design Studio 2339 County St. #2940 Blanchard, OK 73010 phone 405-222-0628 • fax 405-793-8523 [email protected] www.silversunsetdesign.com. Whole Lotta Whimsy 2911 W. Placita Montessa Tucson, AZ 85741 phone 520-531-1966 • fax 520-531-1965 [email protected] www.wholelottawhimsy.com.

PMC Supply 225 Cash St. Jacksonville, TX 75766 phone 800-388-2001 • fax 903-586-2534 [email protected] www.pmcsupply.com. PMC Tool and Supply/Darway Design Studio 1 Feeder St. Lambertville, NJ 08530 phone 609-397-9550 • fax 609-397-0702 [email protected] www.pmctoolandsupply.com

Zero-D Products 38285 North Lane #103 Willoughby, OH 44094 phone 440-942-1150 • fax 440-942-2130 e-mail: [email protected] Web site: www.zerodproducts.com.

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Summer 2005

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Happenings Call for Entries

Breaking News

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MC Guild member Martha Sayers has been invited to teach a week-long session on combining kiln-worked glass and metal clay at the Corning Studio in Corning, New York, in August. To help introduce the students to the many ways of finishing glass, Martha is seeking slides of work featuring innovative ways of embellishing warm- and hot-glass creations. Among the techniques she intends to present are stringing, wire work, traditional metal settings, and metal clay. Slides that are chosen will be presented during the week at Corning. The presentation will be preserved as a CD-ROM catalog that will be made available to Corning students and faculty, the Rakow Research Library at Corning, and distributed internationally. Artists whose slides are accepted for the presentation will receive a complimentary copy. The deadline for entries is June 1. For more information, e-mail Martha at [email protected].

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ostPicasso.com, an online international juried art venue, is currently seeking entries for "Pocketsize; Our Fascination with the Miniature," an online exhibit open to all forms of sculpture, including art jewelry displayed in a sculptural format. The juror for the exhibition is Judy Donald, the owner of OXOXO Gallery in Baltimore, Maryland. There is a $25 entry fee for artists who are not members of PostPicasso.com, and the entry deadline is Aug. 15.

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Studio PMC

he downside to publishing a quarterly magazine is that sometimes things happen faster than we can get to print. That's especially true for items such as calls for entries and exhibition opportunities, where the period for submissions can be less than the three months between issues of Studio PMC. That's why the PMC Guild created a special topic in the discussion forums entitled, appropriately enough, "Exhibition Opportunities / Call for Slides." You'll find it under "Outreach and Education." Members are invited to post their own calls or pass on information about exhibitions that welcome metal clay work by posting it to this forum topic. Stop by the discussion forums regularly, and you'll never miss an opportunity to show your work! And while you're there, check out the "Buy, Sell, and Swap" thread under "Miscellaneous." That's the place where used equipment comes to change owners. Members are welcome to post their own ads for equipment they're interested in selling or swapping. Instructions for posting can be found by clicking on "Buy, Sell, and Swap" on the opening page of the discussion forums.

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he PMC Guild is pleased to announce that CeCe Wire has accepted the new position of Local Chapter Liaison for the guild. CeCe's combination of energy, organizational skills, and experience make her uniquely qualified for this role. This parttime position demonstrates the importance we place on developing a network of chapters at the community level. Starting June 1, CeCe will be our point person for existing, emerging, and evolving chapters. Her immediate goal will be to initiate contact with each chapter once a month. She will be the primary communication link between the chapters and the Guild. In a related effort, the PMC Guild will soon offer each local chapter a page on the guild's Web site. The guild has designed a template and is currently working with three pilot cases, with plans to expand the program to other chapters in the future.

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he PMC Connection will sponsor a PMC Artist's Retreat Sept. 13-18 at American Airlines Training & Conference Center at the Dallas/Fort Worth International Airport in Fort Worth, Texas. The retreat will offer 29 separate workshops and both Level 1 and Level 2 PMC Connection certification classes, with participants having the option of attending anywhere from a single workshop to five full days of classes. Other activities will include a golf tournament Friday, a "Texassize party" on Saturday night, and a Country Store featuring PMC tools. For information, visit www.PMC-Retreat.com or call PMC Connection at 866-762-2529.

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ore than 300 people attended the opening of Metalmorphosis, an exhibit organized by PMC Guild member Susan Lewis in Boca Raton, Florida. The exhibit included 148 pieces of handmade jewelry and metal object made by 44 artists who have studied with Susan. The work was selected from more than 200 entries by Ana Esther Soued, an instructor at Miami International University of Art and Design, and awards were given in five categories. In the metal clay category, the winners were Laurie Yoder of Miami, a PMC Guild member, Sally Franke of Coral Springs, Florida, and Marilyn Weiner of Boca Raton.

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MC Guild members continue to appear in print! Robert Dancik and Sara Jayne Cole each wrote step-by-step articles for the March 2005 issue of Lapidary Journal, and Lorrene J. Davis had a step-by-step article in the April 2005 issue. Recent issues of Art Jewelry have also featured the work of PMC Guild members. Linda Kaye-Moses and Diane Howey had articles published in the January 2005 issue, which also featured the work of Celie Fago and Shahasp Valentine. The March 2005 issue included articles by Hadar Jacobson, Hattie Sanderson, and Irina Miech and work by Debbie Fehrenbach, Shahasp Valentine, Debra Weld, and Linda KayeMoses. And in the May 2005 issue were articles by Jean Whittington and Carol Babineau and work by Linda Warner, Pat Gullett, and Shahasp Valentine.

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Membership in the PMC Guild Don’t miss a single issue of Studio PMC! 06/05

Expiration date

THE DATE on your mailing label (see back page of Studio PMC) is the date your Guild membership EXPIRES! Join or renew online at www.PMCguild.com. (You can also change your address.) • Or call toll-free (866) 315-6487 to join or renew using your credit card • Or fill out and mail the attached form to: PMC Guild, P.O. Box 3000, Denville, NJ 07834.

Sign me up for: North America: ❑ 1 year $25 ❑ 2 years $45 ❑ 3 years $65 Outside North America: ❑ 1 year $35 ❑ 2 years $55 ❑ 3 years $75

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For Advertising information: Call Bill Spilman toll-free at 877-878-3260

“PMC:We’re Serious About This” CD Now Available! The Guild is working with Barbara Becker Simon to make available the presentation of cutting edge work she presented at two conferences this year. The CD will include scores of images of inspirational work along with the software you'll need to run it. This will be available as a benefit to members for only the cost of shipping ($5). "PMC: We’re Serious About This" can be purchased by the public for $15 plus $5 shipping and handling. Send check to PMC Guild, 2390 Acorn Drive #245, Hebron, KY 41048 Summer 2005

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Intermediate Workshop: 3 Dimensional Techniques (Silver)

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Advanced Vol 2: Vessels, Raku and Leaves (Silver)

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Advanced Vol 3: PMC Gold; Gold elements and Paste

All tapes approximately 50-60 minutes in length. Close up shots of specific techniques for working with PMC. Rich variety of original projects with step by step instructions to help you master PMC.

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Call 847-478-0284 or email [email protected] for more information and details about Classes and firing service or to see and buy her work, products and videos.

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Beginners Workshop: 2 Dimensional Techniques (Silver)

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Step by step instructions on Video By Linda Bernstein

TIME TO RENEW your Guild membership? THE DATE on this mailing label is the date your PMC Guild Membership EXPIRES. If your expiration date falls before the next issue of Studio PMC (February, May, August, and November issues), you need to renew NOW to continue your subscription uninterrupted.

GOLD AND SILVER PMC