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The Journal of the International PMC Guild

fusion 2012 /2

Final Issue

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LegacyWhen blacksmiths pound metal, they get credit for whatever comes out of the fire. But someone has to gently push the bellows to make it all happen. If that analogy translates into metal clay, then the PMC Guild has spent most of the past 15 or so years gently pushing the bellows. The work of the Guild made it possible for artists, hobbyists, and jewelers across continents to work effectively and efficiently with PMC. “The Guild created an environment where other people could be the stars,” said Kevin Whitmore of Rio Grande, which has had a close association with the metal clay community and the Guild since the early years. “The PMC Guild was there at the very beginning. The Guild was instrumental in building a community.” The Guild provided everything in those early years—technical information, net-working opportunities, a magazine with examples that demonstrated the potential of the material, discussion boards, panels, conferences, classes. It gave artists the means to organize in local chapters, and offered guidance and encouragement. It was the first and most effective PMC ambassador. Especially in recent years with the massive expansion of social media, much of the function of the Guild has been assumed by other organizations and publica-tions. But that takes nothing away from the work of the Guild, observers agreed. The Guild accomplished its mission. It helped to introduce an exciting new ma-terial that has since become widely accepted at many levels of the art jewelry and craft worlds. It provided leadership and education and created an industry. After the upcoming conference in June, the Guild will cease to exist. Various functions of the Guild will continue. Rio Grande will take over and retool the Guild website and will also oversee the local chapters. Magazines and other publications are already providing examples of the good work that is being accomplished. Arts organizations and other groups are providing classes and there are active discussion boards available elsewhere. Lora Hart, a longtime instructor and artist, said the legacy of the Guild is its foresight. “…knowing how to recognize a good thing when we see it, acceptance of new methods and techniques, a sense of excitement and discovery with the new forms of metal clay coming onto the market, and a love of adventure. Most likely the Guild’s greatest accomplishment has been promoting metal clay not only to those who ‘got it’ from the minute they heard about it, but introducing, re-intro-ducing, educating, and explaining its benefits to traditional makers who were—and still are—resistant to the appearance of a new technology,” she said.

Bob Keyes

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As an artist, Hart said she would have been unable to accomplish all that she has without the guidance of the Guild, not only during her early development years, but also recently as a leader in the field. Hart did her first writing for the Guild’s former publication, Studio PMC, and its editor, Suzanne Wade. Writing for the magazine gave her confidence to pursue other writing opportunities. She met friends online and later face-to-face at the Guild conferences. She sat on juries, traded ideas, and became a better artist thanks to the associations she made through the Guild, she said. She understands why the Guild is going away. She doesn’t use the website as much as she did in the early days. She gets her technical information from books and magazines, and she can quickly and easily find images online with a Google search. Nonetheless, she will miss the resources the Guild provided as well as the cama-raderie of the membership. “I’m really pleased that Rio Grande will be taking over the day-to-day running of the Guild site. There is so much fabulous information archived there. The web address is on a handout I give to every new student, and I know they appreciate being able to access information on a plethora of topics in one location,” she said. Oftentimes, an artist’s association with the Guild is very personal. Nisa Smiley began her personal journey with PMC and the Guild 13 years ago when she was a junior at Maine College of Art in Portland where her professor was Tim McCreight, widely known as an early advocate for PMC. “Those of us in the metals department at the time were invited to play with this new material, and so it began,” recalled Smiley. “I was very frustrated at first, as I struggled with finding the right balance of moisture, and then anticipating—or not—the shrinkage. I would dabble in it, exasperate myself, then put it away for months, only to return again, and again, determined to make friends with this mate-rial.” She knew the possibilities were endless if she could only understand the clay better. Her breakthrough came in 2007 when she took a class from another Guild pioneer, Celie Fago. She spent a weekend “watching, listening, and absorbing all that she offered those of us in the class, and I’ve never looked back.” Smiley wanted as much information as she could get, and fast. The Guild was the first major organization she joined. The Guild put her in touch with others who shared her passion and offered a support network. She appreciated “the rich gallery of images” available online and in print, the educational articles, problem-solving suggestions, listing of classes, chapters, conferences and other activities.

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Remember These Logos?

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“Today, a shocking 13 years later, I turn to the Guild’s website at least monthly, in search of an article in the archive, information on the upcoming conference, and technical support.” She cannot imagine the absence of the Guild. “But then again, it is hard to remember what the world of metals, jewelry, and ceramics was like before the invention and introduction of Precious Metal Clay. New chapters are forming as we speak, and this is both thrilling and unchartered. “The PMC Guild held that crucial beacon of light up for the rest of us as we found our way, confident in the belief that someday we would no longer need the road ahead to be lit for us.  We are now many, and together, we light the way for all.” For her part, Hart is focusing simply on the conference. She will contemplate a Guild-less world at a later time. “I’m looking forward to attending my fifth conference this summer,” she said. “I’m sure it will be a grand send off. I’ll save the tears for later.”

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The PMC Guild will cease to exist after our conference in June, but some of the functions of the Guild will continue. Rio Grande, which has supplied PMC since its earliest introduction in the United States, has purchased the pmcguild.com website and will maintain some of its archival content and assume some of its resource-based function, such as advertising classes and putting artists in touch with one another. In addition, Rio Grande has hired Guild Chapter Liaison Jobie Fagans to coordi-nate the valuable grassroots work of the chapters. “Jobie has been in that role for quite a while, and we are going to ask that she continue to support local chapters so they can carry on with their local activities,” said Kevin Whitmore of Rio Grande. In an open letter, Fagans assured members that local chapters will function much the same going forward, and asked for patience during the transition period. “Inevitably, things are going to change a bit as the reins pass from PMC Guild to Rio—so please be patient with us and with each other as we continue to evolve over time,” she wrote. For the full text of her letter, see below. Chapters will still be able to advertise their activities on the Rio owned website. Whitmore and Fagans agreed this would be an essential component of the new website because of the opportunity it presents to network and reach large numbers of people. Chapters will still operate without fees, though individual chapters may choose to charge local membership fees. New chapters will be recruited and welcomed, and Fagans will remain the point person to contact for questions and information; as always, there is no cost to start a new chapter. Whitmore said it was essential that those key components remain unchanged. The value of having active local chapters is plainly obvious to Rio Grande, he said. “The chapters are where the action is happening. In your community, you want to reach out and talk to like-minded artists about your craft. You want to have dem-onstrations and learn from each other and have an esprit d’corps to explore this medium. There is a benefit of associating with like-minded souls,” he said. Rio Grande is evaluating other aspects of the pmcguild.com website. Much of the archival data will remain available online. Rio Grande views that information as a valuable resource -- not just past issues of Guild-sponsored magazines and jour-nals, but also technical data, including reports and studies. That information likely will be reorganized and made easier to navigate, Whitmore said. “There is a treasure trove of information there, and the world would be darker if we could not have that for everyone to enjoy. The Guild had its own style and way.

Future of the PMC Guild

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Rio will have its own style and approach. It will look different, but it will be available.“What we want people to realize is that we are not going to operate the PMC Guild. The Guild is winding down. Rio is acting more as an archiver of old Guild matters, and we recognize the value of human association at the local chapter level. “It’s evolving, and I don’t know that we have a clear road map yet to show exactly how it’s going to work. But Rio Grande will be very involved with PMC going for-ward. We have been a big proponent of it all these years, and that’s not going to stop. We will continue to support PMC operations any way we can.”

The PMC Guild has provided us with many wonderful resources, and one of the best has got to be local chapters. Those of you who run or belong to a chapter know how much value membership in a group like this can provide. It’s just what it sounds like: a local group of artisans, all of whom work with or want to learn more about metal clay. Ideas are shared, tools are swapped, workshops taught, friendships made, and constructive criticism offered and accepted. Some groups meet regularly and even travel together, while others communicate more through e-mail than face-to-face. But no matter how a local chapter operates, it’s a member-led experience that has always provided invaluable tools to its community. With the PMC Guild winding down its operations, many local chapter members have expressed concern that their groups will dissolve without the support of the PMC Guild behind them. Well, here’s some good news—Rio Grande is going to continue supporting the local chapters! Inevitably, things are going to change a bit as the reins pass from the PMC Guild to Rio, so please be patient with us and with each other as we continue to evolve over time. Here’s what I can tell you for sure.

• Local chapters will still have a web presence on www.pmcguild.com.

• There will be no membership fees.

• New chapters are always welcome.

• I will still operate as Chapter Liaison.

 

Future of Local Chapters

Jobie Fagans McCreight

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Web PresenceLocal chapters have always had the opportunity to advertise themselves and pat them-selves on the back with a three-page spread on www.pmcguild.com. Though the look of the pages will likely change over time, this opportunity will continue, so please keep using this amazing tool! The website gets tens of thousands of hits as people research opportunities within the metal clay community. These are people actively searching others to connect with—help them find you! Keep your web pages updated by send-ing text and photos to chapters@pmcguild.com. Updates can take 7–10 days, so plan accordingly. For more details on submission, see the “Chapter Welcome Packet” on the web site, or send me a note and I’ll forward you a PDF of the document.

Membership FeesEstablishing a local chapter has always been a free endeavor. Individual chapters usu-ally opt to collect dues from members, but all of these funds stay within the chapter and are used for education, supplies, etc. That will continue to be our policy.

New ChaptersEstablishing a new chapter is easy as pie. All you need is a desire to set up a group and a couple friends and/or colleagues interested in participating with you. There is a chapter in most states, as well as many countries. But if you have always wanted to get to a meeting and the timing never works or the commute is too long, we hope you’ll consider launching your own chapter. The web pages mentioned above are a great way of letting people know about your group, as well as local advertising and word-of-mouth. Please be in touch with me at chapters@pmcguild.com to learn more or to get started.

Chapter LiaisonAs Chapter Liaison for the past few years, it has been my pleasure to communicate periodically with the membership of local chapters, to hear of your successes, and to connect you with other groups. I look forward to continuing to work with you. You are doing all the heavy lifting, and it’s a joy for me to see the results of your hard work!

I’m looking forward to a bright and busy future!

Jobie FagansChapter Liaisonchapters@pmcguild.com

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History of the Guild’s Publications

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As many readers will remember, when PMC arrived on the scene in the mid-1990s it was unlike anything we’d seen before. So different, in fact, that people had trouble getting their heads around this new way to make jewelry. “It’s like clay but it’s metal.” “Like polymer clay but without the color and, you know... it’s real silver.” “You can make real jewelry but with almost no tools.”From the start it was clear that the Guild needed a way to distribute information. In 1995, Steve Edwards of Bennington, Vermont, was hired to create a newsletter that was to be called Studio PMC. Steve was a potter and teacher who also had years of experience in marketing and print advertising. In other words, he was a perfect choice to launch this new endeavor. Working with local graphic designer Jonas Spi-vak, Studio PMC evolved into a unique publication with a unique mission. Though it’s two-color printing and slim format might not impress today’s metal clay artists, we should recall that national jewelry magazines were not yet writing about PMC. Now we turn to the Internet for information, but back then most of us used dial-up modems to connect—if we used the Internet at all. The first issue of Studio PMC was 12 pages long and included an article by Fred Woell who reminisced over the first two years of PMC in the US. The newsletter was sponsored entirely by Mitsubishi Materials Corporation and given away for free. Copies were sent to schools and the handful of people who were teaching PMC. Rio Grande (at the time the only US distributor of PMC) included a copy in customer packages they were sending out. That first issue, along with every other issue Studio PMC, is available online at www.pmcguild.com.

Our first editor, Steve Edwards.

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As the Guild and the metal clay community continued to grow, printing and mailing costs made it clear that the Guild needed to charge a membership fee to help offset costs. The $25 annual fee (later raised to $30) never fully covered the cost of Guild ser-vices but these dues lessened the burden on the manufacturer and distributor and allowed the publi-cation to grow in size and quality.

After five years and 20 issues, Steve Edwards left to devote full-time efforts to his consulting business. The Guild was fortunate at that time to find Suzanne Wade, a professional editor with years of experience in the jewelry business. She took over the publication in Spring of 2003 at a time when Ornament, Lapidary Journal, and other national magazines were running occasional stories about metal clay. To remain visible and respected, Studio PMC needed to step up to full color, an important change we made with Suzanne’s first issue. Under her leadership the magazine expanded its coverage of metal clay events and included artist profiles and instructional articles. Four years later the Guild faced one of those problems you like to see—national magazines were now including metal clay articles and projects in nearly every issue. This is exactly the sort of wide reach the Guild was created to accomplish, but it had the unfortunate effect of putting our publication in competition with larger, better funded magazines. It was time to take a step back to evaluate our strengths. It was also a time of other changes at the Guild. Jeanette Landenwitch had recently taken on the job of Executive Director, taking over the reins from CeCe Wire, and Suzanne Wade headed back to school for a career change of her own. At a meeting in New Hampshire, Guild officers decided that rather than compete with commercial magazines we would publish a small format quarterly journal and an annual book that would feature outstanding work being done in metal clay. It made sense for us to provide a voice and services that were outside the scope of commer-cial magazines, once again blazing a new trail. This new publication needed a new name and a new editor. The name was Fusion and the editor was a guy named Bob Keyes. Keyes is the arts editor for the largest newspaper in Maine, a professional journalist who brought a set of skills and at the same time the fresh eyes of someone unfamiliar with metal clay.

Our second editor,Suzanne Wade.

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The first issue of Fusion was sent to Guild members in the summer of 2007. After three issues in black-and-white, Fusion became a color publication. Because Fusion was a members-

journal, this compact booklet could focus on issues specific to our members such as technical information, news from Chapters and artist profiles. We also added an advice and ethics column called Ask Sol and a feature called the Visual Trigger Challenge in which a photograph was used to stimulate metal clay designs. See Fusion 18 to revisit the thirteen winners. This format would continue for four years. Starting with Fusion 17, the publica-tion switched to an electronic format that allowed for longer articles, more color, and quicker distribution. It also reduced costs at a time when Guild revenue was falling off which meant that the transition to an electronic format allowed the orga-nization to continue an extra year. Perhaps the largest gems in the Guild’s publication crown are the five issues of its Annual. These 128-page books are permanent records that celebrate the work of artists from around the world. Each issue represents the diligent work of a team of jurors who reviewed hundreds of images to select work that showcases creativity, in-novation, and craftsmanship. Unlike magazines, books like this tend to have a much longer life, remaining on the shelves of artists, schools, and libraries for years. Three editors, scores of contributors, and hundreds of pages later, Guild pub-lications will cease production with this issue. We are pleased that Rio Grande, a

supporter since the very first issue, has offered to archive the entire published record and to make it avail-able online. Before we go, we want to thank Steve, Suzanne, and Bob for their dedication. And a big round of applause for the many people who have contributed their ideas, their words, and their images to these important publications. It is been an exciting 12 years and we remain excited about the years ahead.

Bob Keyes, our third editor.

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Editorial

Bob Keyes

I’ve had the pleasure of being involved with the PMC Guild for five years. Just typ-ing that sentence floors me. Has it really been five years? But you know how time flies when you are having fun. I have thoroughly en-joyed my association with the Guild, however peripheral it may have been. I never attended a single conference. I never made a single piece with PMC. But I feel I have been and am a part of this remarkable and far-flung community. As editor of Fusion, I have had the opportunity to talk to and trade emails and correspondence with dozens of artists across three continents. I feel connected and bonded. I’ve profiled artists, written stories about trends within the jewelry com-munity, and talked to makers, manufacturers, and marketers. Here are some of my impressions of the PMC community:

• It is remarkably supportive and encouraging. I am impressed with the way artists share ideas and tips. There is no hoarding and no sense of territorial dominance. There is friendly competition, yes, but the camara-derie feels genuine.

• It is committed. A core group of leaders advocated for PMC early on when it was new, and that same core group, by and large, remains at the center of the community today. The ranks are deeper and richer, but there has been little waning of their enthusiasm.

• It is adventurous. The PMC Guild is going away because it has accom-plished its mission. But had the Guild remained active and Fusion a quarterly concern, I have no doubt that it would be a long time before I resorted to recycling ideas. This group is full of initiative and industry.

• It is welcoming. I speak from personal experience on this one. I never felt judged or shunned for my lack of experience. People encouraged me, offered feedback, constructive criticism, and friendship. I also observed this trait on the message boards and email trails that I monitored for story ideas and sources. Newcomers are treated well and with respect.

• It is humble and respectful. There is no question that PMC is becom-ing widely accepted within the larger jewelry world. But there also is no question that a segment of that world will always look down at PMC.

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Despite that, I have never, or rarely, sensed anger or resentment among PMCers about sometimes being treated as second-class citizens. They are happy to be part of the conversation and confident of their status.

Consider those descriptive words: Supportive, committed, adventurous, welcom-ing, humble. Those are traits I look for in friends, and find attractive. The PMC com-munity has been all that for me, and I will miss it.

Thank you for the friendship and for making me feel welcome. I will follow your progress from afar, so keep up the good work.

Bob KeyesPortland, MaineApril 2012

Photo by Bob Keyes.

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The mission statement of the PMC Guild is “to promote, support, and advocate for the metal clay community.” One aspect of this mission is to encourage and report on the science that supports our field. Over the course of its 17–year history, the Guild has conducted or commissioned research that has advanced our shared understanding of metal clay. Here is a summary of the information and instruction that first appeared in Studio PMC or Fusion.

• Plugs to Control Bezel Size Spring, 1998

• Shrinkage Data (with ruler) Fall, 1998

• Homemade Sagger Box Fall, 1998

• Make Your Own Extruder Winter, 1998

• Soap as a Press Mold Fall, 1999

• Investment Plug to Control Ring Size Winter, 1999

• Recipe for Green Gold Fall, 2000

• Two-part Silicone Molds Summer, 2001

• Fusing PMC Slip onto Ceramics Fall, 2001

• Torch Firing PMC Winter, 2001

• Comparison of PMC, PMC+ & PMC3 Spring, 2002

• Firing Diamonds in PMC Spring, 2002

• Creative Use of Shrinkage Summer, 2002

• Threaded Joints in PMC Summer, 2002

• Doming through Lamination Fall, 2002

• Hinges in PMC Fall, 2002

• Origami and PMC Paper Fall, 2003

• Keum-boo on PMC Spring, 2003

• Mixing Enamel and PMC Winter, 2003

• Polymer Clay and PMC Fall, 2004

You Saw It Here First

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• Making Dichroic Glass Cabochons Fall, 2004

• PMC as a Glaze on Ceramics Winter, 2005

• Introducing Aura 22 Winter, 2005

• Laminated PMC Work Surface Summer, 2005

• PMC Quilling Fall, 2005

• Aura 22 on Glass Winter, 2005

• Introducing 22k PMC Gold Spring, 2006

• PMC and Faux Bone ® Spring, 2006

• Photopolymer Plates Winter, 2006

• Make Your Own Oil Paste Summer 2007

• Argentium Silver and PMC Autumn, 2007

• Mechanical Properties Data Spring, 2008

• Air Sampling Tests Summer, 2008

• Introducing the Masters Registry Autumn, 2008

• Bronze Clay Spring, 2009

• How to Read a Phase Diagram Spring, 2009

• Avoiding Repetitive Strain Injury Winter, 2009

• PMC and the Environment Spring, 2010

• Recycling PMC Yourself Summer, 2010

• Introducing PMC PRO Autumn, 2010

• Tumble Hardening Data Spring, 2011

• Members Survey Report Fall, 2011

• Guild Demographics Fall, 2011

• Introducing PMC Sterling Winter, 2012

• Technical Data for all PMC Spring, 2012

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Good-byes from our Friends

We asked members of the PMC Guild what they have valued about the Guild and what they will miss most. Here is a sampling of responses. Thanks to all who commented.

Linda Kaye-Moses writes:What I have valued about the PMC Guild:1. Connections, connections, connections… networking with the metal clay community.

2. Studio PMC – a  periodical of great quality, filled with useable information;

3. PMC Annual – it reminded all of us in the metal clay community of the progress in technique, skill, and style each year;

4. Conferences – I have attended every conference and the value of these events extended well beyond the few days scheduled. I learned, networked, found suppli-ers of materials and equipment, made friends in the metal clay community. I was able to promote my tools, books, and classes. I shared information on my work, on metal clay, on classes, on techniques, and gleaned similar information from other conference attendees;

5. From the beginning, the Guild website was of inestimable value for disseminat-ing information about upcoming events, classes and new metal clays, answering questions, listing contact information for members of the community, sharing the successes and failures of using metal clay, etc.;

6. Exhibitions – The chapter exhibitions and juried exhibitions at the conferences were extremely valuable. The chapter exhibitions, allowing so many to strut their stuff, showed us where the far-flung members of the community were in their skills and in their application of new techniques to the materials, giving all of us a look at the range of vision and progress in the community. The juried exhibitions presented the work of the very experienced metal clay artisans, offering a view of how far the use of metal clay had come and inspiring all to reach further;

7. The Guild has given us a name, despite being brand specific… a society, associa-tion, a family, plus the added reference to guilds of the past, a bringing together of artisans with like interests and approximately the same skills. It became a global community, fostered a community, with a single language: metal clay.

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Helga van Leipsig from The Netherlands writes:The Guild has given me (and still does give me!) so many warmly felt friendships. It is amazing what connections and friendships are made inside this community.

Susan Dilger of New Mexico writes: I met Linda in 2004 at the Albuquerque conference and Helga in 2008 at the second Purdue conference. When I met Linda, I was just starting with PMC and it was so cool to meet established, accomplished professional artists as role models! I became fast friends with Helga and we joke that we’re sisters on opposite sides of the world.  She even visited and stayed with me in Taos when she was visiting the Southwest. I might add that the 2004 Albuquerque conference was landmark in another sense. The certification class I took with Barbara Becker Simon at that time had quite the line up: Angela Baduel-Crispin, Lisa Cain, and Judi Weers were in my class, all people who have contributed to the metal clay community. I also first met Tim McCreight at that conference and I swear it was like meeting the POTUS. (Presi-dent of the United States!) I’ll see you all in Cincinnati.

Lorrene Baum-Davis writes:The Guild was something that needed to happen. It brought together artists who were fairly new to the metal clay medium to share tricks and techniques. It helped unify artists from around the world. The sharing began.

Katie Hanrahan writes:I will miss the conferences most. The opportunity to meet up with fellow metal clay artists from all over the world to share ideas, techniques, tools, finished work and friendship is an incredible experience. I shall miss it dearly, as I have attended every single PMC Conference since the very first one in Wooster. I interact with the artists and friends I have met over the years through the Yahoo discussion board, Face-book, and other events, but it is not the same as the dynamic experience you get from the PMC Conference.

Martha Kelley Biggar writes:Thanks for the opportunity to say a few words—and that’s what I’d say to the Guild as well.  I, too, have attended each Conference since the first one.  I look forward each year to catching up with old friends in person, to being inspired by new work on dis-play, to looking at what everybody’s wearing.  Coming away each year refreshed with new friends, new ideas, new knowledge; the Guild will be sorely missed.

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Nancy Miller writes:I’ve been a guild member since early 2001, and here are my thoughts on what I’ll miss:1.  Conferences: I’ve attended everyone and learned loads each time. CeCe said

something at the first conference about hearing the drums and the tribe gather-ing…just how I felt and still feel!  I’ll be there again this year!

2.  Publications: Studio PMC and Fusion with the technical information, inspira-tion and challenges were all great.

3.  Website: Resource for class info, contacts with fellow members and links to projects and handouts.

4.  Professionalism: The Guild helped keep the use of PMC on a higher level than might have been true otherwise.

5.  Support: Back in 2004 CeCe supported a PMC volunteer effort that I begain with seriously ill kids at a summer camp that has grown tremendously and has continued with Guild support to this day.

To the Guild leadership and members, I’d say job well done.  Thanks for being there from my beginning years with PMC!  PMC truly did change my life, and I’m very grateful.

Ann Davis writes:I love the sense of community that the Guild provided, the information, the friend-ship, the exchange of new ideas. It was just seminal in formation of the bud that would become the bloom of PMC. Thank you, Thank you, Thank you.

Good-bye!

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SUPPORTING MEMBERS

The Guild couldn’t do all it does without a little help from our friends. Please support those who support the community.

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