Metal Clay Today Summer 2011

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May 24, 2011 - Use our eyelets, or make your own ... Promote your business by becoming a Corporate Sponsor. ... 64 Adver
SUMMER 2011

Featured Artist

Cindy Pankopf

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Publisher’s Notepad

Welcome Friends,

I had the most interesting experience. I received a phone call from a subscriber who wanted information about downloading the last edition to her new NOOK color. After speaking with her, I walked down to our local Barnes and Nobles. I wanted to see for myself how the magazine looked on the NOOK. It was so awesome! The magazine was so easy to read and really showed off the great colors of each article and piece. Aren’t these new devices great? Whether you are a fan of the Ipad, Nook, or Xoom, the possibilities they’ve opened up for artists is unlimited. Imagine being able to take your device into your craft space and create a piece while following the instructions of one of the many contributing artists to Metal Clay Today. If you’ve been reading the editions on any of the other devices, we’d sure like to hear your opinions. We think you’ll enjoy some changes that are happening here at Metal Clay Today.

Challenges The next Challenge, “Metal Clay in Motion” will be a Juried Challenge! Entering the challenges will still be FREE, but First and Second Place prizes will be awarded based on established criteria. You’re still a very important part of theses Challenges, so please continue to participate by voting for the winner of the Viewer’s Choice Award. Clayer’s Club The Clayer’s Club has officially opened its doors. Starting with the next edition, you’ll need to be a member of the Clayer’s Club to be able to download the e-zine. There’s still a lot of work to be done on the site. Please feel free to give us any advice or input on how to make it better to serve the metal clay community. Corporate Sponsorship Promote your business by becoming a Corporate Sponsor. There are three levels to choose from … Gold, Silver or Bronze and each comes with a variety of benefits. Email [email protected] if you are interested. Arli, Lori and I have come to have a great appreciation and affection for so many Metal Clay Artists throughout the World! Metal Clay Artists are the most GENEROUS and GIVING Artists and time and time again they’ve shown this by their selfless contributions of time, talent to making this e-zine what it has become...a resource and community for like-minded Artists. We’d like to invite you to participate as well. If you would like to be a contributing artist, challenge sponsor, guest blogger, etc, then email editor@ metalclaytoday.com. On a personal note...I will soon be leaving the wonderful state of California and returning to my roots as a mid-westerner. The transition will be very interesting as we get settled into our new location and get re-acquainted with family and friends. One of the more interesting things I’ve had to do while getting my home ready has been deciding which of my many cherished magazines will be making the move with us. As I look over the years of issues which now are at least two feet tall and weigh more than I care to think about, I’m very grateful that I don’t have to make a similar decision about Metal Clay Today. How very cool to think that all eight editions will be carefully packed in my laptop awaiting the next time I need to look up a favorite project or article.

Tes Shea

Co-Publisher, Webmaster/Editor Metal Clay Today

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Summer 2011 Volume 2, Issue 4

Featured Artist Cindy Pankopf

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Rising Star Jen Bethman

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Step-by-Step Steve Rossman

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10 Tips for improving jewelry photography

Step-by-Step Dana Lea Peters

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Mixes it up with Silver, Bronze and Glass

Tools to Treasure Water Brush

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Joy Funnell’s favorite

Tools to Treasure Kilns and Firing Foil

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Wanaree Tanner’s recommendations

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See the entries and meet the winners of Metal Clay Today’s Jewelry for HimChallenge.

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Wish We Were There Denise Lawn

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First Art Clay Festival in Prague

Step-by-Step Stan and Heather Micallef

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The coppery colors of autumn leaves

— Features — 36 Tips ‘N Tricks 50 Best of the Blogs 51 Book ReviewMetal Clay 58 Challenge – in Motion... 62-63 Guilds 59-61 Gallery 64 Advertise in Metal Clay Today Subscribers are free to print this magazine for their own use or share with family and friends. The intellectual property and photos of the artists are copyright protected.

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Featured Artist

Anniversary Tree

by Tes Shea

Cindy Pankopf Art Clay World USA recently announced its newest Master Instructor, Cindy Pankopf. Congratulations Cindy! This is quite an accomplishment as their Master’s Program is by invitation only! Cindy began her artistic career as a Graphic Designer in San Jose, California. It seems to me many graphic designers go on to become artists in other mediums, so naturally I wanted to know why she had made the switch. She told me she had became tired of designing other peoples stuff... stuff that no one notices and eventually is thrown into the garbage can. You know the stuff she’s referring to... packaging and promotional materials. All of which take an enormous amount of creative energy with little or no long term value. Nightwing Moth Pendant

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Designing jewelry allows her to use all of the same design skills, is much more satisfying, and ultimately produces an object which will be cherished.

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She enjoys creating jewelry that challenges her engineering skills, making pieces which move, spin, twirl or just fit together in interesting ways. Her designs generally fit into the categories of organic with leaves and vines, or structural with clean and refined lines.

Caged Vines Pendant

Cindy is married to Mike and they have two children, Keely and Connor. After the children were born, their parents encouraged them to return to southern California so they could spend more quality time with their grandchildren... which they did. It was at that time that Cindy put all her energy and enthusiasm into Tupperware. Within five years, she’d become a top producer earning all the benefits such as a car and free trips. The most important thing that came out of those years was learning how to get up in front of people to speak because Cindy has always been tremendously shy. And, as so often happens, life took a dramatic turn when one day she Caged happened upon a bead Glass Beads store. Discovering a stitched bead bracelet, she knew in that moment, she had to spend her time working with beads and teaching others to do the same. When the opportunity to work at the bead store opened up, Cindy and her very supportive husband had to make a life altering decision. To continue with her very successful business or to take a leap of faith and do what her heart told her was the right move. Cindy knew she had the drive and determination to make the most of this opportunity, and so she did. Before long she’d become an expert at beading and was teaching and sharing her enthusiasm for the art. Cindy has even written a book, Beadmaille™: Jewelry with Bead Weaving and Metal Rings, which continues to be a valuable resource for beaders everywhere. In the beginning, metal clay was just a way to design component parts for her burgeoning career... that is until she met Gordon Uyehara.

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Featured Artist

Cindy’s interest in metal clay was profoundly altered by Gordon when she took her certification class with him. She told me she was fascinated with the ease and grace with which Gordon molded and manipulated the clay, never rushing the process to bring about the desired effects. A former instructor had led her to believe the best method of working with metal clay was to “hurry up” and get it done because metal clay was so difficult to work once it began to dry out.

Fuchsia Pendant

Working with Gordon, Cindy found her passion for metal clay and wanted to become a Senior Certified Instructor. However, Gordon response was that she needed at least a year of working with the clays and teaching classes before he would consider allowing her take the Senior certification course with him. Why wait? In Gordon’s opinion, now shared by Cindy, a Senior Instructor is an achievement of distinction. He or she is expected to have a certain level of experience and knowledge. This knowledge cannot just be learned during certification. It must be gained with maturity and involvement by actually instructing students and working thorough situations with the materials. Gordon allowed her to become a Senior Certified Instructor a year later.

Water Etched Rings

Cindy believes certifying a new instructor reflects on her personally as well as ArtClay World. So if you should decide to take your certification course with her, be advised that you will be expected to successfully complete each project. She has been known to send students home to redo their projects. She is careful to point out to new students that just paying for the course isn’t a guarantee of success. They have to be willing to put in the effort.

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The CP Studio is the place to go in Fullerton, California if you’d like to take a metal clay, beading or certification class with Cindy. She also travels to teach so check her website to see at which upcoming show or event you’ll be able to catch one of her classes. Of course if you’re going to the Metal Clay World Conference in Chicago this summer, you might just get a chance to meet Cindy for yourself.

Flourish Bracelet

Key to My Heart Pendant

She will be presenting “Teaching Tactics: Keep your Students Coming Back”. This talk will cover everything from making sure you are ready to teach to understanding your students to problem solving classroom situations. Finally, I asked Cindy if she has any words of wisdom for beginners to metal clay. She said, “Experiment, try new things and don’t be afraid to mess up.”

Cindy’s first book, Beadmaille™: Jewelry with Bead Weaving and Metal Rings, Lark Books, May 04, 2010 ISBN: 1600594956 is available by visiting her website, www.cindypankopf.com. Her newest book “The Absolute Beginners Guide: Making Metal Clay Jewelry” is available for preorder at http://www.kalmbachstore. com/64315.html ISBN; 978-0-87116-431-5 or call 800-533-6644.

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Rising Star

Jen Bethmann Twisted Fine silver round-shank ring topped with fine silver twisted around oval cut czs Silver and CZ ring This textured fine silver was the first ring I ever made. The square cut purple cz is set in a syringe bezel

Mr. Turtle Combining flat clay and open syringework in this fine silver sea-turtle brooch

As a recent addition to this creative community, I must admit that I never imagined that I would enter the world of jewelry design and teaching. “Who’da thought” often comes to mind as I sit at my crafting table, squeezed into the corner of my living room, designing my next project. Friends and family shake their heads and tell me that I have always had the creative touch: making hand-made Christmas ornaments and gifts for people, building theatrical sets and props for the local professional theatres. So, I guess, the jump isn’t so great. Sometimes one doesn’t know a door exists for us until we stumble through it. I was born and raised in Normal, IL and am completely blessed with an encouraging and supportive network of family and friends. I was encouraged to follow and struggle for my dreams, and even managed to reach and surpass a few. My degree is in Technical Theatre from North Central College in Naperville, IL and I spent the years following working various theatre jobs as a backstage tech, and stage manager. I like to get my hands “creatively” dirty. Photography by Laura Loewen, Loewen Images

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Folded Paper Type Pendant This pendant is created from Art Clay Silver Paper Type is embellished with fine silver wire, sterling silver chain and beads Bezel Set Pendant Natural stone cabochon set in fine silver with fine silver wire

Butterfly Garden This piece was created from an “oops”. Early in my metal clay experience, I thermal shocked my cz gemstone in a silver pendant. The piece sat rejected on my table until I rescued it with Art Clay™ Overlay Paste and set a new gem with syringe and added a copper butterfly and beads

The process of taking the assorted materials I have in front of me and changing them into something else entirely different has always intrigued me. My art often comes from what I am thinking and feeling at the moment an idea or image strikes me, not a lot of pre-planning involved. I let my hands and heart do the talking. Tiger’s Eye Tiger’s Eye cabochon bezel set in fine silver

Below:

Brass and Bronze Clay Pendant My first steps into Metal Mania’s Brass and Bronze clays

Above:

Wrapped Up This dichroic glass pendant wrapped with hand textured fine silver was my first experience with cutting and fusing my own glass cabs

Here’s the Story A fine silver hollow form brooch/pendant, textured to reflect an aged book, 4 yellow czs are embedded in the cover catch the light passing through this hollow form, and no book is complete without a bookmark bail

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Diamonds are Trump Fine silver tri-diamond earrings folded from Art Clay™ Paper Type with beads and fine silver earwires

Being hired on at Art Clay World USA (ACWUSA) allowed metal clay to present itself center stage in my life. From the first piece, a simple textured pendant in the shape of a tulip, I was hooked. They awakened the metal clay monster in me. I began reading up on the medium, trying new things on my own, asking to be taught more. “Teach me, please,” I would say. I am never done being a student, what I’ve learn on a day-to-day basis from Katie Baum, Jackie Truty and everyone at ACWUSA not only spurs my continued interest in the art of metal clay but aids me in helping others. And I still want to know more. After I attained my Art Clay Level One Certification, I began teaching beginner classes in the ACWUSA studio. Again friends and family showed support by giving themselves over as my “guinea pigs.” I try to make my classes fun and appealing to my students and relish in challenges that are brought to my door in the form of commissions and class ideas. I find joy in helping students turn their ideas into reality. I achieved my Art Clay Senior Certification this past winter and am in the process of figuring out what to do with all these pieces I am making. Bezel setting natural stone cabochons is my current favorite metal clay technique. It is my most popular class, too. Most recently, I have begun dabbling with base metal clays,

Sunshine Fine silver earrings with Art Clay™ Paper Type appliqué sun Peridot and Silver Earrings Fine silver earrings embellished with peridot beads

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Dragon Bead Earrings Fine silver earrings embellished with dragon etched beads and fine silver wire

Lentil Pendant Textured fine silver lentil pendant combined with beaded necklace

Lock and Keys This fine silver lock pendant is complimented with fresh water pearls and fine silver wire. Which key fits in the lock?

designing silver with dichroic glass, and folding Art Clay™ Silver Paper Type. I love that the possibilities in this medium are truly endless and projects are as simple or as complex as I wish them to be. My view of the world has been altered since I began designing with metal clay. My eyes catch what men and women are wearing, and think to myself “I wonder how that was made.” A pattern of wallpaper will cause me to say, “Now, that would make an awesome texture.” I have met many wonderful artists whom I admire and am grateful to be apart of this welcoming community. You can contact Jenni by email at

[email protected]

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Dynasty Creative Arts Studio A warm, inspiring and relaxing environment where you can design and create your own one-of-a-kind jewelry designs. Novice to advanced, individual instruction to group classes and private parties. • Hand blown lamp work beads, • Precious and semi-precious stones • Chains, Accessories & Tools • Unique hand-made jewelry works of arts with emphasis on local and national artists

Visit, learn and make new friends. From one-of-a-kind jewelry designs, to unique components for jewelry arts...

Dynasty

is the destination. 27134B Paseo Espada, # 201 San Juan Capistrano, CA 92675 Studio Phone: 949.240.1800 [email protected]

Metal Clay Today is devoted to giving recognition, encouragement and a voice to the many gifted artisans, teachers and enthusiasts in the metal clay world. Published quarterly as a free online-only e-zine. Ideas for articles, tutorials, step-by-step guides and other items of interest to the Metal Clay Community should be sent to [email protected]. For writers’ guidelines, visit www. metalclaytoday.com/contributing_artists.php Payment is made in the form of goodwill, advertisement and a “Virtual Certificate” as a Contributing Artist. This Certificate is suitable for use in all your marketing efforts. As a contributing artist, you will receive a free quarter-page ad for one year in the magazine. Your artist’s bio, along with a photo and any other information you provide, will be included on the website with a link back to your store, blog or other online location. Advertising rates and schedules are available at www.metalclaytoday.com/advertise.php Privacy Policy is available to view at www. metalclaytoday.com/privacy_policy.html Copyright©2011 Metal Clay Today All Rights Reserved

Subscribers of Metal Clay Today are encouraged to read, reproduce and use the materials contained within the pages of each edition. Copyright law pertaining to the reproduction of other artists‘ creative property continue to apply. If in doubt, please ask the artist directly for permission. For more information contact [email protected] or call 619-723-8495.

Metal Clay Today

9834 Scottsbluff Court Santee, CA 92071-1957

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Steve Rossman’s

Top 10 Suggestions

for Improving Your Jewelry Photography 1. Take photography almost as seriously as you take your jewelry design If your jewelry is beautiful, then excellent photography can be your gateway to being seen, getting juried, winning competitions, selling on line and more. So look at what you’re doing. Practice. If you shoot all the time and work at this craft, it gets easier.

2. Use the very best camera and lens you can afford Using a camera that allows you to override the automatic (point & shoot) features gives you more command over your photo work. DSLRs (Digital Single Lens Reflex) cameras will, by and large, give you the most control. For me a solid, dependable camera will often get you farther than an armload of bells and whistles. If you’re using a camera strictly for shooting jewelry, a good, basic camera with a good lens trumps all the gadgets. And choose the best lens you can afford. The lens is more important than the camera body.

3. Use a fixed lens (preferably a macro), not a zoom You’ll always get sharper images from a “fixed” (or “prime”) lens than a zoom. My primary lens for shooting jewelry is a 60mm macro. That means it’s a closeFelicity bracelet detail up lens and provides great clarity. Ann Rosier Capturing the detail you’ve labored over makes the difference between a mediocre shot and a powerful image.

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If you must use a zoom, then try to shoot towards the middle of the range. For a 12mm to 24mm lens, for example, you’ll get the best sharpness when shooting between 15mm and 21mm.

4. Take time to read your camera’s instruction book

Leaf Necklace Jan Spencley

I know it sounds basic, but I can’t tell you how many people start conversations with me by saying, “I don’t know how my camera works at all...” I have at least five books on my Nikon, and I took a full day workshop on the camera right after I purchased it. If you want to get better images, your camera is an important tool. You need to know how to use it. If you are intimidated by your camera’s manual, find a good camera shop and talk with its staff. They’ll help. Especially if you bought the camera or supplies there. They may offer classes, or offer third-party books that are easier to understand than the manual.

5. Don’t mix light!!! This probably should be the first rule. If you’re relying on daylight, don’t augment it with incandescent or fluorescent. Know the color temperature of the light you’re using. Incandescent (tungsten) is approximately 3200K. Direct afternoon sun and Ott Lights are around 5000K. If your camera has a WB (White Balance) control, learn how to use it. White balance is the single most important tool your camera offers to control color. And the biggest complaint I hear is, “I can’t get the colors right!” It may not eliminate all the problems, but controlling WB can make a difference.

6. Use a tripod (and a cable release if your camera allows it) A tripod and cable release allow you to shoot at slower speeds and therefore higher f/stops (more on this later), which generally allows greater “depth of field” -- the distance in front of and behind your subject that appears to be in focus. A cable release is a cable that attaches to the camera to allow you to depress the shutter button remotely, so you don’t inadvertently shake the camera.

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7. Art direct each shot This one’s simple. Really look through the lens. Get rid of clutter. Make sure your jewelry is laid out to its best advantage. Remember, the objective is to focus attention on your beautiful jewelry, not extraneous stuff around it. You’re a designer. Use the principles of design...simplicity, cleanliness and good composition.

Seashore Necklace Jonna Faulkner

8. Focus on the most important detail

If you’ve designed a spectacular pendant and put it on a simple gold chain, it’s okay to just show the pendant and ArtClay Silver Dog on Turquoise pendant a bit of chain, so that the centerpiece can be seen Lynn Moon in greater detail. If a necklace features both a pendant and a hand-crafted clasp, I position the two elements so that both can be seen, but with the chain mostly cropped out. I see too many shots in catalogs that show the entire necklace, resulting in a focal point that’s so small it really can’t be appreciated. Feature your strength.

9. Set-up a shooting studio... and leave it up I know it’s not always possible, and might be considered a luxury, but it’s always easier to get better work if you don’t have to assemble everything for each shoot. This can be as simple as a small tabletop light tent, lights, a camera and Captured necklace tripod. “A room of one’s own” is important. Stan Rosier & Greg Hanson

10. If you’re proficient at photo editing software, don’t shoot sloppily and assume you can “fix it” later While you CAN repair a lot of damage and make final corrections in programs like PhotoShop, it’s just not possible to get optimum results when starting with an image out of the camera that lacks

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sufficient detail. Remember the adage, “garbage in, garbage out?” It applies. And many magazines and competitions automatically reject manipulated (“PhotoShopped”) images. Know the rules. And rely on your camera and studio, not your computer programs.

You CAN do a better job capturing your jewelry if you follow even just a few of these steps.

Happy shooting! Japanese pendant with gold keum-boo disc Jonna Faulkner

Heart in Hand Milagro Necklace Judith Moore

Steve Rossman has been capturing photographs and creating images, both real and fictional, for a very long time. Steve Rossman Photography specializes in Jewelry and other small shiny objects, Real Estate marketing, Trade Show documentation, and fine art imagery. Steve also provides private or small group in-studio tutorials that teach jewelry-makers and other artists how to better photograph their work. Find Steve at http://steverossman.com/new_jewelry_photography/

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. . . e v e t S om

r f s u n o B

A

A Ridiculously Oversimplified Explanation of Shutter Speeds, f/Stops & Depth of Field

Making digital photographs requires that light goes through a lens and onto a sensor plate which then records the image the lens sees. Too much light and the image is over-exposed (everything looks white or too bright). Too little light and the image is underexposed and looks too dark. There are two mechanisms on almost any camera that control exposure (how much light reaches the sensor): Shutter speed and aperture opening or f/stop. Shutter speed, as its name implies, determines how long the lens is in the open position to let in light. This is generally measured in fractions of seconds. So if the Shutter Speed dial reads “250,” what it really means is, “1/250th of a second.” Conversely, if the camera reads “4,” that’s 1/4th of a second, which in photographic terms is a VERY long time. Most people can hand-hold a camera only down to 1/60th of a second. After that, the image will usually look blurry unless a tripod or other supporting device is used. The aperture opening or f/stop controls the size (diameter) of the opening that lets light pass through the lens. Here’s the tricky part: For some unknown reason (at least to me), the photography gods decided that the smaller the number, the larger the opening. I know. It’s crazy. However, f/2 is a very large diameter opening, while f/22 is a tiny opening (almost a pin hole). And though the numbers may look random at first glance, they’re not. For both speed and f/ stop, each number approximately halves or doubles the preceding and following numbers.

Shutter Speed 1/8 sec 1/15 f/stop

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f/32

f/22

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1/30

1/60 1/125 1/250 1/500 1/1000 1/2000

f/16

f/11

f/8

f/5.6

f/4

f/2.8

f/2

So you can get exactly the same amount of light into the camera when your shutter speed is 1/60 and your f/stop is f/11 as when your shutter speed is 1/250 and your f/stop is f/5.6. _______________________________ Matthew Cole, a photography teacher, has a great analogy that may help to explain this. It involves filling a bucket with water. To fill a bucket, you can either pour a small stream of water for a long time or a fast stream of water for a short time. Either way, you end up with the same amount of water. In photography, the size of the stream of the water equals the f/stop, the length of time you pour is the shutter speed. The camera’s sensor plate is the bucket. From the bucket’s point of view, it doesn’t matter which combination of stream size and length of time you choose as long as you fill the bucket with the right amount of water. Digital images are the same; the combination of time and amount of light doesn’t matter, as long as the right amount of light eventually reaches the sensor. _______________________________ And finally, there’s a trade-off you need to know about. The bigger the lens opening, smaller the depth of field. Depth of field is the distance in front of and behind your subject that appears to be in focus. Say that you photograph a child holding a book in front of her while standing a few feet in front of a window. Let’s say that you focus on her face. With shallow depth of field, only her face will be in sharp focus. with good depth of field, the book and the window will be also be in focus. With GREAT depth of field, trees outside the window will be in focus, too. The smaller the aperture opening, (say f/16 through f/45) the deeper the depth of field.

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g n i x i M

. . . p U

with Silver & Bronze and Metal Clay & Glass by Dana Lea Peters

Yes, you can fire glass pieces into Metal Clay!! I have used many of the different metal clays and have found that when working with glass: Silver works great, Copper DOES NOT work well and the FastFire BronzClay from Metal Clay Adventures works the best. This pendant is made of a combination Bronze and Silver with the sparkle of glass. The bail, made of silver is wrapped and loosely fired to give the final piece movement. Some Metal Clay experience is recommended.

Needed:

Dichroic Glass shape. I get mine from Pacific Glass-they’re great pieces 50-100 grams of FastFire BronzClay 5 grams Art Clay Silver-Low Fire Heart shape metal cutters Texture sheet Your favorite selection of tools for Metal Clay

If you are not using 2 different sets of tools for your Bronze and Silver clays, make sure that you clean your tools VERY well before using with each type of clay to avoid contamination of the 2 metals.

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It is best to get started by making your slip first. This gives the clay sufficient time to settle and mix better for a smoother paste. Take a small amount of BronzClay and add several drops of water and mix. Let this mixture set for a couple of minutes and add more water as needed. For attaching Bronze layers, the thicker paste the better. Soft, smooth wet peanut butter is how I would describe it. To make your base, roll about 30-40 grams of bronze clay on your texture sheet, to a 2 mm thickness. I use graduated slats to assure I am getting the desired thickness. Place your glass shape on your clay to select the proper placement and then using a cutter, cut the outside shape of your piece. Decide the size and shape of the slot that the silver bail will attach, make sure to take into consideration for the small amount of shrinkage of your clay. (Fastfire BronzClay shrinks VERY little.) Remember that you can file the opening to the desired shape and exact placement when the clay is dry. Using a heart shape cutter that is smaller than your glass shape, cut a hole in your base where you would like the glass to lay. I prefer to cut this space out of the clay, behind the glass, to give the clay an option for shifting during firing and give the glass a place to slump into. Roll another 25-30 grams of Bronze clay, as you did for the base and texture. I used the opposite texture (raised) of bubbles for this top layer. Cut the center heart just 1 mm smaller than your glass shape and the outer heart.

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Place this top layer of clay over your glass shape, gently pressing the inside heart opening over the glass and down the sides until you have the clay level with the glass. Lay the top layer over the base and cut the excess from the top layer. Let both layers dry (keeping your glass shape in place). File any areas that need smoothing. Add a generous layer of paste to the back of the top layer and place it onto the base. The more paste you use, and the thicker it is, will insure a much better attachment of your layers. Let dry completely. Add paste to the edges of your piece, filling in any open places where the 2 layers meet. Dry and file these edges smooth. Roll a coil of BronzClay and place over the glass shape, making sure that it covers just the outside edge of the glass. Use a generous layer of paste to attach this coil. Then, while your coil is still damp use your texture sheet to press into the coil, creating a texture. Make sure not to misshape your heart coil. Let dry, file and smooth edges. A flat, dry brush works well to make sure all of your clay that is left from sanding, is brushed away.

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Use a water brush filled with denatured alcohol, or a cotton swap with alcohol to wipe away any clay dust from your glass. Any clay left on the glass will fire into the glass and cause a discoloration. Fire to manufacture’s recommendation. Make sure that your piece is laying very flat and level in the firing dish. During firing, the glass will melt and if it is not level, you will find that your glass has leveled itself and will be uneven. Let your kiln cool completely before remove the glass piece. When you remove your piece from the kiln, you will see that the surface of the glass has a stippled look. This is from being in contact with the charcoal pieces as the surface of the glass melted. Make the silver moveable bail. Roll your Art Clay Silver to a thickness of 1.5 mm and cut a rectangle just 1 mm smaller than the opening in your bronze pendant. Lace the flat clay through the opening in the pendant and overlap at the top. Place around a straw to hold the clay open. Make sure that your bail is large enough to ensure the movement of the pendant after firing. Attach the Silver Clay layers with a small amount of Silver Paste and press together. Cut out several tiny hearts of Art Clay Silver and using paste attach them to the front of the bail. Let dry and sand any sharp edges. Be sure that the bail is movable at this time so it will be movable after firing. Place your pendant on an open shelf in your kiln, once again making sure that is level. The Art Clay Silver Low Fire can be fired at 1200 degrees and hold for 30 minutes if you want to keep your glass surface as it is (sometimes I like the stippled look). Or if you want to have a smooth glass surface once again, fire at 1300 degrees for 30 minutes. Let cool completely and then polish your finished piece with a wire brush or tumbler. Because Bronze is a much stronger, tougher metal it can sometimes be more difficult to get a high polish. Rotary wire wheels and jewelry polishing equipment work well to get a higher shine.

Dana Lea Peters is one of 9 Certified Master Instructors with Art Clay World USA and has been creating and teaching Metal Clay for almost 10 years. Dana lives and works in her Wandering Woman Studio, high in the Rocky Mountains of Colorado (10,000 feet elevation!!) on a working cattle ranch with her husband/cowboy. She spends a lot of time traveling the country, teaching and showing her Metal Clay creations. You can find her schedule on www.artesean.net or her www.artclayworld.com website.

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h s u r B r e t a W y m e and

M

by Joy Funnell I bet you have a favourite tool for metal clay don’t you? I certainly do. Mine is my water brush. It is now the one tool I would always make sure I have with me but it was most certainly not love at first sight between us! I started out in silver clay in 2005, and in 2007 I went to my first Art Clay World UK conference at Westdean College, Chichester. I had been using silver clay for a couple of years. I was quite happy with the way I worked and although I was selling tools including water brushes, I knew there was nothing I could do with it that I could not do with my ordinary paintbrush. I thought it was just a fancy gimmick but if people wanted to buy them from me then that was fine. I certainly was quite dismissive of it as a tool. At the conference we had a Japanese master instructor who had flown over to teach us. He started out showing us how to create our project and was using a water brush. I recall it so clearly even to this day. This is my favourite silver clay tool, he said. WELL... that me sit up and think. If it was his favourite tool maybe my pompous judgement of something I had never even really tried was completely wrong and perhaps I had misjudged this humble bit of plastic. Time to think again!!

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Back home I got myself a water brush and started to see if it would be of any use to me and guess what – he was bang on!! The brush delivers a measured amount of water all the while. When I am joining pieces together I either use plain water or if I need more reinforcing I add some syringe as well. With my water brush I can move the extruded syringe around while still wet, push it where I want it to go to reinforce areas, smooth it and totally clean up my piece before drying the join.

If the join is just made with plain water there maybe be tiny squidges of clay which need a little clean up at the edges of the join. These days after I have joined pieces together I can make them neat and tidy straight away without having to do any smoothing or sanding once it is all dry. The finish on my work has really improved and it is all due to my beloved little water brush. So if you have not tried one, maybe you will feel it is worth having a go. It is by no means the most expensive bit of kit you will ever buy, but to me it is worth the world :)

Based in Hastings East Sussex, UK, Joy is a Craftsman of the Guild of Enamellers and a Senior Art Clay Instructor. Having originally started out making jewellery as a hobby by learning from books, she made the life changing decision to go into it full time several years ago. Joy teaches on a regular basis and specialises in tailored one to one workshops. She creates unique colourful handmade jewellery using Silver, Enamel, and Glass. Pieces are often reversible adding to their individuality. She also hand makes many of the fine silver chains she uses on her larger pieces and her bejewelled bracelets. Joy uses transparent enamels on the fired silver so the beauty of the silver can shine through. She specialises in her Enamelled Accents technique where jewel like colours are captured in fine silver wires on the surface. www.joyfunnell.co.uk www.joyfunnell.blogspot.com

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The Art and Design of Metal Clay Jewelry Calendar Submission for 2012

Submissions will start June 15, 2011 through August 15, 2011 Release date: Late October 2011

I am seeking images to feature in our next annual calendar... The Art and Design of Metal Clay Jewelry 2012. The calendar has become an annual collectors’ item and will again feature all jewelry forms... necklaces, rings, bracelets, earrings, brooches, and others will be considered. Unique and diverse design styles and techniques are desired. Metal Clay is the predominant material, but other media - resin, gems, metals, enamel, and more, may be incorporated into the design.

Artwork submitted must represent work that is unique and original in design. New unpublished/unseen work is preferred. Group shots or individual pictures will be accepted. Limit 3 entries, no more then 2 shots per entry. Please don't send actual pieces. Professional photo quality is a MUST. Please consider the fact that viewers will only see your photo, not your original work, so clear uncluttered photos with an accurate representation will be a priority for the selection process. Images should be 300 dpi, in tiff, jpg or psd format with no compression. The image size should be no smaller than 5 ". However only large 8 1/2 x 11” format photos can be considered for the prominent cover position.

Artwork for inclusion will be selected based on: ✓ Design, ✓ Innovation ✓ Craftsmanship ✓ High degree of excitement ✓ Unique use of metal clay and degree of challenge Hint: The above is a great checklist for submissions

Please include the following information:

Missing information may forfeit your position in the calendar: (Please consider that over 300 photos arrive for review)

1. Name 2. Address 3. Website or e-mail (indicate if this information should be included on the calendar) 4. Title of piece 5. Materials used 6. Dimensions in millimeters 7. Brief Description of process and/or motivation as to how it was conceived. An interesting, well written statement is encouraged, 50 words or less. This information will be published so put your best foot forward. 8. File name 9. Has your file been retouched? 10. Is your file 300 dpi?

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High resolution digital images will be accepted by e-mail: [email protected] or mail to: Gage Designs c/o Calendar Submission 2012 P. O. Box 614 Bowmansville, PA 17507 Please direct all inquires to Holly Gage at: http://www.HollyGage.com Artists retain copyright of their work and receive a free copy of the calendar, if selected.

To be or not to be, that is the question.

“R“ Designs

he services of one or more of these other e-commerce communities.

Unique designs in Jewelry

Classes in metal clays, Art Clay certification (both Level 1 &Offering Senior level) and cross-over certification for certification classes PMC certified artisans offered at Stan and Ann’s in Art are Clay Silver studio, as San well as other area classes. in the Diego Each class limited to 6 students. Contact Stan and Ann Rosier for more information. For additional class information or to request a technique/project [email protected] to be taught, please email us at

[email protected] 619-578-2075 Level I Certification

A 24 hour, intensive workshop to develop the students’ skills in working with Art Clay silver. Although it is optimum to do this in 3 successive days, we can work with students to break it up into parts, as long as work is completed within a 30 day window. The benefit of achieving a Level I certification is that each successful student earns a 35% DISCOUNT with ArtClay World. Dates to be determined

Senior Level Certification

A 32 hour, intensive workshop to further develop the skills of Level I students. Students must be a Level I for 6 months before being eligible to take this class. Class can be broken into 2 weekends, as long as work is completed within a 30 day window. After workshop is completed, each student must create 3 strictly defined projects which will be sent to Art Clay World to be juried. If successful, the student will achieve Senior status, gaining a higher discount with ArtClay World, and be approved to teach certification classes. Dates to be determined

Crossover Certification

(to be eligible, applicants must already be Certified PMC Rio Level 1 or Certified PMC Connections Level 2)

One 8 hour day concentrating on good finishing techniques. If required projects are not completed during the 8 hours, the student will have no more than 30 days from day of class to present to instructor. The benefit of this Crossover Certification is that the successful student will be regarded as a Level I instructor with Art Clay World and receive all benefits of a Level I. Dates to be determined

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Firebrick Kiln meets Firebrick Kiln Firing Foil meets Firing Foil by Wanaree Tanner

My first kiln was a table top firebrick... manual, that’s right, manual kiln... you remember those, right? With the really specific temperature settings of “Low, 1, 2, 3, 4, 5. and Hi...” something like that, you get my point. I embarked on my metal clay journey riding a dinosaur. That being said, I loved my blue dinosaur and I went along quite happily for a year making loads of copper pieces for an assortment of art shows and festivals. Well, I finally got a digital ceramic kiln last summer, all excited to be free of kiln babysitting. Unfortunately, the copper pieces just didn’t sinter with any kind of consistency in this kind of kiln. I spent a month and 1000 grams of copper trying to find a consistent firing formula, changing everything from the brand of carbon I used, to time and temperature.

Maybe it was a fluke, maybe I drew the short straw in the karmic kiln lottery. Fortunately, another artist made me an offer (thank you, Matthew!) and bought it from me because really, it’s a great kiln for the price and works wonderfully for silver, bronze, and glass. This chance encounter and sale set the stage for this new fangled kiln: Cool Tools custom made “Jewelry Artist Kiln” by Olympic kilns. This kiln is firebrick, with three rows of elements on all four walls as well as an element on the roof of the kiln for enameling and glass. It’s rather odd in how it opens, clam shell style pivoting from the base. I love that it’s not a front loader, so it doesn’t have that cold spot, yet will still work well for enameling (not that I’m enameling, but you never know!) The pyrometer prong is the only thing I’m not particularly pleased about, although I can appreciate the necessity. It’s solid steel and hangs out about 1.5” (okay, I measured it, it’s exactly 1.5”) The thing is, I’ve actually worn out the most common wire style pyrometer prong and it cost me $40 to replace. On one hand, I’m happy with this rather sturdy substitute, on the other it is an obstacle. It’s exactly 4” from the floor of the kiln to the prong, so instead of placing the vessel on 1” kiln feet, I opt for half inch. It’s pretty

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essential to make sure the firing vessel doesn’t touch the prong once the lid is closed, but with this new firing foil it’s not a big deal (smooth segue there!) Okay, for all of us crazies that work with base metal clay, you know the nasty flakiness of those stainless steel cafeteria food containers? Not only do they have a serious metallic dandruff issues but they also contort and warp after a few rounds in the kiln at 1750 degrees. They’re also like $15 a pop from most places. This guy right here, No-Flake Firing Foil, he is dreamy. No flaking, no distortion, and I like a little origami every now and then so folding it was no real hassle (there is even a video!) It comes two sheets in one tube for about $10, and so far it’s working out. I did cut a little vent in the top for O2 circulation, a must when firing copper clay. After 15 firings with copper clay (Copprclay), it’s holding up quite well. The vessel also cools off quite quickly, for us impatient types… the ones that have been guilty of using our deep freezer as a crash cooling unit. So in general I give the kiln and the foil together a 4 out of 5. They are both available at www.cooltools.us. I’d say I’m pretty delighted by my new setup… except I just received my first package of Prometheus Copper Clay and this whole song and dance of steel and firebrick may end up being utterly unnecessary!

I’m inspired by world cultures, comparative religion, and a fascination with the idea that art can transcend language. To me, metal clay is a great gift to artists... its workablilty, and how readily it takes shapes and forms, makes anything possible. My pieces begin as hand drafted drawings, the textures and forms that I work into the metal clay are my own. Being from a multi-cultural backround, many of my pieces fuse elements from what may seem vastly different sources, but there is this thread of commonality of the human experience that fuels my creativity. My better half and I have owned and operated a small artware boutique, Jade Orchid, in Quincy, IL for almost five years. I have taught basic jewelry-making techniques to adults and children and have recently begun a blog to share some of my techniques and processes. I also travel frequently during the year, participating in art festivals whenever I can. I serve on the board of the Great River Artisians, a group of local artists that originize shows to encourage art appreciation in the community. Most of my focus in the past has been on drawing, painting and illustrating; much of my current work is somehow connected to that love and passion. I now work primarily in copper and silver metal clays. Visit www.jade-orchid.com to discover more of Wanner’s creations!

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The First Art Clay Festival in Prague by Denise Lawn

As an artist and tutor in metal clay I was very excited to be able to grab the last place available at the first Art Clay festival in Prague which was held in March of this year. There were so many courses offered it was hard to choose which to attend. Some of the best tutors in metal clay and glass from around the world gave their time for free to demonstrate and teach a range of jewellery-making techniques. AIDA chemicals Ltd. donated all the art clay silver and copper for the courses and Mr Aida himself made the opening speech which, after the terrible problems in Japan, was extremely generous. We then enjoyed a presentation on upcoming trends in fine jewellery by Mr Stephan Kahler from Swarovski Gemstones.

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The master class in filigree work by Mr Ryota Mitsuhashi (Japan) was a big success and we all completed a large 3D pendant in one day. Using two slow tarnish syringes, art clay, lots of silver overlay paste, fine silver wire and a readymade bale, Mr Mitsuhashi gave several step by step demos and his translator was always there to explain. The class I enjoyed the most was the wood inlay Project with Kirstin Paal (Germany). Kirstin made it very easy to understand with many visual demonstrations throughout the whole process. This technique could be a very interesting for anyone who wants to make jewellery for men as the pieces look good as cufflinks or masculine rings. This project required a special tool and traditional silver jewellery making skills to form the bezel around the wood. This turned from a half day to almost a full day class as it was such precise work, but it was worth it. I was so inspired with my finished piece that I made in class when I returned home I turned it into a chunky ring for my husband and then entered it into the ‘Jewelry for Him’ competition. Shorter classes such as mixing silver and copper clay by Angela Baduel-Crispin (France) focused on the technicalities of mixing metals while copper dream pieces by Carol Douglas (UK) allowed students to be really creative. It wasn’t all about Art Clay. While taking a short break I wandered around the classrooms and found Pam East who came all the way from the US to give a demo on enamelling, taking time out practicing knitting with fine silver wire. I also stumbled upon a few ladies who sat with rods of glass over a naked flame bravely making glass cabochons the traditional Czech way. Resin lovers could learn how to use UV or low bake resins on silver and copper.

Angela Baduel-Crispin

I was really disappointed not to have had the time to join the new fireable Swarovski gemstones class as the results were spectacular. There were several classes using glass and silver clay to create stunning jewellery. Students of Erna Piechen (Switzerland) made beautiful rings by fusing silver and glass together, while I saw the most stunning pendants from the (fine silver on engraved glass) sgrafitto class of Astaria G. Swantri (Finland).

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During the 3 days, we were introduced to new and innovative products which you could purchase from some of the European distributors. There was also a display of excellent work which was entered into a competition. On the last evening we all got the opportunity to show off by displaying together the jewellery we had made. I’m sure I speak for all the delegates when I say how grateful we are to all the tutors for their time and a big thank you to Mr. Schwarz, the organizer, and to Mr. Aida for arranging the first European Art Clay Festival.

I can’t wait for the next one!

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Metal Clay artist:

Learn to make hinged lockets and more.

TerryKovalcik.com Check my class schedule or host a class near you.

Summer 2011 • MetalClayToday.com

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Tips ‘N Tricks

A tip for Tumbling... I wasn’t too happy whenever I had to remove my pieces from the tumbler. I would dump the shot and water into a bowl and had to fish all the pieces out... messy and sloppy! I gave some thought to how I could make the job more pleasant. Using a re-purposed 7” clear plastic fruit bowl bottom, I measured the width across and bought a plastic embroidery hoop that fit neatly across the top. I bought a 12” wide piece of plastic window screening at the hardware store and fit it loosely within the hoops. Fitting it a little loosely allows the bottom to cup out a little to hold the shot. Then tighten the hoop screw and trim the excess screening. Place the screened hoop on the bowl.

Things I’ve learned the hard way through experience: Make a list of all the items going into the tumbler... saves a lot of time searching for hard-to-find fittings. If you have a hollow bead with good-sized holes, put a piece of scrap wire through the holes and twist the ends, to keep the bead from filling up with shot.

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After tumbling, I pour the contents onto the screen, which allows the sudsy water to drain through into the bowl below. Now it’s easy to find all my pieces by sifting through the shot with a wide flat bottomed spoon... then using the spoon, I scoop up the remaining shot and replace it back into the tumbler barrel.

Some things which I treasure that have found their way into my tunbling box... the big flat-bottomed spoon, a paint can cover pry which is the only way I can get my tumbler barrel cover off, and an inexpensive screened tray for my sink drain, so runaway shot doesn’t destroy my garbage disposal.

Editor’s Note: Have you discovered any little Tips and Tricks? Share them with your fellow artisans. Send your ideas to [email protected] Click here if you are interested in being a contributing artist. We welcome your suggestions.

www.metalclaytoday.com

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Bronzclay and Copprclay Meet Chain Maille by Heather & Stan Micallef of Dragon Glass Beginner’s Level

Create an unusual necklace or bracelet using natural leaves impressed into metal clay. The delicate tracery of the veins from the reverse of the leaves is highlighted by the warm sheen of the copper and bronze. We have joined the leaves with chain maille made from brass and copper rings, and added in some turquoise beads for the second necklace. Finally to complete the set - hang some small leaves from a short piece of chain to make unusual earrings!

Tools and materials for leaves Bronzclay & Copprclay Craft knife, small paintbrush Small container for water Damp cloth

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Virgin olive oil Sanding sponges Small kiln with programmable controller Ziploc bags.

Find some leaves with good deep veining on the back, and the size you want for the jewellery. We have used Spearmint leaves. Cut a piece off the block of clay, and place the balance back into a Ziploc bag, and try and squish out as much air as possible before sealing. Place this into another Ziploc to give extra protection. Mark the bags so as not to mix up the copper and bronze! NOTE - Clay should be stored in the fridge until needed. Knead the clay with a little water and a drop of olive oil till soft and pliable. Take care NOT to trap air into the clay! This is doubly important with the new FastFire Bronzclay. Take a little time over this, as it will ensure a good finish in the firing. For those working with these clays for the first time, be aware they handle completely differently than the Silver Clays! Roll out on the Teflex sheet between the red slats (1.5mm thick). Lightly oil the Teflex and the roller to prevent the clay from sticking. Pick up and turn over to roll the other side once or twice, to prevent the clay from stretching unevenly. This also helps prevent warping when making rolled out pieces. Place the leaves on the clay, leaving a small space around them, and roll into the clay, using the blue slats (1mm thick). Carefully cut around the leaves, following the shape to get an attractive crinkled edge. Take care not to cut through the Teflex! Remove the scrap clay, knead together and place in a damp cloth until required. Peel off the leaf, and punch a hole using a small straw. Do not make the mistake of punching in a small hole. Remember the clay shrinks about 25%. As we are going to use 2 rings to attach the leaves to the necklace, the hole needs to be large enough. If the center vein is rather pronounced, and has cut into the clay too deeply, repair using a paste made from a scrap of clay and water - about toothpaste consistency. Smooth into the dent with the spatula tool, and neaten with a damp paintbrush. Summer 2011 • MetalClayToday.com

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Here you can see the largest leaf has also had a thin band of clay pasted down the center to strengthen it, as the leaf vein had cut in too deeply. Arrange the leaves as shown, using a scrap of paper towel to create soft raised curves, and put aside to dry. A hairdryer pushed into the side of a shoebox can be used to speed up the drying, just punch holes in the opposite side to create a flow of hot air over the pieces. Make as many leaves as you want, kneading your scraps together and rolling out again as before. You can re-use the green leaves if you can peel them off carefully! NOTE Wash your tools when changing from copper to bronze to avoid contamination. Once the leaves are dry, sand the edges carefully with a sanding sponge. Run your finger along the edges to make sure there are no sharp bits left - remember once it is fired and is hard metal, it is much more difficult to file smooth! Carefully clean out the hole with the knife to remove any ragged edges. The serrated edges of the leaves can be enhanced with a small needle file if required. If you see any small cracks, they can be repaired with the paste, and dried again. FIRING SCHEDULES Bronzclay and Copprclay MUST be fired in a kiln. This can be any type of kiln, - pottery, porcelain doll, jewellery, glass etc., - but it must have a computer controller with a double ramp facility. Bury your pieces in activated charcoal in a stainless steel pan, with a lid.Cut a hole into it, or set the lid at an angle to allow some exposed charcoal. Place firing container on stilts or props to allow air and heat circulation around the entire pan. The firing programs below are for Original Bronzclay and Copprclay from Metal Adventures. This firing program is in two steps. The first part is called the “Flash Firing” as the pieces are placed in the open in the kiln. The second phase of the firing requires that the pieces are placed into a stainless steel container filled with activated charcoal granules. This creates the non-oxygen atmosphere required around the clay to allow it to sinter and become the hard metal. Here are the programs to enter into the kiln controller. (Check your kiln controller Instruction Manual for information on how to enter new programs.)

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Program A Flash firing (First part of firing process) For original Bronzclay and Copprclay Place pieces on kiln shelf for this firing 250 C (480 F) per hour to 385 C (730 F) 60 minute dwell (or hold) End Pieces can be packed into charcoal as soon as cool enough to pick up with stainless steel tongs for the second part of the firing. NOTE: At this point – any more visible cracks can be repaired with paste, dried and flash fired again. Program B Non-oxygen firing for original Bronzclay and Copprclay (Second part of firing process) Pieces are buried in charcoal in stainless steel container with lid on. 350 C (660 F) per hour to 366 C (690 F) 90 minute dwell (or hold) 550 C (990 F) per hour to 840 C (1550 F) 165 minute dwell (or hold) End Firing program for Fastfire Bronzclay Note – flash firing not required Fire at full speed to 815 C–830 C (1500 F – 1525 F)) , hold for 2 hours, and let cool in the charcoal. Remember... as with all kiln firing schedules, they might need to be adjusted to suit YOUR kiln. Make some test pieces and try all the firings first, and adjust to suit. If you get blistering on the Bronzclay – lower the top temperature You can also use the higher firing for the Copprclay as is given in the instruction sheet – but we have found the Flash Firing does help with sintering problems!

Firing your leaves When the leaves are dry and have no sharp edges or blemishes, place them in the kiln on the floor, or shelf. Fire using the Flash Firing program A. Once the kiln is cool enough, remove the pieces. At this stage they will be black, but handle with care as they are still breakable!

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For the second part of the firing, you need the stainless steel firing pan and the special activated charcoal grains. Put about 6cm of charcoal into the firing pan, and pack the pieces on edge as shown. Make sure they are at least 3 cm from the bottom of the container, and about 2cm apart. You must always ensure you have sufficient charcoal between the pieces – rather put a few into the container at a time, than try and fire all at once. Too much metal to charcoal ratio causes the contents to get too hot, and this can also lead to blistering. Then fill the container to the top with the charcoal, put on the lid, and place back in the kiln, supported on small props. This is to ensure an even flow of heat all around the container while firing. Place the lid on at an angle to leave a small portion of the charcoal exposed. This helps with the firing. Fire using Program B NOTE - your stainless steel container will turn black, as you can see in the picture, and have a small amount of black flakes popping off in the firing. These can just be vacuumed or brushed out of the kiln. Remove the container from the kiln when cool. This can take some time - be patient! Sift out the pieces from the charcoal, saving it back into the container. Polish with the stainless steel brush to bring up the shine. If you have access to a tumble polisher – even better! You need to monitor the water while tumbling – and change it as soon as it gets black. Otherwise this dirt will get impregnated into the surface of the Bronzclay or Copprclay and can not be removed! You can bring up a high shine by buffing with a Dremel or similar tool using a felt buff and polishing paste. Making the chain maille As our necklace has both COPPRclay and BRONZclay leaves, we are using brass and copper rings. If you are making a chain for just copper leaves, you could make the chain entirely of copper rings! Tools and Materials

2 pairs of smooth jawed pliers Brass and copper rings for Byzantine chain 1.2mm wire/4.5mm ID Brass and copper rings for flower modules 1.2mm wire/6.5mm ID 0.8mm copper wire for beads and ear hooks. Round nose pliers and cutters.

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Method Step one. Using brass rings 1.2/4.5, make a chain 2 + 2 + 2 as shown, and hook one pair onto a wire “handle” Step 2 Fold back the third pair of rings, and thread a piece of wire through them as shown in the picture. Step 3 Thread 2 copper rings 1.2/4.5 through this space (note - all rings are in pairs in this pattern.) Step 4 Thread another 2 brass rings through the copper rings, and then another pair, as shown Step5 Fold back the last pair, and add the last pair of brass rings through them as shown. Make as many of these Byzantine modules as you think you will need for your necklace or bracelet. To assemble the chain, join the Byzantine pieces with flower modules, using the 1.2/6.5 rings. Each flower consists of 2 copper rings and one brass ring. Pass one ring through the ends of each Byzantine unit and close. Hook in the second ring , making sure it goes through the previous large ring as well. Finally add the third ring, which will also go through the 2 previous large rings. Follow the pictures, and you will get a flower between each Byzantine link! We have used the Byzantine and flower chain just to connect the leaves, and Summer 2011 • MetalClayToday.com

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have lengthened the chain with a simple 2 + 2 pattern. However, every third pair of rings has one copper ring threaded through the brass ring to make it a bit more colourful! Finish with a brass or copper clasp. You can see how the leaves are connected with a pair of rings to the flower modules!

Leaves and Beads For something a little different, try making short beaded sections on 0.8mm copper wire, with wrapped loops. Use the round nose pliers to get neat loops. Cut a short piece of wire, about 6cm longer than your beads. Using the round nose pliers, grasp the wire about 2cm from the end, and bend the wire away from you to a right angle. Move the pliers to the top of the bend. Bend the wire back over the pliers towards you to form a “P” loop. Make sure you are holding the wire in the part of the jaws to give you the size loop you need. Mark this point with a black pen to make sure all your loops are the same size. Move the pliers to the top of the loop, and continue bending the end of the wire right around the pliers. Grasp the loop in flat nose or bent nose pliers, and finish by wrapping the wire end around neatly. Thread on your beads. Bend the end about 5mm from the beads, to allow for the wrapping. Bend the “P” loop as shown. Wrap the end neatly, trim off any excess wire. Use the chain nose pliers to push down the ends of the wire. Join the bead units with brass jump rings, and attach the leaves with another jump ring as shown.

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Finish with short sections of the Byzantine and flower chain to make the required length. If you have some small leaves left over, make a matching set of earrings by attaching them to a Byzantine module! Copper ear hooks can be made with the 0.8mm wire. They need to be gently hammered to harden the loops. Tip! Paint the copper wire with clear nail varnish to avoid getting black marks in your ears!

pieces will get an age patina over time. They can be run through the tumbler again, or dip in a solution of lemon juice and water – 50/50 – and a pinch of salt.

Your Bronzclay and Copprclay

This will remove the oxidised layer and restore the bright colours. It also works well to brighten up the chain maille.

This step-by-step comes to us from Heather and Stan of Dragon Glass, located in South Africa. Check out their website at www.artclaysilversa.com

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Designs by Glenda Skarie Fine Art Jewelry and Instructions

[email protected] www.adorilargento.com

954-243-4536

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Tools and Resources for Metal Clay • Metal Clay Basics & Bench Reference: The Toolbox Guide to Metal Clay • Copper Club Concepts Plates, Templates & Forms • Linda’s Lids and other tools • Art Clay Distributor • The Clay Punch line of hole punches Linda Stiles Smith, Senior Certifying Art Clay Instructor; Classes for every skill level Fine hand-crafted metal clay jewelry

937.433.6249 www.naturescapesstudio.com

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Everything you’ll want to know about folding PMC Sheet is in this book!

CLASSES Beginning Intermediate Advanced Certifications For your signed copy, contact: Sara Jayne Cole 319-235-5569 [email protected]

Private lessons in folding origami with PMC sheet available upon request.

Michela Verani

Master’s Registry II, ArtClay Certifying Senior Instructor Classes in the New England area

(603) 425-0185 http://www.everlastingtreasures.org

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Blo g

Best of the Blogs by Lori Phillips

Hello Fellow Clayers!!! I have been a busy gal lately, but unfortunately not with metal clay. Life’s realities sometimes tend to cause us to delay our creative spirits temporarily. Fortunately, I have still been able to spend time perusing the internet for some wonderful sites, thus keeping my creative juices stimulated. One blog I have thoroughly enjoyed visiting. and looking at back posts, is by the unbelievably multi-talented Master Art Clay instructor, Lesley Messam. http://silverwithlesley.blogspot.com/ I absolutely love looking at the pictures she posts, and I have sat drooling over her slideshow that is running just above the quote of the day. Her incredible skills go beyond metal clay and I was thrilled to check them out. I am a bit creeped out about the fish pedicure posted on May 24th though. Hummmm….. not too sure I could do that???? Of course, that has nothing to do with metal clay but it is entertaining to see what other artists do to relax. The next site I found actually belongs to one of our subscribers that has taken part in our challenges. Wanaree Tanner is a very exceptional metal clay artist and she has a delightfully inspiring blog. I did the happy dance when she agree to be a Guest Blogger. Check her out on page 30. http://artwarebywanaree.blogspot.com/ I truly enjoyed her posting on April 29th about “Why Facebook is Not a Total Waste of Time for an Artist.” Her posting on May 16th on “Dealing with Distortion” is extremely informative and I think everyone that fires copper in a kiln should read it. OBW, both artists’ blogs have the most unbelievable photographs of their work. Plus, both of them are very easy to maneuver through. If you are contemplating starting your own blog, both of them would be great templates to emulate. If anyone has a blog for me to look over, contact me at: http://metalclaytoday.com/best_of_the_blogs.php Don’t forget to visit us on Facebook... you never know what we’ve going on there. I’ve just given away sets of Dynasty Stamps to two of our lucky fans a couple of weeks ago. Maybe you will be the next to win something, but you can’t do it if you aren’t a fan! http://www.facebook.com/#!/pages/MetalClayToday/288344465863 Be sure to check out our blog: http://metalclaytoday.wordpress.com I want you to be a Guest Blogger. Contact me at [email protected]

Lori

Happy Blogging!

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Book Review by Lori Phillips

Linda Kaye-Moses

Creative Publishing, 2009 I think this book will be a great asset to any metal clayer’s library. This book was released a couple of years ago, but we are often asked to recommend books for newer metal clayers and I have decided this book fits the bill quite well! Linda Kaye-Moses does a terrific job explaining the basics of metal clay. The visuals on pages 28 through 31 include pictures of all the tools and supplies needed to create every one of the projects in her book, and then some. This ingenious takes the guess work out of knowing if you have the right tools at hand. Linda’s 15 projects take a new metal clayer from basic beads to advanced pieces. Her step-by-step instructions and pictures are excellent and clearly understandable. Each new project builds on skills the prior one teache. If you work from the first project on, you will become quite proficient with this awesome medium. Linda works in PMC and includes a PMC firing and shrinkage chart. However, the methods and projects can be used for any brand of metal clay. Just look up the firing charts for the brand they use. The gallery included is absolutely breathtaking. She’s chosen inspirational pieces from a variety of 19 metal clay artists, from Tonya Davidson to Gordon Uyehara. The stunning beauty of each piece gives you much to aspire to but with the strong foundation Linda gives in this book, it seems entirely attainable! The creative journey through this book will yield pieces that will bring rave compliments. Be the envy of your friends with unique and artistic metal clay jewelry made with your own two hands. Don’t miss out! Add this fabulous book to your library soon!

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Jewelry for Him You voted... and here are the results! First Place

Prince of Darkness by Chu-mei Ho Chu-mei receives a Rivet Piercing/Setting Tool from www.MetalClayFindings.com

I have always enjoyed making things, from general crafting, sewing, crochet or just gluing bits and bobs together. A couple of years ago, while looking to learn more jewellery making techniques, I discovered the magic of metal clay and have been in love with it ever since. Most of my training has been at London Jewellery School and Mid Cornwall School of Jewellery with various British metal clay artists, where I have achieved Art Clay level 1 and 2 certification and Higher Metal Clay Diploma, MCSJ. I was born and raised in Taipei, Taiwan but have been living in the UK for the past 15 years and I enjoy all the good things that different cultures have to offer. I love the shabby chic style, cute Japanese accessories and am very fond of Goth inspired art. I also take inspiration from anything around me and sometimes I find the best designs come through trial and error, which often leads to something quite unique and different. After being a “regular” at London Jewellery School, the school director, Jessica Rose, asked me to be part of the team. Now I’m teaching Beginners Metal Clay and other jewellery making classes while continuing to work on my own creations. I’m grateful for each and every opportunity I have been given and thank all my fantastic teachers, who have been very generous passing on their knowledge and tips in working with metal clay. You can find my handmade jewellery and accessories at www.graceandfirefly.co.uk Follow me on Twitter http://twitter.com/graceandfirefly Facebook http://www.facebook.com/graceandfirefly Blog http://www.graceandfirefly.blogspot.com

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Second Place

He Said Yes! by Lori Magno Lori received a $50 Gift Certificate from www.Rio Grande.com

Metal clay artist Lori Magno has designed and made “Accessories for Stylish Living©” since 1996. She began with semi-precious stone beaded jewelry and quickly moved into sterling silver on her journey to the magic of Metal Clay. When looking for unique focal points for her beaded designs Lori became frustrated at finding the “same same” with her suppliers, so she took a silversmithing class and the die was cast. More than six years, and after many classes with artists including Chris Darway, Sarah Doremus and Karen Christians, Lori is a certified PMC instructor and enjoys teaching as well as making beautiful jewelry and custom designs. Trained in filmmaking and marketing, Lori’s career has included motion picture production, music videos and cable specials as well as government work and advertising. Lori is co-author of three books on Social Media entitled The Age of Conversation 1, 2 & 3. The Third Age of Conversation volume was published in March 2010 and features Lori’s chapter on social media marketing and artists. Lori is married to architectural photographer Thomas Magno and they reside just north of Boston, Massachusetts with Isabel the Magificat. CONTACT INFO: Website: www.LoriMagno.com Email: [email protected] Telephone: 617-480-6598

Third Place

Runner’s ID Bracelet

by Susan Rheinmeyer

Susan received a $25 Gift Certificate from www.CoolTools.com

I grew up doing all kinds of needlework and crafts, then later learned drawing, painting and sculpture - and still enjoy all of them. I was certified by Rio in 2000 with Barbara Becker Simon - working with metal clay allows me to do sculpture on a small scale, and wear it! As each new version of metal clay comes out, I love exploring the possibilities it offers!

I’m inspired by many things, but mostly nature and interesting shapes, textures and color combinations. I’m the treasurer of the Florida Suncoast PMC Guild. We enjoy exploring the possibilities of PMC and complimentary media, sponsoring workshops, and just being inspired by each others work.

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Check out the many wonderful artists who participated in Metal Clay Today’s Spring Challenge

Jewelry for Him Ammolite Cuff Adriana West

Beer Can

Bob Slitzan

Between the Rails Alcina Nolley

Prince of Darkness

Chu-mei Ho

Make My Day

Burning Love

Colleen McGraw

Carl Spunde

Check out the new challenge at

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www.metalclaytoday.com

Day of the Dead

The Nautilus

Colleen White

Colleen White

Silver Dolphin Janie Zetsch

Steampunk Scarab Colleen White

Medical Bracelet for Dad

Dawn Lawrence Floen

Hard Wood ‘n’ Silver Denise Lawn

Man Fish Janie Zetsch

Four Strand Braid Hope Weiner

Industry

Donna Lewis

Kisses For My Love

Joy Funnell

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Melding

Lisa Heath

Leaf Tie Clip Lisa Salsbury

Collecting

Fossilizing

Lisa Heath

Lisa Heath

Dad’s Tie Clip Lisa Salsbury

Earth Tones Necklace Lisa Salsbury

Lily for Faith

Karina Mattsson

Pea Pod Cufflinks Sue Hodgson

Runner’s ID Bacelet Susan Reinemeyer

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Bronze Ring

Paula McDowell

Best Bib and Tucker

Mary Ann Nelson

U-CH.CH. Terrifick Silber Tressor CDX Terri Sidell

Eye of the Ancients Ruth Greening

Taranis

Paula McDowell

Don’t Tread on Me Mary Sewall Cooper

Roman Coin Cufflinks Nancy Miller

Viking Bling

He Said Yes!

Mary Sewall Cooper

Congratulations to you all! Lori Magno

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. . . s i e g n e l l a ew ch

The MCT Challenge!

n r u o Y

Wheels... gears... hinges... grooves... show how your metal clay moves. No matter how far-fetched the notion, show your metal clay in motion!

What Does Metal Clay In Motion Mean To You... Complex Mechanisms or just The Illusion of Motion? 1st Place Prize

Assortment of Claymania Copper, Bronze, Brass and Glass Clays

and the book on how to work with them

D&L Art Glass Supply valued at over $100

2nd Place Prize

Viewer’s Choice Award

D&L Art Glass Supply

Glenda Skarie

Glasclay Translucent Sampler Pack valued at $50

Adori L’Argento Ring Kit valued at $25

Submission deadline is July 20th, 2011 Voting will take place from July 26th to August 5th. Winners will be announced on August 10th.

Metal Clay in Motion is a Juried Challenge!

First and Second Place prizes will be awarded based on theme, design and overall creativity. The winner of the Viewer’s Choice Award will be presented to the artist who receives the most votes from their peers. Check the Metal Clay Today website for official rules.

Visit www.metalclaytoday.com for complete guidelines.

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Gallery

Kenji Kenem Bijoux KB, Paris www.kenembijoux.com

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Gallery

Rene Aguilar [email protected]

Deco Fragment

Necklace/Pendant Silver lump & paper type Metal Clays, Glass grit, Epoxy resin, Black Onyx cabochon and Sterling Silver chain

Jumbled Triangles

Necklace/Pendant Silver Metal Clay, Garnet cabochons & beads, Sterling Silver beads

Decomposed Fragment Necklace/Pendant Silver lump & paper type Metal Clays, Black Onyx, Spinel, Snowflake Obsidian & Hematite cabochons, Snowflake Obsidian and Sterling Silver beads

Share your creativity in the MCT Gallery at www.metalclaytoday.com

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Decomposed Fragment II

Necklace Silver & Bronze Metal Clays, Petrified Wood Opal, Wood Onyx, & Tiger Eye cabochons, Walnut & Pine woods and Sterling Silver chain

Jumbled Triangles II Pendant Silver Metal Clay and Garnet cabochons

Luna Negra

Adjustable Ring Silver lump and paper type Metal Clay, Glass grit, Epoxy resin and Black Onyx cabochon

Artemis’ Bracelets

Linked Bracelets Textured Bronze Metal Clay

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Class Listings, Show Schedules, Organization News

Calling all Guilds!

Tell the world where and when you meet.

Send information about your class listings, show schedules... meeting times and locations of your metal clay, artisan or jewelry making organizations. Please include your name, where and when, name and contact’s e-mail address. We believe that it is important for all metal clay enthusiasts to have a forum for networking and promoting their work.

International — Australia

The First International Chapter of the PMC Guild - The Victoria, Australia Chapter, based in Melbourne. Meetings are held alternate months. For Information contact [email protected]

United States —

Arizona – Phoenix area Metal Heads, Feat of Clay Chapter of the PMC Guild - The Metal Heads are a diverse group of silver clay enthusiasts with various backgrounds and interests with one common goal. They are dedicated to sharing their passion with friends and have fun doing it! The MHFOC meet monthly at Fire & Friends Z Art Studio located at 8550 N. 91st Avenue in Peoria AZ. The meetings consist of sharing information as well as experimenting with different techniques, processes & mediums. Dues are $20 per year, payable after your first meeting plus a $5 per meeting donation. Some knowledge of metal clay is helpful, but not required, all levels are welcome. The groups goals are to share ideas and expand our knowledge, but most of all to have fun with friends! www.mhfoc.org www.ffzstudio.com California – Metal Clay Alchemists Society of San Diego County - Regularly meets at the Continuing Education building, West City Pt. Loma Campus, room 127, 6:00 pm. The address is 3249 Fordham St, San Diego 92110. A holiday gathering in December. Contact Ann and Stan Rosier at ann_stanrosier@yahoo. com for more information. All Metal Clay Enthusiasts are welcome! San Diego County Chapter of the PMC Guild - Meetings are held on the 3rd Tuesday of every month at 6:30 pm. 5654 Mildred Street, San Diego, CA 92110 Contact Person: Melissa @ [email protected] Blog: www.sdcpmcguild.blogspot.com http://www.pmcguild.com/chapters/sandiego/about.html San Diego Guild - Contact Louise Shadonix, Oversight Director San Diego PMC Guild for more information. Art Clay Society of Orange County - Our meetings are held on the second Friday of each month at 7p.m. We meet at Brea Bead Works, 1027 East Imperial Highway, Suite D5, Brea, California 92821.Please contact Candace Steppes at [email protected] for more information.

Colorado – The Western Slope Metal Clay Artisans Chapter - aka Grand Junction Chapter of the PMC Guild and the Art Clay Society. We serve metal clay enthusiasts on the western slope of Colorado and in eastern Utah. We meet in Grand Junction, CO on the third Saturday of every month from 10 am to 2 pm where we have studio exploration time lead by our members as well as several seminars each year presented by nationally known metal clay artists. We are a ‘non-denominational’ group dually chartered by both PMC Guild (PMCG) and Art Clay Society (ACS) with interest in all types of metal clay. We have no local dues, but members are required to join both the ACS and PMCG after attending one meeting. Contact Cindy Holst Chapter Leader [email protected] for more information. Florida – Florida Suncoast Chapter of PMC Guild (Sarasota and Bradenton), meets at 6:30 on the third Wednesday of each month at the Reinemeyer Studio, 2550 26th St., West Bradenton, FL. Contact Wendy Traver or visit http://www.pmcguild.com/chapters/floridasuncoast.html for more information. PMC Southwest Florida, is the southwest Florida chapter of athe national PMC Guild. The southwest Florida chapter meets in the southern half of Florida at least part of the year. We look forward to meeting you. Contact Helene K. [email protected] for more information.

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The Miami Metal Clay Artists, which is the local chapter of Art Clay Society, USA, and PMC Guild meets on

the fourth Wednesday of the month at 630 p.m. for social and 7:00 for meeting and project. Meetings are held at Torchfire Studio, 4229 Southwest 75th Ave., Miami, FL 33255. We welcome all metal clay enthusiasts. Contact chapter leader Bernadette Denoux 305 273-8829.For more information visit www.miamimetalclayartists.com Email Bernadette at [email protected].

Illinois – Chicago South Metal Clay Alliance welcomes all metal clay enthusiasts: all experience levels, all brands, all metals! We are a technique-focused but relaxed and open group who loves to meet on the 3rd Saturday of each month at 1pm, at Art Clay Society Headquarters. (4535 Southwest Highway, Oak Lawn, IL 60453). We enjoy demonstrations mingled with open studios, field trips, and priceless info sharing. For more information, please email Katie at [email protected]. We’ll enjoy meeting you! Suburban Silver Society meets the second Friday of each month, all metal clay artists are invited. We are a hands-on group, we work on a project at each meeting. New techniques and demonstrations are presented. For more information contact Deb Wojnorowski at [email protected].

Kansas – The Kansas City chapter of the PMC Guild is an eclectic group of artists from the great

Kansas City metropolitan area with a common interest in metal clays—PMC, ArtClay, Copper, Bronze. We meet the 3rd Tuesday of each month to share a hands-on exploration of a technique or media. Dues are currently $10.00 annually. Contact chapter president Lynette Fisk at [email protected] or check out our website www. kcpmcguild.org for current meeting information.

Massachusetts – Greater Boston Metal Clay Chapter meets every 4th Sunday of each month at Metalwerx, 50 Guinan Street, Waltham, MA from 7pm - 9pm. Each meeting we discuss new topics, ideas, have a demo, and discuss our current month’s challenge. For more information visit them at http://bostonmetalclay.com/ or http://www.facebook.com/#/group.php?gid=130525423846 New Hampshire – The Merrimack Valley Metal Clay Collaborative meets every third Sunday of the month, except holidays, from 11 am until ? at Art Clay Studio, LLC, 99 Factory St, Ext, Nashua, NH 03060 Contact Carol at 603-560-5402 No dues. www.freewebs.com/artclaysocietynewengland/ New York – PMC Guild-Syracuse/CNY Chapter meets the 3rd Sunday of the month at 3:00-4:45 at the

Manlius Public Library, 1 Arkie Albanese Way, Manlius

Upstate New York Metal Clay Guild - Studio 34 Creative Arts Center and Gallery, 34 Elton St., Roches- ter, NY 14607. Contact Marilynne at [email protected] or call 585-737-5858 for more information.

Ohio – The Northeast Ohio Chapter of the PMC Guild meets monthly in Chagrin Falls, Ohio. For more information please contact the chapter representative at [email protected] The Ohio Metal Clay & Artisan Guild gathers at Zeffers Farm Studios in Waynesville OH {near Dayton,

Cincy & Columbus} every 4th Sunday. Guests welcome. RSVP’s requested. For guests that have never worked with metal clay a short make & take can be scheduled. Metal Clay & supplies are available at discount prices to help encourage artisans in this medium. Contact Trish at [email protected] or 513-897-2406 for more info. See us on Facebook & Yahoo! www. ZeffersFarmStudios.com

The PMC Guild of Columbus Ohio meets the 4th Thursday of the month at Xenos (in the Cafe Bldg.), 1340 Community Park Drive, Columbus, OH 43229. Besides discussing the general business of our guild, members bring current work to share and answer any questions regarding thier jewelry. Members volunteer to do short demonstrations. We have several workshops a year and for the first time, we are planning classes with other guilds. Contact Deborah Coffelt at email: [email protected]

Pennsylvania – Greater Philadelphia Metal Clay Guild

We are an informal group of Metal Clay artists interested in meeting others with an interest in Metal Clay in the Greater Philadelphia area. Meetings will be held monthly in the West Chester area (Details to follow if you join the group). New and experienced artisans are welcome, shared learning opportunities among members, learning opportunities with outside artists, field trips, play sessions and more. Star Printing at 1075 Andrew Dr., Suite A, West Chester, PA, 19380. Email [email protected] for more info Facebook page: http://www.facebook.com/#!/group.php?gid=142323869145035&v=infoef=”javasc

Western PA Chapter of the PMC Guild - Metal clay enthusiasts from Western PA and surrounding areas of OH and WV are welcome to join us as we educate and inspire one another, regardless of your preferences for brand or metal. We meet approximately once a month, on a variable schedule. Visit our home page http://groups. yahoo.com/group/MetalClayWesternPA for current information and to join our online community. Please include your name (and general location) in your request to join at: [email protected]. Summer 2011 • MetalClayToday.com

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Deadlines for Submission: Spring Issue - February 8 Summer Issue - May 8 Fall Issue - August 8 Winter Issue - November 8

9834 Scottsbluff Court • Santee CA 92071 • 619-723-8495 • Fax 619-449-5999 www.metalclaytoday.com • [email protected]