Mental Blocks

I've always been a little ditzy, but as I get older it gets worse.  It's like my mind says...... I'm done thinking.  I won't do it and you can't make me.  (Hey, that's what my last piece of jewelry told me too...... must be a conspiracy.)

That's why I do something the minute I think of it.  If I don't,  the thought will be gone and it won't get done.

There are certain things that I seem to have a mental block about.  No matter how hard I work at it, I just can't seem to remember certain things . One of those things is the order in which to use the Tri-M-ite polishing papers.  (I do remember that green is first, followed by gray, then blue.)  The papers are colored as to their coarseness.  When sanding dry clay or polishing fired clay the papers are used in order from the coarsest paper to the finest paper.  

To help you see  if you've sanded enough, it is recommended to sand in opposite directions which each paper.  In other words, sand vertically with the first paper and horizontally with the next paper.  The third paper will be used vertically and the fourth horizontally and so forth.  

At the last PMC Connection Retreat at Arrowmont in Gatlinburg, TN, Ruth Greening taught a class on using the Flex Shaft.   She provided each of us with a kit that included a set of 3-M radial bristle disks.  Inside the lid of the set was a chart showing the location of each disk, it's color and it's order of use.   When I sit down to use my Flex Shaft (I don't have a Flex Shaft but I'm having a mental block to the generic name for that tool.)  I always use that chart.  

At the PMC Conference this past summer, Rio Grande gave everyone a little packet of Tri-M-ite papers with an insert that explained the coarseness and order in which to use them.  So....... following Ruth's idea, I taped that little insert to the lid of my tool box.  Bam!  One less mental block to deal with.  Now, if all those blocks were that easy to solve.

Back to Backs

Back in June I wrote a couple of posts about bezel setting stones in metal clay, "The First rule of Soldering" and "Romancing the Stone."

Here it is October fourth and I still haven't done my bezel setting.  (Too much golfing, traveling and watching grandchildren .)  But..... today I finally spent some quality time in the studio and got back to it.

Earlier this year, I designed a piece for one of the triangular stones, the Jasper Mookite.  It was a rather expensive stone (so I'm not sure I should have started with it.)

The second thing I shouldn't have done was pick a setting that required so much precision in the placement of the bezel.......... but I did!  Last June I made the backing and eye-balled the size which was just a hair too small once it shrank in the firing process.  (I know that's not the way to get a good fit but I had a moment of lazy insanity.)  

Sooo....... the piece sat for four months until I got the ambition to work on it again.  This time, I scanned the drawing (it was drawn to fit the stone) and increased the size by 115% to allow for the shrinkage of PMC3.  The original piece was three cards thick which was something else I didn't care for, so the new piece is six cards thick.  The extra thickness gives the piece a nice heft to match the weight of the stone and more area to create a nice beveled edge.  

Today I finally sanded the piece, added the hidden bail and beveled the edges in preparation for firing.  I also made two hallmark pieces to add to the back...... 99.9%FS and my AW.  While trying to figure out where to place the two little pieces on the back, I happened to notice the plate with all my paper clay scraps.  In an earlier post this past summer I talked about the work of Vickie Hallmark and how beautiful the back of the pieces were.  She takes as much care with the back as she does with the front of her pieces.

I always tried to make the backs of my pieces clean and neat but I never really designed the back (unless it was for a reversible piece.)  But today I decided to decorate the back with the left-over pieces of paper clay.  

The unfired back.

The piece was fired at 1470 degrees for forty five minutes.  And guess what......... it pretty much shrank to the exact same size as my eye-balled first piece.  Am I good or what?   The thing that isn't good is the fact that my bezel piece barely fits (and I mean barely.)   It's not a whole lot better than it was on the first piece but I think I have it worked out.  

The next step is to join the bezel and the backing piece with oil clay, fire and insert the stone.  I'm getting so close to finishing it (but I've been there before so I'm not holding my breath cause I'll probably pass out.)  

   

Oops! I did it again.

At the PMC Conference this past June, one of the sessions I attended asked us to think about the things we liked.

I've been thinking about that lately in respect to which pieces of jewelry I wear the most.  In this post I was thinking about the jewelry I wasn't wearing.  Yesterday I posted about changing an earring I never wore into a ring (I just love rings.... wearing them and making them!)  

Today I did it again!  This earring was another one I made in my Arrowmont class.  It was an elongated hoop decorated with gold using the Keum-boo technique.  Keum-boo is a Korean technique that combines 24 carat gold sheet with silver by applying heat and pressure.  This was also another look that I liked but the earrings were just too big and heavy.  

I have a second new ring.  (Now I need more fingers!)

Just Wondering!

Remember Rub 'n Buff?  I found several tubes in some of my stash the other day and wondered if Gilder's Paste is just a revised version of it.

Gilder's paste is a colored, oil based paste (at least it smells oil based) that is used to add color to a variety of media. So far I haven't had much luck using the paste.  It's not so much luck but that I don't like what I've done with it.  (But it seems likes a really good idea and the range of colors is great.)

At the conference this past June I received a couple of charms that had Gilder's Paste on them.  I apologize for the quality of the pictures and the fact that I don't have the names of the artists who created them.  But, it is 2:23 in the morning and I am sitting on the tub in my daughter's master bath with my laptop on my lap.   My husband is in the next room sleeping soundly, which obviously I am not.  (And the artist's information is at home.)

( I like what they did with the paste.)

It's been a few days since I posted and what better time to accomplish something than when I can't sleep.  Well, better get back to bed.  In four and a half hours I have to get the grandchildren off to school.

Just a little grandchild note......the   granddaughter greeted us with "Yay, the Grandpa with the chubby belly is here."  What are the chances he's going to eat lunch tomorrow?  Speaking of eating..... I'm hungry.


Foot note :  The top charm belongs to Candice Kiesaw at CC designs art jewelry and the bottom charm comes from Barking Dog Gallery

To be.....or not to be?

Actually the question is..... raise the stone or lower the bezel?

In a recent post (Romancing the Stone) I mentioned a couple of books I bought at the PMC conference and my struggles with creating an acceptable bezel.

Today I returned to working on a bezel piece that was giving me problems.  As I've said before this isn't the first time I've worked with making bezels and combining them with metal clay.  (Although to watch me work these past few times you wouldn't know it.)

In 2009 I took a pre-conference class on bezel setting with Linda Kline.  If the bezel was too high for the stone, Linda had us raise the stone to the right height with sawdust.  She said it was the traditional method.  I posted about that piece under the title "Only three years."

Before I took that class I created a bezel with the clay itself (mentioned in a post titled "Just Beachy.")  I leveled that piece with polymer clay figuring that it had some give to it and wouldn't dry out.  

During the conference this year I was talking to Lisa Barth and she seemed mortified that I would raise the stone.  Instead, she suggested that I file the bezel down.  That way the bezel can be adjusted to the varying height of the stone.  This method is also good because it allows the artist the option of cutting an opening behind the stone.  An opening can be used as a decorative element on the back of the piece and allows the artist to use less clay (therefore saving money.)

Here in lies my problem.  The amount of time I'm spending on filing my bezel down to fit the stone is probably worth more than just leaving the backing whole.  Filing and sanding metal clay is easier in the clay state.  That is why the artist should do as much as he can to finish a piece before firing.  Bezel wire is already in the metal state and let me tell you..... even though bezel wire is fine silver and therefore soft....... it is not that soft.  Darn, filing that stuff is time consuming work.

I think I've made up my mind......... I'm raising my stone.

The process of design

There are many methods of designing art.    During the conference, Tim, Ellen and Helga all shared their designing processes which I talked about in a previous post.

Helga explained how she begins her design process by "playing."  During the session she discussed how she played with paper to stimulate ideas that could be translated into jewelry.  http://crafthaus.ning.com/profile/HelgavanLeipsig?xg_source=activity   After playing, she draws up 10 designs, chooses one of these to expand on with 10 more drawings.  Taking those 10 drawings, she expands one again until she finds something that she likes.

(This is my interpretation of her design process.)

Once again her ideas reminded me of an approach I used with my students for their 3-d plaster sculptures.  (I really need to reflect back on some of my own teaching experiences and give myself assignments like this one.)

The assignment was to create a carved plaster sculpture based on the human figure.

Step one:  Find 10 photos of people, preferably in some sort of motion
Step two:  Do 10 quick gesture drawings of each photo for a total of 100 drawings.  This sounds like a lot, but gesture drawings are very quick.
Step three:  Choose three of these drawings and simplify each one five times into simple geometric forms.
Step four:  Choose one of the simplified drawings and make it three dimensional out of oil clay.  (This is called the additive process of creating sculpture.)  This piece is basically a three dimensional "sketch" and is called a maquette.
Step five:  Using the maquette to aid in visualizing the form, begin carving into the plaster to create the sculpture. (This is the subtractive process of creating sculpture.)   In order to make an area project out,  you must cut into the form.  (That was a hard concept for the students to understand.)

I don't remember who made these pieces, but these are just a few of the results from the lesson.  The lesson was successful for every single student (which was amazing.)  The bottom two pictures are the same sculpture from two sides.

The process works..... whether it's making jewelry or sculpture.

A World of Metal Clay

The final PMC Guild metal clay conference was a national conference, but in name only.  There were many other countries represented,  Canada, Australia, England, Greece, Japan, the Netherlands, Panama, the United Kingdom, Belgium and Germany.

Some of them came with charms and I was lucky enough to exchange with a few of them.  (Sorry about the quality of the photos.  I'm trying my daughter's macro lens and not quite use to the depth of field thing.)

One of the first exchanges was with Lila Diamantopoulou from Greece.

www.liladiam.com

Some of the Japanese Artists combined polymer clay and metal clay in their charms.  I'm sure you can find the metal clay in each of these pieces.  

Miyako Kobayashi

Anna M Aoki

(Who is actually from NY.)

www.d2nyjewelry.com

Yoshiko Komoro

http://wallpaper.fumbaro.org/en/

How wonderful it is to be a part of the Metal Clay Community.  It's a wonderful (and large group!)

The Spirit of Metal

In past conferences there was a set time for the charm exchange.  This year was different.  If we had charms to exchange we were to put a star on our name tags.  (Needless to say, after we looked at people's necklaces..... we looked at their name tag.)

This was a good idea but it had some drawbacks.  First of all it was too easy to make a mistake and get two of the same person's charm.  We were so busy looking at the charms that we didn't really pay that much attention to what the person looked like.  Instead we focused on what they were wearing (and of course each day they had on different clothes..... hence the mix-up. )  (Actually I'm hoping that is the explanation and not that I was having Senior Moments!)

Most of my doubles came from the Guild members from Louisiana, L'esprit du Metal.   They all had this really neat logo on their cards.

I don't mind doubles (now I have earrings.)  Some of the people had more than one choice of charm so some of my doubles are more about having two of the same person's.  

Heather Griffith

Dianne Hoyt  ( I have two different charms from Dianne)

Andi Benefield (got duplicates here.)

Simone Patout Palmer  (duplicates too.)

Cecille

(I apologize if I've messed up any one's name.)

I too had three different kinds of charms.  They were all the same design but they were either small silver, large bronze or large silver.  And since my photo polymer plate was designed for earrings the design was reversed on half of them.  What are the chances they got a matching pair to make earrings?

I can only hope!

Speaking of Backs

One of the first people I traded charms with at the conference was Kim Paige.  (She recognized my charm from my blog...... nice to know that it's being read.)

Kim's charm 

I mention Kim because she was wearing a necklace that had her children on it and I noticed it immediately.  When I went to take a closer look at it (on her neck of course) I saw that the other side was also beautifully designed.  (Why is it we immediately turn the piece over?....... another reason for taking extra care with the opposite side.)  Kim designs and sells under the title "Red Tree Studio."  (I guess that's why the red leaf!) 

Check out her portrait pendants.  http://redtreestudio.com/photopendant.htm

A few years back I did a portrait of my granddaughter Olivia.  That was another reason I was extra interested in Kim's necklace.  Her technique allowed for more detail than the photo polymer plate I used.  

Actually after seeing Kim's, I'm embarrassed to even show mine.  In fact I won't.  I'll just show the sweet little picture it was taken from.  This is Olivia Pearl!

Check your behind!

As an art teacher, I always tried to impress on my students to not neglect the back of their art work.  Even though it may not be seen, it was important to follow through on the back with their craftsmanship.

This is something I've tried to attend to in my jewelry making.   Now I'm not talking about making a piece reversible so that there is no back or front.  This in my opinion is getting a "twofer"  (two for the price of one, thus making the piece worth more.  An example of this is "Big Frog in a little Pond."

The original "front"

On the "back" a Koi fish

What I am talking about it taking great care with the back to make it just as interesting as the front, (even if it doesn't get seen.)   I try to keep my backs clean and smooth.  But, after being at the conference, I realized that just isn't enough.   How the back is treated separates the men from the boys (as they say.)

I sat behind a girl at one of the sessions and noticed how nice the back of her earrings looked.  I couldn't see the front of the earrings but the interesting texture on the back intrigued me.

At the "Show and Sell",  Vickie Hallmark's cloud pin http://www.flickr.com/photos/vickiehallmark/ not only had great detail on the front but she also included two cz's at the points where the pin attached to the backing.  (I just couldn't get over how nice it was to see such attention to detail...... even on the back.)

Lisa Barth's book (that I mentioned in a previous post) shows how much time and detail she puts into the backs of her stone settings.  These are not reversible, but the backs are just a lovely as the fronts.

http://www.cooltools.us/Lisa-Barth-Jewelry-Design-Gallery-s/1344.htm

Good art  requires careful designing not only from the front, but from the back also.   

Romancing the Stone

As was mentioned a couple of posts ago, I have several very nice stones (actually I've had them for years.)  So when I saw all the beautiful choices at the vendors hall at the conference...... I steered clear.  (I really, really wanted to go take a look but I did resist.  I didn't resist the desserts though.)

Instead, on the second day of the conference I discovered Lisa Barth's beautiful stone pendants.  Each one different and each one equally well executed.  And the really nice thing is..... she's written a book about her design process and bezel setting techniques.  So..... of course I had to buy it.

I haven't had much time to get too deeply into it yet, but what I have seen I really like.  Some questions are popping up as I read it, (may have to email her a couple of times) but I do think it is exactly what I need.  The triangular burgundy stone in the lower right hand corner was the stone in the piece that didn't turn out.  I did use the stone to help design the setting but just screwed up on the bezel.  

Not only did I buy Lisa's book at the conference, but I also saw Jeanette Landenwitch's book at the Rio Grande display.  (So of course I bought it too..... when will I quit?)  It is a completely different approach from the other book and I already see some good tips in it too.

I will probably approach the first couple of tries just like I did when starting to work with metal clay.  I'll pretty much take the project approach and once I feel comfortable I'll be off and running.  Stay tuned for future posts on how it's going.

 It will be a several days before my next post as I'm camping with the grandchildren.  (I've got lots of ideas for posts.  The conference was inspiring that way too.)

PMC Conference - day 3

This isn't my last post inspired by the conference, but it is my last post about the sessions offered at the conference.  In my opinion, all the sessions were good but it was Saturday's sessions that I found most inspiring.

The morning started out with a virtual slide presentation created by Jeanette Landenwitch.  "Look at us now" was a virtual exhibition of work that's been created over the past seventeen years of metal clay.

The afternoon session that I attended was "Designing without a net" which was lead by Ellen Wieske and Tim McCreight.  The session was basically a very relaxed dialogue between the two about their working processes.  Ellen's process of creation is more scheduled and Tim's is more fluid.  This session got us to thinking about who we are as artists (which I am still trying to wrap my head around.  I had wanted to be an art teacher since third grade and was trained as an artist who would be teaching.  For me, I still identify myself more as a teacher.)  The dialogue between the two has me thinking about who I really am.  They both suggested that we choose some things that we really, really like and really, really hate, then try to identify why we have those particular feelings toward that object.   There are lots of risks involved in making art and we shouldn't be afraid to take those risks.  Ellen also suggested that we don't back away when we become obsessed with something...... that feeling might not come again.  (I'm quite sure she was talking about making art and not stalking someone.)

My favorite session of the entire conference was Helga van Leipsig's "Process as a Design Tool."  This session was in the same vein as "Designing without a net" but stated in a different way.

Helga has recently been inspired by an E-book called "Time Management" and has applied it to her life.  She feels that by following a schedule she has freed up time and has accomplished more in the time she is at her studio.  One of the quotes she shared was  to "Be regular and orderly in your life, so that you may be violent and original in your work." - Gustave Flabert  (I think I copied that right!)

Anyway, she also (as did Tim and Ellen) suggest that we do some deep soul searching and learn who we are, what motivates us and makes us happy.  This hit home with me in both sessions as I sometimes feel like I'm still not sure who I am.  I have an inkling, but still feel like I'm searching to find out what I'm best at.  (Damn I'd better hurry.  I don't know how much time I have left..... I guess I should have gone to the Palm Reader at the Saturday night gala.)  

As a teacher I felt I knew who I was..... but as an artist, not so much!

Hard to Resist

A conference cannot be complete with out the Vendor Hall.  I knew it was coming and I tried to prepare (as much as a shopaholic can.)  But of course it is never enough.  (At least this year I brought cash and my check book..... what a mistake.)

There were actually two places to spend my money.  The merchants area and the participant's "Show and Sell"

Earl Roberts making a sale at the PMC Connection booth.  They were offering a good deal on Sterling Silver so I caved and bought a pack (plus a few other things as I stood there.)  I've known Earl for several years now and enjoyed meeting up with him again.

I have quite a few stones that I need to bezel set (as mentioned in my post on soldering.)  So, I was determined to stay away from the vendors selling stones.  I stuck to my resolution for about an hour and then I caved.  I didn't buy any big stones, but I did purchase some 3mm, 4mm and 5mm spinels and CZ's for my students to use from Gemstone Resources.  

All Craft was only there for part of the show but I did manage to get some of their brass brushes.  (They have the softest brass brushes!)

From Metal Clay supply I purchased Gilder's Paste.  I've never used the paste, but one of the charms I exchanged for had it on.  Pretty cool looking stuff.

Rio Grande wasn't selling at the show but had lots on display and was offering free shipping with the code from the show.  From them I ordered some new texture sheets and a sterling silver stamp (now that I'm finally going to try it.)

There were other vendors too and I don't want to slight them but I mentioned only the ones I purchased from.

The artist "Show and Sell" also made a dent in my pocket book.  I bought several pair of earrings, a book and a new tool .  Will share those purchases in another post.

Suffice it to say that I won't be buying anything in the near future (except for metal clay and groceries.)

PMC Conference Day 2

Well I'm finally back to posting about the conference sessions.  Friday morning's first session of the day was a trip back in time with Tim McCreight to trace the history of PMC which began in 1995.

The factory where it all began.

Artists meet at Haystack to experiment with this new medium

My first choice of the morning session was "The ABC's of Teaching" with Lora Hart.  Long before the conference, Lora sent out a questionnaire for us to respond to.  My main reason for going to this session was to see what others had to say.  I was an art teacher for 35 years, so basically I felt that there was nothing to learn from this session.  But I was wrong.  Lora brought up some points I hadn't thought of and shared some tips worth trying (like carrying materials for sale in a shoe bag..... multiple pockets and see-through accessibility.)

After lunch I went to see demos by Barbara Becker Simon and Vickie Hallmark who both include glass in their work.  

Barbara's demo included using sheet clay as a bezel with all different kinds of glass and mixing enamel right into metal clay to make colored metal clay.

Vickie showed us how to make a glass cab using a torch and how to work with vitreous enamel in using glass cabs as a canvas for painting.

For the last session of the day I chose "Social Media and your on-line presence" by Susan Dilger.  I had met Susan before (again we were in a class together at PMC Connection's Retreat at Arrowmont in 2009.)  I do use social media (but probably not as much as I should.)  She had lots of information on which site to use for our own specific needs.  For the most part, the theme came through as "If you are not online - you are invisible."  (Those are Susan's words.)  

Now, here is where I should post a picture of Susan making her presentation.  But, instead I am finishing with a picture of her boots.  (The photo came out very dark and I thought it was unusable but thanks to the advanced adjustment tool in IPhoto it is presentable.)  The boots were the first thing I noticed when I sat down.  (How did she get her toes into those upturned pointed toes?)

Finally a face

Not only was the conference informative and fun, but it was also a time to hook up with current and old friends and finally put a face to those we've only known from a picture on the web.  (Which made it all the more sad to realize that we may not get the chance to share time together again.)

I met many new friends but will share just a few pictures from Saturday night's Gala.

Zoe Nelson was one of the friends I've made over the Internet.  She reads my blog and I read hers.   We comment often on each other's blogs (just to let each other know that someone out there is reading us.)

Zoe was as nice as I envisioned her.  Visit her at zoenelsonartwear.blogspot.com/ 

Coral (on the left...... and darn I can't remember her last name.  It's a good thing Jeanette Landenwitch is sending us an updated list of conference participants.  I won't accidentally delete this one!)  Anyway, Coral is from Pittsburgh and one of Carol's students.  (Strange that I have to go to Kentucky to meet her.)    Carol Scheftic is on the right.  I've mentioned Carol in a previous post.  If you want to know anything about metal clay (particularly the base metal clays and firing) Carol is the one to ask.  

http://convergentseries.wordpress.com/

Saturday's Gala included a photo booth where friends could wear an accessory and have their photos taken.  Dona Miller  http://www.donamiller.com/ is someone I met at the PMC Connection Retreat at Arrowmont last year.  She is now a Certified Instructor with PMC Connection.  We both took Holly Gage's class in metal clay repousse' and I was interested in the piece she worked on in that class.   Dona and her husband own and raced Siberian Huskies.  (Search for her finished piece in a previous post on this blog.)  I too am a lover of huskies (RIP Sasha Mariah and Hanna Jane!)  Besides the Arrowmont class we are both alumni of Tonya Davidson's first Artful Success class.  

Through Face book, blogs, websites and special interest groups we can all still stay connected.  But it was sad to see the conference end and everyone go their own way.   Was much fun while it lasted!

The Party's Over

My original plan was to post the conference in the order of my participation but instead I'm starting at the end and working backwards.

After fifteen years the National PMC Guild is no more.  Last night was the last official guild event and they went out with a bang.  Rio Grande (a major jewelry making supplier) hosted a gala last night for the guild and it's members, complete with drinks, finger foods, a palm reader, a caricaturist, a photo option, prize give aways, and a goodie bag for all the members.   It sure looked like everyone was having a great time.  I know I did.

Our very own Pittsburgh metal clay guild's Donna Penoyer and one of her many alter egos provided entertainment.

Just one of the many balloon hats created by Donna

Our fearless leader, Tim McCreight was treated to a "Here's your life" slide show.

(That's Tim in front wearing one of Donna's hats.)

Even the Mitsubishi scientists cut loose once in awhile.  Dr. M. Morikawa who lead a team of scientists in the creation of metal clay entertains on the dance floor. 

Many of the members signed a large card in a silver pen to present to the Mitsubishi Corporation. 

Thank you Mitsubishi, Rio Grande and the National Guild for getting us hooked on this amazing medium.

The Best Laid Plans

We all know what they say about the best laid plans......... THEY DON'T WORK OUT!

I had been planning on posting the days events on the Conference every single evening so things would be up to date.  Well...... it ain't going to happen.

We are at a hotel which is "supposed" (and supposed is the operative word  here) to be set up to handle conferences.  Yes, their rooms are big for large groups but that is about as far as it goes.  (I'll elaborate in a later post...... I don't want to sound whiny which is usually not my nature.)

But suffice it to say that getting on the Internet around here is a real challenge and now I have to leave for my next session.  Chances are there won't be another post until I get home on Sunday night, but I will certainly try.

There are a lot of good things going on around here and I don't want to miss sharing them.  (We all know that occasionally my mind goes out to lunch, so I need to post while I can remember them.)

PMC Conference..... day one

Well, we are here...... finally.  The Conference is something I've been anticipating for months.  This is the last conference ever to be sponsored by the PMC Guild.  The guild is shutting down.  They've accomplished what they set out to do and it's time to end it.  What will pop up in it's place is any body's guess but I'm sure there will be something.

But for now it's time to enjoy the conference in all it's glory.

The day started with the Keynote speaker, Ellen Wieske. the assistant director at Haystack School of Crafts.  She had an inspiring presentation which included slides of her work and slides of those who inspire her.  Her work makes use of materials that many of us would throw away.  (Her work would have been perfect for our Junk Art Show.   I'm inspired to start now on next years exhibit.)  I'll be spending several days, googling her and the list of those who she admires.

Afterwards I attended a demonstration by Chris Darway and Terry Kovalcik, better known as "The Jersey Boys."

Chris Darway and Terry Kovalcik

Terry showed us how to use polymer clay and two part silicone mold making material to create forms for draping and shaping the metal.  (Can't wait to get home and try it.)

Chris shared tips on using titanium wire with metal clay.  He shared some ideas on tools that we can make to use in working with small pieces of clay.

Their demos were projected onto a screen behind them.  That's why this appears blue and blurry.

Day one was a success.  More to come.  

Make an Impression!

In May of 2011 I went to the PMC Connection's Retreat at Arrowmont in Gatlinburg  TN.  At that time I took the Level 4 Certification class from Mary Ann Devos.  The focus of the class was promoting yourself as an artist and as a teacher.

Now anyone who has ever met Mary Ann remembers her.  That is not an accident.  She stated in class that when we go into a gallery, we want them to remember us.  She advised us to be unique, to stand out, to make an impression.  She does this through what she is wearing; a glove, a feather in her hair, an unusual hat or a unique article of clothing.

I think it is a great idea (but again, that is not in my nature and something I would have to consciously work at........ basically I guess I'm boring.  I'm an only child and I''m supposed to want to be the center of attention. What happened?  Must have been my brother "the Boat!"  But that's a whole different story.)

Anyway, this post is about my friend Carol Scheftic.  (http://convergentseries.wordpress.com/)  I met Carol when I was seeking out a metal clay guild.  We've taken several classes together and gone to a couple of conferences together  (which is where we are now) and have become good friends.    Carol makes an impression. (I'm not sure this was her intention.) She wears a "fishing vest."  The vest serves the purpose of being able to carry many of her metal clay pieces since there are so many pockets in it. It's not only useful, but I really think it also makes people remember her.  It makes her stand out.

Another thing that made her memorable at the current conference was her necklace made from bracelets of charms collected at past conferences.  She strung together three such bracelets and of course is working on her fourth.

The charm exchange at the conference is something I always look forward to.  It's fun to have a visual memory of the people you meet.   My previous posts were about the charm that I was making.  In future posts, I'll share some of the charms I received.