Monday, December 23, 2013

May Your Days Be Merry!

Holiday Eye Candy 2014 by lorahart
Holiday Eye Candy 2014, a photo by lorahart on Flickr.
Wishing all our friends, family, and fabulous customers a healthy, happy and safe holiday!

Friday, December 20, 2013

Soldering Fired Metal Clay


How hard is it to solder fired metal clay? This question was asked recently on FaceBook. There were all kinds of answers - some wrong - so I decided this would be a good time to address this question.


Many of us like to combine sheet with fired metal clay in our pieces. For example, I sometimes use sheet wire for the band on a ring or solder bezel cups onto fired metal clay.

Fired PMC3, PMC+, and PMC Sterling, bronze, and copper clays - all are soldered in the same way. There is no reason to perform depletion gilding on sterling silver. The only reason depletion is performed is when you want to fuse something to sterling silver. Depletion, removes the outer layer of copper in the sterling silver leaving only fine silver which doesn't tarnish. (For information on how to deplete check out my blog on February 24, 2012.)

The only difference in soldering fired metal clay and sheet is that the fired metal clay has porosity, tiny microscopic holes. Because of this porosity, its best to close some of these holes so that the solder doesn't disappear into the fired metal clay like a sponge! Simply finishing the fired metal clay to a shine suffices. Either tumble it using stainless steel shot, polish it with a brass or steel brush, or use a burnisher in the area to be soldered. 

The usual processes of soldering are important to know, like which type of solder to use - Hard, Medium, or Easy; how to flux and melt the solder to the item; and then how to clean the piece after soldering in pickle. If you would like to learn more about the process of soldering, I have a tutorial for sale on my personal website.

Until next time have fun claying around.



Janet Alexander
Technical Adviser


Friday, December 13, 2013

News Flash

Why am I writing about business? I’d rather write about the art process, creating from the soul, inspiration and motivation. Some day. For now, today’s business topic is your own Press Release and how to write one to your advantage. You might be wondering, “What could be newsworthy?” 

Are you going to a show? Are you traveling for your PMC business and work? Have you won an award? Are you the feature exhibit at a gallery or in a new gallery? Did you place well in a contest, or is a magazine publishing a photo of your work or an article you wrote?

I emailed my first press release to an editor at a local newspaper, thinking, "yea, right, fat chance, nothing newsworthy." The next week I couldn’t tell you how many times I heard, “Nice write-up about you in the paper.” I had to ask someone to save it for me so I could see it. Yup, exactly how I wrote it (at bottom of linked page). Ha. It was one of those moments where something worked so well it was shocking.

Does this sound like excellent public relations and free advertising? It does to moi.


Are you concerned that you may not have a provocative story line for an editor or reporter to put into print? Think about the Sunday section of newspapers, entertainment and arts sections or a business section. Every publication has space to fill with information to make known to the public.


The anatomy of a press release is important. The format is standard. News flash: deviate not from it if you want to see your work in print and to further entice the newspaper or publication to contact you because they want to do a full story on the piece.

Here is a link for a downloadable pdf that is excellent for writing a press release.

Press-release distribution services abound on the Internet, as do resourceful websites. Here are a few to get you started.

Resources Sites

Good luck with your news and your release. Be true to yourself in writing it. If something is exciting to you, it’ll be exciting to someone else. Keep us posted on your successes.



by Kris A. Kramer

Wednesday, December 11, 2013

It Ain't over 'Till It's Over

When I left you last, I had been working on a bezel-set seashell that I had made as a sample for a Level Two Certification project. It sat on my bench, unfinished. I wasn't in too much of a hurry to finish it because it just didn't look right to me. The more I saw it, the more I began to think that the 'seaweed' feature didn't add to the design. So I decided to get rid of it!

I took my trusty little jeweler's saw and cut that weed down to size. But now what? It sat on the bench for another two days until I started fiddling with it and placed the seaweed above the shell. Ah! That did it! Then I spent another ten minutes staring in the mirror trying to decide if the piece wanted to be a brooch or a pendant. I decided to solder a pin finding to the seaweed and joined it to the shell setting with two little S-shaped connections. Tumbling, patina, and polishing brought it to the point of no return - setting the shell. This morning I braved the threat of icy streets to go to the studio to finish it up.

Making the bezel for this shell was a bit of a process. First, I had to bur out a depression in the bezel wire to accommodate the 'hinge' point of the shell. Then I realized that the uneven slope of the shell would cause the fit of the finished bezel to look misshaped.  I'm not a measurer, so I eyeballed the distance from the bottom of the setting to the top of the wire as it related to the shell, put Sharpie marks where I thought I should lower the height of the bezel wire, and ground away with the help of my Foredom motor tool until I thought it looked right. Then I sanded the edges and called it good.

Thank goodness that my very scientific (not!) calculations turned out to be correct after I finished burnishing down the bezel. The perimeter of the setting looks perfect. I used a bezel rocker that I've never used before (but have had in my tool box for years) to push the wire evenly around and over the shell sides. In the course of doing so, I realized why I've heard jewelry makers and teachers talk about "dressing" commercially purchased tools. Sigh.

The edges of the rocker (which came straight from the factory) had true, sharp, 90 degree angles that put unlovely, sharp, straight lines/marks in my perfectly polished bezel wire!  That of course meant I had to spend another hour trying a variety of  techniques to get rid of them. First I used tried and true, go-to, 400 grit sandpaper, pushing it around with my fingernail as a way to apply a bit of pressure. Then I thought of loading the paper into a split mandrel on the Foredom. That helped s little more.  Then I remembered to try a tiny grinding stick I got many moons ago, and little by little, those obvious blemishes began to dim.

I may not use my metal smithing skills to their full extent, or practice them as often as I might, but thank goodness I have them in the first place. They've added panache to my metal clay jewelry work many times and it's a good thing I had them to call on this morning. Athletes cross-train - ice skaters jog, swimmers pump weights, even ballroom dancers work out in the gym. Jewelry makers are no different. The more skills you have, the richer your production vocabulary becomes.

I still don't think this piece is done. I may like it as a brooch, but a buyer might wish I had made the other choice. So, I think tomorrow I'll solder a jump ring on to a length of silver tube to make a necklace enhancer! It may not be over till it's over, but when I'm finally finished, I know I'll be happy.


by Lora Hart 
Artistic Advisor 

Saturday, December 7, 2013

Tips from the Bench - Ring Gauges and Mandrels



Ring gauges and ring mandrels are used in concert to make rings. Ring gauges are used to measure the size of a person's finger and ring mandrels are used for manufacturing rings to the required size. In metal clay, we wrap the clay around a paper covered mandrel at the required size. In metal smithing, we wrap the metal around the mandrel at the correct size.

The typical  ring mandrel is a tapered and made of steel with the sizes engraved on it. In metal clay we also have the stepped mandrels sized in two sizes, either whole sizes or half sizes. 










Did you know that not all ring gauges and ring mandrels match? When you first purchase your ring gauges and a ring mandrel, check to see if they match and you might be surprised! Check several sizes, because some might be correct while others are not.


Size 7 is on 6 3/4" line
8 Fits correctly

This size 7 narrow ring gauge should slide down to the size 7 on the tapered ring mandrel, so the tapered mandrel is incorrect for this size.

The photo to the right shows that the size 8 wide band fits correctly on this size 8 short step mandrel.






Size 9 doesn't fit
But the size 9 wide ring gauge doesn't even fit onto the size 9 mandrel and neither does the narrow size 9 ring gauge.

(Interestingly the size 8 is on the same mandrel as the size 9!)







What's important to know is what to do if they don't match.

Since I measured the finger with the ring gauge, its important that I make the ring the size of the ring gauge. With the tapered mandrel, I slip the ring gauge onto the mandrel and draw lines on both sides of the ring gauge using a permanent marker. Now I work the ring around the mandrel between those lines.


With the miss-matched short stepped mandrel I wrap wax paper around either the size 8 or 8 1/2 mandrels until the size 9 ring gauge fits correctly.



I hope this helps those of you who have had problems with rings not fitting the finger. Until next time have fun claying around.


Janet Alexander
Technical Adviser




Monday, November 25, 2013

Rethinking the Stone

I recently taught a Level Two Certification class, and to prep for one of my demos I wanted to make a new piece. The project is to 'Set a Cabochon Using Commercial Bezel Wire'. The project entails adjusting the design to accommodate metal clay shrinkage, firing the base mount, and adding the fine silver bezel in a second firing. After polishing and any patina, the stone is set with burnishers and pushers.

There was only one shell with a hole!
Remember how I like to remind you that you can add your own creative voice to any project? Even one where there are specific parameters you have to work within? Well, I took my own advice and used an unusual object for the cab. In general a cabochon can be defined as a flat bottomed, domed stone. But I don't have much of a feel for mineral stones like Lapis, or Tiger's Eye, or Malachite. I wanted to use something else for my sample.

A friend had sent me a goody bag containing shells, deer antler slices (naturally shed - don't worry!), small pebbles, and other interesting bits. One of the shells had a hole in the "hinge" portion that intrigued me. I don't think it was a natural hole, but it set my imagination spinning and made me wonder how I could make use of it in my design. I did some sketching and some online surfing and came up with a seaweed and pearl theme. After enlarging the shell 119% (to account
I used a pencil to roll some definition
and dimension into my paper seaweed
 template.
for shrinkage and for the bezel wire) I made some paper templates so I'd have a good idea of how the construction might go together. I wanted the area where the stone would be set to be perfectly flat, but thought a little 'movement' would enhance the seaweed effect. So, I made my pendant in two parts. Letting each part dry separately gave me the opportunity to sand each to perfection before they were joined. I couldn't really think of how to drape the seaweed while keeping the top part level. I'm sure there's a way, and I'll probably do some more experimenting with this design in the future. 

Some dimensional wallpaper
gave the perfect weedy texture
and LOS did the rest.
To add to the deep sea theme, I used a jeweler's saw with the dry, unfired clay to cut a seaweed silhouette into the back. I always like to add a little surprise for the wearer to discover. After firing, polishing, and patinating the piece, I sewed up a little magic with some glass seed beads, pearls, antique coral, and free-form stringing to embellish the hole in the shell. I haven't actually permanently set the shell yet because I'm not quite sure how I want to hang the pendant. I think maybe a combination of pearls and chain - but I want to have a clear idea before I complete the setting. Imagine if I pushed the bezel over and then decided I needed to solder the chain. That would be a disaster!

This particular 'stone setting' is definitely too ambitious for a student to have completed before the end of class. Just stringing the little beads took two hours. (Oh, to have good eyesight and hand/eye coordination again. Sigh.) But having samples like this one demonstrates how one can take a skill learned in a workshop and let your imagination run wild to create something totally unexpected.


Next time a class project requires a certain element, try thinking out of the box. A true cabochon may very well be a turquoise gem stone, but if you define it as a 'flat backed, domed object' you could also use an antique button, beach pebble, a watch crystal with a photo underneath, or a variety of other artifacts. Try to find a way to add your own stamp to any project.

Posted by Lora Hart 
Artistic Advisor

Saturday, November 23, 2013

Tips and Tricks for the Studio

Problem Torches

Have you ever had a problem with the small butane torch acting like its empty even though you just filled it? That's because over time compressed air from the butane can fills the fuel container. The torch is full of air.

Easily remove this excess air by unscrewing the valve on the bottom of the torch allowing the compressed air to escape. Then re-tighten the screw and re-fill the torch with butane.



Metal and Metal Clay Storage

A great way to store your metal is by placing it in file folders inside a box. I have mine sorted by wire shape, sheet thickness, and solders.




The shelf-life for PMC is one year, but sometimes you need to store it for a longer period of time. I store excess metal clay in the freezer. I find that it lasts for years this way and only takes 30 minutes or less to defrost. I've had some stored now for three years with no problems.





Until next time have fun claying around.
 

by Janet Alexander
Technical Advisor

Tuesday, November 19, 2013

Shrinkage: Friend or Foe?

I just love it when my students have an, “Ah ha!” moment -- especially when it’s something that I’ve been harping about for ages. Then one day the light goes on and they magically GET IT!

That happened in my class last week when someone applied fresh clay to a previously fired silver piece. The result, of course, came out with an interesting arc as the pre-fired silver yielded to the fresh, new silver. It was a serendipitous and beautiful result. 


The fact that metal clay can be fired over and over really amazes beginning students. The one caveat that messes with their heads, however, is what happens when they apply fired to unfired silver. Yes, size matters. ( :) ) The larger the amount of fresh clay that is used, the more shrinkage will result. And the higher and longer the piece is fired, the greater the shrinkage. The results can be unpredictable and surprisingly interesting.

Sometimes it’s the unintentional results that give us the happiest rewards. This is a great way to salvage accidents or previously fired pieces that you have not yet found a use for. Take a brave, bold step and paste some pre-fired pieces to unfired silver and fire them at a high temp (1580) for about an hour. Try using stones for added interest. If you don’t like the result, texturize them with a hammer, add granulation (pre-fired balls of fine silver) and fire again. There are no mistakes!

Some unique and original holiday gifts may get you voted Santa of the Year!
Creative blessings!

by Linda Kline
Director of Education



Image above: Steel wire and PMC Sterling tested for shrinkage. To read all of Janet Alexander's PMC Sterling tests, including extensive explorations on shrinkage, search this blog for Sterling.

Friday, November 15, 2013

Artists and the Causes They Love

The Links in the Chain article is out in the current issue of Metal Clay Artist Magazine and we've talked a lot about bracelets and about PMC Sterling the past few months. But with the holiday giving season right around the corner, we thought it would be nice to share the nonprofit organizations that benefited from the bracelets.

These charities meant a lot to each of the artists who chose them to receive their bracelets. We hope you will be inspired by the list, as we were. 

Cindy Miller -- ASPCA
Evelyn Pelati Dombkowski - Windsor Art Center 
Janet Alexander - Help End Abuse For Life, Inc.
Lora Hart - Visual Arts Center of Richmond 
Lorena Angulo - ThriveWell Cancer Foundation 
Michael J. Marx - Beacon Day School 
Ruth Greening - Changing Rein 
Teva Chaffin - The Mary Parrish Center For Victims of Domestic & Sexual Violence 
Nellann Roberts - Prison Entrepreneurship Program 
Kathleen Nowak Tucci - DFW Rescue Me 
Jeannette Froese LeBlanc - Mount Sinai Hospital, Special Pregnancy Unit  (and the fund she started in honor of her daughter Ella)

Thanks to these generous artists, all of these causes received beautiful gifts!


by Jennifer Roberts





Monday, November 11, 2013

Item Card + Photo = Organized

Time passes. You continue making beautiful creations. One day someone wants that pair of earrings you made months or years ago. How did you make them? How thick did you make the main part and how thick were the added layers? How large were they?  How large were the additional components? What template or shape did you use? How will you price them? Some of the answers to these questions are obvious. Some not so. I don’t know about you, but I can hardly recall what I had for breakfast yesterday. After months or years? Forget it. Here’s what I do.


 
Inventory Card   

First, I keep a sketchbook journal at my bench. Sometimes by paging through I can find notes on a piece because I often draw and number the steps in order to figure out its construction.

For items I think might be popular or that I plan to sell a lot, I use Inventory Cards. On each Inventory Card I include what is at the right. See below for the Item #. I keep my cards in a little folder. It just dawned on me to file these by item number, because I've accumulated more than I thought.

For a pdf of Inventory Cards,  click here and go to bottom of page.


Inventory Program

I use a software program for my Inventory. For Mac folks, check out the FileMaker product line. For Microsoft people, Access is worth a look. Quick Books is yet another option. Also look for Organization Apps that come in all shapes and sizes. Information I track on each item includes the following. If you haven’t noticed by now, I lean toward the OCD side of things.
  • Item Number
  • Name or Title
  • Number on Hand
  • Create Date
  • Product Line and or Series
  • Wholesale and Retail Prices
  • Date Listed in Online Shop
  • Description, Size Measurements, Notes
  • Sell Info (date sold, # sold, location, $ received, etc.)
  • Current Location
  • Sold Location
  • Dispensed Date
  • Per Year
    • Cost of Goods Each
    • Production Labor Each
    • $ Received
    • Number Sold
    • Cost of Goods Total
    • Labor Production Total
    • Calculated Profit--a Formula

Photographs

Photographs tell all. Photography is a subject that merits years of study and practice. I’m talking here about how to organize and name photographs so they jive with your inventory. There may be a simpler way match photographs with inventory, so if you know one let us know. Here’s how I do it.

Naming Photographs

I name my photographs the same as my Item #. Each one of my creations is named with the year, a dash, and a number. For example, 12-575 was made in 2012 and it was my 575th design. A design can have lots of items; for example, I’ve made twenty six 12-522s.

Then, I number the photos 1, 2, 3, 4, and Back for the straight-on shot (1), a close-up (2), ride side (3), left side (4), and the back.



Putting It All Together


Someone wanted some cityscape earrings, but I didn’t know the number and hadn’t made them for well over a year. I went to my computer inventory program and did a search for “cityscape.” Ah, that’s the number and that’s the price. I went to my hard-copy file and found my Inventory Card. Oh, I used that rounded-square for the background, the middle one in the top row on the template. I see I used green slats and cut the buildings as such. The photographs, which I found quickly by number, told me what textures to use and where to position the buildings. Phew.

You can spend (waste) a lot of time on this. I tell you though, I was recently accepted into a Christmas show at a community art center. The deadline was in three days. It didn’t matter—I put together an inventory of twenty items in two hours because of my system. And, oh, by the way, I put the item number on the back of my item or display card. I will run the box to the post office tomorrow.

'Got a question or suggestion?  Comment below.
 
By Kris A. Kramer


Friday, November 8, 2013

Kiln Maintenance


There are several types of kiln insulating materials, brick and ceramic fiber being the most common for use in firing metal clays. Most ceramic fiber kilns are called muffle kilns and this is the kind of kiln I have. Muffle kilns heat up faster than the brick type and can easily be moved from classroom to classroom without damaging the kiln. It's best to not move the brick type kiln because movement can cause the bricks to become loose since they are often held together with mortar.


Over time, the muffle can develop cracks. I've been told that the cracks shown here in my kiln were caused by opening the door while the kiln is very hot. I'm guilty of this, due to opening the door while enameling. These types of cracks are not harmful. As long as the muffle isn't breaking apart into pieces, and the elements are still secure inside the muffle. As the muffle heats up it expands and the cracks close.
You should occasionally inspect your kiln by checking the thermocouple in the back of the kiln, making sure it sticks out from the back of the kiln at least 1/2". It can sometimes inadvertently get pushed into the muffle. The thermocouple measures the kiln's temperature and sends this information to the kiln's computer. If it is pushed into the muffle, it can't accurately measure the temperature inside the kiln.




If you are having problems with melting your metal clay while firing, then you should test the kiln temperature for accuracy with a kiln tester. Here is a link to my instructions on testing.








Sometimes the door's latch needs adjusting. The latch should lightly catch so that it doesn't shake the kiln. The door doesn't need to close tightly against the front of the kiln. There should be some space for the door's material to expand as the kiln heats. If you work with enamels, you don't want the door to shake the kiln when closing, otherwise you may find your enamel has fallen off your piece! On my kiln the door latch adjusts by twisting a screw on the latch.





It's also good to check the kiln's plug wires making sure they are not cracked or damaged.  If they are, seek advice from a kiln repair company.

Until next time have fun claying around.


 

by Janet Alexander
Technical Advisor

Tuesday, November 5, 2013

Know Thyself

This past weekend in a certification class, I saw another reason why it is so important to know yourself, your creative likes, and be conscious of what skills you bring to the table when you attend a workshop. When we take classes (I take them just as you might), there are so many decisions we have to make, an element of stress that we have to contend with, teacher instructions that we have to pay attention to, and a myriad of other considerations that we have to be mindful of - that we don't need to be thinking of our personal design aesthetic at the same time. That should just come in our tool kits along with our pliers and rollers and visors. If you're taking time to try this texture and that cutter, while also learning a new set of skills and techniques, you're doing yourself a disfavor. Know thyself, in creative identity as well as all other aspects of your life.

For some people this might seem like a natural progression, but for others accumulating a 'go-to' set of designs and themes is not as easy. But we are all born with our likes and dislikes already ingrained in our personalities. Sometimes we just need a little direction to bring them forth from our subconscious mind.

In my home, I see my aesthetic everywhere. In the furniture I buy, the clothes I wear, even the dishes I feed my kitties with. Before my move from Los Angeles to Richmond, Virginia last summer I did a lot of purging. And in a dark corner of a cabinet I found a little ceramic container that I had made at camp during my elementary school years. And what was decorating it? What texture did I incise into the clay? Why, scrolls and curlicues of course! The same go-to design I use when demonstrating various things in metal clay classes. Whether I'm making a scratch foam texture, or drawing with syringe - I always make S curves. That shape is in my genes I guess.

Table, Candlestick, Headboard (folding screen), Dresser. All with scrolls.
Take a look around your home, ask your mother to show you drawings you did as a child (you know she still has them), think of the work you admire in the museums that you frequent (I go to the Getty Villa to see Roman and Illuminated Manuscript art as often as I can - or did before I moved to the East coast). Your personal aesthetic is a badge you wear every moment of your life. Honor it. Bring it to life. To your conscious life. To your classes and workshops. To your creations. To your jewels. Know thyself, and then introduce yourself to the world.

Posted by Lora Hart
Artistic Advisor

Friday, November 1, 2013

#PMCLINKS Winner!

We asked you to show us what you would make with 100 grams of PMC Sterling and we received some incredible entries. We are so pleased that so many of you were willing to share your pieces and your ideas with us. We particularity enjoyed getting a glimpse into your creative processes.

We entered the names of all of the entries in a random drawing and one lucky winner will be getting 100 grams of PMC Sterling.

Congratulations Ashley Lozano! We expect pictures when you make it. ; )


Be sure to check out our Facebook page to see all of the beautiful and creative entries. You can also view the Metal Clay Artist Magazine article that started it all for FREE here.

Thank you very much to everyone who entered and shared their beautiful work and thoughtful ideas with all of us.

Friday, October 25, 2013

What the Heck is This Black Stuff?

I had someone ask me about some black stuff growing on some stored metal clay, so I thought I would address the problem here.

When we wrap our metal clay inside plastic wrap, some of us will brush some extra water on it to keep it moist. This moisture can cause mold to grow on the metal clay. It is harmless and won’t hurt the clay. If you don’t like handling it, you can spray some isopropyl alcohol on it and then wrap it back up in new plastic wrap. This should kill the mold.

I have had no problems with the mold affecting my clay's final form.

Until next time have fun claying around.

 

by Janet Alexander
Technical Advisor

Monday, October 21, 2013

Your Mission...

Reasons for writing mission and values statements and having a vision are not nebulous. Folks in the business world will tell you in order to successfully run a business, you need a clear vision that tells the purpose of your business and where it is going. Research has shown that the writing of a mission statement is directly linked to greater returns on investment in companies.

If you are a small business owner in the arts like me, then you too know the separation between your work and your life is pretty much nonexistent. You think and feel into your work all the time, during your work hours and, well, 24/7. Or perhaps not.

If you do, your mission statement, values, and vision may be more reflective of you than your business. To me, this is golden and makes the creation of these rewarding. I believe all three can be merged into one vision, which is what you could build or renew soon, maybe today.

I’ve been reading about the Law of Attraction lately and experimenting with it in order to prove it is universal and forever in action. So far, it is. The law says that like attracts like and that by focusing on positive thoughts, one can bring about like results. Whether or not you believe this currently, it might be fun to write, draw, or create your vision as if what you think and feel, what you truly want, will come to you. Let’s make a vision board. Here’s what to do.

Write down answers to these questions with regard to your art-related business.
  • What is one want that I have?
  • Why? As in, what are my reasons for wanting this?
  • What are my beliefs that support my reasons?
  • How will I feel when I have already received what I wanted?
Repeat with your next want.

Assemble all your wants, each with its own reasons and beliefs, together in your mind or on paper in order to have a party. It’s a You-and-Your-Wants Party. Each want is an important guest to be celebrated and honored. Your guests can be bubbles, pieces of jewelry, flowers, characters, anything you want. Take turns asking each want, “What is your positive intention for me?”  Let everyone at the party hear Want’s response.



Then announce to the party, “Is there anyone here that objects to This Want’s positive intention?”
If there are no objectors, celebrate!  Then move on to the next want with the same question (What is your positive intention for me?). If another want does have an objection, validate its concern. Ask that want what it wants that has higher value or change whatever you need to (the first want, the objection, yourself) so that it is a win-win for everyone at the party.

Keep going from guest to guest, want to want, until all objections have been addressed, satisfied, and/or assured.

Now, at a pace that is comfortable to all wants, begin picturing, hearing, feeling how all your wants begin to mingle. Be sure they all come together no more quickly than your unconscious mind can integrate them, fully preserving the positive intention of each in such a way that each gains from the other and no want loses anything. 

When you feel they are all happy, satisfied, connected, supportive, supporting, fitting nicely with each other and with you in the picture, then take a picture.

VoilĂ ! Your vision.




Step into this snapshot fully and completely, noticing how excited you feel. Do this every day, yup, every day. Keep a journal and let all of us know what manifests for you!

*  *  *

If nothing else, you have some material now to write more-conventional statements. Going back to the world of business, there are three statements that might be requested of you at some point.  Here are some examples of a “real” mission statement, values, and a vision.

Mission Statement
Silver Designs produces and markets high-quality, one-of-a-kind, artisan jewelry.

Values   
Cathy Smith, the PMC artisan behind the signature style of Silver Designs, values that the silver in her creations contains 40% or more recycled and reclaimed silver. Silver Designs uses high-quality precious metals, cabochons, and gemstones in her artisan jewelry.

Vision
Silver Designs produces and sells high-quality, one-of-a-kind, artisan jewelry to collectors and boutique locations worldwide.


by Kris A. Kramer