Important notice to uk'ers! - Rated 
The first thing I must say for people in the UK who also order from abroad - this book, pmc techniques is the SAME book as PMC technic. Each has a different cover and the UK version has the different name, pmc techniques! SO, don't double up, like I've done!Choose your fave cover and wait time and pick just the one!
Right, about the book.... Another beauty from Tim Mcreight at brynmorgen press. This book takes a selection of artists in the field of pmc and lets them give a tutorial on techniques specific to them. It starts with tonya davidson doing a segment on syringe techniques....I'm not mad on that section but its still good and will appeal to a lot. The reason I've glossed over most of this one is because I like my work to have a refined and structural look to it and the syringe technique tonya demonstrates is a little bit too "early clay days" for me.However, its still valuable because she discusses tips on using and becomming confident with a syringe and the myriad uses it has, some often overlooked. I personally would use the syringe as a cement or to structurally fill in, repair or set stones. But I know that many will be grateful for the tips on decorative scroll work etc.
The next contributor is Celie Fago, who I love learning from. She demonstrates PMC hinges. I was looking forward to this section because making an item that incorporates hinges has been tricky because I want the hinges to be very small and in scale but using sterling or fine silver tube also presented problems as they dont shrink along with the clay, causing warpage. None of this really matters to someone who is comfortable with soldering them on, but I still wanted to know how I could go about creating an all pmc construction. I wanted perhaps texture on my hinge tubes. Well, celie delivers. We get various methods of creating pmc hinges and how to true them up and widen thier holes and get the all matching perfectly. For those who know celie's work you'll know the precision, uniformity and structural cleanliness. Her work looks clean and very well done (Even though it has texture and pattern) Sometimes, people starting out with PMC go a bit mad on texture and the resulting work looks much like most people's first attempts. I like to use texture but not so deep. I like it to look refined or etched rather than bumpy, lumpy and easy peasy! All of this chapter demonstrates hinge strength, function and placement.
The next chapter is from Celie Fago's apprentice! Jennifer Kahn, who's work is just as lovely and sometimes bolder. I find that her work has a look of someone who was taught by Fago but who is now developing thier own voice and style. Jennifer Kahn talks about PMC bezels. I found this chapter very interesting because it hadn't occured to me! Kahn has developed a way to make an entirely pmc structure that can take after firing any shape, size or oddity stone you like. This means you can set those irregularly shaped stones.Kahn has developed a way to make the pmc shrinkage still fit the stone without having to take the time to make a dummy to prevent further shrinking during firing. As she puts it, she didn't have the patience to make a mould of the stone then make a paper mache footprint to help the pmc retain its shape. She teaches us to make a bezel with pmc paper. Its valuable!
Onto the next technique.. Doris King fusing sterling to PMC. This too is good information, but personally I didn't like the look of the artists work demonstrated. Each to thier own though - I'm sure there will be some who do like it. The technique however, is valuable. Applying the lesson with ones own methods may yeald very diffrent results. Its good to know how to do.
Next is Terry Kovalcik teaching "developing form with slip". I really liked this lesson - it shows a painterly technique that can be applied using the slip version (made a bit thicker) and it shows how very 3 dimensional shapes can be built up using just the slip. I didn't really know this and I've been working with PMC and absorbing techniques since 97. This really opens up some good ideas.
Next (!) is Noortje Meijerink who works with ceramics - mostly porcelain I think. She does some really beautiful work combining porcelain and pmc in vessels and sculpture. At the moment I wont really be utilising this lesson - but its still good to know! And many will find it valuable and also it can open the door to experimentation. I've read every word.
Ahhh, the next chapter is one of my main motivators for buying this book.... Kelly Russell, stencilling on PMC. Google her name and check out her work. A lot of it is really cool. It is a certain style and achieves a certain look - and now we know how. She is actually a very good pmc artist, she can work with very very thin sheets of the clay and develop incredible hollow constructions. Very cool. Very valuable.
Next is Barbara Becker Simon who shows lampworking and pmc together. This is something I'm interested in learning at some point, so will probably come back to. Imagining the possibilities will probably make me want to learn sooner rather than later.
Next we have Cece Wire showing water etching on pmc. Again, sorry to be repetitive, but its valuable! Using a resist and a sponge to wipe away pmc where there is no resist. Lots of possibilities for texture, enamelling cells or champleve. Ideas for painting your own strokes with resist and being able to then have that as a raised design in your piece.
Next is another big reason I bought this book - in fact, the biggest.... J.Fred Woell. I think this guy rocks. I don't know him, just some of his work and I love it. He shows us a technique for making coreless beads - but please, these are not just beads these are sculptural forms of such grace and fluidity that you feel compelled to want to touch or run your fingers over smoothness or texture. Just beautiful. He shares a way of making any shape, random shapes and forms using removable armatures and cores. I've yet to read this chapter fully as I want to savor it and learn it and ponder it! My fave technique in this whole book! (You'll probably see why.)
Thats it. The book is written with warmth and it has lovely photography throughout of the various artists works along with Tim Mcreights very handy little drawn diagrams - showing something exactly or "this good" "this bad". lol. I recommend this book to all those interested in PMC. To learn as much as you can about the medium and its methods to apply to your own way of thinking and working. A lot of the pmc books that come out are cashing in and jumping on a band wagon. I am often dissapointed because its all begginer begginer! And lacks finesse. But I'm pleased with this book. As I was with PMC decade (A gallery/coffee table type book with lots and lots of pictures - not a project book.)
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