ALBERTA/ "MAGAZINE
METAL September/October 1987
rte. Decoy exhibit
Olympic update
Metal features
Calendar of events 10 Member news
Official Licensee
509, 10136 - 100 street Edmonton,AB T5J OPI
ISSN0834-910X
2
ALBERTA •
MEMO FROM
ca-BCL
THE PRESIDENT
President
by Les Manning
Les Manning, Canmore 678-5216 (h) or 762-6211 (w)
On Wednesday,August 26 the official signing of the Olympic licensing contract took place. This action makes it official for the Alberta Craft Council to proceed with the
Vice-president MargaretBest, Calgary 259-8304
total marketing plan that will include the licensed objects and general craft marketing. There will be a short waiting period for all signatures to be applied which includes the Canadian Olympic Association with headquarters in Toronto.
At the same time that I'm pleased withthis announcement I also feel awkward. The awkwardness is in relation to the time we
have left for you the craftsperson to respond with your products. The delays have been worrisome for the board as these negotiations have gone on for two years in collaboration with the crafts working mmmittee of the Olympics Art Festival Board. Our hope was to have much more lead time in your favor but the fact of the matter is once again we need your response quickly. On behalf of your organization, the board is committed to seeing this project through to build not only a responsible marketing project, but a higher profile for crafts and primarily build a stronger rapport with you the membership. As all of these activities are new to us we have to ask for your and understandingelt many of you what is involved as you are not close to the action, but believe me many difficultvolunteer hours are being put in on your behalf by the board to make the most of the opportunitybefore us. It is importantto understand that all of this work is not just centred around this one activity, but will go forward to build a stronger future for the Alberta Craft Council. We need to be promoting our industry to secure a stronger economic base toward a future selfsufficiency and this is our beginning. To bemme a mature reality may take a number of years, but there must be a starting point. The board hasn't abandoned other activities of the council. We have definitely set priorities which you have been reading about, but rest assured many other things are being continued and new projects are being considered. With our spring meeting, each board member was assigned a responsibility for a committee. And for our October meeting, we will be involved in a
three-dayplanningsession. This is being
organized by our secretary of the executive committee, Keith Evans, with the assistance of the office. At this meeting, we will be evaluating our activities, actions taken and how our priorities line up for the fall and winter. For us to be accurate in our assessment it would be most helpful for the board to receive comments from the membership to let us know if our performance is creating valuable direction for the crafts in Alberta. We know there are soft spots, and we are prepared to listen to constructive criticism with the hope we could turn things around based on sound observation and clearly articulated concerns. I invite you to participate in our future. Please take this request seriously and send your thoughts to the craft council office before October I. We want this council to work positively.
Secretary
Keith Evans, MD of Sturgeon 428-8550 On exhibit at the Alberta Craft CouncilGalleryuntil September 30 are decoys carved by Edmonton resident Ted Trusz.He creates both detailed life-life decoys and stylized antiqueforms.Tedis an instructorat the John Janzen Nature Centre and the founder of the Edmonton Decoy Carving Association. The gallery is open Monday to Friday 9 am. to 5 p.m.
Treasurer John Doehler, Edmonton4235234 (w) or 451-1824 (h)
Board happenings
Pat Barford, Edmonton 439-2934
by Keith Evans
Martha Campiou-Zarutsky, Win-
dance from the ACC to a fund
W/th the intent of keeping our membership better informed
Directors
as to the activities of the ACC
board,
this column is being introduced as a regular (hopefully) part of the newsletter. Through it, we hope to make the ACC membership aware of the
highlights of board meetings, to advise on the major decisionsbeing made on ur behaff and to
raising seminar being offered
by Grant MacEwan Commu-
nity College in September. The board has set the
weekend of October 2-4 for a formal long-range planning
and &velopment sessjpn.
And, in turn, perhaps you willshare withus your concerns.
be exploring a variety of issues related to the future of
As a group, the board felt that this mechanism is
that should be taken. It will re-
one of the ways to ensure our accountabiliy to
examine the roles that the
the membershipand to open that sometimes obsaJre of communicationthat is imprtant to the successful functionof organizations. It will
spark, we hope, controversy,interest and input into he drection the ACC takes on future issues.
theACC and
direction
ACC plays within the Alberta craft community
and will look
at ways in which to best
deliver these roles. The board will try to i&ntify Ü1eneeds
so Withthat as a preamble..
and wants of our member-
Probably of current interest to most members is the status of fre licensing agreement between
ship, and seek new and innovative ways in which to meet these needs. As well,
OCO '88 and ACC. Afterlengthynegotiations, Presi&nt Les Manningwas given fre go ahead August 8 to sign
agreement on behalf of the
ACC pending satisfactory resolution of some minor WSre happy to report tlat the
agreement was finalized on August 26 and that
we can now get on wit) the task Of marketing the craft items. OCO/ACC
Margaret Best, Who is heading the
markedng thrust outlined for the board
the need for several critical ±cisions to be made in or&r to keep
Olympic opportuniY alive:
1.) There is a need to select canddates to form a
committee to review and select submissions for the general marketing program. What she is looking for is an indvidual with substantial retail
experienæ, to work with two others - one of whidl would have a craWartistic background, while Ü1e
other should be an ACC representative. Any
suggested names can be forwarded to Margaret
in Calgary or to
ACC office in E&nonton.
2.) Also, free positionshave been identifiedin conjunction with the operation of the Olympic venues. These are: general craft marketing coordinator, volunteer m-ordinator and secretary/
reæptionist The ACC is applying for grant money
the internal structure of the
ACC will be re-examined to determine how the ACC
should best be organized to meet its futureresponsibi\ity and how best to approach the administrative functions of the
ACC. The membershipis board aware of any issue,
conærn or idea relative to the future functions of the ACC
that should be brought forward at this planning
session. Input by individual members or groups are
welcome any time and can be
by phone or letter
to the offEe or directly to any board members. Future direction is also a major topic of discussion for
tie upcoming annual meeting
of the Canadian Crafts Coundl being held in
Winnipeg September 22. Director Don Doherty, who is
ACC's representative to the CCC, will be attendng along with director Karen Canine
venue operation, it will also be neæssary
disassion
to have
a paid supervisor in place in Calgary. Because of the magniwde of tiis project, the board will revie,ving all applications and will ensure that
a&q.late fundng is in place and commihents
can be met before proceeding further with the Olympic wnue opportunities. interested
volunteeringor wishing to apply for
position should @ntact Margaret or
Ü1eACC offiæ.
And whileon viewed
approved
(ACC alternative).The issues, and resolutions
presented at the CCC
meeting will no doubt
budget for the 1987-88
fiscal year. This years operating budget is
$223,837 witl anticipated revenue of $224,555. representative attenThe board also
ACC office
#509 10136 100 Street Edmonton, AB T5J OPI Phone 428-1654
Executive director and managing editor
Bobbi Hoffman 428-1654
Editor
Jean Coulton 428-1660
of
Please note upcomingAlberta Craft Magazine deadlines. November 2 for the November/ December issue and December 4 for the January/February issue.
Suggestions, ideas and criticisms are welcome so please send them to the ACC
office for consideration. We also welcome letters to the editor, but reserve the right to edit for grammar, taste and length. Anyonymous letters will not be published.
interest to tle ACC in its own
Alberta Craft Council marketing
Director Debra Newberry
100 plus $1.20 postage. Member profile cards are also available at $100 for 500 plus $7 for postage.
future planning efforts.
brought up to on the development and distribution of a brochure
of money,tie boardre-
Marilyn Prodanchuk, Cochrane 932-6632 Peter Wilson, Edmonton 435-0348
encouraged to make the
through the Alberta Business and Community Development Program to assist in the funding of
these posiöons. As part of this application and
terburn 447-3493 Karen Cantine, Edmonton 452-5615 Don Doherty, Edmonton Tony Mandamin, Edmonton 488-0130 Debra Newberry, Edmonton 1-0273
designed to attract new
members.Copies of the brochure ( 1500) were distnbuted tyough such
Cont on page 3
tags are available for $6.50per
0
3
A Christmas list to help you sell your wares With the Christmas craft show season fast approaching, many craftspeople are preparing for their busiest time of year. If you haven't given some thought to how you will display your craft at the sales, the following
informationmay help. And even if you are a seasoned trade show participant you will probably find some helpful hints to show off your craft to its best advantage. General display tips
Your display should be: appropriateto your craft and show the craft to its best advantage; adaptable to different sizes; easy to assemble and take down; made of lightweight but sturdy materials (eg. balsa, foam core, corrugated cardboard, styrofoam) to withstand crowds and the weight of your crafts; and able to fit easily in your vehicle along with your crafts. • Make each piece of equipment as functional as possible (eg. look for props that can also serve as containers for travel and storage such as wicker baskets, crates and jewelry cases). • Keep all equipment in good condition painting and repairing when necessary. • Keep all fabrics as clean and wrinkle free as possible. • Lighting is importantbecause it draws customers' attentionto certain items and improves the overall appearance. Bring Some battery operated lights in case you access to outlets. • Make an attractive eye-catching sign for preferably in your chosen media display your or one that mmpliments it. • Demonstrations are eye-catchers and will increase interest and sales. If it is difficult to do live, have a few photos available of you at work-
• A special costume may add to the overall theme or atmosphere of your booth. • If outdoors always bring a waterproof covering for your booth in case of rain. • People like to know prices without having to ask. Always mark prices clearly along with other important information such as ovenready, lead-free, etc.
ideas Arrangement • Keep your display clean and uncluttered.
Suppress the urge to display everything; display a limited number showing a range and replenish as items are sold. • Demonstrate the use of objects where ever possible (eg. pottery or porcelain in a place setting, garlic with a garlic jar, napkins in napkin holder, flowers in vase). in • Where possible objects should be placed the position that they would be when in use.
This helps the customer visualize their function (eg. necklaces hanging, wall plaques on wall). • If crafts are wearable, show them off by wearing some yourself and provide a mirror for customers to try on things. • Have a variety of levels and containers so that work can be seen individually. This also makes the table more interesting. • Fabrics can hide almost anything you want to use for platforms. Try to make it long enough to reach the floor, this also provides storage space. Fabrics can be felt, burlap or straw mating preferably in a neutral shade. Color can be used as long as it does not compete with the color of your crafts. • Contrast is important.Consider placing smooth surfaces against rough or vice versa. Vividly colored items also look best on neutralbackgrounds. • Rustic backgrounds work well for most crafts like pottery, macrame and weaving. Try cedar shingles, weatheredwoodor burlap. • Customers like to be able to handle items so try to have some less expensive items available for this. Group more expensive items together so you can keep an eye on them. Large items placed near the edge are harder to carry away unnoticed. Small expensive jewelry is best shown under glass.
outlets at the Alberta Treasury Branch in tie
Booster Magazine, at The Works, etc. Hopefully, it will encourage new interest in the ACC. Less successful was the •Member Needs Survey" which ran in the May/June newsletter. To date only 21 returns have been reæived. On a more positive note. however, was the ACC involvement in The Works this year. The ACC booth was manned for four days and included demonstrations of various craft. It is estimated
that in excess of 116,000 people visited the site.
If you would like more
informationon setting up displays a list of references used for this article is available at the Alberta Craft Council office. This information was
researched by Nancy St.
HilaireforAlbertaCulture and Multiculturalism, VisualArts Branch.
will be addressed at the
planning session in October.
The board reviewed its position on director participation in ACC sponsored
shows. In order to ensure that
directors receive no preferenbal opportunities for these shows, a motion was put forward and carried Ü1atany
director intencfng to partidpato in an ACC exhibition
declare his/her intentions and
large number of visitors, but did suggest the need for area representatives for rural areas to ensure contact is maintained. The board has recognized that representation is a necessary part of the communicative network of the ACC. This issue
decisions relating to tl•ose
Joussard, Alberta in July. The fair dld not attract a
abstain from voting on specific shows.
And while on the topic of
shows, theACC is havinga
Christmas exhibition and sale
at Beaver House, 3rd Floor (Alberta Culture, Visual Arts Branch, Edmonton). Any
member interested in this opportunity should note the call
For informationconcerninq this volurteer opoortunityplease cal' the Edmonton office
428-1654.
for entry for Under
Tree in
this issue.
The board also declined a
request for involvement in a Native craft sale in conjunction with the Native Interna-
Calgary 1988
01M* WinterGanz
tional Child Conference in Calgary this October. The
board felt that time restraints
and resouræ limitations were too critical for the ACC to
become involved.
That's about it for now. The
1
next ACC execütive meeting
is on September 15 with a full board meeting to follow at the
aympicAssodatiOni979
by MargaretBest As time ticks by and the deadline for our call for entry approaches, we are receiving
phone calls seeking advice on pricing concerns as well as requestingvisual material regarding winter sports. I shall attemptto address each topic separately.
The question of pricing is always tricky to deal with and my experience has led me to believe that each medium is so different that it is therefore virtually impossible to apply hard and fast rules. Of course a costing exercise must be completed to ensure that your materials and a fair hourly rate for your time taken are considered. You also have to examine the market place to establish what consumers are paying for similar (if applicable) manufactured products. Naturally the handmade element of your work demands a higher price, but not so high as to deter sales.
A number of craftspeople price their work too low and this harms the marketplace for others producing similar items. It is always a good idea to be competitive - that is not the issue - but absurdly low prices, not fully taking into account a reasonably hourly rate, do not do anybody a favor. Very often the public is wise to the fact that the prices are too low and likewise do not view the work seriously. Take time over this exercise, examine your work carefully, analysing all its components and establish a price that is sufficiently rewarding for you as well as enticing to the public. If this has not helped you, we recommendyou seek help from a professional person well acquainted with pricing issues.
The ACC was also represented at the craft fair in
ACC feels that it is very importantfor the necessary volunteer sales staff at the Olympic venues to be drawn from the membership. This will hopefully ensure that
knowledgeable, enthusiastic representatives of the Alberta craft community will be available not only to sell items, but to answer questions and promoteAlberta craft. At OCO '88's request, ACC has assumed the distributionof the volunteer application forms which require processing be as soon as possible. Duty hours will divided carefully to be sensitive to your own personal needs. Be aware that any contribution you can make will be most welcome.
try painting and dressing up some old grill work, trunks or wagons to use along with fabrics driftwood and barn boards. • Some other props to try include: hat racks, plastic multi-colored clothes racks, a ladder,plexiglass placed on blocks of wood or bricks, collapsible metal bookshelves, bales of hay, wicker shelves, logs sliced into discs, trunks, tin containers, jars.
Board happenings continued
An opportunity to volunteer Volunteers are needed to help market ficenced Alberta Craft Council works at the 1988 Calgary Winter Olympic Games.
• Antiques and crafts compliment each other so
OLYMPIC LICENSING UPDATE
October planning session
after which we will bring you up to date on the latest Board Happenings.
Alberta Craft Council does not have visual material on winter or sports themes. We really welcome work depicting this type of
subject matter, but you will have to turn to
recreational organizations, travel agencies or OCO '88 for information. Turning to the topic of what we are doing behind the scenes, let me assure you the pace continues. The office is preparing for the submissions and we in Calgary continue to plan and prepare. I recently attended a meeting to discuss the interiorof our space in the Athletes Village at the University of Calgary. I left with a strong sense of excitement and wished somehow I could share this feeling with the membership. Our space is well placed and will be an asset to the shopping area that includes a bank, post office, hair dresser, grocery store and courier service. The athletes and officials will be able to purchase from us and even have goods delivered to their rooms. We still need volunteers - at least 20 more individuals. Even if you can provide a few hours at a time, we need you. We want craftspeople handling and talking to the visitors.
4
i
Karen Cantine (left) is captured in her studio working on a bowl. Above is a necklace of her design and creation. Above and below right, are two of Terry
Juzak's works.
Metalsmiths hammer out ideas together by Jean Coulton With nearly similar philosophies its easy to understand how metalsmithsTerry Juzak and Karen Cantine have developed an easy rapport- first as apprentice and teacher, now as fellow workers. erry says what she or is creation of items which are beautiful
as well as useful. Karen also believes in making items which look beautifuland functionbeautifullyas useful objects. The rapport between the two Edmonton women is evident as they talk about how
the apprenticeshipbegan. Karen teaches metalsmithing- currentlyshe has 28 students - and Terry began taking classes in 1979. Being avidly interested in metalsmithing,Terry asked whether she could work with and leam from Karen.
alt was nice to find someone who would (take her on as an apprentice),"Terry said. There aren't many people who have apprentices, although some
business shops do get government grants to hire apprentices. In their situation, neither woman could afford to pay the other. But the arrangement has proven mutually agreeable. "l teach anyway," Karen said. "It was just an extension of my teaching having Terry here." Terry is still learning about metalsmithing,but Karen says the apprenticeship no longer exists. Rather they are two independent people
working out of the same studio. "We discuss construction now rather than my
telling her the way it might be done. Also Terry is one who will look for the easiest way to do something (while Karen admits to often doing work the way she has for years).,. she sometimes finds an easier way."
The only differenceKaren sees between her formal training, a BA and MA at the University of Iowa, and Terry's is that a design school willteach you how to work, but it won't teach you how to
Terry has troubledesÜning to and admits to different
force herself to draw. But Karen noted Terry is disciplining herself to work on design and 'that's all it takes." A love for bracelets and rings attracted Terry to metalsmithingand 'When I found out you could make bigger things, to do big pieces, but the sad thing is they're expensive and notthat many are bought."
Karen says the marketfor larger items such as tea services is "justvery small." And even though she can produce and sell a sugar bowl and cream pitcherfor the same price as at a jewelry store, people invariably buy from jewelry stores. Karen also loves big pieces and says she would never turn down a chance to make a tea service. Because the market for bigger pieces is small, both women create smaller items including a fair amount of jewelry.
Karen, who has traditionallydone almost exclusively one-of-a-kindpieces, said they have also been working on several limited edition items which will be marketed in Edmonton shops. They both work with silver, gold and occasionally pewter. Recently, they have started experimenting with plastic. Terry in particular has been working on pins, earrings and bracelets. The sawing, filing and polishingtechniques are similar to working with metal, although the plastic is both cheaper and faster.
To understandsome of the techniques of metalsmithing, the two women
explainedthe steps involvedwhen Terry created silver salt and pepper shakers (pictured).
The sides of each shaker were cut from one piece of metaland planished- a hammering technique used to refine the metal itself or the shape it is taking.
The trick was in gettingthe inside to match perfectly from the top of each shaker to the bottom.
Raising is another
shaping technique used, for example, to make a flat piece intoa bowl. But planishing is done with a lighter hammerand a lighter ironing clothes," it takes the wrinkles out of the metal, Karen explained.
As you work with a nonferrousmetalsuch as silver it becomes work hardened and you have to temper (soften) the metal by annealing. This is done by heating the metal until it is
cherry red and then
quenching (rapidly cooling). You can't work with silver when it is hot because it would shatter. The metal will
also break when it becomes work hardened. To understand this, think of how a coat hanger wire breaks after it is repeatedlybent. What happens is the wire becomes harder and harder as does
silver when it is worked.
Once the sides of the shakers were shaped the top edges were filed at an angle so thatwhen placed togetherthe outsidewalls where higher. The shaker tops began as flat pieces, then were dished over a stake and soldered bodies. The recessed bottomswere fittedand soldered to the bodies as well.
Learning the techniques isn't easy. "Even plier techniques - I watch Karen do it and it looks easy, but it takes a long time to know where to apply pressure and how much pressure," Terry said. "It's taken me a lot of years to feel
confident,"Karen said. But now 'using tools, especially hand tools are just extensions of yourself. It's like having bionic fingers to have pliers." Raising is Karen's favoritetechnique. "Moving the metal around with a hammer is a delight to me. It's so agreeable. The challenge is in knowing what to say to it (the metal) - how to tell it to move in a certain way." And that's what Terry believes 'takes the years of knowing."
Craftfairtipfrom ACC
member
How to you get additional returns from a craft fair? Christy Anne Sverre of
Calgary suggests a small investmentin a guest book can producea substantial return. Last year, the Alberta Craft Council member had a guest at one of the fairs she attended and got 51 names and addresses. From that list the brass jeweller maker had 25 people turn up for a home show from which she made a tidy profit. people weed themselves out, Christy said, explaining only those truly interested take time to sign a guest book ard write down their address. So you can make a good return on a minimal investment, she said.
5
Precious metals appeal to Ford by Jean Coulton
Shannon's formal training which ended in 1982 included fabricating, stone setting and casting, although obviously it was the casting •which stayed with her. "Casting really appealed to me." Besides which working with wax casts (the first stage in metal casting) was and still is something she can pursue at home while raising her two young children.
Shannon Ford admits to having always been interested in jewelry, but when she entered college it was to study fine art not jewelry design. Of course, things changed and by the time she graduated from the Alberta College of Art four years later it was with a diploma in jewelry not fine ans.
Working in the evenings or other times when
She first took an elective in jewelry and a
her children are sleeping, Shannon says she
summer course, then another jewelry elective untilthe focus of her studies shifted over to jewelry.
can put in 100 or 200 hours before going to her studio to do the actual metal casting.
And for Shannon, working with precious
Casting is also one of the oldest ways of making jewelry. And in casting precious
metals, silver and gold, is most appealing. "I don't like the smell of brass and bronze." Nor does she like the way they feel under her hands. "Other metals dont excite me." But what does excite her is 'the way I can make the metal take the same lines as something as fluid as wax." The precious metals are shiny and slick, and when you rub across 18 karat gold "it's like butter."
metals there is always an "obligationto make it better because it's going to last forever."
She is fascinated looking through books Of old coins and jewelry, because the mark of the creator can still be seen. "It's the staying power, I guess, that I like. Precious metal is more likely to be kept around." And if a piece turns out to be porous, has internal cracks or otherwise doesn't meet up to Shannon's standards of quality, it can always be melted down.
Shannon does do some traditionaljewelry making such as diamond rings, but it is the non-traditionalwhich she finds more challenging. Her niche is in casting miniature masks and this jewelry design had an interesting start.
Shannon sells primarily through craft shows, although she does do some commission work. Several Calgary jewelry stores have picked up on her work and buy wax casts from her.
Dolls, says Shannon, have alway made her a little uncomfortable. When in England several years ago she saw a porcelain doll where the dolls were very and made with real hair. "It unnerved me." After getting home, Shannon ended up making a mask to get the unnerved feeling out of her system. "It was like therapy."
Knifemaking - a multi-faceted craft by Jean Coulton
hardness of the cutting edge, but that is still
Creating a single knife can
edge under water and heats the areas which he
relatively brittle. Therefore, Chris holds the blade
involve as many as 80
doesn't want as hard. This annealing is done so it
different procedures, says
will withstand a hammer blow which is necessary
knifemaker Chris Hugh.
craftsperson, As a production he makes hunting knives but Chris also does one- of-a-kind commando knives. daggeis,
was the only compound which would dissolve
handles and wildlife scenes
gold), which works well on steel,
etched onto the blades his
productionknives are also
decorative.
Knives can be forged- thatis hammeringa piece of metal
size. "I'm of the mechanical
end," Chris said. Using the stock removal
technique, he has a five day
work cycle in which he usually
doesa batchof 10.Of
I get."
course, he staggers batches and ends up workingwith
She has also gotten into creating small figurines. The first one she made was a rocking horse which could be Worn as a ring or set down to stand alone as a small sculpture.
more than 10 knives.
Day one: Steel blades cut froma plate are taken and the silhouette roughly shaped on a stone pedestal grinder. (Chris gets batches of blades
hardness which is rated on a point system called the
Rockwell Scale. Chris works
with tool steel which at this
stage would be at 67 on the
RockwellSæle - so hardthat a metal file would just skip over the metal. In fact, the blade is actually too hard at
this point. The steel is very
brittle and couldn't be worked
with nor would anyone be
able to sharpen the blade. Consequently the blade must
then be tempered in an oven to bring down the hardness. This is a controlled process, which is dependent on time and temperature, with each Wpe of steel following a different curve. Color of hot steel also reveals its hardness with yellow being
But the resultant sculpture "then turns into something that not only satisfies me but someone else, anatomically."
the hardest and blue the softest. A kitchen knife would
Her precious metal sculptures may be as
expensive as larger bronze objects, but she finds people buy them. The sculptures can be picked up and people can relate to them. Besides which Shannon believes lots of people buy her work, in part, for the intrinsic value of the metal.
be tempered to a softer point than the hunting knifes which
Chris tempers to 60-62 on the Rockwell Scale.
Shannon's miniature animals are a favorite of hers as are jewelry masks such as the one pictured on the front.
Day three: The etched blade is ready for assembly. An average knife Of Chris' has seven pieces: the blade, two-piece brass holster, two-
piece wooden handle (because he makes tuq-
tang knives) and brass butt plate. Chris usually
pins his knives together by drilling holes through
the handle and using brass pins. Soldering is the other alternative which he does use for some of
his multi- pieced one-of-a-kind knives. Wood used
for his handlesmay be rosewood,ebony or
cocobolo (from Brazil). Few people can afford to use exotic hardwoods, but because of the relatively small amount utilized the cost isn't too
inhibitive for Chris. Day four: Shaping of the handle is d6ne. First
rough work is done on the pedestal grinder and then he advances to the belt sander using
progressively finer grades of paper.
Day five: Now it's a matter of doing the fine finishing using a büffing wheel to take out all of
the scratches until there is a mirror finish on the
blade. And, of course, the blade is
couple hundred in all of North America. Consequently, he ends up competing against the
the steel to its optimum
And her dinosaurs are anatomically correct thanks to the help of the paleontologists at the museum. Shannon takes her wax casts to the paleontologists who go over them millimetre by millimetre giving their expert advice. "Sometimes I have to go back twice to make sure they're right," she admitted.
because it
There aren't many knifemakers around, in fact
quenched in oil. This brings
spare time, suggested she try making a dinosaur. "So I made one."
and developed in the Renaissance
edge is hollow ground and the silhouette prepared for heat treating. The blades are
then heated until red hot and
Shannon "really enjoys" making animal
duplicatea crest or logo. Chris uses a classical type of acid, aqua regia (royal water, so called
cut from a template at a
welding shop.) The blade
figurines. Dinosaurs are a favorite subject. Her husband, who hunts out dinosaur bones for the Tyrrell Museum of Paleontology in his
pervious to the acid. Scratching away the wax, he
but with exotic hardwood
swords. The commissioned items are bigger and fancier,
and shaving a platecut to
The idea of having to make something which had to be worn had been perhaps too well indoctrinated in Shannon's mind. Then "I said, ah forget it," and decided to go ahead and do small sculpture, she said. The materials and techniques are the same as in her jewelry making, and you can take pleasure in looking at the objects.
be etched. It is coated with beeswax which is imfree-hands wildlife scenes, does scroll work or will
technique - that is grinding
6.
heat treatment. He then moves to a belt sander going from a course to fine grade paper until the blade has a matt finish. The blade is then ready to
carving sets (knife, fork and honing tool) and even
%rough a•StocK removal
Consequently, what started out as a selfhelp project vaulted Shannon into a new area of jewelry design which she continues to explore. "The more I make the more ideas
because the blades frequentlywarp during the
Day two: The previous day
the blade was uniformly tempered for the ±sired
Chris doubts whether there are more than a
industry rather than against other knifemakers, "because they aren't around.
"It's not that hard to out do the factory blades. You can put out a better product and can even be competitive."
The majority of his work is wholesaled to people
in the sports industry with 80 per cent of his
business going to four or five people. •The commission market is nice, but I couldn't survive on it,' he noted. It isn't an easy craft to master. because there are so many different aspects to learn. •I've been
working six or seven years full-time and just really getting to the point where I've covered the basics." He worked for many years in the Peace
Country and has just recently relocated to Jasper Now Chris is getting into some dfferent methods
and producing differentpieces. Renaissance
daggers holda specialinterest,and so does wax
modelling and casting handles - •not only can you make beautiful handes, but it's cost efficient.•
6 CALENDAR Calls for entry Alberta Craft Council Members'Exhibition and Sale
ACC Olympic craft marketing Craft in the general category i.e. non-licensed craft is required by the Alberta Craft Council for retailing through the three ACC temporary venues (two in Calgary, one in Canmore) during the XV Olympic Winter Games. All sales within the venues will be handled by accredited, trained volunteers. Craft items will be selected by an independent, knowledgeable panel. Selections will be made on the basis of: I. Quality of worksmanship 2. Marketability3. Uniqueness of product 4. Ability to deliver product
Under the Tree November 6 - December 11, 1987 3rd Floor Beaver House 10158 103 Street Edmonton Sponsored by The Alberta Craft Council
Eligibilityforentry
All entrants MUST BE members of the Alberta Craft Council by September 30, 1987. Membership fees and a mmpleted application form may therefore accompany a submission.
and Alberta Culture and Multiculturalism
Fee for entry
Eligibility:
An entry fee of $5 is required to cover administrative costs. Please enclose a cheque or money order with your submission.
The exhibition will be open to all craftspeople who are ACC members. Nonmembers may join to become eligible. Calendar: October 9 - slide entries due October 16 notificationof acceptance/rejection sent out with shipping instructions October 30-31 - dates for receiving works December 14-15 - unsold works to be picked up or shipped.
Deadlinedate
All entries must be postmarked ON or BEFORE September 30, 1987. Entries may also be delivered by hand to the ACC office in Edmonton before 5 p.m. on Septem-
ber30, 1987.NO LATE ENTRIES WILL BE ACCEPTED. only slide submissions
will be accepted. NO ACTUAL CRAFT ITEMS WILL BE VIEWED by the selection panel in this first entry process.
Conditions for entry: A $10 entry fee for members (and members of member associations) and an additional $30 membership fee for non-members must accompany each entry. 2. A maximum of three slides per person may be submitted. 3. Only one piece per person will be accepted for exhibition. 4. Slides should be clearly marked with the craftsperson's name. 5. If accepted, the craftsperson should be prepared to submit a brief biography and personal statement. Note: The ACC plans on publishing a retail referral booklet for members. Please indicate if you can be contacted by phone or letter for further orders and where your work can be purchased. 6. All work submitted will be for sale and must be priced between $25 and $200. 7. No critiques will be given for rejections and slides will not be returned. 8. With submission, the craftsperson grants the ACC permission to photograph
Slidesubmission
A MAXIMUM of 10 slides may be submitted for selection. You may wish to submit two views of five pieces Of work i.e. any combination is acceptable as long as the total number of items or the total number of slides is no greater than 10. DO NOT submit more than one item per slide. Please number the slides in the order in which you wish them to be viewed and indicate the top of each slide. All slides must also contain the craftsperson's name.
CommissionStructure
All work will be sold on a consignment basis at the current rate found in most craft galleries i.e. 65 per cent of the retail selling price will be paid to the craftsperson and 35 per cent will be retained by the ACC. Price your work to accommodate this
commissionstructure.
Announcements
the accepted work for publicity.
All successful craftspeople will be notified of the procedures to follow by October 30, 1987. Neither the selection panel nor the ACC staff or board will provide explanations or aitiques regarding ite for future reference. hems not selected initially may be given consideration at a later date and selected craftspeople may also be called upon to supply additional work. The decisions of the selection panel will be final.
9. A 20% commission will be charged by the ACC on all sales. Shipment of work: Insurance: Insurance will be covered by the ACC during the exhibition. Send your entries to:
Alberta Craft Council, 509 10136 100 Street, Edmonton, Alberta T5J OPI. Make all cheques or money orders payable to the Alberta Craft Council.
r €eneral craft marketingsubmission form I Complete the following and submit with slide entries. 1
Under the Tree entry form Complete the following and submit with slide entries.
Name Address: 1
1
I Phone: (res)
1 1 1 Sfide #1
responsibility
craftsperson.
(bus) Description (size, materials)
Retail selling Production capacity price
Lead time needed
1 1
Name: Address:
Phone: (res)
1
Slide #1
1
1
Slide #2
1
I Slide #3
1
1
1
(bus)
Slide #2
Slide #3
Title
1
Slide #4
1
1
I Slide #5
1
1
1
I Slide #6
1
1
Retail price
In entering this exhibition, I agree to accept the terms outlined above.
I Slide#7 1
Materialsnechniques
1
(Signature)
1
Calgary
I Slide #8 1
I
Slide
1
1
I Slide
1
1
1
1
I currently have my work in the following retail outlets (name and location):
1
1
1 1
Submissionfee enclosed:_ cheque _ moneyorder
1
1
I Deadline: This completed form, maximum of 10 slides, and entry fee must be post- I I marked on or before September 30, 1987 to the Alberta Craft Council, #509 10136 | 100 Street, Edmonton, AB T5J OPI or hand delivered to the same address before 1 5 p.m. September 30, 1987.
U of C Sculpture Competition
The University of Calgary announces a competition for an interiorsuspended •sculpture to be located on the ubper level of Scurfield Hall housing the Faculty of Management. The winning artist will receive $45,000. Competition open to Canadian citizens or landed immigrants. Deadline: Novemeber 2. Information: R. Kostyniuk, chairman, Art for Scurfield, c/o Department of Art, The University of Calgary, 2500 University
Drive, Calgary, AB T2N IN4.
Festival of Crafts November27-29 Round-upCentre. Stampede Park, Calgary This juried show of handmadeCanadian crafts is open to professional and hobby artisans. Selection will be based on quality and marketabilityof work. Information: Pauline Biswanger. 4235 Dalhart Road
NW, Calgary, AB T3A 1B6; 288-7303.
7
Shows and events
Calls for entry
Calgary Art Market '87 Christmas Show November 19-22 Calgary Convention Centre This first annual Christmas show will be a juried art and craft sale. Originality, Canadian content, marketability and overall exhibition balance will be considerations for acceptance. Information: Art Market Productions, Marlene A. Loney, PO Box 385, Banff, AB TOL OCO; 762-2345.
Child's Play
November 21 to December 24, Juried show at Artifacts Design Gallery. Toys and toy-like objects: furniture, fabrics, flooring, vessels, lighting. Deadline: October4 (postmarkedon or before). work, working drawings and/or slides of proposed pieces. Information:Artifacts Design Galleries Ltd., Second Floor 801 10 Avenue SW,
Calgary, AB T2R 088; 237-0772 (Catherine Brown).
Edmonton Edmonton Art Gallery Art Fair
November 5-8 at the Art Gallery. Submissions are invited for this juried show/sale of craft and art works. Information: Debra Newberry 451-0273.
Pick
the Best
ovember 25-29 Commonwealth Stadium, Edmonton Promoted by Basil Greenberg, 487-
0714, Edmonton,and Bob Martin,256-
5007, Calgary or write to: 7612 182
Street, Edmonton,AB T5T 1Y9.
First Annual Canada Packers Alberta Quitt Competition 1987/88 Preliminary competitions will be held in conjunction with chartered agricultural society fairs throughout 1987. Final competitionwill follow in 1988 during the Alberta Association of Agricultural Societies annual meeting.Canada Packers will purchase the final prize winning quilt for $900. For information contact your local agricultural society, District Agriculture Office or Rae Hunter at Alberta Agriculture, Edmonton, 4272171.
member of arts council $8 individual, $20 group). Deadline: October 16. Information:Allied Arts Council, Box
255, Red Deer, AB T4N 5E8; 346-1565. Festival of the Arts November 15, Glen Allan Recreation Complex, Sherwood Park. Eleventh annual juried show. Applications and information:Strathcona County Recreation and Parks 467-2211.
Rocky MountainTrade Shows
November 19-22, Calgary; November 26-29, Vancouver; December 3-6, Kamloops; December 10-13, Regina. Information:Rocky Mountain Trade Shows Ltd., Box 6, Station G, Calgary,
AB T3A 2G1; 1-800-661-1494.
Other provinces Pacific Canadian Craft Shows Ltd. December 2-6, Vancouver Trade and Convention Centre. Presented by Circle Craft. Openings still available. Information: 604/684-2422.
Fine Woodworking Exhibition November 5 to December 6. Full range of work in wood to be exhibited including: furniture, sculpting, turning, marquetry, musical instruments, etc. Information:Explorations in Wood, MatlwoodArt Museum and Gallery, Universityof Vicnria, PO Box 1700, Victoria. BC V8W 2Y2; 604,695-2763.
Salon des Metiers d'Art du Quebec Inc. December 9-23 The 32nd annual retail craft fair will be held at Place Bonaventure, Montreal.
Over 125,000visitors are expected and 300 craftspeople. Booth price: $1 ,300. Information:Salon des Metiers d'Art du Quebec, 911 Jean Talon Street East, suite 219, Montreal,PO; 514270-7770.
Canadian Bookbinders and Book Artists Guild Exhibition Fall 1988
Categories of submission are: design binding, fine printing, paper making and decorating, box making and artists books. Deadline: March I, 1988 and work must be received by May I, 1988. All work must have been completed by
House, University of Toronto, Toronto,
ON M5S IAI; 416/978-2451.
Calgary
Toronto Sculpture Garden
September 15 to October 3
Call for site-specific proposals for summer 1988 exhibition. Deadline: October 1, 1987. Information:Toronto Sculpture Garden, PO Box 65, Station Q, Toronto, ON M4T 2L7; 416/485-9658.
One of a Kind The Canadian Craft Show is now
accepting applications for 1987 Christ-
mas Craft Show and Sales, November 27 to December 6. Information:21 Grenville Street, Toronto, ON M4Y IAI ; 416/960-3680.
Canadian Contemporary Quilts
November 15 to December 31, 1988, Rodman Hall Arts Centre, St. Catherines, Ontario. Juried exhibition open to living residents of Canada. Work completed since January 1987. First prize $3,000; second $2,000; third $1 ,OOO.Entry fee: $10 per entry maximum three slide entries. Deadline: September 5, 1988. Information: Rodman Hall Arts Centre, 109 St. Paul Crescent, St. Catherines, ON 1.2S 1M3.
Other countries New Glass Review 9 All glassmakers and companies are invited to participate in The Corning
MuSeumof Glass'annual world-widö competition to select 100 slides of innovate works in glass. Selected objects will be published in color with names of the makers and brief descriptions of the pieces in the May 1988 Neues Glas. Maximum of three slides per artist showing one work or design series per slide and made during 1987.
Entry fee: $5 (US). Deadline:December 1, 1987. Information: New Glass Review, The Corning Museum of Glass, O(ne MuseumWay, Corning, New York 14830-2253, USA.
World Tapestry Today
booth, eledrical outlets, table, chairs,
October 4, Ramada Inn, Winnipeg. Information: Irene Henderson 204/6940667 or Connie Royal 204253-8345.
An internationallyjuried exhibition of tapestries showing in Australia in May 1988 and in Chicago from July to September 1988. Deadline for receipt of slides, vitae and entry fee: October 1, 1987 Each weaver may enter up to two tapestries limitedto 2 by 2 metres. A vitae or reference file of the artist's work, along with one full and one detailed slide required. Information:American Tapestry Alliance. SR 2 Box 570-D, Chiloquin, Oregon
program Of exhibitors. Information: #311 10545 Saskatchewan Drive, Edmonton,
Nova Scotla Designer Crafts Council Christmas Market
InternationalTurned Objects Show
Cameo's 6th Canadian Craft Sale April 14-17 at the Edmonton Convention Centre.Juried. Room for 40 new exhibitors. Exhibitor fee includes draped shoppingbags, paasses, exhibitor's lounge, free booth relief service,
AB T6E 6C6; 439-1130.
The Works
June 30 to July 10, 1988, Downtown Edmonton. Three time periods: June 30 to July 5, July 6-10 or June 30 to July 10. Booth fees: $50 per day (five, six or 10 days) Shared boothsand corner booths available.
Deadline:January 31, 1988.
Information:The Works, 616 10136 100 Street, Edmonton, AB T5J OPI ; 426-
2122
Other centres Christmas Arts and Crafts Fair
November 13-15, Old Court House Community Arts Centre, Ded Deer, Alberta. This juried fair is presented by
the Red Deer and DistrictAllied Arts Council.Fee: $75 (mustalso be
CBBAG, PO January 1985. Information: Box 1142, Station F, Toronto, ON M4Y 2T8. Winnipeg Doll Show and Sale
November 19-22, World Trade and Convention Centre. Juried. Information: NSDCC, PO Box 3355 south, Halifax, NS B3J 3J1 ; 9021423-3837.
Vancouver Christmas Craft Market November 20-22, November 28-30 and
December 11-13, Van Dusen Botanical Gardens. Fees: $50 initial, $200 per each threeday session. To apply,send slide or photos to: Vancouver Craft Market, c/o/ Simone Avram, 4740 Westminister Hwy., Richmond, BC V7C 1 88; 604\2703452.
Justina M. Barnlck Gallery, Hart House
Is accepting applications for exhibitions. Deadlines: August 31 , December 31. Submissions: include 10 slides and resume. Information:Judy Scwartz, Hart
97624USA; 619/758-1607.
September 1988 at Port of History Museum, Philadelphia, Pennsylvania. Sculpture, furniture, bowls, functional and non-utilitarianproduction items, etc. Sponsored by the American Association of Woodturners, the Society of Philadelphia Woodworkers and the City of Philadelphia. Open to members and non-members of the AAW. Deadline: November 11, 1987.
For informationsend a SASE to:
American Association of Woodturners, ITOS Show, PO Box 982, san Marcos,
Texas 78667.
Makers - an exhibition of new works in wood presented by the Southern Alberta Woodworkers Society. MuttartArt Gallery, 2nd Floor, 1221 2 Street SW, Calgary; 266-2764.
November 19-22
Art Market '87 Christmas Sale, Calgary Convention Centre. Information:Art Market Productions, Marlene A. Loney, PO Box 385, Banff,AB TOL OCO;762-
2345.
To September28
Brenda Weaver - batik and silk painting. Steeple Artworks, 142 10 Street NW, Calgary. Monday to Saturday 10 a.m. to 5:50 p.m.
October 1-26
Gheri Fouts - porcelain dolls and calligraphy. Steeple Artworks, 142 10 Street NW, Calgary. Monday to Saturday 10 a.m. to 5:50 p.m
November 1-27 Gerda Sallows - sewing, quiltingand
soft sculpture. Steeple Artworks, 142 10 Street NW, Calgary. Monday to Saturday 10 a.m. to 5:50 p.m.
December
All member artists show. Steeple Artworks, 14210 Street NW,
Calgary. Monday 5•SOpm.
Edmonton October 31 Edmonton Weavers' Guild Annual Christmas Sale and Fashion Show, Lister Hall, 87 Avenue and 116 Street from 10 a.m. to 4 p.m. Parking at the Jubilee Auditorium. Admission: $1. Information: 483-6820 or 478-9292.
November 7 and 8
Fifth annual Northern Alberta Wood Carvers Association show, competition and sale. Rudolf Steiner School, 8540 69 Avenue, Edmonton. Information: Ralph Craven 435-6939, Ralph Peols
973-6965 or Bill Pridmore436-2470.
To September27
Art Bank at Work - a selection Of contemporary Canadian art from the collection Ofthe Canada Council Art Bank. Including works by Jane Ash poitras, CatherineBurgess, Douglas Curran, Liz Ingram-Gagnon, Jane Kidd, Tomas Lax, Richard Yates, MarkAdair, Brian Boigon, Marlene Creates, David Gilhooly, Will Gorlitz, Harlan Johnson, Murray MacDonald, Jaan Poldaas. Malmlm Rains, Don Reichert, Clarie Savoie, Gar Smith and Jeff Wall. Edmonton Art Gallery, 2 Sir Winston Churchill Square, Edmonton.
To October 24
Art of the Needle, a comprehensive needlework show featuring historical, contemporary and ecclesiastical works arranged in co-operation by the Edmonton Needlecraft Guild and the Provincial Museum. Open at the museum during regular hours.
November 5-8
Edmonton Art Gallery Art Fair at the Art
Gallery. Information:Debra Newberry 451-0273.
8
Shows and events Edmonton To October 10 Electric Color - a jewelry show featuring anodized titaniumjewelry by David McAleese and Alison Wiggins. The Silversmith, Edmonton Centre, Edmon-
ton; 424-8539. To October 30 Edmonton Sculptors Isla Burns and Lyle Lis, Edmonton Art Gallery, 2 Sir Winston Churchill Square.
To September 30 figurative sculpture Agnezka MatjenkO,
Paint Spot, 10325 Whyte Avenue, Edmon-
To September 27
November 19-22 Nova Scotia Designer Crafts Council
Crafts Quebec, 2025 Peel Street, Montreal; 514/8496091.
Information:PO Box 3355 South, Halifax, NS
Other countries
Christmas Craft Market, World Trade and Convention Centre, Halifax.
B3J 3J1; 902/423-3837. To October 10
Ontario Crafts '87. Juried selection of new work by Ontario craftspeople, organized by the Ontario Crafts Council. Cambridge Public Library, Preston Branch, 435 King Street E, Cambridge; 519/653-3632. To November 1 Threadworks '87. Juried embroidery exhibition by members of guilds affiliated with the Ontario Network of Needleworkers. Welling-
ton County Museum (between Fergus and Elora); 519/846-0916.
To October 18 The Saxe Collection.
American Craft Museum,
New York. Contemporary American and European Glass from the George and Dorothy Saxe collection.
To January 3, 1988
Selections From the Permanent Collection: comprised of sculptural
Arpilleras - Contemporary Chilean Folk Art. The Provincial Museum.
To October 10 Robert Held: blown glass. Canadian Guild Of
To November I
Courses, seminars & conferences Master Spinner Program Calgary July 1988,Olds College,
Polish Arts and Crafts presented by the Polish Canadian Community of Edmonton.
The Provincial Museum.
Other centres To September 21 From Two Points of View - an exhibition of hand-woven works by Muriel Prior. Oppert-
shauser House, 5019 51 Avenue, Stony Plain. Alberta; 963-6728.
To October 3 Birch Girl Plaza - FastWurms (a group of three). Walter Phillips Gallery, The Banff Centre, Banff. Noon to 5 p.m. daily.
To OctoberIl
Joice Hall: Floating, Marianne Gerlinger: Drawings and John Chalke: Works on Clay. Southern Alberta Art Gallery, 601 3 Avenue,
Lethbridge,AB TIJ OH4;327-8770.
October 17 to November 25 Greg Murdock:Tableaux and Lylian Klimek: Sculpture- Southern Alberta Art Gallery, 601
3 Avenue, Lethbridge,AB TIJ OH4;3278770.
December 5 to January 24, 1988
Chris Cran: Inherent Vice and Gilles Michalcean: Sculpture. Southern Alberta Art
Gallery, 601 3 Avenue, Lethbridge,AB TIJ OH4; 327-8770.
Other provinces To Septernber24
Dimensions '87 - a juried exhibition of
contemporarycraft fromthe 1987 Saskatchewan Handcraft Festival. Saskatchewan Craft Gallery, 1231 Idylwyld Drive North, Saskatoon, Saskatchewan.
and functional objects in
Olds.
Patching It Up October 30 to November 1, Dr. Carl Safron Centre, Calgary. A beyond-the-basics seminar for quilters with workshops by Ann Bird (design in
black and white), Barbara Fraser (Japanese quilt-
ing tediniques)and Karen Osatchuk (pictorial sha±w applique with colored overlays). Fee: $99 inclu±s opening lecture, Copyright and You, b evening reception and slide show. Registration closes October 7.
Information: 229-9408.
Southland Art Centre fall registration Beginning September 9 and ongoing to class commencement. Offering fine arts and ceramic classes for adults and children. Ceramic studio space available. New this fall •8 to Go Crafts." Information: 251-3505 local 30.
Edmonton Historical needlework slide lecture September 29 at 7:30 p.m., Provincial Museum,
Edmonton. Sponsored by the Edmonton Needlecraft Guild in conjunction with the Art of the
Needle, a needlework show at the museum from
June 24 to October24. Guest speakerAnne
Lambert from the University Of Alberta. Fee: $2 for
Six progressive levels to be offered at Fibre Week. Assessment of previous
spinning skills to qualify for
advanced standing may be granted by attending Master
Spinner Assessment of
AdvancedStanding.
nsto
Services, Olds College, Olds,
AB TOMIPO; Donna
provinces Furniture making design seminars November 5 to December 6
to run in conjunction with the fine Woodworking Exhibition. Applications from professional or amateur furniture makers are invited. Seminars
will be
conducted by internationally
known artisans Gary Knox Bennett, Michael Fortune,
evenings.
Information:
Gallery, University
ecclesiastical historian and symbolist. Fee: $2 for non-guild members. Information: Stephanie Brand at 432-0589 evenings.
of Victoria, PO Box 1700,
Victoria,BC V3W 2Y2; 604/ 595-2763. Canadian Crafts Council
Conference September 23-26 hosted by the Manitoba Crafts Council.
Featuring a craft and commerce seminar, a visit to the contemporary Manitoban
Visions and Choices
craft exhibition Handmade/
Evergreen craft show and sale. Information: Prince Albert Council for the
look into the future of continuing education in the
workshopsand a tourof
S6V 4V5.
University of Alberta, fine Arts and Alberta
November 14
Arts, 1010 Central Avenue, Prince Albert, SK
October 22 to November 11 Ceramics. Artist; Peter Powning, NB. FireworksGallery, Halifax,NS B3J IZ7•,902 422-3400.
November 12-28 Jewelry. Artist Eve Burden. fireworks Gallery, Halifax,NS B3J IZ7; 902/ 422-3400. November 27 to December 6 13th Annual One of a Kind Christmas Craft Show and Sale. The AutomotiveBuilding, Exhbitbn Place, Toronto. 416/960-3680.
May 26-29, 1988, Universityof Alberta.Take a
visual arts and help us shape of vision of what's to come. Presented by Faculty of Extension,
Culture. Visual Arts Branch. Information:Visions
and Choices, University of Alberta, Faculty of
Extension. 237 Corbett Hall, Edmonton, AB T6G
9Z9.
Other centres
Fait a la Main, as well as
Council,#425 100 Arthur street, Winnipeg, MB R3B
IH3; 204/942-1816, Basketry Focus '87
October 16-18, Harbourfront, Toronto.
Twelve international speakers and workshop
This assessment provide you with the opportunity
tradltional and native
of advanæd level entry. Fee: $90, $15 stu±nt supplies.
basketry techniques. design, style, conservation
Deadline: November
Information: Jean Johnson,
Inforrnation: Department of Extension Services,
Olds College, Olds, AB TOM IPO; 556-8344.
can Folk Art permanentcollection. American Craft Museum, 40 West 53rd Street, New York, NY 10019; 212/956-6047.
Weaving Conference May 26-29, 1988 Charlottetown,PEI. Workshops, seminars, keynote speakers. Fees: $110 (includes. lunches, banquet and fashion show). Information:PEI Spinners and WeaversGuild,WeavingConference,Box 129, Winsloe,PEI COA 2HO. Biennial Conference of Surfacing
October 1987, Toronto,
Theme: Interior Surfaces:
explore innovative,
presently employed in environmental
Guest speaker and workshops. Information:Surfacing, PO Box 6828, Station A,
Society of Nova Scotia. Information: Send
SASE to Phyllis Rowland, Mayflower Handquil-
ters Society, PO Box 3664, Halifax South,
Halifax,NS B3J 3K6.
Other countries CrafVFolk Art Tours 1987 Himalayn weaving workshop, November; Thailand/Burma, November. Contact Tom Muir
Wilson or Sherry Clark, Craft World Tours, 6776 Warboys Road, Byron, NY 14422; 716/5482667.
World Craft Council InternationalCraft Conference May 8-13, 1988 Sydney,
Australia. Topic: Crafts in the late twentieth century -
social relevance and change. Information: Michael Keighery, Chairman, Planning Committee, Crafts Council of Australia, 100 George St.,
The Rocks, Sydney, New South Wales, Australia 2000.
Embroiderers' Guild of America Seminar '87
October 18-24. Tara Hotel, Parsippany, New Jersey. Features byo-day and four-day classes With35 teachers from across the US. Information: Embroiders' Guild of America, Box 1087,
200 Fourfr Avenue, Louisville,KY 40202.
tion: The Manitoba Crafts
leaders. Lecture and workshops will cover
2.
Hommage to the Quilt: Selections from Quilt National '87 and the Museum of American Folk Art. 35 contemporary quilts from the Quilt National '87 competition and 15 historical quilts from the Museum of Ameri-
historic Manitoba. Informa-
Master Spinner Assessment of Advanced
Standing November 13-15, Olds College, Olds.
October 28 to January 10, 1988
Quilters Retreat September 30 to October 4, Pictou, Nova Scotia. Hosted by the MayflowerHandquilters
Maltwood Art Museum and
October 24. Guest speaker Dr. Jan Weijer an
Museum of Art, Syracuse, NY this exhibit features 81 sculptures and vessels. Showing at the American Craft Museum, 40 West 53 Street, New York, NY 10019; 219/956-6047.
Other
Explorations in Wood,
Guild in conjunction with the Art of the Needle, a needework show at the museum from June 24 to
American Ceramics Now: The 27th Ceramic National E*hibition. Organized by Everson
Toronto, ON MSW
Michael Hosaluk.
needlework slide lecture
To October 18
Hamilton 556-8344.
Information: Stephanie Brand at 432-0589 Ecclesiastical
10019; 212/956-6047.
apd Ttradtippal treatrnents
non-guildmembers.
October 14 at 7:30 p.m., Provincial Museum,Edmonton.Sponsored by tho Edmonton Needlecraft
clay, fibre, metal, wood, glass and mixed media dating from 1945, by pioneering American artists. American Craft Museum, 40 West 53 Street, New York, New York
and materials.
235 Queen's Quay W., Toronto,ON M5V IA2; 416/ 8697- 8447.
ACC draw winner When a new member joins the Alberta Craft Council or when a current member renews, each become eligible to win a gift of a handcrafted item. Draws are made just prior to the publication of each Alberta Craft Magazine. The winner this time is Judith Zinkan of
Calgary.
The gift she will receive is a pair of wool
felted mitts made and donated by Elaine
Ede-ZeigIer of Stony Plain. Thank-you to Elaine for donating the gift.
9
Hands-on learning at Series '87 by Jean Coulton What was Series '87? Well depending on which of the approximately 60 courses during the five week period you participated in or happened to look in on, you muld come up with hundreds of different answers. About 700 people attended classes ranging from hand papermaking to bronze casting at the annual visual arts summer school held at Red Deer College (sponsored by the college and Alberta Culture). It was the bronze casting which I most
wanted to see (in keeping with the theme of
this issue), but when Series co-C)rdinatorPat Matheson started the grand tour of Week 4 classes I found my interest wandering and being piqued. Admittedly,the art appreciation class only got a cursory glance. But Pat explained students wouldn't be spending the entire week cooped up in a classroom, they would be heading out to some Calgary art galleries. That sounded more interesting. Drawing (specifically composition and design) and painting classes were also underway.
In sandcasting, fine wet sand is tamped around a model which is placed in a two-part metal or wooden frame withouttop or
bottom.The mold sections are then separated (the model having been dusted with talc to facilitate this process) and the model removed leaving a negative in the sand. After putting the frame back together, the molten bronze is poured into the model through an opening which must also be made.
That's the process in layman's terms. Words used in the studio were more technical (although Norm did have to plug in the
appropriateterms for students on occasion). Cope for the top section of the frame; drag for the bottom. Sprues are Of course the tunnels which carry the molten metal from the crucible (the container in which metal is melted) to the empty mold.
After the molds had been poured the students had to wait untilthe metal solidified again. Remember waiting for Christmas as a kid? The mood was similar. First one, then another frame was brought out and the sand removed to reveal the stillhot bronze creations.
GettheChristmas
A variation to this mettvd was also being utöized. Some students mase styrofoam models, but rather than tamping wet sand around the model and removing the model was placed in a sand-fdled garbage can and the bronze was poured in styrofoam nets away and is replaced by the metal It's quicker than the traditionalsandcast but is hmted to pieces model because there is left to be re-used.
The collegehas a
spirit! Oonatöns of omaments are being sought to
sell in conjunctbn with the Alberta Craft Coundl member exhibition and sale, Under the Tree. to be held November 6 to Decem3rd Floor Beaver House, Edmonton. ber
Ail ornaments wfll be displayed on a tree and
for $10 each or two for $10 (depending on value) with all proceeds to go to the Christmas Bureau. Any ornaments mt sold will be given to the Bureau for distributionin Christmas hampers.
All donatons should be sent before November 6 to: Nancy St. Hilaire, Arts and Crafts Vsual Co-ordinator, Alberta Craft Council, 509 10136 100 Street, Edmonton, Alberta
TSJOPI.
area and metal studio
which faSItated the Sass, However. the fonow•irvday the dass was heading out to the fieldto create a an bass-yard foundry in the outdoor furnace ground) a NSt etfediv•e way Of casting metal with limited means. I was
heading
to theoffQ
Correction The Canada Council release on the Jean A. Chalmers Fund for the Crafts published in the last Alberta Craft Magazine incorrectly stated the results were for fall 1986. In fæt, a corrected release from the Canada Council states the results were actually for spring 1987.
Omitted
It was interesting to see how a group of people each given the same subject matter produced such varied results. The previous day, one painting class had had a model in and tacked onto the studio walls were the students' renditions of her form. If you didn't know, you may not have guessed they had
Our to Birgit Wildenhoff, a wheat weaver, who donated her time to demonstrate at the Alberta Craft Council booth at The Works in July. Her name was inadvert•ntty omitted in the last newsletter when we officially thanked volunteers. Belated thanky•.us 90 to Birgit,
worked withtho sama model.
With heads bent over their potter's wheels, students in the Even More Advanced Wheelthrowingclass hardly glanced up as we toured through the studio.
Member displays in the ACC Gallery
Around the corner, through the outside door
and into the scorching heat of the 30 degree plus day we found the hot glass blowing class. Needless to say it was considerably hotterin front of the furnaces which melt the glass at temperatures of over 1000 degrees Celsius. But it was fascinating watching instructorJim Norton demonstrate his craft.
The Aberta Craft Council has recently set up display space for small one- person exhbitions withinthe ACO Gallery at the Edmon— ton office. The shows will be for one or two month perbds. It you are interested in exhibiting your work submit a short proposal and photographsOfyourwork to: Nancy St. Hilaire, Visual Co-ordinator. Alberta Craft Council, 509 10136 100 Street. Edmonton, Aberta TSO opt.
He deftly twirled some molten glass from the furnace onto a puntil and proceeded to show his students how to pid( up color shards. After doing some shaping, picking up some more clear molten glass and more color Jim finished the paperweight by breaking it off the puntil. Easier said than done. One student noted how easy (and frustrating) it was to break a piece when removing it from the steel rod. Like glass blowing, casting metal is hot business although you spend only a fraction of the time in front of a furnace.
22 chosen for
Calgary exhibition Several Alberta craftspeople are among 22 selected for a natbnal invitational juried craft exhibitionin Calgary during the 1988 Otympic Winter Games. Restless Legacies: Con Craft Practice in Canada will be accompan by a color catalogue which will include three essays on traditionaland contemporary craft
The sandcast bronze instructor, Norm Taylor an associate professor of sculpture at the University of Washington Seattle (he creates 13-14 foot cast iron sculptures), generously explained what was going on in his class. Few students had much experience with metal casting and many had littleartistic although some were woodworkers or accomplished potters (such as ACC member Tony Bloom). But despite the lack Of experience, Norm was impressed with the results students were coming up with on only the second day.
The partZipating artists, selected by jurors Lorne Fax MarieShaw- Rimmingtonand Virginia Watt, are: Jackie Anderson, John Chake. Robert Held, Rudie Peet. Annemarie Schmd-Esler and Cheri Sydot fromAberta; Watter Dexter, Lutz Hautschild and Carole Sabiston from British Columbia; Andrew Terris trom Nova Scotia; Dorothy Caldwell, Angeb di Petta. Steve Heinemann,Susan WarnerKeene, Fay Rooke. Karl Schantz. Louis TorteUand Willard from Ontarö; Doueet-Sano (Louise Doucet Saito and Satoshi Saito). Kye-yeon Son fromQuebec; Frank" Heisler and Stepan Ursulina from
into the work area, we found students working on almost every stage of
the sandcasting process: tamping sand into molds, creating models out of various substances including styrofoam, using electric tools to burnish already cast bronze
a
btonze tAen0"
rs mou
The exhbäion wil run January 29 through to F.bcuary 26 the Petro-Canada Place in Cabary 8 a.m. to 5 p.m. Kbnday to Friday.
For ilbtmatön can277-8888.
10
Commissions, gifts, competitions & shows spotlight members It's encouraging to hear about Alberta Craft Council members' achievements and there are lots. The following shorts outline recent accomplishments of some ACC members. Of course, we're certain there are more members with items of interest, so call the office and let us know.
Photo by: Ian Biggar
Brian Clark Brian Clark was commissioned by the Alberta government to do a carving which was presented to Prince Philip at the World Wildlife Royal Art Auction in Regina last June. The owl was carved out ot native Albertan stone, Fort Chipewyanalabaster. Getting the stone wasn't easy, Brian said. The provincial government was responsible for obtaining the alabaster, but because found was high it took longer than anticipated to get the stone. In fact, by the time Brian got the alabaster he had only four days to carve before the sculpture was to be presented to Prince Philip.
Ted Trusz
A Ted Trusz decoy was among the many pieces donated to the Ducks Unlimited and World
WildlifeFund Royal Art Auction at Regina in June 1987. Prince Philip, the World Wildlife Fund
Internationalpresident, was in attendance and Ted had a chance to speak with him. Pictured centre left is Ted chatting with Prince Philip and the
secnnd shot shows Ted at work on one of his decoys. For two years Ted taught decoy carving on a volunteer basis for the
EdmontonFish and Game Association, and he now teaches at the John Janzen Nature Centre in Edmonton. He also founded the Edmonton Decoy Carving Association. His demys are currently on exhibit at the Alberta Craft Council Gallery.
ManonElder
Jeweller Manon Elder was smiling (bottom far left) when Mila Mulroneywas presented with a pair of her nickel/silver "Orgami" earrings afier speaking at a Progressive Conservative Women's Caucus luncheon at the Weston Hotel, Edmonton in July.
Photo by Rolf
Photo by Herb Goodman
Keith Evans
The Duke and Duchess of York (Andrewand Sarah) received a sculptureby Keith Evans as a gift from the City of Edmonton while on tour in Edmonton. The Voyageur, a 16 inch high clay sculpture, depicts a voyageur in
typical costume with paddle in hand and supplies nearby (pictured left). The
sculpturewas presentedto Their Royal Highnesses at a civic reception held at Fort Edmonton Park July 24. Keithgot to meet royal quite nice people." They both made him feel very comfortable, especially Sarah. Keith, who is an Alberta Craft Council director, is self taught and has been sculpting for seven
years. He is also an accomplishedice
sculptor and has won several competitions. When asked how he was chosen to do the sculpture, Keith said it was probably because his work was known by people at city hall (including the mayor for whom he did a
commissionedpiece) and because he is a City of Edmonton employee. Tony Bloom Canmore's Tony Bloom was one of eight stage-threefinalists awarded$2,500 for his submission in the Calgary Municipal Plaza
Sculpture Competition. Seventy- five artists entered the competition and the jury recommended the City of Calgary purchase several of the finalists' maquettes for display within the Municipal Building.
Carol and Richard Selfridge
On display at the Gallery of British Columbia Ceramics, Granville Island, Vancouver from September 8 to 28 are Selfridge works. Large platters,bowls and trompeI'oeil vessels are featured in a majolica exhibition. Floral and figurative on-glaze painting characterizes these works. The central theme of the Selfridges' work in Vancouver is layers of life - leaves and flowers, lizards, fish, calves, mermaids and playful nudes abound on the brightly colored pieces. Their works are also featured at A Show of Hands, Toronto;Fireworks,Halifax; Folio, Calgary; The Front, Edmonton. (Picture bottom left)
11
Historic sites need theme craft Could you or do you create a craft that would be appropriate to sell at one of Alberta's historic sites?
If you do or think you could, you may be interested in what Sandra Thomson, assistant director management, historic sites service, Alberta Culture, had to say when she stopped off at the Alberta Craft Council office. Of the 12 provincial historic sites in Alberta four have gift shops as do the Provincial Museum and Tyrrell Museum of Palaeontology. What Sandra says they would like to do is to work with people to design craft lines specific to the sites. (Gift shops at the sites are not run by Alberta Culture, but rather by contractors.)
There are a lot of people who go to the sites and where available they buy souvenirs. Visitation figures show 75,0000 annually visit the Ukrainian Cultural Heritage Village, 40,000 Fort McMurrayOil Sands Interpretive Centre, 90,000 Frank Slide Interpretive Centre and 100,000 are expected to have visited the Head-Smashed-ln Buffalo Jump InterpretiveCentre by Christmas. Studies have shown that 40 per cnet of visitors are from out-of-area, while the remainder are
A) Tyrrell Museumof Palaeontology
local. And out-of-area visitors want tb pick up souvenirs and mementos, Sandra said.
B) Provincial Museum of Alberta
Gift shops at these sites do carry merchandise in keeping withthe themes or messages of the sites, but they are also trying to include arts and crafts of the local area. Crafts should be theme related. They also try to encourage the retentionof certain crafts (especially at the Ukrainian Village), because the idea is that the sites should keep the history alive, she said.
C) Head-Smashed-ln BuffaloJump
D) Ukrainian Cultural Heritage Village
E) Frank Slide Interpretive Centre
F) Fort McMurrayOil
Sands Interpretive
Centre G) Rutherford House
There is also buyer interest in reproductions of on-site items (such as jewelry) and there is sometimes a need for people to reproduce furniture and textiles for the site itself. At some of the sites, special events with craftspeople doing demonstrtions are part of the programming.
B G H,/oo
H) AlbertaNaturalScience Centre I) Stephansson House
J) Dunvegan
K) Cochrane Ranche L) Leith Collierie M) Victoria Settlement N) Father Lacombe Chapel O) Strathcona Archaeological Centre
O
The historic site shops have found $5 to $10 items are the best sellers in a variety of media - clay, textiles, woood, jewelry. Of course, slightly higher priced items do sell, but the very expensive items do not, Sandra noted. If you are interested in producing craft for a historic site, contact the Alberta Craft Council office.
raft pricing from three different perspectives AnnetteGreenberg - craftproducer and purchaser Retailers usually have a mark up of at least 100 per cent, therefore the wholesale price should be considered as 50 per cent of the total, she said. However, craftspeople sometimes retail an item at the same dollar
value they wholesale it. Often times what happens if an item is sold to a wholesaler at a retail value, the items is priced right out of the market and won't sell. There should be some profit in wholesaling, but obviously there is less than in selling directly to the consumer.
Annette does carry some products in her shop which are purchased at more than 50 per cent of the retail price, if there is a good turn over. Of course, it isn't easy to find the cost of a craft product because some people work more quickly, others do one-of-a-kind pieces, et cetera.
To price her own pottery, Annette looks at the product and asks herself if as a middle income person would she pay that much. She also takes into consideration the time and cost involved in production. "And then you find a happy medium." You also have to consider the market you're going for, whether you have a retail outlet, are wholesaling or doing the craft fair circuit. "I know my market - lower to middle income. I'm lucky if upper income people buy." Upper incomepeople buy more expensive items, but fewer of them. Producing accessories for women often means you can charge a fairly good price, because the fashion concious will spend a bt of money, Annette noted.
When consigning their work, some people change their retail price if the percentage being taken by the shop is different than the craftsperson is used to. For example, if a shop takes 40 per cent rather than 35 they will tad( a few more dollars onto the price of their Once again the craftspeople end
up pricing their product "rightout of the market. People must establish a price before hand and stay with it."
Dennis Evans - producer and craft store co-owner In pricing craft whether you are retailing, wholesaling or consigning you have to keep prices consistent, "if you do it any way else it comes back to haunt you. There has to be an honesty of pricing." Dennis' suggested retail price stays the same whether he is selling at a trade show or consigning his work, and his wholesale price is set at 50 per cent of retail price. While the profit margin on wholesaling isn't as high as commissioning (for the craft producer), Dennis prefers to wholesale his work. That way "I haven't got stuff on my shelf not paid for." Conversely, stores often prefer to consign because that way they don't have stock paid for which isn't selling. But in some provinces such as British Columbia and Ontario craft is almost exclusively bought at wholesale. A practice which he favors.
Not only craftspeople, but the public has to understand pricing. At a craft fair people will ask Dennis why he isn't selling his work for less than at a retail outletwhen others are. Cutting prices hurts the craft industry and can hurt the craftsperson who may have trouble selling work to retail outlets if prices are not consistent.
Lynne Fahlman - gallery owner "My largest frustration is with artists who dont know how to price their work - people who are just starting out and don't know what the market will bear. You have to look at it (your work) in relationship to the market you're going to sell it in. Do your homework before ever approaching a gallery to market your work. • She ræommends chec*ing out other craft outlets to see what price similar work is
selling for. The Edmonton craft gallery owner also cautions about over
pricing. It is easy to bring your price up (actually quite quickly) if your work proves to sell well. But if the price is too high it
consigning." It is one way of finding out very quickly the marketability of your work. And you certainly don't have to keep your work at a gallery. On the other hand, if your work does sell the gallery won't want to lose you
and may purchase outright.
won't sell and it's hard to
bring prices down. Also it is a fact that the craftsperson's reputation and experience determine pricing. Someone who is well known will be able to sell work of equal quality for more than a relative unknown.
Lynne primarily consigns craft and sells one-of-akind pieces, but regardless of the method of selling or producing she believes pricing practices must remain consistent. There is no point in a gallery carrying people's work when they cut their retail price at craft fairs. "I could understand 10 per cent less, but not 50 per cent. There has to be consistency in price." When selling at a fair people should stop to think what it is costing them for the space. Those are the same sorts of costs which a gallery absorbs and probably fairly comparable. Consignment is risky for craftspeople and she can understand people asking that productbn line craft be bought outright. But for Lynne buying one-of-akind pieces is risky.
"If you're having trouble selling to a gallery, you're probably best to consider
Awards/Grants Canada Council: Chalmers Fund for the
Crafts March 1 and September I are the deadlines for applications for support for special
projects,research and special workshopsfor the crafts in Canada. Information: Francine perinet, visual arts section, Canada Council, 99 Metcalfe street, PO Box 1074, Ottawa,
ON KIP 5V8; 416/237-3400.
Goebel, Canada: Porcelain Sculpture Award Canadian sculptors are invited to compete internationallyfor this award. Awards totalling$25,000 are presented annually. Information: Marcel Brandstat, president Goebel Canada, 1200 Carnforth Road, Toronto, ON M4A 2K7. Five Fellowships in Art and Craft Open to artists and craftspeople under 35 from Commonwealth countries. Worth up to 6,000 pounds each and tenable for up to nine months. Funded by the Commonwealth Foundation and administered by the Commonweatth Institute. As one of the of the aims of the project is to open up opportunities for younger artists to work with more established artists, the Commonwealth Institutewould also Ike to hear from any artists willing to share their studios and work with award winners in this way. Fellowships cover cost of return airfares, accommodation, subsistence, and cost of mounting and exhibition of the resulting work Deadline: October I. Information:Arts Department, Commonwealth Institute, Kensington High Street, London W8 6NQ
12
The Artworks in Edmonton has
moved. The store is now located • in Edmonton Centre at the street
LOTTERIES The AlbertaCraft Council is a beneficiaryof Alberta Lotteriesfunds allocated by the Government of Alberta through Alberta Culture and Multiculturalism.
Advertising with us Alberta Craft Magazine is the official publication of the Alberta Craft Council and is published six times per year. Advertising is accepted from members and non-members.
The display advertisingrate is 30
cents per agate line. A five per cent discount applies for cash sales.
Repeat display advertisementswill receive a 10 per cent discount for a second placement and 20 per cent off for a third placement. Color charges are $100 per color. If advertisements need halftones an additional $10 per halftone will be charged. Below is a list of common
advertisement sizes and costs: Full page $264 Half page $132 $66 Quarterpage Eighth page $33 Sixteenth page $16.50 Classified advertisements are $5 for 30 words or less with a five cent charge per word thereafter. Repeat classifieds are discounted by 50 cents to the minimum $2 charge. Classifieds typed in bold face and bordered cost an additional $1. For more information contact Jean at
428-1660.
FINAL CALL FOR ENTRY
enü•ance 101 Street and 102 A
Avenue.
Due to tornado damage, Plainsman Pottery Supplyhas relocated. The new locationis 7751 16 Street, Edmonton and phone number 440-4791.
Kiln for Sale 57 cu ft Minnesota "flat top" gas fired kiln. Cone Il. Includes: double walled soft brick (not mortared), six gas burners and all gas pipe fittings, heavy steel frame (adjustable), cement asbestos board outer wall, cememnt block
base, chimney and 30 kiln shelves.
Excellent condition, very portable. Replacement value over $9,000. Asking $4,500 0.B.O. Contact: Laureen McMullan 447 Penswood Road SE Calgary, Alberta T2A 4T6 (403) 272-5893
CALL FOR ENTRY
Christmas
art &craft christmas sale EDMONTON'S COMMONWEALTH
Calgary Convention Centre
An Event to Remember! November 25 thru November 29, 1987
Calgary, Alberta November 19th through 22nd, 1987
EDMONTONS CONEy•10NWTALTHSTADIUM
Pick O the Best c/o Bob Martin,115 SunmountPlace SE, Calgary, T2X IXI PRODUCEDBY — GREENMARTENTERPRISES
EDMONTON(403)487-0714—CALGARY (403)
ART MARKET PRODUCTIONS M. Loney P.O. Box 385 Banff, Alberta TOLOCO Telephone: (403) 762-2345
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