Barbara Becker Simon - May 7-8; 9; 10

PMC Armatures for Lampworked Glass Beads
-- Sat /Sun -- May 7-8, 2011 --$475
Texture Plate Workshop for Metal Clay -- All Textures All Day!
-- Mon, May 9 -- $240
PMC Clasps and Findings
-- Tues, May 10 -- $240
-- less $75 discount if taking all three classes.
-- Lunches included. Materials not included.

 PMC Armatures for Glass Beads

PMC core & glass over it.PMC Armatures for Lampworked Glass Beads
-- Sat /Sun -- May 7-8

This 2-day workshop will explore several different methods for creating a PMC armature which will then be the base for a hollow lampworked bead. On the first day of the workshop the armature will be constructed, fired, polished and then mounted on mandrels. On the second day, techniques for ways of applying glass to the PMC will be explored. Hollow beads or solid beads can be applied to the armature. We will also discuss the application of metal clay paste to annealed beads and the use of commercially manufactured fine silver tubes as armatures for lampworked beads.

***Previous experience with glass is necessary. A comfortable skill with hollows is an advantage. Minimal experience with metal clay is required.

Students will need to bring:
Your personal tools, including:
Close-up eye wear, if needed
Plastic or glass sheet for work surface
Acetate, Silpat, or teflon work sheets
Rolling pin (8" thick walled pvc pipe, 1/2" inner diameter) Spacers (playing cards, e.g.)
Water container, little Dixie cup will do x-acto knife
Wax working, ceramic, polymer clay or dental tools Needle tool
Small paint brush, no. 2 round
Drinking straws of various diameters
Salon emery boards: fine, med, and coarse Other abrasives such as sponge sanding pads and micro-polishing papers Plastic palette knife
Olive oil or Badger Balm
Carving tools (optional)
Texture plates and texture materials (optional) Scissors
Paper and pencil
Ruler with inches and millimeters

PMC 3: minimum of 2 packs, 25 grams each (the more clay you have, the more you can make…….) PMC paste (optional)
PMC syringe (optional)

Protective, filtered eyewear
Your favorite, personal lampworking tools, including: Graphite paddle
butter knife or similar flat tool
**(Playing with Fire! has available a compliment of the above tools for student use… however, students should bring any personal tools they feel most comfortable with. Cheap needle-nose pliers
Old towel
Wear old cotton clothes, no sandals

Texture Plate Workshop for Metal Clay -- All Textures All Day!
 -- Mon, May 9

Want to personalize and make all your metal clay (or polymer clay) projects uniquely your own? Do it by making your own custom texture plates!

This class will present more than a dozen methods of making texture plates to use with metal clay. Everything from making molds of textures, carving and photo polymer plates will be demonstrated.

Some of the techniques will be hands on and students will take home an example of the texture plate.

We will also learn the best ways to utilize the plates and explore sources for textures.
Students will need to bring:
Any close up eyewear needed
Notebook and pencil
One block of metallic (silver or gold) Premo polymer clay, and one block of pastel colored "Studio by Sculpey" polymer clay
Optional: #1 Speedball Linoleum carving tool with handle
And/Or 1.5mm V-shape and/or U-shape Dockyard** carving tool(s)

**Student Kit Lab Fee: $5.00
Copper sheets for each student for lo-tech photo etch
Baked polymer sheets for each student
Linoleum sheets for each student
Hand outs

PMC Clasps and FindingsPMC Clasps and Findings
-- Tues, May 10
Learn to create various styles of clasps with metal clay, sterling wire, Argentium and fine silver wire. This class will cover using pliers properly, manipulating wire, implanting wire in metal clay, firing procedures and finishing techniques. We will also cover the use of PMC Pro as a material suitable to function for findings. Students will learn to make and fire at least one type of clasp in this workshop and are encouraged to bring their clasp ideas and questions.
Students will need to bring:
Personal tool kit with work surface
Any close up eyewear needed
2 packs of 25 gr. PMC 3
1 pack of PMC Pro
1 jar PMC 3 slip (opt.)
1 foot each 18 ga. And 16 ga. Rd. sterling or Argentium wire
Half-round #2 cut regular or needle file
Chain nose pliers
Flat nose pliers
Round nose pliers
Flush cutters
Note paper and Pencil
To Register:
Please call 207-594-7805 to reserve your seat, and please download our Class/Workshop enrollment form, and mail with your payment by check or credit card, or Fax your form to us with your credit card info.

~ Click here for the enrollment form ~


About the Artist:
Barbara Becker Simon has been a jeweler for over thirty-five years and a lampwork/bead artist since 1996. She received a Master of Fine Arts Degree in metalwork and jewelry from the University of Wisconsin.

Her teaching duties have included: the University of Wisconsin, Menomonie, and Iowa State University. She held the position of professor of Fine Arts at Edison Community College, Ft Myers, Florida, is currently on the staff of the Cape Coral Art Studio.

Recently, she has traveled the country as a Senior Instructor for the Rio Rewards Precious Metal Clay Certification Classes. 2004 saw her in Japan teaching PMC workshops in the land of its origin. In 2001, her necklace, "Winter", earned the Grand Prize "Millennial Metal, The Art of Precious Metal Clay," held at the Brookfield Craft Center, Brookfield CT. Her work appears in CeCe Wire's book, Creative Metal Clay Jewelry: Techniques, Projects, Inspiration. Barbara's own book "Metal Clay Beads," (Lark) is now available. It has been met with high praise as an incredibly informative book for all levels of metal clay fans. Signed copies are available in the online shop.

In addition to her metalwork she has gained a national reputation for her Lampworked glass beads and jewelry. The third edition of Contemporary Lampworking by Bandhu Dunham features her hollow core vessels on the cover. Formed of Fire by Bandhu Dunham and Cindy Jenkins' book, Beads of Glass, contain examples of her work and a how-to on hollow core vessels

She has garnered recognition for both her metalwork and her glass work in such publications as Lapidary Journal and such venues as the Corcoran Gallery in Washington, D.C..

"I have been an artist all my life. I can't remember when I wasn't drawing or making something. I distinctly recall drawing ballerinas in kindergarten.

Within the first week of jewelry class in college, I knew that this was where I wanted to be: designing and creating art to wear.
Visit my Online Shop!

And when introduced to the world of lampworking, I was gleefully consumed with the drive to create small, intimate objects in glass. Manipulating hot glass is, for me, an exciting, joyful process. When I can combine my glass with my metalwork, I feel that the best of both worlds has been achieved."