This is not your ordinary how-to book! Austin TX based authors and polymer clay artists Kim Schlinke and Randee M. Ketzel artfully mix a clever mystery with 20 how-to projects that show step-by step photographs and instructions to create your own "ancient artifacts." These polymer clay masterpieces are beautiful enough to grace a museum collection-or yours! At 206 pages, this lavishly photographed book is stuffed with a multitude of projects that can be done just as presented with highly detailed step-by-step instruction, or used as starting points to make faux gems for use in all sorts of designs. Priced retail at $30, the hefty book's how-to projects weigh in at the mere cost of $1.50 each. Animal lovers will be pleased to note that our authors also give us the secrets of making replicas of ivory and tiger claw that involve no cruelty towards elephants or wild cats whatsoever! Projects featured in this compendium include: Celtic Bronze Fibula, Navajo Silver Pendant, Art Nouveau Golden Gingko Brooch, Carnelian Choker of Ancient Rome, Amethyst Cabochons and Nugget Beads, Amethyst Silver Art Nouveau Pendant, Black Opal Cabochons, Barbarian Bracelet, Chrysoprase Cabochons (A and B Grade), Hammered Cuff Bracelet, Ancient Limestone Fossil Pebbles, Cycladic Goddess, Leopardskin Jasper, Primitive Pebble Bracelet, Faux Twigs, Fantastical Forgeries Bracelet, Blue Lace Agate Tile Bracelet, Copper & Rhodochrosite Tiered Necklace, Snowflake Jades, Qin Dynasty Bangles, Amber Caravan Necklace, Primeval Coral Rock Hound Necklace, Ammolite Cabochons, Gothic Revival Pendant, Victorian Mourning Brooch, Faux Tiger Claw, Victorian Raj Brooch, Faux Tiffany Glass Scarabs, Faux Ivory Cuff Bracelet Find out how it is all done-and "who done it"-along with our intrepid protagonists, Parker and Peele. "What is this stuff?" wondered Parker, and her companion pointed her umbrella to the drawings that plastered the walls. "The raw materials for the best forgeries ever seen" replied her friend. "This is where they were created." Together they examined the drawings, exclaiming softly as they recognized several objects from the Museum. Parker picked up one of the colorful lumps and frowned. "What is this, Peele? It's soft like clay, but I've never seen these colors before." "No," said her friend, "nor have I-at least in this form. I suspect it requires a catalyst of some type to render it into the false gems-ah, here!" Peele uncovered an array of electric ovens. "Heat-how charming. This must be some type of polymer, which, when brought to the proper temperature, then hardens. I have heard rumors. Could become just about anything, in skilled hands."

Written by the prominent art and artifacts scholar Cycleback, this book is a primer and survey of standard methods and issues in the identification, authentication, fake and forgery detection of art, artifacts and collectibles, from ancient artifacts and famous paintings to antique toys and trading cards. Topics include stylistic and historical analysis, scientific testing (including radiometric dating, thermoluminescence testing, spectroscopy, microscopy and artificial intelligence analysis), basic research methods, material and process identification, provenance, altered forgeries, the limits of science and analysis, and more. Authentication involves many aspects and perspectives working together, from nuclear physics to art history, and this book is written for all those invested or interested in the topic, including museum workers, scientists, historians, students, appraisers, lawyers, collectors and those simply interested in how famous artworks and relics are authenticated and forgeries identified.

MaloneBeach brings his artistic vision to bear on politics, change, life choices and more. One hundred thirty two pages feature his art medals created over the past decades, each with a narrative commentary and a closer look at things oft passed over. Not always comfortable, these medals give credit where credit is due.

A collection of innovative button handicraft projects.

"In the pages of this book you will find hundreds of masks made by 150 different artists. Many are large enough to wear, and have their sizes and photographer listed in the captions. Most of them are sized to fit in a 3 inch square and are often shown at, or very close to, their actual size. Taken all together they form a sampler of polymer clay techniques and decorative styles as well as a large miniature collection of expressive art. It's just astounding, how much can be communicated with a mask!"--Introduction.

Argues that the key to understanding ourselves and consciousness is the "strange loop," a special kind of abstract feedback loop that inhabits the brain.

Readers will discover dozens of tips for finding the right materials, including starting with a strong black-and-white photo, choosing proper composition, selecting colors and subjects, and much more. In addition, a magnificent, full-color gallery displays these amazing photopainting techniques in action. Illustrated throughout and packed with useful tips and practical advice, this guide to a surprisingly easy art is sure to bring out the dormant artist in anyone!

First published in 2012, this catalogue presents fifty-six Etruscan, Greek, and Italic carved ambers from the Getty Museum's collection—the second largest body of this material in the United States and one of the most important in the world. The ambers date from about 650 to 300 BC. The catalogue offers full description of the pieces, including typology, style, chronology, condition, and iconography. Each piece is illustrated. The catalogue is preceded by a general introduction to ancient amber (which was also published in 2012 as a stand-alone print volume titled Amber and the Ancient World). Through exquisite visual examples and vivid classical texts, this book examines the myths and legends woven around amber—its employment in magic and medicine, its transport and carving, and its incorporation into jewelry, amulets, and other objects of prestige. This publication highlights a group of remarkable amber carvings at the J. Paul Getty Museum. This catalogue was first published in 2012 at museumcatalogues.getty.edu/amber/. The present online edition of this open-access publication was migrated in 2019 to www.getty.edu/publications/ambers/; it features zoomable, high-resolution photography; free PDF, EPUB, and Kindle/MOBI downloads of the book; and JPG downloads of the catalogue images.

The aim of this book is to assemble a series of chapters, written by experts in their fields, covering the basics of color - and then some more. In this way, readers are supplied with almost anything they want to know about color outside their own area of expertise. Thus, the color measurement expert, as well as the general reader, can find here information on the perception, causes, and uses of color. For the artist there are details on the causes, measurement, perception, and reproduction of color. Within each chapter, authors were requested to indicate directions of future efforts, where applicable. One might reasonably expect that all would have been learned about color in the more than three hundred years since Newton established the fundamentals of color science. This is not true because:• the measurement of color still has unresolved complexities (Chapter 2)• many of the fine details of color vision remain unknown (Chapter 3)• every few decades a new movement in art discovers original ways to use new pigments, and dyes continue to be discovered (Chapter 5)• the philosophical approach to color has not yet crystallized (Chapter 7)• new pigments and dyes continue to be discovered (Chapters 10 and 11)• the study of the biological and therapeutic effects of color is still in its infancy (Chapter 2).Color continues to develop towards maturity and the editor believes that there is much common ground between the sciences and the arts and that color is a major connecting bridge.

The Materials Handbook is an encyclopedic, A-to-Z organization of all types of materials, featuring their key performance properties, principal characteristics and applications in product design. Materials include ferrous and nonferrous metals, plastics, elastomers, ceramics, woods, composites, chemicals, minerals, textiles, fuels, foodstuffs and natural plant and animal substances --more than 13,000 in all. Properties are expressed in both U.S. customary and metric units and a thorough index eases finding details on each and every material. Introduced in 1929 and often known simply as "Brady's," this comprehensive, one-volume, 1244 page encyclopedia of materials is intended for executives, managers, supervisors, engineers, and technicians, in engineering, manufacturing, marketing, purchasing and sales as well as educators and students. Of the dozens of families of materials updated in the 15th Edition, the most extensive additions pertain to adhesives, activated carbon, aluminides, aluminum alloys, catalysts, ceramics, composites, fullerences, heat-transfer fluids, nanophase materials, nickel alloys, olefins, silicon nitride, stainless steels, thermoplastic elastomers, titanium alloys, tungsten alloys, valve alloys and welding and hard-facing alloys. Also widely updated are acrylics, brazing alloys, chelants, biodegradable plastics, molybdenum alloys, plastic alloys, recyclate plastics, superalloys, supercritical fluids and tool steels. New classes of materials added include aliphatic polyketones, carburizing secondary-hardening steels and polyarylene ether benzimidazoles. Carcinogens and materials likely to be cancer-causing in humans are listed for the first time.