More than just a technical guide, this book provides comprehensive information for those new to cold wax medium, as well as technical expertise and inspiration to those with experience. Featuring nearly 100 artists from around the world, Cold Wax Medium will strengthen your work and studio practice, suggest new directions, and support thoughtful self-critique.

Mr. Hiroshi Tsuyuki, the Japanese authority on Jewelry Wax Modeling, uses an innovative approach to teaching the technique of wax modeling. Often a process is easier shown than described in so many words. This book was conceived through the author's teaching experience -- more photos and sketches and less text resulting in less over-the-shoulder supervision. By introducing new techniques in each project, his students were able to progress more rapidly towards independence in design concepts. While preparing a model for casting and the actual casting process are adequately explained in most casting books, very little space is devoted to the design and creation of wax models. Mr. Tsuyuki presents 11 basic projects in this book, each one designed to teach the use of certain tools and types of waxes in a progressive manner as one's skills improve. Each step of every project is accompanied by a photo and text and in some cases supplementary sketches and notes are provided to clarify those particular processes. Paying careful attention to the photos, noting the demonstrator's hand position and the type of tool being used, eliminates any confusion which may result from the text. After each basic model is completed the author offers a number of sketches suggesting design possibilities using the techniques learned in the construction of the basic model. Mr. Tsyuki states that by conscientiously completing each project, the student should be well on the way to becoming a designer/modeler. This book is 112 pages and has 283 photos and illustrations.

Paraffin, Vermont, is home to the Grosholtz Candle Factory. There, seventeen-year-old Poppy finds something dark and unsettling: a room filled with dozens of startlingly lifelike wax sculptures. Later, she’s shocked when one of the figures—a teenage boy who doesn’t seem to know what he is—jumps naked and screaming out of the trunk of her car. Poppy wants to return him to the factory, but before she can, a fire destroys the mysterious workshop. With the help of the wax boy, who answers to the name Dud, Poppy tries to find out who was behind the fire. Along the way, she discovers that some of the townspeople are starting to look a little . . . waxy. Can they extinguish the evil plot?

The overlooked African American religious history of the phonograph industry Winner of the 2015 Frank S. and Elizabeth D. Brewer Prize for outstanding scholarship in church history by a first-time author presented by the American Society of Church History Certificate of Merit, 2015 Award for Excellence in Historical Recorded Sound Research presented by the Association for Recorded Sound Collections From 1925 to 1941, approximately one hundred African American clergymen teamed up with leading record labels such as Columbia, Paramount, Victor-RCA to record and sell their sermons on wax. While white clerics of the era, such as Aimee Semple McPherson and Charles Fuller, became religious entrepreneurs and celebrities through their pioneering use of radio, black clergy were largely marginalized from radio. Instead, they relied on other means to get their message out, teaming up with corporate titans of the phonograph industry to package and distribute their old-time gospel messages across the country. Their nationally marketed folk sermons received an enthusiastic welcome by consumers, at times even outselling top billing jazz and blues artists such as Bessie Smith and Ma Rainey. These phonograph preachers significantly shaped the development of black religion during the interwar period, playing a crucial role in establishing the contemporary religious practices of commodification, broadcasting, and celebrity. Yet, the fame and reach of these nationwide media ministries came at a price, as phonograph preachers became subject to the principles of corporate America. In Preaching on Wax, Lerone A. Martin offers the first full-length account of the oft-overlooked religious history of the phonograph industry. He explains why a critical mass of African American ministers teamed up with the major phonograph labels of the day, how and why black consumers eagerly purchased their religious records, and how this phonograph religion significantly contributed to the shaping of modern African American Christianity. Instructor's Guide

The critical history of wax is fraught with gaps and controversies. These eight essays explore wax reproductions of the body or body parts throughout history, and assess their conceptual ambiguity, material impermanence, and implications for the history of western art.

Black Americans continue to lag behind on many measures of social and economic well-being. Conventional wisdom holds that these inequalities can only be eliminated by eradicating racism and providing well-funded social programs. In Race, Wrongs, and Remedies, Amy L. Wax applies concepts from the law of remedies to show that the conventional wisdom is mistaken. She argues that effectively addressing today's persistent racial disparities requires dispelling the confusion surrounding blacks' own role in achieving equality. The evidence overwhelmingly suggests that discrimination against blacks has dramatically abated. The most important factors now impeding black progress are behavioral: low educational attainment, poor socialization and work habits, drug use, criminality, paternal abandonment, and non-marital childbearing. Although these maladaptive patterns are largely the outgrowth of past discrimination and oppression, they now largely resist correction by government programs or outside interventions. Wax asserts that the black community must solve these problems from within. Self-help, changed habits, and a new cultural outlook are, in fact, the only effective tactics for eliminating the present vestiges of our nation's racist past. Published in cooperation with the Hoover Institution

Traces the evolution of the mezzotint from its invention in the 17th century to its great growth in the 18th century. An extensive technical section includes step-by-step descriptions and illustrations of the procedures for making mezzotints.