EG Books

got to my door just as advertised. i did check in at one time with the seller to see where it was, but I was pressed for time due to my own schedule. but the seller was very accommodating and it got to my door within the shipping time allotted.

This is an easy to read and understand primer of a specific projective test. It provides very good illustrations and explanations of the drawings without giving the idea that one can "simply cookbook" the explanations. It is helpful if the reader has some prior knowledge of projective theory and application.

Kinetic House-Tree-Person Drawings or K-H-T-P by Robert C. Burns of the Seattle Institute of Human Development, is an easy to use and understand interpretative manual for this popular, though still controversial, assessment technique.

Dr. Burn's theory for adding the Kinetic action-to-purpose element to the existing classical model, argues that action in the exercise and symbiosis of the projective components, interplay in creating a dynamic that can yield much more patient information than the standard traditional technique and paradigm.

Dr. Burns demonstrates his point by comparing and contrasting results from several classical model assessments of projective drawings with a kinetic model and interpretation. K-H-T-P is well written and organized providing rich examples of real illustrations for practice and reflection. It is an excellent tool and reference guide for all serious advanced students of psychology and for which assessment will be an important part of their practice.

For the serious student of projective techniques, I would recommend not to focus to much on the illustrations until you have read the concept and assessment techniques provided within and then take a turn at assessment and compare your effort with Dr. Burns final conclusions.

Well presented and an excellent resource for those that utilize this easily administrated and effective assessment.

I started using art projection when I was a psychologist for a child adolescent unit in a state hospital. A good way to engage angry or depressed children without threat is to ask them to draw something, unless they have poor perceptual motor skills. But getting them to draw will tell you something about that right away. It is important to know what to expect in average drawing skills and this book helps with that. It also gives a place to start with children who have difficulty with verbal expression. This is not the Be All- End All text but it is worthy of being a companion to other art evaluation tools. It is for the subjective anecdotal information to supplement the more objective tools.

This chord book easily fit into my hard case for my mandolin. It was easy to follow and with the variations on fingering for chords I could spot easy transitions for fast songs. I am a beginner and got this book to help me learn chords quick for campfire songs. The book is so handy, that when I lent it to co-workers for the summer, it disappeared. I'll eventually get another copy.

"Get you a chord book," said the crusty old guy who restrung my mandolin. As a beginner, this book is top-notch, presenting the chords in their keys.

The booklet is very handy and the way the chords are arranged (by key) is good.

Simple and good for a beginner like me. A good tool.

As you've most likely read in other reviews on this product, chords in this book are organized by key and not alphabetically. I really hated the organization of the chords at first. However, after some amount of initial frustration the more I used the book, the more I appreciated it. I would never have thought to order a chord reference in this fashion. It's turned out to be quite a useful reference tool.

I used this book as a resource in my visual journaling class. We found it both valuable and fun. A great addition to our library.

My grand daughters and I have enjoyed putting into practice several of the methods for printing from nature. Very worth while.

Do you love nature? Do you have an artisic urge? Do you think creating art is difficult or expensive? If you love nature and want to bring it to your fabrics, walls, note cards, etc. then this book would surely delight you! The Victorians loved "capturing" nature in all its innocence, beauty, and comfort. They created so many wonderful collections, decorations, etc. This wonderful addition to the craft world shows the nature lover how to use nature to enhance the tranquility of your home or surroundings. The author shows you how to use an endless bounty from the natural world plus a few printing inks and paints to illustrate your world with the panorama of nature. The techniques within this volume are so enchanting yet simple enough for children to to accomplish as well. A wonderful way to enoy summer days!

This is a must have book for anyone who collects plants and other nature items. It is also a great find for rubber stampers and other paper artists. The book is in full-color and has many illustrations.

The book starts out with a brief history of nature printing. It then details collecting, transporting, and pressing a wide variety of plants. Then paper & materials for printing and the printing process itself are discussed.

Specialized techniques for printing objects such as spider webs, shells, feathers, gyotaku (fish rubbing), Taku-ga (rubbing picture), bubble printing & cyanotype are demonstrated as well. All the instructions are easy to follow.

There are also many wonderful projects including fabric painting, wall printing & note cards. The resource guide is a nice bonus. This inexpensive craft is easy enough a child, yet rewarding for adults.

I purchased 2 books on nature printing...NATURE PRINTING WITH HERBS,FRUIT AND FLOWERS and NATURE PRINTING 30 PROJECTS ETC.
Silly me, I thought these were 2 different books but alas they are the same exact book page for page printed under different titles.Isn't there some kind of protection for customers concerning that...don't get me wrong I love the books but I wasted money...one would have been enough!
Elizabeth F. Broberg

I took Composition and Double Counterpoint, Canon and
Fugue from Arnold Schönberg at UCLA in 1942. People associate him with the 12-tone theory and atonal music, whereas in his composition class he started on square one.
You began with a simple triad [three-note chord] and took it thru rhythmic variations, like a bugle call. Then you added a second chord. Later you added passing notes creating themes, which you eventually developed.
The text books for the class were the first volume of J. S. Bach's
Well-Tempered Clavichord and the first volume of Beethoven's Piano Sonatas. He would silently pace for a while and then fill the blackboards with musical notation [examples of the subject of the day]. Two teaching assistants copied every note, and this materials was used in his later books on harmony and composition.
He loved my Germanic name, and would ask, "Wilhardt ZAHN, was denken Sei?" My noncommital answer would be, "Herr Professor, sehR InteRResant!"
One of his assistants and book editor was Gerald Strang who had taught me Diatonic and Chromatic Harmony and Counterpoint at Long Beach Junior College 1940-2. Gerry and I corresponded while I was in New Guinea and the Philippines, correcting and critiquing music I would submit. He was a master mentor and dear family friend.
While still at LBCC Gerry took me with him to a UCLA symposium to demonstrate a Schoenburg Harmonieleur Pianostück. It was in the 12-tone format, and I had to play it a thousand times before I knew when I had made an error.
I'm still not sure what that episode of musical development accomplished.
Gerry Strang and his avante-guarde cohorts would have jam sessions. The poor piano--they would do fist and arm clusters, and swirl metal pans on the exposed strings. Ah, modern music!
Willard F. Zahn, M. D. Long Beach, CA [...]

Schoenberg writes from a traditional harmonic standpoint. But he is aware of the fact that the primary systems of analysis are very limited to these traditional sounds and harmonies. Therefore Schoenberg sets out to put into work a new system for harmonic analysis which will work fine on traditional harmonies as well as on newer, more outside progressions. He achieves all of this through his idea of regions within music, a specific idea with a broad goal. By leaving the intricacies of traditional harmonic analysis and widening his scope, Schoenberg presents a system we may all need to take a second look at.

This is an important book because it is a document written by Arnold Schoenberg. He wrote it from the way he taught his students harmony. If you know Schoenberg's tonal music you know how highly chromatic it is. It moves from tonal center to tonal center almost without the listener understanding how far they are traveling. This book uses his concept of region and that is not something taught in your freshman - sophomore theory courses.

If you want to read this book, make SURE you have a strong grounding in traditional theory first. Then ground yourself in Schoenberg's treatise on harmony. Then take on this little book. Otherwise it will be opaque to you.

However, just because you can't understand what the composer wrote, don't suppose that it is nonsense or dismiss it because of your own lack of comprehension. Schoenberg was a very important composer and understood the methods of composition very well. He certainly had his own views, however idiosyncratic they may be. It is simply that when you are Schoenberg you can do things lesser musicians cannot.

From the very start this book did not do a good job of clarifying its title or it vocabulary used in its analyses.I think that he thought by using the word function that it would add some esteem or he fancied himself a mathematian. The writer schonberg at the begining of the book first page after the title page the uses word triad a ,three note chord, which I never understood and I think involves a lot acoustic science that mr. schonberg never had or b.s.ed that he had. Succesion, progression,tonal all vague or historically obscure. The entire book has sheet music in it and parts from scores whichs seems to me he could have simplified and condensed his thinking. I think anyone who read/reviewed this book and liked it is putting on the airs because it is in style or the hip thing to like schonberg and it would be uncool amongst intellectuals not to like schonberg. Time to search for alternative ways of understanding music for anyone really is interested in bringing music out of the educational stone age because it has been neglected for to long and has been everyones side project.Fractal science shows progress.

Well it looks like naj "jak" here is almost as clueless as he thinks the book is. He should know that Theory of Harmony is not a book to LEARN harmony, its a book that teaches you in detail the purposes and most advanced properties of such. If you're looking to begin music, do not buy this book. If you are a musician looking for a (in my opinion) genius's perspective on one of the most fundamental elements of music...then thats the book for you.

This book has it all. It is more than enough to pass the Microsoft 070-620 Vista Config. exam and I will review the book again to prepare for the 070-621 (upgrade to MCITP). You could probably rely on this book too for the 070-622 exam. The practice exam software along with the pdf of the book is a major plus. I'm holding unto this for future reference as Vista OS begins to attract new users daily.

If you haven't purchased the Microsoft Press Training Kit this prep book got it down to help you excel on the exam. Also a great supplement to the exam and to learn new things about the OS. Good luck on your certification endeavor!

This is a well-written guide. It's very readable and informative and you should have no problem passing the exam after reading this guide. All of the information that you need is there.

The only reason why I give this 4 stars instead of 5 is that a lot of information that you *don't* need is in the book, as well. There are whole topics that you won't find on the exam. It turns out that those topics are on the 70-622 exam (the Vista Enterprise Support exam). If you plan to take 70-622 next, you could probably kill two birds with one stone by reading this guide. If you don't plan to take 70-622 next, you'll waste a lot of time reading and studying topics that you won't be tested on in 70-620. Some of those topics include automatic deployment (Windows Deployment Services, ImageX, unattend.xml, etc.), user profile types (mandatory, roaming, super-mandatory), Group Policies (local, password, audit, inheritance), file/share permissions, dynamic storage types and security protocols (PPTP, L2TP, MS-CHAPv2, EAP etc.). Those account for a sizable portion of the guide. Basically, all of those harder topics that you usually find only in workplace/domain environments, you won't find on 70-620 (which is completely consumer/home-oriented). You can see what I mean by looking at the exam objectives at Microsoft's website.

So, the only fault of this guide is that it throws way more information at you than you need for the exam. Depending on your goals, that may be a non-issue... or it may be important to you if you don't have much time to waste. Either way, it does do the job of helping you pass the exam, and that's the most important thing, I'd say.

This was my first attempt at a Microsoft certification. I passed the 70-620 exam with primarily this book alone. I really liked the electronic flash cards and saw a lot of familiar questions on the actual exam.

This book is easy to follow and understand. I passed the test with an 884. My biggest problem with this book is the WinSim program. That was basically a few movie clips showing how to do a few steps. The clips were from the easy exercises. There were a couple of ones where you got to click where they told you to. Basically that part was a complete waste of time and a big disappointment to me. There are 2 test on the cd (50 questions each) plus all the questions in the book. There is also some flashcards. It is a good book and if you only used this book you could probably still pass but I would recommend using other material as well. Overall this is a good book and I would recommend it (despite the WinSim issue).

I have been using this book for studying the 70-621 exam (instead of the 70-620) since there weren't any books at the time for the 70-621. I have already been deploying Vista Business & Ultimate in our work domain after using Business & Enterprise at home (Technet Subscription was a really good idea).

I thought I learned quite a bit from the hands on, but I was pleasantly surprised how much this book covered in great detail. I almost always chunk the CD in the back of most books but the authors did a superb job on this CD. Excellent chapter tests of 20 questions each and two bonus sets of 50 questions each. Only problem I had was the WinSim when it showed a Movie section. I didn't get any sound but I wasn't sure I was suppose to, but either sub titles or sound informing me what tasks it wanted to take would have been helpful as it plays a little quick, so you have to replay it a few times to figure out what the scenario was about. Flashcards - I generally HATE flashcards, but this was fantastic, it didn't bore the heck out of me like 99% of them do.

Of course, the whole book is on the cd as well and I found I like reading it better than lugging around that heavy book since I can enlarge the print for easier reading.

Of course it helps to know the background of a couple of the guys (authors) who helped write this book - Michael Aldridge and Josh Evitt. They used to work for Transcender and I met Michael after he left there and have had lunch with him on a few occasions. Really good people and always willing to help/advise people on their careers and certifications (see certcities.com & mcmcse.com). Michael and Josh now currently work for Boson. Looking forward to buying products they produce for them as I know it'll be good.

For the Exam 70-620, I don't think you can do any better than this book. It's just plain easy reading (Sybex has always been good about that style) and straightforward and I almost maxed the client section of the 70-621 (just need more work on the enterprise section now). Good luck with your 70-620 exam, but with this book - you won't really need luck, just some study time.

This is a very helpful book for anyone looking at taking music theory class. It's simply a good reference point whether you have a good professor for the class or not.

I have used this text successfully for several years with first-year college theory students, both in the classroom and in directed study. It offers many clear examples and a variety of exercises for students to complete. I intend to continue using it and would recommend it not only as a classroom text but as a vehicle for independent study for practicing musicians without an extensive knowledge of music theory.

I wouldn't recommend this book for self-study unless you are well acquainted with music theory and are using this as a review. Some of the concepts are not that well explained. However, it is designed as a classroom text, and for that and with a good teacher, it is excellent. Well organized and logical in it's progression. An intro to music notiation would be very helpful before taking a class using this book. It progresses very quickly. The accompanying workbook is highly recommended for reinforcement.

Not a hardcore music analyst or anything. Just taking a music theory course with this text and it's not too shabby considering that other theory texts can be really vague. I wish in some ways there were more examples and actually that it was more clear in some areas but that's why we have a teacher to teach it to us.

My class worked with Dr. Benward on this book--we were his test class. Although this may not be the best book for everyone, it is a very comprehensive text that requires the instructor's input. As Benward told us, if we were to teach theory we must work towards the student's understanding of the concepts and not allow the text to work magic. Hence, we must illustrate and re-inforce the principles with our examples and experiences.

I hope I am lucid enough to help.

Good book.

Ian

The book calls them hacks but they are nothing more than excerpts from the manual. Most tips are about the data packages you can buy. Nothing about accessing programming codes, creating your own applications, using alternate gateways, toothing, etc. Skimmed it and straight to the garage sale. I usually expect better from O'Reilly.

If you have a Nokia series 40 or series 60 phone, this book is indispensable. Every chapter has something even a old hand with Nokia phones will not know. Codes to find the phones version and address information, ways to customize the menus, and alternative programming and settings. In all, this book is "the manual that didn't come in the box."

If you're a Nokia smartphone user, then you know by now that hacks are especially useful. Author Michael Yuan, has done an outstanding job of writing a great book that brings all of those powerful hacks to all Nokia smartphone users.

Yuan begins by showing you how to use hacks to understand the basic characteristics of your smartphone and its related mobile network services. Next, the author shows you how to connect your smartphone to the Internet and to nearby computers. Then, he covers how to use , manage, and even develop smartphone software. The author continues by dealing with how to prevent malicious programs from infecting your phone, and how to recover from them if they do. In addition, the author next covers interesting hacks such as speed dialing, recording phone conversations to digital files, and using calling cards. He also discusses everything you'd want to know about data exchange and synchronization between smartphones and PCs. Next, the author covers how to use a smartphone as a data modem to provide Internet access to computers anytime, anywhere. Then, you will learn innovative hacks to use the profile, ring tones, and graphics and fonts on the phone display. The author continues by showing you how to develop your own mobile web site, use mobile portals and search engines, and post to mobile photo blogs from your smartphone. In addition, the author covers various ways to set up e-mail and instant messaging on your smartphone. Finally, you will learn how to take good photos and video clips with your phone camera, and share them with friends across the world.

So, if you do not have a Nokia smartphone already, the author of this excellent book will show you how to use some of the hacks as a nice buyers guide to help you choose from hundreds of combinations of devices and service plans. With that in mind, read on "dude" and start this most excellent adventure!

Who knew there was so much to do with a smartphone? This book presents 75 hacks on a wide variety of topics around the cellphone. You can find out how to use your phone as a remote control for presentations. Running your own scripts, creating your own themes, reading blogs, sendmail mail through gmail and much more. Definitely a must have for Nokia Smartphone owners.

I don't own a Nokia, but I've been brainstorming/daydreaming about "the next killer app" for cell phones. I picked up this book to gain some insight into the workings and capabilities of what is basically a portable always-on computer/communicator. I was particularly excited by the section on blogs, RSS feeds, and - best of all - the "mobile photo blog". I may end up getting a Nokia just to try out some of the features described here! Well written and illustrated. Certainly worth the price.

George Walker's Handbook is an excellent, enthusiastic introduction to relief printmaking. Although he favors engraving over woodcut he presents the basics of both and then takes the reader on through chapters on materials, tools, the creation of both woodcuts and engravings, papers and ink, printing, and an interesting section on editions. The art is placed in the historical context but he does point out those who are really interested in woodcuts should look at Rebecca Salter's Japanese Woodblock Printing. (I enthusiastically concur. They make a fine pair of books on the subject.)

The book is well illustrated for a small, introductory work. Seek larger format works if you want more breadth for woodcuts. However, he is very even handed and does have a good deal on contemporary work (and writes about it, too). There is a nice glossary, a good basic bibliography (although as Walker says many of the works are out of print), a brief biography of some of the major artists, a list of resoruces and organizations (with some email addresses), and an index.

All in all, for the aspiring woodcut artist this is an excellent introduction. The illustrations alone make it worth having. If you are interested in ukiyo-e, get Salter's book, too.

Sandy

How any book claiming to cover woodcut prints could fail to mention the works of Antonio Frasconi and Leonard Baskin, yet show half-baked attempts at wood engraving, or champion Barry Moser's soul-less technique as "mastery" is fundamentally lacking. While I thought the love of the medium did show through, and the coverage of the tools and techniques was sound, I think many lesser artists were mentioned, and without these two, it yields an anemic visual source for the interested artist.

I have just begun engraving wood and found this book to be extremely helpful. It describes the differences between carving and engraving and gives ample information on tools and printing processes for a beginner.

Walker has taken woodcut, arguably the oldest of printing techniques, and brought it into the twenty-first century. Albrecht Durer would certainly recognize everything that goes on in a woodcut artist's shop. It's the tools, inks, papers, and especially subject matter that have changed. This book steps clearly through every step, combining very readable text, illustration, and samples of original prints.

The book starts with the block itself. That can be something as homely as a cut slab of potato for a child's effort. It can also be linoleum, a wood plank, or a piece of plywood for regular woodcut. Wood engraving, which differs mainly in the fineness of the cut marks, requires fine, hard surfaces: end-grain boxwood, maple, or cherry in traditional technique, or man-made materials that may be lest costly and more predictable. The rest of the book continues in equally exacting detail: tools and especially their sharpening, cutting with hand or power tools, papers, classic and modern inks, taking the impression with simple or complex presses, and deciding on the edition. Although specimens appear thoughout the book, the last chapter is a gallery that shows the variety of people, techniques, and subjects in contemporary woodcut. Back matter is very helpful: glossary, artists' biographies, bibliography, access to resources, and a helpful index. The resource list may age quickly, as art suppliers come and go, but everything else has lasting value.

There are a few oddities. For example, Walker uses the term "monoprint" to describe images from uniquely inked cut blocks. I can't argue that usage, even though the term is more widely understood to describe prints from inked but uncut surfaces. And, despite otherwise complete coverage of multi-block printing, he omitted the idea of the counterproof. That technique inks the key block and prints it on paper, then uses the paper to transfer wet ink to the blocks to be used for other colors. Although traditional, the technique may lack the precision needed for wood engraving, and may have been overtaken by photocopying and other modern techniques.

I recommend this to anyone who appreciates woodcut, as an observer or as an active printmaker. It's beautifully printed and bound, and, despite the antiquity of the technique, completely up to date.

//wiredweird

This is in response to the Jeffery C. Chase review in which he incorrectly states that the work of Antonio Frasconi and Leonard Baskin were not mentioned in the Woodcut Artist's Handbook. They were mentioned and their work would have been reproduced in the book as well if the publisher had been granted reproduction rights. Frasconi's work is referred to on page 20 and The Complete Prints of Leonard Baskin by Alan Fern and Judith O'Sullivan (1984) is suggested reading on page 150. We tried to include as many artists as possible but because of copyright restrictions and limited resources we could not include everyone. Thank you for your comments.

"Charming" and "Idyllic" are two words you'll meet often when reading reviews of this ancient tale. And certainly it is both those things. It is the best known and best loved of the "Erotici Graeci", or Greek love stories, that date from the early centuries of the Common Era. It is characteristic of the genre, featuring as it does pirates, supernatural events and some highly implausible plot elements.

The Penguin Classics edition has an excellent translation, introduction and notes by Paul Turner.

The story includes the curious conceit, common in folk tales, that an infant of aristocratic parentage, raised by peasants, will grow up exhibiting all the innate qualities of nobility, like cuckoo chicks raised in another bird's nest. Nature is all; nurture is nothing. This idea can be found in literature until at least late in the nineteenth century. To (most) modern readers it seems ludicrous. In comparison, the belief in Pan and the Muses appears quite reasonable.

Historians and archeologists can tell us much about ancient civilizations, except for the most interesting thing of all; what were these people really like? Novels, drama and poetry give us glimpses into their very hearts and minds. We learn about their relationships between each other and between themselves and their gods. Sometimes we wonder at how alien and strange they appear; at others we are struck at how much like us - like people always, everywhere - they are. Some things never change. Among them are the pains and joys of young love. For as long as there are young lovers, there will be "Daphnis and Chloe".

Longus's ancient novel, "Daphnis and Chloe" tells the absolutely charming story of a boy (Daphnis) and a girl (Chloe), left to die by exposure in the Greek countryside. Miraculously, the deities are watching out for them--a goat is selected to nurse Daphnis, and a sheep to nurse Chloe--until a goatherd, Lamo, and a shepherd, Dryas, respectively discover the two children. They are raised in the town of Mytilene, a humble agricultural community, where they tend their adopted fathers's herds of goats and sheep.

Here, the mischievous god of love, Eros, sets them aflame with love for each other. Both Daphnis and Chloe are extremely innocent in their affections throughout the novel, experimenting with their feelings and exposing the amusing limits of their little knowledge. Various incidents involving pirates, kidnapping, inter-city war between Mytilene and Methymna, and the suit of Chloe by a host of lusty young men all provide interesting diversions from the main love story. With a very casual cultural attitude towards homoerotic love, we also see the impertinent male slave, Gnatho, make advances toward the clueless Daphnis. Daphnis's run-in with Lycaenium, a married woman of Mytilene, is also an episode of note in the complex sexual landscape of Longus's novel.

Another intriguing factor in Longus's novel is the relationship between humanity and nature. The figure of the goat is omnipresent throughout the novel. Standing apart from our own cultural/religious associations with the goat, in "Daphnis and Chloe," the goat is all at once associated with maternity, reverence, respect, and honesty. In the novel, we see humanity in general in harmony with the natural world all around: plant, beast, and natural divinities.

Into this seemingly innocent landscape, Longus introduces the problematics of class and wealth. The love story between Daphnis and Chloe is further stalled while these issues play themselves out. Society's intrusion into the pastoral story seems to indicate the fantastic nature of the idyll itself. "Daphnis and Chloe" is a brilliant and beautiful ancient tale, and well worth the short time it takes to read.

"Daphnis and Chloe" is one of the best known early Greek romances, precursors to the modern novel. Admired by Goethe, it has been reinterpreted in music and art by Ravel and Chagall.
Written by Longus in the second century A.D, it is a classical romance involving the adventures of two foundling children raised by adopted parents who are humble shepherds in the idyllic setting of the Isle of Lesbos. It is a famous love story that captures the awakening of a first love between two teenagers who don't know what is happening to them. The novel that is written almost two thousands years ago is surprisingly modern; it is erotic, tender, romantic, sensual, and simply beautiful. When I read it first time many years ago (I was very much into the ancient art, literature, history, and philosophy), I asked myself why the literature and art did not stop right there and then - nothing better could be possibly done. It is not true, of course but it was one of the rare moments that you'd like to capture and cherish forever. Last month while visiting the National Gallery of Art in Washington, DC, I bought a miniature book that includes a suite of 42 Lithographs created by Marc Chagall (1887-1985) to illustrate "Daphnis and Chloe". Chagall's visual interpretation of the Greek pastoral romance of the 2nd (or 3rd) century AD is unique and unforgettable. Even if you don't like Chagall's style, you will not be able to forget it. With his 42 Lithographs, Chagall created a monument to both, Longus and himself. "Daphnis and Chloe" is known as one of the great illustrated books of our time.

The story dates from classical Greece. After two thousand years, the story is still fresh and charming - the sign of a true classic. It's about young love, eager and inept, with gods, pirates, and other harmless excitement. The writer included the happy fumblings of physical affection that a modern author would have shied from, sweet and not at all salacious. The story finishes with an improbable and triumphantly happy ending. Good happy fun, and not a lengthy read.

Beyond the story itself, I found this book very informative. The story is supposedly one that Shakespeare read, and it shows. Some of the Bard's endings look a bit recycled once you've read Daphnis and Chloe. I also found that it explained Marc Chagall's cycle of lithographs - the images make more sense, now that I've seen their inspiration. In addition, there's satisfaction in knowing that this story, with such influence on such great minds, and is now a part of my education, too.

All that was extra reward, though. I wanted the book because Chagall's illustration. It's there, in dozens of beautiful color reproductions, including some two-page spreads. Up til now, Marc Chagall has always been in the lower ranks among my favorite artists. After seeing his work in this book, I have a new respect for it. He's still not among my very favorites, but I enjoy the lithos shown here. Even more, I enjoy them as a coherent body visual work and as a narrative.

Best, though, is quality of this book for its price. It's well printed on heavy stock, and the color printing is strong and nuanced. The production values in the color pages and the sheer number of them are quite astonishing for a book that costs so little. I plan to enjoy this book for a long time.

Man...Daphnis and Chloe. Surely, this is one of the Best Things Ever. An utterly gorgeous evocation of innocent, sweetly naive pastoral life. I honestly can't think of a single work of literature I've enjoyed more. It's short, but richly deserving of multiple readings. If you're not capable of enjoying it, I don't want to know you. It is truly Great, capital 'G'. However, in the interest of objectivity, I should note that there is one thing about it that somewhat irks me: in the end, the title characters are revealed to by of noble birth. That's not a spoiler; you know it right from the get-go. So, while it was inevitable, it just didn't quite work for me. I would have liked to see them go on in idyllic splendour (note the British spelling) forever.

That, however, is a minor quibble. You must read this. It could even save your life: let's say you've read it, and then, sometime later, for whatever reason, you decide to commit suicide. You'd be very likely to think, at some point, 'hey, wait a minute--I can't die now; I need to reread Daphnis and Chloe!' So then you'd turn the engine off, and after you finished your rereading, you'd realize, 'hey--life is GOOD! What was I thinking?' And you'd be right. Something like this couldn't exist if the world wasn't in some sense fundamentally good.

I bought the book primarily for the chapter on collagraphy. It explains some processes I have never seen anywhere before i.e. photocollagraphs, and carborundum which can be printed as either intaglio, or relief.

I'm very happy with this beautiful book. printing and quality of the illustrations is very good. has 200 color illustrations and other black and white. also contained a wealth of information about each technique, explained well, especially the technique of collagraphy, a book modern and contemporary. I recommend it highly.

This is an excellent resource for anyone interested in replacing traditional toxic printmaking techniques with safer alternatives. Nothing lost but the dangers. It discusses the hazards of traditional printmaking and introduces non-toxic alternatives from de-greasing intaglio plates to non-toxic resists and etching solutions, water based inks, photo processes and numerous adjuncts etc. Plenty of supplier lists and suggestions for setting up a new studio. This is an impressive and comprehensive book with lots of photos.

A good reference for the serious printmaker. Clarity sometimes falls victim to awkward writing style, but there is valuable information about working safely, with effective alternatives to traditional toxic materials. Not written as clearly as The Complete Printmaker, which is the must-have book in the field.

Collography

This is by far one of the best resource books on the subject of intaglio/collagraphy that I have seen so far. Seems that both books that I have recently bought from you are of UK PUBLISHERS, the Intaglio book is now published in the US, but this does not quite mean we over here in the good ole' USA are catchin g up.