Outstanding

For a compilation of logos, it was a definitely an adequate effort, just logos, their designers, the agencies and the project for which it was used. What I had found lacking was a larger introduction; it was essentially a couple of pages, and that was it. I did not mind that the largest single designer featured was by the author, but what was dissapointing was for the most part, how ordinary they looked. There were a few wonderful exceptions that demonstrated a marked regional (non-Western) flavor, but for the most part, Bauhaus ruled. Another problem occurs in the publishing date of the book. Although published recently, for the greatest part, the book is actually a reprint from the early 90's, hardly a reflection of current trends in India. I love logo compilations, but I'd prefer something more current, and with more explanation, such as you might find in the trade magazines.

What's wrong with this book?

1. Most of the projects in the book are for the very experienced craftsman. The projects seemed complicated just to be complicated. I'm not saying they should be super simple either but I think Taunton missed the mark on these.

2. These projects are for the woodworker who has a full set of power tools in their workshop. I also purchased Tauton's "Tables" book and loved the fact that many of the projects where done with minimal power tools. In this book the concept of "hand cut dovetails" are dovetails done with a jigsaw and a router. Way too many expensive jigs, routers, biscuits and pocket joints.

Since my next project is a chest of drawers for my son, I was really hoping to find inspiration in this book based on my other purchases of Taunton's books. Unfortunately I found none in this book. The ultimate test for me is to show my wife projects from books to see which one(s) she likes. She also found nothing in this book that we would want to build. Hopefully further book's released by Taunton can avoid these mistakes and make a book which most woodworkers can enjoy.

I consider myself an "advanced beginner" as a woodworker. I own Desks, Bookcases, and Beds in this series (and have completed projects from the latter two). Chests of Drawers does not live up to the high standards of these titles for two reasons:

1. Intentional difficulty-It almost seems as though the author tried to come up with the most complex solution to any joinery problem. For example, is there not an easier way to do the joinery for the Contemporary Chest (a beautiful piece, by the way) besides making 180 loose tenons and 8 dozen mortises? The triple dresser is gorgeous but I am not sure that could be made to the same quality outside of the Thomasville factory.

2. Lack of variety-I am sure that many of these projects can be modified but if I wanted to substantially modify them, I would just design something myself (something I don't feel comfortable doing yet on a project of this magnitude) and wouldn't need the book. The Pennsylvania Dutch chest, though nice (I mean, I am Pennsylvania Dutch) probably isn't something that needs to take up space in a book called Chests of Drawers. Something in the Arts and Crafts style would have been nice as well as a true Shaker project. Beyond that, one or two variations of a simple, but well constructed chest would have been helpful.

I was disappointed in this book and cannot recommend it. I probably would have given it one star, but most of the projects are truly beautiful. I am sure someone can make 'em!

I'm new to amazon, but do a column of book reviews on Wood Central.com for woodworkers. My reviews are a little different, because I take time to really read the volumes I select to write about. Reading Bill Hylton is like having him in the room beside you while you are learning. He has a down home, friendly writing style that anticipates the beginner's deficiencies and guards against errors that might become costly. I bought this book instead of waiting for a review copy to come my way, because I know Hylton's work from his router and cabinetry books.

'Chests of Drawers' is one of a series of 'Projects from America's Best Craftsmen' by Taunton Press. It includes seven projects, which doesn't sound like much, but in those seven projects, Hylton succeeds in getting across the basics of a variety of chest constructions, including bowfronts, triple dressers, blanket chests, tall chests, a Queen Anne chest on cabriole legs, and sheet-goods casework. It would be easy to take any of the seven projects presented, and adapt their construction to a wide variety of chests of drawers.

The discussions of built-up moldings and how they are made is a lesson in woodworking in general. These ideas would be usable on other types of furniture pieces, as would the instruction in bent laminations, string inlay and shop-made pulls. Hylton is an authority with the router, and in this book he gives many hints and tips on using it to complete drawer construction, mortises, base moldings, and dovetails.

Not all the projects are centered around expensive solid hardwoods. One double dresser, which could be adapted to a single chest, uses veneered sheet goods with biscuits, pocket-hole joinery and commercial drawer runners to keep down the cost, but you wouldn't know it to look at it. Simple, clean lines in an understated style lend it a spare elegance akin to Shaker furniture.

At the opposite end of the scale is the Qeen Anne chest on stand, with dovetailed case sides, dovetailed drawers resting on web frame infrastructure, and molding attached with sliding dovetails cut to allow for wood movement. The stand is an ogee profile, spline-mitered frame with pinnned tenons attaching rails to the bandsawn legs. When I'm ready to attempt that project, I'll be glad Bill Hylton is within reach. His step by step guidance through the complicated procedures is easily understandable, and well illustrated with clear color photos.

Of the many, many books I am offered to review, this one is definitely a 'keeper.' It is clear enough in its procedures to encourage a beginning woodworker, and has enough advanced pieces in it to serve as a skill-building exercise for the more experienced woodworker. I give it five stars. Written for the serious woodworker wanting to improve his or her skills, this book deserves every one of them.

This is going to be short, but sweet. This book was by far one of the most bothersome collections of short stories I have had the misfortune to come across. With authors such as Robert Lipsyte, Diane Duane, and Richard Peck, this is hardly what I would call a "selection of great work from great writers." For that matter, It isn't a collection of anything but chronologically trapped short stories featuring such characters as "Craig the Cat" the rock-star who dressed like a cat and held a bottle of spilling milk while posing atop a garbage can for magazine shoots. The biggest problem with this book is that the stories are oriented for pre-teens but to find any value or worthwhile messages in the book, you would have to be at least sixteen. Oh the sweet irony. As a young teenager, I feel that this book was a complete was of time. G'day.

I was realy impressed by the length of these. I have wriiten better and some times even longer ones when I was in 7th grade. I have to admit I was spoiled by a collection of short stories by Jack London called fantastic tales it was great. Now this one had extremely small stories. Ithink that 1 or 2 typed computer pages single spaced would equal some of these stories. They also have no real content. One on page 22 is about a unicorns that live under the streets of New York and that had no begining middle or even no plot and no end. This is definetly not worth it. It also is not for young adults like it advertises it is for small children. Also they can't destroy the human race in the blink of an eye. These stories are not appealing but instead appalling and they are atrouches for 20+ year old writers.

As a middle school English teacher, I am always interested in finding short stories that can be used as a part of curriculum while being interesting to teenagers. Sixteen is designed around "themes" which fits in nicely with today's teaching methods. Not only are they interesting and thought-provoking, the stories also make it easy to teach literary elements/techniques

In general, anything I've learned about the law, I've learned through sum & substance tapes. I find them highly useful. However, I am disappointed here. Unlike the tapes for criminal procedure, the tapes for criminal law would not help a law student or bar applicant adequately. Here, Dressler focuses too heavily on theories of law rather than the items that would really be tested on an exam. For instance, he spent much time on legal impossibility but little time on the various categories of murder. I would try to find other audio choices for criminal law if I could turn back time.

The professor giving this lecture freely admits that if you don't study CP in a law class or for the bar, you will never get it in practice. Still, this tape series has only 3 tapes when your typical sum & substance subject has between 4 and 6. The professor crams cp rules into 3 tapes sides and article 4 payment rules in the last 3 sides. These tapes didn't become useful until I had read and made flash cards from his Gilberts law summary text. I can't believe the most difficult bar subject has so few study aids out there. This is very frustrating. I can't even say Whaley did a bad job here; it's just that these tapes alone won't do it.

The sum & substance series usually consists of four or five tapes. This version only had two tapes. Thus, I fear that something is missing. Secured transactions is a topic that scares many law students (myself included). It is on many a bar and yet it's kinda scant here. These tapes assume you will catch onto what the lecturer is saying quickly which is quite different from the other sum & substances tapes. Beware!

it is full of typos and other errors! Page 44 whether or not a candidate MEATS your. . .

I was very disappointed in this book. What the book shows you is 25 decks that, yes you can build, but what it dosn't tell you is that you have to order the plans at an additional cost! So what your really paying for in this book, is 25 pictures of decks. Yaaa.

I bought this book for somebody else and THANK GOD! i didnt buy it for my self. The book contains NO inspirational designs/concepts, beats me how they came up with the title there are certainly NO Outstanding bars/restaurants, NONE WHAT SO EVER!

While the author has undertaken an ambitious topic, it is not clear that the thesis really provides any new insights to the topic. The notion that phonological contrasts are preserved at (morphological, prosodic, or syllable) edges is an old one dating back to (at least) Trubetzkoy. It has received more recent discussion as well, including the work of Donca Steriade.

The author provides an Optimality Theoretic (OT) analysis of this tendency by via the faithfulness family of constraints. Essentially, constraints that require faithfulness are more ardently enforced at edges of phonological phrases, roots, words, or syllables.

Trubetzkoy and Steriade attribute the phenomenon to the observation that phonetic contrasts are more salient in onset position than in a complex coda. Aside from encoding this observation in OT, I don't see that this thesis contributes much to our understanding of the phenomenon.

The fact that morphological edges emerge as "special" in some languages raises an interesting question as to what edges are most important. For example, the author discusses at length the fact that in the Bantu language Shona, more contrasts are found in the first stem vowel (position) than in subsequent vowels. The author attributes this to positional faithfulness-i.e., the height of the first stem vowel is more faithfully maintained than subsequent vowels. As this is a case of a morphological edge (verb stems in Shona, like all Bantu languages, are proceeded by subject and tense prefixes in all but a few contexts, such as commands), one might be tempted to say that Stem Faithfulness outranks word faithfulness. Unfortunately, in other Bantu languages, high vowel suffixes alter the height of stem vowels. Thus, in KiKuria, the agentive suffix [i] raises the stem vowel. We can only conclude that in KiKuria, Stem Faithfulness is outranked by other faithfulness constraints (specifically, those that determine that suffix vowel height).

Romance provides another example; word final vowels (other than [a]) in Portuguese are raised to high. One could attribute this to the relative low ranking of faithfulness for word final vowels in Portuguese. In other Romance languages, including many dialects of Italian, high vowel suffixes alter the quality of stem vowels (even if the suffix is word final). In these languages, then, it appears that faithfulness for word-final vowels is highly ranked.

These questions beg the question as to what generalizations can be made of positional faithfulness. Should we expect one type of faithfulness constraint to be highly ranked throughout a family (contra the examples cited above), or can any language rank all types of positional faithfulness freely (as the above examples suggest)? If the answer is more like the latter, I wonder, what has this thesis contributed to the discussion? If the answer is more like the latter, I wonder, what has this thesis contributed to the discussion?