Commercials Books

This is a great book and really explains how to layout a picture book. Since my college education never taught me how to do this, this is a wonderful book to have.

This is the book you have been looking for. I've purchased a number of other books about children's publishing, but this one has more wisdom and more real technique than any of them.

The title might make you think this book is about illustrating children's books. Yes, an illustrator can get a graduate degree from the material here. But the title doesn't really do the book justice, because Shulevitz covers both writing and illustration. He covers both topics together, showing how the text and the pictures move a story forward to a satisfactory conclusion. Quoting from the book (p.29):

"When the actor-stage relationship is clear, when the picture code is consistent, when the progression is appropriate to the action, the picture sequence will 'speak' to the reader. The more clearly the picture sequence speaks, the more enjoyment the reader will be able to get from it. And giving a feeling of satisfaction is essential in children's books."

This book has literally hundreds of example illustrations and text excerpts. Most are pencil and ink sketches, but don't be fooled: the author created most of them specifically to illustrate this book. They do a great job.

I'm done gushing. If you are interested in this topic, buy the book. You won't be disappointed.

Uri Shulevitz's book Writing With Pictures is a treasure trove of valuable information concerning writing/illustrating children's books. For those with no interest whatsoever in illustration, the book explains how illustrations enhance and fulfill the promise of the text. For those only interested in illustration, the book describes how to correctly construct illustrations so that they illuminate, rather than repeat, the prose.

The book is divided in four parts. Part one defines/contrasts picture books and story books; two, describes how to plan the book; three, explains the construction and purpose of illustrations; and four, provides instruction on how to prepare illustrations for reproduction for publishing.

Although the book could be used for college courses in both art and literature, it is easily readable, enjoyable and informative. For individuals serious about writing and/or illustrating books for children, this book is a must-have resource. It's a keeper!

This book is a pleasure to read, and very inspiring to get drawing! His detailed instructions are as helpful as sitting in a drawing class.

As a 'gallery' artist moving more into illustration, I needed a text that really told me how to illustrate- what makes books different to gallery works, the psychology of composition, how to plan a book and incorporate words and pictures etc and this book has really done that for me. I found the section on composition and picture space particularly helpful.

This is the book for you if you want a book that tells you how and why. The author hasn't held back information but explains everything with lots of drawn examples. I bought another book on illustration at the same time - Exploring Illustration by Michael Fleishman- which like so many modern textbooks goes on about theory instead of telling you real technical information. It has served to show me just how good Writing With Pictures is and how generous the author is in giving information.

I can't recommend it highly enough.

I have read criticism that it doesn't have enough computer-related information but that isn't something all illustrators need. This deals with the real skills of the craft and to me, with so many programs out there you are better getting guides on every program you want to use to really master them than have the broad, undetailed cross-section inevitable in books about this size.

I have been looking for a Giger book for some time and most of them were pretty expensive, even though great looking. Finally I found this great book from Taschen that portrays Giger at its best, painter, sculptor, architect. The book is amazing and the 3D images are spectacular. This is a must for any Giger fan. Cheers and enjoy his work.

I picked up this book at my local Borders. I was there on a whim, browsing the art section, when I saw this gem. After noting the VERY attractive price, I decided on the spot it had to come home with me, as I'm a fan of Giger's work.

As I perused this volume, I fell in love with more than just the art (admittedly, Giger is just not to everyone's taste...if you're not a Giger fan, then this book and this review will do nothing for you, and it's not an attempt to convince you to otherwise). Designed and penned by Giger, it contains prints of finished art and sketches, photographs, selected images from Giger's personal collection of art (that is, art by other people that he collects)--which I think is VERY insightful; it's interesting to see what kind of art an artist appreciates.

As an artist, myself, I revel in the collections of sketches... Sketches can be a chronicle of how a finished work comes to be, and it's interesting to get a glimpse of how other artists--especially masters, such as Giger--work through their ideas and arrive at a final product. Sometimes sketches are just a fleeting idea that gets caught on a page. These are just as fascinating, because they are an insight into how an artist captures a thought and translates it into something visual. Excellent stuff!

Another detail I want to elaborate on are the "3D" versions of a few of Giger's paintings. I hesitate to say "Magic Eye", because those are often horribly muddy, chaotic and nonsensical when viewed normally, and the Giger images in this section are not at all like that. These images are crisply defined and look "normal" at a glance, but nevertheless have that 3D "popping" effect when you view them correctly. Of course, they're accompanied by commentary from Giger. It's an unexpected and delightful treasure to find tucked away in these pages.

Overall, if you're a fan of Giger's work, this is a very worthy addition to your collection. I've poked around, and there are other versions of this title available, some of which are very limited (and expensive) editions. If you haven't the luxury of purchasing one of those, this "no frills" edition is still very solid, and will be a pleasure to thumb through again and again.

While browsing sale books I found an amusing little item. With a title like WWW HR GIGER COM I was intrigued.

This book was designed by H.R. Giger and contains commentary from the artist about his various interests and his art. Among the pages of art and commentary is a section devoted to the Giger Bar in Tokyo. Giger designed all of the furnishing from the front door all the way to the lavatories. Now, I don't know about you but the idea of being in a building designed by H.R. Giger while getting drunk sounds like a hair raising experience.

This book, having been designed by the artist, is a bit different than others portraying Giger's work. If anything, this one is superior in the detail it provides. I recommend this book to Giger collectors and if you can't find a copy just log on to www.HRGiger.com like the title suggests.

Mr. Giger, I have experienced your biomechanical drawings and such from your book. The theme "Tracing Thoughts" came to me from your drawing of No. 625 Pump Excursion, when suicide was an option. Then I gotten control of myself by expressing my thoughts, feelings, and for free lance of my own personal amusement. It inspired me (No.625) to pick up biomechanics and hopefully get the chance to meet you in person. Because of the biography on you, your intellect seems avanced to were I would enjoy an intelligent complex trade in art expressionism. Well life is short and so shall this review. Continue the well deserved talent and rake in the DOUGH .Signed, fellow artist Eric Everett.

I own the first print of www.HRGiger.com book & I wasnt sure if I needed buy this updated edition but after scanning thru the entire book I realized the answer was Yes! Lots of cool new stuff has been added & the book is laid out better & even more informative not to mention the amazingly cheap price of this book. I own every book Giger has ever put out including the hard to find stuff from the 70's I've been collecting his stuff since the mid 80's. If you're new to HR Giger there is no book better than this one as a starting point into his creative genius. Buy Now!

what an incredible look into the not-so-distant past! ads always show an airbrushed version of reality, and it's funny to see 60s products like polaroid cameras and nehru suits presented as if they were the cat's pyjamas. a great gift book for any graphic designers or advertising-types on your list.

This is an excellent way to take a trip back to the 60's and some of the culture of that time. Look at those cars! How about that Maidenform Bra ad! How about those fashions and hairstyles! If you want to learn or remember some of what was popular then this is an excellent, thoroughly enjoyable way to do it!

Wow! was my first reaction upon devouring these heavy, nearly one thousand, slick pages of incredibly square, hip, liberal, conservative, and completely cool advertising. Some of the fashions, hairstyles, designs, attitudes, and language that you'll encounter will make you laugh, cry, deeply ponder, and wonder how the world could have changed so much since that era.

The book begins with a couple of pages of commentary by the author explaining the power of advertising and consumer consumption in the 1960s. If someone doesn't read English, then he can read it in 4 other languages - German, French, Spanish, and an Asian language (not Chinese, but possibly Japanese or Korean).

Most of the ads are in color, though a few are in their original black-and-white design. The ads are divided into nine categories, starting with the early part of the decade, progressing to the end. There are approximately 60 pages on alcohol and tobacco, 160 pages on automobiles, 100 on business and industry, 160 pages on consumer products, 50 pages on entertainment, 150 pages on fashion and beauty, 100 pages on food and beverage, 60 pages on furniture and appliances, and 50 pages on the travel industry. Thus, the book is not geared towards men or women or any age group.

Inside, you'll find the one-and-only Groucho Marx declaring, "If you don't serve Smirnoff (vodka)....hide the label!"

For those who think that foreign imports are just little toys, an ad for the 1966 Dodge Dart proclaims, "Join the Dodge Rebellion. Stamp out cramped compacts. Up with man-sized Dodge Dart."

One of the more surprising ads was for Motorola television in 1962. About a dozen nude, smiling people (you can't see private parts) are outside in a meadow, all gathered around a tiny television set displaying the face of a little boy.

In 1965, the Hoover company shows a smiling man in a neat little shirt and tie with thick black glasses and a crewcut surrounded by a mop, dustpan, and other household goods. The ad declares, "Chances are you won't marry a guy who cooks, cleans, irons, scrubs, and sweeps." The next picture shows several vacuum cleaners and other household products and says, "We've thought about that."

"How come all non-conformists look alike?" In 1969, with a picture of a Janis Joplin look-alike, Simplicity states, "Sew your own thing."

"When your TV screen goes black for an hour, you're watching ABC," the company's ad says in 1969. "Because ABC is five major television stations that are the leaders in community-minded broadcasting. Each one, for instance, is currently involved in programming exclusively for black people. On San Francisco's KGO-TV, it's `Black Dignity,' an hour program every Sunday. Originated and produced by black people. For black people."

To appeal to the teenage mod community, who apparently were threatening to consume mass quantities of diet colas, the sugar industry began telling us that we need more sugar in our lives. In 1966, we see a girl with a slightly thick midriff in a bikini on a surfboard with the caption, "Lisa needs a sugarless, energy-less soft drink like a kangaroo needs a baby buggy. Lisa's strictly the go-go type. After sunning, shopping, afternoon tennis date, and discothèquing into the wee hours, she's up first thing to catch the early morning surf. What keeps Lisa from washing out? Energy...And sugar's got it. That's right, sugar. Everything in it is go. Note to people on the go: Exhaustion may be dangerous. It can even rob you of your resistance to illness. But sugar helps offset exhaustion - puts back energy fast. Synthetic sweeteners put back nothing. So play safe - make sure you get sugar every day. People need what sugar's got.....18 calories per teaspoon....and it's all energy."

That's all I needed to hear. I'm off to energize my life with some Krispy Kreme donuts. For my health, you know.

being a car fan, I know about car ads from the 1960s. I have two major gripes:

1) They did not get the cars right. For example, often they would call a car a '66 when it was a '67, no doubt because the ad probably appeared in October 1966. Still, it would help to get it right.

2) One of the most interesting aspect of the 1960s was the psychedelication of American popular culture, and automobiles reflected this, exemplified best by the musclecars of the late 1960s. What about Dodge's "Scat Pack - the cars with the bumblebee stripes!"? Or Plymouth's Road Runner and the ad where the car looks like it's breathing? AMC's Big Bad colors? Pontiac's "The Judge can be bought"?

So some of you may be thinking, "Oh, what a geek!" but I wonder what else they could have gotten "more" right if they had actually did more research since they, I presume, aren't American.

These books are a great resource and provide hours of enjoyable reading. My graphic designer keeps borrowing them for reference. When I was a kid, I used to love going through the old copies of TIME and NEWSWEEK...just to read the ads! I think they provide more insight into popular culture than articles.

There are some limitations. The source of materials seems to be from particular magazines, and perhaps some manufacturers did not consent to some ads. For example, in the Consumer Products section, there are ads galore for the SEARS bicycles, but NONE for the Schwinn "Sting Ray" - certainly the icon of mid-60's bicycling. Similarly, the car ads appear to favor big Cadilliacs and some offbeat marques. Perhaps the Euro-centric view of things colors (colours?) this.

Also, there is a certain amount of mockery in the book. Each section features a "winner" advertisment, which is often derided for its naievity or for its promotion of racial stereotypes, overconsumption, etc.

But, while our European friends may be laughing at us, it is clear that they lavish attention upon our degenerate culture - four volume's worth!

My only other suggestion is get a magnifying glass. Many ads are reproduced in quarter-page size and are hard to read. Many more are oddly cropped at the edges. While all four books are great, the 50's and 60's may be the best nostalga trip for many - and an interesting commentary on the evolution of popular culture during that time.

For a designer+Trekkie like me, this book is a collector's item. This compilation of scenic art, concept sketches and production stills is just inspirational.

When I was first given The Art of Star Trek as a special gift by a close friend I was to say the least, over the moon. The present came as something of a pleasant shock for I was totally unaware that it had been published. As a lover of "the art of" books and an avid fan of Star Trek, I had long hoped for such a title and finally... here it was! The Art of Star Trek has fast become my favourite "art of" book (along with the Art of Star Wars books) and it is always near at hand.

The Art of Star Trek is everything I would have expected and more, stunning colour pictures, informative text and lavish presentation. This long overdue book covers several of Star Treks many and varied incarnations thus far on television and film alike and charts its visual evolution over more than thirty years. It is positively overflowing with many fascinating examples of the sketches and storyboards, production and matte paintings, posters, costumes, props and sets [etc] that fill the Paramount archives and private collections alike. Although most of the designs will not be used for various reasons, they loosely form the basis for how a Star Trek production might appear when completed. The concept art included in this volume has been created by many of the top film-television designers to have worked in Hollywood throughout the years. These creative individuals have played a seminal role in shaping the distinctive aesthetic of Star Trek over its almost forty year history. Included are such artists as Mike Okuda, Andrew Probert, John Eaves, Mike Minor and Matt Jefferies, who created the first brilliant prototype Starship Enterprise in the 1960s. Mr. Jefferies classic design has served as the blueprint for all subsequent Starfleet starship designs. The many individuals included in this wonderful book are the unsung talents of Star Trek, and who for the most part go unrecognised by its legions of fans. They have diligently worked long hours behind the scenes of Star Trek series and movies to create the multitude of conceptual and commercial art that helps Trek run efficiently. Their concept art and finished designs play an important role in Star Treks appeal to a devoted fan-base around the world.

Judith and Garfield Reeves-Stevens have carefully chosen a wide selection of the finest art created for this most enduring of franchises. The book is arranged in a chronological order, the first half being devoted to the television series from The Original Series to Voyager. The second half of the book is devoted to Star Trek films from The Motion Picture leading up to Generations. With stunning full colour photographs throughout this is a fascinating and engrossing volume that will keep one rapt for hours. So if you haven't already got a copy in your library and are a serious Trekkie and art lover do yourself a big favour and buy this incredible coffee table book, you won't be disappointed.

Since The Art of Star Trek was first published (some years ago now) the Star Trek universe has been steadily expanding, Voyager and Deep Space Nine have long finished, three more movies have been made so far... and Star Trek: Enterprise has sadly been cancelled. In their wake they have left a whole gallery of exiting new material gathering dust in the Paramount archives that hopefully will be used in The Art of Star Trek: volume two at some future date.

This book has some of the best artwork that was made for the first four Star Trek series and some of the movies. It has photographs of the sets and props as well as diagrams of the ships, including Klingon and Romulan vessels, the movie and series Enterprises, and even Voyager. The book follows a plan which views the art history of Star Trek from the pilot film "The Cage" to "Star Trek: Voyager". You'll love this book if you're a Star Trek fan!

"The Art of Star Trek," by Judith and Garfield Reeves-Stevens, is to date the ultimate "coffee table" book for devoted Star Trek fans. This book, which was published in 1995, covers all aspects of "Trek" history up until its publication date. Through text and plentiful illustrations, the book celebrates the visual artistry that has been such an essential component of the "Trek" phenomenon.

The book deals with each of the specific series from the original until "Voyager," including both the often neglected animated series and the aborted "Phase II" series of the mid-1970s. All films from "Star Trek: The Motion Picture" to "Star Trek Generations" are also covered.

The amount and quality of items in this visual "museum" are astounding. There are behind-the-scenes photos, concept drawings, photos of models, prosthetic makeup designs, storyboards, movie posters from around the world, closeup shots of props, and more. Particularly interesting were the shots of certain props and aliens which were barely seen in fleeting shots, but which represent great imagination and artistry.

Also noteworthy are the drawings which document the evolution of both the original series "Enterprise" and the "Next Generation" ship. I was fascinated by the concept drawings of possible "Enterprises" for the aborted "Phase II" series, as well as by the rejected new uniforms for the first "Next Generation" feature film.

The concise but clear text is a good match for the wealth of glorious, full-color photographs. This book is, from start to finish, a visual feast for "Trek" fans.

My initial reaction to The Art of Star Trek and it's hefty price was skepticism. Once I did purchase it and start running through it, the price could've been twice and I still would've bought this gem. The Art of Star Trek is a pure celebration of everything that Star Trek is and was all the way through it's publication date. It includes articles from the very beginning to the lastest on Voyager and Star Trek Generations. The pictures and drawings are stunning to say the least. This is a book you'll definitely want to add to your collection if you haven't already.

I have to agree with the other reviews on this book, it's a MUST have at any price.

The art from the early Dragonlance covers has always been some of my favorite fantasy art, and this book dives deeper in the vaults to bring out art that if you're like me might never have seen. Some of the art is from the dragonlance calandars, posters, etc. This book will leave you with a deep appriciation for Larry Elmore and the other great artists who've done these covers.

I was born with the name of Raistlin.. naturally i would want to see the character i was named after. This book provided me with the start to my passion with Dragon Lance.
It goes into detail and explains everything (how the dragon riders stay on the dragons etc.).
I have one copy and so does my Dad, but mine has pages missing from when he used them as posters. I want another copy but it depends how much i am willing to pay on e bay.
This book is worth getting for a price such as £50.

Enjoy.

This book is worth every penny I paid to get it. It includes a short story about how the Dragonlance epic came to be, the four original color roughs (by Larry Elmore), sketches of the dragonlance and saddle and how to use it, sketches and pictures of the many types of draconians, armor and weapons, beautiful oil and acrylic pictures, a little history and pictures of the Heroes of the Lance, pictures and history of minor characters such as Lord Lorac, the elven king, and much, much more! This book is a must-have for any Dragonlance collector. You won't be disappointed!

This gorgeous book is one of the finest compendiums of TSR artwork ever created - it is loaded full of hundreds of illustrations, free of print, on glossy paper; included are every piece of full-color artwork ever created for Dragonlance (up through 1987), supplemented with rich text and many, many concept sketches that appear nowhere else! For Dragonlance afficionados, or those who appreciated classic art by Easley, Caldwell, Parkinson, Elmore, and more, this is the ideal collection.

This was an absolutely beautifully laid out book. It contains 'round 40 full color full page prints of paintings of the dragonlance saga. Along with the prints there is also background info. on how the artists put the images together, along with an intriguing storyline that ran with the images. An absolutely fantastic book... can't say much more about it!

I am finishing up by degree in Graphic Communications in December. I checked this book out of our school library and didn't want to give it back...so I bought my own! What I love about this book is that it breaks it down by industry and specialty area. I also like the way it breaks down what you should include in your portfolio for those areas. It is nice knowing that there is more to Graphic Design than just being a Graphic Artist in a print shop or a newspaper. This book gives you an idea and an overview on what's out there. Awesome!

This book is a good overview of what it means to be a graphic designer. It goes through the different areas of design, and different job positions.
Everything you need to know about the design world is in this book.

This book rocks! Once you read it you'll know WAAAAAZZZZZUP!

This book is a good overview of what it means to be a graphic designer. It goes through the different areas of design, and different job positions.
Everything you need to know about the design world is in this book.

There is a lot of good to be said for this book. But the thing that jumps out and slaps me in the face, right off, maybe because I have dealt with new design students and new professionals for the past several years, is a few dumb comments such as "If you are going to be a good designer, fine. If you aren't don't bother. The field is full of mediocre talents as it is."

And how, pray tell, does one know whether one is going to "be good" during the first year of ones study? --Or even during the first few years of ones professional practice, when sweeping out the place may be included in your job description, and hands-on real world work may come your way slowly and in small discreet bits? And doesn't every creative person at one point or another question the worth and validity of what he or she is doing, EVEN after recognition has started rolling in and they understand that their work is generally perceived by their peers as good? Further, I would ask whether everyone HAS to be a Saul Bass or a Neville Brody. Isn't design a broad enough field to encompass the work of those with less Olympian ambition? Comments such as the one above are relatively few and far between, to be certain. But where on earth was the editor when pompous uninsightful stuff like this flew in under the radar? Although the sheer snideness of the comment may make many jaded pros cheer, I have to wonder what useable information this kind of comment contains for the neophyte at whom the book is supposedly aimed? --To show that a lot of jaded pros have a really bad attitude?

I do not favor the Pollyanna view whether we are talking art or careers. But I believe it is impossible to know how you will fare at something before you have been doing it a while. Thinking otherwise --for example, that a teacher in a design 101 class can tell you whether you are "any good" (and I have seen or heard about many students asking this very question)-- just intimidates and discourages people from being brave enough to give the life that they would see for themselves a try. To me, that is way too limiting.

Susan Sully's book revived many delightful memories of my recent visit to Charleston. Her evocative prose paired with the beautiful photographs made as much of an impression on me as seeing Charleston's gracious architecture in person. It's not often that such a pretty book is also so well written, but Sully' elegant, beautifully crafted sentences do justice to the photos and the grand old homes themselves. After reading her book I wanted to book a flight back for another visit!

Just named one of the ten best books of 1999 about South Carolina by "The Nation," this winner rises above the usual book of stunning photography in the quality of Sully's writing. Her thoughtful and incisive reflections upon a complex city are rendered in delightful, sensual, intelligent prose. All this is compellingly presented in a classic coffee-table stand-out!

Praised in House Beautiful (May '99) for author Susan Sully's "evocative text [that] lifts this book a notch above many similar style books," Charleston Style was listed by The State newspaper from Columbia, SC as one of the top ten books by or about South Carolinians published in 1999. The State's reviewer, William Starr praises the book's "uncommonly attractive" appearance and notes that "the author combines valuable information with an artistic sensibility.... Among the book's virtues is Sully's willingness to look beyond the obvious into homes which give us some very different views of this most traditional of historic cities."

Despite author Susan Sully's grammatical errors, misspellings ("sheathes of wheat" instead of sheaves of wheat -- why, oh, why don't editors catch those anymore?), labored metaphors, and use of cliche' ("dripping with spanish moss"), I loved this book. Josephine Humphreys writes a beautiful and moving foreward. The photos (by John Blais) are literally breath-taking (to borrow another cliche'). Imperative reading for the student of architecture or design, or for those simply enamored of regional style.

Susan Sully's Charleston Style splendidly captures the unique beauty of my city. Sully's writing is gorgeous, lush and evocative as many of the homes she shows us. Her thorough research is obvious; then she takes the facts and, with words, weaves a beautifiul gossamer fabric representing one ofAmerica's most beloved cities. As a Charlestonian, I was introduced to places I never knew existed. The detailed photographs, artistic and architectural, complement the text. I bought numerous copies to give to friends who have visited Charleston in reality or in their dreams.

I first heard a lecture by Victor Papanek about 20 years ago, shortly before this revised edition was released. He was a very impressive speaker, drawing from a seemingly bottomless well of ecological design ideas. His work has taken him far and wide and in the process allowed him to revamp many of his views on environmental design. This book is an extensively updated version of his seminal book on the subject. It has become a bit dated in the 20 years since its release, especially in regard to computer software design. But, most of the material he covers is still relavent to the present, as we have only begun to scratch the surface of sound ecological ideas.

Having read the more recent books on ecological design by Sim Van Der Ryn and William McDonough, I was surprised to see that neither mentioned Papanek, who prefigured many of the ideas they present in their current books. Papanek long ago advocated the lease/use principle, which makes much more sense in a rapidly changing technological world than does the buy/own principle that continues to dominate our social thinking. Papanek notes the many cultural and psychological blocks we have created for ourselves when it comes to ecological design, but also illustrates how we can overcome these blocks with methods such as bisociation, first proposed by Arthur Koestler. But, what really makes this book stand out are the great number of illustrations that Papanek uses to demonstrate his ideas. This is one of the most practical books written on environmental design.

While Papanek was an industrial designer, his ideas are equally germaine to the field of architecture and biology. He advocated a multi-disciplinary approach, feeling that our universities had become too compartimentalized and were stifling creativity, which needs cross-pollination in order to thrive. The book is as inpiring as his lectures. Papanek challenges the reader to explore new avenues, not continue to follow the status quo, which only results in creative dead-ends.

Papanek, like his mentor Fuller, took on a guru like status where rhetoric became more important than the reality. He bends facts and contradicts himself several places in this book.

Here are a few that jumped out at me

Misrepresentation of the facts -

Page 89 - The Hyatt collapse wasn't bad design rather the builder changed the construction and inspectors weren't doing their job.

281 - He talks about farm implement companies' negative reaction to his walking tractor proposal. Troy-Bilt Rototiller has around since 1937, was and is building a 10 HP tiller very similar to the one pictured.

Contradicts himself -

Page 6 he says, "Design must be meaningful. And meaningful replaces such semantically loaded expressions as ... "ugly"... "cute"...

Page 93 - he describes gum as "tawdry

Page 246 - He asserts that humidifiers are bad because they are "costly, ugly, and ... wasteful of water"

Granted there are a lot of dangerous, overpriced, impractical, and generally unnecessary products on the market, but except for ranting about what he considers to be wrong, he doesn't offer much in terms of direction to others who want to be socially responsible.

one of the best books on design ethics till date!

I first spotted this book while studying in Denmark last year, where my host parents had studied under Victor Papanek. I would have studied under him at the University of Kansas, if not for his untimely and unfortunate passing. This book is one of the best books on the principles and ethics of design. It illustrates both the designer's responsibility and the potential to affect real change in the world through design. This most renowned of works by Papanek focuses on industrial design in two parts: How It Is, and How It Could Be. Papanek encourages radical thinking in design, and most of the topics in the book are easily translated to architecture. To my knowledge, reading this book has never been a required part of the core curriculum at the School of Architecture and Urban Design here at KU, but in my opinion, it should be.

It has been many years since I read this important book. I hope this book will be made a compulsory read for all design students. If only more designers would adopt Mr Papanek's approach to socially-responsible design, the world will be a much better place to live in.

This book is wonderful if you are going to get a tattoo of a certain Kanji it has tons to choose from. I use this book almost everyday.. this is by far one of my best purchases.

What a great book! The presentation of multiple styles definitely caught my eye as I fanned through the book the first time; I was hooked! The introduction is very well written, and each page thereafter imparts a wealth of information that is simply a joy to read.

I love "power" words - single words that encompass my thoughts and feelings - and kanji characters are a beautiful way to express them. I found 'Designing with Kanji' in my effort to design my next tattoo. When I did not find exactly what I was looking for in the book, I contacted Leza and she promptly responded with the characters I needed. Great book - great woman!

I have been an admirer for Oriental Culture, and willing to understand Chinesse and Japanese writing. This book is an excellent source which explains a lot of Kanji symbols, and has several notes about interesting facts about it. I recommend it to all people looking to introduce themselves into this enigmatic and wonderful language.
Antonio Sobalvarro

Easy to read, follow, and use right away. Shows formal, modern, flowing, and stylish character sets. Describes the root, meaning, and nature of common Japanese words and phrases. The calligraphy is excellent. I only wish it was longer and more encompassing. Among other things I use this book as a supplement to Write Your Name in Kanji text by Nobuo Sato to write the characters more elegantly.

Lawrence Kane
Author of Surviving Armed Assaults, The Way of Kata, and Martial Arts Instruction

We had recently seen "The Last Samuri" so I was in the frame of mind to learn more about Japanese history and culture. I found this book on the Breakfast table one recent morning. The introduction and explanation of Kanji was clear and concise. This book provided a great beginning to the subject of how a culture influenced a language and how a language influenced a culture. I couldn't put it down for an hour or so. I'll refer to it often.

Well, they didn't, but it's a classic anyway.

This is a terrific book for anyone who wants to learn how great projects are visualized, actualized, and pressed through extremely challenging environmental circumstances. It's a source of inspiration for the dreamers and the practical alike.

If you want to read about architecture and engineering, you get only a small dose here. It's more about the capitalization, visioning and building. But that story is magnetic and wonderful.

Only thing they left out: that it was to this (then half-empty) building that Annhaeuser-Busch delivered the "first" case of legal beer to Al Smith at the end of Prohibition. Smith, the "wet" and the eternal optimist, exemplifies what this building was conceived to be: a vibrant and living testimony to the human spirit.

So, it stands to reason that it survives now as New York's essential symbol.

From the outset, the Empire State Building seemed to have had everything going against it. Although conceived during the 1920s boom years, most of the construction went on during the earliest years of the Depression, thereby putting the idea of high occupancy in the severest doubt. Its location wasn't ideal either. It was three miles north of the Wall Street district and a mile south of the center of the midtown business center. And it was ten blocks south of Grand Central Station and three avenues east of old Pennsylvania Station. The idea of mooring dirigibles was quickly scrapped after failed attempts. And sure enough, although the Empire State Building did get built, the tenants did not come. King Kong did, but he didn't pay rent.

John Tauranac describes all this and more in his exhaustive book, THE EMPIRE STATE BUILDING: THE MAKING OF A LANDMARK. Written in an engaging style, Tauranac's book is as elegant and interesting as the subject itself, while his wit is as colorful as the characters surrounding the Empire State Building's creation. The book covers the idea for the building, Raskob's and Smith's supervision, the monumental task of the construction workers, and, most importantly, the survival of the building to become THE emblem of America's cultural and economic reach while become THE identifying symbol of New York City. The generous amount of photographs add to the understanding and enjoyment of the book. Highly recommended.

This is an excellent work that details the history of the Empire State Building. I was a bit surprised to find how much the author managed to pack into my paperback. Everything from skyscraper height restrictions to land leases and modern restructuring of ownership for tax purposes (and all the "interesting" stuff in between). If you buy this book and you're not from New York, do yourself a favor and get a map of the area. So you can follow along in the early chapters.

This book is a must read for anyone interested in not only the Empire State Building, but in New York City history of the late 1920s and early 1930s. Who would think that a building completed in 1931 at 1250 feet high would still be the tallest building in NYC in 2007 (of course, we can't forget the tragic loss of the taller WTC Towers). This book covers the quick construction of the ESB, but also covers the politics and history behind the building's location (the Waldorf-Astoria Hotel used to be at the corner of 5th Ave and 34th Street) and the people involved. This is an interesting book about an exciting time where anything seemed possible in one of the world's greatest cities.

I bought this book shortly after a trip to NYC in 2000, and found it to be an excellent history of one of the Big Apple's architectural jewels, the Empire State Building. It is full of intrigue, history, great anecdotes and one-of-a-kind photographs. If you're a visitor to Manhattan or a local resident, you owe it to yourself to read this book.