Commercials Books

The best book of its type I have ever read. By the way, is the author also an actor who appeared in the cult movie Leon The Pig Farmer?

I thought it was an interesting insight into the world of aviation and not too difficult for a lay person to appreciate. I think one of the authors, Paul Simpkin, is also a comedy writer - and ex-Cambridge graduate. Obviously multi-talented.

This book is one of the best guides to international civil litigation, which has become a complex area of law in Europe with the involvement of different sets of rules for jurisdiction and the recognition and enforcement of foreign judgments. While being perfectly capable of serving practioners as a quick reference, this book manages at the same time to be analytical and insightful.

This is fast becoming the definitive guide to the English private international law rules regarding civil jurisdiction and the recognition of foreign judgments. No lawyer wishing to understand the complexities of this area of English law should do without it. The treatment of the rules which apply perforce the Brussels and Lugano Conventions is especially lucid. Briggs is a masterful academic (and practising) lawyer.

Whether you are a seasoned airliner aficionado like a casual or curious observer, or myself this small book contains a treasure trove of facts and anecdotes on airliners ranging from the 14-seat De Havilland Heron to the mighty Boeing 747-100/-200. Mr. Singfield accommodates nearly everyone's definition of a classic airliner; his criteria for inclusion are that the type must be out of production with at least one preserved survivor (air show circuit queen or museum piece) somewhere in the world. Sadly, this precludes inclusion of such fascinating types as Handley-Page HP-42 Heracles, and De Havilland DH-91 Albatross, the latter in my mind being one of the most beautiful aircraft ever built. At least the author explains this up front in the introduction. Similarly, we also no not get to see most of the wonderful old Clippers, such as the Martin M130, Sikorsky S-42, or Boeing 314 Clipper, but newly restored Vought-Sikorsky VS-44A is present in all its glory.

Mr. Singfield includes the venerable classics such as the DC-3, Lockheed Constellation, De Havilland DH-106 Comet, and Boeing 707, but the book's greatest strength lies in its inclusion of less well-known types, particulary old Soviet types that are only recently accessible to Western observers. This book helped me finally distinguish between the Ilyushin Il-12 and Il-14 and the Antonov An-8, An-10, and An-12. The author also points out how the Antonov An-8's design predated the mighty Lockheed Hercules. And speaking of old Soviet airliners, page 138 has a wonderful and highly historic 1956 picture of Tupolev Tu-104A CCCP-L5445 visiting Idlewild airport in 1956, the first production airliner to visit New York City (Boeings Dash-80 did make a visit earlier), predating BOAC's first London to New York Comet flight by some two years!

"I'm sure you will find ... other [airliners] that qualify for inclusion by age, scarcity, or interest," writes the author. Indeed I did: the McDonnell-Douglas DC-8 series -60 and -70, oldies but goodies widely praised for their durability and excellent economics. The 737-100 and -200 are included but not the 727 series, which enjoyed one of the longest production runs of any airliner until eclipsed by the 737 and A320 series. The early model 747s are there, but the DC-10 and Lockheed L1011 are not, though the latter two are rapidly disappearing from mainstream service. However, much to his credit, Mr. Singfield did include the Concorde, which with its recent (2003) retirement has become a cult symbol even among persons with no further interest in airliners.

All in all, this book has a lot to offer, and even a jaded aviation enthusiast who thinks he or she has seen it all will learn something new from this interesting book.

You can never get bored of this great book: for more than 3 months I kept it around with me everywhere, and if I had 5 minutes, I just opened it up randomly and forgot about the outside world. Not that much of technical specifications (just the basics), but lots of history and superb photographs (3 photos for each model!) about commercial airplanes of yesterday and day before yesterday, including legendary and less known makes and models. Each entry has information about production and about present availability of the model, whether airworthy or just a museum piece. The book is very rich in Russian-built aircraft, including models you may have never heard of. If you are an aviation fan, wherever you open this book, you will find something interesting to read and see. If you are not a specialist, going through this book, you may formulate a shocking idea about how the industry reached to where it is now. An excellent gift item to your son before he believes that travelling is Jumbo Jet or maximum an Airbus and an excellent gift item to your father to help him recall some possible personal experiences that he had already forgotten from the near past. Tom Singfields excellent work is a must for everybody, having the slightest interest for technical history of commercial aviation!

maud lavin deals with a complex subject in a manner that can be understood by the layperson as well as the academic. kudos to her for reminding us of an important subject that has to be continually examined. and kudos, too, for approaching it with a fresh perpective.

What is the nature of creative compromise? What and who gets compromised by whom? In this fascinating new book, Maud Lavin may focus these questions on the practice of graphic designers, but she also opens them up, in a larger way, to questions of cultural and commercial identity. Her awareness of these larger questions makes her one of the preeminent (and one of the only ) critical thinkers to write about graphic design. For Lavin, graphic design is one mode of engagement in a complex dialogue between commerce and creativity. But she is equally comfortable, here, discussing other modes of (often technological) engagement.

The book is a group of connected essays which can be read independently or as a whole. Its intended audience is broad and Lavin's writing style is clear enough to engage those unfamiliar with graphic design even while being sophisticated and intelligent enough to engage the professional designer, design historian, or art historian.

I find her essay on Kurt Schwitters and the Circle of New Advertising Designers in 1920's and 1930's Europe to be the finest which I've read on the topic. I also find her collection of interviews with women graphic designers to be particularly interesting and enjoyable. What these two essays have in common is their engagement with questions of creativity and compromise - a complex and underestimated dialectic in graphic design and one which Lavin makes uniquely evident. In bringing that evidence to bear on different forms of creativity (and different forms of compromise) - be it on the internet or in the visual politics of the abortion debate - Lavin is pushing the boundaries of both design and cultural criticism.

For that it deserves a lasting spot on my bookshelf.

I am an elementary school counselor. This is an excellent book to share with children who are (grieving) missing a parent because of divorce, deployment, or death. Wonderful pictures and text. A peaceful, gentle read.

IF YOU LISTEN...wow, that title get's attention. I have so much to share with/teach my child and this book's title is perfect to whisper to her and get her in the mood to LISTEN. "How do you know if someone far away is loving you?" a little girl asked her mother. Truth is, we all ask ourselves this with so many family/friends over the miles. The mother answers in a way that is very interesting and beautiful with simple, yet great descriptive writing that pulls the reader into the pictures and beyond..."You have to stop when you're lonely and listen," said her mother....If you listen hard you'll feel someone far away sending love to you." After listening to her mother's examples, the little girl sits outside under a clear blue sky. "One bird circled and circled overhead. She watched until he flew away." There is so much more I'd like to say but get this book and share it with your child and encourage them to become listeners. Listening is something that we never "graduate" from. It is a continuous learning experience and more importantly, a gift of love and respect to the speaker.
Soar!

This book is Great! If you are a Graphic Designer and like to do logo design YOU SHOULD OWN THIS BOOK.

J. Drew was my professor. He taught me at VCU- QATAR. He is more than a tutor. He taught me how to appreciate colors. "Colors sell a product" Some of my work is included in his book. The book has a huge collection of logos and identities from different region, different projects... etc I liked the arrangement of the works inside the book and how each logo has a brief explanation of the project. Thanks a lot to John Drew.

If your painting is blocked or you just need a spiritual lift, this book will do the trick. A delightfully informative and beautifully designed addition to your color collection. Plus it will make you want to paint instantly!Nice commentary too.

Throughout time man has used color to enhance himself and the world around him. Colorful World beautifully reveals to the reader the colors of the world; not the colors found in the natural surroundings but rather the colors selected by man to express something about himself and the community in which he lives.

Amandine Guisez's photographs transport the reader around the globe where she "discovered a passion that knows no political frontiers." She also discovers that "those who deal with colour speak the same launguage, a language concerned with the intensity, brilliance or depth of a particular tone, value and shade."

The 200 plus photographs are divided by color and supporting text touches on the meaining of colors and how different cultures have viewed colors through the ages. This book is "a celebration of human creativity" and I thoroughly enjoyed viewing each page.

The book above is only one volume of a five volume series. However, if you get this one you will probably want them all. If you are a designer or artist working with colored images on paper produced with printers ink, this out-of-print series of five Colorworks books, Red, Blue, Yellow, Pastel, and Black & White are excellent sources to quickly see how printed colors will interact without either guessing or a whole lot of time-consuming experimentation. The illustrations are systematically layed out to show how tints and shades of the primary colors in various mixtures of the standard colors used in four-color printing, CMYK (Cyan, Magenta,Yellow,and Black & White)actually appear in different quantities---in lines, stripes, circles, blocks, and dots and how they actually interact. Interaction with colored type is also shown. Additional illustrations show how the colors work in photographs and illustrations. Excellent instruction for using black masks to isolate and clearly see the book's color interactions is also included in each volume.
Three of the five volumes are each devoted to one of the primary colors: Red (Vol. 1), Blue (Vol. 2), and Yellow (Vol. 3), each of which is dominant in its own volume. The remaining two volumes, Pastels (Vol. 4), and Black & White (Vol. 5) use the pastel colors, and black as the dominant color showing how various mixtures of the dominant color interact against a spectrum of many other colors, like in the other volumes. The real value is that the colors shown are shown in percentages of each of the four color printing inks, which makes them reproducible. Unfortunately, all of the books are out of print, no doubt due to their limited audience and the original price of [money] per volume when originally published in 1990. Their production was truly an international effort. The books were designed in London, published by a Cincinnati firm, and printed in Hong Kong. They should be published in a new edition for the many new designers and artists who would benefit.

The book above is only one volume of a five volume series. However, if you get this one you will probably want them all. If you are a designer or artist working with colored images on paper produced with printers ink, this out-of-print series of five Colorworks books, Red, Blue, Yellow, Pastel, and Black & White are excellent sources to quickly see how printed colors will interact without either guessing or a whole lot of time-consuming experimentation. The illustrations are systematically layed out to show how tints and shades of the primary colors in various mixtures of the standard colors used in four-color printing, CMYK (Cyan, Magenta,Yellow,and Black & White)actually appear in different quantities---in lines, stripes, circles, blocks and how they actually interact. Interaction with colored type is also shown. Additional illustrations show how the colors work in photographs and illustrations. Excellent instruction for using black masks to isolate and clearly see the book's color interactions is also included in each volume.
Three of the five volumes are each devoted to one of the primary colors: Red (Vol. 1), Blue (Vol. 2), and Yellow (Vol. 3), each of which is dominant in its own volume. The remaining two volumes, Pastels (Vol. 4), and Black & White (Vol. 5) use the pastel colors, and black as the dominant color showing how various mixtures of the dominant color interact against a spectrum of many other colors, like in the other volumes. The real value is that the colors shown are shown in percentages of each of the four color printing inks, which makes them reproducible. Unfortunately, all of the books are out of print, no doubt due to their limited audience and the original price of [money] per volume when originally published in 1990. Their production was truly an international effort. The books were designed in London, published by a Cincinnati firm, and printed in Hong Kong. They should be published in a new edition for the many new designers and artists who would benefit.

The book above is only one volume of a five volume series. However, if you get this one you will probably want them all. If you are a designer or artist working with colored images on paper produced with printers ink, this out-of-print series of five Colorworks books, Red, Blue, Yellow, Pastel, and Black & White are excellent sources to quickly see how printed colors will interact without either guessing or a whole lot of time-consuming experimentation. The illustrations are systematically layed out to show how tints and shades of the primary colors in various mixtures of the standard colors used in four-color printing, CMYK (Cyan, Magenta,Yellow,and Black & White)actually appear in different quantities---in lines, stripes, circles, blocks, and dots and how they actually interact. Interaction with colored type is also shown. Additional illustrations show how the colors work in photographs and illustrations. Excellent instruction for using black masks to isolate and clearly see the book's color interactions is also included in each volume.
Three of the five volumes are each devoted to one of the primary colors: Red (Vol. 1), Blue (Vol. 2), and Yellow (Vol. 3), each of which is dominant in its own volume. The remaining two volumes, Pastels (Vol. 4), and Black & White (Vol. 5) use the pastel colors, and black as the dominant color showing how various mixtures of the dominant color interact against a spectrum of many other colors, like in the other volumes. The real value is that the colors shown are shown in percentages of each of the four color printing inks, which makes them reproducible. Unfortunately, all of the books are out of print, no doubt due to their limited audience and the original price...per volume when originally published in 1990. Their production was truly an international effort. The books were designed in London, published by a Cincinnati firm, and printed in Hong Kong. They should be published in a new edition for the many new designers and artists who would benefit.

The book above is only one volume of a five volume series. However, if you get this one you will probably want them all. If you are a designer or artist working with colored images on paper produced with printers ink, this out-of-print series of five Colorworks books, Red, Blue, Yellow, Pastel, and Black & White are excellent sources to quickly see how printed colors will interact without either guessing or a whole lot of time-consuming experimentation. The illustrations are systematically layed out to show how tints and shades of the primary colors in various mixtures of the standard colors used in four-color printing, CMYK (Cyan, Magenta,Yellow,and Black & White)actually appear in different quantities---in lines, stripes, circles, blocks, and dots and how they actually interact. Interaction with colored type is also shown. Additional illustrations show how the colors work in photographs and illustrations. Excellent instruction for using black masks to isolate and clearly see the book's color interactions is also included in each volume.
Three of the five volumes are each devoted to one of the primary colors: Red (Vol. 1), Blue (Vol. 2), and Yellow (Vol. 3), each of which is dominant in its own volume. The remaining two volumes, Pastels (Vol. 4), and Black & White (Vol. 5) use the pastel colors, and black as the dominant color showing how various mixtures of the dominant color interact against a spectrum of many other colors, like in the other volumes. The real value is that the colors shown are shown in percentages of each of the four color printing inks, which makes them reproducible....Their production was truly an international effort. The books were designed in London, published by a Cincinnati firm, and printed in Hong Kong. They should be published in a new edition for the many new designers and artists who would benefit.

As a student, this text was incredibly helpful in opening my eyes to the possibilities of glass. I had no idea such methods and techniques are being used all over the world! This will definitely add to my studio practice as well as my scholastic prowess. I am recommending this text to my professor as a required reading for our contemporary architecture course. I think many students would benefit from the breadth and depth of this work.

This book speaks to the evolving landscape of architecture with beautiful images and captions capturing the essence of architecture today. Breathtaking views of colored glass invite the reader while the critical commentary provokes thought and sparks further dialogue. This text is a must read for any aspiring architects, artists, or lovers of the arts. Very clear, beautiful, and evocative.