Phillips Books

Young Snowflower lives with her grandmother, Dame Frostyface, in a little cottage at the edge of a forest. The two are very poor, and own only a cat, two hens, a bed of dried grass, and one good piece of furniture: "a great armchair with wheels on its feet, a black velvet cushion, and many curious carvings of flowers and fawns on its dark oaken back."

One day, Dame Frostyface leaves to visit her aunt, and asks Snowflower to remain behind. She tells the girl that the fancy armchair was made by a cunning fairy, and that it is enchanted. If Snowflower should feel lonely, she should lay her head gently on the cushion of the armchair and say, "Chair of my grandmother, tell me a story. Should Snowflower have the occasion to travel, she should sit in the chair and say, "Chair of my grandmother, take me such a way."

After an interval of solitude, Snowflower's food stores are nearly depleted, so she decides to travel in the armchair along the same path her grandmother took. While journeying, she hears that King Winwealth plans to give a seven day feast to celebrate the birth of his only daughter, Princess Greedalind. Snowflower, who is quite hungry, wishes to share in the feast, and travels to the palace in the enchanted armchair.

Since the disappearance of his brother, Prince Wisewit, King Winwealth has been an unhappy ruler, especially since his marriage to the covetous and disagreeable Queen Wantall and the birth of their unpleasant child. The King's low spirits prompt his favorite page to suggest that Snowflower's chair might provide some diversion, so she and the chair are summoned to the banquet each evening to entertain the king.

Each evening, the chair tells a different story until a total of seven stories are told: "The Christmas Cuckoo", "The Lords of the White and Grey Castles", "The Greedy Shepard", "The Story of Fairyfoot", "The Story of Childe Charity", "Sour and Civil", and "The Story of Merrymind". As each consecutive evening passes, the king's depression lifts and Snowflower's situation improves, until all of the stories end happily together.

This wonderful collection of creative and pleasing stories will entertain fairytale enthusiasts of all ages.

Frances Browne, the author of this enchanting and original collection of fairy tales lived between 1816 and 1879. She was blinded by smallpox when she was a baby and so all of the vivid descriptions in this charming book are from her own memory of the tales that she heard as a child and from her colorful imagination. In 1904 Frances Hodgson Burnett wrote an introduction for a new edition of the book because as a little child she had won a copy of it as a prize for good behavior in school. It became her favorite book but was lost to her over the years. She searched high and low for it and it eventually surfaced in Boston and again in a second hand shop in London. This edition contains the introduction by Burnett that is certainly an added treat. It is brilliantly illustrated by Switzerland's Gisele Rime with her characteristic bright colors and whimsical decorative borders. Unlike other collections of fairy tales these are completely original and bring us new characters and plots with gentle moral lessons. The fame of Frances Browne may not approach the Grimms or Andersen but the beauty and cleverness of her tales will enchant and delight you just the same. Curl up in Granny's wonderful chair, snuggle close and follow the stories of Fairyfoot and Childe Charity, Prince Wisewit and Merry Mind. Meet the Lords of the White and Grey Castles. This is a grand experience not just a good book.

Do you remember visiting Grandma as a child? Perhaps snuggling into her favorite chair when you were too tired to possibly do anything else? Do you recall the comfort, the smell, the feel, the total release of 'Grandma's' chair? This was one my of favorite 'escape' books as a child. I would curl up in 'Granny's Wonderful Chair' and be transported to many a wonderous place. I have searched for many years for this title, and was so excited to see it unearthed for republishing! We will be reading it aloud as a family now. Granny's Wonderful Chair is a great addition not only to your library, but to you and your children's memory's as well!

I bought the Sixth Edition during my last semester in college and found information not told in my art/design classes. This is a packet that you can easily turn to for a quick reference on print preparation and production. During the past two years, I've mainly worked on web projects and now started to do print work. Graphics Master is a BIG help. GET IT when you see find a chance. The Eight Edition may be out soon. No other books out there offer the information bundled in this packet; from listings of over 1200 fonts, type weights, copyfitting charts, swatches, binding info. and etc. It's a gold mine! This is one of the main components you will need throughout your design career.

With all the attention on the World Wide Web these days, it is easy to overlook the continued importance of the world of printed matter. With the domination of computer-based production, it becomes all too easy to believe that the computer is the only tool necessary for making graphics "happen". But the computer is but one component in a chain of problem-solving and production planning activities. Knowing how to make compelling art and design is one thing, but what do you do with the content after your brainstorm? How will you plan to use your creations in any given production format? This essential reference contains a wealth of just this sort of information, and belongs on every designers' bookshelf. Most of my students are amazed at the amount of information in this book - they always learn something new that was never covered in school. A thorough working knowledge of the subjects covered in Graphics Master 6 can make the difference between being regarded as a "junior" designer, or being regarded as a well-rounded, experienced professional. Even if your world seems to only include designing for on-screen media, there is a lot to gain from browsing through this reference work. I am frankly amazed at the growing number of "so-called" graphic designers who don't know much of anything contained in these pages, and I don't know how they will be able to be considered true professionals in the world of creative design and production.

With all the attention on the World Wide Web these days, it is easy to overlook the continued importance of the world of printed matter. With the domination of computer-based production, it becomes all too easy to believe that the computer is the only tool necessary for making graphics "happen". But the computer is but one component in a chain of problem-solving and production planning activities. Knowing how to make compelling art and design is one thing, but what do you do with the content after your brainstorm? How will you plan to use your creations in any given production format? This essential reference contains a wealth of just this sort of information, and belongs on every designers' bookshelf. Most of my students are amazed at the amount of information in this book - they always learn something new that was never covered in school. A thorough working knowledge of the subjects covered in Graphics Master 6 can make the difference between being regarded as a "junior" designer, or being regarded as a well-rounded, experienced professional. Even if your world seems to only include designing for on-screen media, there is a lot to gain from browsing through this reference work. I am frankly amazed at the growing number of "so-called" graphic designers who don't know much of anything contained in these pages, and I don't know how they will be able to be considered true professionals in the world of creative design and production.

Whether your interest is home theater, or movie palaces from the 1920's and 30's, Great Escapes is sensational!
Once I opened it, I couldn't put it down and trust me with 204 pages loaded with 140 color photos of breathtaking architectural eye candy, this book will demand your focus.
Kalomirakis brings the elegance of yesteryears movie palaces home with the help of writers Steve Castle, Dean Koontz and photographer Phillip Ennis.
You can truly see Kalomirakis' love for the big screen in the architectural details he adorns his private cinemas with. No details are spared in Kalomirakis' work from neon marquees and ticket booths welcoming visitors to his theaters to opulent lobbies adorned with domed mural ceilings and snack bars and timeless columns.
A few times while reading this book, I had to remind myself that the featured theaters I was viewing were in someone's personal residence.
I have to say my personal favorite theater in this book was created for author Dean Koontz called "The Moonlight." Koontz also has an introduction in the book.
Even though most of the theaters in this book take up more square footage than the average persons home. And even though theaters designed by Kalomirakis are beyond the financial means of most people, this book can serve as inspiration for those that want to bring home the silver screen on a lesser budget and do it in style.
Theo Kalomirakis' newest book Great Escapes definitely brings home the look of the movie palaces of yesterday.

Lavishly illustrated with one hundred gorgeous color photographs by Phillip Ennis, Great Escapes: New Designs For Home Theaters By Theo Kalomirakis by Steven Castle presents extravagant designs for "media rooms" in private homes. These are specialized entertainment oriented rooms set aside to take full advantage of surround sound, acoustics, and visual appeal to bring forth the same quality experience as visiting a theater. Great Escapes showcases the work of interior designer Theo Kalomirakis as it artfully presents his work in creating home theaters of celebrities such as Dean Koontz, Eddie Murphy, Roger Ebert, and others in this unique source of enduring ideas.

This is a book to die for. The photography is amazing, the architecture out of this world and what Theo Kalomirakis does for his lucky clients will blow you away. I am already wearing out my copy and I only have had it for two days.

What is tragedy and how does it work? These are questions you will understand better after reading this book. Set sometime in the second half of the 19th century, the story concerns the fortunes of the Gourlay family in the small Scottish town of Barbie. John Gourlay, a big, domineering, but intellectualy challenged man dominates the local economy and has a monopoly of the carrying trade. He is harsh and powerful, of bull-like stature, and famous for his glower. On a brae overlooking Barbie he has built the House wIth the Green Shutters. This house is both the symbol of his dominance and an object of hatred and envy to the townsfolk.

Aristotle defined tragedy as a story depicting the downfall of a great man. At first it is hard to see this stupid, cruel, and grasping merchant as a great man, but The House With the Green Shutters will also improve your notions of what greatness is. John Gourlay is great because there is no fear or compromise in him. Although he may wish to be well thought of by the small-minded, two-faced gossips of the town, he is not prepared to go one inch out of his way for them, scorning even the banal pleasantries of small talk or phatic communication. He wants only their respect not their love, and respect him they do even though they also hate him.

With all true tragedy the tragic element comes directly from the greatness. It is his greatness that destroys John Gourlay. His stubborn pride and unflinching courage are qualities more suited to some heroic age of battles and revolutions. They do not fit into the petty, hypocritical world of 19th century Scotland. In this unheroic world his heroic qualities can only work towards his downfall. The thought constantly in one's mind as you read this novel is, 'If only he were a lesser man . . .' His inability to compromise by lowering himself to the same level as his fellow citizens, works to his disadvantage. Unable to plot, maneuver, and dissemble, his little empire is soon undermined by the arrival in town of Wilson, a glib self-seeking nobody with no real passion, but a much abler businessman in tune with the times. Affable and manipulative, false and corrupt he starts to squeeze Gourlay out of one thing after another. This is ,in effect, the triumph of style over substance that so bedevils our modern age. Although grim, proud and dour, Gourlay is an honest man, inept at chicanery, and unable to bend to suit the occasion.

The House With the Green Shutters is a tragedy in the full classical Greek sense of the word; the preordained fall of a hero who doesn't fit into an unheroic world; a great bull sacrificed to appease the Gods for human hubris. It is even more poignant from the fact that its keynote of tragedy was reflected in the life of its young author who had the misfortune to die only one year after writing such a masterpiece.

What is tragedy and how does it work? These are questions you will understand better after reading this book. Set sometime in the second half of the 19th century, the story concerns the fortunes of the Gourlay family in the small Scottish town of Barbie. John Gourlay, a big, domineering, but intellectualy challenged man dominates the local economy and has a monopoly of the carrying trade. He is harsh and powerful, of bull-like stature, and famous for his glower. On a brae overlooking Barbie he has built the House wIth the Green Shutters. This house is both the symbol of his dominance and an object of hatred and envy to the townsfolk.

Aristotle defined tragedy as a story depicting the downfall of a great man. At first it is hard to see this stupid, cruel, and grasping merchant as a great man, but The House With the Green Shutters will also improve your notions of what greatness is. John Gourlay is great because there is no fear or compromise in him. Although he may wish to be well thought of by the small-minded, two-faced gossips of the town, he is not prepared to go one inch out of his way for them, scorning even the banal pleasantries of small talk or phatic communication. He wants only their respect not their love, and respect him they do even though they also hate him.

With all true tragedy the tragic element comes directly from the greatness. It is his greatness that destroys John Gourlay. His stubborn pride and unflinching courage are qualities more suited to some heroic age of battles and revolutions. They do not fit into the petty, hypocritical world of 19th century Scotland. In this unheroic world his heroic qualities can only work towards his downfall. The thought constantly in one's mind as you read this novel is, 'If only he were a lesser man . . .' His inability to compromise by lowering himself to the same level as his fellow citizens, works to his disadvantage. Unable to plot, maneuver, and dissemble, his little empire is soon undermined by the arrival in town of Wilson, a glib self-seeking nobody with no real passion, but a much abler businessman in tune with the times. Affable and manipulative, false and corrupt he starts to squeeze Gourlay out of one thing after another. This is ,in effect, the triumph of style over substance that so bedevils our modern age. Although grim, proud and dour, Gourlay is an honest man, inept at chicanery, and unable to bend to suit the occasion.

The House With the Green Shutters is a tragedy in the full classical Greek sense of the word; the preordained fall of a hero who doesn't fit into an unheroic world; a great bull sacrificed to appease the Gods for human hubris. It is even more poignant from the fact that its keynote of tragedy was reflected in the life of its young author who had the misfortune to die only one year after writing such a masterpiece.

In his story of the downfall of an arrogant and essentially stupid man, George Douglas Brown is relentlessly unsentimental. His portrait of life in a tiny Scottish town in the late 1800's leaves the reader with no illusions about the narrow-mindedness of the inhabitants. Bleak as their existence is, the novel is not depressing, but fascinating. While many readers will have trouble with the dialect of the speakers (the narration is standard English), the effort required to "translate" is well rewarded.

This book gives principles aiding in unlimited success and personal elevation. Though the book is written on a level that would cause no confusion, each word written is powerful. I've read sections more than once and received new revelations each time. The fact that the way we see ourselves determines how others see us, is profound. I encourage you to purchase this book. It will change your life.

ANY ONE CAN FIND HELP IN THIS BOOK, FORM PEOPLE WHO ARE DEALING WITH CHILDHOOD WOUNDS, TO THE PERSON JUST NEEDING TO GET ORGANIZED AND FOCUSED IN ADULTHOOD. THIS BOOK TEACHES YOU HOW TO TAKE BACK CONTROL OF YOUR LIFE BY SHOWING YOU HOW TO GET PAST LIFE'S TRIALS AND MOVE ON TO A BRIGHT AND PROMISING FUTURE.

As the author of this book, is it possible to get some information about the reviews and movement of this book.

I would greatly appreciate it.

Dr. Charles Phillips
Author
"How to Develop A Success Mentality"

I always feel for training folks. They do important work that, when done well, truly adds value to the corporation. However, when good things happen, the credit stays closer to those who did the work rather than with those who helped them learn how to do it. Then, when times are tough, the hatchet chops closer to things like training than it does to the place where the ball was actually fumbled.

There are many books that try to help training programs justify their existence and quantify their value to the corporation. Of those I have read, I think this one comes closest to having a workable and solid program for capturing the value training creates.

I also like the sensible approach the authors take to the cost and time such measurement programs take. So, there are programs of short duration and of limited value that require one kind of measurement (maybe just smile sheets) where other, expensive, long, and strategic programs really are intended to produce long term value. You need to measure its effectiveness so you can document the value your training program added to the company.

The authors have a five level process for information. Levels 1 & 2 are the things you collect during training. Levels 3 & 4 are collected (and measured) after training. Level 5 is calculating the return on investment by using the information collected in levels 1-4 plus their monetary values and the collection of cost data.

I like their emphasis on reliable data, conservative estimates, and hard numbers.

Reviewed by Craig Matteson, Ann Arbor, MI 48103

very practical information. Gave very easy steps to follow and easy to implement. Reinforced that training can be measured.

Jack J. Phillips' has been writing several books on assessing the impact of training and his latest book, co-authored with Ron D. Stone, is among the best ones, it is indeed a very good introductory book on evaluating training.
The more experienced training practitioner, who may have been using Kirkpatricks 4 levels, will also get a lot out of the book. It adds tools to Kirkpatricks levels but it also completes the Kirkpatrick model by adding a fifth lev, a ROI analysis. However, not everything may be measured in $ so the authors also include some ideas on how to present intangible assets in the reports.

A lot of the concepts have been presented in previous books, but here they are taken a step further when the authors give examples from their long experience within the field. Downloadable forms, worksheets, and checklists (at the publishers website!!), that may be adapted to various needs is a definite valuable add-on for practitioners who do not have an urge "to do it all on their own".

The book starts off with taking a look at the need for measurement and evaluation and presents the ROI-process as a framework for 6 types of measures, (Kirkspatricks' 4, the ROI and intangible assets). Then all levels, possible measurements etc are presented throughout the book, finishing off with key implementation steps. It is all wrapped in the ROI-process, a step-by-step "receipe" for planning, building and implementing the evaluation process.

So when the top management want to know if a training program is worth the money . . .
Reading the book may get you on the track. It may help you talk the language of Money a way that senior management understands.
This is in addition to building better programs.

I have read many articles and books on this topic. While most books cover the evauluation levels defined by Kirkpatrick, this book goes one step further by providing lots of practical examples on how to actually evaluate training at each level. Every page contains at least one useful tip!

This book is so well organized and visually designed that you can't help but understand the basic concepts of photography. I recently started taking pictures for the first time in years. My husband has taken years of photography class using a manual operated camera. I can now take photographs that are just as good as his with my digital because I understand the concepts so nicely laid out in this book. I'm a teacher and I give the author an A+++ for his work!

I loved this book. It teaches advanced photographic techniques in an easy, understandable manner. The author concisely shares his expertise and simplifies the photographic process to four easy to follow steps.

This is the most informative, uncomplicated, instructional little guide book about photography I have ever read. With a touch of humor and simplicity, Jerry Hughes teaches the wannabe photographer how to be creative with any camera. He knows his art, and he knows how to instruct!

If you are looking for a book that actually SHOWS pictorial work in color, this is the one to buy. It has an incredible number of images of all the greats. It is 100% a "must have" for the photography shelf--and I share no connections to the author/editor/company.

I was lucky enough to see the once-in-a-lifetime exhibit for which this book is the catalog, and for that alone it is outstanding. The Pictorial movement produced some of the finest photographs by some of the greatest masters ever to pick up a camera. Impressionist Camera does a great job explaining the motiviations, tribulations and triumphs of the likes of Steichen, Kasebier and Coburn. This loving and detailed examination of the genre makes a great addition to the library of any fine art photography practitioner, collector or historian. A good companion work is Steichen's Legacy

Pictorial photography flourished at the turn of the 20th century and crossed genres, styles and international borders as it produced celebrated artists and fostered artistic change. Here to celebrate these changes is Impressionist Camera: Pictorial Photography in Europe, 188-1918, a narrowed focus on European community photography approaches. Selections consider how photographers created unique works and visions, how they influenced on another, and how they contributed to the fusion and symbolism of pictorial photography as a genre. This book represents the first comprehensive country-by-country examination on the topic and draws together contributions by an international team of art and photography scholars and historians. Sepia and black and white photos throughout capture the creations and sentiments of the era.

Diane C. Donovan
California Bookwatch

I was surpised to learn new information that Manet made still lifes with the same-like object used in Chardin's paintings. They were arranged differently or presented in a different manner. There is infomation you cannot obtain when visiting exhibits or museums. It is hard to put the book down once you start reading. This is the first still life book on impressionism I have ever seen. And, it gives more information on still life in general. I am a professional artist and have felt still lives were boring and couldn't really get into them. Because this book excited me to look at still lives and do them, it deserves and 5-star rating.

Impressionist Still Life showcases more than 80 masterworks of still-life painting by seventeen Impressionists working in the latter half of the nineteenth-century. The featured artists include Cezanne, van Gogh, Monet, Cassatt, Degas, Manet, Renoir, Pissarro, Caillbotte, and Gauguin. Impressionist Still Life is the companion book to a traveling exhibition currently touring the United States beginning with The Philips Collection, Washington, DC (September 22, 2001 - January 13, 2002) and then traveling to The Museum of Fine Arts, Boston (February 17 to June 9, 2002). A strongly recommended addition to academic, personal, and community library artbook collections, the superbly reproduced paintings comprising Impressionist Still Life are enhanced with informative essays by noted art scholars Eliza Rathbone (Phillips Collection); George Shackelford (Museum of Fine Arts, Boston); Jeannene M. Pryblyski (independent art historian and critics based in San Francisco); John McCoubrey (University of Pennsylvania); and Richard Shiff (University of Texas, Austin).

This book is just gorgeous! The essays are interesting and engaging and the plates are beautiful. Besides the most well known impressionists, you will find an Eva Gonzales, and BEST OF ALL--GUSTAVE CAILLBOTTE!! Buy it, you will not be disappointed.

Many of the techniques used in this book's hardware/software waterfall project to make it succeed, are also used in agile software development to help them succeed. People skills, frequent feedback, keeping in touch with reality. I loved the humor and compassion exhibited by the authors. I recommend this to practitioners of Scrum, Extreme Programming, and other agile methods to provide a perspective on a real-life waterfall project and problems common to all development projects.

Excellent material, well written and cogently organized. Reads like a Steve McConnell book, but at a more general "Project Management" level instead of "Software Project Management". Loaded with funny (in hind sight *grin*) stories that make the major points very memorable.

I related to many of the stories (they read very much like AntiPatterns), and I gained important insights into a current critical project -- which is having immediate positive impact on my current planning and actions.

Very glad I read this book in time.

Strongly recommend this book for current and future project/program leaders!

"It Sounded Good When I Started" sounded equally good when I finished reading it.

This is a book about project management, not as it should be, but as it is: confused, satisfying, creative, mundane, exciting, demanding and chaotic. Built around the authors' adventures with a real, large scale project named Delphi, one feels as if she/he is working with the them and their very human cohorts as they cope with problems of enormous complexity.

The chapter titles themselves should give a flavor of the book:
"Digging Yourself into a Hole,""Going Where Angels Fear to Tread: There Is No Right Way to Do the Wrong Thing," and "A Charlatan in Expert's Clothing: Writing a Lie - The Proposal..."
being typical examples.

Each chapter concludes with "clinical" phrases such as, "The Dog Ate My Plan" or "I Wasn't Involved," that serve as warnings, in everyday language, that something is amiss. The warnings are then followed by very useful "bullets" that suggest ways for coping with the "dog" or the excuses one gives for his/her participation in a phase of the project that ended in failure.

A highly readable book, it should be of interest to all people who are engaged in project management, whether the project involves creating a piece of multi-million dollar electronic equipment or planning a extended family reunion of relatives who are ambivalent about getting together.