Quilter or not, Vicki Johnson's techniques will inspire the fiber artist with new ways to express herself. Although the methods were simple, the results are sophisticated. The illustrations of works-in-progress and variations on theme as well as the discussions on problem solving were all quite helpful and well done

I adored this book when I was a kid (some 30 years ago) and since then I have read it out loud to lots of kids -- including groups in hospitals and at libraries. They always love it -- expecially the age 3 to 5 crowd. The illustrations are very simple, but really appealing to kids. It's also a terrific book for beginning readers since the vocabulary is pretty simple.

I highly recommend the Picture This ESL Resource book. I've used the materials to teach all levels and types of ESL, including high school Bilingual Special Ed and ESL for adult Latino baseball players. The pictures are cartoons, but not babyish, so they are suitable for all ages. The materials can be used as the core of a complete ESL curriculum, or unit by unit, to supplement as needed. I wish I had had them when I taught 7th grade Language Arts--they are truly a great resource for vocabulary building and spelling! This product is easy to use and fits well into any lesson plan. Well worth the money because you can literally use it all year.

This is an a very learned book. Want to know about the composition of soils and how they work and affect different kinds of plants? It's here. How the length of the day determins plants' growth--the seasons within the seasons? It's here. How fertilizers were discovered and developed, and how they work? The information here is deep and comprehensive. It's historical, it's scientific... this is not your average "how to garden" book. It will help--if what you want is deeper insight into nature. Unfortunately it's out of print, but you can often fined it remaindered at bookstores, or get it used here on Amazon. It's a great book.

By avoiding the temptation to plug his own firm's work, the author has the freedom to compile a surprising and thought-provoking gallery of design being used to solve real-world problems. The section on design, nation and politics is particularly strong, but throughout there are examples of creative and inspiring design that also does the job. As a bonus, it's engagingly written, entertaining, and well laid out.

A remarkable account of the quest to be heard by an often disparaged group of Americans. The authors deserve praise for their efforts to tell the story of gay and lesbian broadcasting. It is about time this story was told, and Keith and Johnson do it with gusto and authority. Original and compelling read.

Perhaps the most amazing this is that this structure, visible from the Pullman highway, cost less than one million dollars to build. What a bargain when one considers that this building does for the UI what three separate facilities do for WSU if one discounts the differences in the athletic conferences. This slim book details how Trus Joist Corp. of Boise, ID, coordinated engineers and contractors and built the largest indoor college facility in the nation using laminated veneer lumber and the TRUSDEK structural system developed by Trus Joist. Not only that, they did it within ten months after the bid was accepted, completing the project in time for the first home football game. The author, Peter T. Johnson, knows what he's writing about. He was once the CEO of Trus Joist and he writes: "I remember the day in 1974 when the University opened the sealed bids in Moscow, ID. That morning, having experienced many times the bid, award, construct cycle, I felt the customary anxiety that prevails between the offer and the acceptance phases, as one might await a marriage proposal." Of course the bid was awarded and thus begins the union. And like many marriages, there were some interesting dips in the road. Warping due to weather moisture and other causes was a major concern. Finally, the project was completed and dedicated on Oct. 11, 1975. Its name is officially the William H. Kibbe-ASUI Activity Center Dome. Kibbie is a former UI student and was a monetary contributor to the project. Once finished, the Kibbie Dome received recongition in the architecture and engineering fields world wide. Engineering News Record, Architectural Record, Forest Products Journal, Western Building Design, and other major magazines covered the building extensively. Articles about the structure were published in the Japanes and German languages. The project's most prestigious nod came when the American Society of Civil Engineers (ASCE) awarded this impressive structure the ASCE Outstanding Structural Engineering Achievement Award for 1976 beating out a multi billion dollar mall project in New York State. In the last two decades plus, Palouse residents have come to take this awesome building for granted. "Raising the Roof" reminds us that great things can be accomplished with bold ingenuity and very little money, even in this 20th Century. I recommend this book to any and all architect students as well as those interested in local architectural history. Included are several beautiful photographs.

I strongly recommend this book. I first saw this book in abouit 1980 - it is still the very best and most practical book I have ever met for synthesis of the tradtional range of active filters. Contains excellent advice on practical techniques. Covers high, low, band pass plus other designs. Anyone with a basic understanding of electronics can design a working filter of their choice in minutes.

Part master craftsman, part zen-master. Part philosopher, part clown. This book deserves five stars because of its subject: Ray Johnson. Finally the world is treated to a decent monograph about this very important American artist and that is reason enough to run out and buy it while it's still on the shelves. Who knows how long it will stay in print. Every few years Johnson rises and falls from the public eye, always flittering in the collective unconscious of the world's cognoscenti. One either loves him or hasn't heard of him, but this screed underlines his importance once again. Better grab a copy while you can.

How important is Ray Johnson? He was one of the one of the first Pop artists. Perhaps the VERY first. He was one of the first Happenings/performance artists. Perhaps the VERY first. (He called them Nothings.) It is certainly obvious from the pictures in this book that Johnson was an important link if not THE MOST important link between Abstract Expressionism and Pop Art. But like Al Gore, Johnson's greatest contribution may be that he invented the Internet. Johnson really did it though-analogue style, with the help of the US postal system--stuffing paper fragments and found objects into envelopes, creating a non-linear, international communications system in the 1950s, a good five decades before anyone heard of the World Wide Web.

But not many have heard of Ray Johnson either. So what makes a book on him a must-read, must-see, must-own for anyone- not just those interested in art? Because this book is a journey into Johnson's unique world that will turn your own upside down. His intricate, witty, masterful work, printed here gorgeously in eye-popping color by Flammarion, the publishers, who deserve credit for their outstanding craftsmanship, will rise off the glossy pages and beckon you, the unsuspecting reader, to learn more. Johnson's art- both his collages and his mail art- can sometimes look out-of-control and over-the-top but a closer look reveals the steady craftsmanship and solid foundation that provides its strength and reveals, instead, that Johnson wasn't over-the-top but rather on-the-cutting-edge and remained there throughout his life. And what appears out-of -control is really one-of-a-kind thinking that gives the phrase "outside-the box" a whole new meaning. What I'm stressing here is that the printing job does it justice. Johnson was fully alive and so are the documents pictured in this book. Hang out with this book and you'll never see the world in quite the same way again.

I do beg to differ with the selection and sizing of the images... some that are reproduced large could have been small and vice versa. But Flammarion's obvious attention to detail in the printing process reproduces Johnson's delicate use of line and color admirably. I'm sure it was no easy task to translate the subtleties of his work to the book format. And an added bonus is the typography. The chapter headings are mechanically (if not digitally) reproduced doppelgangers of Johnson's calculating yet childlike lettering strategies.

Thus I recommend this book because it is the first major work on Johnson and while it won't be the last, it's a good start. So beat the rush. Get in while you can. The man was a genius. Another reason to buy the book is Johnson's priceless interview with Henry Martin in which many nuances of Johnson's quirky, clever modus operandi come through. So the late Ray Johnson himself has made this book something you've got to see. The rest isn't exactly fluff-- there are essays here by some very knowledgable people-- but if you buy this tome for the interview and the pictures, the rest is guaranteed to be delicious icing on the cake.

Is it perfect? No. Curator Donna De Salvo gets several things wrong in her introductory bio. For instance, she mentions in passing that Ray and Andy Warhol knew each other because of their graphic design work. Hello? They were good friends in the early 60's- before Andy hit it big and Johnson made his correspondence "school" official. Their relationship was important to the development and careers of both men. Andy became Andy and Ray became "the most famous unknown artist in the world." A glaring error, one of many, but at least DeSalvo had the sense to spend a few years of her life putting this project together. This book draws on much of the material that was in her show at the Whitney Museum but it is largely supplemented with work from Johnson's estate.

The artist presumably suicided in 1995 after jumping off a bridge near the east end of Long Island, New York. Johnson's mysterious death is not addressed much here and that is both a disappointment and a missed opportunity but the images in the book do bring to the fore many interesting "correspondences" with that event that make it indispensable reading for anyone who wants to explore that angle.

Archivist Muffet Jones has cobbled together a chronology that is a wonderful factual starting point, a notable gift to all future art and pop culture historians that will no doubt be added to and tweaked for years to come. Johnson's principal collector, William S. Wilson, contributes a valuable deconstruction of a rare Johnson manuscript, shedding light on the artist's arcane thought processes. Lucy Lippard finally chirps in with a follow-up to the single sentence she wrote about Johnson in her "Six Years" book on conceptual art over 30 years ago. She seems to have finally come to understand what is so important about Johnson and how his position in art history needs to be re-jiggered. (Johnson was doing conceptual art from the very beginning while always remaining delightfully unclassifiable.) Sharla Sava's essay on Johnson's 1970 mail art show at the Whitney Musueum in New York similarly begs the question "why have most people NOT heard of Ray Johnson?" She makes new connections and smart observations that provide fresh clarity.

This book is sure to change Johnson's status. There are several other essays and each does its best to illuminate the scintillating yet murky world of Ray Johnson, packed to the gills with synchronicity, serendipity and and good pop fun. Be the first on your block to buy it. Then, to be like Johnson, you could cut it up mail it to your friends.

I purchased this book with the intention of building my own saddle. This book provides detailed step by step photos and explanations in the saddle building process. I admit I had to read it multiple times before attempting my saddle and I also referenced it during the construction phase. It was an invaluable resource and I recommend it to anyone who has the interest to build their own saddle as I did.