Selasa, 30 Agustus 2011

[N777.Ebook] Download PDF The Practical Handbook of Compost Engineering, by Roger Tim Haug

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The Practical Handbook of Compost Engineering, by Roger Tim Haug

The Practical Handbook of Compost Engineering presents an in-depth examination of the principles and practice of modern day composting. This comprehensive book covers compost science, engineering design, operation, principles, and practice, stressing a fundamental approach to analysis throughout. Biological, physical, chemical, thermodynamic, and kinetic principles are covered to develop a unified analytical approach to analysis and an understanding of the process. A brief history of the development of composting systems, which leads to descriptions of modern processes, is presented.

The Practical Handbook of Compost Engineering also discusses the elements of successful odor management at composting facilities, including state-of-the-art odor treatment and enhanced atmospheric dispersion. The book is excellent for all engineers, practitioners, plant operators, scientists, researchers, and students in the field.

  • Sales Rank: #292091 in Books
  • Brand: Brand: CRC Press
  • Published on: 1993-07-23
  • Original language: English
  • Number of items: 1
  • Dimensions: 10.00" h x 1.56" w x 7.01" l, 3.20 pounds
  • Binding: Hardcover
  • 717 pages
Features
  • Used Book in Good Condition

Most helpful customer reviews

6 of 6 people found the following review helpful.
Excellent technical reference
By Mr. Tony R. Kuphaldt
This is a truly unique book. It brings a strong technical and industrial perspective to an ancient practice: composting organic waste. Filled with practical examples of large-scale composting systems from municipalities and industrial facilities, Haug provides a wealth of information for anyone seeking to implement composting on an large scale.

One of the things I really appreciate about Haug's style and presentation is how he does not take basic theoretical matters for granted. For example, he spends an entire chapter (3) on the fundamentals of thermodynamics, including one of the clearest explanations of the Second Law of Thermodynamics I've ever read. As a teacher, I am a firm believer in the value of review: even for those who know these basic principles well, there is merit in explaining them over especially when placed in a context (in this case, aerobic decomposition of organic matter) that is different from what one might encounter in a typical basic chemistry text.

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Rabu, 24 Agustus 2011

[X598.Ebook] Get Free Ebook Feynman's Rainbow: A Search for Beauty in Physics and in Life, by Leonard Mlodinow

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Feynman's Rainbow: A Search for Beauty in Physics and in Life, by Leonard Mlodinow

Some of the brightest minds in science have passed through the halls of the California Institute of Technology. In the early 1980s, Leonard Mlodinow joined their ranks to begin a postdoctoral fellowship. Afraid he was not smart enough to be there, despite his groundbreaking Ph.D. thesis, he took his insecurities to Richard Feynman, Caltech’s intimidating resident genius and iconoclast. So began a pivotal year in a young man’s life. Though a series of fascinating exchanges, Mlodinow and Feynman delve into the nature of science, creativity, love mathematics, happiness, God, art, pleasures and ambition, producing a moving portrait of a friendship and an affecting account of Feynman’s final creative years.

  • Sales Rank: #227218 in Books
  • Published on: 2011-11-29
  • Released on: 2011-11-29
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.00" h x .57" w x 5.16" l, .46 pounds
  • Binding: Paperback
  • 192 pages

From Publishers Weekly
The late Nobel laureate Richard Feynman has been virtually canonized as the People's Physicist-an earthy, bongo-playing free spirit who delighted in puncturing the pomposity of the establishment. In this memoir, by ex-physicist and Star Trek writer Mlodinow, of a stint as a post-doctoral colleague of Feynman's at Caltech, the aging physicist still cracks wise, crashes parties, works on his physics at a strip joint and needles stuffed-shirt academics. Mlodinow was something of a Feynman-esque character himself-he liked to smoke pot with the garbage man next door and was working on a screenplay-so he turned to the older scientist for life lessons. And that's where this otherwise engaging book goes wrong, because, truth be told, Feynman was at his best only when talking about physics. Mlodinow taped many of their conversations, and transcribes them at length here, to the book's detriment. Feynman holds forth on the creative process, art and modern novels ("The few that I've looked at, I can't stand them"), but as far as insights go, platitudes like "Remember, it's supposed to be fun" (a thought inspired by the titular rainbow) are about as good as it gets. Fortunately, Mlodinow's accessible style manages to convey Feynman's cantankerous appeal as well as some of the weirdness of theoretical physics without overtaxing lay readers, while his deft, funny, novelistic portraits of its practitioners, like the (as portrayed here) toweringly pretentious and touchingly human Nobelist Murray Gell-Mann, bring this seemingly gray sub-culture to vivid life.
Copyright 2003 Reed Business Information, Inc.

Review
“An accessible portrait of a brilliant man.” —Stephen Hawking, author of A Brief History of Time

“A very unusual memoir of a very unusual author’s revealing encounters with a very human legend.” —The Dallas Morning News

“This is a sweetly entertaining book about the weird, but engaging, world of physics. . . . Young scientists will find solace and perhaps inspiration here.” —American Scientist
 
“Mlodinow’s tribute to the man is set against an amusing, nicely drawn backdrop of campus life, and fleshed out with a very readable account of string theory, which developed into the most promising breakthrough of the century in theoretical physics.” —The Independent (London)
 
“Mlodinow’s accessible style manages to convey Feynman’s cantankerous appeal as well as some of the weirdness of theoretical physics without overtaxing lay readers, while his deft, funny, novelistic portraits of its practitioners . . . bring this seemingly gray sub-culture to vivid life.” —Publishers Weekly
 
“An exhilarating book . . . one that reflects the radiance of its subject and so warms as it instructs.” —David Berlinski, author of One, Two, Three: Absolutely Elementary Mathematics
 
“Mlodinow thinks in equations but explains in anecdote, simile, and occasional bursts of neon. . . . The results are mind-bending.” —Fortune

About the Author
Leonard Mlodinow received his doctorate in theoretical physics from the University of California, Berkeley, was an Alexander von Humboldt fellow at the Max Planck Institute, and now teaches future scientists at Caltech. His previous books include War of the Worldviews (with Deepak Chopra); the two national bestsellers The Grand Design (with Stephen Hawking) and The Drunkard’s Walk: How Randomness Rules Our Lives, which was also a New York Times Notable Book and was short-listed for the Royal Society General Prize; and Euclid’s Window: The Story of Geometry from Parallel Lines to Hyperspace. Along the way he also wrote for the television series MacGyver and Star Trek: The Next Generation.
 
www.its.caltech.edu/~len

Most helpful customer reviews

33 of 36 people found the following review helpful.
Entertaining
By Shashikiran Kolar
Well, this book makes an evening of good reading. Feynman fans would instantly identify with his vintage mannerisms such as scorn for psychology and philosophy, showmanship and his wonder of nature. It contains Feynman's views of how a scientists life should be, how he must go about choosing problems and the emphasis that he must lay on his belief of his capabilities and the problems tractability.
But, more than all the above, this book is about the authors struggles with high expectations. He portrays the emotional lows that graduate students and fresh graduates undergo when they step out to the real world. It tells you that no matter how smart you are, which school you went to, or the quality of work you produce, there would always be moments of self doubt. Feynman himself faced such fallow times more than once, even after he won the Nobel.
Surprisingly, the author does not mention that Feynman went through exactly the same dilemma when he got out of Los Alamos. He was being offered positions with high salary from Berkeley, Institute of Advanced Study, Cornell etc. Feynman felt that he did not deserve these posts as he would not produce any good work any more in his life. How he got over this feeling is a wonderful story in itself.
Overall, I guess the book is worth buying if you are interested in the life of a scientist in general, especially a young one.

31 of 34 people found the following review helpful.
Advice to a Young Physicist
By Rob Hardy
There were plenty of famous physicists in the twentieth century, but none as endearing and downright funny as Richard Feynman. If you have ever read his wonderful memoir _Surely You're Joking, Mr. Feynman!_, you know plenty about the humorous side of the serious physicist, the man who originated quantum electrodynamics as well as plenty of other accomplishments within his field, to say nothing of playing the bongos. Now there is an unusual memoir, a tribute from a young physicist who came within Feynman's orbit at Caltech in the early 1980s. _Feynman's Rainbow: A Search for Beauty in Physics and in Life_ (Warner Books) by Leonard Mlodinow gives us another snapshot of Feynman, which would always be welcome, but this one is special. Mlodinow was starting up to be an academic physicist, and got to get advice from Feynman on the task, as well as on what is important in life. Mlodinow presciently taped many of the sessions, and got around to transcribing them only recently. Feynman has lots to teach us still, even if we aren't physicists.
Part of the attraction of this little volume is that while it is about Feynman, it is also about Mlodinow's discomfort as a whiz kid brought in to work at Caltech. He was glad to get the appointment, but also intimidated. "These people at Caltech might actually expect something of me." He didn't know how to start, and floundered for months, until he decided to talk with Feynman, just down the hall, about what he thought about string theory. "Look," Feynman said dismissively, "If you really believed in string theory, you wouldn't come here asking me. You'd come here _telling_ me." The lesson was, find something you believe in and go to work. In Feynman's view, it wouldn't do to work on just anything. If you weren't working on something beautiful, and something you believed in, then the work wouldn't be fun. And fun was essential: "For me, physics is more fun than anything else or I couldn't be doing it." Feynman isn't the only curious character in this memoir. Next door to Mlodinow's office is another Nobel winner, Murray Gell-Mann who had brought the unifying theory of quarks to subatomic particles. John Schwarz, working alone for many years, finally brings out string theory. Stephen Wolfram appears, before "Mathematica" and his own rewrite of science, to eat a pound of rare roast beef. There is also a good deal of science in the book, a brief summary of where physics stood at the end of the millennium.
Mlodinow had a hobby of writing during the time, writing screenplays, which some of his fellow physicists must have thought beneath him. Feynman didn't influence him directly to go into writing, but at least partially because of Feynman's teaching about going after the work that is fun, he wound up writing rather than doing physics. He left Caltech to write an acclaimed history of geometry, and even scripts for _Star Trek_. It is obvious he absorbed the lessons he has generously shared with us in this amusing book, for he left Caltech hoping that he could do something Feynman would admire. "And then I thought, no, even better, I hope that someday I will write something that I would admire." Very nice work, Mr. Feynman.

14 of 14 people found the following review helpful.
Feynman on Life and the Joy of Physics
By Cassey Lee
Richard Feynman and Gell-Man Murray are two towering figures in 20th Century Physics. The book begins with the writer's arrival at Caltech as a fresh postdoc with a PhD from Berkeley in the 1980s. In this little autobiographical book, the author writes about his experiences at Caltech focusing on his interactions with Feynman and Murray - their characters and rivalry. Physics take a back seat in this book. Instead, the author attempts to tell a very human (and sometimes sad) story about himself, Feynman and Murray. I find this book interesting for two reasons. First, the author shares his experience about the insecurities that many PhD graduates have about their ability to do meaningful research work after the PhD (especially when one's PhD work was considered important enough to land a Caltech postdoc). Second, it provides a few glimpses of what Feynman and Murray were like at close range - human beings observed on a daily basis (and at their natural habitat). Overall, I cannot help but get the feeling that Feynman comes across as a more 'humane' person than Murray in this book. The writer doesn't apologize for his bias towards Feynman and he does gives examples of Murray's generosity (e.g. his support and belief on Schwartz who toiled for years with the String Theory). He repeatedly emphasizes on the different styles and outlook (life philosophy) of Feynman and Murray. Feynman is more interested in interesting problems and derives tremendous joy from doing physics. Murray, the smart one who revels in demonstrating his diverse knowledge. At the end, the writer favours Feynman's approach to life partly because of his own interests and inclination - towards writing. For it was Feynman who advocated the pursuit of things that truly brings joy. This is a book that would interest readers who enjoy reading about the lives of eminent scientists especially Feynman.

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Selasa, 23 Agustus 2011

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A sourcebook of stylish and achievable ways to create a luxury look  in your home, on a budget

Lavishly illustrated with photographs of Darren’s own interior design projects, ranging from apartments to larger family homes, this book provides key styling ideas that will help you get the most out of a space and create a big impact for a realistic investment of time, energy, and money. Whether you are styling a new home, getting a property ready to sell, or simply redecorating, this book provides budget-conscious design tips and solutions for creating a home that encompasses a luxe, designer aesthetic while still embodying comfort. The book moves from large-scale practicalities and planning through to the elements of design, and takes a detailed look at styling room by room—as well as the goals, opportunities, and potential pitfalls involved.

  • Sales Rank: #1259943 in Books
  • Published on: 2015-09-15
  • Original language: English
  • Number of items: 1
  • Dimensions: 10.40" h x .90" w x 8.30" l, .0 pounds
  • Binding: Hardcover
  • 216 pages

About the Author
Darren Palmer operates his own interior design studio in Sydney. He has contributed to numerous magazines including GQ, Belle, Luxury Home Design, and Real Living.

Most helpful customer reviews

0 of 0 people found the following review helpful.
A quarter of the way through reading it I went back over it to start making notes because the advice was so good. An example of
By Nicole Harvey
I'll start by saying that ive only read 5 books on the subject previous to this because im fairly new to interior design Perhaps that colors my viewpoint somewhat but honestly I just devoured this and cant say ive done that with non fiction books before. Maybe to experienced interior designers some of the advice is redundant and not revolutionary but as someone who has dabbled in home renovation successfully but wants to take it to the next level- this book was well worth buying. He has a really enjoyable writing style where he comes across as far from pretentious and yet very experienced. Some of the advice he gave I had heard of but there was still a lot I picked up. A quarter of the way through reading it I went back over it to start making notes because the advice was so good. An example of a simple tip he gave was to go shopping with your phone...in other words take photos of all the elements you want to buy (furniture, decor, soft furnishings) and then put them on your mood board and play with it to ensure everything works well together before buying a thing. If something sells out before hand it wasn't meant to be. I know that sounds simple and obvious to me now but it completely changed the way I have approached things and as a result I dont get carried away buying decor that doesnt always fit and it ultimately saves money while my overall looks now appear more sophisticated. We may be at different stages of knowledge with interior design but I would think most people would enjoy this book and gain some new tips or perspective

0 of 2 people found the following review helpful.
Not worth the money
By Svensson Christoffer
Didn't give anything new that one doesn't already know.

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Rabu, 17 Agustus 2011

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The City Baker's Guide to Country Living: A Novel, by Louise Miller

"Mix in one part Diane Mott ­Davidson’s delightful culinary adventures with several tablespoons of Jan Karon’s country living and quirky characters, bake at 350 degrees for one rich and warm romance." --Library Journal

A full-hearted novel about a big-city baker who discovers the true meaning of home—and that sometimes the best things are found when you didn’t even know you were looking

When Olivia Rawlings—pastry chef extraordinaire for an exclusive Boston dinner club—sets not just her flambéed dessert but the entire building alight, she escapes to the most comforting place she can think of—the idyllic town of Guthrie, Vermont, home of Bag Balm, the country’s longest-running contra dance, and her best friend Hannah. But the getaway turns into something more lasting when Margaret Hurley, the cantankerous, sweater-set-wearing owner of the Sugar Maple Inn, offers Livvy a job. Broke and knowing that her days at the club are numbered, Livvy accepts.

Livvy moves with her larger-than-life, uberenthusiastic dog, Salty, into a sugarhouse on the inn’s property and begins creating her mouthwatering desserts for the residents of Guthrie. She soon uncovers the real reason she has been hired—to help Margaret reclaim the inn’s blue ribbon status at the annual county fair apple pie contest.
 
With the joys of a fragrant kitchen, the sound of banjos and fiddles being tuned in a barn, and the crisp scent of the orchard just outside the front door, Livvy soon finds herself immersed in small town life. And when she meets Martin McCracken, the Guthrie native who has returned from Seattle to tend his ailing father, Livvy  comes to understand that she may not be as alone in this world as she once thought.
 
But then another new arrival takes the community by surprise, and Livvy must decide whether to do what she does best and flee—or stay and finally discover what it means to belong. Olivia Rawlings may finally find out that the life you want may not be the one you expected—it could be even better.

  • Sales Rank: #26224 in Books
  • Published on: 2016-08-09
  • Released on: 2016-08-09
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.25" h x 1.11" w x 6.38" l, .0 pounds
  • Binding: Hardcover
  • 352 pages

Review
"Miller elevates the story by turning it into a Pinterest fantasy of rural America. . . [Her] visions of bucolic Vermont landscapes, cinnamon-scented kitchens and small-town friendliness make this reverie of country life an appealing one." --The New York Times Book Review

“This book is super cozy—probably because it takes place in a small town in Vermont, and because the protagonist has a dog named Salty, and because she’s a baker who spends her days working at an inn. Okay, it’s Gilmore Girls.”—Bon Appetit, “8 Food Novels You Need to Read this Summer”

“With insight, warmth, and humor, Louise Miller describes life in a kitchen as only an experienced baker can. A magnificent debut.”—J. Ryan Stradal, author of Kitchens of the Great Midwest
 
“This book comes with a warning: do not read while hungry. Absolutely charming and perfectly delicious. Bliss.”—Natasha Solomons, author of The Song of Hartgrove Hall
 
“A soup-to-nuts treat.  If only Livvy Rawlings could move her whisks and mixing bowls into your own kitchen to work the magic Louise Miller spins throughout these scrumptious pages.”—Mameve Medwed, author of How Elizabeth Barrett Browning Saved my Life 
 
“Genuine and sweet (with a pinch of salt), THE CITY BAKER'S GUIDE TO COUNTRY LIVING is a feast for the senses, for the head and the heart. With great warmth and generosity, Louise Miller brings a place and its lovable inhabitants to life. I adored this book; it made me want to dance. And eat.”—Kate Racculia, author of Bellweather Rhapsody
 
“Louise Miller knows that a great story is like a prize-winning apple pie—warm, full to the brim with character, and not too sweet.  Her descriptions of the Vermont countryside, the Sugar Maple Inn, and baker Livvy Rawling's desserts make you want to pack a bag and head out for a long weekend in New England.”—Erica Bauermeister, author of The Lost Art of Mixing 
 
“A warm, fresh look at finding one's way and making new choices in life.  It was studded with satisfying nuggets of wisdom throughout, like dabs of butter in a homemade pie, every baker's--and writer's--secret ingredient of choice.”—Ellen Airgood, author of South of Superior 

"Louise Miller's debut is like a walk in the Vermont woods on a sunny day: crisp, bright, colorful, soul-reviving....Delicious.” —Brenda Bowen, author of Enchanted August

“I fell in love with the community of Guthrie, VT, the soul-healing landscape, the quirky characters, and the sumptuous desserts Olivia Rawlings creates for them.” —Juliette Fay, author of The Shortest Way Home

“Compulsively readable and written with deep tenderness. . .  in a rare book that not only whets the appetite, but makes the heart a little more whole.” --Erika Swyler, author of The Book of Speculation

"Add in some romance and mouth-watering food descriptions, and Louise Miller’s debut novel is a giant serving of comfort food. Treat yourself." --RealSimple

“[An] endearing debut. . . Miller, a pastry chef herself, writes about food with vivid detail, but her rhythmic prose is even crisper when her interests converge [and she] also excels at characterization, revealing her protagonist’s complex pasts in subtle ways.” –Publishers Weekly

"Beautifully light and rich. . . . Comforting without being cozy, this is escapist fiction for those who want a quieter—and tastier—life." --Elle.com

About the Author
Louise Miller is a pastry chef who lives and works in Boston, MA. She received a scholarship to attend GrubStreet’s Novel Incubator program, a yearlong workshop for novelists. She is an art school dropout, an amateur flower gardener, an old-time banjo player, an obsessive moviegoer, and a champion of old dogs. The City Baker’s Guide to Country Living is her debut novel.

Excerpt. © Reprinted by permission. All rights reserved.
***This excerpt is from an advance uncorrected copy proof***

Copyright © 2016 Louise Miller

Chapter One

September

The night I lit the Emerson Club on fire had been perfect for making meringue. I had been worrying about the humidity all week, but that night dry, cool air drifted in through an open window. It was the 150th anniversary of the club, and Jameson Whitaker, the club’s president, had requested pistachio baked Alaska for the occasion. Since he asked while he was still lying on top of me, under the Italian linen sheets of bedroom 8, I agreed to it—even though I was fairly certain that baked Alaska would not have been on the menu in 1873. But Jamie was a sucker for a spectacle, and his favorite thing on earth was pistachio ice cream, which his wife wouldn’t let him eat at home.

I added sugar to the egg whites, a spoonful at a time. As they whipped up into a glossy cloud of white, I leaned a soft hip against my butcher-block worktable and surveyed the kitchen. Now, I’ve wielded my rolling pin in trendy city restaurants, macrobiotic catering companies, and hotels both grand and not so grand. You would think a Boston Brahmin private club like the Emerson, with its dim lights, starched linen, and brass-studded leather chairs, would have a deluxe kitchen. But no matter what the dining room (or what we in the business call the front of the house) looks like—even if we’re talking duct-taped Naugahyde benches hugging tin-rimmed Formica tables—the back of the house, the kitchen, is always the same: a sea of stainless steel. Tables, bowls, freezer all gleaming in a cold gray. Whisks and spoons hanging in orderly rows. A mixer with a hook the size of my arm bent to beat bread dough. It’s comforting. No matter how many times I changed jobs, I could always count on the kitchen: the order, the predictability, everything familiar and in its place.

I was swirling the last slope of meringue across the layers of ice cream and cake when I heard the champagne corks pop in the neighboring Jefferson Room. Glen, the GM, sprinted into the kitchen.

“Almost ready, chef?”

I held out my sticky fingers. “Hand me that blowtorch.” The blue flame swept across the meringue, leaving a burned trail of sugar in its wake.

A swell of baritone voices thundered through the swinging door, pounding the Emerson Club anthem into the kitchen.

“That’s our cue,” Glen said.

I ran my fingers through my freshly dyed curls. I had gone with purple this week. Manic Panic Electric Amethyst, to be exact. Not historically accurate for a chef in the nineteenth century, but it’s not like I was a guest.

With my thumb across the lip of the bottle, I doused the confection with 150-proofrum and hoisted up the tray. “Light me on fire.”

Glen lit a match and carefully set the flame to the pool of rum in the hollowed-out eggshell tucked into the top. In a flash, the flame caught hold and spread across the waves of meringue. Glen raced in front of me, holding open the doors. I stepped into the room to the last notes of the anthem. The crowd burst into applause.

The tray must have weighed forty pounds. Silver is heavy, and they don’t call it pound cake for nothing, never mind the ten gallons of pistachio ice cream. But I stretched my mouth wide into a smile and walked about the room, squeezing between the closely set tables and standing with the members as they snapped pictures. The flames were dying down but not quite out. Jamie stood at the back of the room, by the floor-length windows, his arm wrapped tightly around his wife’s waist. Their children were by their side, miniatures of their parents, one in a dark suit, the other in a crinoline dress. A light sweat broke out across my brow. How strange that the flames were getting smaller but I was growing hotter by the second. The room was crowded. Members were packed in small groups on every inch of carpet. Somewhere, I knew Glen was counting heads and mumbling to himself about maximum capacity. I elbowed my way through, my biceps straining as I carried the tray above my head, trying to avoid catching anyone’s gown on fire. The club treasurer put his arm around my waist, his palm resting lower on my hip than was respectable. “One for the newsletter,” he said. My smile widened. I tightened my grip on the tray. Jamie looked over at me then, his eyes vacant, skimming over and then past me. He whispered in his wife’s ear. She laughed, glancing in my direction. It was the last thing I saw before the tray slipped from my fingers and hit the floor.

After the abrupt end of my shift, I stopped by my apartment just long enough to stuff some clothes into a canvas bag and pickup Salty, my chunky Irish wolfhound mix. I drove north for three hours, fueled by the desire to be called “hon,” blasting the heater to dry my sprinkler-soaked hair, which was sticking to the back of my neck like seaweed. Salty, who just barely fit in the backseat, pressed his cold nose to my ear and sniffed. The scent of burned velvet clung to my skin. A slow-motion video of those last moments in the Jefferson Room played over and over in my head. A tablecloth had caught fire first. It might not have been so bad if it hadn’t been the tablecloth under the four-foot ice sculpture of a squirrel sitting upright with an acorn in its outstretched paw. The flames caused the squirrel to melt rapidly. When its arm snapped off, the sculpture tipped over, taking the table with it. A wave of oysters, clams, and shrimp flew into the panicked crowd before hitting the floor. The flames caught the edge of one of the antique velvet curtains, which ignited like flambéed cherries. And that’s when the sprinkler system kicked in.

At the sign for exit 17, I pulled off the highway and into the glowing parking lot of the F& G truck stop. Inside, I lingered by the hostess stand, watching dozens of pies rotate in their glass display case: sweet potato, maple walnut, banana cream. A waitress in a pastel uniform seated me in a corner booth away from a table of rowdy truckers, but even from across the room their gruff laughter felt comforting. My dad would bring me to the F&G for lunch whenever he let me tag along on his delivery route from Boston to the Canadian border—mostly just on school vacations, or if I needed a mental-health day. The last time I had been there with him was to celebrate having passed my driver’s exam. I leaned my head back against the booth, staring at the tractor-trailer wallpaper, yellow with grease, age, and smoke.

Half an hour later, I forked the last piece of pie into my mouth, chocolate pudding thick on my tongue. The waitress refilled my coffee mug and grabbed my debit card and check. I dug around in my purse, pulled out my cell phone, and, sliding down low in the booth, dialed my best friend Hannah’s number.

“Hrmph?” Hannah groaned into the phone. “Hann, it’s Livvy. I’m at the F& G.” I scanned the dining room. No truckers were giving me the “get off your cell phone” glare.

“What flavor did you get?” Hannah paused. “Livvy, what time is it?”

“Black bottom.”

The waitress’s lace-trimmed apron filled my view. I looked up to see her mouth set in a rigid line.

“Just a sec,” I mouthed.

“Declined,” she said, waving my card in the air before slapping it on the table.

“Livvy, are you still there?”

“Sorry, Hann.” I pawed through my messenger bag and pulled a couple of crumpled dollar bills out of the bottom. “Listen, can I come over? In about an hour? For a few days?”

Hannah made a clucking sound. “Bring me a piece of key lime.”

 

My black Wayfarers could block out the beams of sunlight that stabbed at my eyes like little paring knives but they couldn’t block out the smells. Earth, onions and herbs, and the pungent aroma of goats and ground coffee challenged my ability to keep last night’s piece of black-bottom pie in its place. I wasn’t hungover, exactly. That fine line between still drunk and sobering up was more accurate. Hannah had woken me at seven, despite the fact that I had arrived at her house at one thirty in the morning. She met me at the door bleary-eyed, traded the bottle of Jack Daniels that she kept solely for my visits for the key lime, and went wordlessly back to bed. I opted to watch Vermont Public Access—a repeat of a sheep-shearing contest—while polishing off a tumbler or two. But today was Saturday, farmer’s market day, and Hannah insisted on arriving before it opened.

The Guthrie Farmer’s Market was held every Saturday from eight in the morning till one p.m. in the high-school parking lot. Four aisles of white tents stretched across the pavement. By the entrance, between tents, an elderly man dressed in hunting gear scratched out dance tunes on a fiddle.

Hannah was on a mission. She headed straight for a display of sunflowers, walking as fast as a person can without breaking into a run. I took a slow meander through the tents in search of coffee, Salty in tow. Ceramicists hefted thickly glazed mugs. A pair of knitters, needles clicking, turned the heels of socks. A woodcarver stood whittling away at a scene of a black bear and her cubs in the pine trees. Hannah, clutching a bouquet of sunflowers to her chest like she had just won the Mrs. Coventry County pageant, found me in an herbalist’s tent, rubbing lavender-scented lotion into my palms. I leaned over to her. “They should name this Eau de Grandmother.”

She looked over my shoulder at the herbalist to make sure he hadn’t heard me. We strolled from tent to tent, Hannah filling up her wicker basket with vegetables. “Are you okay?” she asked. “You look pale.”

I sighed. Arriving at work before dawn and finishing after the sun went down did give me a vampirish hue. Hannah, however, still had a healthy summer glow. I was pretty sure the Clinique counter had something to do with it. I slipped the tips of my fingers underneath my sunglasses and rubbed my eyes. “I’m fine.”

“Honey, spill it. Why are you here?” I leaned my head on her shoulder. “Because you’re my oldest, dearest friend in the world and I missed you?”

Hannah was the one person I could always count on. She was the kind of friend who showed up when you were too depressed to get off the couch and would proceed to clean your apartment and return your overdue library books before sautéing you a pile of vegetables for dinner.

“And you drove all the way up here in the middle of the night? In your work uniform? You were here five weeks ago.”

“How about I was desperate for a piece of pie and ended up at the F&G, and it seemed like a shame not to visit when I was so close to Guthrie?”

Hannah looked at me with practiced patience. “I’ve known you long enough to know that after your shift you crave beer and French fries, not pie.”

I glanced down at my hands. They were veiny, like my grandmother’s.

“I may have caused a small fire at work.” “Oh my goodness. Was anyone hurt?”

I thought of Jamie’s wife. She had on an exact replica of the dress Ginger Rogers wore in Top Hat, the white one with all the feathers. “No, no. Not hurt. Just wet.”

“Jesus, Liv. Do you think you’ll be fired? Could the guy you’re seeing help?”

Hannah knew I was seeing someone from the Emerson, but when she pressed for details I just told her it wasn’t serious. She wouldn’t have approved of the fact that, at sixty-four, Jamie was exactly twice my age. Plus the fact that he was married. “No one ever really gets fired from the Emerson,” I said as I nervously ripped the husks and silk off random ears of corn. “More like encouraged to ‘take a break.’”

She scanned the parking lot. After a few moments she linked her arm in mine. “Let’s go see if there are any sticky buns left. They’re award-winning.”

The deeper we elbowed our way into the mass of hungry townsfolk, the harder my head began to pound. My stomach did a little shift as the smell of manure-caked work boots reached my nostrils. I really should never drink whiskey.

“Uh, Hann? I’m going to have to sit this one out. Get me something greasy.”

Hannah wrinkled her nose. “How can you eat grease with a hangover?”

“It’s healing,” I said as I headed out of the fray.

The fresh air was delicious. I found a quiet spot under a tree on the edge of the parking lot and plopped myself down, leaning my back against the rough bark. Salty sniffed at the grass, turned around three times, then finally lay down beside me, stretching his legs out in front of him.

It seemed like the whole town was at the market that day, and half of it was in the sticky-bun line. Hannah had explained that the market was the only time the farmers ever saw one another during the harvest. Between customers they traded seeds and service, exchanged news of crops and births, and gossiped. Apparently, the rest of the townspeople were there to do the same. I watched a tall, slight man unloading wooden crates of apples, plaid shirtsleeves rolled up to the elbow. Sharp-nosed and thin-lipped, with dark eyes framed by black plastic eyeglasses, haircut and shave long overdue. He felt familiar. Then I realized I was remembering a man in a Walker Evans photograph taken during the Dust Bowl.

I scanned the crowd for Hannah and found her speaking to an older woman with her hands on her hips whose sky blue cardigan hugged her narrow shoulders. She frowned. Hannah patted her arm and pointed to me, her expression cheerful. The woman looked over and studied me, her lips pursed.

My cell phone, which I had jammed in my back pocket out of habit, vibrated. Here in the mountains my cell service was spotty at best—six missed calls. I felt like I had swallowed a biscuit whole.

“Livvy,” Jamie shout-whispered on my voice mail, “Where are you? I’m worried. Call me.”

“Olivia, it’s Glen. Just making sure you’re okay. The club is going to be closed for a couple days at least while they assess the damage. The fire marshal has a few questions. Call me on my cell.”

“We’re having trouble lighting the grill, chef.” It was one of the prep cooks. “We thought you could help us start the fire.” Howls of laughter in the background before the message clicked off.

 

Hannah’s perfectly French-manicured toes appeared in my line of vision. I pressed the off button and threw the phone into my bag. When I looked up, a cinnamon roll the size of a hubcap had replaced Hannah’s face. Creamy white glaze glistened on the curls of pastry.

“Here you go,” Hannah said, handing me the sticky bun. I tore off a hunk and popped it into my mouth, chewing gratefully. Hannah took a dainty bite. “Hmmmm, I haven’t had this much sugar in months.” She slipped the pastry into a waxed bag, then licked her fingers. Hannah will tell you that she counts carbs, but I know the depth of her sweet tooth. She reached into her purse, pulled out a cloth napkin and wiped her fingers, then drew her skirt around her legs and sat down next to me. “So, how long were you planning on staying?”

I eyed her sideways. “Not sure. Are you worried I’ll still be here when Jonathan comes back from the conference?” Hannah’s husband and I have agreed to disagree on just about everything. It upsets her sense of equilibrium to have us both in the same room.

“No, no. You can stay as long as you like, you know that. Besides, he isn’t due back for a few more days. No, I was just wondering if you could stay until at least Monday night.”

“Well, sure. Believe me, I’m in no hurry to get back to Boston.”

“Good. I just need to see when she’s available.” Hannah reached into her purse and pulled out the wax pastry bag. She twisted off a large chunk of roll and shoved it in her mouth.

“See when who is available?”

“The woman I was talking to in the sticky-bun line, Margaret Hurley. She’s the owner of this fantastic inn. She told me that she had to let her baker go, and I mentioned you, about your experience and the awards you’ve won, and she seemed really interested.”

“Hannah,” I said, trying to come up with the most polite way to say, There’s no way in hell. “I can’t really see myself—”

“Listen, I know it sounds like a big step, but I think you would love the place. It’s called the Sugar Maple.” I looked out over the rows of tents. Vermont. Full time. “Don’t get me wrong, you know I like visiting you and all, but . . . I’m not sure exactly what I would do here.”

“You’d do exactly what you do in Boston—bake. Only when you get off work it will be pretty, peaceful Vermont instead of loud, ugly Boston.”

I narrowed my eyes at her. Sure, I complained about living in the city all the time, but it felt like she was making fun of my little brother.

“What I mean is, what do you really have in Boston? No house, no family, no boyfriend—not really, I mean…”

“Jeez, Hann, don’t hold anything back.” I lifted my hands in surrender. At the mention of Jamie, my mind had flashed to the night before, the way he’d looked through me before I started the fire, like I was just another one of the help. “Besides—where would I live? God knows I can’t live under the same roof as your husband.”

Hannah snorted. “I’m pretty sure the position comes with housing—the last baker lived at the inn.” She glanced at me hopefully. “I’d be right down the road. We could hang out all the time. It would be like college all over again.” Hannah was referring to the one semester I had gone to state school, before dropping out to go on tour with the Dead Darlings.

I thought about my rejected debit card at the F&G. If the Emerson did indeed decide to have me “take a break,” I would be out of a job and, with all the back rent I already owed my landlord, a place to live. Salty wouldn’t be too happy about living in the station wagon. “I might consider it.”

“I’ll call her when we get back. Just go look at the place.” She beamed at me, looking satisfied, as though she had done her good deed for the day. Off the hook. “You’re gonna love it.”

 

Following Hannah’s directions, I arrived at the Sugar Maple Inn shortly before ten a.m. on Monday. It was a beautiful drive from Hannah’s house in town, up a long winding dirt road. The landscape changed from tidy painted ladies to sprawling farmhouses to abandoned trailers covered so thickly with bittersweet vine that only the rusted cars in the front yard would tell you someone once lived there. Then, as the houses dropped away altogether, leaving only the dirt road canopied with oaks and maples, I thought I must be lost. Who would want to stay at an inn so far from town? But as I reached the crest of the mountain road, the trees opened up and, as if I were passing from night into day, the world became all green grass against the bluest sky. To my left was the Sugar Maple itself, a bright yellow farmhouse with attached barn, surrounded by huge clumps of zinnias in pinks and reds, faces turned toward the sun. Morning glories, now dozing for the day, climbed up the side of the barn. Rocking chairs were lined up on the porch. The front yard was scattered with garden benches and sleeping cats. To my right was a wooden rail fence, and beyond it a ridge of mountains with the steeple-dotted valley below.

I walked up the flagstone path and hesitated at the front door, nervously picking Salty’s dog hair off my chef’s coat. Hannah had offered to lend me something, but since I am a size twelve to her six, I had politely declined. I reached for the brass maple leaf on the green door and gave a knock. Margaret swung the door open, eyed me, and then looked at her watch.

“You’re five minutes late,” she said, blocking my view.

“Are you sure?” I had checked my cell phone before I left the car. Margaret made a little huffing sound. “Well, you might as well come in.” She stepped aside slightly as I entered the foyer. I followed her slender frame, trim in a navy jacket, down the hallway. I tried to glance at the pictures that lined the walls, but she moved too quickly. Despite her pace, her silver bun stayed perfectly in place. We entered a sitting room, couches and chairs in mismatched florals arranged casually for easy conversation. Margaret led me to a small table by a window and gestured for me to sit down.

“So, Mrs. Doyle tells me you’re a baker.” Her papery hands sat neatly folded in her lap.

“Yes. My name is Olivia Rawlings. I’m the pastry chef at the Emerson Club…”

“Yes, I can read that on your coat.” I looked down at my left breast. Stupid coat.

Margaret cleared her throat. “Now, how long have you been baking?”

“For fifteen years. Since I graduated from the CIA.”

“You learned to bake from the government?” She scowled.

“No, no, it’s a culinary school in New York.”

Margaret looked out the window. “Yes, well then. Tell me, what’s your specialty?”

“My specialty?”

“What do you make best?” She said this louder and more slowly, as if she thought I was hard of hearing or from a foreign country. I thought for a moment.

“Well, Chocolate Gourmand magazine requested my recipe for a blood orange and sour cherry napoleon last year. And I was nominated for a James Beard Award for—”

“We’re a simple place, Miss Rawlings. Nothing too fancy here.” She leaned forward, hands on the table. “Can you bake a good pie?”

“Pie?” I lifted my eyebrows.

“Yes, you know, a flaky crust with filling inside.”

I suppressed the urge to roll my eyes. “Well, of course I can bake a pie. An excellent one.” I leaned back in my chair.

“How’s your apple?” She leaned back as well. The hands went back into her lap.

“I’ve received many compliments on my apple pie.” I felt like we were playing high-stakes poker.

“Would you be willing to bake one now?” she asked calmly.

“Right now?” I did not succeed in hiding my irritation.

“Yes. Why not? Don’t need a recipe, do you?”

“You want me to bake an apple pie right now.” Being asked to test-bake in a kitchen was a normal part of the hiring process fora chef’s position, but not on the day of the interview.

“Well, not this very second.” Margaret stood. “I have to make a few calls first. I’ll have one of the girls bring you a cup of coffee.” She walked away at her fast clip, calling out, “Sarah…”

“Don’t you want to see my résumé?” I called after her, waving the sheet of paper. She had already turned the corner and was gone.

A young woman with straight blond hair appeared with a tray. She placed in front of me a dainty teacup and saucer, filled to the brim with steaming black coffee.

“Thanks.” I glanced up at her. “Hey, is she always like this?”

Sarah looked over her shoulder. “Pretty much. But she’s decent to work for.” She shrugged. “I’ve been here for over two years. The tips are good. And the rest of the staff is more laid back.” She gave me a quick smile and walked back toward the kitchen.

This was surely the strangest interview I had ever been on. I was used to being courted, not trying to convince someone I could do the simplest of tasks. It looked like Hannah was wrong about Margaret’s interest. A wave of relief washed over me. It would be easier not to get the job than it would have been to explain to Hannah why I couldn’t move this far away from . . .everything, without hurting her feelings.

I waited for what felt like hours, making a mental list of chefs who might hire me, before abandoning my teacup and wandering around the inn in search of Mrs. Hurley. I found Sarah toward the back of the house, folding napkins in the dining room. The room was small, dressed in cream tablecloths and tarnished silver candlesticks, elegant in a Miss Havisham kind of way.

“I think I may have been abandoned,” I said lightly.

“Sorry. There was a problem with one of the guest rooms. She should be back soon.”

“Mind if I look around the kitchen?”

“Not at all. It’s through that door.”

 I pushed through a swinging door at the far side of the dining room. It opened onto a room that broke all the rules of kitchendom. It looked just like a farmhouse kitchen, with a yellow tin ceiling and wide maple plank floors, but it appeared to have been stretched and pulled like taffy to accommodate the eight-burner stove top and the walk‑in refrigerator.

I set my bag down on an enamel-topped wooden table. It was a regular kitchen table, sitting on stacks of Nancy Drew mysteries to make it a respectable height for chopping. I wondered how this place ever passed inspection. The table sat in the middle of the room, close to the cast-iron range. I crept about, grabbing tools that I would need for pie baking as I went. Even they seemed odd, like something you would find at a church sale, not in a restaurant supply catalog. The rolling pin was the heavy kind with ball bearings—the type I pictured cartoon housewives using on the heads of their husbands. The measuring cups were glass with painted pictures of roosters on them. I found a beautiful old pair of copper scissors and a set of tin measuring spoons so worn the fractions were unreadable. The pantry still served as a pantry, although the shelves were dwarfed by industrial-sized cans of baking powder and cling peaches. In there I found an old stand mixer, complete with its original bowl of iridescent glass, which I hauled out and placed on the table. The one thing I couldn’t find was flour. I kept searching, opening drawers and bins.

Next to the pantry there was a small door. I pushed it open, hoping it was another storage area, and was greeted by darkness. I waved my hand in the air, searching for a cord. My fingers touched something silky and soft as I walked deeper into the stuffy room. A tickle of fabric brushed against my skin like feathers. When my hand found the light cord, I pulled on it and blinked. From the ceiling hung ribbons. Hundreds of them, all blue, their pointed tips swaying gently. They extended the entire length of the ceiling, each one emblazoned in gold with the same words: Coventry County Fair—First Place. In a large wooden display case hung larger ribbons, the heads fat with extra loops of fabric like the petals of a sunflower. These ribbons were all blue as well, with the exception of the last three. Those ribbons were red. From somewhere in the inn I heard Margaret’s voice, followed by another, this one more cheerful. I clicked off the light and slipped out of the room, easing the door closed behind me.

Most helpful customer reviews

15 of 16 people found the following review helpful.
Takes you to a magical place and makes you want to stay forever
By H. Young
This book, about a pastry chef running from her mistakes until she runs smack into a place she can call home, is a confection. And I mean that in the best possible way: it's sweet with just the right hints of tartness and salt, and, like a great dessert, it leaves you wanting more.

Livvy is living and working in Boston with nothing but her abandonment issues and a married boyfriend to keep her warm at night until she accidentally torches the posh club where she works with an errant baked Alaska. As she always does when the going gets tough, she runs -- this time, to her best friend Hannah's home in Guthrie, a pastorally perfect Vermont town. One thing leads to another, and soon this big-city baker finds herself making desserts at the quaint Sugar Maple B&B, whose crotchety owner, Margaret, is hell-bent on reclaiming the blue ribbon at the annual apple pie contest that her archenemy wrested from her the year before. Livvy also begins to connect with a neighboring couple and with their prodigal son Martin, who's come home to say goodbye to his dying father but, like Livvy herself, won't make any promises to anyone beyond that. Over the course of a year Livvy learns to open up and put down roots for the first time in her life, and her journey is never anything less than believable. I loved all the characters, especially prickly, funny, warmhearted Livvy, and the ending packed a few surprises yet also felt truly earned, a tricky combination to nail.

Louise Miller renders the Vermont landscape in all seasons beautifully, and between its shimmering descriptions of Guthrie's humble barns and fields and of Livvy's mouthwatering desserts, the book reads like a New England version of A Year in Provence -- it takes you somewhere magical and makes you wish you could stay there forever. This is a delightful read!

2 of 2 people found the following review helpful.
This Book Has Tattooed My Heart
By Catherine Elcik
When I finished The City Baker's Guide to Country Living, I snapped the cover shut, hugged the book to my chest, and let the warmth inspired by watching Lizzie compile the mise en place of her life spread through me. The fact that said mise en place included pie, bluegrass music, an idyllic Vermont setting, a crazy galoot of a dog, love, and longing for the embrace of a community means this book nourished that soft spot in my heart that's in danger of starving in this ironic hipster age we're suffering through.

If you and that beautiful soul of yours have ever hungered for the embrace of a community who sees you for who you are and loves you anyway, The City Baker's Guide to Country Living is the warm hug you've been waiting for.

1 of 1 people found the following review helpful.
Three +
By MissMommy
To say I was surprised by this novel would be an understatement. It is well-crafted, interesting and fun. I could easily envision each of the characters and drooled over the baking descriptions. There was just enough cooking to keep one interested, without the tedium to which some authors resort.
This is not a literary masterpiece, but it is a nice escapist reading. The plot and structure flow well and keep the reader turning pages. I had a bit of a problem with her best friend seemingly disappearing from the end of the story, but otherwise enjoyable.

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Sabtu, 13 Agustus 2011

[Y933.Ebook] Free Ebook Fantasy Art Techniques, by Boris Vallejo

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Fantasy Art Techniques, by Boris Vallejo

In a captivating, behind-the-scenes look into the creative process of a fantasy artist, renowned artist Boris Vallejo discusses in depth the techniques of a personal style that has placed him among the leading international fantasy and science fiction artists of today. 91 color images; 32 line drawings.

  • Sales Rank: #5970424 in Books
  • Published on: 1985-10-01
  • Original language: English
  • Number of items: 1
  • Dimensions: 11.06" h x 8.27" w x .0" l, 1.18 pounds
  • Binding: Paperback
  • 128 pages

From School Library Journal

YA A lovely browsing collection of color reproductions that will appeal to young fantasy fans because of Vallejo's exciting renditions of unearthly creatures and sexy humans. The moods range from the frightening to the humorous. Vallejo describes various painting techniques in an accompanying text, and he includes some rough sketches to illustrate the development of painting. This book is more of an introduction to fantasy art appreciation than a course in technique. There is no index or list of illustrations.

Copyright 1986 Cahners Business Information, Inc.

Excerpt. © Reprinted by permission. All rights reserved.

The Concept

The elements of a fantasy illustration need make no pretence of imitating life such as they must in, say, an illustration for a gothic, a mystery, or a novel. Fantasy engages the imagination to a much larger extent; the creatures portrayed may come partly or entirely from your head. And yet, to be successful, the scenes from your imagination must be convincing enough for a viewer to be willing to go along with you: to willingly suspend his disbelief and say, "Yes, this could work".

How does someone begin to create these wholly imaginary pictures? The answer to the eternal question "Where do your ideas come from?" seems obvious at first. Naturally, they come from my head. Where else? Ideas come from one's head. It's true, when you set a manuscript to illustrate, you're likely to find descriptions in it. Still, it is up to the artist to interpret them. All those alien beings and landscapes come into being from what is, in fact, known to us. Existing life may be the point of departure, yet all successful fantastical creatures must relate back to it as traceably as vertebrates do to the single-celled amoeba. Muscles are what makes movement possible for the higher forms of living creatures. If you want to paint a combination animal/machine, let's say, there must still be a relation to existing animals and existing machines; the musculature, at least, must be plausible.

The immediate environment is a tremendous source of ideas for me: shadows, shapes, things that, as a result of being near-sighted, I don't exactly see. It's pretty easy for me to reinterpret something twenty feet away which is already fuzzy. With a little push it readily loses its real contours and becomes something else in my eyes. If I start elaborating on what I don't clearly see, I can go in any direction. All I need is an existing starting point; my imagination takes over from there.

This odyssey of the imagination need not be a deliberate or controlled thing. It's much better when it's not directed, when I simply sit quietly and let it happen. In a sense, it's as though my ideas don't come out of me so much as I allow them to move in on me. The most important thing one can do to nourish the imagination is relax. I have noticed that when I specifically try to think of something, really strain towards an idea, very little happens. Whatever does happen is usually stilted and forced. If I relax and open the doors, so to speak, ideas do come.

Often enough, inspiration begins with the model. I see someone and I think: I would like to use this person for a painting; I would like to focus on this or that special feature of this person. From there I can evolve a character, an atmosphere, or an entire concept.

I once saw a young man at the gym I go to. He was an excellent bodybuilder, but the more notable quality about him was that he possessed not only huge muscles -- a really fine development -- but also a very boyish, almost child-like face, which presented a striking contrast with his physique. I stored this impression in the back of my mind, hoping that a job would come along for which I could use him. Then I was given a collection of stories by Isaac Asimov.

My original concept for this book's cover was of a young scientist type sitting on top of the earth in the middle of space. Subsequently I got a call from my client saying that although she liked the sketch, it was not exactly what she had in mind. What did she have in mind? Well, she was rather vague about that, but she preferred something with a more heroic feeling. As we were talking it occurred to me that, instead of emphasizing the human aspect of the stories, I might emphasize the mechanical.

It was then that I decided to do a robot -- not the typical machine-like robot, but a more human one who would, nevertheless, have a superhuman appearance. At once I made the connection between this idea and the young man I had seen in the gym. The fact that his face was so youthful and his body so highly developed led naturally to the idea of keeping the roundness of the muscles and the distinctive shape of the body but making it metallic, chrome, really beautiful and shiny out there in the middle of space. I still thought of having him standing on the earth, but as I worked, the earth changed into a simple globe. It also became shiny, like glass or chrome.

So, you see how the concept changed from the sketch of the robot that I started out with to the finished painting. With the use of that man as the model, the robot became an almost superhuman figure, spinning nebulae out of his bare hands. His face is nearly expressionless. Yet there is a suggestion of childlike wonder and joy at what he is doing: there he is in the middle of space, fascinated with the beautiful things he is creating. In this case, the "model" was just perfect, and the concept owed a great deal of its development to his physical characteristics.

Of course the concept may originate in a more general way than with the model. I may simply think: It would be nice to do something metallic; it would be nice to do something fluffy; it would be nice to do something in which I can concentrate wholly on the figure because the background would be negligible or, vice versa, in which I can concentrate mainly on the background because the figure is inconsequential.

Most often, however, the concept is established by the manuscript to be illustrated or by the movie for which a poster is to be made -- by the product to be sold. In the case of a book there is, first, the manuscript. There is an old saying that one shouldn't judge a book by its cover. But often enough a book is bought precisely because of its cover. Therefore, as an artist, what one must look for in a manuscript is a scene that is representative of the book, perhaps one with plenty of action or one that is, for its colour or subject, quite eye-catching. After all, there are hundreds of books on the bookstore shelves and the successful cover should draw the prospective buyer like a magnet.

Some authors are very descriptive and make the task of selecting a visually effective scene relatively easy. The Lavalite World is a good example. It is a book of adventures and consequently presents any number of action scenes involving the hero, the heroine, and the monster or villain. To show the hero and heroine riding a tree trunk into battle was, to my mind, colourful and unusual enough to evoke any browser's interest in the book.

Some authors are less visual in their writing. They write with less attention to detail and their imagery is more abstract. In such a situation one has to capture a feeling, something representative of the story rather than a particular scene or incident from it. This feeling must then by expressed in visual terms in order to convey an immediate sense of what is going on in the book. My illustrations for Enchantment, which my wife Doris wrote, exemplify this.

The painting for "Web" does not represent a particular scene from the story. It is simply a depiction of the way I experience a spider woman. I began with the question: What typifies a spider? It has eight legs. But I didn't want to paint a totally unappealing woman with eight hairy legs. I wanted a woman who was sensual and sexy-looking, but at the same time menacing, and who would still evoke the feeling of a spider -- perhaps with a spiderweb around her.

The painting that was done for Heavy Metal, however, was not inspired by a manuscript or anything more than the title of the magazine itself: HEAVY METAL. I began with the idea of something metal, a heavy metal. A safe came to mind. The door of a safe which, to me, was quite representative both of "metal" and of "heavy". From there followed the image of a bank vault. Yet this was a fantasy painting that I was going to do. What did fantasy have to do with a bank vault? I decided to put it into space; a heavy metal bank vault floating in outer space. Still, something fantastical had to happen. What if something is inside there, I thought. What would have to be locked behind such a door? Some kind of creature, obviously, that has to be kept from escaping. And what if the creature has been pounding at the door? What if the creature has a metal hand that it has been pounding and pounding the door with and has finally broken through? The first picture that flashed through my mind was of some powerful and monstrous creature. But that would have been a bit too ordinary. So I made it incongruous: a kind of wild-looking woman instead of a creature, not all that physically powerful in appearance but with a crazed look. She not only had the metal hand but the wild eyes and the wild red hair. All these elements brought together in a painting should really make the viewer stop and say: Look at that! What's going on there!

Copyright © Collins & Brown Ltd 1985
Text and illustrations copyright © Boris Vallejo 1985

Most helpful customer reviews

1 of 1 people found the following review helpful.
An excellent supplement to their Fantasy Workshop book
By Alaskaguy
I've been entralled by Boris and Julie's book covers for many years. Fixated by their figures, fantasy creatures, and supernatural landscapes, I couldn't even imagine painting figures in such detail myself. I really like this book, but will also admit that it left me a bit disappointed at first, not by what it included - but by what it lacked. Its strengths are summed up in Boris's sage advice that "the beginning artist should draw only what he sees" and its thorough demonstration of using models, reference photos, and sketching. By itself, that's well worth the price of this book - especially coming from a fantasy artist! Several step-by-step demos and many finished paintings add considerably to this, but still left me (then a wannabe artist) wanting to know more. What a surprize to find their other book Fantasy Workshop: A Practical Guide! Taken as a pair, these two books by Boris and Julie reveal a considerable amount of advice and details about techniques, style, composition, inspiration, and more for painters of all levels. In fact, they inspired me to take the plunge and try my hand at realistic portrait and figure painting. By following their methods and demos, I've been been pleasantly surprized with the results. I've since acquired more experience, as well as a substantial library of books by other authors (read my other reviews), but I find myself returning to this and others by Boris and Julie, for reference, techniques, and inspiration.

0 of 0 people found the following review helpful.
Boris at his best (imo)
By Amazon Customer
used to have this book back in the 80's.
was glad i found it again.
the artwork is fantastic.
you get some pencil work in the beginning and then the full color oil paintings.
love it.

0 of 0 people found the following review helpful.
Five Stars
By Sean
great

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[F796.Ebook] Ebook Spatial Agency: Other Ways of Doing Architecture, by Nishat Awan, Tatjana Schneider, Jeremy Till

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Spatial Agency: Other Ways of Doing Architecture, by Nishat Awan, Tatjana Schneider, Jeremy Till

This book offers the first comprehensive overview of alternative approaches to architectural practice.

At a time when many commentators are noting that alternative and richer approaches to architectural practice are required if the profession is to flourish, this book provides multiple examples from across the globe of how this has been achieved and how it might be achieved in the future.

Particularly pertinent in the current economic climate, this book offers the reader new approaches to architectural practice in a changing world. It makes essential reading for any architect, aspiring or practicing.

  • Sales Rank: #7858757 in Books
  • Brand: Brand: Routledge
  • Published on: 2011-07-26
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.75" h x 7.50" w x .75" l, 1.80 pounds
  • Binding: Hardcover
  • 224 pages
Features
  • Used Book in Good Condition

Review

"Spatial Agency is a timely and uplifting treatise on the successful ways that architects have addressed some of society’s most vexing global problems. With compelling analysis, richly illustrated by inspiring examples of transformative spatial solutions, the authors argue persuasively that the consequences of architecture are as important as the objects of architecture. This accessibly written book is a must read for anyone seeking an ethical understanding of the role of spatial production in the human struggle to create a democratic and sustainable existence." – Leslie Kanes Weisman, Emerita Professor of Architecture, New Jersey Institute of Technology, and author of Discrimination by Design: A Feminist Critique of the Man-Made Environment (University of Illinois Press)

"Spatial Agency’s lively entry into the discourse around spatial practice, subjectivity and alterity, inspired by the introduction of Henri Lefebvre and feminist theory into architecture in the mid 1990s, asserts the importance of the concept of agency for understanding architecture’s counter-culture over the past 30 years. This succinct and stylish handbook provides the reader with an essential resource for grasping the extraordinarily diverse range of ethical architectural practice. Here is a truly global map of inspiring ‘spatial agents’ who collectively define architecture – against the grain." – Jane Rendell, Vice Dean of Research at the Bartlett, UCL, and author of Art and Architecture (2006), Site-Writing (2010) and co-editor of Critical Architecture (2007)

"Ultimately this is a valuable book for those interested in pursuing alternatives to traditional architecture, those searching for ideas about how to make positive change when other means are not available, and for those gauging the state of architecture today." – Archidose

“The book presents, from an easy and open approach, different ways of understanding the new ways of doing architecture. In all cases it is evident that the spatial production does not imply exclusively to architects and development possibilities are endless. An optimistic crisis for architecture.”
 – Arquilecturas

"‘A timely study that raises vital issues for the future’. Such were the words recently used by the Royal Institute of British Architects in announcing its decision to award the 2011 RIBA President’s Award for Outstanding University-located Research to Spatial Agency: Other Ways of Doing Architecture, the book edited by Nishat Awan and Tatjana Schneider of the University of Sheffield, and Jeremy Till of the University of Westminster... Amid the rhetoric that often surrounds these events, the succinct description does indeed do justice to the work compiled by the three academics and the intellectual platform supporting it. A reflective analysis of the various ways of contributing to change in the built environment outside the canonical plots of professional practice, Spatial Agency tackles some of the central tenets of architecture as a discipline, asking whether these in fact maintain currency for both the profession and the built environment." - Paolo Tombesi, Construction Management and Economics, September 2012


 

About the Author

Tatjana Schneider (Lecturer, University of Sheffield) and Jeremy Till (Dean, University of Westminster and author of the award winning book Architecture Depends) collaborated before on their book Flexible Housing (which won the 2007 RIBA President's Award for Research). This time they are joined by Nishat Awan (Researcher).

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0 of 0 people found the following review helpful.
Four Stars
By Andrzej Baranowski
important, deeply moving document on how to save architecture from the trap of selfishness and commodification.

0 of 0 people found the following review helpful.
Five Stars
By Amazon Customer
so sool

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