AH-HA! I SEE IT NOW!

Everyone has experienced that joyful moment when the light flashes on -- the Ah-Ha! of creativity.

Creativity. It is the force that drives problem-solving, informs effective decision-making and opens new frontiers for ambition and intelligence. Those who succeed have learned to harness their creative power by keeping that light bulb turned on.

Now, Betty Edwards, author of Drawing on the Right Side of the Brain, the million-copy best-seller that proved all people can draw well just as they can read well, has decoded the secrets of the creative process to help you tap your full creative potential and apply that power to everyday problems. How does Betty Edwards do this? Through the power of drawing -- power you can harness to see problems in new ways.

Through simple step-by-step exercises that require no special artistic abilities, Betty Edwards will teach you how to take a new point of view, how to look at things from a different perspective, how to see the forest and the trees, in short, how to bring your visual, perceptual brainpower to bear on creative problem-solving.

You will learn how the creative process progresses from stage to stage and how to move your own problem-solving through these key steps:

* First insight
* Saturation
* Incubation
* Illumination (the Ah-Ha!)
* Verification

Whether you are a business manager, teacher, writer, technician, or student, you'll find Drawing on the Artist Within the most effective program ever created for tapping your creative powers. Profusely illustrated with hundreds of instructional drawings and the work of master artists, this book is written for people with no previous experience in art.

Parks, maps, and mapping technologies like the GPS are objects of visual and material culture that rely on the interplay of text, context, image, and space to guide our interpretations of the world around us. LOCATING VISUAL-MATERIAL RHETORICS: THE MAP, THE MILL, AND THE GPS examines in depth, and in several contemporary settings, how visual and material discursive artifacts, when understood as rhetorical, shape our understanding of the unique cultural moments that these artifacts set out to represent. Using three cases that involve an exploration of the corporeal influence of the green spaces and commemorative sculptures at the Lowell Mills National Historical Park in Lowell, Massachusetts; the cartographic texts produced by GPS devices; and two maps involved in a federal court case about marine mammal protection, this book explores and tests the value of what Propen calls "visual-material rhetorics," or a visual rhetoric more expressly attuned to studies of space, the body, and materiality. Grounding all three cases is a theoretical approach that combines Michel Foucault's theory of heterotopias with Carole Blair's theory of material rhetoric. Such an approach brings Foucault's important work on spatiality into conversation with visual-material rhetorics to show how we benefit from conceptualizing rhetorical objects as not merely textual in the traditional sense but also as both visual and material-as spatial. Together, the cases in this book demonstrate how visual-material rhetorics illuminate the contexts that shape our various lived and embodied experiences and how visual-material rhetorics function in the service of advocacy. AMY D. PROPEN is Assistant Professor of Rhetoric and Composition at York College of Pennsylvania. She received her PhD in Rhetoric and Scientific and Technical Communication from the University of Minnesota. Her research on visual rhetoric, critical cartographies, and rhetoric as advocacy has appeared in journals and edited collections, including Technical Communication Quarterly, Written Communication, ACME: An International E-Journal of Critical Geographies, and Rethinking Maps: New Frontiers in Cartographic Theory. She is co-author, with Mary Lay Schuster, of Victim Advocacy in the Courtroom: Persuasive Practices in Domestic Violence and Child Protection Cases.

This compendium of primary sources examines British architectural history from the accession of King George III in 1760 to the outbreak if the First World War in 1914. The collection of two volumes contains a mixture of architectural treatises, biographical material on architects, works on different types of building, and contemporary descriptions of individual buildings. This title will be of great interest to students of Art History and Architecture.

This third volume of the Series on the Colonial Economy of NSW (1788-1835) researches the formation, operation and use of labour in the numerous Government Business Enterprises. This volume supplements the studies on the Colonial Economy and the other most important economic driver - the commissariat. The economic history of NSW and essentially that of early Australia is set out in this series.

The Mediality of Sugar probes the potential of reading sugar as a mediator across some of the disciplinary distinctions in early twenty-first century research in the arts, literature, architecture, and popular culture. Selected artistic practices and material cultures of sugar across Europe and the Americas from the sixteenth to the twenty-first century are investigated and connected to the transcontinental and transoceanic history of the sugar plants cane and beet, their botanical and cultural dissemination, and global sugar capital and trade under colonialism and in decoloniality. The collection contributes to the vision of a Transnational and Postdisciplinary Sugar Studies.

Through sheer determination and courage, Kahn has researched the nature of concrete in the form of precast, cast in place or blocks. Each of his renowned works in exposed concrete, such as the Yale Art Gallery, the Richards Laboratories, the Bath House, the Salk Institute, the National Assembly, the Kimbell Museum, the Exeter Library and the Yale Center for British Art, is itself an important chapter in the history of architecture for the exploration into concrete s formal expression, beyond the lessons of Le Corbusier.

Kahn s obsession with concrete s fabrication processes, the formwork and the mix-design is systematically examined in two volumes. They illustrate Kahn s vision using documents that have never been revealed in other essays, drawing heavily from original sketches, plans, specifications, worksite photographs, and correspondences with collaborators, engineers, technicians and contractors.

The first volume "Exposed Concrete and Hollow Stones" focuses on the first ten-year period of Kahn's research on concrete. Moving through the many construction systems experienced by Kahn, from the discovery of exposed concrete in the form of "beton brut" at the Yale Art Gallery, to the precast and poured-in-place techniques, to the values of joint, growth and ornament, the work culminates in the reconstruction of the artistic and technical characteristics of two great worksite, the Richards Laboratories and the First Unitarian Church and School. The second volume, "Towards the Zero Degree of Concrete," covers the following fourteen years and leads the reader along Kahn s path to the true 'nature of concrete', focusing on his main techniques and discoveries such as the 'liquid stone' of the Salk Institute, the 'smooth finish' at Bryn Mawr and the concept of 'monolithic' at the Yale Center for British Art."