Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Longer Description (for Xlibris book page)Haley Van Fleet's paintings are coded memories, childhood terrors that she has disguised for herself as beauty. The result is a potent magic that attracts an offer from a gallery, but her old fears are stronger than ambition. She runs from the exposure of success and takes refuge in an affair with another artist, a photographer. They go west together to photograph places tourists never see, some of them dangerous. But danger becomes a kind of pleasure, and when they take illegal pictures on a missile range even explosions and military pursuit don't spoil the fun. There is another, less expected, reward: defying real fear cures imaginary fear. But theses lovers are cured too well, and when they face danger again they do not recognize it. Always hiding behind the camera they forget that they are in the picture too. They miss important warnings. The 'perfect', beautiful couple, they attract dangerous love, the kind deranged fans bestow on movie stars. Their 'fan' is childhood terror grown up, in his own way another artist, and when he catches Haley off guard she cannot forget it. She has no choice but to become a hunter herself and find the enemy.

This popular text, now in a third edition, offers readers a vivid perspective on the cultural and social complexities of food practices and the current food system. Synthesizing insights from the multidisciplinary field of food studies, this book engages readers' curiosity by highlighting the seeming paradoxes of food: how food is both individual and social, reveals both distinction and conformity, and, in the contemporary era, seems to come from everywhere but nowhere in particular. Each chapter begins with an intriguing case study and ends with suggested resources and activities. Chapter topics include identity, restaurants and food media, health, marketing, industrialization, global food, surplus and scarcity, and social change. Updates and enhancements in this edition reflect new scholarly insights into how food is involved in social media, social movements, and the COVID-19 pandemic. Throughout, the book blends concepts and empirical accounts to address the central issues of culture, structure, and social inequality. Written in a lively, accessible style, this book provides students with an unrivalled and multifaceted introduction to this fascinating aspect of social life.

This popular text, now in a third edition, offers readers a vivid perspective on the cultural and social complexities of food practices and the current food system. Synthesizing insights from the multidisciplinary field of food studies, this book engages readers' curiosity by highlighting the seeming paradoxes of food: how food is both individual and social, reveals both distinction and conformity, and, in the contemporary era, seems to come from everywhere but nowhere in particular. Each chapter begins with an intriguing case study and ends with suggested resources and activities. Chapter topics include identity, restaurants and food media, health, marketing, industrialization, global food, surplus and scarcity, and social change. Updates and enhancements in this edition reflect new scholarly insights into how food is involved in social media, social movements, and the COVID-19 pandemic. Throughout, the book blends concepts and empirical accounts to address the central issues of culture, structure, and social inequality. Written in a lively, accessible style, this book provides students with an unrivalled and multifaceted introduction to this fascinating aspect of social life.

Arthur L. Guptill's classic Rendering in Pen and Ink has long been regarded as the most comprehensive book ever published on the subject of ink drawing. This is a book designed to delight and instruct anyone who draws with pen and ink, from the professional artist to the amateur and hobbyist. It is of particular interest to architects, interior designers, landscape architects, industrial designers, illustrators, and renderers. Contents include a review of materials and tools of rendering; handling the pen and building tones; value studies; kinds of outline and their uses; drawing objects in light and shade; handling groups of objects; basic principles of composition; using photographs, study of the work of well-known artists; on-the-spot sketching; representing trees and other landscape features; drawing architectural details; methods of architectural rendering; examination of outstanding examples of architectural rendering; solving perspective and other rendering problems; handling interiors and their accessories; and finally, special methods of working with pen including its use in combination with other media. The book is profusely illustrated with over 300 drawings that include the work of famous illustrators and renderers of architectural subjects such as Rockwell Kent, Charles Dana Gibson, James Montgomery Flagg, Willy Pogany, Reginald Birch, Harry Clarke, Edward Penfield, Joseph Clement Coll, F.L. Griggs, Samuel V. Chamberlain, Louis C. Rosenberg, John Floyd Yewell, Chester B. Price, Robert Lockwood, Ernest C. Peixotto, Harry C. Wilkinson, Bertram Grosvenor Goodhue, and Birch Burdette Long. Best of all, Arthur Guptill enriches the text with drawings of his own.

This popular and engaging text, now revised in a second edition, offers readers a social perspective on food, food practices, and the modern food system. It engages readers' curiosity by highlighting several paradoxes: how food is both individual and social, reveals both distinction and conformity, and, in the contemporary global era, comes from everywhere but nowhere in particular. With updates and enhancements throughout, the new edition provides an empirically deep, multifaceted, and coherent introduction to this fascinating field. Each chapter begins with a vivid case study, proceeds through a rich discussion of research insights, and ends with discussion questions and suggested resources. Chapter topics include food's role in socialization, identity, health and social change, as well as food marketing and the changing global food system. The new edition gives more focused attention to labor (both paid and unpaid) in all aspects of the food system. In synthesizing insights from diverse fields of social inquiry, the book addresses issues of culture, structure, and social inequality throughout. Written in a lively style, this book will continue to be both accessible and revealing to beginning and intermediate students alike.

A deluxe, hardcover sketchbook with archival-quality paper that works for a variety of drawing media with pages that are large enough for you to take rough sketches all the way to final artwork.

The classic Watson-Guptill Sketchbook, first created by artists for artists, was released in 1993 and has since earned a strong reputation among recreational and professional artists for its durability, lay-flat binding, and premium pH neutral paper pages that are ideal for a variety of drawing media, from pencil and charcoal to pen and ink. Committed artists are increasingly attracted to the utility and enduring qualities that distinquish the Watson-Guptill Large Sketchbook including the sturdy hardcover binding that stands up to daily use and abuse, and the removable sticker. In response to demand, the Large Sketchbook is now available in a new color--calfskin brown--for artists who are looking for an alternative to the black sketchbook and want to make a serious style statement.

Both serious artists and casual doodlers can use the handsome sketchbooks, now offered in seven colors, four sizes, and with the options of lizard finish or Kivar covers and a sewn or spiral wire-o binding. Many choose the popular large format for sketching outdoors or for toting to art class. Others like to toss the smaller sizes into a purse or backpack. The archival-quality, vellum-finish paper is especially appealing to artists. It will not yellow with time, ensuring the preservation of their drawings, and its smooth surface readily accepts any drawing medium. The spiral-bound version opens flat. All the covers have a leatherlike finish but are actually tough and waterproof.

Both serious artists and casual doodlers can use the handsome sketchbooks, now offered in seven colors, four sizes, and with the options of lizard finish or Kivar covers and a sewn or spiral wire-o binding. Many choose the popular large format for sketching outdoors or for toting to art class. Others like to toss the smaller sizes into a purse or backpack. The archival-quality, vellum-finish paper is especially appealing to artists. It will not yellow with time, ensuring the preservation of their drawings, and its smooth surface readily accepts any drawing medium. The spiral-bound version opens flat. All the covers have a leatherlike finish but are actually tough and waterproof.

Both serious artists and casual doodlers can use the handsome sketchbooks, now offered in seven colors, four sizes, and with the options of lizard finish or Kivar covers and a sewn or spiral wire-o binding. Many choose the popular large format for sketching outdoors or for toting to art class. Others like to toss the smaller sizes into a purse or backpack. The archival-quality, vellum-finish paper is especially appealing to artists. It will not yellow with time, ensuring the preservation of their drawings, and its smooth surface readily accepts any drawing medium. The spiral-bound version opens flat. All the covers have a leatherlike finish but are actually tough and waterproof.

Both serious artists and casual doodlers can use the handsome sketchbooks, now offered in seven colors, four sizes, and with the options of lizard finish or Kivar covers and a sewn or spiral wire-o binding. Many choose the popular large format for sketching outdoors or for toting to art class. Others like to toss the smaller sizes into a purse or backpack. The archival-quality, vellum-finish paper is especially appealing to artists. It will not yellow with time, ensuring the preservation of their drawings, and its smooth surface readily accepts any drawing medium. The spiral-bound version opens flat. All the covers have a leatherlike finish but are actually tough and waterproof.