Computer Arts Magazine, Dec 2001 If you use Photoshop and want to progress your skills, this book will open your eyes www.pixelsurgeon.com This book is a tempting, friendly design gigolo, and will do absolutely anything you ask of it. DT & G Magazine - www.Design-Bookshelf.com If you care for your craft, you'd be foolish indeed to let this opportunity slip away. Book of the year. Photoshop User Magazine, January 2002 The variety of artwork and approaches is a definite plus. CGI Magazine, February 2002 Not just a book about graphics, it's a work of art in itself. As a piece of software, Adobe Photoshop is rare - perhaps alone - in evoking genuine passion from its users. As it evolves, it finds its way into the lives of more and more professional creators, tempting them away from their traditional materials, and expanding their horizons. Yes, it can alter photographs. It can also alter careers. New Masters of Photoshop is a showcase of Masters who use Photoshop, and Masters of Photoshop use. The photographers, animators, artists, and designers assembled here have a myriad of different skills: some manipulate, some animate, some create from scratch. All of them produce remarkable, beautiful things. In these pages, the authors will demonstrate examples of their print work, web work, public work, and private work, explaining the techniques they use to achieve their results. More than that, though, they'll tell you how they think: who their influences are, where their ideas come from, and how they find inspiration when the well has run dry. friends of ED has scoured the world for the leading exponents of Photoshop technique. This book is a gallery of Photoshop practice and theory, backed with essays on the influences and inspirations that lie behind the sharpest digital art in today's media-saturated world. The book deconstructs sophisticated, complex, and astonishing Photoshop graphics, providing motivation, skills and inspiration in equal parts. Support for this book is available on the friends of ED web site (friendsofed.com). From the Publisher Creating a Photoshop image is a process that occurs as much in the head as it does on the screen. Uniquely, New Masters of Photoshop documents it all, from the seeds of an idea, to the outcome on screen, paper, or canvas. The projects include examples of collage and montage that involve manipulation of whole images and tiny fragments - working on a grand scale, and at a pixel-by-pixel level. Layers and masks, with all their subtleties, are used in fascinating ways; and filters are treated with the sensitivity and discretion they require. The CD contains: Audio, video, and written interviews with the authors Source files for the tutorials Unflattened Photoshop files for closer inspection About the Author Michael Cina Michael Cina is an artist and designer living in a small village outside of minneapolis. he creates stuff (mikecina.com) and things (trueistrue.com) out of his house in that village. companies like mtv or adobe may even call him to do some work. every now and then he leaves his village to speak at design conferences. often he will leave his house to buy cds or books (or both if he got paid). otherwise he rides his bike, fishes, chases his cat or girlfriend, takes pictures, makes fonts, paints, e-mails people, struggles over writing things like books and bios... currently michael is working on his new company, weworkforthem.com, with michael young. WeWorkForThem is half art and half design studio. Mike Young Mike Young is an artist currently residing in Washington, DC, USA. Mike has created and maintained sites such as designgraphik.com and submethod.com, and is currently starting weworkforthem.com with Michael Cina of trueistrue.com. While working on these projects, Mike has also served as art director for two years at Vir2l Studios, where he directed and designed on projects such as vir2l.com, which won prestigious awards such as the New York Festivals New Media Competition, Cannes Cyber Lion: Gold, Clio Award, Art Directors Club, and also Invision Award. Not only has Mike worked on many personal and experimental web art-based projects, but also he has worked with clients such as MTV, Dc Shoes, Mercury Automobiles, Dj Dieselboy, Dj Dara, Dj Ak1200, and Walker Art Center. Jens Magnus Karlsson Jens Karlsson is a Swedish digital artist and designer. He studied information and advertising for four years, partly in the US, and later graduated from Hyperisland School of New Media Design. At Hyperisland, Jens worked as a freelance art director, along with his studies, doing print, animation, and online work for clients such as CBS, Sony, Volkswagen, and Digital Vision. From there he moved on to a position as Senior Designer at Kioken Incorporated. Jens is currently a freelance designer through Chapter3.net, and he is actively involved in enriching the online design culture with news, articles, and events, mainly as assistant creative director at threeoh.com.

Information Design provides citizens, business and government with a means of presenting and interacting with complex information. It embraces applications from wayfinding and map reading to forms design; from website and screen layout to instruction. Done well it can communicate across languages and cultures, convey complicated instructions, even change behaviours. Information Design offers an authoritative guide to this important multidisciplinary subject. The book weaves design theory and methods with case studies of professional practice from leading information designers across the world. The heavily illustrated text is rigorous yet readable and offers a single, must-have, reference to anyone interested in information design or any of its related disciplines such as interaction design and information architecture, information graphics, document design, universal design, service design, map-making and wayfinding.

This compact and innovative book tackles one of the central issues in drug policy: the lack of a coherent conceptual structure for thinking about drugs. Drugs generally fall into one of seven categories: prescription, over the counter, alternative medicine, common-use drugs like alcohol, tobacco and caffeine; religious-use, sports enhancement; and of course illegal street drugs like cocaine and marijuana. Our thinking and policies varies wildly from one to the other, with inconsistencies that derive more from cultural and social values than from medical or scientific facts. Penalties exist for steroid use, while herbal remedies or cold medication are legal. Native Americans may legally use peyote, but others may not. Penalties may vary for using different forms of the same drug, such as crack vs. powder cocaine. Herbal remedies are unregulated by the FDA; but medical marijuana is illegal in most states.
Battin and her contributors lay a foundation for a wiser drug policy by promoting consistency and coherency in the discussion of drug issues and by encouraging a unique dialogue across disciplines. The contributors are an interdisciplinary group of scholars mostly based at the University of Utah, and include a pharmacologist, a psychiatrist, a toxicologist, a trial court judge, a law professor, an attorney, a diatary specialist, a physician, a health expert on substance abuse, and Battin herself who is a philosopher. They consider questions like the historical development of current policy and the rationales for it; scientific views on how drugs actually cause harm; how to define the key notions of harm and addiction; and ways in which drug policy can be made more consistent. Theyconclude with an examination of the implications of a consistent policy for various disciplines and society generally.
The book is written accessibly with little need for expert knowledge, and will appeal to a diverse audience of philosophers, bioethicists, clinicians, policy makers, law enforcement, legal scholars and practitioners, social workers, and general readers, as well as to students in areas like pharmacy, medicine, law, nursing, sociology, social work, psychology, and bioethics.

Typography, the art of designing printed words, was once the domain of an elite few artists but has become an area with which millions of people engage daily. The widespread usage of digital devices from laptops to tablets and smart phones which are used for written communications means that we are regularly asked to make decisions about the fonts, sizes, and layouts we use in our writing. This broadening engagement with the field of typography has led to a perceptible shift from debates about legibility and technicalities to conversations about which fonts best reflect the writer's personality or style . In this Very Short Introduction, Paul Luna offers a broad definition of typography as design for reading, whether in print or on screens, where a set of visual choices are taken to make a written message more accessible, more easily transmitted, more significant, or more attractive. Considering the development of letterforms and the shapes of letter we use, Luna discusses the history behind our modern day letters and fonts, before considering the issues behind key typographic decisions, and the differences between printed and on-screen typography. Presenting any piece of typography as a fundamental design choice, Luna introduces the options available today, and explores the reasons why key typographic decisions are made. ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.

This compact and innovative book tackles one of the central issues in drug policy: the lack of a coherent conceptual structure for thinking about drugs. Drugs generally fall into one of seven categories: prescription, over the counter, alternative medicine, common-use drugs like alcohol, tobacco and caffeine; religious-use, sports enhancement; and of course illegal street drugs like cocaine and marijuana. Our thinking and policies varies wildly from one to the other, with inconsistencies that derive more from cultural and social values than from medical or scientific facts. Penalties exist for steroid use, while herbal remedies or cold medication are legal. Native Americans may legally use peyote, but others may not. Penalties may vary for using different forms of the same drug, such as crack vs. powder cocaine. Herbal remedies are unregulated by the FDA; but medical marijuana is illegal in most states. Battin and her contributors lay a foundation for a wiser drug policy by promoting consistency and coherency in the discussion of drug issues and by encouraging a unique dialogue across disciplines. The contributors are an interdisciplinary group of scholars mostly based at the University of Utah, and include a pharmacologist, a psychiatrist, a toxicologist, a trial court judge, a law professor, an attorney, a diatary specialist, a physician, a health expert on substance abuse, and Battin herself who is a philosopher. They consider questions like the historical development of current policy and the rationales for it; scientific views on how drugs actually cause harm; how to define the key notions of harm and addiction; and ways in which drug policy can be made more consistent. They conclude with an examination of the implications of a consistent policy for various disciplines and society generally. The book is written accessibly with little need for expert knowledge, and will appeal to a diverse audience of philosophers, bioethicists, clinicians, policy makers, law enforcement, legal scholars and practitioners, social workers, and general readers, as well as to students in areas like pharmacy, medicine, law, nursing, sociology, social work, psychology, and bioethics.