『 Holy Bible, Woman Thou Art Loosed Edition (Bible Nkjv) 』

『 Letterhead and Logo Design 9 』

『 NIV Life Application Study Bible, Large Print 』 None

『 Complete Color Harmony Workbook (Design) 』 Bride M Whelan

For the price, for what I bought this for, this was an excellent investment.』

(Goodfor life style)
『It's a very useful book to be a stylesh in your life...
in dress, homeevery thing』

(An insult to any but the color-blind.)
『This book seems to be for "color" ......... Color Harmony 2 is an absurdly shallow and garish overview of one of the most sacred realms in art (and the human sensory experience): color. The author has the arrogance to make ridiculous statements about color--"rules" that we are expected to believe without context or proof. Consider these quotes, "Color combinations using yellow-orange or amber are the most welcoming." What??? And, "Elegant color combinations use only the palest tints" (a statement too absurd for comment). This is a heartless book. Look elsewhere for inspiration!』

(Thin on plot but rich in taste!)
『I'm not sure how appropriate this book is for the under-fourteen set. It seems the author had 82 Gremlins, because the drawings are all in marker and the plot has too many twists and turns. While this may seem like a fine how-do-you-do to most, other may see it the other way, or maybe not.

Color Harmony is bound, it has pages, it has both a back and a front cover, so I have to give it a sterling, or at least a pound, like with a mallet. 5 o'clock shadow is just the sort of thing to make you feel warm, but if your desk is tidy, you might not notice the squid.

Overall, detournement is humorous and does something, even if its effects don't strike you until much later. Color terrorists and small snails should beware!』
『Color Harmony 2 is an invaluable tool for anyone working with color. From graphic designers to interior decorators, from fashion designers to floral arrangers, this book can help anyone create effective color schemes for any project.

Colors and color schemes matched to specific moods provide unique color and design possibilities. 12 basic hues with 94 tints and shades give over 1400 color combinations in single, two, and three-color schemes. Vivid color photographs illustrate many different color combinations. Color swatches and a color conversion chart assure easy and accurate color matching. Easy-to-follow lessons in basic color theory.』

『 Goodnight Moon (Spanish edition): Buenas noches, Luna 』 Eric Carle

Parents are increasingly aware of the benefits of teaching children multiple languages, and the earlier the better! This ingeniously simple board book uses Eric Carle’s vibrant artwork to teach simple words—slide the panel to reveal the name of each color in English or in Spanish. It combines the effectiveness of flashcards with the interactivity of a novelty book!』

『 Canine and Feline Endocrinology and Reproduction, Third Edition 』 Danny W. Scott

『 Live Like You Mean It: Seven Celebrations to Rejuvenate Your Soul 』 Dee Brestin,Kathy Troccoli

『 Cleo and Caspar (Cleo Series) 』 Stella Blackstone

『 Decorating Ideas that Work 』 Robin Strangis

fetish『 Photography on the Color Line: W. E. B. Du Bois, Race, and Visual Culture (A John Hope Franklin Center Book) 』 『 Colored Pictures: Race and Visual Representation 』 『 American Archives 』 『 African American Vernacular Photography (Archive) 』 『 Reflections in Black: A History of Black Photographers 1840 to the Present 』 『 Picturing Us: African American Identity in Photography 』 Shawn Michelle Smith  Kakaku：240 saved$2.40  Duke University Press  Usually ships in 24 hours IPhone 3G used's review (contrasting parts) 『The book has 2 very contrasting parts. The first is an analysis of Du Bois' collection of Georgia Negro photographs, that he exhibited at the 1900 Paris Exposition. Several hundred photos. Mostly of middle class American Negroes, well dressed and well posed for the photographer. (Who was not actually Du Bois himself.) The photos tended to show people born after the end of the Civil War and slavery. In that Paris Exposition, Du Bois' offering was a deliberate contrast to the other depictions of Africans, which came from the European empires in Africa. These invariably showed tribal Africans. Backward and ignorant. This was the ideological or racial justification for the White Man's Burden of imperialism. What Du Bois depicted were educated Americans, as an eloquent counterpoint. Here were people of African descent, but otherwise indistinguishable from white middle class Americans or Europeans. Another fillip was the inclusion of light skinned Negroes by Du Bois. As a rejoinder to a strict racial and racist separation promulgated by some whites. In one example, there is a photo of a girl who looked more southern European (think Spaniard or Italian perhaps) than African. Yet to the white mainstream, she would have been irrevocably classified as Negro. The second half of the book studies the lynching photos. Taken by whites at lynchings throughout the American South. Here, Smith takes particulars never to show the grotesqueries of the victims. (Other books adequately do this.) Instead, there is an incisive analysis of the white spectators and participants. We see them preening and guiltless. Many of the photos were in fact used as postcards, sent by the participants to others. While the white ideology of those times depicted Negroes as savages, the book asks, who were the actual savages?』 『Through a rich interpretation of the remarkable photographs W. E. B. Du Bois compiled for the American Negro Exhibit at the 1900 Paris Exposition, Shawn Michelle Smith reveals the visual dimension of the color line that Du Bois famously called“the problem of the twentieth century.” Du Bois’s prize-winning exhibit consisted of three albums together containing 363 black-and-white photographs, mostly of middle-class African Americans from Atlanta and other parts of Georgia. Smith provides an extensive analysis of the images, the antiracist message Du Bois conveyed by collecting and displaying them, and their connection to his critical thought. She contends that Du Bois was an early visual theorist of race and racism and demonstrates how such an understanding makes the important concepts he developed—including double consciousness, the color line, the Veil, and second sight—available to visual culture and African American studies scholars in powerful new ways. Smith reads Du Bois’s photographs in relation to other turn-of-the-century images such as scientific typologies, criminal mugshots, racist caricatures, and lynching photographs. By juxtaposing these images with reproductions from Du Bois’s exhibition archive, Smith shows how Du Bois deliberately challenged racistrepresentations of African Americans. Emphasizing the importance of comparing multiple visual archives,Photography on the Color Linereinvigorates understandings of the stakes of representation and the fundamental connections between race and visual culture in the United States.』