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Graffiti goes global in this third volume of never-before-published blackbook drawings from writers around the world. Like the hugely successful volumes it follows, this latest collection mimics that most valuable of graffiti gear--the blackbook. Nearly 150 private drawings by top artists from every corner of the globe are featured in this volume. Mirroring the revolutionary format of their previous books Piecebook and Piecebook Reloaded, Jenkins's and Villorente's World Piecebook presents rare and personal illustrations straight from the collections of artists such as Atome, Demote, and Casino from Australia; Kas and Resm from Belgium; Swet, Bates, and Rens from Denmark; Virus, Zek, and Bacon from Canada; Lunar and Dock from Croatia; Oker, Drax, and Zombie from England; Lemon and Angel from Serbia; Os Gemeos, Nami, and Rio from Brazil; Dare and Ders from Switzerland; Shiro, Sniper, and Nezm from Japan; Rek, Ske, and Blend from Puerto Rico, and more. With an introduction by Sacha Jenkins, World Piecebook will be a must-have book for graffiti writers and their fans around the globe.

• Sales Rank: #735078 in Books
• Brand: Brand: Prestel
• Published on: 2011-05-20
• Released on: 2011-05-20
• Original language: English
• Number of items: 1
• Dimensions: 1.02" h x 8.82" w x 11.30" l, 2.75 pounds
• Binding: Hardcover
• 176 pages

Features

• Used Book in Good Condition

From the Inside Flap
Graffiti goes global in this third volume of never-before-published blackbook drawings from writers around the world. Like the hugely successful volumes it follows, this latest collection mimics that most valuable of graffiti gear--the blackbook

About the Author
Sacha Jenkins is a former graffiti writer turned journalist. A one-time music editor at Vibe and senior writer for Spin, he is the co-founder of the seminal hip hop magazine ego trip as well as the co-author of The New York Times bestseller The Way I Am, an authorized biography of Eminem. He is currently editorial director of Mass Appeal, an urban lifestyle magazine. He is the co-author of Piecebook and Piecebook Reloaded (both by Prestel). David Villorente was the editor of Source magazine's graffiti pages for twelve years, writing under his tag, Chino.A" He is the co-author of Mascots & Mugs: The Characters and Cartoons of Subway Graffiti, as well as Piecebook and Piecebook Reloaded (both by Prestel).

Most helpful customer reviews

1 of 1 people found the following review helpful.
Really cool book
By Chris Francz
This is a cool book but I was confused as to why they chose to include the backs of some pages to show the marker bleeds for some of the art but not all of it and why there were some totally blank pages. This book has a really nice to feel to it. While I'm not a graffiti artist, I have held and looked through a bunch of graffiti artist's black books and they all felt just like World Piecebook. What I would love to see for a future book in this series is a book filled with non-elaborate art - just pencil and pen sketches, works in progress, etc.

0 of 0 people found the following review helpful.
A book worthy of a place on your coffee table.
By TekMiL
As a 'writer' from back in the '80's I loved this book. This is one of the best books showcasing and paying homage to the graffiti movement. Now I am a corporate 'type', I am proudly displaying this on my coffee table. It is interesting to watch people's reactions to it knowing this was once a big 'piece' of who I was and who I became.

2 of 2 people found the following review helpful.
And it has arrived... World Piecebook: Global Graffiti Drawings
By OHY
For someone born in the early 70's and growing up in New York City in the 80's and 90's, graffiti and it's artists continue to be icons. Sacha Jenkins and David Villorente's third installation of their Piecebook phenomenon, World Piecebook: Global Graffiti Drawings, focuses on the exploration into graffiti across the globe and shows just how influential and important this art medium is. As graffiti continues to gain the respect and recognition it deserves in mainstream art circles, the artists included in this installation have been properly represented by two gentlemen who have themselves participated in the graffiti movement. As an authentic rendition of an artists "piecebook" or sketchbook, with the marker bleeding through the page, the art showcased on these pages depict stories and sometimes statements about love, hope, a struggle or protest and in other cases, just plain bravado.

I highly recommend anyone who is interested in graffiti, or grew up with it as a part of your life, and who wants a true artists' book; one without all the explanations about style and form, to purchase this book.

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• Binding: Paperback

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• Sales Rank: #78595 in Books
• Published on: 2014-09-15
• Original language: English
• Number of items: 1
• Dimensions: 9.83" h x .33" w x 8.50" l, .0 pounds
• Binding: Paperback
• 112 pages

Review
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[A814.Ebook] PDF Download Restructuring Patriarchy: The Modernization of Gender Inequality in Brazil, 1914-1940, by Susan K. Besse

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Susan K. Besse broadens our understanding of the political by establishing the relevance of gender for the construction of state hegemony in Brazil after World War I. Restructuring Patriarchy demonstrates that the consolidation and legitimization of power by President Getulio Vargas's Estado Novo depended to a large extent on the reorganization of social relations in the private sphere. New expectations and patterns of behavior for women emerged in postwar Brazil from heated debates between men and women, housewives and career women, feminists and antifeminists, reformist professionals and conservative clerics, and industrialists and bureaucrats. But as urban middle- and upper-class women challenged patriarchal authority at home and assumed new roles in public, prominent intellectuals, professionals, and politicians defined and imposed new 'hygienic,' rational, and scientific gender norms. Thus, modernization of the gender system within Brazil's rising urban-industrial society accommodated new necessities and opportunities for women without fundamentally changing the gender inequality that underlay the larger structure of social inequality in Brazil.

• Sales Rank: #1795008 in Books
• Brand: Brand: The University of North Carolina Press
• Published on: 1996-02-19
• Original language: English
• Number of items: 1
• Dimensions: 9.25" h x .69" w x 6.12" l, 1.11 pounds
• Binding: Paperback
• 304 pages

Features

• Used Book in Good Condition

Review
[An] engaging contribution to the literature.

"Luso-Brazilian Review"

Besse raises important questions that will spur further research.

"Journal of Social History"

A valuable contribution to the historiography on gender in Latin America.

"American Historical Review"

A detailed and insightful analysis of the impact of modernization and political change on Brazilian women during the interwar years.

"Choice"

[An] extremely valuable book that will change forever the political analysis of both twentieth-century Brazilian history and modern patriarchal relations.

"Historian"

ÝAn¨ engaging contribution to the literature.

"Luso-Brazilian Review"

ÝAn¨ extremely valuable book that will change forever the political analysis of both twentieth-century Brazilian history and modern patriarchal relations.

"Historian"

Review
Besse's book is a valuable contribution to the historiography on gender in Latin America. Its careful analysis of the constestation of gender ideologies in a key period in Brazilian history provides important insights for our understanding of middle-class and elite women in the urban environment.--American Historical Review



[An] extremely valuable book that will change forever the political analysis of both twentieth-century Brazilian history and modern patriarchal relations.--Historian



This excellent, provocative, and well-written book elucidates and explains the far-reaching cultural, socio-political, and economic changes in gender relations during the Estado Novo in Brazil. . . . Besse tells a compelling story and tells it well: this book will interest social historians and all Brazilianists and will be exciting fare for graduate courses and advanced undergraduates. I recommend it strongly.--Elizabeth Kuznesof, University of Kansas



Besse offers a detailed and insightful analysis of the impact of modernization and political change on Brazilian women during the interwar years.--Choice



[An] engaging contribution to the literature.--Luso-Brazilian Review

From the Back Cover
'Restructuring Patriarchy' demonstrates that the consolidation and legitimization of power by President Getulio Vargas's Estado Novo depended to a large extent on the reorganization of social relations in the private sphere.

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4 of 5 people found the following review helpful.
Marriage in Brazil 1914-1940
By Magally A Henderson
In this review I would like to concentrate in the Besse's contribution to the study of marriage patrons in Brazil between post World War I period and 1940s offered by Susan Besse in her book Restructuring Patriarchy: The Modernization of Gender Inequality in Brazil, 1914-1940. Susan Besse shows how changing economic necessities and social norms brought new opportunities for urban middle and upper class women for higher education and paid employment in Brazil's post World War I era. This process was seen by the conservative elites as a menace to the "traditional Brazilian family", generating a public concern and a state ideology of wifehood and motherhood that succeeded in incorporating these changes to the maintenance of patriarchal dominance. Based on an ideological and discursive analysis that underlay the consolidation of the new authoritarian bourgeois order of the late 1930s, part of Besse's study is dedicated to the institution of marriage which seems to be in a "crisis" after the World War I period even when the rate of marriage was more widespread than before. This "crisis" is confronted by the elite in a discursive effort to solve "the low rate of nuptiality among the poor and the instability of poor families" (Besse, 39), through a national discussion about the topic in the media, scientific circles, the law, and government policies. The effort to promote different values among the lower classes is part of national concern to "civilize" the country and the creation of a national identity based on the ideal of racial and class democracy. Although marriage in Brazil was always a middle and upper class institution, the dysfunctionality of the free unions in buttressing order and stability in Brazil's new urban-industrial society (Besse, 39) made this behavior a social problem that "had" to be confronted by the state for the social wealth. Public debates about new responsibilities for wives and husbands, the abandonment of the custom of arranged marriages and overall preoccupation of the state to "civilize" the lower classes through the promotion of the institution of marriage are generated by the upper class anxiety for the challenge that the new social spaces that women had acquired represents for the society. The eruption of the middle and upper class women in white collar jobs, their access to higher levels of education, the new social spaces of department stores and cafes did not necessarily imply a rejection of the marriage and motherhood as the most "natural" role for them, even when Besse highlights some dissident life experiences. Other alternatives were neither attractive nor viable since for many "respectable" women concubinage and free love were regarded to be little different from prostitution (Besse, 48). Even if they achieved a professional career that allowed them economic independence, social pressure is done upon them in the form of constant surveillance, judgments on their personal lives or portraying them under the deprecatory name of "spinsters". On the other hand, for most of these women marriage secured them greater independence from their parents, adult statues and economic support" (Besse, 49). One important change that has to be taken into account in attention to the marriage performance is the relative few number of arranged marriages and a discourse that allowed the bride more freedom in the partner election. New spaces of interaction and courtship -as the Sociedade Harmonia- different from the old elite experience were created to secure advantageous marriages for both, daughters and sons -most of them young professionals- of the urban elites, and most important of all to preserve themselves from the arrival of nouveaux riches (Besse, 51). In that sense, these new spaces for personal choice of the marriage partner and new opportunities for courtship represent a perfect example of how new forms of relationship allow the continuity of the patriarchal rule. A rare case of arranged marriages but it does not necessarily mean complete freedom at the moment of choice. Their parents exercised their "right or duty" to guide the actions and decisions of their daughters through the subtle advice of frequent society to the more radical actions through coerced marriages. Probably one of the few criticisms that could be doing to this challenging study would be the inclusion of race as a tool of analysis of the genderization of the national discourse about national identity. Susan Besee base her analysis on the fair assumption that race boundaries was not violated for social mobility in this period among upper and middle class. Nonetheless, problematize race would give us not different conclusions but a deep insight about the expectations and possibilities of social mobility of women and men and also in the criticism that Besee does about the lack of compromise of the elite's women rights movement with other class women. In the specific case of her analysis of the marriage costumes, more attention to race could give us an interest inside about social mobility expectations and opportunities among upper classes. This analysis could be a complementary perspective to the importance of fashion, good manners and appropriate access to socialization places in the effort to gain social mobility through an appropriate marriage.

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[T474.Ebook] Free PDF The Diary of Vaslav Nijinsky (Unexpurgated), by Vaslav Nijinsky

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With an Introduction by Joan Acocella

The astonishing diaries of the great dancer, at last available in their complete form.

In December 1917, Vaslav Nijinsky, the most famous male dancer in the Western world, moved into a Swiss villa with his wife and three-year-old daughter and began to go mad. This diary, which he kept in four notebooks over six weeks, is the only sustained, on-the-spot written account we have by a major artist of the experience of entering psychosis.

A prodigy from his youth in Russia, Nijinsky came to international fame as a principal dancer in Serge Diaghilev's Ballets Russes. After a falling-out between the two great men--who had lived openly as lovers for some time--Nijinsky struggled to build a career on his own. When psychosis struck, he began to imagine himself as married to God, indeed as God, signing his entries "God Nijinsky." Although he lived another thirty years, he never regained his sanity.

Already a classic in its earlier, bowdlerized edition, the diary now appears uncut for the first time in English, together with its previously unavailable fourth notebook. It is Nijinsky's confession and his prophecy. At the same time, it reads like a novel, portraying the terror in the Nijinsky household as the dancer plunged into madness. In her Introduction, the noted dance writer Joan Acocella explains the context of the diary and its significance in the history of modernism.

• Sales Rank: #702054 in Books
• Published on: 1999-01
• Original language: English
• Number of items: 1
• Dimensions: 1.19" h x 6.35" w x 9.33" l,
• Binding: Hardcover
• 304 pages

Amazon.com Review
Vaslav Nijinsky spent the final six weeks before his permanent consignment to an insane asylum as something a madman in the attic. With his family--wife, young daughters and occasionally, mother-in-law--and household staff downstairs, the legendary dancer retreated to his room in a remote Swiss villa to tangle with his burgeoning psychosis. Fearful that his wife would (as she ultimately did) commit him, and highly suspicious of the physician-cum-amateur psychiatrist who daily came by to examine him, Nijinsky perceived the diary as the only safe haven for the rambling thoughts that were overtaking him. Throughout, the anxiety and anguish are palpable, as Nijinsky writes about his disillusionment with his mentor and lover, Ballets Russes director Serge Diaghilev; his alienation from and distrust of his closest family members; and his fear of insanity and its consequential confinement. His writing becomes more obscure as the weeks progress and he examines his relationship to God, writing "I am God" at one point, and later: "God said to me, 'Go home and tell your wife that you are mad.'" As his schizophrenia evolves, the pace and style of Nijinsky's prose changes radically--toward the end he writes in abstract verse--but he remains, with a dancer's sensibility, attuned to the cadences of his environment. The noises of the household, the ringing of the phone, footsteps down the hall, smatterings of conversations overheard are all registered as a sort of accompaniment to his dance with madness and function perhaps as a final tether to reality.

Nijinsky's wife stumbled upon the diary in a locked trunk some years after her husband disappeared into the abyss of madness and soon released it for publication to feed public interest in her famous mate--but not before she sanitized the manuscript to such a degree (removing references to his homosexuality, overblown ego, bizarre paranoia, and various obsessions with bodily functions and sex acts) that its essence was obscured. Now 80 years after it was written, 20 years after its renegade editor died, and six years after the copyright that Nijinsky's daughters held expired, the unexpurgated version of the diaries faithfully restores the fascinating record of a great artist's struggle for his life.

From Publishers Weekly
One of this century's finest male dancers, Nijinsky might have become known as the greatest ballet choreographer of the modern era had his career not ended so early. Nijinsky danced professionally for only 10 years (1907-1917), and his reputation as a choreographer was established by only three ballets, all choreographed for the Ballets Russes between 1912 and 1913. Scandal surrounded his career: under Sergei Diaghilev, his lover and the impresario behind the Ballets Russes, Nijinsky choreographed The Afternoon of a Faun, which contained movements suggestive of masturbation; the premiere of his Rite of Spring, choreographed to Stravinsky's dissonant score, caused audiences to riot and storm out of the theater. After severing ties with Diaghilev and the Ballets Russes at age 29, Nijinsky slid into insanity, and these diaries chronicle six weeks (January 19-March 4, 1919) of this period. The publication of this new translation (initially published in bowdlerized form in 1936), which for the first time includes a fourth journal of letters and poems, gives readers a chance to read an autobiography of a great artist during his psychological decline. This does not always make for easy reading: Nijinsky's thoughts are circuitous; he records his experience moment by moment and often breaks his train of thought to describe an incident in the next room. Although he is sometimes lucid, he often writes in contradictions and non sequiturs. Fitzlyon's excellent translation, which provides helpful and nonintrusive footnotes to explain Nijinsky's many linguistic idiosyncrasies, is complemented by Acocella's (Mark Morris) illuminating introduction. (Feb.) FYI: Acocella has just been named as the dance critic of the New Yorker.
Copyright 1998 Reed Business Information, Inc.

From Library Journal
This is a thought-provoking look at the life of a man who has been called the "god of the dance." The famous Russian ballet dancer went insane in 1917, and this diary, written in six and a half weeks, records his ever more erratic thoughts, thoughts that at times become almost poetic: "I am an artist whose voice is dance," in conjunction with the more aberrant: "I am God, I am a man, I am man in God." Nijinsky documents his daily routine and carefully notes random thoughts, feelings, suspicions, and occasionally an accurate view of his true reality: "people will think I am insane because I speak of things I do not understand." Actor John Rubinstein's powerful presentation turns this audio into a one-man show, with an amazing job affecting a slight Russian/Polish accent. Nijinsky gave his last public performance when he was 29; he lived to be 61. Highly recommended for all public libraries.ATheresa Connors, Arkansas Tech Univ., Russellville
Copyright 1999 Reed Business Information, Inc.

Most helpful customer reviews

0 of 0 people found the following review helpful.
Very insightful
By Amy Nandory
Very insightful into the human psyche. Vasllav is a remarkable talent with so much sorrow and pain...his dancing is what kept him alive- when he could no longer dance his mind took over.....

0 of 0 people found the following review helpful.
Loved the pages I have read...
By Eve Allen
Always wanted to read this! Thank you for providing the opportunity. Wonderful way to learn about his time and life.

4 of 7 people found the following review helpful.
Brilliant and Illuminating
By A Customer
A fascinating and powerful opportunity to peer (uninterfered) into a portion of the many facets which make up a great and influential artist. Definately not for the idiot reader who thinks artists write diaries to entertain.

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[W982.Ebook] Download PDF Practical Emotional Structure: an easy to understand plain-English guide to emotional theory and the transformational character arc (Plain-

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Has an agent or editor said you lack "spark"? Do people have a hard time connecting with your characters? Your people are isolated, disenfranchised, inwardly full of emotion, fabulously supportive and wounded--why don't people "get" that?

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• Sales Rank: #402117 in eBooks
• Published on: 2013-12-10
• Released on: 2013-12-10
• Format: Kindle eBook

From the Author
If you are interested in Practical Emotional Structure, you might also be interested in Backstory, Motivation and Conflict, previously published as Practical Emotional Structure Part 2, a breakdown of the actual mechanics behind emotional structure and how to use them quickly and easily.

About the Author
Jodi Henley is a craft geek and developmental editor based in the Seattle area. A huge fan of the transformational character arc and emotional structure, she has done over fifty-one workshops and presentations, edits things she hopes you've read, and is known for her long, thorough answers. Jodi is a huge fan of the color green, black heritage tomatoes and crows, being one of those "crow ladies" who throw peanuts when no one is looking. She also throws hamburgers, but only on special occasions.

Most helpful customer reviews

14 of 14 people found the following review helpful.
An excellent resource!
By LisaM
I received a free copy of this ebook in return for my honest review.

I cannot recommend this resource highly enough. There is so much information in here that I have not found anywhere else in a concise, easy-to-read book. But it's DEEP. You may well find yourself reading a paragraph or a sentence and then putting the book down to think about how what you've just read applies to you and your writing.

Amongst others, there are sections on:

* genres, bestsellers and niche markets and their respective emotional structures;
* characters and how to make them people your readers can relate to;
* thought strings - a subconscious ability to understand a character from his or her actions;
* why plot-driven stories don't make readers care;
* emotional arc - the progress of a character through one emotional state to the next;
* useful questions to help a writer discover/uncover the core event in their character's backstory (and why filling out character worksheets or conducting interviews do not a character make, at least not on their own);
* how a core event becomes a lens and how it leads to specific (conscious and unconscious) emotions and attitudes in the character which will affect their actions and decisions in the story;
* how there are different arcs for different events in our lives, but the plot in your novel needs to focus on just one in particular and then build on it. (This is why it's always useful to start planning a novel by looking at the character arc first. The external plot is then created to highlight the character's emotional journey and provides the means by which the character changes.)

As I read, I got the urge to put the book down and examine my characters more thoroughly. If you love details, you want to carry your reader on an emotional rollercoaster (or tone it down a bit so as to not overwhelm them), then you NEED to read this book.

The best thing about this book for me were:

* The wealth of information it contains (and it's worth mentioning at this point that the illustrations in the ebook can also be found online at Jodi Henley's website and can be saved or printed off for future reference);
* The examples she creates to illustrate her points. The characters jump right off the page - they're REAL. And most importantly of all, I CARE about them which is the whole point of reading a book like this. A writer wants the target audience to read the story and care about the characters.

Jodi Henley not only knows her stuff, she is also well able to teach it. "Practical Emotional Structure" gets two thumbs up and 5 stars from me.

14 of 14 people found the following review helpful.
If you ever wondered why people love the books that baffle you....
By Just My Opinion....
...then read this. Jodi has an easy style and goes to the heart of why some bestsellers make it big even when there is no apparent reason for it (my words, not hers). And if you are working on a project, knowing WHY the public just loves one particular book over another can be critical if that place on the commercial lists is what you are after.

For the readers among us, it certainly explains a lot about human psyche, which is interesting in it's own right.

On top of that...if you're working on something that is just not quite out of the weeds and you cannot figure out why...this book might just save you and that Work-in-Progress.

The last chapter alone is indispensable: several key aspects to not losing the thread in your work. This is not rocket science, but sound technical aspects presented with examples that clearly show how decisions can affect the final result. I got a lot out of this book: maybe it was perfect timing with my project; maybe the time was right for me to absorb the connections. But I think that it's also because this book delivers: look at the other reviews...sometimes the most obvious things are the hardest to really see.

The concepts here are mostly about the construction of the back-story Core Event, the character's emotional reactions and the fallout that this creates, including how they both tie into the story arc, the character arc and the plotline, it crosses genres and the action writer should not think this is not relevant to his answer to Jason Bourne.
Making decisions that validate the story focus and strengthen it is another big part and I appreciated the predominantly summarized examples used, which were right on point, whether from film, books or her own make-it-up-as-we-go.

I paid just under $5 for this and consider it well-worth the investment, and I plan to follow her blog now, too.

4 of 4 people found the following review helpful.
Six Stars Out Of Five For This Book
By R. Silber
Following the author's advice, in this book, can only make you a better writer. Sure, you can touch on some of this subject matter in various blogs, posts and articles, but to have it all laid out in a book, covering everything you need to know in one sitting, was an aha moment for me. Exploring the different aspects of your character's emotional journey, the transformative arc, with various examples the author provides, was enlightening.

For example, the author writes, "Core events can be altered to create depth or lower the intensity levels while keeping most of your story intact. It doesn't need to be shown in your story, or even talked about. The simple fact that it exists and you know it, works as a carpenter's level keeping your story consistent on a sometimes invisible to your reader level." Before that statement, how many beginning writers had a sense, that they needed to include as much backstory, as they felt was necessary, to force a visible character arc, on the reader?

I'm confident in saying that the lessons in this book will transform your writing.

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For nearly 60 years, Timber: Structure, Properties, Conversion, and Use has been the authoritative text on timber technology. Now in its seventh edition, this book remains a vital resource, providing accurate, comprehensive, and fact-driven information for students and professionals in the field. From basic coverage of timber structure, properties, processing, and utilization, to more in-depth scientific investigations, this book covers all the issues and topics of concern to readers with a wide range of levels of sophistication.

Timber technology has not stood still since the last revision; Timber: Structure, Properties, Conversion, and Use has kept the pace, exploring such high-tech topics as computer-aided wood identification and log conversion, radio frequency drying of wood, enhancement of wood with plastics, application of preservatives with high-pressure vacuum systems, and the development and application of flame-retardant solutions. Other timely updates include enlarging the chapter on mechanical performance to cover elastic behavior, toughness, and the use of structural-sized timber for strength tests. The chapter on board materials has also been extensively updated and enlarged to include information on new boards and structural composites that have emerged since the last edition.

One of the most important strengths of Timber: Structure, Properties, Conversion, and Use is its versatility as a reference for timber professionals while remaining approachable to students in the field. Evidence of the book?s comprehensiveness and versatility becomes clear as it teaches readers about such wide-ranging topics as:

• identification and nomenclature of timbers
• variability in cellular features between species
• principal chemical constituents in timber
• structural variability caused by natural defects such as bark pockets, resin streaks, and brittleheart
• determination of density and moisture content in timber
• thermal and acoustic properties of wood
• conversion equipment such as circular saws, band saws, frame saws, and chipper canters
• health and safety issues in the industry
• adhesives, metal connectors, and joint design
• forest and millyard pests
• application of preservatives and finishes
  
  From basic identification and timber nomenclature to methods of sap displacement and tests of electrical conductivity, Timber: Structure, Properties, Conversion, and Use covers it all. And while it is no longer possible for any one individual to write authoritatively on every aspect of timber technology, embracing as it does structure, properties, conversion, utilization, and behavior in service, J. M. Dinwoodie has gathered expert opinions and expanded on original author H. E. Desch?s approach and vision to continue to provide the authoritative text on timber technology.

• Sales Rank: #6596049 in Books
• Published on: 1996-06-13
• Original language: English
• Number of items: 1
• Dimensions: .76" h x 7.74" w x 9.70" l,
• Binding: Paperback
• 306 pages

Most helpful customer reviews

0 of 5 people found the following review helpful.
Timber Timmy's love of wood
By jim timber
This book has transformed my life. I used to know people, but now I just hanker for the feel of wood and all the comfort that it offers. I am currently deep in the forest whittling myself a new wife after my last one was eaten by a bear. This book taught me how to live life to the full. I love wood.

See all 1 customer reviews...

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