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Effectively master the most important principles and facts in pathology with this easy-to-use new edition of Robbins and Cotran Review of Pathology. More than 1,100 questions―reviewed and updated to reflect the new content in the parent text―reinforce the fundamentals of gross and microscopic pathology as well as the latest findings in molecular biology and genetics. This review book of multiple choice questions and answers, companion to Robbins and Cotran Pathologic Basis of Disease 9th Edition and Robbins Basic Pathology, 9th Edition, is the ideal study tool for coursework, self-assessment, and examinations, including the USMLE Step 1 examination in pathology.

• Develop a thorough, clinically relevant understanding of pathology through clinical vignette-style questions emphasizing problem solving over rote memorization. Single-best-answer and extended-matching formats reflect levels of difficulty that prepare you for examinations.
• Efficiently review a wide spectrum of topics with page references and a parallel organization to both Robbins and Cotran Pathologic Basis of Disease and Robbins Basic Pathology, making additional information easy to locate.
• Reinforce your understanding of key content with answers and detailed explanations for every question at the end of each chapter.
• Enhance your understanding of pathophysiology and integrate pathology with other medical disciplines by examining correlative laboratory, radiologic, and physical diagnostic data.
• Visualize key pathologic concepts and conditions and test your diagnostic skills with over 1,100 full-color images.
• Challenge your knowledge with a final comprehensive exam of 50 USMLE-style questions covering random topics.

• Features new questions that reflect today’s hot topics in pathology, keeping you up to date.
• Includes many new illustrations to enhance visual guidance.
• Uses a new chapter arrangement to conform to the new Table of Contents in Robbins and Cotran Pathologic Basis of Disease, 8th Edition, for easier cross referencing.

• Sales Rank: #34831 in Books
• Published on: 2014-10-10
• Original language: English
• Number of items: 1
• Dimensions: 11.00" h x 8.50" w x .50" l, 2.87 pounds
• Binding: Paperback
• 504 pages

About the Author
Vinay Kumar, MBBS, MD, FRCPath, Donald N. Pritzker Professor and Chairman, Department of Pathology, Biologic Sciences Division and Pritzker School of Medicine, The University of Chicago, Chicago, Illinois;

Most helpful customer reviews

12 of 12 people found the following review helpful.
Questions are very close in style/content to my class exam questions
By Reviliver
2nd year med student here (can't imagine who else would want this, lol) and I love this book. Robbins is our class text for pathology, and I hate reading, so I do these questions after watching lecture (and pathoma) and it works awesome. Some of these questions are essentially identical to questions from my exams! Really glad I decided to buy this one.

6 of 6 people found the following review helpful.
They should rename this book, "Vignette Mastery". Do ...
By Joe
They should rename this book, "Vignette Mastery". Do every question you possibly can and walk away with a wealth of knowledge that lectures and reference texts could never achieve.

0 of 0 people found the following review helpful.
Five Stars
By Shell
Great

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• Sales Rank: #3176846 in Books
• Published on: 1988
• Number of items: 1
• Binding: Hardcover

Most helpful customer reviews

1 of 1 people found the following review helpful.
Ah! There You Are...
By Aco
This began as a radio play in the early 70's and was adapted to the stage in the late 80's. The story is terrific.

The play is structured moving back in time from 1972 to 1914 and then forward again from 1914 to 1972. It concerns three artists who have shared their lives together, including apartments and studios and the affections for one woman.

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If this was to be produced on stage I would say there are some complex technical necessities. Perfectly timed looping tape recorder and removeable balastrade/railing being the most central. If done well, as written, this would be a splendid show.

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The "Joy Of Painting" soft cover books are detailed companion books that follow each of Bob's Joy Of Painting TV Series. Each book contains full color pages, instruction and "how to" photos for 13 landscape and seascape paintings. They can be used alone or in association with the "Joy Of Painting TV shows" DVDs.

• Sales Rank: #1406298 in Books
• Brand: Brand: Bob Ross Inc.
• Published on: 1996
• Number of items: 1
• Binding: Paperback
• 76 pages

Features

• Bob Ross The joy Of Painting Lessons 13 Projects
• Step by Step Instructions

Most helpful customer reviews

0 of 0 people found the following review helpful.
She's very happy with this book series and her painting is wonderful
By Sunny Side Up
Bought this as a gift for someone who uses these books. She's very happy with this book series and her painting is wonderful.

0 of 0 people found the following review helpful.
Item
By mcbpratt123
Gift

0 of 0 people found the following review helpful.
Bob Ross always makes me "happy"
By Sunnymac
I've recently lost my mother and Bob Ross and his "happy little trees" would always make us laugh. It was in excellent condition, so I was very satisfied.

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Under Andy Grove's leadership, Intel has become the world's largest chip maker and one of the most admired companies in the world. In Only the Paranoid Survive, Grove reveals his strategy of focusing on a new way of measuring the nightmare moment every leader dreads--when massive change occurs and a company must, virtually overnight, adapt or fall by the wayside.

Grove calls such a moment a Strategic Inflection Point, which can be set off by almost anything: mega-competition, a change in regulations, or a seemingly modest change in technology. When a Strategic Inflection Point hits, the ordinary rules of business go out the window. Yet, managed right, a Strategic Inflection Point can be an opportunity to win in the marketplace and emerge stronger than ever.

Grove underscores his message by examining his own record of success and failure, including how he navigated the events of the Pentium flaw, which threatened Intel's reputation in 1994, and how he has dealt with the explosions in growth of the Internet. The work of a lifetime, Only the Paranoid Survive is a classic of managerial and leadership skills.

The Currency Paperback edition of Only the Paranoid Survive includes a new chapter about the impact of strategic inflection points on individual careers--how to predict them and how to benefit from them.

• Sales Rank: #17149 in Books
• Published on: 1999-03-16
• Released on: 1999-03-16
• Original language: English
• Number of items: 1
• Dimensions: 8.25" h x .60" w x 5.40" l, .50 pounds
• Binding: Paperback
• 240 pages

Amazon.com Review
Massive change is hitting corporate America at a furious and escalating pace, writes Andrew Grove in Only the Paranoid Survive, and businesses that strive hard to keep abreast of the transition will be the only ones that prevail. And Grove should know. As chief executive of Intel, he wrestled with one of the business world's great challenges in 1994 when a flaw in his company's new cornerstone product -- the Pentium processor -- grew into a front-page controversy that seriously threatened its future.

From Publishers Weekly
Keep looking over your shoulder, cautions Grove, president and CEO of Intel Corporation, because the technology that keeps changing the way businesses are run and careers are forged is on the verge of making every person or company in the world either a co-worker or a competitor. And be warned that there's a pattern to the havoc that forces us to regroup whenever we think we have a grip on things. The pattern is based on a series of revolutionary milestones, inevitable and unpredictable, that Grove calls strategic inflection points. They change things. Every significant development from railroads to superstores to computers has been a point of strategic inflection. Businesses and individuals are never the same once these points zero in to alter the status quo. For Intel, a manufacturer of computer works, a strategic inflection point was the transition from memory chips to microprocessors, and a great deal of this book details the way Intel handled this change, including furor that erupted when a minor flaw was discovered in its Pentium processor. Perhaps the quality that lifts this above other business books is its applicability to individuals.
Copyright 1996 Reed Business Information, Inc.

From Library Journal
Grove, CEO of Intel Corporation, offers an insider-at-the-top perspective of what happened at Intel Corporation before, during, and after the "Pentium processor-flaw crisis." As quality management courses teach, the lower echelon employee and middle management are the first to know there is a problem; the CEO should listen to and value their input. Based on his experience, Grove recommends letting the employees question management again and again during transitions until all questions are answered. His book will be useful for readers who want a background in the history of computer companies, Intel in particular, but it is a limited resource for senior and middle-management and front-line employees who want to see and prepare for changes in the developing business. For a broader view of developments in computer technology, refer to Bill Gates's The Road Ahead. Recommended for general libraries with an ample business collection, but most suitable for corporate libraries.?Peggy D. Odom, Texas Lib. Assn., Waco
Copyright 1996 Reed Business Information, Inc.

Most helpful customer reviews

0 of 0 people found the following review helpful.
Still Relevant
By A. T. Yoshida
At first I was slightly disappointed by this book. I bought it without reading the description and was expecting more of a general history of Intel. But then I kept reading. Instead of the history that I was seeking I found a worthwhile book on strategic leadership.

The principles that Groves propounds here remain relevant and sound nearly twenty years later. Indeed, his description of how companies can and should respond to strategic inflection points is perhaps even more relevant in era where the pace of technological change has accelerated. Consider the changes that Intel has undergone in the eighteen intervening years as the world and scope of computing has vastly expanded and consumer needs and expectations have been transformed. Companies in the modern era may be required to reinvent themselves every few years, not once in an epoch.

Given this, I strongly recommend this book. It provides sound leadership advice without lurching into nonsensical exhortations and paeans to positivity.

1 of 1 people found the following review helpful.
Five Stars
By Mr. Twain J
Must read! Incredible book and prescient looking back on how Andy predicted much of what we live with today.

0 of 0 people found the following review helpful.
this book is gospel for all start up and established ...
By Amazon Customer
this book is gospel for all start up and established entrepreneurs in these challenging business climates, be it third world or first world.

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Marketing Management, 11e, is a text and casebook written by Peter and Donnelly. It is praised in the market for its organization, format, clarity, brevity and flexibility. The goal of this text is to enhance students knowledge of marketing management and to advance their skills in developing successful marketing strategies. The six stage learning approach is the focus of the text. Each section has as its objective either knowledge enhancement or skill development, or both. The framework and structure of the book is integrated throughout the sections of the new edition. The basic structure of the text continues to evolve and expand with numerous updates and revisions throughout.

• Sales Rank: #33409 in Books
• Brand: Peter, J. Paul/ Donnelly, James H., Jr.
• Published on: 2012-10-11
• Ingredients: Example Ingredients
• Original language: English
• Number of items: 1
• Dimensions: 10.30" h x .50" w x 8.30" l, 3.55 pounds
• Binding: Hardcover
• 816 pages

Features

• Used Book in Good Condition

About the Author
J. Paul Peter is another very highly regarded marketing educator and is also at UW-Madison.  He has won many awards for his contributions through research, textbooks, and education.

James H. Donnelly, Jr. Is the Turner Professor in the College of Business and Economics, Univ. of Kentucky.  Research areas include marketing and banking.

Most helpful customer reviews

9 of 9 people found the following review helpful.
Good marketable book outside, not so good inside
By Cristhian A. Velazco
I expected more about this book, firts of all, only a quarter of the book contain the elementary Marketing principles and the remainder only cases. But the worse, there is not connection between cases and theory, not just one case example analysis, not reference at all in chapters with cases. If I had wanted to buy cases of marketing management without analysis, I were going to the Harvard Bussiness online to buy the school cases.
Also in the back cover they say about "New Videos: Approximately 50% of the video segments are brand new for this edition", Sincerely I don't know where are those videos, no CD, no DVD, nothing in the website of book: [...] By the way, that website is too poor, in comparison to other website of books.
Summarizing too expensive book for few effective information.

3 of 3 people found the following review helpful.
Good book for a college course
By Donald Hsu
This book got thirteen chapters covering 4Ps, marketing research, consumer behavior, market segmentation, integrated communication, distribution, personal selling, pricing, marketing of services, and global marketing.
There are four sections of cases, from short one to in-depth study.

I use this book as a college-level course. Final projects were done using these cases. Students like the book.
The book will be better if it includes fewer cases, but more thorough analysis of the cases.

Contrary to other critics here, I believe the book is very good.

3 of 3 people found the following review helpful.
Complete but completely dull
By James Deerkoski
Half the time reading this book is like reading a dictionary. I think I must have read 100 sentences that begin with "XXX can be defined as .... ". The authors do a complete coverage of the topics but in such a dull and routine way it is hard to keep your attention on the reading. On a plus side, there are about 40 case analyses that are pretty good, but of course they weren't written by the authors. Of course if you're like most people, your professor has chosen this book and you have to get it whether you like it or not.

See all 50 customer reviews...

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[S271.Ebook] Download European Copyright Law: A Commentary, by Michel Walter, Silke von Lewinski

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European Copyright Law: A Commentary, by Michel Walter, Silke von Lewinski

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This book is an updated English language version of a highly regarded commentary published in German by Springer in 2001, covering all of the EU Directives on copyright law and related rights, with article-by-article analysis of the provisions, as well as the relevant background of general EC law.

The analysis of each article examines its antecedents in national laws, the negotiating history, the meaning and purpose of the wording, interpretive rulings by the European Court of Justice, and key issues relating to implentation of the regulations and rulings by the Member States, concentrating in particular on the UK, France, Germany, Spain, Italy and Hungary.

The revised English edition takes into account the many significant developments which have taken place since the German edition was published, including the Software Directive, the Database Directive, the revised text of the Product Piracy Regulation, the Enforcement Directive and the review of the EC legal framework in the field of Copyright and Related Rights.

This book is a must have text for practitioners and academics working in the areas of intellectual property law and policy-making as it offers for the first time in the English language, a clear and comprehensive analysis of European Copyright Law in the style of a commentary. Relevant Europe-wide, this book also has a global market given the importance of the EU in intellectual property circles around the world.

• Sales Rank: #6431914 in Books
• Published on: 2010-05-20
• Original language: English
• Number of items: 1
• Dimensions: 7.10" h x 2.30" w x 9.70" l, 4.25 pounds
• Binding: Hardcover
• 1632 pages

Review
The second edition of European Copyright Law is particularly relevant in that it offers an extensive review of the acquis communautaire, especially now that the debate on a uniform copyright title for Europe has been launched by academics as well as decision makers. This impressive book also takes into account the most recent developments at the national level and the changes resulting from the new Treaty of Lisbon. This book will serve as a valuable tool for anyone dealing with European copyright law issues. Alain Strowel, Of Counsel, Covington & Burling LLP In summary, the work is a magnificent reference text and a worthy addition to any copyright library and it will probably become a central text in the copyright field Phillip Johnson, Barrister, European Intellectual Property Review The current edition reflects - as did the first edition, published in 2001 - the increasing harmonization of copyright in the European Community and is logically presented in the form of an article by article commentary by a team of highly regarded experts in this important area of law. The result is a thorough, in-depth examination of copyright-related directives and regulations. A survey of legislative materials, legal instruments and bibliography precedes each directive or regulation cited and it is a heavy-weight book in every sense of the word!..The book contains a wealth of diverse material, from Fundamental rights, European Competition Law and Free Movement of Goods and Sevices to the various directives pertaining to, for example, computerization, satellite and cable technologies, rental and lending rights and of course enforcement Phillip Taylor of Richmond Green Chambers ...monumental commentary on European copyright law...Its almost unique character and its enormous merits in commenting, analyzing and, where necessary, criticizing the whole body of European copyright law...make it a must Adolf Dietz, Max Planck Institute for Intellectual Property and Competitino Law ...highly commendable...the work has remained such a major coup also in the second edition published in 2010 Katzenberger I would heartily recommend as an important addition to any copyright collection. Charlotte Waelde, Journal of Media Law In summary, iEuropean Copyright Law: A Commentaryr is one of those books which appears from time to time (sometimes just once a decade) and makes a fundamental contribution to knowledge in the field, either for being a pioneering work or for being a complete work of high quality in terms of its content. In this case, the rarity of the book which I am reviewing is that it has both of these characteristics simultaneously. Pe.I. (Revista de propiedad intellectual), vol. 40. iEuropean Copyright Law: a Commentaryr is a prodigious achievement and should be the model for other volumes on European patent and trademark law. Marshall Leaffer, Journal of the Copyright Society of the U.S,A It is easy to conclude that iEuropean Copyright Lawr will be the standard reference work on EU copyright law for a long time to come, and anyone doing research on EU copyright law will have to make use of this volume. Marshall Leaffer, Journal of the Copyright Socety of the U.S,A

About the Author

Michel M Walter is a Honorary Professor at the Vienna University Law School and Visiting Professor at the Danube University Krems, specializing in intellectual property rights. He teaches in a number of universities and master programs. He was a member of the EC group of Copyright experts Brussels and of the Austrian Copyright Arbitration Board. Michel M Walter is a practicing lawyer in Vienna, president of the Austrian Group of ALAI and co-editor of the journal Medien und Recht International (Media and Law International). He is a well known authority in the field of intellectual property rights and author of numerous articles and books in particular on national, European and International copyright and related rights as well as private international law.
Dr. Silke Von Lewinski is a head of department who specializes in international and European copyright law at the Max Planck Institute for Intellectual Property, Munich. She has been an expert consulting the European Commission, eg on the EC Rental Rights Directive, and the WIPO Diplomatic Conference 1996, which led to the WCT and WPPT (preparation, and member of the EC delegation). She has been the chief legal expert consulting the governments of Eastern and Central European and former Soviet countries on their copyright legislation in the framework of the initial EC's TA programs from 1995 and works under subsequent programs, including in Asia. In addition, Dr. von Lewinski is teaching at different universities and institutions worldwide, such as at Franklin Pierce Law Center (USA) and at the Munich Intellectual Property Law Center.

Most helpful customer reviews

0 of 0 people found the following review helpful.
For IP Lawyers....
By Phillip Taylor MBE
[[VIDEOID:mo3Q0EMODSKHM1N]]AND ANYONE INVOLVED IN INTELLECTUAL PROPERTY RIGHTS -
A COMPENDIUM OF LOGICALLY PRESENTED COMMENTARIES ON EUROPEAN COPYRIGHT LAW

An appreciation by Phillip Taylor MBE and Elizabeth Taylor of Richmond Green Chambers

New from Oxford University Press, this is the English edition - translated from the German -- of this enlightening commentary on European Copyright Law, much of it emanating from the support and research facilities offered by the Max Planck Institute in Munich.

The current edition reflects -- as did the first edition, published in 2001-- the increasing harmonization of copyright in the European Community and is logically presented in the form of an article-by article commentary by a team of highly regarded experts in this important area of law. The result is a thorough, in-depth examination of copyright-related directives and regulations. A survey of legislative materials, legal instruments and bibliography precedes each directive or regulation cited and it is a heavy-weight book in every sense of the word!

Predictably, European copyright has undergone a number of developments in the years since the first edition was published. To mention only a couple of examples, the Product Piracy Regulation 1994/1999 was adapted and reformulated in 2003 and the Enforcement Directive was adopted in 2004. Developments in the field of collective management have also taken place and are well covered.

`European copyright still is not yet an overall an coherent system, the editors observe, `but rather a patchwork where, however, the contours of a consistent and comprehensive system may already be recognised' Optimistically they foresee the probability off `a possible further harmonization (which) must be carried out with a view to maintaining and further developing authors' rights at a high level in recognition of the eminent importance of the cultural sector for society as a whole.' Amen to that!

The book contains a wealth of diverse material, from Fundamental rights, European Competition Law and Free Movement of Goods and Services to the various directives pertaining to, for example, computerization, satellite and cable technologies, rental and lending rights and of course enforcement. The work concludes with a commentary on the status of harmonization and outlook on copyright law throughout the EU.

So, within its more than 1,500 pages, `European Copyright Law' presents almost 100 pages of tables of cases and legislation, plus lists of contributors and of abbreviations. There is also a comprehensive index. For researchers into the ongoing development of European Copyright Law, its ramifications and consequences, this book is a gift and certainly a sensible purchase for any and all involved in IP.

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[D969.Ebook] Free PDF Fantasy Art Techniques, by Boris Vallejo

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In a captivating, behind-the-scenes look into the creative process of a fantasy artist, renowned artist Boris Vallejo discusses in depth the techniques of a personal style that has placed him among the leading international fantasy and science fiction artists of today. 91 color images; 32 line drawings.

• Sales Rank: #5970424 in Books
• Published on: 1985-10-01
• Original language: English
• Number of items: 1
• Dimensions: 11.06" h x 8.27" w x .0" l, 1.18 pounds
• Binding: Paperback
• 128 pages

From School Library Journal

YA A lovely browsing collection of color reproductions that will appeal to young fantasy fans because of Vallejo's exciting renditions of unearthly creatures and sexy humans. The moods range from the frightening to the humorous. Vallejo describes various painting techniques in an accompanying text, and he includes some rough sketches to illustrate the development of painting. This book is more of an introduction to fantasy art appreciation than a course in technique. There is no index or list of illustrations.

Copyright 1986 Cahners Business Information, Inc.

Excerpt. © Reprinted by permission. All rights reserved.

The Concept

The elements of a fantasy illustration need make no pretence of imitating life such as they must in, say, an illustration for a gothic, a mystery, or a novel. Fantasy engages the imagination to a much larger extent; the creatures portrayed may come partly or entirely from your head. And yet, to be successful, the scenes from your imagination must be convincing enough for a viewer to be willing to go along with you: to willingly suspend his disbelief and say, "Yes, this could work".

How does someone begin to create these wholly imaginary pictures? The answer to the eternal question "Where do your ideas come from?" seems obvious at first. Naturally, they come from my head. Where else? Ideas come from one's head. It's true, when you set a manuscript to illustrate, you're likely to find descriptions in it. Still, it is up to the artist to interpret them. All those alien beings and landscapes come into being from what is, in fact, known to us. Existing life may be the point of departure, yet all successful fantastical creatures must relate back to it as traceably as vertebrates do to the single-celled amoeba. Muscles are what makes movement possible for the higher forms of living creatures. If you want to paint a combination animal/machine, let's say, there must still be a relation to existing animals and existing machines; the musculature, at least, must be plausible.

The immediate environment is a tremendous source of ideas for me: shadows, shapes, things that, as a result of being near-sighted, I don't exactly see. It's pretty easy for me to reinterpret something twenty feet away which is already fuzzy. With a little push it readily loses its real contours and becomes something else in my eyes. If I start elaborating on what I don't clearly see, I can go in any direction. All I need is an existing starting point; my imagination takes over from there.

This odyssey of the imagination need not be a deliberate or controlled thing. It's much better when it's not directed, when I simply sit quietly and let it happen. In a sense, it's as though my ideas don't come out of me so much as I allow them to move in on me. The most important thing one can do to nourish the imagination is relax. I have noticed that when I specifically try to think of something, really strain towards an idea, very little happens. Whatever does happen is usually stilted and forced. If I relax and open the doors, so to speak, ideas do come.

Often enough, inspiration begins with the model. I see someone and I think: I would like to use this person for a painting; I would like to focus on this or that special feature of this person. From there I can evolve a character, an atmosphere, or an entire concept.

I once saw a young man at the gym I go to. He was an excellent bodybuilder, but the more notable quality about him was that he possessed not only huge muscles -- a really fine development -- but also a very boyish, almost child-like face, which presented a striking contrast with his physique. I stored this impression in the back of my mind, hoping that a job would come along for which I could use him. Then I was given a collection of stories by Isaac Asimov.

My original concept for this book's cover was of a young scientist type sitting on top of the earth in the middle of space. Subsequently I got a call from my client saying that although she liked the sketch, it was not exactly what she had in mind. What did she have in mind? Well, she was rather vague about that, but she preferred something with a more heroic feeling. As we were talking it occurred to me that, instead of emphasizing the human aspect of the stories, I might emphasize the mechanical.

It was then that I decided to do a robot -- not the typical machine-like robot, but a more human one who would, nevertheless, have a superhuman appearance. At once I made the connection between this idea and the young man I had seen in the gym. The fact that his face was so youthful and his body so highly developed led naturally to the idea of keeping the roundness of the muscles and the distinctive shape of the body but making it metallic, chrome, really beautiful and shiny out there in the middle of space. I still thought of having him standing on the earth, but as I worked, the earth changed into a simple globe. It also became shiny, like glass or chrome.

So, you see how the concept changed from the sketch of the robot that I started out with to the finished painting. With the use of that man as the model, the robot became an almost superhuman figure, spinning nebulae out of his bare hands. His face is nearly expressionless. Yet there is a suggestion of childlike wonder and joy at what he is doing: there he is in the middle of space, fascinated with the beautiful things he is creating. In this case, the "model" was just perfect, and the concept owed a great deal of its development to his physical characteristics.

Of course the concept may originate in a more general way than with the model. I may simply think: It would be nice to do something metallic; it would be nice to do something fluffy; it would be nice to do something in which I can concentrate wholly on the figure because the background would be negligible or, vice versa, in which I can concentrate mainly on the background because the figure is inconsequential.

Most often, however, the concept is established by the manuscript to be illustrated or by the movie for which a poster is to be made -- by the product to be sold. In the case of a book there is, first, the manuscript. There is an old saying that one shouldn't judge a book by its cover. But often enough a book is bought precisely because of its cover. Therefore, as an artist, what one must look for in a manuscript is a scene that is representative of the book, perhaps one with plenty of action or one that is, for its colour or subject, quite eye-catching. After all, there are hundreds of books on the bookstore shelves and the successful cover should draw the prospective buyer like a magnet.

Some authors are very descriptive and make the task of selecting a visually effective scene relatively easy. The Lavalite World is a good example. It is a book of adventures and consequently presents any number of action scenes involving the hero, the heroine, and the monster or villain. To show the hero and heroine riding a tree trunk into battle was, to my mind, colourful and unusual enough to evoke any browser's interest in the book.

Some authors are less visual in their writing. They write with less attention to detail and their imagery is more abstract. In such a situation one has to capture a feeling, something representative of the story rather than a particular scene or incident from it. This feeling must then by expressed in visual terms in order to convey an immediate sense of what is going on in the book. My illustrations for Enchantment, which my wife Doris wrote, exemplify this.

The painting for "Web" does not represent a particular scene from the story. It is simply a depiction of the way I experience a spider woman. I began with the question: What typifies a spider? It has eight legs. But I didn't want to paint a totally unappealing woman with eight hairy legs. I wanted a woman who was sensual and sexy-looking, but at the same time menacing, and who would still evoke the feeling of a spider -- perhaps with a spiderweb around her.

The painting that was done for Heavy Metal, however, was not inspired by a manuscript or anything more than the title of the magazine itself: HEAVY METAL. I began with the idea of something metal, a heavy metal. A safe came to mind. The door of a safe which, to me, was quite representative both of "metal" and of "heavy". From there followed the image of a bank vault. Yet this was a fantasy painting that I was going to do. What did fantasy have to do with a bank vault? I decided to put it into space; a heavy metal bank vault floating in outer space. Still, something fantastical had to happen. What if something is inside there, I thought. What would have to be locked behind such a door? Some kind of creature, obviously, that has to be kept from escaping. And what if the creature has been pounding at the door? What if the creature has a metal hand that it has been pounding and pounding the door with and has finally broken through? The first picture that flashed through my mind was of some powerful and monstrous creature. But that would have been a bit too ordinary. So I made it incongruous: a kind of wild-looking woman instead of a creature, not all that physically powerful in appearance but with a crazed look. She not only had the metal hand but the wild eyes and the wild red hair. All these elements brought together in a painting should really make the viewer stop and say: Look at that! What's going on there!

Copyright © Collins & Brown Ltd 1985
Text and illustrations copyright © Boris Vallejo 1985

Most helpful customer reviews

1 of 1 people found the following review helpful.
An excellent supplement to their Fantasy Workshop book
By Alaskaguy
I've been entralled by Boris and Julie's book covers for many years. Fixated by their figures, fantasy creatures, and supernatural landscapes, I couldn't even imagine painting figures in such detail myself. I really like this book, but will also admit that it left me a bit disappointed at first, not by what it included - but by what it lacked. Its strengths are summed up in Boris's sage advice that "the beginning artist should draw only what he sees" and its thorough demonstration of using models, reference photos, and sketching. By itself, that's well worth the price of this book - especially coming from a fantasy artist! Several step-by-step demos and many finished paintings add considerably to this, but still left me (then a wannabe artist) wanting to know more. What a surprize to find their other book Fantasy Workshop: A Practical Guide! Taken as a pair, these two books by Boris and Julie reveal a considerable amount of advice and details about techniques, style, composition, inspiration, and more for painters of all levels. In fact, they inspired me to take the plunge and try my hand at realistic portrait and figure painting. By following their methods and demos, I've been been pleasantly surprized with the results. I've since acquired more experience, as well as a substantial library of books by other authors (read my other reviews), but I find myself returning to this and others by Boris and Julie, for reference, techniques, and inspiration.

0 of 0 people found the following review helpful.
Boris at his best (imo)
By Amazon Customer
used to have this book back in the 80's.
was glad i found it again.
the artwork is fantastic.
you get some pencil work in the beginning and then the full color oil paintings.
love it.

0 of 0 people found the following review helpful.
Five Stars
By Sean
great

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