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This unique volume presents a practical approach to calculating world nutritional needs. It includes an extensive collection of current data on basal metabolic rates and energy expenditure of various populations, including changes in body weight and height and physical activity trends among adults and children. The book is easily understandable, requiring only a rudimentary knowledge of energy and nutrition, and will be particularly useful in the development of computer modelling techniques.

• Sales Rank: #3676808 in Books
• Published on: 1990-08-09
• Original language: English
• Number of items: 1
• Dimensions: 10.00" h x .72" w x 7.50" l,
• Binding: Hardcover
• 182 pages

About the Author
W. P. T. James, Professor of Hygiene and Director, Rowett Institute, Aberdeen. E. C. Schofield, Honorary Research Fellow, London School of Hygiene and Tropical Medicine.

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In a career spanning more than forty years, Derek Birdsall has achieved renown as a leading book designer in Britain. This practical and inspirational book distils a lifetime’s professional experience. It presents and discusses nearly fifty books he has designed, showing 360 spreads and covers, all in full color and to scale.

The designs range from Penguin paperback covers in the 1960s to a recent complete redesign of The Church of England’s book of Common Worship. Among Birdsall’s projects are award-winning art catalogues, catalogues raisonné on such major artists as Mark Rothko and Georgia O’Keeffe, and books on wine, chess, astronomy, architecture, and fine paper. Birdsall discusses and illustrates the process of book design, from brief to deadline (which he calls the designer’s muse). He includes specimen settings of his favorite text faces as well as an innovative metric grid system for designing books. In addition, he lists books he himself has found useful or inspiring. For every reader curious about the design or production of books, this is a uniquely informative and instructive book.

• Sales Rank: #1916594 in Books
• Published on: 2004-07-11
• Original language: English
• Number of items: 1
• Dimensions: 1.13" h x 10.00" w x 11.98" l, 3.67 pounds
• Binding: Hardcover
• 248 pages

Review
“Inspirational and revealing. . . . Birdsall comes across not only as a brilliant craftsman but also a gifted teacher. . . . A vital book for students of book design and typography and an extremely readable journey through Birdsall’s career.”—Mark Sinclair, Creative Review


“Stunning. . . . It is rare to find a useful design manual or such an essential designers monograph, but to find both things under the same cover makes this book a must.”—Robert Fawcett-Tang, Grafik

About the Author

Derek Birdsall was consultant art director of the first Independent Magazine and has been a consultant designer to Pirelli, Mobil Corporation, HRH The Prince of Wales School of Architecture, and The Church of England.

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13 of 13 people found the following review helpful.
Elegant, interesting, but ultimately not useful
By REReader
This author is an experienced, expert book designer, who has designed numerous art books and art catalogues (among many others). But somehow he seems to have missed some important points vital to good book design.

For instance, he is undoubtedly really, really good at choosing fonts that accurately reflect the content and tone of the books he is designing. However, he had somehow missed the point that the font chosen for the body of the book has to be both legible and readable. Quite often, the fonts he chooses are not at all readable. That includes the font used for this book (a typewriter font). Now, a typewriter font is undeniably appropriate to a book titled "Notes on..." anything, but the total lack of weight variation in the letters and the small size of the type made it very hard to read. And (just one more example) using Gill Sans for books about modern artists is undeniably appropriate, but reading a book with the body text set in san serif is like trying to read a book length caption--exhausting.

Then there is the placement of artwork across spreads. As the spreads are shown in this book--as they appear on boards or in a page layout program--they look fabulous. But once these books are bound, anything within 3/8" (roughly) of the gutter just disappear into the binding. Open a book. Look at where the paper disappears into the binding. Imagine important parts of a painting printed on the page going down into the binding. Imagine how you'd feel if you had bought a book to look at that art.

On the other hand, he did offer some interesting insight into how to place art in books without losing sight of relative size of the originals. It is a beautiful (if not readable) volume, and the examples are elegantly rendered. I don't think it's worth the price, however.

6 of 7 people found the following review helpful.
Unfortunately Useless
By mungo181
As anyone who makes a living designing books can tell you, most books are not $200 art books. But that's what Derek Birdsall seems to concentrate on in his "Notes on Book Design." Really, it's a no-brainer to make the art as large as possible and have the specs in a sans serif font. I don't need endless examples showing me exactly that. I'd like to see what Birdsall does with 30,000 words that the publisher insists page out to 272 pages in a 6 x 9 size, but "not look too horsey or airy." I bet he'd quit.

Addditionally, his choice of a typewriter font for the text make the book useless to the reader. Birdsall insists his publisher could not choose a better font--I doubt that. I got one for ya, Birdsall--Garamond. You should try it some time!

Ultimately, the tome serves neither the page designs shown as illustrations (too small in most cases) nor the reader. Perhaps a design student may get something out of this, but there must be better books out there on the same subject.

8 of 9 people found the following review helpful.
Simplicity + Clarity = Elegance
By Robin
Just lift the cover to this lovely book and the endpaper has a quote from George Orwell's 1946 book 'Politics and the English Language'
What am I trying to say?
What words will express it?
What image or idiom will make it clearer?
Is this image fresh enough to have an effect?
Could I have put it more shortly?
Have I said anything that is avoidably ugly?
Although he was referring to writing I feel these thoughts could easily apply to publication designers and Derek Birdsall's book is a fine visual example of putting them into practice.

I thought the clever thing about the book was the way it explains design by using examples of Birdsall's work, so you get to see plenty of his spreads and their presentation is the design explanation. The two chapters, 'The process of book design' and 'Book design in practice' covers a whole range of creative solutions. Throughout he offers thoughts and practical observations with the second chapter devoted to many spreads from books and here I found perhaps the most fascinating section, his re-design of 'Common Worship, Services and Prayers for the Church of England'. Surely the ultimate creative (and intellectual) challenge, 860 pages, type only and two colors. As a publication designer I've always maintained that the most rewarding jobs are the simplest in appearance, airline timetables or tax forms for instance, where the creative resources are limited yet the information conveyed needs to be totally unambiguous. Birdsall's design solution to 'Common Worship' looks so right that you are not aware of the design and that is just as it should be. The back of the book has sample text settings (in foreign languages, too) and some very hands-on information about grids for books.

'Notes on book' design is beautifully produced and printed and a first-class review of a leading book designer's work. I think it looks so good I've added it to my Listmania, 'My favorite well-designed books' list.

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• Sales Rank: #12543940 in Books
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Uses mathematical and statistical techniques to extract trends from chemical analysis. Introduces scientists to powerful new tools that will allow them to obtain massive amounts of data from computer-controlled instrumentation and then extract the information they need. Chapter sequence leads the reader through a sample analysis to resolution and pattern recognition. First introductory text on the relatively new field.

• Sales Rank: #3601676 in Books
• Published on: 1986-03-14
• Original language: English
• Number of items: 1
• Dimensions: 9.25" h x .98" w x 6.26" l, 1.35 pounds
• Binding: Hardcover
• 352 pages

From the Publisher
Uses mathematical and statistical techniques to extract trends from chemical analysis. Introduces scientists to powerful new tools that will allow them to obtain massive amounts of data from computer-controlled instrumentation and then extract the information they need. Chapter sequence leads the reader through a sample analysis to resolution and pattern recognition. First introductory text on the relatively new field.

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NY 1966 1st Wiley. 8vo., 341pp., hardcover. Slight paper clip indentation on initial pages. Near Fine in VG DJ.

• Sales Rank: #5457855 in Books
• Published on: 1966-01-15
• Ingredients: Example Ingredients
• Original language: English
• Number of items: 1
• Binding: Hardcover
• 341 pages

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[F302.Ebook] PDF Download Between Art and Anthropology: Contemporary Ethnographic PracticeFrom Brand: Bloomsbury Academic

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Between Art and Anthropology provides new and challenging arguments for considering contemporary art and anthropology in terms of fieldwork practice. Artists and anthropologists share a set of common practices that raise similar ethical issues, which the authors explore in depth for the first time.

The book presents a strong argument for encouraging artists and anthropologists to learn directly from each other's practices 'in the field'. It goes beyond the so-called 'ethnographic turn' of much contemporary art and the 'crisis of representation' in anthropology, in productively exploring the implications of the new anthropology of the senses, and ethical issues, for future art-anthropology collaborations.

The contributors to this exciting volume consider the work of artists such as Joseph Beuys, Suzanne Lacy, Marcus Coates, Cameron Jamie, and Mohini Chandra. With cutting-edge essays from a range of key thinkers such as acclaimed art critic Lucy R. Lippard, and distinguished anthropologists George E. Marcus and Steve Feld, Between Art and Anthropology will be essential reading for students, artists and scholars across a number of fields.

• Sales Rank: #1114063 in Books
• Brand: Brand: Bloomsbury Academic
• Published on: 2010-11-15
• Released on: 2010-11-09
• Original language: English
• Number of items: 1
• Dimensions: 9.06" h x .46" w x 6.88" l, .85 pounds
• Binding: Paperback
• 224 pages

Features

• Used Book in Good Condition

Review
Between Art and Anthropology provides new and challenging arguments for considering contemporary art and anthropology in terms of fieldwork practice. Between Art and Anthropology will be essential reading for students, artists and scholars across a number of fields. visualanthropology.net Many of the authors in this edited volume provide excellent examples of the work of artists who are using fieldwork in an approach that links them to anthropology. [...] This is a worthwhile volume to add to the growing literature on art and anthropology. Anthropological Forum

About the Author

Arnd Schneider is Professor of Social Anthropology at the University of Oslo.

Christopher Wright is Lecturer in Anthropology at Goldsmiths College, University of London.

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