A examination of time-tested methods used by artists since the Renaissance to make realistic pictures of imagined things.

Professor Denison and Bix, his dinosaur companion, are summoned to the forbidden empire of Chandara but, having lost their invitation, must travel penniless and in disguise through spectacular sights and memorable scenes. Includes a new afterword by the author.

Rusty Duncan and Samantha Macgregor continue their adventures in a small town called Sunnyville.

Unlike many other art books only give recipes for mixing colors or describe step-by-step painting techniques, *Color and Light* answers the questions that realist painters continually ask, such as: "What happens with sky colors at sunset?", "How do colors change with distance?", and "What makes a form look three-dimensional?" Author James Gurney draws on his experience as a plain-air painter and science illustrator to share a wealth of information about the realist painter's most fundamental tools: color and light. He bridges the gap between abstract theory and practical knowledge for traditional and digital artists of all levels of experience.

This book exemplifies one of the most complete and rigorous examples of scholarship relative to its subject matter that I have ever seen. Russell L. Ackoff, University of Pennsylvania, US This is a book written by someone who makes a living from helping organizations make strategy. It is also, though, written by a scholar someone who has thought hard about the topic and knows what other scholars think. This mix makes a book that is both thorough, well argued, and yet of great significance for consultants and managers. It unashamedly takes an inside-out view of strategy making, and this is what makes it so practical. It focuses on what those who manage want to do with their organization, rather than on some notion of what they should do. The book takes the field of strategic management forward by bringing theory and practice together more management writing needs to come from practitioner scholars. Colin Eden, University of Strathclyde Graduate School of Business, UK Olaf Rughase successfully unlocks important insights for creative market strategy development by linking it to central ideas about organizational identity. He provides a compelling theoretical rationale and useful practical process insights for how to induce creative market strategy formation through articulating current desired organizational identities. The book is clearly written, the claims well documented and well illustrated, providing a fresh and useful perspective on how to enable market strategies that work. Jane E. Dutton, University of Michigan, US In his well-researched book, Olaf Rughase introduces a new element into the concept of strategy which has so far been neglected to a surprising degree: the human factor. Strategy development certainly consists of data research, analysis and synthesis but after all, it is at least as much driven by fear and hope, will and might, the vision and the experience of the people involved. Only approaches that take this into account can claim any relevance for real-life strategy making. Viewed in this light, Olaf Rughase s book fills a gaping hole in the existing world of strategic thinking. Jörg Fengler, Management Consultancy, E.ON Ruhrgas AG, Germany Theorists and practitioners often underestimate the subtlety of each others thinking. Rughase s work engages seriously with both groups, and as a result is both deep and thoroughly practical. This is a genuinely original contribution. David Sims, Cass Business School, London, UK . . . this book is not just an academic treatise. Its insights grow out of facilitating strategy making, and one of these experiences is described in some detail. There are many practical observations to be found here. Political realities are acknowledged. Alternative paths anticipated. The ideas advanced here are, in combination, a genuine departure from past efforts. The theoretic development, which moves back and forth from experience to academic explanation, is convincing. From the foreword by Anne S. Huff This groundbreaking book explores the relationship between organizational identity and strategy and proposes a practical strategy making process that helps to avoid the typical pitfalls in strategic change processes. In doing so, the author bridges an important gap in management and strategy literature and explains how to practically link content and process when designing market strategies. A new conceptual framework is also presented which emphasizes the importance and dynamics of organizational identity and corresponding time discrepancies for strategy making. Whilst most strategists use the economically and analytically best strategy as a measure, Olaf Rughase introduces a new measure for strategy making that takes personal feelings, values and aspirations of organizational members into account. Claiming that individually desired organizational identities which can be seen as individual visions give direction, motivation and impetus for strategy action and developme

First published in 1999. Routledge is an imprint of Taylor & Francis, an informa company.

A broad treatment of the cultural, social, political, and literary under-pinnings of an entire period and movement in American letters The Vast and Terrible Drama is a critical study of the context in which authors such as Oliver Wendell Holmes, Stephen Crane, Frank Norris, Theodore Dreiser, and Jack London created their most significant work. In 1896 Frank Norris wrote: "Terrible things must happen to the characters of the naturalistic tale. They must be twisted from the ordinary . . . and flung into the throes of a vast and terrible drama." There could be "no teacup tragedies here." This volume broadens our understanding of literary naturalism as a response to these and other aesthetic concerns of the 19th century. Themes addressed include the traditionally close connection between French naturalism and American literary naturalism; relationships between the movement and the romance tradition in American literature, as well as with utopian fictions of the 19th century; narrative strategies employed by the key writers; the dominant naturalist theme of determinism; and textual readings that provide broad examples of the role of the reader. By examining these and other aspects of American literary naturalism, Link counters a century of criticism that has perhaps viewed literary naturalism too narrowly, as a subset of realism, bound by the conventions of realistic narration.