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This edition incorporates the most current and comprehensive information on the physiology, neurochemistry and sociology of drugs in to one of the best test/reference books on the subject. Recommended reading for AOD counseling certification and adopted by hundreds of colleges and universities as well as federal, state and local law enforcement agencies, this text provides readers at every level with a thoughtful and through examination of the physical and mental effects of psychoactive drugs and compulsive behaviors.

With a completely redesigned format, this edition contains over 300 illustrations, photos, and graphics to provide readers with visual interpretations of complex ideas. Written in a clear, concise, style, this textbook will be a valuable addition to the library of an instructor, student, or treatment professional.

A companion Study Guide containing chapter outlines, guided reviews, practice tests, a drug identification table, and an extended glossary is available for download. Key ideas and concepts are highlighted throughout the book. This technique along with the Study Guide aids readers in processing the materials.

• Sales Rank: #31792 in Books
• Brand: Brand: Cns Productions
• Published on: 2011-07-15
• Ingredients: Example Ingredients
• Original language: English
• Number of items: 1
• Dimensions: 1.00" h x 10.90" w x 8.50" l, 3.80 pounds
• Binding: Paperback
• 600 pages

Features

• Used Book in Good Condition

About the Author
Darryl S. Inaba, Pharm.D., CADCIII, is recognized as one of the foremost authorities on drugs and addictions. He is the former CEO and President of San Francisco's Haight Ashbury Free Clinic, an organization he helped found in the 1960. Dr. Inaba has authored hundreds of technical articles, is a popular speaker at workshops and conferences nationwide and maintains Associate and Adjunct Professorships at the University of California San Francisco, University of Utah, and College of San Mateo.



William E. Cohen CCGAC I, is an Emmy Award winning film maker who has spend the past four decades building an impressive resume as an educator in print and video. William currently lectures throughout the Pacific Northwest on drug education, compulsive behaviors and substance abuse.

Most helpful customer reviews

27 of 27 people found the following review helpful.
Good text on just about every subject of drug abuse
By Guy F. Airey
The authors, Darryl Inaba and William Cohen do a great job of keeping this book very open and simple. They cover almost every drug (5th edition) which a counselor may run into when talking with his students. As a research or higher level order book though, this would not do as it is just too brief on most subjects to really get to know indepth pharmacology or pharmacodynamics on most of the psychoactive drug actions. There is a lot of history, and even a CD-ROM to help you familiarize yourself with many topics of addiction in a very short period of time. In some sections, there is some really good information on drugs I have not seen on the pharmacy shelves for at least 12 years. If you are someone who wants to quickly get to know the subject of psychoactive drugs, then I highly recommend this book for you. His vocabulary is such that it is easy to read, without too much of a serious tone-- and you will not even need a highliner to remember the facts. This book is packed with knowledge. Very enjoyable reading for a change, with lots of good and interesting photographs that make you think. You will enjoy this book, for it is written in a very unique format that makes you want to relax and just turn each page and learn. guyairey

16 of 16 people found the following review helpful.
Review for 3rd edition of same book, pub 1997
By Jumex Agrupada
Note: I have not seen the newest edition - I borrowed the former (3rd) edition of this book (published 1997)...but it's SO good I'm contemplating the purchase of my own copy...but it's a GREAT book...I have paged through countless books of this and other types - this one is vastly superior to anyting else I've seen. It is complete and honest. Quite admirably, it is executed without a pro or anti-drug agenda, it is (in my opinion) a truly unbiased and informative work on the subject of psychoactive chemicals. It covers their history, use, effects, abuse, dependence, tolerance, and withdrawl.
The '97 edition was very well organized. It included all the right details - a skillful balance between completeness, efficiency in conveying the necessary details, and ease of reading (agreeably medium density material). It is a comprehensive work, suitable for both browsing and reference.
I haven't seen the newest, 4th edition (year 2000), but the 1997 edition was bettered in every way, by the inclusion of anonymous, convincing, informative accounts of recovering addicts. Those really shed light on the drug experience, lifestyle, highs and lows alike...it is very easy reading - Dr. Inaba (and his colleagues) have written an excellent work: informative, comprehensive, accessible, and entertaining (with tasteful humor).
I would recommend this book to anyone interested in learning more about psychoactive drugs and their many facets; whether you're trying to understand your teenager, experimenting yourself, or self-educating as a policy-analysis primer... this is the book for you.
Note: this book does not include information on the preparation of any "drugs", it is strictly an educational reference, not a drug user's guide.
It is a 10/10...

16 of 16 people found the following review helpful.
The best
By Anna Klein
An excellent, full color and clearly laid out guide to nearly every drug on the market today, illegal, recreational, and medicinal. Lots of photographs, quotes from people who have used the drugs, side effects, addiction and safety information, charts and graphs. This book was a help to me both for researching a book I was writing and for looking up the drugs my 89-year-old grandmother is taking for her pain.
I highly recommend this book.

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Based on a groundbreaking theory of crime prevention, this practical and empowering book shows how citizens, business owners, and police can work together to ensure the safety of their communities. George Kelling, one of America’s leading criminologists, has proven the success of his method across the country, from the New York City subways to the public parks of Seattle. Here, Kelling and urban anthropologist and lawyer Catherine Coles demonstrate that by controlling disorderly behavior in public spaces, we can create an environment where serious crime cannot flourish, and they explain how to adapt these effective methods for use in our own homes and communities.

• Sales Rank: #265864 in Books
• Published on: 1998-01-20
• Released on: 1998-01-20
• Original language: English
• Number of items: 1
• Dimensions: 8.44" h x .90" w x 5.50" l, .69 pounds
• Binding: Paperback
• 336 pages

Amazon.com Review
Broken windows breed disorder. So said George L. Kelling and James Q. Wilson in a groundbreaking article for the Atlantic Monthly in 1982. Now Kelling returns with Catherine M. Coles to call community policing and the aggressive protection of public spaces the best crime-control options available. Three-strikes-and-you're-out is fine as far as it goes, say the authors, but it focuses on punishment rather than prevention. Kelling and Coles make sensible suggestions for restoring law and order to the places where they no longer seem to exist. Their argument is aided immensely by real-life examples of how their "broken windows" strategy has reduced crime where it's been tried.

From Publishers Weekly
This book offers a dry but convincing argument for community policing and other approaches to civic order that pay attention to small incivilities like aggressive panhandling and fare-beating. The book's title derives from an influential 1982 Atlantic Monthly article by criminologist Kelling and James Q. Wilson, which argued that obvious neighborhood decay?like unattended broken windows?furthered criminal behavior. The authors cite several factors?including the rise of individualism, the decriminalization of drunkenness and the deinstitutionalization of the mentally ill?that contribute to public disorder. Many of the homeless, they note, are not merely down on their luck but suffer serious behavioral problems. They explain how civic reforms during the 1950s that professionalized police services shifted police work from crime prevention to crime response, thus creating some of the unintended consequences that more recent reforms have had to address. Beginning most notably with the New York City Transit Police, for whom Kelling consulted, police departments have recently focused on minor offenses, capturing a large number of serious criminals in the process. Other police departments, with the assistance of civic groups, have begun similar work. The authors provide cogent advice, backed by copious endnotes, on how to implement similar strategies. They say too little about the challenges in recruiting and training police for community strategies, however, although they do acknowledge that some New York outreach workers have been accused of abusing street people. Coles is a lawyer and anthropologist.
Copyright 1996 Reed Business Information, Inc.

From Library Journal
Th term broken windows, a metaphor for increasing public community disorder, was coined by Wilson and Kelling in a March 1982 Atlantic article. Their antidote to "broken windows"-community policing- is actually a revival of the 19th-century policeman on the beat. Community policing focuses on quality-of-life crimes (vandalism, fare beating, etc.) rather than felonies and attempts to change the operative police model to one of order maintenance and crime prevention. Kelling has been associated over the last 20 years with the Kennedy School, the National Institute of Justice, the New York City Transit Police, and as a consultant in many locales for pratical research and application of this model. Although he has published much, this readable monograph is his most popular and substantial treatment to date. It includes case studies of New York, Baltimore, San Francisco, and Seattle and a frank discussion of the biggest problem with community policing: it relies heavily on police discretion. Everyone should read this book; it would inject realism and hope into public policy discussion.
Janice Dunham, John Jay Coll. Lib., New York
Copyright 1996 Reed Business Information, Inc.

Most helpful customer reviews

16 of 18 people found the following review helpful.
Individual Rights and the Power in Communities
By Kenneth Young
Disorderly behavior damages communities, so goes the central theme of Kelling & Coles's Fixing Broken Windows, a book about "restoring order and reducing crime". Kelling & Coles proceed to back this assertion up with both logical argument and evidence from a small but impressive set of studies of community policing. Their arguments tend to be rather persuasive, and will likely resonate with anyone who's fond of Etzioni's Communitarianism.
Disorder, Kelling & Coles argue, breeds many things in a community: fear on the part of residents; further disorder; and eventually "serious" crime. Disorder promotes decay as streets cease to be areas where community standards are enforced, or where those standards are to the detriment of the majority of the members of the community.
From Kelling & Coles perspective, before the 60's, police were far more integrated with the communities they served, in part by virtue of regular contact with residents as they walked beats. This enabled them to have a much better understanding of the particular needs and standards of the communities they work in. Even more importantly, it allowed them to prevent crime, rather than simply respond to it.
The police of today, Kelling and Coles argue, are not only not efective at reducing disorder, they are ineffective at preventing crime, and not terribly good at responding to crime. The 911 model limits police contact with the general citizenry, and prevents them from developing the kinds of relationship that allow them to intervene effectively without resorting to overtly coercive or threatening behaviors.
One particular study cited by Kelling and Coles stands out to me, in which they looked at fear, one of the crucial factors in their model. Robert Trojanowicz(1982), they report, found that officers alone on foot patrol were less fearful that officers patrolling two to a car in the same areas.
Kelling & Coles supply not only examples of what they consider successful and unsuccessful attempts at order maintenance proograms, they also review the legal foundation for such activities, as well as the legal challenges to such efforts as "aggressive panhandling" ordinances. Their analysis helps a lay reader understand different burdens that a law might come under in order to show that it is attempting to meet a compelling government interest, as well as how limitations on personal behavior may be legally justified in the interest of preserving safe & orderly public fora.
The main weakness of the book, and the argument, in my opinion, is the lack of adequate examination of how community power struggles and class issues will likely play out in the development of community standards of behavior for an area. It is a very significant concern that the order police may have helped in the past, while they were more integrated into their communities, was a much more segregated one, where being the wrong color in the wrong neighborhood was disorderly enough to merit attention. This is not a fatal flaw in the book, nor in the idea of community policing, but establishing adequate internal controls and external oversight deserves much more attention.

12 of 14 people found the following review helpful.
Kelling & Coles Fix America's Cities
By Jim Jordan
In 1982, Wilson and Kelling proposed a link between disorder and crime that they expressed through the metaphor of the "broken window." Leave the broken window unrepaired and soon the rest of the windows will be broken as well. Leave all the windows broken and the building becomes a signal to offenders that this place -- this street, neighborhood, city -- is a place in which disorder is accepted, or at least tolerated. Victimization and crime take root in such places. Malcolm Gladwell has more recently expressed this as the power of "context." (Tipping Point)
"Broken windows" over the intervening 18 years has become a commonplace of public policy. Most writers neglect even to cite Wilson and Kelling as its creator. However, as is the case when an attractive idea migrates from the terrain of scholars to the public marketplace, the notion has come to mean many different things for many different commentators.
IN FWB, Kelling & Coles set the definition stratight, in lucid, concrete policy analysis and writing. Most importantly, the book serves as a highly-readable manual for practitioners. The power of the idea is expressed through the success stories it has spwawned, from the NYC subways to the streets of Seattle. All serious students of public safety policy and the policing process must read it.

13 of 17 people found the following review helpful.
An Important book
By Tom Munro
This book established the notion of Zero Tolerance policing and is probably one of the more influential books on policing policy. Zero Tolerance policing is however a different concept from what the plain meaning of the words would suggest. The book basically argues against the techniques of policing developed in the 60's and argues for a more community based approach.
In the 1960's the structure of cities had changed from that of the thirties. Suburbs had increased the physical size of cities and made old policing techniques such as street patrols difficult due to the lack of sufficient police officers. To deal with this a form of policing based on rapid response to emergency calls was substituted. That is a central control room would receive telephone calls from the victims of crime and they would have power to send a squad care to deal with the emergency.
The authors of this book suggest that such a strategy has failed. They quote a number of reasons for that but broadly what they say is that by the time police arrive the person who has committed the crime has left. In previous years crime detection would occur because police had links with a community. People would tell them what happened and they could investigate crimes with the cooperation of communities. The rapid response policy had the effect of severing contacts between police and communities. Especially in black and immigrant communities police seem to be outsiders.
What the book suggests is that the key to combating crime is to prevent the sort of decay which allows the development of a criminal culture. The absence of police from an area allows people to start committing minor crimes. These can be fare evasion or breaking windows. The existence of broken windows acts as a signal to criminals that they can move in.
The book uses as a proof of this thesis the work of William Bratton who headed the Transit Police in New York. His technique was to try to remove all forms of petty crime including fair evasion and illegal squatting on the underground train platforms. As his officers arrested fair evaders they found that they were arresting people who had warrants out for their arrest or who were carrying firearms. The realization of the risk of arrest meant that serious offenders tended to stay clear of the subway system. This in turn led to a collapse not only of fair evasion and graffiti offences but of robberies and assaults. The book thus suggests that by a zealous approach to preventing all offending the prevention of more serious crime follows.
It is actually interesting to read Bratton's autobiography Turnaround to have him recount what happened on the subways. He describes the situation when he took over the Transit Police as a force in chaos. The officers simply had stopped arresting people. They were dispersed in such a way that it was easy for fare evaders to avoid them. The officers also had a sense of being an inferior part of the police because their weapons and cars were different from other parts of the police force.
Bratton organized to give them bigger guns and cars to rebuild their morale but he also insisted that they arrest people. The mechanics of arrest prior to Bratton taking over were that if an offender was arrested he would have to be taken to a court and charged. This mean that an arrest would take hours. What Bratton told his officers to do was to arrest one offender handcuff him to a fence and then arrest more. This meant that each officer could increase the rate of arrests by about eight times what had previously been possible. As the police started to find the people they arrested had warrants out for serious matters or that they possessed firearms their morale improved as they felt they were doing something important rather than raising ticket revenue. When Bratton moved on to run the New York Police he did similar things. That is he used labor saving techniques to maximize the availability of police on the streets and used neighborhood crime reports to concentrate them in areas where they were needed.
The reality is that Bratton rather than using a particular strategy or technique has in the case of the Transit Police taken over a unit that was very poorly run and from an objective point of view on its last legs. With such a poorly run unit it is not surprising that the subway system had such crime problems. From this point of view the book is somewhat flawed as it suggests a rather over simplistic solution is available to problems which are complex. Still and interesting and readable book and one that has generated much debate.

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• Sales Rank: #3542841 in Books
• Published on: 1971
• Original language: English
• Number of items: 1
• Binding: Hardcover
• 246 pages

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What makes a distant oboe's wail beautiful? Why do some kinds of music lift us to ecstasy, but not others? How can music make sense to an ear and brain evolved for detecting the approaching lion or tracking the unsuspecting gazelle? Lyrically interweaving discoveries from science, psychology, music theory, paleontology, and philosophy, Robert Jourdian brilliantly examines why music speaks to us in ways that words cannot, and why we form such powerful connections to it. In clear, understandable language, Jourdian expertly guides the reader through a continuum of musical experience: sound, tone, melody, harmony, rhythm, composition, performance, listening, understanding--and finally to ecstasy. Along the way, a fascinating cast of characters brings Jourdian's narrative to vivid life: "idiots savants" who absorb whole pieces on a single hearing, composers who hallucinate entire compositions, a psychic who claims to take dictation from long-dead composers, and victims of brain damage who can move only when they hear music. Here is a book that will entertain, inform, and stimulate everyone who loves music--and make them think about their favorite song in startling new ways.What makes a distant oboes wail beautiful? Why do some kinds of music lift us to ecstasy, but not others? How can music make sense to an ear and brain evolved for detecting the approaching lion or tracking the unsuspecting gazelle? Lyrically interweaving discoveries from science, psychology, music theory, paleontology, and philosophy, Robert Jourdian brilliantly examines why music speaks to us in ways that words cannot, and why we form such powerful connections to it.

In clear, understandable language, Jourdian expertly guides the reader through a continuum of musical experience: sound, tone, melody, harmony, rhythm, composition, performance, listening, understanding--and finally to ecstasy. Along the way, a fascinating cast of characters brings Jourdians narrative to vivid life: idiots savants who absorb whole pieces on a single hearing, composers who hallucinate entire compositions, a psychic who claims to take dictation from long-dead composers, and victims of brain damage who can move only when they hear music. Here is a book that will entertain, inform, and stimulate everyone who loves music--and make them think about their favorite song in startling new ways.

• Sales Rank: #212012 in Books
• Published on: 2008-04-01
• Original language: English
• Number of items: 1
• Dimensions: 8.00" h x .90" w x 5.25" l, .66 pounds
• Binding: Paperback
• 377 pages

Amazon.com Review
What is music? How and why does it affect us? What is the nature of musical genius? Author/composer Robert Jourdain explores these and other questions, from the essential nature of sound through composition, performance, and, finally, the nature of ecstasy. His prose is eminently readable, offering a very accessible account of a difficult subject to the general reader as well as to the musical sophisticate. This is a fascinating and intriguing book, written by someone who clearly knows his subject.

From Publishers Weekly
Synthesizing recent research from the burgeoning science of musical psychoacoustics, Jourdain, a California musician, provides a richly informative, exuberant, wonderfully accessible introduction to how we perceive and experience music. Choosing examples eclectically, from Henry Mancini's "The Pink Panther" to Mozart, Stravinsky and Duke Ellington, he explores how, when we compose, perform or listen to music, the brain assembles musical devices, patterns and harmonies into vast, meaningful hierarchies of sound. He also offers tantalizing if inevitably unsatisfying answers to such age-old enigmas as what makes a great melody or how music elicits emotions and gives pleasure. Requiring no prior musical or scientific knowledge, this survey is sprinkled with interesting historical anecdotes (Beethoven was an early victim of metronome mania; Aaron Copland hit upon the title Appalachian Spring only after he had finished composing his tone poem) as well as seldom-appreciated facts. We learn, for instance, that musical dissonance and consonance have a neurological basis, in the inner ear's structure. Jourdain writes with verve, infectious enthusiasm and rare insight into music's emotive power.
Copyright 1996 Reed Business Information, Inc.

From Library Journal
Jourdain, a pianist, composer, and researcher on artificial intelligence, investigates music from its most fundamental biological basis to the psychology of composing and performing, ending with speculation on music's future possibilities. While trained musicians will be especially fascinated with the chapters on musical education, the virtuoso, and the amateur, Jourdain succeeds in making this work understandable for those without specialized knowledge. Though written music surfaces in the form of Henry Mancini's sprightly theme from The Pink Panther as an illustration of various concepts, readers who don't read music will probably still follow the examples without difficulty. The author's presentation combines the thoughts of many previous writers in a wide variety of fields with the results of recent research, enriched with his own insights on popular, classical, and non-Western music. A thought-provoking work for music teachers, serious music students, and others with an interest in what music is and where it might be going.?James E. Ross, WLN, Seattle
Copyright 1997 Reed Business Information, Inc.

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109 of 115 people found the following review helpful.
Powerful and profound
By Paul Castonguay
As a new student of music I was filled with questions. Why exactly did we humans (unlike animals) evolve to appreciate music? What survival benefit could it have provided? And how exactly does music give us pleasure? What is really going on in the body when a great piece of music touches our inner soul to the point of giving us goose bumps? Unfortunately I found teachers and peers not only devoid of answers to such questions, but completely unreceptive to them. Many people are even hostile towards such questions. I felt surrounded by automatons content only with pushing levers and petals on their instruments, completely disinterested in the exact nature of what they were doing. I find such people devoid of one of the most important instincts that supposedly separates us from the animal kingdom, high curiosity.

Robert Jourdain's book, Music, the Brain and Ecstasy, was exactly what I needed to read. He explains how the origin of music appreciation in humans is a consequence of the evolution of speech to improve social interaction, which has survival advantage. He explains how pleasure in music is a consequence of a series of deviations from a tonal center (usually the tonic note or triad of the key in which the music is composed), which introduces conflict in the brain, followed by a return to the tonal center, which provides satisfactory resolution. He explains how such conflict and resolution can be composed into four different aspects of music: rhythm, melody. phrase, and harmony. Ecstasy is achieved when resolution is provided after a conflict has reached the limit in tonal space and time of the listener's comprehension ability. Throughout the book he supports his presentation with real, physical phenomena within the body, mostly within the brain. The presentation seems very valid scientifically. Personally, I think he makes fools out of the teachers, musicians, and friends with whom I have been associating.

Some previous reviewers have been harsh, but I believe them to be out of context. For example, one gave the following quote from the book:

"Almost anything that can be said in Arabic can be faithfully translated into Chinese or Finnish or Navajo."

The reviewer claimed that this would be considered erroneous by any anyone who has ever worked on language translation. I myself am bilingual (English and French), and I believe that although there is some truth to this reviewer's opinion when it comes to the fine nuances of different languages, his comment is entirely out of context and blown out of proportion. In the book Robert Jourdain is referring to the accuracy of all languages to construct simple statements accurately. A sentence like, "On your way home, please go down to the corner store and pick up a loaf of bread." (I made up that sentence myself to make my point) Such a simple statement can be said in almost any human language where bread, home, and corner store have meaning. In contrast, music cannot be composed to deliver such exact meaning. Music produces emotional responses, but it is not possible to accurately define an exact message. Jourdain even suggests that Debussy's La Mere (The Sea) conjures up thoughts of the actual sea most probably as a consequence of its title. Had Debussy called the piece something else, like "The Storm", or "The Wind", or "The Final Salvation of Mankind", people would willingly accommodate by claiming that the music conjured up such images as well. My feeling is that this reviewer, like many people, is too caught up trying to prove what he thinks he knows about a subject rather than listen openly to what the author is really saying. Yes, there are differences in the accuracy of different languages. I myself do prefer to read certain novels in French rather than their English translations. It's not that the translations are inaccurate on the whole, but mostly because the text flows better in the original language. And yes, there are often fine nuances, mostly cultural, that do get lost in translation, but it is not often enough to cause a complete breakdown in meaning . But give me a break, that is not what Robert Jourdain was talking about. The key to the author's intent is the first word of the above quote: "Almost". Almost means almost.

Another reviewer complained that the book was too much about the brain rather than music. Well, where in the body does that person figure music appreciation occurs, if not the brain? Surely a complete explanation of music appreciation must be more about the brain than anything else?

Another reviewer complained that the book read too much like a textbook and is therefore uninteresting. Excuse me? Where exactly do we all learn the most interesting concepts in life if not from textbooks? Yes, it is a difficult read. I had to read it twice, and believe me, on the second reading I learned a tremendous amount. But that is not a disadvantage. That is exactly what makes the book great.

Throughout the book Robert Jourdain reminds the reader of how music challenges the brain and that without a certain mental capacity on the part of the listener much music cannot be appreciated. I myself learned this lesson in the world of chess. Without a certain mental capacity, certain people are simply not capable to playing great chess, no matter how hard they try. I was forced to give up chess competition because I did not possess the mental skills to achieve the rating (level of play) that I aspired to. Perhaps the same thing could be said about Robert Jourdain's book. Unless you possess a certain minimum mental capacity, and unless you take the time to read him carefully and apply your mental capacity to what you read, you will probably be unable to appreciate much of what he has to say.

I myself cannot say that this is one of the greatest books ever written on the subject. I am just a beginning music student and I have not yet read very widely. And I'm sure I will learn further in my education that Robert Jourdain is not the final word on music. Also, I suspect that he himself did not originate much what he has presented. That's perfectly valid. The book has a bibliography. The important thing for me is that at my point in life, this book was like a bolt of lightning awakening me to a whole new world that was unknown to me, a world that remains unknown to others around me who I would expect would know better but who lack the curiosity or perhaps the mental skills. After reading this book I find I am more willing to accept music theory as it is presented to me (as a set of unquestionable strict rules) without being plagued by nagging doubts about their meaning or validity. And I find that now I cannot study or listen to music, or work on my piano practice without thinking about this book in some way. It has affected me profoundly.

I highly recommend this book to anyone who is genuinely curious about the nature of music and is frustrated by a world filled with phony intellectuals who try to suppress true curiosity with blind faith in rules that they are unable to properly validate. This book attacks the subject of music appreciation head on from a scientific point of view and carries a real and enlightening message.

0 of 0 people found the following review helpful.
Five Stars
By Timothy S Kelley
COOL BEANS!!!

6 of 8 people found the following review helpful.
good overview of the mainstream literature
By William Benzon
This is an excellent survey of the mainstream psychology of music, from the neurology of the ear to the psychology of composing. There is a wealth of information about the perception and cognition of musical sound. However, as others have noted, Jourdain really doesn't deliver on the "ecstasy" in his title. To some extent that is a limitation of the research base he draws on, which is weak on emotion and almost completely silent on ecstasy. However, quite a bit of anecdotal evidence is available, but Jourdain doesn't review it.

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Part inspiration and part workbook, these hand-drawn type of images will inspire and excite any designer to draw and explore type. Drawing Type features real-world projects and sketchbooks of well-known type designers, including interviews about their processes. Playful, hand-drawn type can easily be used in a range of disciplines within design and illustration such as packaging, editorial, posters, advertising, online graphics, and signage; the hand-made aesthetic is more prevalent now than ever.

Alex Fowkes will help you to create custom lettering and typographic layouts. Alex encourages you to start drawing all kinds of typography, including serifs, sans serifs, and scripts. He provides ample examples of typefaces to draw inspiration from so you can become confident enough to draw your own. Drawing Type is perfect for learning and developing your skills at home or in a classroom--an invaluable resource that you can refer to again and again!

• Sales Rank: #275262 in Books
• Brand: Fowkes, Alex
• Published on: 2014-04-01
• Original language: English
• Number of items: 1
• Dimensions: 10.25" h x .50" w x 8.00" l, 1.70 pounds
• Binding: Paperback
• 208 pages

About the Author
Alex Fowkes is a freelance designer based in London, UK. While working full time Alex completed lots of typography based briefs in his spare time, from personal pieces to commissions and album covers. His work varies from hand drawn type to digital typography but always tries to retain a human element to his work. The Sony Timeline is the biggest typographical piece he has undertaken taking almost 150 square meteres, taking over 2 months just to design.

Most helpful customer reviews

43 of 45 people found the following review helpful.
Good book for inspiration and reference
By Parka
[[VIDEOID:mo24XD80SBE58VL]]Author and designer Alex Fowkes said that this book was created out of a love for playful typography. Indeed. Many of the examples showcased present playful ways in which you can reimagine typography, and use them in exciting and fun manners.

The book covers four different styles of typographic work, namely hand rendered, vintage, playful and contemporary. The work featured clearly are curated for their beauty.

The first section on hand rendered typography looks at the creative lettering and type designers. A total of 72 are featured. They talk about their inspiration and process, and also specifically at selected pieces of their work.

The examples are beautiful, and it's not just typography but there are also other design elements at work to make the whole illustration work. There's a good variety of refreshing styles to check out. As such, it serves as a good reference, a book you'll want to browse through when facing a creative block.

The first section has 170 pages, and the book has 208 pages.

The second section is a workshop on type basics. It talks about the construction of a type. Using existing typefaces, you're invited to create your own range of type-based work. There are perforated pages with specimen sheets containing all the alphabets in different styles. These sheets are used for reference so you can trace over them and modify from there. The sheets have four sans serif, four serif, four script and four display type.

Drawing Type is a good resource for graphic and type designers. It's not so much a technical book on creating type, although you're introduced and invited to experiment with the selected reference typefaces that are picked out.

(See more pictures of the book on my blog. Just visit my Amazon profile for the link.)

23 of 23 people found the following review helpful.
Great Book, Misleading Title
By M. Wilson
I have to say the title is misleading. This book has a few pages tacked on the end that are actually "how to." The rest is a collection of amazing artwork by famous lettering artists... which is exactly what I was looking for. I had to knock it a star because it's worthless a how-to illustrate letterforms book as it claims in the title. But I love referencing this book when starting a new piece. The photo is something I drew that was inspired by a piece in the book. -Made By Marzipan, letterist

5 of 5 people found the following review helpful.
Great read!
By Amazon Customer
My favorite book on typography and lettering. Interesting interviews with artists who share their technique and styles. They all give really good insight into their design process. Wouldn't really call this a "how to" book. More of an influence, really. Highly recommended.

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2nd

• Sales Rank: #461688 in Books
• Published on: 1601
• Binding: Paperback
• 219 pages

Most helpful customer reviews

0 of 0 people found the following review helpful.
Beyond useful.
By Juan Lugo Fitness
There's so much insights in this book. I found myself highlighting almost the entire book because there's so much useful information that can be readily applied. One example is when Mr. Poliquin talks about the benefits of tempo in a lift and how it can produce different results depending on how long it takes to complete the two.

He gives endless examples of workouts. That by itself is enough.

20 of 20 people found the following review helpful.
The book is great, but don't buy here.
By Joshua Naterman
Look, these private sellers are charging you 40 bucks. Go to the Poliquin Group website and buy this from their store for 14 dollars.

Seriously, this kind of marked up reselling is just ridiculous. Shame on these private sellers.

Having said all that, I bought my copy and it's excellent. Granted, I am 32 years old and I know what I am doing, I've been in the gym since I was 7 years old, I have my degree in Exercise Science, and most importantly I help people get bigger and stronger, while fixing their problems at the same time on a daily basis. The Poliquin Principles work, and you are a fool if you don't spend 14 dollars for such a valuable addition to your training library. This isn't the only book I read, but it is one of the few that stays on my desk. Another one is Advanced Sports Nutrition, 2nd Edition by Dan Benardot. If you don't have it, you are missing out on the single best nutrition book you can own. It also happens to be the least expensive one on the market, and I have no idea why.

0 of 0 people found the following review helpful.
Game changer
By Izzy69vette
I've weight trained most of my life, and this book was a game changer for me. Charles is the foremost expert on strength training, and this book delivers concise instructions for lifters of all levels. I've bought many other books, and the detailed information makes this book stand head and shoulders above the others

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• Sales Rank: #2491212 in Books
• Published on: 2005
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