In 1977, photographers Larry Sultan and Mike Mandel sifted through thousands of photographs in the files of the Bechtel Corporation, the Beverly Hills Police Department, the Jet Propulsion Laboratories, the U.S. Department of the Interior, Stanford Research Institute and a hundred other corporations, American government agencies, and educational, medical and technical institutions. They were looking for photographs that were made and used as transparent documents and purely objective instruments - as evidence, in short. Selecting 50 of the best, they printed these images with the care you would expect to find in a high-quality art photography book, publishing them in a simple, limited-edition volume titled Evidence. The concept for the book was clear: select photographs intended to be used as objective evidence and show that it is never that simple. Now an undisputed classic in the photo world, considered a seminal harbinger of conceptual photography, Evidence is nearly impossible to find. This reprint of DAP's 2004 facsimile edition is being published in recognition of the project's continued relevance, and will contain a facsimile copy of the original book plus a newly commissioned scholarly essay by Sandra Phillips of the San Francisco Museum of Modern Art. Additionally, this edition will include a new spread of images and a group of black-and-white illustrations selected by the artists from an archive of photographs that were not included in the original book.
(source: Nielsen Book Data)

• Introduction
• 1 Typography measurements type type on-line special characters case study: Pentagram
• 2 Images image types file types working with images image manipulation case study: Bob Aufuldish
• 3 Color basic terminology color management color correction creative color color in print color on screen case study: Blok
• 4 Pre-press resolution scanning creative techniques artwork imposition proofing case study: Clormann Design
• 5 Production printing print processes on-press paper case study: NB Studio
• 6 Finishing special techniques laminates and varnishes folding and trimming binding case study: Anagrama Appendix standard sizes glossary Index Acknowledgements and credits Index.
• (source: Nielsen Book Data)

From the basics such as working with typography through using images and working with color, exploring different pre-press techniques and the processes involved in bringing a product to press and with a resulting pleasing end product, the authors present everything that the reader needs to know in a straightforward and visually strong way. This new edition completely updates the information on the production process, highlighting new techniques and expanding its coverage on digital technologies. In addition, new interviews are included from design studios using creative or unique production techniques. Since students may eventually be working with international clients, the authors includes both metric and imperial measurements so that students will become familiar with the differences. Expanded coverage of environmental and sustainability issues, especially as they relate to paper choice and use of special processes/inks has also been added.
(source: Nielsen Book Data)

Every page of the book questions our current world of walls and fences, police tactics and prison cells, crowd control and refugee camps.The dry and factual style of storytelling through technical drawings is the graphic equivalent to bureaucratic rigidity born of laws and regulations. The level of detail depicted in the illustrations of the book mirror the repressive efforts taken by authorities around the globe.The twenty- rst century shows a general striving for an ever more regulated and protective society. Yet the scale of authoritarian intervention and their stealth design adds to the growing dif cultyof linking cause and effect. By bluntly showing the designs, Notebook of Tyranny gives a profound insight into the relationship between political power, territoriality, and systematic cruelties.
(source: Nielsen Book Data)

Why Drag? Because drag is limitless. Anything is possible and excepted as long as it provokes reaction.'--Darienne Lake, Rochester, New York'Why drag? Because I like to wear pantyhose.'--Tammie Brown, Los AngelesFor over a decade, British photographer Magnus Hastings has been photographing the world's greatest drag superstars and asking each of them a simple question: Why drag? The result is this mesmerising collection, in which the queens strut their stuff in gorgeous full-colour photographs and reflect on their shared passion through a mixture of quips and philosophising. Hastings' subjects include icons of reality TV and underground drag royalty, and his photographs range from the divine to the trashy. Featuring the likes of Bianca Del Rio and Courtney Act, this collection is a bold, bright, and beautiful celebration of drag as an art form and an exhilarating exploration of what drag means to its greatest artists.
(source: Nielsen Book Data)

• [v.l] First series
• [v. 2] Second series
• [v. 3] Third series.

• Pami͡atnikʺ Imperatoru Petru I
• Obshchīĭ vidʺ goroda sʺ Vasilʹevskago Ostrova
• Isaakīevskīĭ Soborʺ
• Zimnīĭ Dvoret͡sʺ
• Aleksandrovskai͡a Kolonna i Glavnyĭ Shtabʺ
• Nevskīĭ prospekʺ Gostinyĭ Dvorʺ i Duma
• Kazanskīĭ Soborʺ
• Khramʺ Voskresenīi͡a Gospodni͡a
• Pami͡atnikʺ Imperatoru Nikolai͡u I
• Pami͡atnikʺ Iimperatrit͡si͡e Ekaterini͡e II i Aleksandrinskīĭ Teatrʺ
• Konservatorīi͡a
• Ėrmitazhʺ
• Muzeĭ Aleksandra III
• Marīinskīĭ Teatrʺ (Opernyĭ)
• Akademīi͡a Khudozhestvʺ
• Li͡etnīĭ-sadʺ
• Troit͡skīĭ Mostʺ i Petropavlovskai͡a Kri͡epostʹ
• Aleksandrovskīĭ Mostʺ
• Marīinskīĭ ploshchadʹ i Gosudarstvennyĭ sovi͡etʺ
• Nikolaevskai͡a Naberezhnai͡a
• Troit͡skīĭ Soborʺ sʺ Pami͡atnikomʺ Slavy
• Sadovai͡a ulit͡sa i Si͡ennai͡a Ploshchadʹ
• Narodnyĭ Domʺ Imperatora Nikolai͡a II
• Gosudarstvennai͡a Duma (Tavricheskīĭ Dvoret͡sʺ)
• Domikʹ Petra Velikago
• Aleksandro-Nevskai͡a Lavra
• Moskovskīi͡a trīumfalʹnyi͡a vorota vʺ pami͡atʹ podvigovʺ vʺ Persīi, Turt͡sīi i pri usmirenīi Polʹshi vʺ 1826, do 1831 g.g.
• Narvskīi͡a trīumfalʹnyi͡a vorota vʺ pami͡atʹ Iimperatora Aleksandra I i voĭny 1812 g.
• Bolʹshoĭ Petergovskīĭ Dvoret͡sʺ
• Bolʹshoĭ T͡Sarskīĭ Dvoret͡sʺ, T͡Sarskoe-selo.

• Памятникъ Императору Петру I
• Общій видъ города съ Васильевскаго Острова
• Исаакіевскій Соборъ
• Зимній Дворецъ
• Александровская Колонна и Главный Штабъ
• Невскій проспекъ Гостиный Дворъ и Дума
• Казанскій Соборъ
• Храмъ Воскресенія Господня
• Памятникъ Императору Николаю I
• Памятникъ Иимператрицѣ Екатеринѣ II и Александринскій Театръ
• Консерваторія
• Эрмитажъ
• Музей Александра III
• Маріинскій Театръ (Оперный)
• Академія Художествъ
• Лѣтній-садъ
• Троицкій Мостъ и Петропавловская Крѣпость
• Александровскій Мостъ
• Маріинскій площадь и Государственный совѣтъ
• Николаевская Набережная
• Троицкій Соборъ съ Памятникомъ Славы
• Садовая улица и Сѣнная Площадь
• Народный Домъ Императора Николая II
• Государственная Дума (Таврическій Дворецъ)
• Домикь Петра Великаго
• Александро-Невская Лавра
• Московскія тріумфальныя ворота въ память подвиговъ въ Персіи, Турціи и при усмиреніи Польши въ 1826, до 1831 г.г.
• Нарвскія тріумфальныя ворота въ память Иимператора Александра I и войны 1812 г.
• Большой Петерговскій Дворецъ
• Большой Царскій Дворецъ, Царское-село.