Create your space with simplicity, tranquility, and beautifully minimalist style. The yearning for a life of pared-down purity has built to a roar, and Serena Mitnik-Miller and Mason St. Peter—the husband-and-wife owners of General Store, one of California’s most talked-about shops—are at the forefront. In Abode: Thoughtful Living with Less, these tastemakers make a graceful case for living better no matter your budget or abilities, guiding you to create a space this is simple and true. Their time-tested methods create interiors that maximize openness, strip a building back to its bones, and amplify natural light, evoking unpretentious tranquility. The blueprint for their signature aesthetic is all here: the embrace of elemental materials, curation of handcrafted objects, and collection of furnishings from eras when craftsmanship was king. This selection of Mitnik-Miller and St. Peter’s greatest collaborations will take you through their breathtaking rooms, masterpieces of warm minimalism. Abode is a glimpse into the couple’s process and a guide to manifesting your own beautiful interiors.

This New York Times bestselling book is filled with hundreds of fun, deceptively simple, budget-friendly ideas for sprucing up your home. With two home renovations under their (tool) belts and millions of hits per month on their blog YoungHouseLove.com, Sherry and John Petersik are home-improvement enthusiasts primed to pass on a slew of projects, tricks, and techniques to do-it-yourselfers of all levels. Packed with 243 tips and ideas—both classic and unexpected—and more than 400 photographs and illustrations, this is a book that readers will return to again and again for the creative projects and easy-to-follow instructions in the relatable voice the Petersiks are known for. Learn to trick out a thrift-store mirror, spice up plain old roller shades, "hack" your Ikea table to create three distinct looks, and so much more.

Barack Obama's election as the first black president in American history forced a reconsideration of racial reality and possibility. It also incited an outpouring of discussion and analysis of Obama's personal and political exploits. Paint the White House Black fills a significant void in Obama-themed debate, shifting the emphasis from the details of Obama's political career to an understanding of how race works in America. In this groundbreaking book, race, rather than Obama, is the central focus. Michael P. Jeffries approaches Obama's election and administration as common cultural ground for thinking about race. He uncovers contemporary stereotypes and anxieties by examining historically rooted conceptions of race and nationhood, discourses of "biracialism" and Obama's mixed heritage, the purported emergence of a "post-racial society," and popular symbols of Michelle Obama as a modern black woman. In so doing, Jeffries casts new light on how we think about race and enables us to see how race, in turn, operates within our daily lives. Race is a difficult concept to grasp, with outbursts and silences that disguise its relationships with a host of other phenomena. Using Barack Obama as its point of departure, Paint the White House Black boldly aims to understand race by tracing the web of interactions that bind it to other social and historical forces.

Kristie Barnett reveals the secrets of her proven method of Psychological Staging to quickly sell residential real estate for top dollar. This method has earned her both local and national awards for home staging, and has made The Decorologist the go-to authority in the field of real estate staging.

One day three white mice discover three jars of paint--red, blue, and yellow. Both parents and children alike will appreciate this lighthearted presentation of a lesson in color. "Walsh's cut-paper collage illustrations have bold colors and just the right simplicity for the storyline. A real charmer that's great fun as well as informative."--School Library Journal

In his dedication to Leeds United, Gary Edwards has no rivals. He has seen every Leeds game since 17 January 1968, home and away. League, Cup and Europe. And pre-season friendlies.* Hell, he even watches the reserves in his spare time. Following Leeds, he's been there, done that and designed the T-shirt. Although a painter and decorator-cum-signwriter-cum-cartoonist, he's never taken a break from his life as a full-time football fan. He's made a name for himself covering over red paint with white for free. He's visited every country in Europe and flown all over the rest of the world to watch Leeds play. If Leeds organised a five-a-side on the moon, he'd be on the first shuttle flight there. Travelling the world to watch hundreds of players run around acres of grass, he's also found time to drink gallons of ale, see oceans of flesh and protect hundreds of animals. He's saved lobsters in Barcelona, clay pigeons in Worksop, frogs in Kuala Lumpur and worms - yes, worms - in Yorkshire. He's been shot at in Greece, run over in Denmark, frightened the king in Sweden and had a beer with an elephant in Bangkok. All this and still found the time to never miss a match or another chance to rid the world of the evil that is red in all its forms. Behind him are almost four decades of Leeds, lunacy, laughter and white paint.

From the earliest origins of animated imagery, the colorful link between paper and screen was created by legions of female artists working on the slick surface of celluloid sheets. With calligraphic precision and Rembrandtesque mastery, these women painstakingly brought pencil drawings to vibrant, dimensional life. Yet perhaps as a reflection of the transparent canvas they created on, the contributions and history of these animation artists have remained virtually invisible and largely undocumented, until now. Walt Disney's pioneering efforts in animation transformed novelty cartoons into visual masterpieces, establishing many "firsts" for women within the entertainment industry along the way. Focusing on talent, Disney sought female story specialists and concept artists to expand the scope and sensibility of his storytelling. Upon establishing the first animation-training program for women, ink pens were traded for pencils as ladies made their way into the male-laden halls of animation. World War II further opened roles traditionally held by men, and women quickly progressed into virtually every discipline within animation production. Disney's later development of the Xerox process and eventual digital evolution once again placed women at the forefront of technological advancements applied to animated storytelling. In her latest landmark book, Ink & Paint: The Women of Walt Disney's Animation, author Mindy Johnson pulls back the celluloid curtain on the nearly vanished world of ink pens, paintbrushes, pigments, and tea. From the earliest black-and-white Alice Comedies to the advent of CAPS and digital animation, meet the pioneering women who brought handrendered animated stories to vibrant, multicolored life at Walt Disney Studios and beyond. Extensively researched with the full support of the entire Walt Disney Studios archival resources, plus a multitude of private collections, firsthand accounts, newly discovered materials, and production documentation, as well as never-before-seen photography and artwork, this essential volume redefines the collective history of animation.

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