Combines Moods in Wire with Moods in Brass & Glass. Divided into two sections, this is a comprehensive guide to the fine art of wire wrapping. Describes the basic tools and materials needed to make bracelets, earrings, pendants, pins and more. Color photos and spiral binding.

How to rewire your brain to improve virtually every aspect of your life-based on the latest research in neuroscience and psychology on neuroplasticity and evidence-based practices Not long ago, it was thought that the brain you were born with was the brain you would die with, and that the brain cells you had at birth were the most you would ever possess. Your brain was thought to be “hardwired” to function in predetermined ways. It turns out that's not true. Your brain is not hardwired, it's "softwired" by experience. This book shows you how you can rewire parts of the brain to feel more positive about your life, remain calm during stressful times, and improve your social relationships. Written by a leader in the field of Brain-Based Therapy, it teaches you how to activate the parts of your brain that have been underactivated and calm down those areas that have been hyperactivated so that you feel positive about your life and remain calm during stressful times. You will also learn to improve your memory, boost your mood, have better relationships, and get a good night sleep. Reveals how cutting-edge developments in neuroscience, and evidence-based practices can be used to improve your everyday life Other titles by Dr. Arden include: Brain-Based Therapy-Adult, Brain-Based Therapy-Child, Improving Your Memory For Dummies and Heal Your Anxiety Workbook Dr. Arden is a leader in integrating the new developments in neuroscience with psychotherapy and Director of Training in Mental Health for Kaiser Permanente for the Northern California Region Explaining exciting new developments in neuroscience and their applications to daily living, Rewire Your Brain will guide you through the process of changing your brain so you can change your life and be free of self-imposed limitations.

This simple tool children as well as parents and therapists helps youngsters identify their feelings, then engage their wise owl mind to accept or cope with intense or difficult emotions. On these pages, facial expressions depict a range of feelings and moods--from happy to sad, friendly to shy, hopeful to angry, and more--that can be matched to the child's current state of being. On the back of each card different strategies relevant to the card's particular feeling or mood are suggested, including asking for help, deep breathing, talking about feelings, finding a quiet place to calm down, and asking for a turn. 48 laminated pages. 6-1/2 wide x 7-3/4 high (16.5 cm wide x 19.7 cm high). Wire-o binding with built-in accordion stand.

Whose truth is the lie? Stay up all night reading the sensational psychological thriller that has readers obsessed, from the #1 New York Times bestselling author of Too Late and It Ends With Us. #1 New York Times Bestseller · USA Today Bestseller · Globe and Mail Bestseller · Publishers Weekly Bestseller Lowen Ashleigh is a struggling writer on the brink of financial ruin when she accepts the job offer of a lifetime. Jeremy Crawford, husband of bestselling author Verity Crawford, has hired Lowen to complete the remaining books in a successful series his injured wife is unable to finish. Lowen arrives at the Crawford home, ready to sort through years of Verity’s notes and outlines, hoping to find enough material to get her started. What Lowen doesn’t expect to uncover in the chaotic office is an unfinished autobiography Verity never intended for anyone to read. Page after page of bone-chilling admissions, including Verity's recollection of the night her family was forever altered. Lowen decides to keep the manuscript hidden from Jeremy, knowing its contents could devastate the already grieving father. But as Lowen’s feelings for Jeremy begin to intensify, she recognizes all the ways she could benefit if he were to read his wife’s words. After all, no matter how devoted Jeremy is to his injured wife, a truth this horrifying would make it impossible for him to continue loving her.

From typographic illustrator Marian Bantjes, I Wonder will make you think in new ways about art, design, beauty, and popular culture. This unique presentation features the elaborately crafted word pictures of Marian Bantjes, the most inventive and creative typographic illustrator of our time. Whether intricately hand-drawn or using computer illustration software, Bantjes's work crosses the boundaries of time, style, and technology. There is, however, another side to Bantjes's visual work: her thoughtful treatises on art, design, beauty, and popular culture that add a deeper dimension to the decorative nature of her best-known work. These reflections cover the cult of Santa, road-side advertising, photography and memory, the alphabet's letterforms, heraldry, and stars. Bantjes's writing style ranges from the playful to the confrontational, but it is always imbued with perspicacity, insight, and a sense of fun. Intended to inspire creatives of any persuasion, this is more than a collection of ideas: Bantjes has meticulously illustrated every page of the book in her inimitable style to create an accessible work of art that is far greater than the sum of its parts. Quirky, poignant, astute, funny--this beautiful book presents a compelling collection of observations on visual culture and design. In Stefan Sagmeister's telling words, Bantjes's work is his "favorite example of beauty facilitating the communication of meaning." This paperback edition is expanded with a new essay from the author.

An unruly cast of emotions come alive in this romping dreamworld, a place Maurice Sendak’s Wild Things could call home Curiosity, a lithe and floppy-eared creature, perches above the open world and gazes out with a zippy blend of hope, wonder, and longing. From the tip of a chimney, we bound into the quiet and mischievous world of feelings, meeting a troupe of tufted creatures as we go. Sympathy helps snails cross a sidewalk to safety, fear pirouettes in an attempt to camouflage with wallflowers, and pleasure reclines across a doily-donned reading chair, sipping a cup of tea. Elsewhere, our insecurities – pesky, cavorting beings – build intricate cages and stride about with clattering sets of keys. Tina Oziewicz’s words hum with truth, and Aleksandra Zajac’s illustrations bloom and burst with charming details like a sail constructed out of a pair of billowing long johns or a red slipper falling from a contented paw. Taking in the perfect harmony of this book is like taking a long gulp from a trusty thermos and filling up with warmth. What Feelings Do When No One’s Looking surprises and soothes, inspires us to feel.

William Rothman argues that the driving force of Hitchcock’s work was his struggle to reconcile the dark vision of his favorite Oscar Wilde quote, “Each man kills the thing he loves,” with the quintessentially American philosophy, articulated in Emerson’s writings, that gave classical Hollywood movies of the New Deal era their extraordinary combination of popularity and artistic seriousness. A Hitchcock thriller could be a comedy of remarriage or a melodrama of an unknown woman, both Emersonian genres, except for the murderous villain and godlike author, Hitchcock, who pulls the villain’s strings—and ours. Because Hitchcock believed that the camera has a murderous aspect, the question “What if anything justifies killing?,” which every Hitchcock film engages, was for him a disturbing question about his own art. Tracing the trajectory of Hitchcock’s career, Rothman discerns a progression in the films’ meditations on murder and artistic creation. This progression culminates in Marnie (1964), Hitchcock’s most controversial film, in which Hitchcock overcame his ambivalence and fully embraced the Emersonian worldview he had always also resisted. Reading key Emerson passages with the degree of attention he accords to Hitchcock sequences, Rothman discovers surprising affinities between Hitchcock’s way of thinking cinematically and the philosophical way of thinking Emerson’s essays exemplify. He finds that the terms in which Emerson thought about reality, about our “flux of moods,” about what it is within us that never changes, about freedom, about America, about reading, about writing, and about thinking are remarkably pertinent to our experience of films and to thinking and writing about them. He also reflects on the implications of this discovery, not only for Hitchcock scholarship but also for film criticism in general.