Book 4 Diamond Patterns is the fourth book in the Shoji and Kumiko Design series, and follows on seamlessly from Book 3 Hexagonal Patterns. In Book 4, Des King gives detailed instructions on making 31 stunning patterns in the diamond (hishi-gata) jigumi arrangement, including the spectacular yotsu-kude four-way joint and tombo dragonfly pattern.More than 350 photographs and diagrams guide you at each stage on making these patterns using tools found in any Western workshop, and simple shop-made jigs. As with Books 1, 2 and 3, no specialized tools are required for any of the patterns covered in Book 4.

Book 3 Hexagonal Patterns is the third and final book in the Shoji and Kumiko Design series, and follows on seamlessly from Book 2 - Beyond the Basics. In Book 3, Des King gives detailed, step-by-step instructions on making 45 stunning patterns in the hexagonal jigumi arrangement, ranging from the very simple, to the highly complex and extremely difficult. More than 500 photographs and diagrams guide you at each stage on making these patterns using tools found in any Western workshop, and simple shop-made jigs. As with Book 1 and Book 2, no specialised tools are required for any of the patterns covered in Book 3. The patterns in this book are indeed items of art, and can be applied in a broad range of furniture and artistic designs to set your work apart from all others.

Kumiko is a delicate and sophisticated technique of assembling wooden pieces into beautiful patterns without the use of nails, and Matt Kenney's latest book offers step by step instructions that can't be found in print elsewhere. Kenney, a former editor at Fine Woodworking is at the forefront of a revival in interest in Kumiko. He has included Kumiko in both his furniture designs and as stand-alone framed panels that highlight the work. Kenney's methods are reimagined for the modern workshop but still require precise handwork that pays homage to the craft.

The construction of shoji - Japanese sliding doors and screens - requires great skill and attention to detail. However the task is within the reach of amateur woodworkers. Toshio Odate provides the necessary guidance and skills needed to tackle this traditional craft with confidence.

This text presents a practical guide to designing and making Japanese screensor the home and office. It includes all the basics of materials design,ssembly and installation.

An in-depth portrait of the life and work of Shoji Hamada, one of the key figures behind the development of studio pottery in the 20th century, and the legacy he left. Shoji Hamada was one of the seminal figures in 20th century ceramics. Along with the British potter Bernard Leach, he was instrumental in the development of the international Studio Pottery movement in the early 1900s. Their dramatic influences are still felt today, particularly in the United States and Great Britain. Hamada, also a major figure in Japan's folk art revival, was designated a 'Living National Treasure' by the Japanese government in 1955 and awarded the Order of Culture in 1968. Shoji Hamada is an ebullient and fascinating portrait of a great potter, tracing his place in the ceramic tradition and revealing a keen perception of his energetic lifestyle, dazzling work cycle, and intriguing specifics about the firing of his kilns. The text and over 200 new colour photographs from Peterson's stay at Hamada's compound in 1970 present a wealth of detail about techniques and processes. Equally important are the author's insights depicting Hamada's bequest to us: one whose life was concentrated toward the perpetuation and achievement of fundamental, unchanging and universal values and goals. In this completely re-designed and updated version of her classic book, Susan Peterson brings together the East-West connection personified by Hamada and Leach. In a completely new concluding chapter, she assesses Hamada's ongoing legacy to the world of studio pottery. This is an authoritative account of one of the towering figures in the ceramics world by one of the first people to welcome him to America in the early 1950s. The book is a must for anyone interested in the evolvement of hand pottery and the dynamics of ceramics in general.

A sogo shosha is like no other type of company. "The Invisible Link "provides a systematic and well-balanced description that covers virtually all aspects of sogo shosha operations, from finance to personnel.The sogo shosha is not defined by the products it handles or even by the services it performs, for it offers a broad and changing array of goods and functions. Its business goals are equally elusive, for maximization of profits from each transaction is clearly not the major goal, at either the operating or philosophical level. The sogo shosha could be broadly defined as a large, diversified, multinational enterprise engaged primarily in trading. Yet it is a uniquely Japanese business operation whose structural and strategic dynamics have no close counterparts in North America and Europe.There are only nine sogo shosha in Japan - six of them of major significance - and the largest employs fewer than 15,000. Among them, they handle about one-half of all of Japan's exports and imports. The sogo shosha typically deal in bulk in products that are highly standardized and technologically unsophisticated - raw materials, commodities, intermediary products. A large sogo shosha will finance, develop, manufacture and/or carry over 20,000 different items, "from noodles to missiles" as one slogan has it."The Invisible Link "gives detailed coverage to such topics as historical evolution of the sogo shosha, strategic responses and competitive dynamics, culture and organization, administrative structures and processes, human resource systems, career outcomes, interunit and interfirm coordination, sectional and network organization, and emerging challenges as the nature of the Japanese economy changes.M. Y Yoshino is Professor of Business Administration at the Harvard Business School. Two of his books, "Japan's Managerial System" and "The Japanese Marketing System," were published by The MIT Press. Thomas B. Lifson is an Associate in the Program on US-Japan Relations at Harvard University.