Gameplay of Dragon Quest

"Dragon Quest" is a series of role-playing video games that originated in 1986 with the release of the first game in the series. Although the games are not related in terms of story, many aspects of the gameplay are consistent throughout the series. Each game in the series add new elements to the gameplay, such as longer quests, character classes, or different ways of story-telling.
One of the major aspects of the "Dragon Quest" series is that it retains the same setting and general gameplay throughout the series, instead of reinventing itself with each new installment. This has been seen as both a positive and negative aspect by critics of the series.
History.
"Dragon Quest" was created by Yūji Horii, who became the series' main scenario director. Yūji Horii originally used the full-screen map of "Ultima" and the first-person menu battle and stats oriented "Wizardry" screen to create the gameplay of "Dragon Quest". "Dragon Quest" is often cited as the birth of the JRPGs. Each game in the main series builds upon its predecessor, but the gameplay never strays from the series' origins.
When asked about the game's resistance to change during an interview, Horii explained that he wants to "keep it simple and keep things organized, after twenty years I've found this to be the best way." During the same interview, Horii also stated that he would never want to make an action role-playing game for the series. He said "The reason why is because I want to make the game fun and simple and relaxing, so that you can just sit down and take it easy. People who don't like to think very much can just push the button and still get by. The people who like to think and strategize have to option to do that as well." Although was slated to have an action-oriented combat style, it was changed back to menu-based combat in 2007, two years before its release in response to backlash from fans.
Common elements.
In each installment of the "Dragon Quest" series, players have been able to control a party of up to four characters. The number of party members depends on the game, as well as the number of enemies that can appear in one battle. "Dragon Quest" featured only one-on-one encounters, whereas "Dragon Quest II" expanded the party to three characters and the number of enemies was also increased. "Dragon Quest III" further increased the party size to four characters, which it has stayed at. Players must move their parties through different towns, dungeons, and the world map in order to progress throughout each game. Typically, the party must enter a town or dungeon and defeat a specific enemy or retrieve an item to progress the story. Non-playable characters exist in the game for the party to interact with. NPCs are responsible for giving the player useful information, selling items, saving the player's game, or healing the party, usually at an inn for a fee. Heroes in the series often must defeat a main antagonist to complete the adventure, and there are always several tasks they must do before that, often involving NPCs from different towns.
In "Dragon Quest", players had to go through a menu in order to use stairs, open treasure chests, and speak to NPCs. The localization of the game also included some gameplay improvements such as being able to see the direction your character is traveling and the ability to save your game through a battery backup instead of passwords. While improvements were made in later versions, the series retained the same basic interface.
"Dragon Quest" features "puff puff" massage girls the player can opt to get a service from. In earlier games, the background would turn black and text would be displayed; in some later games, gags have been used. These were removed from some North American translations, but not others. Also, in later games monsters and characters can use this as an attack. The effect can cause enemies and characters to lose their turn.
Exploration.
Until "", exploration was all from an overhead view, while battles were in a first-person perspective. "Dragon Quest VIII" changed this system by featuring fully three dimensional environments and battles in the third-person. Earlier "Dragon Quest" games were released using solely 2D graphics. Starting with "Dragon Quest VII", 3D graphics were introduced, however the graphics were extremely limited compared to those released in "Dragon Quest VIII". Since then, every game, including the remakes for the Nintendo DS, has included some level of 3D gameplay.
"Dragon Quest" games often feature different forms of vehicles for the party to explore the world map in. These vehicles allow the party to cross terrain that cannot be walked over. These include ships, which give the party the option of traveling on water. "Dragon Quest IV" featured a hot air balloon, which enabled the party to travel over mountains.
Battle.
Each "Dragon Quest" game in the main series is a role-playing video game and features turn-based battles. During battle, players can issue commands to the party and then the characters and monsters will take turns attacking each other. Certain characters are also able to use magic or skills, and these commands can either damage enemies, recover hit points or remove status ailments, or raise and lower statistics of party members or enemies. Until "", battles were randomly occurring in the series. While moving the party through either a dungeon or the world map, there is a chance that an enemy group will attack. In "Dragon Quest IX", enemies are visible on the field and players must touch them to enter a battle.
Characters earn experience points for each monster the party defeats in battle. As characters earn experience points, they gain levels and their stats increase, making them stronger. These stats include hit points, magic points, strength, agility, and vitality. In certain games, including "Dragon Quest VII", characters will also earn different types of points from battles. In "Dragon Quest VII", every battle characters are victorious in earns them class points, which allow them to increase their class levels and eventually master that class. Winning battles also grants gold to the party, which can be spent on items at stores, at inns, or at churches in order to heal or revive characters.
' introduced a "Tactics" system, where the player can set the AI routines for NPCs, which is seen as a precursor to "Final Fantasy XIIs "Gambits" system. "" gave players the opportunity to catch and raise various monsters that appeared in random encounters. These monsters could be added to the player's party and participate in battle, earning experience points just as human party members do. This feature would span its own series of games titled "Dragon Quest Monsters" Monster catching would appear in "Dragon Quest VII" briefly by having a monster park minigame in which players could put monsters caught after battles.
Character classes.
Beginning with "Dragon Quest III", the series has featured different forms of character customization. Players were given the option to create a party of four characters consisting of the main Hero and three characters made by the player. Classes such as Warrior, Mage, Cleric, or Merchant could be set upon the character and that character's statistics and skills would correlate with the given class. "Dragon Quest VI", "Dragon Quest VII", and "Dragon Quest IX" all featured similar class systems, building off of the original system from "Dragon Quest III".
Abilities.
Characters in the "Dragon Quest" games can use a wide variety of abilities, spells, and skills. The original game only featured a few healing and damaging spells, but each game expanded on the list. "Dragon Quest VI" introduced , a class of non-spell special abilities. Most spells cost magic points, while many skills have no MP cost.
Mini medals.
Starting with "Dragon Quest IV", a new collectable item known as mini medals were introduced. These mini medals have since been used in every main "Dragon Quest" title. The medals resemble small gold coins with a five-point star in the middle. The player collects these medals throughout the game by opening chests, breaking pots and barrels and searching sacks and drawers. In "Dragon Quest IX", the player can also obtain some by completing quests or from a spawn point on the world map. At a certain point during the games, the player meets a character he can trade these medals for items. From "Dragon Quest IV" through "VII" this was a reoccurring character known as the Mini Medal King. While he is replaced in later "Dragon Quest" titles, he continue to be referenced. In "Dragon Quest VIII" he makes an appearance, but it is his daughter who collects the medals. In "Dragon Quest IX", although the medals are collected by a pirate captain, the dialog references his connection to the Mini Medal Kings.
According to Horii, he wanted to have something the player went around collecting as the previous "Dragon Quest" games had crests and orbs respectively. However, he did not want to do the same thing over again by forcing the player to collect a certain number of items before they beat the game; mini medals instead have nothing to do with clearing the game.
Minigames.
During gameplay, players may be able to participate in minigames. Mini-medals can be found and traded for exclusive items, a feature that can be traced to "Dragon Quest IV" and was featured in remakes of earlier games in the series. In addition to mini-medals, the remake of "Dragon Quest III" allowed players to collect monster medals from their perspective monsters. The remake also featured Pachisi, or Suguroku in Japan, a board game style minigame in which the player could win items. This game was based on Horii's other video game series, "Itadaki Street".
Several games in the series feature casinos for players to win items by playing various games, including poker and betting on monster battles. The DS remake of "" features several new minigames, including Bruise the Ooze, Treasures 'n' Trapdoors, a version of Pachisi, the Slurpodrome, and the tombola.
Reception and legacy.
The gameplay of "Dragon Warrior" is seen by critics as revolutionary. In an article for Gamasutra, Kurt Kalata pointed out that the game "was also one of the most in-depth games seen on the Famicom at the time. Back in 1986, if you wanted a complicated game, you needed an expensive PC." A large aspect of the "Dragon Quest" games is the continuity of the series' gameplay. When comparing the four NES games, Kyle Knight of Allgame pointed out that the games made little innovation in terms of gameplay and graphics, but that each installment was longer and had more depth to it than the one before it. In "Dragon Warrior IV", he argued, "you still have to work around the Dragon Warrior menu system. To open doors, talk to characters, or perform any other action, you have to go to the hotspot for that appropriate action, go to the menu, then click on the appropriate verb." Chris Kohler of "Wired" noted that the remake of "" felt "like a retro game" and that "it'll seem very nostalgic and fun to anyone who has fond memories of poking through "Dragon Quest IV" on their Famicom". Mark Bozon complained of "simple and archaic menus" in his IGN review of "Dragon Quest V".
IGN described "Dragon Warrior VII's" class system as "one of the best class systems seen outside a strategy RPG." In a preview for "Dragon Quest IX" on 1UP, Jeremey Parish noted that the character customization was a welcome departure from the series of games with only predetermined characters and wrote that "You can define your angel warrior's basic appearance to a degree, but he or she will look like an escapee from a Dragon Ball cartoon no matter what."
Legacy.
"Dragon Warrior" was listed on GameSpot's list of the 15 most influential games of all time, calling it the "most influential role-playing game of all time" and stated that nearly all Japanese RPGs today have roots in its gameplay. GameSpot also noted that the game's 2D graphics were imitated by most Japanese RPGs until video games began using 3D graphics. In another Gamasutra article, Kalata claimed that "Dragon Quest" was the first of its genre and that it "went on to inspire dozens of clones. Most of these are best left forgotten, but it did inspire two more notable franchises: Square's "Final Fantasy" and Sega's "Phantasy Star"". He also noted that when first localized for North America, it was not immediately popular due to "subpar" graphics and "stodgy interface".


Stan!

Stan! (born Steven Brown) is an American author, cartoonist, and game designer. He is sometimes credited as Stan Brown.
Biography.
Brown was born and grew up on Long Island and attended Binghamton University. Brown began publishing fiction, cartoons, and games professionally in 1982, usually under the pen name "Stan!." He is the author of numerous short stories, novels, roleplaying products, comics and cartoons. He has served as a graphic designer and line editor for West End Games; an editor and game designer for TSR, Inc.; and an author, senior game designer, and creative director for Wizards of the Coast, Inc. He has also been the creative content manager at Upper Deck Entertainment.
In 2007, R. Hyrum Savage formed a subsidiary of his OtherWorld Creations with Brown called Super Genius Games. He has also worked as the creative content manager for Upper Deck Entertainment, and the creative vice president for The Game Mechanics, Inc. Brown is the Creative Director for Super Genius Games. He co-founded The Game Mechanics with JD Wiker, Marc Schmalz, and Rich Redman.
Stan! has worked on a variety of role-playing titles, including Paranoia, Dragonlance, Marvel Super Heroes, Ravenloft, and Forgotten Realms, as well as being a principal designer for d20 Modern. He is also the author of two novels published by Wizards of the Coast.
Media mentions.
Stan! has appeared in the following newspaper and magazine articles, websites and podcasts.


Flag of Glamorgan

The Glamorgan flag () is the flag of the county of Glamorgan. It was registered with the Flag Institute on 24 September 2013.
Design.
The flag is a banner of the arms of Iestyn ap Gwrgant, the last ruler of the Kingdom of Morgannwg, the predecessor of the county of Glamorgan. The design of three silver chevrons on a red field features in the coats of arms of many of the councils in the area, including those of the Vale of Glamorgan and of former Mid, South and West Glamorgan. It also features on the flag of Cardiff where a dragon is holding the banner aloft symbolising Cardiff's status as county town of Glamorgan.
The Pantone colours for the flag are:


Gainor Roberts

Gainor Elizabeth Roberts (September 14, 1941 – March 26, 2020) was an American artist known for her still life and landscape paintings that explore color, forms, and symbolism. A classically trained artist in the realist tradition, Roberts used impressionist brush techniques and intense color. She worked in egg tempera, oil, pastel, watercolor, and monotype. She also was a graphic designer, a web designer, and a sculptor.
In addition to teaching classes in drawing, painting, and photography, Roberts wrote monographs on design and painting techniques as well as booklets and instruction manuals. She was a well-known artist and spokesperson for the visual arts in Tampa Bay, Florida.
Life.
Born and raised in Philadelphia, Gainor Elizabeth Roberts had an early interest in art that was discouraged by her upper-middle-class Quaker family. She was exposed to art due to her great-great-aunt, Ellen Wetherald Ahrens, a well-known Victorian-era artist who had studied with Howard Pyle and Thomas Eakins. While Roberts often skipped school to create artwork at home, she had no formal training in art until age 18. Her family would not permit her to enter college as an art major. Instead she attended a summer program taught by the portrait and figure painter, Robert Brackman, whose emphasis on classical technique and color was a defining influence upon her. Roberts studied with Brackman in the summers while attending Elmira College as an English major. After graduation from Elmira, Roberts studied painting at the Art Students League of New York in Manhattan. Later she worked as a graphic artist.
In the mid-1970s, she became staff graphic artist at Mystic Seaport. For almost a decade Roberts and her husband, George Cranston, traveled around the country, living first on a 31-foot sailing sloop and then in an Airstream RV trailer. During this period, she had little opportunity for painting. In the late 1980s she returned to school in order to refresh her skills. Roberts studied at the National Academy of Design in Manhattan with Mary Beth McKenzie and James Childs, and at Lyme Academy of Fine Arts in Old Lyme, Connecticut with Deane Keller. She also took workshops with Aaron Shikler. In addition, Roberts studied sculpture at Lyme Academy with Laci de Gerenday.
In the 1990s, Roberts began creating works in monotype and moved to Westerly, Rhode Island, where she and another artist, Sandi Gold, ran their own gallery. In 2001 Roberts moved to Zephyrhills, Florida. For several years, she was Art Curator of the Carrollwood Cultural Center in Tampa. She exhibited in several venues in the greater Tampa area and taught classes as well as private students.
A search committee headed by Virginia Laudano, of the "Art Club of Sun City Center", invited Roberts and Kafi Benz to judge its thirty-sixth annual art show held during February 2003. The center was among the locations where Roberts taught many classes.
Her husband died in 2009.
Roberts was a member of North Tampa Arts League, The Exhibiting Society of Artists (TESA), The Egg Tempera Society, and the National League of American Pen Women. She was an honorary and letters member of the New England Monotype Guild.
Egg tempera and Genesis Series.
In 2003, Roberts began experimenting with the demanding medium of egg tempera. She was drawn to it because of the luminous color, still visible in medieval and early Renaissance masterworks. Roberts wrote a monograph on the technique and taught master classes in egg tempera.
The Genesis Series, the best known series of egg tempera paintings by Roberts, represent a high point of her use of color and form to layer meaning into her work. The small (typically 6” x 8”) paintings are studies of organic form. All show the ovary of a fruit or vegetable, focusing on the seeds.
Feeling series.
Roberts worked for more than 25 years on her Feeling Series, twelve oil paintings that represent personal emotions. Started in the 1990s, during the artist's recovery period from alcoholism, the paintings initially were therapeutic, to help Roberts break through a creative block. She continued to explore this inner territory through additional paintings, as a way of objectifying what she considered to be private experiences. The works show arrangements of objects within a restricted color palette. Traditional tropes, such as flowers and musical instruments, are repeated and varied; Roberts used them as wordplay, metaphor, and symbol. At the time of her death, the artist had completed all except the last painting in the series, Laughter.
General References.
"Still-Life Painting in Northern Europe, 1600–1800," "The Metropolitan Museum of Art, Heilbrunn Timeline of Art History", http://www.metmuseum.org/toah/hd/nstl/hd_nstl.htm; accessed Nov. 10, 2013


Costume Designers Guild Award for Excellence in Sci-Fi/Fantasy Television

The Costume Designers Guild Award for Excellence in Costume Design for Sci-Fi/Fantasy Television was awarded for the first time in 2018, for television airing the previous year. Previously, it honored both Fantasy/Sci-Fi series, in the category Excellence in Fantasy Television Series, and Period costuming together, with the award titled Costume Designers Guild Award for Excellence in Period/Fantasy Television Series.
Winners.
1990s.
Excellence in Period/Fantasy for Television
2010s.
Excellence in Fantasy Television
Excellence in Sci-Fi/Fantasy Television


Gary Kordan

Gary Kordan is an American production designer and television producer. He was nominated for an Emmy Award for his work on the fifth and final season of Key & Peele.
Career.
Kordan was born in New Brunswick, New Jersey to parents Margaret and Gene. He attended School of Visual Arts in New York City for three years before leaving to work as an intern and later Production assistant on CBS's The Joan Rivers Show hosted by Joan Rivers, with whom he formed a close personal relationship.
Since 1993, Kordan has worked as a production designer and Art director on numerous comedy television shows. Most notably, he designed the sets for all five seasons of the critically acclaimed sketch series Key and Peele, for which he received an Emmy nomination and won an Art Directors Guild Award. Gary has also served as the production designer on numerous other Comedy Central programs, including the mini-series Time Travelling Bong and all seven seasons of Workaholics. He's also worked on the Amazon series Betas and Just Add Magic, and TVLand's Nobodies. Kordan has also lent his services to several unscripted comedy shows, including @Midnight and The Meltdown with Jonah and Kumail, as well as numerous comedy specials from comedians such as Kevin Hart, Patton Oswalt and Reggie Watts. Most recently, Kordan worked as production designer for the pilot of FOX supernatural comedy series Ghosted, and he is currently working on Fred Armisen's Netflix special, "Drummers Only."
In 2003, Kordan worked as a writer for Fox's dating show Joe Millionaire. In 2006, he co-created and produced E!'s Number 1 Single with Lisa Loeb.
Awards.
In 2015, Kordan was nominated for an Art Directors Guild Award for his work on Key & Peele. In 2016, he was nominated once again for Key & Peele and won. In 2016 Kordan was nominated for an Emmy Award for his work on the final season of Key & Peele.


Filmfare Award for Best Art Direction

The Filmfare Best Art Direction Award is given by the "Filmfare" magazine as part of its annual Filmfare Awards for Hindi films.
Although the awards started in 1954, this category was started only in 1956.


Anita Dongre

Anita Dongre (born 3 October 1963) is an Indian fashion designer. She is the founder of House of Anita Dongre, an Indian fashion house.
Early life.
Dongre was born in Mumbai, in the state of Maharashtra. Her mother, Pushpa Sawlani, used to stitch clothes for Anita and her 5 siblings when they were kids. Later in life, Anita studied fashion design at SNDT college located in Mumbai. She pursued a Degree course in Fashion designing.
Career.
Dongre launched her jewellery brand Anita Dongre Pink City, which also features under House of Anita Dongre.
In the year 2015, AND Designs India Limited re-branded itself as House of Anita Dongre.
House of Anita Dongre currently shelters AND (western wear), Global Desi (boho-chic brand inspired by the folk tales of India), and her signature label ANITA DONGRE. She has recently introduced Anita Dongre Grassroot to her fashion house. She is also the founder of Pink City, a jadau fine jewellery brand.
Dongre's brother and sister handle the operations of the business, while she focuses on the design front. She features as the Chief Creative Officer of the company.
Personal life.
Anita Dongre is married to Pravin Dongre, a businessman and has a son named Yash Dongre, who is also a part of Dongre's business.
Dongre is a vegan activist and a member of the organisation People for the Ethical Treatment of Animals (PETA).


Tennessee State Fairground Sports Arena


Jasmin Khezri

Jasmin Khezri (born 1 June 1967 in London) is a German-Iranian artist, designer, illustrator and writer.
Life and work.
Jasmin Khezri studied graphic design at Parsons The New School for Design in Paris and Los Angeles. After her studies she worked for the "SZ-Magazine" of "Süddeutsche Zeitung" in Munich und in 1993 became art director of the SZ youth magazine "Jetzt". She created its innovative design, which won numerous awards. In 1998 she became art director of the German magazine "Marie Claire" and in 2000 Creative Director of the fashion company Peek & Cloppenburg.
Beginning in 2002 she started to illustrate and write under the nom de plume IRMA. As IRMA she gives fashion, lifestyle and beauty advice in women's and lifestyle magazines in Germany, Great Britain, France, the US and Japan. Her illustrations are regularly published in international magazines like "Tatler", "Elle", "Marie Claire", "Cosmopolitan", "Vogue" and "Glamour".


Philip M. Jefferies

Philip M. Jefferies (May 31, 1925 – April 6, 1987) was an American set decorator. He was active from the mid-1950s through the mid-1980s. He was nominated for an Academy Award in the category Best Art Direction for the 1973 film "Tom Sawyer".


David Kwong

David Kwong (born 1980) is a magician, puzzle creator, writer, and producer.
Kwong is known for creating illusions and puzzles for film and television and for functioning as a producer and consultant in the field. He produced "Deception", ABC's action crime drama about a magician that joins the FBI. Other productions that Kwong has been involved with include "Now You See Me" (head magic consultant), NBC's "Blindspot", "The Magnificent Seven", "", and "The Imitation Game". Kwong also frequently contributes to the "New York Times" crossword puzzle along with crossword puzzle editor Will Shortz.
Early life.
Kwong is a native of Rochester, New York, where both of his parents are professors at the University of Rochester.
Kwong attended Harvard University, where he studied journalism & media in the history department. He wrote his honors thesis on the history of oriental magicians and their impersonators. He graduated in 2002.
Career.
Magic.
Kwong was inspired to pursue professional magic after attending a talk by conjurer Ricky Jay at Harvard University. After graduation, he moved to Hong Kong for two years, where he performed as a magician at cocktail parties. He later moved back to the United States, working in marketing for HBO in New York and later archiving for Ricky Jay in Los Angeles.
Kwong debuted "The Enigmatist" at The High Line Hotel in New York City on January 4, 2019. Presented by Greg Berlanti and Robbie Rogers, "The Enigmatist" is an immersive evening of puzzles, cryptology and illusions. "The Enigmatist" planned to make its West Coast debut in May 2020 at the Geffen Playhouse.
Public speaking.
Kwong has given several TED Talks and regularly speaks on the principles of illusion. His main stage TED Talk on magic and puzzles was coordinated with hiding a secret message in "The New York Times" crossword puzzle. In 2017, he wrote the book "Spellbound: Seven Principles of Illusion to Captivate Audiences and Unlock the Secrets of Success".
Puzzles.
Kwong's first crossword puzzle, a joint construction with his friend Kevan Choset, was published in "The New York Times" on April 1, 2006.
Kwong debuted his interactive online puzzle show "Inside the Box", hosted on Zoom, for the Geffen Playhouse in 2020.


David Bodycombe

David J. Bodycombe (born 1973 in Darlington, County Durham) is an English puzzle author and games consultant. He is based in London, and his work is read by over 2 million people a day in the UK, and is syndicated to over 300 newspapers internationally. The British public know him best as the author of popular puzzle columns in publications such as the "Daily Mail", "Daily Express", "Metro" and "BBC Focus" magazine.
He also consults on many television game shows, including "The Crystal Maze", "The Krypton Factor", "The Mole" and "Treasure Hunt". He was the question editor for the first 8 series of BBC Four's lateral thinking quiz "Only Connect". On BBC Radio 4 he appeared on the quiz "Puzzle Panel" and devised the cryptic clues for "X Marks the Spot". He has written and edited over forty books, including "How to Devise a Game Show" and "The Riddles of the Sphinx" – a history of modern puzzles.
In 2005 he became a leading author of sudoku puzzles, and he was the first person to have sudokus published in several major territories, including India and Scandinavia. As well as the classic 9x9 puzzle, he pioneered a number of alternative designs which have proved popular with readers all over the world. His games, puzzles and questions also appear in many magazines, and on websites, advertising campaigns, board games and interactive television.
He edits UKGameshows.com, a wiki-based web site cataloguing UK television and radio game shows.
Main credits.
UKGameshows.com.
Bodycombe co-founded and still runs the website UKGameshows.com.


Inges Idee

Inges Idee is a German artist collective, formed in 1992, composed of Hans Hemmert, Axel Lieber, Thomas Schmidt, and George Zey.
Works.
Works by Inges Idee:


List of Chaos;Head episodes

"Chaos;Head" is a 12-episode Japanese anime television series based on the video game of the same name, which was developed by 5pb. and Nitroplus. The series was directed by Takaaki Ishiyama at the animation studio Madhouse, with character design by Shuichi Shimamura and script supervision by Toshiki Inoue. Takeshi Abo, the composer for the "Chaos;Head" video game, was credited for the anime's soundtrack, but did not have a large role in the anime's production. The opening theme is "F.D.D." by Kanako Itō and the ending theme is "Super Special" by Seira Kagami.
The series was announced in July 2008 through the magazines "Dengeki Daioh" and "Monthly Comic Alive", and premiered on Japanese television on October 15, 2008, airing weekly for twelve episodes until the series finale on December 31, 2008, on Chiba TV, TV Saitama, TVK, Tokyo MX, and Kids Station. It was released by VAP in DVD volumes in Japan, starting on March 4, 2009; the first DVD volume was the fourteenth best selling animation DVD in Japan during its release week. Funimation acquired the license for the North American rights for the series in 2010, and released it on DVD and Blu-ray on November 29, 2011, in both a limited edition and a regular release; a budget-priced re-release followed on January 13, 2015. Madman Entertainment acquired the license for the Australian rights in 2011, and released it on DVD and Blu-ray on February 15, 2012. Manga Entertainment licensed the series for the United Kingdom, and released it on DVD on October 22, 2012.


Fitzroy Street Group

The Fitzroy Street Group was an organisation created to promote and support artists. It was established in 1907 by Walter Sickert and merged in 1913 with the Camden Town Group to form the London Group.
Overview.
In 1907 Walter Sickert formed the Fitzroy Street Group. Initial members were Walter Russell, Spencer Gore, and brother Albert Rutherston and William Rothenstein. Robert Bevan, Lucien Pissarro, Nan Hudson and Ethel Sands also joined the organization.
The Fitzroy Street Group and the male member only Camden Town Group, a male-member organization, merged in 1913 to become the London Group.


Jack Herman

Jack Herman is an American game designer who has worked primarily on role-playing games.
Career.
In the late 1970s, Jack Herman and Jeff Dee co-created "Villains and Vigilantes", the first complete superhero role-playing game. The game was published by Fantasy Games Unlimited in 1979. Dee and Herman convinced Scott Bizar to produce a second edition, which was published in 1982.
When Bizar began publishing a number of original PDFs for "Villains and Vigilantes" for free through his website in 2010, Dee and Herman contended that they had contracted with FGU Inc., not Bizar, and that this means that Bizar no longer had the rights to publish "V&V". The two sent Bizar a cease-and-desist letter in June 2010, instructing him that he was no longer allowed to sell their games. As of early 2011, Bizar had refused a license that would give him the right to continue publishing "Villains & Vigilantes" material and had also refused arbitration with Dee and Herman, although Dee and Herman have stated it is required by their contract.
Dee and Herman published version 2.1 of "Villains & Vigilantes" (2010) under their new brand, Monkey House Games, founded to recover "Villains and Vigilantes", and the company is a partner of Cubicle 7.


Mainichi Film Award for Best Art Direction

The Mainichi Film Award for Best Art Direction is a film award given at the Mainichi Film Awards.


Hannah Weiland

Hannah Weiland (born 5 March 1990) is an English fashion designer. Weiland's brand, Shrimps was a finalist for the BFC/Vogue Designer Fashion Fund 2017. She started Shrimps in 2013 after attending The London College of Fashion.
Shrimps became famous for its signature faux fur coats, garnering support from animal rights activists such as PETA. The brand had regular presentations at London Fashion Week from their first season and beyond.
 Hannah is the daughter of film director, Paul Weiland.
She is married to Arthur Guinness.


James B. Longacre

James Barton Longacre (August 11, 1794 – January 1, 1869) was an American portraitist and engraver, and the fourth Chief Engraver of the United States Mint from 1844 until his death. Longacre is best known for designing the Indian Head cent, which entered commerce in 1859, and for the designs of the Shield nickel, Flying Eagle cent and other coins of the mid-19th century.
Longacre was born in Delaware County, Pennsylvania, in 1794. He ran away to Philadelphia at age 12, where he became an apprentice in a bookstore. His artistic talent developed and he was released to apprentice in an engraving firm. He struck out on his own in 1819, making a name providing illustrations for popular biographical books. He portrayed the leading men of his day; support from some of them, such as South Carolina Senator John C. Calhoun, led to his appointment as chief engraver after the death of Christian Gobrecht in 1844.
In Longacre's first years as a chief engraver, the Philadelphia Mint was dominated by Mint Director Robert M. Patterson and Chief Coiner Franklin Peale. Conflict between Longacre and the two men developed after Congress ordered a new gold dollar and double eagle, with both to be designed by Longacre. Peale and Patterson nearly had Longacre fired, but the chief engraver was able to convince Treasury Secretary William M. Meredith that he should be retained. Both Patterson and Peale left the Mint in the early 1850s, ending the conflict.
In 1856, Longacre designed the Flying Eagle cent. When that design proved difficult to strike, Longacre was responsible for the replacement, the Indian Head cent, issued beginning in 1859. Other coins designed by Longacre include the silver and nickel three-cent pieces, the Shield nickel, the pattern Washington nickel, and the two-cent piece. In 1866–1867, he redesigned the coins of Chile. Longacre died suddenly on New Year's Day 1869; he was succeeded by William Barber. Longacre's coins are generally well-regarded today, although they have been criticized for lack of artistic advancement.
Early life; private sector career.
James Barton Longacre was born on a farm in Delaware County, Pennsylvania, on August 11, 1794. His mother Sarah (Barton) Longacre died early in his life; his father, Peter Longacre, was the descendant of early Swedish settlers of North America. When Peter Longacre remarried, his son found the home life intolerable, and James Longacre left home at the age of 12, seeking work in the nearby city of Philadelphia. He apprenticed himself at a bookstore; the owner, John E. Watson, took the boy into his family. Over the following years, Longacre worked in the bookstore, but Watson realized that the boy's skill was in portraiture. Watson granted Longacre a release from his apprenticeship in 1813 so that he could follow an artistic muse, but the two remained close, and Watson would often sell Longacre's works.
Longacre became apprenticed to George Murray, principal in the engraving firm Murray, Draper, Fairman & Co. at 47 Sansom Street in Philadelphia. This business derived from the firm established by the Philadelphia Mint's first chief engraver, Robert Scot. Longacre remained at the Murray firm until 1819; his major work there was portraits of George Washington, Thomas Jefferson, and John Hancock which were placed on a facsimile of the Declaration of Independence by publisher John Binns; the work cost Binns a total of $9,000 (equal to $ today). Also employed at the Murray firm from 1816 was the man who would be Longacre's predecessor as chief engraver, Christian Gobrecht. Longacre's work at the company gave him a good reputation as an engraver skilled in rendering other artists' paintings as a printed engraving, and in 1819, he set up his own business at 230 Pine Street in Philadelphia.
Longacre's first important commission were plates for S.F. Bradford's "Encyclopedia" in 1820; an engraving of General Andrew Jackson by Longacre based on a portrait by Thomas Sully achieved wide sales. Longacre then agreed to engrave illustrations for Joseph and John Sanderson's "Biographies of the Signers of the Declaration of Independence", published in nine volumes between 1820 and 1827. Although the venture was marked by criticism of the writing, sales were good enough that the project was completed. Numismatic writer Richard Snow suggests that the books sold on the strength of the quality of Longacre's illustrations. Longacre also completed a series of studies of actors in their roles in 1826 for "The American Theater".
With lessons learned from the Sanderson series, Longacre proposed to issue his own set of biographies illustrated with plates of the subjects. He was on the point of launching this project, having invested $1,000 of his own money (equal to $ today) in preparation, when he learned that James Herring of New York City was planning a similar series. In October 1831, he wrote to Herring, and the two men agreed to work together on "The American Portrait Gallery" (later called the "National Portrait Gallery of Distinguished Americans"), published in four volumes between 1834 and 1839. Herring was an artist, but much of the work of illustrating fell to Longacre, who traveled widely in the United States to sketch subjects from life. He again sketched Jackson, who was by now president, as well as former president James Madison, both in July 1833. He met many of the political leaders of the day, who were impressed by his portraits. Among these advocates was the former vice president, South Carolina Senator John C. Calhoun. In July 1832, "Niles' Register" described a Longacre engraving, "one of the finest specimens of American advancement in the art".
Longacre had married Eliza Stiles in 1827; between 1828, when their daughter Sarah was born, and 1840, they had three boys and two girls. Sales of the "Gallery" lagged due to the Panic of 1837; Longacre was forced to declare bankruptcy and travel through the southern and midwestern states, peddling his books from town to town, with his wife and elder daughter managing shipping and finances at home. Later in 1837, he was able to return to Philadelphia and open a banknote engraving firm with partners, Toppan, Draper, Longacre & Co. With great demand for engraving for notes being issued by state banks, the firm prospered, and had offices at 60 Walnut Street in Philadelphia and a branch at 1 Wall Street in New York. According to Snow, Longacre was known as the best engraver in the country.
Chief engraver (1844–1869).
Appointment.
Gobrecht's death in July 1844 left the United States Bureau of the Mint (the "Mint") without a chief engraver. Among those who hoped for appointment were Philadelphia banknote engraver Charles Welsh, and Allen Leonard, who had modeled the Mint's medal for former president John Quincy Adams. Through the influence of Senator Calhoun, however, Longacre secured the appointment. According to coin historian Don Taxay, Longacre did not attempt to gain the support of Mint Director Robert M. Patterson in seeking the appointment from President John Tyler, and "if Patterson resented the slight, however, he was more annoyed by Leonard's importunities."
Longacre was commissioned by President Tyler on September 16, 1844; his was a recess appointment as the post of chief engraver required Senate confirmation, and that body was not then sitting. Tyler transmitted Longacre's nomination to the Senate on December 17, 1844, which confirmed Longacre without recorded opposition on January 7, 1845. According to numismatist David Lange, Longacre was glad to get the position because engravers were receiving less work due to the advent of daguerrotype photography.
According to coin dealer and author Q. David Bowers, upon appointment as chief engraver, Longacre "found that he had entered a hornet's nest of intrigue, politics, and infighting, dominated by Franklin Peale, chief coiner since 1839". Peale sent Mint personnel to work on his private residence, and in addition to his official duties—mostly performed by his predecessor, Adam Eckfeldt, who continued in his work without pay despite his retirement—he had a thriving side business preparing dies for private medals using government resources. Peale controlled access to dies and materials, and was close to Director Patterson; the two men later proved to have been skimming metal from bullion deposits. The remaining Mint officers were cronies of Patterson, and Longacre found himself a loner among them. Walter Breen, in his comprehensive volume on U.S. coins, suggests that Patterson resented Longacre because of the engraver's sponsorship by Calhoun, whom the director disliked as a southerner.
Patterson/Peale years (1844–1853).
In Longacre's first years as chief engraver, no original designs were required for coins. Gobrecht had redesigned every denomination of U.S. coinage between 1835 and 1842, and his successor had time to learn arts necessary for coin production that he had not needed as a maker of print engravings. These arts included coin design, making of punches for design elements, and die sinking. Longacre's work in the private sector had involved cutting lines into a copper plate which was then used to print reproductions. Patterson wrote in August 1845 to Treasury Secretary Robert J. Walker that Longacre "is a gentleman of excellent character, highly regarded in this community, and has acquired some celebrity as an engraver of copper; but he is not a Die-Sinker. Indeed I do not know that he has ever made an attempt in this art." By December of that year, the Mint director had written to Walker in praise of Longacre, stating that the engraver had "more taste and judgment in making devices for an improved coinage here than have been exhibited by any of his predecessors. He has shown too that he is quite competent to make the required model from his drawings." Taxay attributed Patterson's lavish praise of Longacre to continued attempts by Leonard to gain the post of chief engraver.
A number of blunders can be seen among the early coins produced at the Mint under Longacre, though it is uncertain to whom these errors should be attributed. These include the 1844 half dollar struck at the New Orleans Mint (1844-O) with a doubled date, and the 1846 half dollar with the 6 overlying an identical digit, but one which had been placed horizontally. Bowers indicates that Longacre likely delegated such work, although in 1849 he wrote that his daily work was punching dates into working dies. Tom DeLorey, in his 2003 article on Longacre, notes that Peale and his staff often made punches without consulting the Engraver's Department (headed by Longacre), and believes the chief coiner more likely to be responsible.
Despite the charged atmosphere at the Philadelphia Mint, Longacre avoided conflict with Patterson and Peale until March 1849, when Congress authorized a gold dollar and double eagle or twenty-dollar gold piece, both new coins. By then, Patterson had come to desire Longacre's departure as he was deemed a threat to Peale's medal business, and opposed new coins which would require the chief engraver's skills. According to Richard Snow in his book on Flying Eagle and Indian Head cents, "having an ethical chief engraver threatened their sideline." The conflict came over the use of the Contamin portrait lathe, necessary in the making of dies both for Longacre in producing the new coins and Peale in his medal business. When Longacre complained that Peale was monopolizing the device, Peale decided to sabotage Longacre's coin work and have him removed from his position.
In early 1849, according to a letter written by Longacre the following year, the chief engraver was approached by a member of the Mint staff, warning him that another officer (plainly Peale) sought to have the engraving work done outside of the Mint, making Longacre redundant. The outside engraver in question was Frenchman Louis Bouvet, whom Patterson had prepare a design for the half eagle, though it was not adopted. Longacre's response to the information was to spend much of March 1849 preparing the dies for the gold dollar, at some cost to his health, as he later related. He demanded that Patterson hire assistance for him, but found the director willing only to have work contracted out. Longacre was unwilling to consent to this, as he could not supervise work done outside the Mint (he did get help within the Mint from assistant engraver Peter Filatreu Cross, who worked on the reverse of the gold dollar). Longacre proceeded with work on the double eagle through late 1849, and described the obstacles set in his path by Peale:
When Longacre completed the double eagle dies, they were rejected by Peale, who stated that the design was engraved too deeply to fully impress the coin, and the pieces would not stack properly. Taxay, however, noted that the one surviving 1849 double eagle displays no such problems, and by appearance would be level in a stack. Peale complained to Patterson, who wrote to Treasury Secretary William M. Meredith asking for Longacre's removal on December 25, 1849, on the ground he could not make proper dies. Patterson that day promised the position to engraver Charles Cushing Wright, effective when Longacre was ousted. Meredith questioned whether a competent replacement could be found; Patterson assured him that one could. Longacre objected to Patterson that Peale was delaying acceptance of revised double eagle dies, the director did not reply in writing, but met with Longacre, told him the administration had decided to terminate him, and that he should send in his resignation without delay. Longacre, after thinking the matter over, did not do so, but instead went to Washington on February 12, 1850, to meet with Meredith. He found that the secretary had been lied to about a number of matters. According to Snow, Longacre did not seek retribution, content to be allowed to continue his work in peace. The double eagle went into production in March 1850, though Patterson complained that the coins did not strike well. The double eagle quickly became the favored way to hold gold, and in the years to come more gold would be struck into double eagles than into all other denominations combined.
Patterson wrote again to request Longacre's ouster on April 1, 1850, alleging that President Zachary Taylor had decided that Longacre be dismissed. Despite these attempts, Longacre remained in his position. Also in 1850, Longacre's wife Elizabeth (generally Eliza) died. The Mint officials clashed again in 1851, after Congress authorized a silver three-cent piece. Longacre prepared a design showing a star on one side and the Roman numeral III on the other, which initially won Patterson's approval. Peale, however, persuaded Patterson to change his mind and authorize the chief coiner to propose a version himself, copying design elements Gobrecht had used in 1836. The issue was submitted to the new Treasury Secretary, Thomas Corwin, who selected Longacre's proposal—Longacre had taken the precaution of sending the secretary a letter explaining his imagery.
In July 1851, Patterson retired and President Fillmore replaced him with Thomas Eckert. Peale's medal business suffered a setback when Adam Eckfeldt, who was still performing the duties of chief coiner, died in 1852. In 1854, Mint Director James Ross Snowden fired Peale after the extent to which he had used Mint labor for private gain became public. Nevertheless, the firing caused considerable press attention, a Senate investigation, and a large demand for compensation by Peale. With his enemies gone, life at the Mint improved for Longacre.
Prolific designer (1853–1863).
Faced with a rise in silver prices, Congress decreased the silver content of the half dime, dime, quarter and half dollar in 1853. Longacre was asked to alter Gobrecht's designs so new coins could be distinguished from old. He proposed placing rays around the heraldic eagle on the reverses of the quarter and half dollar, and arrows by the date for all of the affected denominations. As the act requiring the reduction in weight allowed the Mint to hire outside artists to do the work, Snowden allowed for public designs for the new pieces. No public entry was found suitable, and Longacre's proposal was adopted. The rays tended to shorten die life and were dropped within a year; the arrows were dispensed with after 1855.
In 1853, Congress authorized a three-dollar piece. In a note found among his papers, Longacre wrote that his task was to make the coin as easy as possible to distinguish from the quarter eagle, which at $2.50 was close in value. Longacre produced a design for a Native American princess, which he made different from Gobrecht's Liberty design on the quarter eagle with a thinner and wider planchet. At the time, a female Native American was often used to represent America in art, and a depiction of Liberty as an Indian princess was in accord with contemporary practices. The chief engraver wrote to Mint Director Snowden that the three-dollar piece, which went into production in 1854, was the first time he had been allowed artistic freedom in designing a coin. The gold dollar was altered the same year to make the planchet both thinner and wider; Longacre modified his princess design for the gold dollar. For the reverse of the coins, Longacre created a wreath of wheat, corn, tobacco, and cotton, blending the agricultural products of the North and the South. This wreath would also be used on the reverse of the Flying Eagle cent in 1856; reused on the dime beginning in 1860, the "cereal wreath" would be Longacre's last surviving design on coinage, remaining with modifications until the 1916 abandonment of the Barber dime.
In the mid-1850s, Longacre was engaged by the Navy Department to design a medal to be presented to Captain Duncan Ingraham. Longacre produced the imagery used for the reverse; the obverse was by Assistant Engraver Cross. Although Bowers describes Longacre as having been "strictly ethical in the duties of his office", when the Treasury Department learned that Longacre accepted a $2,200 payment from the Navy for his work, they required that he repay the money under a federal law barring compensation of this kind. Other than his design for the 1867 Assay Commission medal, and his similar, wreathed reverses for the commission medals in 1860, 1861, and 1868, the Ingraham work was Longacre's only medal made for the government.
After a rise in commodity prices, the Mint to sought to replace the large copper cent with a smaller version. Beginning in 1850, a number of pattern coins were struck in attempts to find a replacement coin. Designs and formats varied; at first, Mint authorities considered an annular, or holed, cent. In 1854 and 1855, much experimentation was done, some with a Liberty Head design as featured on the large cent; others with a flying eagle design adapted by Longacre from the Gobrecht dollar of 1836. Gobrecht's design said to have been modeled on Peter the eagle, a tame bird which frequented the Philadelphia Mint in the 1830s until it was caught up in machinery and killed; Peter, in stuffed form, was subsequently placed on exhibit at the Philadelphia Mint.
The flying eagle design was adopted for a large issue of experimental patterns given to government officials and others in 1856; that coin was then used for the regular issue from 1857. The reverse featured Longacre's cereal wreath, which led to difficulties in coining; the head and tail of the eagle on the obverse opposed the wreath, making those design points particularly hard to strike in the tough copper-nickel alloy which was used. Beginning in 1859, the cent featured a Longacre design of Liberty wearing a Native American headdress. What is called the "laurel wreath", though actually olive, adorned the reverse of the cent in 1859; beginning in 1860, a reverse with an oak wreath and shield was placed on the cent. The replacement of the wreath is for reasons unknown; the shield was added because of Snowden's desire to give the coin a "more national character". This reverse is generally credited to Longacre; Snow speculates that it may have been created by Assistant Engraver Anthony C. Paquet.
By numismatic legend, Longacre's Indian Head cent design was based on the features of his daughter Sarah; the tale runs that she was at the Philadelphia Mint one day when she tried on the headdress of one of a number of Native Americans who were visiting and her father sketched her. However, Sarah Longacre was 30 years old and married, not 12 as in the tale, in 1858 and Longacre himself stated that the face was based on a statue of Venus in Philadelphia on loan from the Vatican. James Longacre did often sketch his elder daughter, and there are resemblances between the depiction of Sarah Longacre and the various representations of Liberty on Longacre's coins of the 1850s. These tales were apparently extant at the time, as Snowden, in writing to Treasury Secretary Howell Cobb in November 1858, denied that the coin was based "on any human features in the Longacre family". Lee F. McKenzie, in his 1991 article on Longacre, notes that any artist can be influenced by many things, but calls the story "essentially false".
Civil War issues and later career.
The Civil War brought economic disturbances which resulted in the removal of some coins, including the base-metal cent, from circulation. Paper currency (valued as low as three cents), postage stamps, and private tokens, filled the gap. Many of the tokens were cent-sized, but thinner and made of bronze. Mint authorities took notice that these metal pieces were successfully circulating, and obtained legislation for a bronze cent. Longacre's Indian head design continued in its place with the new metal; later in 1864 he engraved his initial "L" in the headdress. The act which authorized the bronze cent also issued a two-cent piece; Longacre furnished a design, which Lange calls a "particularly attractive composition" with arrows and a laurel wreath flanking a shield. However, art historian Cornelius Vermeule stated that elements of the design "need only flanking cannon to be the consummate expressions of Civil War heraldry." Treasury Secretary Salmon P. Chase favored placing an expression of the nation's faith in God in a time of war on the coinage, and wrote to Mint Director Pollock, "You will cause a device to be prepared without unnecessary delay with a motto expressing in the fewest tersest terms possible this national recognition." Several mottos were considered by Pollock, including "God Our Trust" and "God and Our Country". Longacre's two-cent piece was the first coin inscribed with "In God We Trust".
Nickel had been removed from the cent over the objection of Pennsylvania industrialist Joseph Wharton, who had large interests in the metal; his congressman, Thaddeus Stevens, had fought against the act. In 1864, Wharton published a pamphlet arguing for a coinage in which all coins less than ten cents would be made of a copper-nickel alloy with 25% nickel, just over twice the percentage which the cent had contained. In March 1865, Congress passed legislation for a three-cent coin of that alloy, intended to retire fractional currency of that denomination. Longacre furnished a head of Liberty for the coin resembling his other depictions of the goddess which he had made in the past 16 years; for the reverse he used the "laurel" wreath from the 1859 cent surrounding the Roman numeral III borrowed from the silver three-cent piece.
Wharton and others seeking to promote the use of nickel remained powerful in Congress, and in 1866 secured authorization for a five-cent coin of copper nickel. Longacre prepared a number of designs; Pollock selected Longacre's design of a shield (similar to the two-cent piece) and a starry circle for the reverse, and the Shield nickel began to be struck that year. Mint Assayer William DuBois wrote to Longacre, "it is truly pleasing to see a man pass the life of three score and ten and yet be able to produce the same artistic works as in earlier days."
In 1865 Congress required the use of "In God We Trust" on all coins large enough to bear the inscription; in 1866, Longacre added the motto to all silver coins larger than the dime and all gold coins larger than the three-dollar piece. He also in 1867 made modifications to the design of the copper-nickel five-cent piece, or nickel as it was coming to be known. In 1865, Longacre engaged British-born engraver William Barber as assistant; William H. Key was also made an assistant in 1864 and remained at the Mint past Longacre's death.
Some of the coinage which had vanished from circulation during the Civil War and had been exported to South America continued to be used in Chilean trade as nationals found their local coinage valued poorly with the American pieces. In 1866, the Chilean government instructed its representative in Washington to approach the U.S. State Department for permission to have their coinage dies made in America. The Andrew Johnson administration was happy to oblige; Treasury Secretary Hugh McCulloch gave the Chileans a letter of introduction to Longacre in Philadelphia. Longacre was engaged by the Chileans to redesign five silver and four gold coins, and he agreed, so long as permission from McCulloch was obtained for him to accept an outside fee. McCulloch was initially agreeable, but Mint Director Pollock raised objection on the ground that government property should not be used to enable private gain. Eventually, all parties reached agreement that Longacre could do the work at a total cost of $10,000 provided that he brought in an outside engraver to do some of the work under Longacre's supervision; the chief engraver selected Anthony C. Paquet, one of his former assistants. Resistance at the Mint dissolved with Pollock's resignation over President Johnson's Reconstruction policies, and the dies and hubs (from which more dies could be made) were created beginning in November 1866, probably in-house at the Philadelphia Mint. Longacre's designs for Chile were used until new ones were adopted in the 1890s.
In 1867, Longacre proposed the use of aluminum in coins; this was rejected as the supply and price of the metal fluctuated considerably, and it then had a high intrinsic value. In 1868, Wharton's interests proposed making the dime into a copper-nickel piece and to modify the cent, three-cent piece, and nickel. The project was abandoned when it became clear the base-metal dime would be too large to be effectively struck in the tough copper-nickel alloy, but Longacre prepared a number of half dollar-size patterns. He also began work on re-engraving the designs of the gold pieces, and completed the $10 piece by year's end.
Death and assessment.
James Longacre died suddenly at his home in Philadelphia on January 1, 1869. A memorial meeting was held at the Philadelphia Mint on January 5, attended by the facility's employees. The Director of the Mint, Henry Linderman, delivered a speech in praise of Longacre prior to the formal eulogy, which was given by Longacre's assistant, William Barber, who would be appointed as Longacre's successor. Like each of his predecessors, Longacre died in office.
Longacre was recognized in an exhibit of 100 notable American engravers sponsored by the New York Public Library in 1928. In 1970, art historian Cornelius Vermeule, in his volume on U.S. coins, viewed Longacre and his works less favorably, "uniform in their dullness, lack of inspiration, and even quaintness, Longacre's contributions to patterns and regular coinage were a decided step backwards from the art of [Thomas] Sully, [Titian] Peale, [Robert] Hughes, and Gobrecht" and "whatever his previous qualities as an engraver of portraits, he seems not to have brought much imagination to his important post at the Philadelphia Mint." However, Vermeule considered the Flying Eagle cent more of a work of art, far above the mundane.
In his 1991 article, McKenzie notes Vermeule's concerns, but considers Longacre's work important for its use of American symbols, including the representations of Native Americans. He believes Longacre's use of such symbols influenced later coin designers, such as George T. Morgan, Victor D. Brenner, and Augustus Saint-Gaudens. He particularly praises the ornate scroll on the reverse of the double eagle, calling it "unique in American numismatic art and enhances the elegance of a design befitting the highest-denomination U.S. coin", and applauds "the exciting innovation in symbolism and expression of national sentiment that he brought to U.S. numismatic art".
According to Bowers, "Today, Longacre is widely admired by numismatists." Lange notes that Longacre's "artistic vision graced 60 years of American coins". Snow writes,


Annie Jenness Miller

Anna "Annie" Jenness Miller (January 28, 1859 – August 1935) was a pioneering clothing designer and an advocate for dress reform, as well as an author and lecturer. Her main goals were to be an “advocate of correct principles of physical development and dress for women.” She also wanted to educate mass groups of men and women about the importance of hygiene and health to prevent the spread of diseases. As a lecturer, she spoke about human rights, arguing for equality.
Ancestry and early life.
Miller's father was Solomon Jenness and her mother was Susan Wendell Jenness, both New England natives. She was also descended from the family of Oliver Wendell Holmes Sr, and Wendell Phillips.
Miller was born in the White Mountains of New Hampshire in 1859. Although she was born in New Hampshire, she moved to Boston and stayed there until she married Conrad Miller in 1884. Before she was married, she was known in Boston as a “Women in Letters", a prestigious title in Boston, Massachusetts. This included women such as Louisa May Alcott, Julia Ward Howe, Susan Paul, Maria Stewart, and Lucy Stone. Women in Letters were activists, writers, and strived for positive changes in social justice.
Dress reform.
Dress reform is defined as wearing and designing clothing that is more practical and more comfortable than fashion during a specific time period. During the mid to late 1800s, dress reform also meant a rise in feminism, athletic wear, and undergarments. Dress reformers, such as Annie Miller, promoted a larger waist bodice called an emancipation waist. The emancipation waist was still tight however, it was not a corset. Dress reformers were trying to eliminate the need for always wearing corsets to opt for more comfortable and more practical daily attire. More effective and enjoyable undergarments were to follow after the achievement of the emancipation waist due to the success and attention it received by many reformers, activists, and even men enjoyed wearing the “reform” bodices in the winter under their clothing.
Another iconic article of clothing that was invented during this time was called the bloomers suit. The bloomers suit was renamed to just bloomers. Bloomers were loose pants that bunched up at the bottom and usually paired with a dress or skirt. Women who wore this typically were victims of harassment in public.
Miller also wrote a book, "Mother and Babe" that included plans, patterns, and ideas for better clothing for babies.
Later years, death, and legacy.
As an advocate for dress reform, Miller lectured all over the United States and Canada on topics on athletics and dress, and designed a costume for women which she claimed "fulfilled the requirements of both hygiene and art."
She was the author of two books "Physical Beauty" and "Father, Mother and Babe". "Physical Beauty" talks about her opinions of what is physical beauty, going against higher ideals, individuality, and the dress reform, and many other topics.
Annie would also “patenten and sell clothing for athletics, leisure and even a business suit for women. But her styles hewed somewhat to the accepted norms so as not to be too provocative. Her middle way appealed to many women who simply wanted comfortable clothes, not a full-on fashion revolution.”
For the last years of her life, she resided in Washington, D.C. where she had a large real estate interest.


Jello framework

Jello is an end-to-end Java application framework optimized for Google App Engine including comprehensive Data Authorization model, a powerful RESTful engine, and out-of-the-box UI views. Jello's REST offers a clean, and simple to follow, JSON format. Its protocol schema follows the OData specification.
Overview.
The following components are part of Jello Framework:


Dolores Gonzales

Dolores Consuelo Barcelo Gonzales (June 6, 1907– 1994) was a Mexican–American fashion designer based in Tucson, Arizona. She is best known for blending Native American and Mexican clothing traditions to create distinctive southwest resort wear dresses known as patio dresses, the fiesta dresses, (also known as the pejorative squaw dress). She founded the company Dolores Resort Wear that manufactured dresses for the American market, selling in upscale department stores across the country. The iconic design was appropriated and copied by other designers throughout the southwest becoming synonymous with mid-twentieth century regionalist fashion of the American Southwest. The dress design became the official dress of the American Square-dancing movement.
Life.
Born Dolores Consuelo Barcelo in the northern Mexican state of Sonora on June 6, 1907 to Father Helberto Barcelo and Mother Beatrice Barcelo. She immigrated to Douglas, Arizona with her family in 1911 fleeing the civil unrest created by the Mexican Revolution.
She moved to Los Angeles in 1920 and began working at Phiffer's, where she assisted the designers in selecting colors, trimmings and fabrics. She worked there for 17 years. In 1929, she married Leo Gonzales. The Gonzales family moved to Tucson in 1938. Gonzales' sister, Maria, opened her own dress shop, called Irene Page. Although Irene Page made ladies' ready-to-wear at first, Maria Gonzales began to experiment with the style of broomstick skirts.
Gonzales and her brother Richard Barcelo brought Irene Page after World War II when Maria married and moved out of state. In 1941, the store began to make their own dresses and it was also renamed the Dolores Shop. All of Gonzales's dresses were made in a converted house – factory on West Council Street. In 1954, the "Arizona Daily Star" reported that Gonzales' factory created 60 dresses a day. In 1962, Barcelo convinced Gonzales to close her shop, seeing an end to the trend in fiesta dresses.
According to Dolores's Son Lee Gondolas, the store, called the Dolores Shop received orders from all over the world. Dolores also had market outlets in Los Angeles, Chicago, St. Louis and New York. In 1956, a "Los Angeles Times" Reporter dubbed her "The Dior of the Desert." Major department stores sent buyers to the Dolores Shop to purchase dresses that sold for 100 to 300 (800–2400) in today's dollars. J.C. Penney wanted to sell her dressing in their stores, but Gonzales refused. Famous individuals, such as Mamie Eisenhower, Pat Nixon and Cyd Charisse were known to have bought Gonzales' dresses.
Gonzales died in July 1994 in California.


Brian Ackland-Snow

Brian Ackland-Snow (31 March 1940 – 30 March 2013) was an English production designer. He won an Oscar in the category Best Art Direction for the film "A Room with a View". He also won an Emmy for best art direction for a miniseries or special in 1995 for "Scarlett" on CBS.
His son, Andrew Ackland-Snow has also gone on to become an art director in films.


Nondeterministic finite automaton

In automata theory, a finite-state machine is called a deterministic finite automaton (DFA), if
A nondeterministic finite automaton (NFA), or nondeterministic finite-state machine, does not need to obey these restrictions. In particular, every DFA is also an NFA. Sometimes the term NFA is used in a narrower sense, referring to an NFA that is "not" a DFA, but not in this article.
Using the subset construction algorithm, each NFA can be translated to an equivalent DFA; i.e., a DFA recognizing the same formal language.
Like DFAs, NFAs only recognize regular languages.
NFAs were introduced in 1959 by Michael O. Rabin and Dana Scott, who also showed their equivalence to DFAs. NFAs are used in the implementation of regular expressions: Thompson's construction is an algorithm for compiling a regular expression to an NFA that can efficiently perform pattern matching on strings. Conversely, Kleene's algorithm can be used to convert an NFA into a regular expression (whose size is generally exponential in the input automaton).
NFAs have been generalized in multiple ways, e.g., nondeterministic finite automata with ε-moves, finite-state transducers, pushdown automata, alternating automata, ω-automata, and probabilistic automata.
Besides the DFAs, other known special cases of NFAs
are unambiguous finite automata (UFA)
and self-verifying finite automata (SVFA).
Informal introduction.
There are several informal explanations around, which are equivalent.
Formal definition.
For a more elementary introduction of the formal definition see automata theory.
Automaton.
An "NFA" is represented formally by a 5-tuple,
formula_1, consisting of
Here, formula_9 denotes the power set of formula_2.
Recognized language.
Given an NFA formula_11, its recognized language is denoted by formula_12, and is defined as set of all strings over the alphabet formula_3 that are accepted by formula_14.
Loosely corresponding to the above informal explanations, there are several equivalent formal definitions of a string formula_15 being accepted by formula_14:
Initial state.
The above automaton definition uses a "single initial state", which is not necessary. Sometimes, NFAs are defined with a set of initial states. There is an easy construction that translates a NFA with multiple initial states to a NFA with single initial state, which provides a convenient notation.
Example.
The following automaton formula_14, with a binary alphabet, determines if the input ends with a 1.
Let formula_52 where
the transition function formula_4 can be defined by this state transition table (cf. upper left picture):
Since the set formula_54 contains more than one state, formula_14 is nondeterministic.
The language of formula_14 can be described by the regular language given by the regular expression codice_1.
All possible state sequences for the input string "1011" are shown in the lower picture.
The string is accepted by formula_14 since one state sequence satisfies the above definition; it doesn't matter that other sequences fail to do so.
The picture can be interpreted in a couple of ways:
The feasibility to read the same picture in two ways also indicates the equivalence of both above explanations.
In contrast, the string "10" is rejected by formula_14 (all possible state sequences for that input are shown in the upper right picture), since there is no way to reach the only accepting state, formula_69, by reading the final 0 symbol. While formula_69 can be reached after consuming the initial "1", this does not mean that the input "10" is accepted; rather, it means that an input string "1" would be accepted.
Equivalence to DFA.
A deterministic finite automaton (DFA) can be seen as a special kind of NFA, in which for each state and symbol, the transition function has exactly one state. Thus, it is clear that every formal language that can be recognized by a DFA can be recognized by a NFA.
Conversely, for each NFA, there is a DFA such that it recognizes the same formal language. The DFA can be constructed using the powerset construction.
This result shows that NFAs, despite their additional flexibility, are unable to recognize languages that cannot be recognized by some DFA. It is also important in practice for converting easier-to-construct NFAs into more efficiently executable DFAs. However, if the NFA has "n" states, the resulting DFA may have up to formula_71 states, which sometimes makes the construction impractical for large NFAs.
NFA with ε-moves.
Nondeterministic finite automaton with ε-moves (NFA-ε) is a further generalization to NFA. This automaton replaces the transition function with the one that allows the empty string ε as a possible input. The transitions without consuming an input symbol are called ε-transitions. In the state diagrams, they are usually labeled with the Greek letter ε. ε-transitions provide a convenient way of modeling the systems whose current states are not precisely known: i.e., if we are modeling a system and it is not clear whether the current state (after processing some input string) should be q or q', then we can add an ε-transition between these two states, thus putting the automaton in both states simultaneously.
Formal definition.
An "NFA-ε" is represented formally by a 5-tuple, formula_1, consisting of
Here, formula_9 denotes the power set of formula_2 and ε denotes empty string.
ε-closure of a state or set of states.
For a state formula_81, let formula_82 denote the set of states that are reachable from formula_69 by following ε-transitions in the transition function formula_4, i.e.,
formula_85 if there is a sequence of states formula_86 such that
formula_82 is known as the ε-closure of formula_69.
ε-closure is also defined for a set of states. The ε-closure of a set of states, formula_93, of an NFA is defined as the set of states reachable from any state in formula_93 following ε-transitions. Formally, for formula_95, define formula_96.
Accepting states.
Let formula_15 be a string over the alphabet formula_3. The automaton formula_14 "accepts" the string formula_17 if a sequence of states,
formula_18, exists in formula_2 with the following conditions:
In words, the first condition says that the machine starts
at the state that is reachable from the start state formula_24 via ε-transitions. The second condition says that after reading formula_109,
the machine takes a transition of formula_4 from formula_111 to formula_112,
and then takes any number of ε-transitions according to formula_4 to move from formula_112 to formula_115.
The last condition says that the machine accepts formula_17 if the last input of formula_17 causes the machine to halt in one of the accepting states. Otherwise, it is said that the automaton "rejects" the string. The set of strings formula_14 accepts is the language "recognized" by formula_14 and this language is denoted by formula_12.
Example.
Let formula_14 be a NFA-ε, with a binary alphabet, that determines if the input contains an even number of 0s or an even number of 1s. Note that 0 occurrences is an even number of occurrences as well.
In formal notation, let formula_122 where
the transition relation formula_4 can be defined by this state transition table:
formula_14 can be viewed as the union of two DFAs: one with states formula_125 and the other with states formula_126.
The language of formula_14 can be described by the regular language given by this regular expression formula_128.
We define formula_14 using ε-moves but formula_14 can be defined without using ε-moves.
Equivalence to NFA.
To show NFA-ε is equivalent to NFA, first note that NFA is a special case of NFA-ε, so it remains to show for every NFA-ε, there exists an equivalent NFA.
Let formula_131 be a NFA-ε.
The NFA formula_132 is equivalent to formula_133, where for each formula_134 and formula_81, formula_136.
Thus NFA-ε is equivalent to NFA. Since NFA is equivalent to DFA, NFA-ε is also equivalent to DFA.
Closure properties.
NFAs are said to be closed under a (binary/unary) operator
if NFAs recognize the languages
that are obtained by applying the operation on the NFA recognizable languages.
The NFAs are closed under the following operations.
Since NFAs are equivalent to nondeterministic finite automaton with ε-moves (NFA-ε), the above closures are proved using closure properties of NFA-ε. The above closure properties imply that NFAs can recognize regular languages.
NFAs can be constructed from any regular expression using Thompson's construction algorithm.
Properties.
The machine starts in the specified initial state and reads in a string of symbols from its alphabet. The automaton uses the state transition function Δ to determine the next state using the current state, and the symbol just read or the empty string. However, "the next state of an NFA depends not only on the current input event, but also on an arbitrary number of subsequent input events. Until these subsequent events occur it is not possible to determine which state the machine is in". If, when the automaton has finished reading, it is in an accepting state, the NFA is said to accept the string, otherwise it is said to reject the string.
The set of all strings accepted by an NFA is the language the NFA accepts. This language is a regular language.
For every NFA a deterministic finite automaton (DFA) can be found that accepts the same language. Therefore, it is possible to convert an existing NFA into a DFA for the purpose of implementing a (perhaps) simpler machine. This can be performed using the powerset construction, which may lead to an exponential rise in the number of necessary states. For a formal proof of the powerset construction, please see the Powerset construction article.
Implementation.
There are many ways to implement a NFA:
Application of NFA.
NFAs and DFAs are equivalent in that if a language is recognized by an NFA, it is also recognized by a DFA and vice versa. The establishment of such equivalence is important and useful. It is useful because constructing an NFA to recognize a given language is sometimes much easier than constructing a DFA for that language. It is important because NFAs can be used to reduce the complexity of the mathematical work required to establish many important properties in the theory of computation. For example, it is much easier to prove closure properties of regular languages using NFAs than DFAs.


Wasiq Khan

Wasiq Khan is an Indian Production designer and Art director, who works in Bollywood. He has two daughters, He is known for his gritty realism in Anurag Kashyap's films such as "That Girl in Yellow Boots" (2011) and "Gangs of Wasseypur" (2012), and Masala films such as "Dabangg" (2010), "Raanjhanaa" (2013), and "Goliyon Ki Raasleela Ram-Leela" (2013) directed by Sanjay Leela Bhansali.
Early life and background.
Khan was brought up in Delhi, his father was an engineer by profession. He graduated from Faculty of Fine Arts at Jamia Millia Islamia University in Delhi in 1996. During his college days, he met Samir Chanda during a shoot of Ketan Mehta's film "Sardar" (1993).
Career.
After completing his graduation in 1996, Khan left for Mumbai with a business card of Samir Chanda. However unable to contact Chanda, he managed to get a job as a backdrop painter with art director Ratnakar Phadke at Kamalistan Studios. After a few months, he did meet Chanda, who hired him as an assistant for the production of Tamil period drama, "Iruvar" (1997), which was directed by Mani Ratnam and "Hari-Bhari" (2000) directed by Shyam Benegal. Chanda is known for his realism in films like "Dil Se.." (1998), "Guru" (2007), "Omkara" (2006) and "Rang De Basanti" (2006).
In 1999, Chanda recommended his name to Anurag Kashyap for "Last Train to Mahakali", a 1999 television short film for Star Bestsellers series on Star Plus. This became Khan's first break as an independent production designer. Next he worked, "Matrubhoomi" (2003). He also worked in Kashyap's directorial debut, "Paanch" which was made in 2003, however never got released. Subsequently, he worked with Kashyap's noir-influenced films, "Black Friday" (2004) set in the 1993 Bombay bombings, "No Smoking" (2007), "Gulaal" (2009), "That Girl in Yellow Boots" (2010), however it was his work in "Gangs of Wasseypur" (2012), that got him recognition. Though, he didn't work on Kashyap's "Dev.D" (2009), Khan work collaboration with Kashyap has played a key role in establishing the distinctive visual language of Kashyap's films.
He worked in genres ranging from thrillers like Milan Luthria's "Taxi No. 9211" (2006), Raj Kumar Gupta's "Aamir" (2008) to art films "Dharm" (2007) directed by Bhavna Talwar, which won the National Award for Best Feature Film on National Integration. His breakthrough into mainstream Bollywood came with Salman Khan starrer "Wanted" (2009) directed by Prabhu Deva. This was followed another action hit "Dabangg" (2010) also starring Salman Khan. Since he doesn't use software, for the film he drew over 100 sketches detailing out every set in the film. Meanwhile, he also worked on romantic comedies, like "Tanu Weds Manu" (2011), "Ladies vs Ricky Bahl" (2011) and "Raanjhanaa" (2013). For 2010 sleeper hit "Tere Bin Laden" (2010), the Abbottabad city in Pakistan was recreated in Film City, Mumbai. Also in the same year, for Sanjay Dutt-starrer "Lamhaa" (2010), sets of Kashmir erected in Film City, Mumbai, where the film is set. For this two truckloads of chinar tree leaves were brought in from Kashmir.
Akshay Kumar-starrer "Rowdy Rathore" (2012) directed by Prabhu Deva was co-produced by Sanjay Leela Bhansali, whose next project "Goliyon Ki Raasleela Ram-Leela" (2013) for which elaborate sets were created in Mumbai, where the film was shot for 10 months.
For his style he uses work of Peruvian-born painter Boris Vallejo as reference, as he believes "It contains everything, realism, surrealism, and colours playing against each other. I never look at other movies. He has been the only inspiration since college." His upcoming projects include, "Bhootnath Returns", a sequel to "Bhoothnath" (2008), a biopic on the political prisoner Sarabjit Singh, a Hindi remake of the Tamil film "Ramanaa" (2002), and "21 Topon ki Salaami".
Filmography.
 * Tere Sheher Mein 2015 (Star Plus)
 * Gulaam 2017 (Life OK)
 * Moh Moh Ke Dhaage 2017 (Sony)
 * Ek Dhuje Ke Waaste 2016 (Sony)
 * Anaami 2017 (Star Plus)


Peter Olotka

Peter Olotka is a game designer who has worked primarily on board games, most notably Cosmic Encounter.
Career.
In 1972, Peter Olotka, Jack Kittredge, Bill Eberle, and Bill Norton came together as the game design cooperative Future Pastimes. Seeking to publish their board game "Cosmic Encounter", they met Ned Horn, who offered to invest in the game; several weeks later, Olotka, Kittredge, Eberle, and Horn created a new company, Eon Products, and "Cosmic Encounter" went to press in 1977. Additionally, Allen Varney of "Dragon Magazine" claimed Olotka mentioned the idea of creating a collectible card game as early as 1979. Eberle, Kittredge, and Olotka designed "" (1985), a board game that mixes combat and set collection, for West End Games. The trio also designed the 1979 "Dune" board game set in Frank Herbert's fantasy novels.
Olotka released "Cosmic Encounter Online" in 2003, a high-tech Flash version of Eon's original game.


Owen Paterson (production designer)

Owen Paterson is an Australian production designer, who was chiefly responsible for the design and look of The Matrix series of movies. He grew up in Western Australia, and now resides in Sydney with his wife and two children.
His collaboration with The Wachowskis continued with "V for Vendetta" and "Speed Racer".
Prior to working on "The Matrix", Paterson had worked on Australian films such as "The Adventures of Priscilla, Queen of the Desert" (for which he won an AFI Award) and "Welcome to Woop Woop" with director Stephan Elliott.


Duck (crossword compiler)


Frostbite (video game)

Frostbite is a 1983 action game designed by Steve Cartwright for the Atari 2600, and published by Activision in 1983. Combining elements of "Frogger" and "Q*bert" in an arctic setting, the goal is to help Frostbite Bailey build igloos by jumping on ice floe. Thwarting this endeavor are clams, snow geese, Alaskan king crabs, polar bears, and the rapidly dropping temperature.
Gameplay.
The bottom two thirds of the screen is water with four rows of ice blocks floating horizontally. The player moves by jumping from one row to another while avoiding foes. Landing on a row of white ice changes it to blue and adds a piece to the igloo on the shore. When all the ice is blue, it reverts to white. After 15 pieces, the igloo is complete, and the player must enter it to end the level.
The direction ice is flowing can be changed via the joystick button, but it costs a piece of an incomplete igloo.
Occasional fish can be collected for points.
Each level must be completed in 45 seconds (represented as the declining temperature). The faster a level is completed the more bonus points are awarded. Levels alternate between large ice blocks and little ice pieces. The large blocks have gaps that the player can fall in. Starting in the fourth level, a polar bear prowls the shore.
Activision patch.
The game manual included a chance to become an "Arctic Architect", by scoring 40,000 points or more. If you took a photo of the TV screen showing the score and sent it to Activision, you would receive an Arctic Architects emblem.


Sydney Padua

Melina Sydney Padua is a graphic artist and animator based in London, England. She is the author of "The Thrilling Adventures of Lovelace and Babbage" steampunk comic, and her animation work appears in several popular Hollywood films.
She has worked as character animator in feature films such as "Marmaduke", "Clash of the Titans", "The Golden Compass", "", "The Iron Giant", "Quest for Camelot", and "The Jungle Book".
Her work has been exhibited at the BBC Tech Lab and at a steampunk exhibition by the Oxford Museum of the History of Science.
She gave a conference on storytelling at "The Story", an event shared with Cory Doctorow, Tim Etchells, David Hepworth, Aleks Krotoski, and Tony White among others. In December 2015, she was awarded the biennial Neumann Prize of the British Society for the History of Mathematics for "The Thrilling Adventures of Lovelace and Babbage". In April 2016, she was nominated for the Eisner Award in the Best Writer/Artist category, and "The Thrilling Adventures of Lovelace and Babbage" in the Best Graphic Album—New category.
In 2004 Padua decided to teach herself how to animate on a computer. She started by sketching a storyboard for a short film. The end result was the 2.5-minute "Agricultural Report". This film ended up being shown at over 200 festivals and won a few awards, including Best Short Film at the Taormina Film Festival and Audience Award for Best First Film at AnimaMundi Brazil.
Early life.
Padua grew up in Mexico City and in the Canadian prairie (Western Canada). She now resides in London, England, with her husband.
"The Thrilling Adventures of Lovelace and Babbage".
Sydney Padua wrote the steampunk webcomic "2D Goggles or The Thrilling Adventures of Lovelace and Babbage". It features a pocket universe where Ada Lovelace and Charles Babbage have actually built an analytical engine and use it to "fight crime" at Queen Victoria's request. In April 2015, the comic was published as a 320-page book titled "The Thrilling Adventures of Lovelace and Babbage" by Pantheon Books.
The comic is based on thorough research on the biographies and correspondence between Babbage and Lovelace, as well as other bits of early Victoriana, which is then twisted for humorous effect. It began as a one-shot for Ada Lovelace Day, a celebration of women in science, technology, engineering and mathematics.
The comic was the source of a limited edition print of 25 to raise money for The Ada Initiative in July 2011.
Episodes are also available as an iPhone app.
The comic was adapted as a stage show, "A Note of Dischord", by Theatre Paradok at the 2013 Edinburgh Fringe Festival.


Art Directors Club of New York

The Art Directors Club of New York is an organization for art directors in New York City. It was founded in 1920, and has grown as an industry group, promoting art directors' work through exhibitions and awards, including the annual DESI award for design excellence.
History.
The Art Directors Club of New York (sometimes referred to as the "ADC") was founded in 1920 by Louis Pedlar and Earnest Elmo Calkins. With Fred Lamb, Calkins had organized the first advertising art exhibits in New York City in 1908, and saw a need for an organization that would “dignify the field of business art in the eyes of artists”, emphasizing his belief that “artistic excellence is vitally necessary to successful advertising”. By 1947, the Club's work was being credited with a gradual increase in advertising art standards throughout the United States.
In 1921, the club hosted their first juried exhibition with original work from over 250 contributors. The exhibition organized by Calkins and opened with an inaugural dinner on March 2, 1921. The awards that evening went to: Fred R. Cruger for black and white illustration; W.E. Hoitland for painting; and Rene Clark for poster design.
The Art Directors Club was restrictive in its membership during its early years. Women were not admitted until 1942. George Olden, an art director with the Columbia Broadcasting Company, was the first African-American member, having been elected to the Club in 1952.
The Art Directors' Club includes art directors working in film and "New media".
Logo.
The first logo was an interpretation of Albrecht Dürer’s signature. In 2009, ADC rebranded with the help of Trollbäck + Company. The new logo moved away from a monogram and introducing a word mark in bold hues. In 2014, they updated their logo with a monogram created by Sid Lee that references historical ADC monograms.
Awards.
ADC Annual Awards.
Earnest Elmo Calkins organized the first juried exhibition in 1921. The ADC evolved this exhibition into its ADC Annual Awards that receives up to 11,000 entries from around the world. Several awards are given out annually to recognize industry excellence internationally. The Award for Design Excellence is known as the "DESI" award. The main categories for the award, as of 2012, are: Advertising; Design; Illustration; Integrated; Interactive; Motion; Photography; and Special Awards.
ADC Young Guns.
In 1991, ADC created the Young Guns award. ADC Young Guns are annual international awards given out to promising art directors under the age of 30. ADC GrandMasters recognizes experienced educators in art direction who have created a notable legacy in the industry.
ADC Hall of Fame.
In 1971, ADC established their Hall of Fame. Those chosen for the Hall of Fame have made significant contributions throughout their lifetime to the graphic design profession.
Art Directors Annual.
The Art Directors Annual is a review of the year's outstanding achievements in art direction. It has appeared yearly since 1922.


Blind Alfred Reed

Blind Alfred Reed (June 15, 1880 – January 17, 1956) was an American folk, country, and old-time musician and singer-songwriter. He was one of the artists who recorded at the Bristol Sessions in 1927, alongside more famous names such as Jimmie Rodgers and The Carter Family. He played the fiddle along with his son Arville, who played the guitar. He is perhaps most well known for the songs "The Wreck of the Virginian" and "How Can a Poor Man Stand Such Times and Live?", the latter of which has been covered many times, including versions by Bruce Springsteen, Ry Cooder, and the New Lost City Ramblers.
Early life.
Alfred was born completely blind, in Floyd County, Virginia, being the second blind child born to Riley & Charlotte (Akers) Reed. He was raised in a very conservative family, the son of a farm laborer, and he acquired a violin at a young age. Later, he began performing at county fairs, in country schoolhouses, for political rallies, and in churches. He even played on street corners for tips. He used to sell out printed copies of his compositions for ten cents each. This is about all the information that can be gathered from him in his early life, as most of the events during this time were not written down nor talked about much in his later years.
Career.
While playing during a convention in 1927, Ralph Peer, who was the director of Bristol Sessions, heard Reed playing "The Wreck of the Virginian", and asked him if he wanted to make some recordings. Reed consented, and he recorded four songs, one solo, "The Wreck of the Virginian", and three with Arville's guitar accompaniment: "I Mean to Live for Jesus", "You Must Unload", and "Walking in the Way with Jesus". After the Bristol Sessions, Reed kept recording until 1929, which was the year of his most famous song's release "How Can a Poor Man Stand Such Times and Live?".
After 1929, he stopped recording and lived out the rest of his life mostly in the Princeton area in Mercer County, West Virginia. Reed continued to perform locally until 1937 when a statute was passed prohibiting blind street musicians. In addition to being recording artist and a musician, he also served as a lay preacher Methodist church minister. In 1956, Reed died, supposedly of starvation. He is buried in Elgood, West Virginia.
Legacy.
Reed's lyrics, all of which he composed himself, were ostensibly very conservative, but always were presented with a sense of humor; for example "Why Do You Bob Your Hair, Girls?" was an over-the-top commentary against women's hair style fashion of the 1920s, in which women who wore a shingle-bob were instructed to "ask Jesus to forgive" their hair style. More than half of the songs he recorded were religious or political or spoke out against society's ills. Because of his social commentary, which was somewhat uncommon then, some people today consider Reed an early "protest" singer.
In 2007, Blind Alfred Reed was inducted into the West Virginia Music Hall of Fame, alongside other famous musicians from West Virginia. Also in 2007, a tribute album to Blind Alfred, named for one of his songs, was released. "Always Lift Him Up: A Tribute to Blind Alfred Reed" features nineteen of Reed's most famous songs, recorded by artists from West Virginia, such as Little Jimmy Dickens, Tim O'Brien and Ann Magnuson.
In 2020, Reed's song "How Can A Poor Man Stand Such Times and Live" was added to the Grammy Hall of Fame.


Ginny Hawker and Tracy Schwarz

Ginny Hawker and Tracy Schwarz are an American folk music duo known for performing traditional music from the early American canon of bluegrass, gospel, and old time music. The duo, however, on occasion does record original songs and music by contemporary songwriters. They live in West Virginia. Tracy Schwarz was a member of the New Lost City Ramblers.


SPARK Toolset


Dead or Alive Online


Frances Miller Mumaugh

Frances Miller Mumaugh (July 11, 1860 – 1933) was an American still-life painter. She exhibited an oil, "A Dreamer", at the World's Congress of Representative Women of the World's Columbian Exposition in Chicago, 1893; and was also an exhibitor at the Louisiana Purchase Exposition, 1904.
Early years and education.
Frances Miller was born in Newark, New York, July 11, 1860. She was a descendant of an old Lutheran family from Saxony. Her childhood was passed in the Genesee Valley. When a mere child, her artistic faculty attracted the attention of her teachers. She was educated in the public schools, but without instruction in her special line, in which she continued to show development.
Career.
In 1879, she married John E. Mumaugh, of Omaha, Nebraska, where they afterward resided. She was soon identified with western art and artists.
 Broad in her ideas, she was not a follower of any particular school, and sought for herself nature's inspirations. Thrown on her own resources in 1885, with a two-year-old daughter to care for, worked diligently to be a recognized western artists. With the exception of a course of study in water-color under Jules Guérin, of Chicago, a summer course in oil with Dwight Frederick Boyden, of Paris, as well as a course with William Merritt Chase, her progress was due almost entirely to her own efforts. She delighted in landscapes, in which line she was always successful. She also designed holiday cards and gift tags for large firms, finding a big demand for them.
Mumaugh kept a studio in Omaha's Paxton block. As a teacher, her classes were always full. She conducted the art department in Long Pine Chautauqua for four years, and one season in Fremont, Nebraska. She served on the board of directors of the Western Art Association since its organization, in 1888.
Mumaugh died in 1933.


Yiannis Evangelides

Yiannis Evangelides (Greek: Γιάννης Ευαγγελίδης) was a Greek fashion designer.
Evangelides was born in Cyprus and moved to Athens when he was 18. He married Vasso Kourtidi. Evangelides originally intended to become a pianist, but after designing dresses for his wife which she had made up by her dressmaker, he decided to go into fashion design. Before World War II broke out in 1939, Evangelides was a couturier in Athens for 20 years. Among his clients was the future Queen of Greece, Frederica of Hanover, who Evangelides described in 1958 as his easiest, least demanding client. Frederica patronised Evangelides between 1938 and 1945.
His first New York show was held in January 1940, showing pleated gowns in blue and terracotta, with short decorative jackets and draped scarves directly referencing Greek folk costume. In 1951 Evangelides had returned to New York, where he planned to stay and establish himself as a designer, not just of couture, but of ready-to-wear for the wholesale market. Alongside his twenty years' experience in high end fashion design, he had also worked for five years as a designer for a wholesaler's in Capetown, California. In 1954 Evangelides became a designer for the custom salon at Bonwit Teller, where his dresses, presented alongside imported Paris gowns, were noted for their use of tucks and pleats. In 1958, Evangelides owned a dress shop on East 57th Street, titled "Yanni". He offered his first ready-to-wear collection in 1958.