Pendel's attention. It is very interesting and throws many sidelights on the life of the White House. Pendel writes: "In 1861, or 1862, the Metropolitan Police was established by Congress at the Capital, and I made application for and received an appointment on the force. I made the first arrest, with the assistance of "Buck" Essex. The case was that of a fellow named Grady, one of the English Hill toughs. A roundsman said to us, "Boys, you take a walk down Seventh Street, and if you see anything going on, take a hand in it." Just as we got opposite the Patent Office, this Grady had assaulted, or rather was assaulting, a young fellow with a whip. I went up and grabbed him and put him under arrest, then took him to Squire Dunn's court and preferred charges against him. The Squire was busy writing for some time. When he got through he handed me the paper he was writing, and I was so green at the business I did not know what it was, so said: "What is this, Squire?" He replied, "Why, that is the paper of commitment for this fellow. Take him to jail." "On November 3, 1864, Sergeant John Cronin, Alfonso Dunn, Andrew Smith, and myself were ordered to report at the First Precinct, in the old City Hall, at one o'clock in the afternoon. We supposed we were to be detailed for detective work in New York City on account of the great riot then on there, especially as we were ordered to report in citizens' clothes, to conceal our revolvers, and to be sure to have them all clean and in good order. We arrived at the City Hall, and then were told where we were to go, which was to the President's Mansion, there to report to Marshal Lanham, at that time United States Marshal of the District of Columbia, and a bosom friend of Abraham Lincoln. "These were days that tried men's hearts, and women's, too. Men were falling at the front by hundreds, both in the Union and in the Confederate armies. There was weeping and mourning all over the land. Our nation was trembling with anxiety; we were all hoping that the great strife was over or soon to be. "Marshal Lanham took us upstairs and into the President's office, where we were introduced to him and to his two secretaries, Mr. Nicolay and Mr. Hay, the latter now being Secretary of State. We were then instructed to keep a sharp lookout in the different parts of the house, more particularly in the East Room and at the door of the President's office. " CONTENTS I — Under President Lincoln II — Under President Johnson III — Under President Grant IV — Under President Hayes V — Under President Garfield VI — Under President Arthur VII — Under President Cleveland VIII — Under President Harrison IX — Cleveland's Second Administration X— Under President McKinley XI — Furniture in Executive Mansion Originally published in 1902; reformatted for the Kindle; may contain an occasional imperfections; original spellings have been kept in place.

    This led to the release of six follow-up hits, inspired a host of imitations, and generated a long-playing sub-genre in art and design publishing.Album Cover Album is edited and compiled by two designers who were among the most innovative pioneers of the work that it celebrates. Storm Thorgerson's Hipgnosis earned world renown for the epic photo shoots and iconic designs that went so perfectly with the music of Pink Floyd. Meanwhile, Roger Dean's dreamscapes and unique typography became as much a part of the rock generation as the Yes albums they adorned. Album Cover Album features their selection of more than 600 sleeves in full color, and showcases the astonishing diversity and excellence of design that the medium produced in its first three decades.This new edition retains the lavish 12-inch format of the original and replays the ingeniously themed compositions of each page. The album is given a fresh spin by a new preface from Peter Gabriel and new forewords by Storm Thorgerson and John Wetton, plus a 21st-century typographic facelift. The result is a celebration of the enduring appeal of vinyl.

    It offers hundreds of tips, warnings, and anecdotes from experienced educators--all in one warm and charming package. Benefit from their wisdom: ""Principals love a heads-up on both good and bad news. It only makes you look good if you keep the principal in the loop. Don't hide in your classroom "" --Fifth grade teacherLearn from their mistakes: ""Don't put off returning phone calls of a pushy parent. The longer you wait, the longer they have to think of new questions "" --U.S. History and Government teacherAnd remember that humor conquers all: ""When you're having a hard day, remember why you became a teacher in the first place. My neighbors wouldn't listen to me talk about environmental science, so I had to find a captive audience "" --Environmental Science teacher

    It outlines and demonstrates basic logo and branding design guidelines and rules through 100 principles including the elements of a successful graphic identity, identity programs and brand identity, and all the various strategies and elements involved.

    Written with their cooperation, this fully illustrated informal biography combines rare photographs with 30 removable facsimiles of E Street memorabilia, including Bruce Springsteen's first business card and hand-written set list, and even two fabulous posters. Longtime band intimate Robert Santelli captures the ecstatic highs and devastating lows on the E Street Band's roller coaster ride to stardom. He follows the band from the early days in Asbury Park, New Jersey, to the critical acclaim of Born to Run, the mania of Born in the U.S.A. and international touring, and each member's unique projects. Throughout, the band's signature combination of friendship, humor, and stellar musicianship is revealed in stories, snapshots, and the ephemera of life of the road. Warm and personal, Greetings from E Street is a postcard from the most famous address in rock and roll.

    This is the story of the passions, and obsessions of the creator of type; of the influences of wars, persecution, and political upheaval, and the effects of business and technological breakthroughs on fonts and typography. From Gutenberg's first moveable type to the Internet, Simon Loxley tells the stories behind the letters, giving readers a cultural history unlike any other. After reading Type, readers will never look at the printed word in the same way again.

    But the powerful influence of the blues, with its dramatic, artful storytelling about the elemental experience of being alive, is found in the works of some of our most important literary voices as well. This volume -- a companion to the groundbreaking seven-part documentary series "Martin Scorsese Presents The Blues" -- represents a literary sampler every bit as vibrant and original and diverse as the films and music that inspired it. Included in this stunning collection are newly commissioned essays by David Halberstam, Hilton Als, Suzan-Lori Parks, Elmore Leonard, Luc Sante, John Edgar Wideman, and others; timeless archival pieces by the likes of Stanley Booth, Paul Oliver, and Mack McCormick; evocative color illustrations and rare vintage photography; illuminating and in-depth conversations and portraits of musicians, ranging from Robert Johnson and Bessie Smith to John Lee Hooker and Eric Clapton; lyrics of legendary blues compositions; personal essays by the series directors Martin Scorsese, Charles Burnett, Richard Pearce, Wim Wenders, Marc Levin, Mike Figgis, and Clint Eastwood; and excerpts from such literary masters as James Baldwin and Ralph Ellison, Eudora Welty and Zora Neale Hurston, Langston Hughes and William Faulkner. The result is a unique and timeless celebration of the blues, from writers and artists as esteemed and revered as the music that moved them. In these pages one not only reads about the blues, one hears them, feels them, lives them. "Martin Scorsese Presents The Blues" is more than atimeless collection of great writing to be savored and shared: it is an unforgettable initiation into the very essence of American music and culture.

    Renowned for his uncanny ability to incorporate amazing detail and imagination into stunningly realistic fantasy settings, James Gurney teaches budding artists and fans of fantasy art step-by-step the techniques that won him worldwide critical acclaim. This groundbreaking work examines the practical methods for creating believable pictures of imaginary subjects, such as dinosaurs, ancient Romans, alien creatures, and distant worlds.Beginning with a survey of imaginative paintings from the Renaissance to the golden Age of American illustration, the book then goes on to explain not just techniques like sketching and composition, but also the fundamentals of believable world building including archaeology, architecture, anatomy for creatures and aliens, and fantastic engineering. It concludes with details and valuable advice on careers in fantasy illustration, including video game and film concept art and toy design.More than an instruction book, this is the ultimate reference for fans of science fiction and fantasy illustration."Gurney's Imaginative Realism is a gold mine for artists who want to create images that sing with authority and delight the viewer with rich otherworldly visuals." --Erik Tiemens, concept artist, Star Wars: Episodes II and III"Imaginative Realism is an indispensable, flawless reference for vision makers in any discipline to create their own imaginative realms." --Frank M. Costantino, ASAI, SI, FSAI, JARA, cofounder, American Society of Architectural Illustrators

    New chapters cover how to build a personal carb count database, carb counting for insulin pump users, a whole week of meal plans, and much more.

    This book features the most extensive collection of Mary Engelbreit's work ever published, and it represents nearly 40 years of Mary's art. The new paperback version features a revised preface.

    Writing at the height of his career, Rand articulated in his slender volume the pioneering vision that all design should seamlessly integrate form and function. This facsimile edition preserves Rand's original 1947 essay with the adjustments he made to its text and imagery for a revised printing in 1970, and adds only an informative and inspiring new foreword by design luminary Michael Bierut. As relevant today as it was when first published, this classic treatise is an indispensable addition to the library of every designer.

    This book helps you avoid the pitfalls that can ruin a career, with advice on crucial first impressions, how to create a portfolio and approach clients, how to negotiate contracts, and how to handle, deliver, and bill the first job. It discusses how to set up a studio, maintain a steady flow of work, and manage time and money. In addition, it provides information on successful self-promotion, self-publishing, and the prosand cons of agents. Packed with useful tips gleaned from the author's own career and his work as an agent handling major artists in the US and UK, the book includes interviews with nine big-name illustrators. The reader benefits from their experience of starting out; what they learned during the metamorphosis from student to professional; what their expectations and experiences have been. In addition, art directors and commissioners describe the ways they like to be approachedand the ways they really dislike.

    His tortured typography prompted a vocal camp of critics to accuse him of being flippant and of destroying the communicative basis of design. But now the techniques of David Carson (and those of his countless imitators) dominate advertising, design, the Web, and even motion pictures. With 35,000 copies of the original sold, this revised edition of The End of Print includes a striking new cover and first chapter that puts Carson's work in context. The rest is vintage Carson—cutting edge and explosive. The End of Print tracks his career from skateboard and surf magazines, to the landmark Beach Culture magazine and his groundbreaking grid-breaking work for Ray Gun, and finally to handling major corporate identity accounts. The End of Print marks a turning point in design that ushered in the look of today.

    The quick brushstrokes of the Impressionists suited his temperament, as did his heavy use of impasto. This helpful volume shows many of van Gogh's best loved works, including the famous self-portrait with a Bandaged Ear, painted after he had cut off part of his ear in a fit of madness, Sunflowers, which were to him a symbol of power and beneficence, and The Starry Night, a painting which clearly expresses intensity and mental turbulence.

    During the late 1990s, Palmer was rated as rich as The Queen by the Sunday Times Rich List.Palmer earned his nickname Goldfinger after smelting (in his back garden) tens of millions of pounds worth of stolen gold bullion from the 20th century's most lucrative heist; the Brink's-Mat robbery. Palmer then used his share of the millions to become the vicious overlord of a vast illegal timeshare property empire in Tenerife. At the same time, Goldfinger financed huge international drugs shipments as well as some of the most notorious UK robberies of the past 30 years, including the £50m Securitas heist in Kent in 2006 and, many believe, the Hatton Garden heist in 2015.Palmer vowed to hunt down all his underworld enemies. But in the end it was those same criminals who decided to bring his life to an end. Murdered in June 2015, with charges of fraud, money laundering and worse pending, this book tells his murky story for the first time.As outrageous and bullet-riddled as the hit Netflix series Narcos, Killing Goldfinger tells the true story of Britain's underworld kingpin, who turned the sunshine holiday island of Tenerife into his very own Crime Incorporated and then paid the ultimate price.