This is a collection of various works, including a memoir on the life of Franklin Pierce, the 14th President of the United States. In this book, the author offers a personal and intimate perspective on Pierce's character and political career. The book also includes other works by Hawthorne, such as short stories and essays.

Penciller Ross Andru and inker Mike Esposito were one of the most famous, prolific, and talented artistic teams to flourish during the Siver Age of comics. Whether working as publishers of their own work during the 1950s or at DC Comics on such strips as Wonder Woman, Suicide Squad, Metal Men, Flash, on numerous war strips, or on DC's flagship character, Superman, their work is fondly remembered today by fans and comic book historians. In the 1970s both artists lent their talents to Marvel's titles and continued to turn in inspiring work for DC. Andru and Esposito: Partners for Life chronicles the careers of both artists and is packed with hundreds of illustrations, most from original artwork, spanning both artists' careers. The book also contains mountains of never-before-seen unpublished material, an authoritative text by Esposito and comic book historian Dan Best, and a detailed checklist.

This introduction provides students and scholars with the information and skills they need when studying composers' sketches.

Picturing research: drawing as visual methodology offers a timely analysis of the use of drawings in qualitative research. Drawing can be a method in itself, as in the research area of Visual Studies, and also one that complements the use of photography, video, and other visual methodologies. This edited volume is divided into two sections. The first section provides critical commentary on the use of drawings in social science research, addressing such issues of methodology as the politics of working with children and drawing, ethical issues in working with both adults and children, and some of the interpretive considerations. The second section, in its presentation of nine research-based case-studies, illustrates the richness of drawings. Each case study explores participatory research involving drawings that encourages social change, or illustrates participant resilience. These case studies also highlight the various genres of drawings including cartoons and storyboarding. The book draws on community-based research from a wide variety of contexts, most in South Africa, although it also includes work from Rwanda and Lesotho. Given the high rates of HIV&AIDS in sub-Saharan Africa, it should not be surprising that many of the chapters take up concerns such as the preparation of teachers and community health workers in the age of AIDS, and the experiences of orphans and vulnerable children. Moving further afield, this book also includes work done with immigrant populations in Canada, and with tribunals in Somalia and Australia. Picturing research is an important resource for novice and experienced researchers interested in employing qualitative methodology that encourages rich (yet low-tech) visible data and that offers a participatory, enabling experience for participants and their communities.

A truly unique visual delight offering insight into the development of animation classics like Bambi, Beauty and the Beast, The Lion King, Lilo and Stitch as well as a tantalizing examination of unfinished Disney projects.

Dave Stevens was renowned for his work on The Rocketeer, the beloved comic that introduced the world to Cliff Secord and his incredible rocket pack. But Stevens was also one of the most sought-after and accomplished cover artists in comics. This collection will provide a comprehensive gallery of Dave's covers, with many of them scanned from the original art. Additionally, there will be cover roughs to accompany many of the covers. Finally, all of Dave's non-Rocketeer comic work will be presented, including incomplete and unpublished stories.

Promote your business with clarity, ease, and authenticity. The Human Centered Brand is a practical branding guide for service based businesses and creatives, that helps you grow meaningful relationships with your clients and your audience. If you're a writer, marketing consultant, creative agency owner, lawyer, illustrator, designer, developer, psychotherapist, personal trainer, dentist, painter, musician, bookkeeper, or other type of service business owner, the methods described in this book will assist you in expressing yourself naturally and creating a resonant, remarkable, and sustainable brand. Read this book to learn: Why conventional branding approaches don't work for service based businesses. How to identify your core values and use them in your business and marketing decisions. Different ways you can make your business unique among all the competition. How to express yourself verbally through your website, emails, articles, videos, talks, podcasts... What makes your "ideal clients" truly ideal, and how to connect with real people who appreciate you as you are. How to craft an effective tagline. What are the most important elements of a visual brand identity, and how to use them to design your own brand. How to craft an exceptional client experience and impress your clients with your professionalism. How your brand relates to your business model, pricing, company culture, fashion style, and social impact. Whether you're a complete beginner or have lots of experience with marketing and design, you'll get new insights about your own brand, and fresh ideas you'll want to implement right away. The companion workbook, checklists, templates, and other bonuses ensure that you not only learn new information, but create a custom brand strategy on your own. Learn more at humancenteredbrand.com

"First published in hardback 2012 by Royal Collection Trust".-Title page verso.

It was not so much a day as a burning, fiery furnace. The roar of London's traffic reverberated under a sky of coppery blue; the pavements threw out waves of heat, thickened with the reek of restaurants and perfumery shops; and dust became cinders, and the wearing of flesh a weariness. Streams of sweat ran from the bellies of 'bus-horses when they halted. Men went up and down with unbuttoned waistcoats, turned into drinking-bars, and were no sooner inside than they longed to be out again, and baking in an ampler oven. Other men, who had given up drinking because of the expense, hung about the fountains in Trafalgar Square and listened to the splash of running water. It was the time when London is supposed to be empty; and when those who remain in town feel there is not room for a soul more. We were eleven inside the omnibus when it pulled up at Charing Cross, so that legally there was room for just one more. I had travelled enough in omnibuses to know my fellow-passengers by heart— a governess with some sheets of music in her satchel; a minor actress going to rehearsal; a woman carrying her incurable complaint for the hundredth time to the hospital; three middle-aged city clerks; a couple of reporters with weak eyes and low collars; an old loose-cheeked woman exhaling patchouli; a bald-headed man with hairy hands, a violent breast-pin, and the indescribable air of a matrimonial agent. Not a word passed. We were all failures in life, and could not trouble to dissemble it, in that heat. Moreover, we were used to each other, as types if not as persons, and had lost curiosity. So we sat listless, dispirited, drawing difficult breath and staring vacuously. The hope we shared in common—that nobody would claim the vacant seat—was too obvious to be discussed. But at Charing Cross the twelfth passenger got in—a boy with a stick, and a bundle in a blue handkerchief. He was about thirteen; bound for the docks, we could tell at a glance, to sail on his first voyage; and, by the way he looked about, we could tell as easily that in stepping outside Charing Cross Station he had set foot on London stones for the first time. When we pulled up, he was standing on the opposite pavement with dazed eyes like a hare's, wondering at the new world—the hansoms, the yelling news-boys, the flower-women, the crowd pushing him this way and that, the ugly shop-fronts, the hurry and stink and din of it all. Then, hailing our 'bus, he started to run across—faltered—almost dropped his bundle—was snatched by our conductor out of the path of a running hansom, and hauled on board. His eyelids were pink and swollen; but he was not crying, though he wanted to. Instead, he took a great gulp, as he pushed between our knees to his seat, and tried to look brave as a lion.