Also has incised letters on the back: "Fagin from Oliver Twist" and "R 798003". Hollowed out back, with raised letters in a rectangle: "MADE IN ENGLAND". Being made earlier, and in Britain, they have a bit rougher casting than most American doorstops. There is another Scottish Highlander by the same maker, with a spear instead of the axe. On the top of the base, at the back reads: "CAST IN LEAD FROM THE HOUSE OF PARLIAMENT" There are two rubber knobs on the back of the base.įull figure solid, in lead. On the back of the post, "PAT APPLIED FOR" and on the back of the base, "TRADE \WS/ MARK"įlat back is cobbled, and has the B&H logo in a circle at the back of the base. Has number "1281" on the hollow back of the clown and on the base. No Markings, hollowed out on back but has a solid base.įull figure solid cast iron figure, with attached pot metal drum. Base is hollowed out but has a solid floor. Hollow back, raised number "15" behind his shield. Cast as all one piece, except the lance.Īlmost full figure, but hollowed out behind his torso where it has markings: "LVL" and "PAT PEND". Base is held on by 2 screws. Solid with flat back, very thick and heavy. Hollowed out on back, but base is solid with a flat back, and the number 98 on the base behind the treasure chest.īack slightly hollowed with grooves. Hollow back with no markings, two piece casting with the figure held to the base with two large screws.Īcross the back of his shoulders: "©1929" and below that: "KING FEATURES SYN". No markings. Door porter style doorstop, with the hair forming a handle. Hollow back of boat, but fisherman has a flat back, no markings.įull figure solid but the base is slightly hollowed out. Hollow back, but solid base, no markings on the back, but has incised lettering on the front of the base: "RIP VAN WINKEL". The tree acts as a handle and is thicker on the top. This postcard depicts the comic strip character Happy Hooligan from the pre-1920 era, drawn by Fred Opper.įlat back except hollowed out behind the barrel. This doorstop depicts the comic strip character from the pre-1920 era, drawn by Fred Opper. Raised letters on front of base: "CROSSED OUT". Original paint design, to indicate the crossword puzzle craze.įull figure solid, no markings. Raised letters on front of base: "CROSSED OUT". Probably an early repaint.īack is completely flat. Smooth and flat on the back, but no markings.īack is completely flat. The hat has a 5/8 inch hole in the top.įull figure solid, except hollowed out behind his chest, where there is a marking: "LVL PAT PEND". One screw holds the guitar to his belly, and the hands are cast with the guitar. No markings.įull figure solid, no markings. WWI military figure, with bugle and rifle. On the front of the base: incised lettering "LEWIS.HELERICK" with the "S" written backwards. buyers may return the item for a full refund provided you notify Jasper52 within 5 days of receiving the item.Hollowed out back, no markings. Likely a reproduction cast from the original Uncle Sam.īack is slightly hollowed out, with "L H. If the item did not conform to the lot description in the sale, U.S. Your purchase is protected: In the rare event that your purchase from this auction does not meet your expectations, Jasper52 specialists are here to help. Please contact us if there is a misrepresentation so that the item can be returned. All items in this sale are guaranteed authentic. Location: This item ships from Massachusetts Authenticity: Photos, descriptions, and estimates were prepared with the utmost care by a fully certified expert and appraiser.International: Foreign shipping rates are determined by destination.Domestic: Flat-rate of $20.00 to anywhere within the contiguous U.S.The bidder who has submitted the highest bid wins the lot, provided the bid exceeds the reserve price. Jasper52 will bid on your behalf as much as necessary to ensure that you meet the reserve price or that you remain in the lead, up to your maximum. When you leave a bid in advance of the auction, submit your maximum. Dimensions: 8 1/2 x 4 1/8 x 3 inches Please note that this lot has a reserve.Probably a counter top trade stimulator.Badge marked "5", indicating 5 cent original price of Coke, tray marked "Coca Cola".Full bodied 2 piece casting, applied base, arms & tray.
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To read GWJEP’s inaugural issue, and to submit articles for consideration, please visit. Warren provides a Publisher’s Note in the first issue on "Reasons to Launch a Journal," which provides further insights into the motivations and goals behind the new journal. The Society for Scholarly Publishing (SSP) is a sponsor of the journal. GWJEP is published on the Manifold Scholarship platform, developed by the University of Minnesota Press, the CUNY Graduate Center’s Digital Scholarship Lab, and Cast Iron Coding, with a grant from the Andrew W. Warren conceived of the GW Journal of Ethics in Publishing and serves as publisher. MPS in Publishing Director and Associate Professor John W. This student-managed publication is an open-access resource, free for anyone to access online and is free from submission fees or article processing charges, providing opportunities for publication from underrepresented voices. This new scholarly journal explores efforts to enable and implement equitable, inclusive and accessible publishing. They have established a vision emphasizing equity and quality for the journal with an exceptional peer review process involving leading publishing, library, and scholarly communication professionals, scholars, and researchers. Graduate student Ashley Warren serves as Managing Editor. Four student-led committees include Editorial (led by Aimar Galarza, and previously by Giuliana Macaluso) Marketing (led by Donna Prideaux, and previously by Emily Hatcher) E-Publishing (led by Julie McClenahan, and previously by Jeremy Ottley) and Strategy and Sustainability (led by Madi Neuner, and previously by Ashley Warren). This process was guided by EIC Townsend, the editorial board, and MPS students and faculty. Many hands worked together diligently for more than a year to realize the vision and goals for GWJEP. Students chose to publish the first issue of GWJEP on 2.22.22, a date to reflect how unique and special it is and help everyone involved feel the energy of the day.Īs the EIC, board members and student committees were put in place, there were many steps needed to be completed in the process before the journal could be launched. The students applied lessons in editing, marketing, permissions, business, design, and peer review to build the journal from the ground up."Īccording to EIC Townsend, more than 50 students contributed to the launch of the journal. “I was proud to see George Washington University professors, industry leaders, professional societies, and fellow alumni rally around the students and the journal, contributing expertise that guided them to 2.22.22, the official launch date. The student commitment was nothing short of astounding, with committee members volunteering their personal time to prioritize the journal and balance immediate requirements against long term strategies,” commented EIC Randy Townsend. "The launch of the GW Journal of Ethics in Publishing celebrates all elements of the Master’s in Publishing program. GWJEP provides MPS in Publishing students an opportunity for hands-on experience managing a professional-level journal, provides a forum for students to publish their Ethics in Publishing capstone projects, and involves the wider community of publishing, library, media and scholarly communication professionals and scholars as board members, peer reviewers, authors and readers. The Master of Professional Studies (MPS) in Publishing recently launched the GW Journal of Ethics in Publishing (GWJEP), a new online journal managed by students in the graduate program, led by faculty member and editor-in-chief (EIC) Randy Townsend, Director of Publishing Operations, PLOS, and an editorial board of publishing leaders. Then, it would only be necessary to translate at most the overlay. Perhaps the answer is a trackpad overlay that would turn it into a dedicated Affinity keypad. I am just assuming that the developers were not fully aware of the problem. Unless I missed them, there were no shortcuts for resizing the paint brush. A layout available for German keyboard seems to have espoused neither approach. Leaving it to the first user of any keyboard who has the patience to define a new keyboard shortcut layout, invites chaos on both planes. The argument against that is, of course, that the keys are marked with different characters than on the English and American keyboards, and hence are in that sense not the ones used in the videos and the workbook. This is an argument for using the same keys on the Swiss German keyboard, or on any other, for that matter. On the other hand, which aspect of a key on a keyboard should be standardized, its location on the keyboard or the character that it produces when pressed? On an English or American keyboard, the can be pressed quite comfortably with the index finder of either hand while holding down the cmd key with the thumb, so there is no need to take ones other hand off the mouse while doing so. So those are powerful arguments for standardizing on the keyboard shortcuts they use. I am not sure how many users interact with Affinity products in their native language instead of English, but I suspect that their command of English is more than sufficient to understand and appreciate James Ritson's excellent video tutorials and the Affinity Photo Workbook, both of which make liberal use of keyboard shortcuts. Consequently, cmd + [ is perceived as cmd + alt + 5, and provokes a protest beep from Affinity Photo instead of a decrease in brush size. The "“ are created by holding the alt key and pressing either "5" or "6". However, because I have to write in other languages, I use one of the standard Swiss keyboards, the one for Swiss German. I live in Switzerland, work with Apple products, all of which are configured to interact with me in English. This needs to be rethought before more shortcuts are implemented. 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The top screen of the 3Ds was the actual gameplay (it looked a lot like the Windows 3D Screen Saver except you could not move 360, and everything was dark and gloomy and the walls were more of a grey color) while the bottom screen was a map of the maze. I have attempted to do so yes, and nothing seems to change the behavior. The linked zip file contains the 3D maze screensaver (ssmaze.scr) from Windows NT4 its the only version Ive found to properly work with Windows 7 and above (tested with 7, 8 and 10). I mean, the little screen shows the changes, it reflects fine, seems to work, it just doesn't want to project to the whole screen and will crash every time. 3D Maze ScreenSaver Publishers Description. Also included are some textures to beautify it The carpet texture started out as rhododendron.bmp from WinXP sometime in 2003 I modified it a bit in Photoshop. 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