ANPC, association seal

Registry of the Ministry of the Interior number 606.877.

Anpc.seal

Sello ovalado que contiene un [ escudo con una Justicia, en su diestra una espada, alzada y en su siniestra una balanza. Timbrado de una corona real abierta ]. Las divisas y los lemas rodean el sello.

I have created the seal of the National Association of Criminology Experts and Experts in Forensic Sciences for the Courts of Justice, based on its previous seal and derived from its emblem.

The shield of the seal and the emblem has the female figure of Justice. In Spanish heraldry, as demonstrated in [Valero de Bernabé, L.; 2012a; page 3] and in [Valero de Bernabé, L.; 2012b; page 25 and 26], it has a 13 times lower occurrence, 93% versus 7%, than the male figure.

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Blazon keywords: Without divisions, Female figure, Vested, Dexter, Sword, Point upwards, Hilted, Sinister, Pair of scales, Motto (identification) and Motto.

Style keywords: Oval and Semi-circular.

Classification: Seal, Created and Socioeconomic.

Bearer: ANPC.

Loyal knowledge and understanding for the Administration of Justice.

Anpc.seal In the base of the oval the TIP number.

Sello ovalado que contiene un [ escudo con una Justicia, en su diestra una espada, alzada y en su siniestra una balanza. Timbrado de una corona real abierta ]. Las divisas y los lemas rodean el sello. En la punta del óvalo el número TIP.

The associate member's seal is similar to that of the association including at its base the professional identification card number, called TIP.

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Blazon keywords: Without divisions, Female figure, Vested, Dexter, Sword, Point upwards, Hilted, Sinister, Pair of scales, Motto (identification) and Motto.

Style keywords: Oval and Semi-circular.

Classification: Seal, Created and Socioeconomic.

Bearer: ANPC.

Emblem containing a [ shield de gules, una Justicia de plata, vestida de oro, en su diestra una espada de plata, alzada, guarnecida de oro y en su siniestra una balanza de oro. Crest: An open royal crown Or ]. Two banners and two mottos surround the shield.

Emblema que contiene un [ escudo de gules, una Justicia de plata, vestida de oro, en su diestra una espada de plata, alzada, guarnecida de oro y en su siniestra una balanza de oro. Timbrado de una corona real abierta ]. Dos divisas y dos lemas rodean el escudo.

Image of the heraldic catalog, which I have made for the ANPC, of 8 pages; 2 double-sided DIN A3; which includes 6 different heraldic pieces for color printing; with the drafting of its blazon and the texts are in sable lettering with gules highlights; and sealed, signed, dated and numbered and registered.

The description of the emblem that appears in this article corresponds to the odd page of the heraldic catalog whose image is attached.

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Credits: Dr.ª Marianne Steinbauer tiene los derechos del tipo de letra.

Blazon keywords: Without divisions, Gules, Argent, Or, Female figure, One, Justice, Vested, Dexter, Sword, Point upwards, Hilted, Sinister, Pair of scales, Crest, Open royal crown, Crown, Motto (identification) and Motto.

Style keywords: Watercolor, Illuminated, Shaded, Semi-circular and Outlined in the field tincture.

Classification: Catalogue, Heraldic document, Created and Socioeconomic.

Bearer: ANPC.

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Credits:

• Kevin MacLeod es el autor de la música.
• Dr.ª Marianne Steinbauer tiene los derechos del tipo de letra.

Blazon keywords: Without divisions, Gules, Argent, Or, Female figure, One, Justice, Vested, Dexter, Sword, Point upwards, Hilted, Sinister, Pair of scales, Crest, Open royal crown, Crown, Motto (identification) and Motto.

Style keywords: Watercolor, Illuminated, Shaded, Semi-circular and Outlined in the field tincture.

Classification: Video, Catalogue, Heraldic document, Created and Socioeconomic.

Bearer: ANPC.

My artistic evolution can be classified into three 3 major phases, each of them marked by the influence of a particular school. These three stages, in turn, made their own contributions to my current heraldic production:

• Pop Art: At the beginning of the 1980s, most of my initial work was tuned to the Pop Art. From there comes my interest in the representation of objects, the use of spot and basic colors, the production oriented to its graphic reproduction, the use of mixed techniques and the principles of clarity and cleanliness, so present in my current production. At the end of this stage I start to work on thick, but delicate, coated paper of the base color of the table on which I apply colors and textures by adding elements of color or by the destruction of the base itself.
• Geometric abstraction and abstract expressionism: During the 2^nd half of the 80's, my art evolves towards geometric abstraction in the line and to abstract expressionism in the color. Since then I base my painting in the two-dimensionality of the plane, the use of simple shapes, in harmonies with or without symmetries or with apparent symmetries, reinforcing the use of basic colors: yellow, red, blue, sometimes with white as a neutral background and black as a delimiter, which is the purest tradition of Heraldry.
• Surrealism and symbolism: Both two previous stages converged at the beginning of the 90s with my surreal and symbolic background to produce, during the following two decades, hundreds of automatic painting works in ink and watercolor characterized by a series of personal characteristics. Undoubtedly this evolution marks my current heraldic production. For example, the patterns inside the mantling of my shields are made with the mind of automatic state or the overall assembly of the heraldic work where symbolism is a constant. At this stage I usually use Fabriano paper of 300 grams, usually 100% cotton, liquid ink pens to favor speed, Vallejo (brand) liquid watercolors and, sometimes, as a complement, paste watercolors Winsor & Newton.

Luis Valero de Bernabé y Martín de Eugenio, «El Hombre en la Heráldica», 2012.

I received this article directly from the author, to whom I am grateful for his kind submission. I consider it a preliminary and preparatory work for his later article [Valero de Bernabé, L.; 2012b; pages 24-27].

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Bibliographical reference of century XXI.

Author: Valero de Bernabé y Martín de Eugenio, Luis.

The following article cites this bibliographic reference:

• ANPC, association seal

Internal resources: ValeroBernabeL2012.ElHombreEnLaHeraldica.RevistaHidalgos.pdf article personally sent to me by the author.

Luis Valero de Bernabé y Martín de Eugenio, «Las Figuras Humanas en la Heráldica», Magazine of the Real Asociación de Hidalgos de España, «La Gacetilla de Hidalgos de España», number 530, pages 24, 25, 26 y 27. Madrid, Spring 2012.

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Bibliographical reference of century XXI.

Author: Valero de Bernabé y Martín de Eugenio, Luis.

The following articles cite this bibliographic reference:

• ANPC, association seal
• Royal Association of Hidalgos of Spain
• Valero de Bernabé, L.; 2012a

External link:

• Hidalgos de España.

Internal resources: ValeroBernabeL2012.530.RevistaCompleta.pdf.

F. S. Stych, University of Sheffield, «The Flow Chart Method and Heraldic Enquiries» RQ, volume 6, number 4, pages 169-174, published by American Library Association, Chicago, summer of 1967.

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This article describes, using a flowchart, a method to identify the holder of a coat of arms. This method is applicable to the armories of the United Kingdom, as it follows their heraldic norms and most important sources. One of the target readers of the article are librarians who, finding coats of arms in books, plates, ex libris, etc., need to classify them.

The most notable aspect of the article is the 1967 flowchart, which is shown in the image above. This image has been extracted, cleaned, and enhanced from the original diagram contained at the end of the article. Note that some functions appear repeated within the scheme, such as, «Check families listed in Anson, etc. in Burke's General Armory. Arms found?» which, in turn, is represented with a task rectangle, when it really is a rectangle containing a question, a bifurcation, which should be a diamond «Arms found?», that is, it has been represented by a rectangle what should have been represented by a rectangle and a diamond. This same issue occurs in other processes and is probably due to not complicating the flowchart further.

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Bibliographical reference of century XVIII.

Author: Stych, F. S..

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