Argote de Molina, G.; 1588

Gonzalo Argote de Molina, «Nobleza de Andalucía», dedicated to King Philip II of Spain, with about 500 coat of arms engraved, printed by Fernando Díaz, Seville, 1588.

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There are other editions, for example, the edition by Francisco López Vizcaíno, 799 pages, Jaen, 1867, or facsimile edition by Riquelme y Vargas Ediciones SL, Jaén, 1991, my copy is the number 1268.

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Bibliographical reference of century XVI.

Classification: De bibliotheca, Castilian language and In black and white.

The author is Argote de Molina, Gonzalo.

External links:

• Virtual Library of Andalusia, 1867.
• Digital Library Madrid's memory, 1588 edition from page 6 missing cover and initial pages.
• National Library of Spain, bibliographic record, there are 2 copies of the edición of 1588.
• National Library of Spain, edition of 1588, cover of the first copy.
• National Library of Spain, edition of 1588, cover of the second copy, this has more resolution than the previous copy.
• Google Books, the second book and not complete.

Internal resources: ArgoteMolinaG1588.22.NoblezaAndalucia.Madrid.pdf is the edition of the year 1588 in PDF digital format, ArgoteMolinaG1588.23.Bne.Baja.resolucion.R10805.pdf is the edition of the year 1588 in PDF digital format and low resolution, ArgoteMolinaG1588.24.Bne.Alta.resolucion.R26842.pdf is the edition of the year 1588 in PDF digital format and hight resolution, ArgoteMolinaG1588.25.NoblezaAndalucia.1867.pdf is the edition of the year 1866 in PDF digital format for Adobe Reader only and a facsimile edition as a physical book on paper.

Baron of Valdeolivos Emblematic Chair, of the Fernando el Catolico Institution, of the Centre of Scientific Research (C. S. I. C.) and of the Government of Zaragoza, «Emblemata», Volume 6^th, Emblemata Aragonese Magazine about Emblems (E. R. A. E.), 419 pages, 124 pictures, ISSN 1137-1056, Legal deposit Z.3.937 1996, printed by the Cooperativa de Artes Gráficas Librería General, Zaragoza, 2000.

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Bibliographical reference of century XX.

Classification: Magazine and Castilian language.

The author is Cátedra de Emblemática Barón de Valdeolivos.

External links:

• Abstract in the Fernando el Catolico Institution.
• Index in the Fernando el Catolico Institution.

Internal resources: Emblemata2000.Volumen06.pdf.

Antonio Salmerón Cabañas, «Chinapieria», trademark registered in the Office for Harmonisation in the Internal Market (OHIM) of the European Union, with presentation number 008189151 and registration date on 7^th of December of 2009.

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The trademark «Chinapieria» refers to a special type of pen drawing, usually done automatically, with the mind in a special state of abstraction, formed by various types of volutes, traces in the form of leaves, stems and very stylized flowers, growths that emulate fractal behaviors, random tours, etc. as they are shown in the image that this article illustrates.

El term «chinapieria» is a creation of my mother, Henar Cabañas Martín.

The first time I searched for this term on the internet, long before registering it, I was surprised that there was not a single occurrence.

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Bibliographical reference of century XXI.

Author: Salmerón Cabañas, Antonio.

The following article cites this bibliographic reference:

• Copyright

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Category: Intellectual property.

Luis Valero de Bernabé y Martín de Eugenio, «Los Castillos en la Heráldica», Magazine of the Real Asociación de Hidalgos de España, «La Gacetilla de Hidalgos de España», number 524, pages 32, 33 and 34. Madrid, October, November and December 2009.

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Bibliographical reference of century XXI.

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

Here are the articles quoting this reference:

• Edward IV of England; 1461
• Valero de Bernabé, L.; 2009a

External resource:

• Hidalgos de España.

Internal resources: ValeroBernabeL2009.520.RevistaCompleta.pdf.

José Antonio Vivar del Riego, Diplomado en Genealogía Heráldica y Nobiliaria, «El Blasón Escrito: La Historia de los Libros de Heráldica», lecture, 31^st of May of 2007.

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Bibliographical reference of century XXI.

Author: Vivar del Riego, José Antonio.

External link:

• National Library of Spain.

Internal resources: VivarDelRiegoJA2007.HistoriaLibrosHeraldica.pdf.

For some years the concept of «personal brand» has been expanded, a concept that, moreover, is powered by the internet.

The idea of personal branding is based on producing, developing, transmitting and protecting the image and idea that we offer from ourselves to others, both in direct, indirect, physical contact and in the one we offer through of, for example, social networks. Personal branding helps us as professionals by offering our services and products, such as business people, in our social relationships and even in the job seeking

This concept of personal branding tells us that not only do we have to improve and empower ourselves as individuals or as professionals, but it is also convenient for others to perceive and retain it, in order to differentiate ourselves and achieve better achievements in our social relations, business and professional.

Our personal brand is elaborated step by step, in which the details are important and we must also ensure that the impression we make is lasting in time.

For this reason, our own coat of arms can be an ideal complement to our personal brand, which, managed with intelligence, is, unlike other elements, lasting in time and can improve and raise the level of our personal relationships.

The most natural way to incorporate our coat of arms to our personal brand is not to wait for the coat of arms to provide it automatically, but it is through a positive feedback loop where our good work and professionalism dignify it and returns it to us disclosing it permanently.

Layout and tincture:

• This stage's goal is to draw freehand the ordinaries and charges which will be placed upon the blazon and tincture them in plain colors and metals.
• The result is the definitive coat of arms in plain tincture.

Ornamentation and accompaniment:

• It aims the creation of the ornament and, where appropriate, of their complementary heraldic objects, for example, seal, badget, flag, bookplate, etc., all of them determined by the final composition of the coat of arms.
• Its result is the shield with its ornament and its additions in plain colors and metals.

Lighting and final art:

• Its objective is, depending on the cases, lighting or shading of ordinaries, figures, crest, etc., and give the final finish to the heraldic objects.
• The result is the shield, its ornament and complements finished as plastic work reviewable by the future owner. This could drive to a refining cycle returning to some of the earlier phases.

Sigue por: Fernando II de León; 1167.