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Capital Reporting Company
Citizens Coinage Advisory Committee Meeting 9/16/16
1

CCAC MEETING
DEPARTMENT OF THE TREASURY
UNITED STATES MINT
Friday, September 16, 2016
10:23 a.m.

801 9th Street, Northwest
Washington, DC 20220
(866) 847-6290

Reported by:

Dylan Hinds, RPR/CSR,
Capital Reporting Company

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A P P E A R A N C E S

MARY LANNIN
ROBERT HOGE
ERIK JANSEN
DONALD SEARINCI
JEANNE STEVENS-SOLLMAN
DENNIS TUCKER
THOMAS URAM
HEIDI WASTWEET

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C O N T E N T S
Page

1.

Discussion of letter to the Secretary and

5

the minutes from the previous meeting.
2.

Election of three expert jurors to

6

participate in a jury-designed competition
for the 2018 Breast Cancer Awareness
Commemorative Coin Competition.
3.

Review and discussion of candidate
designs.

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P R O C E E D I N G S
MS. LANNIN:

...2016.

And I understand we

have a number of people calling in.

And if you could

tell us who you are, that would be most appreciated.
UNIDENTIFIED MALE SPEAKER:
MS. LANNIN:

(Inaudible.)

Sir, could you repeat that,

please, (inaudible)?
UNIDENTIFIED MALE SPEAKER:
UNIDENTIFIED FEMALE SPEAKER:

(Inaudible.)
Kathy Open

(ph) US (inaudible).
MS. LANNIN:
MS. STAFFORD:

Okay.
Want me to just have members

of the public (inaudible)?
MS. LANNIN:

Do we have members of the press

that are calling in?
UNIDENTIFIED MALE SPEAKER:

Mike (inaudible)

with (inaudible).
MS. LANNIN:
else?

Good morning, Mike.

Any other members of the press?

Thank you so very much.

Anybody

All right.

So the members of the

committee that we have present today are Robert Hoge,
Erik Jansen, Donald Searinci, Jeanne Stevens-Sollman,

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newly reappointed.
Uram, Herman Viola.
Wastweet.

Welcome.

Dennis Tucker, Thomas

Herman's not here.

And Heidi

And myself, Mary Lannin.
Okay.

During this session, the Committee

will consider the following items:

The election of

jurors for the 2018 Breast Cancer Awareness
Commemorative Coin Design Competition, and also the
review and discussion of candidate designs for the
2018, 2019, and 2020 American Eagle Platinum Proof
Program entitled Life, Liberty, and the Pursuit of
Happiness.

Okay.
So for the Mint staff, are there any issues

that you need to talk about with us?
to be.

Okay.

Doesn't appear

So the first item on our agenda is the

discussion of the letter that was in your packet to
the Secretary, and the minutes from the previous
meeting.

Do we have any comments on those documents?

No comments?

I move to approve the minutes and the

letter to the Secretary.
MR. VASQUEZ:
MS. LANNIN:
right.

Is there a second?
Second.

Robert?

Okay.

Thank you.

All those in favor, say aye?

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All

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(All members say aye.)
MS. LANNIN:

Opposed?

Great.

Unanimous.

All right.
The next order of business is the election
of three expert jurors from the CCAC to participate in
a jury-designed competition for the 2018 Cancer,
Breast Cancer Awareness Commemorative Coin
Competition.

And I'm going to ask Greg Weinman, who

is the senior council for the CCAC from the US Mint to
provide the background and the process for selecting
those members of this committee, which will comprise
the jury for the design.
MR. WEINMAN:

Thank you, Mary.

On April 29,

2016, President Obama signed into law the Breast
Cancer Awareness Commemorative Coin Act.

This act

directs the Secretary of the Treasury to mint and
issue in 2018 five dollar coins, one dollar silver
coin, five dollar gold coins, one dollar silver coins,
and half dollar clad coins with the design emblematic
of the fight against breast cancer.
This law includes a unique provision under
which the design of the coins will be selected by the

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Secretary based on the winning design from the jury
compensated design competition.

The expert jury will

be chaired by the Secretary or his designee, and will
consist of three members from the CACC, who shall be
elected by such committee, and three members from the
Commission of Fine Arts, who shall be elected by such
commission.
This past May representatives from Mint and
the Chair Person were charged with facilitating the
election of the three expert jurors for this effort
from among the members of the CCAC.

To be eligible

for election to the jury, a CCAC member much have
sufficient time remaining in his or her term with the
CCAC to complete the effort, which will, at least into
the fall of, and probably into the spring of next
year, I presume.
Three eligible members expressed an interest
in serving on the expert jury, jury, which will make
this a very simple election for the CCAC.

The three

eligible members who have expressed an interest are,
in fact, Dennis Tucker, Jeanne Stevens-Sollman, and
Mary Lannin.

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With that, I'll turn it back over to Mary.
MS. LANNIN:

Okay.

So I'd like to entertain

a motion to formally elect these members as the three
members from the CCAC.
MR. VASQUEZ:
MS. LANNIN:

So moved.

second?

this?

All right.

Robert.

Is there a

Erik, would you like be second?
MR. JANSEN:

Second.

MS. LANNIN:

Thank you.

Any discussion on

All those in favor, say aye.
(All members said aye.)
MS. LANNIN:

agreed to.

Opposed?

All right.

Okay.

The motion's

April, you're up.

MS. STAFFORD:

Thank you.

Since its

inception in 1997, each American Eagle Platinum Proof
Coin has shared a common obverse that features a
portrait of Liberty.

The reverse has been host to a

variety of themed series, including Vistas of Liberty,
the Preamble to the Constitution, and Torches of
Liberty.
To mark the 20th Anniversary of the program
in 2017, the coin will feature the same obverse and

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reverse designs that debuted at its beginning in 1997.
As the Platinum Approved Program now enters its third
decade, a new three year series will depict American
artists' interpretation of the Preamble to the
Declaration of Independence.

Drawing inspiration from

the program's past, the obverses of the coin in this
series, not the reverses, will change from year to
year.

While the reverse, an American eagle, will

remain consistent.
The obverse of 2018 will represent life,
2019 will represent liberty, and 2020 will represent
the pursuit of happiness.

We asked artists to develop

submission for all three years, creating designs that
not only will represent each individual theme, but
that also work together harmoniously to give
expression to these core American principles of life,
liberty, and the pursuit of happiness.

Most

participating artists also submitted optional reverse
designs of American eagles to be considered with their
obverse sets.
In presenting these candidate designs to you
today, we will first display the entire set submitted

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by each artist.

That is, we'll show you the obverse

design for 2018, 2019, and 2020.

If an artist

included a reverse design to be considered, we'll also
include that.
After showing the complete set of designs
submitted, I will then individually highlight each
design compromising that set.

At the end of the

presentation, we'll again display the sets of the
candidate designs for your consideration.
Yesterday we presented this portfolio to the
US Commission of Fine Arts and they recommended three
sets in the following ranked order.

So we'll start

with first.
Set 3 is the CFA's primary recommendation.
The Commission appreciated this set's focus on three
separate, but significant and connected segments of
the Statue of Liberty.

They stated that the designs

are very strong both graphically and conceptually.
Set 2 is the secondary recommendation.

The

CAF admired the simplicity of these designs and found
the American flag background connected across all
three designs would show in a triangular formation

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clever.

However, the Commission recommends that the

2020 obverse be reworked in order to convey the
pursuit of happiness as opposed to what might be
depicted here, which is perhaps a guarantee of
happiness.
Set 10 is their tertiary recommendation.
The CFA felt that the subtle differences across the
set makes these designs strong, noting the simplicity
draws focus to the descriptive text and theme.

They

suggested the backgrounds be more varied, however,
perhaps through different finishes.

Additionally, the

CAF noted that the changes in the flame were a bit too
subtle.
After reviewing all of the available
reverses, the CFA recommends Reverse 9 to be paired
with Set 10.
So moving onto the candidate designs
beginning with Set 1.

This set is inspired by art

deco reliefs and features an American eagle in the
background of each design representing America's
democratic government instituted among men to protect,
defend, and secure the rights of its citizens.

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The obverse for 2018 depicts life in a
symbolic form of a spring of water flowing into a
man's hands as an American eagle guards and protects.
2019 expresses the core principle of liberty
by depicting a man breaking through chains as an
American eagle works to preserve and ensure his
freedom.
2020 portrays a man in pursuit of happiness.
He is on a journey reaching for his dream represented
by the mountains ahead of him as an American eagle
serves as his guide.
The reverse for this set features a stylized
American eagle as it takes flight.

The sleek angular

designs reflect efficiency, power, and resolve in this
contemporary depiction of an American icon.
Set 2, again the CFA's secondary
recommendation with a reworked 2020 obverse, displays
the principles of life, liberty, and the pursuit of
happiness united by an American flag which flows
across all three designs when displayed in a triangle
formation.
The obverse for 2018 features the sun upon

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which all life is dependent.

The flag signifies the

dependency of our core American principles upon life.
2019 portrays the Statue of Liberty, her
face turned toward the sun.

The American flag flows

behind her.
2020 depicts a family in silhouette with
arms raised in joy and superimposed over the American
flag.
Reverse 2 depicts an eagle midflight with an
olive branch firmly in its talons.
Set 3, again the CFA's primary
recommendation, depicts elements inspired by the
Statue of Liberty, one of the most powerful symbols of
America.
The obverse for 2018 portrays Lady Liberty
as an emblem of American ideals promising a new life
through opportunity and freedom to seek liberty and
happiness.
2019 conveys Liberty through broken shackles
and chains, a representation of the right of selfdetermination.

The design draws its inspiration from

the actual sculpted broken chains that lay at the

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Statue of Liberty's feet, part of the commemoration of
freedom and democracy in the United States.
2020 features the Statue of Liberty's torch
as a beacon for those pursuing their dreams and
ambitions while also being afforded a life of freedom.
The reverse for the set depicts an eagle
standing, wings outstretched.
Set 4 features allegorical figures inspired
by classical symbolism, paying homage to the political
thinkers of eras past who influenced the roots of
American democracy.
The obverse of 2018 depicts a female figure
pouring water from a picture into a vessel
representing the flow of life, rebirth, and renewal.
2019 presents a figure standing with a book
of knowledge in one hand contemplating a key in the
other.

The key represents her self-determination to

her liberty, to her future.
2020 portrays a figure holding a cornucopia
representing earth's bounty and fulfilment when
determination is employed in the pursuit of happiness.
The reverse for this set shows an eagle

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standing.
Set 5 depicts allegorical figures in
beautiful landscaped settings.

The sun and star used

throughout represent hope, destiny, and the potential
for happiness.
The obverse for 2018 shows a figure
representing life awakening with the sun and
celebrating the dawn of a new day.

A single star

represents hope.
2019 portrays Liberty holding a torch,
representing enlightenment, burning with the constancy
of a star.

She illuminates the landscape behind her.
2020 represents exploration, pursuing her

future in pursuit of happiness fueled by hope,
symbolized in the star, the star in sight, but just
beyond her grasp leads her on her, on her journey.
Set 6 is a variation of the previous
designs.

So this is the obverse for Set 6 for 2018,

2019, and 2020.
Moving on to Set 7.

This set portrays

Liberty planting seed for the future, lighting the way
westward and harvesting well-worked crops.

The

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inscriptions life, liberty, and happiness are
likenesses of the handwritten words from the
Declaration of Independence.
The obverse for 2018 features life
personified by Lady Liberty teaching a small child to
sow seeds in a field.

The sword she carries

symbolizes the power to defend life.

The furrowed

earth represents the forethought and labor required to
sustain life, while the tree and stream represent
nature, suggesting the need to be good stewards of our
environment which sustains life.
2019 portrays Lady Liberty keeping watch
over prairies, lakes, and mountains as pioneers head
westward.

The wild terrain featured in the background

evokes the quintessential American spirit to explore
new territory, the freedom to pursue new landscapes,
new ideas and new ways of life.

In the foreground

Lady Liberty's lips are parted, suggesting freedom of
speech.

Her torch is an emblem of the guiding light

that Liberty profiles while the book represents the
rule of law and it’s equal application.
2020 depicts Lady Liberty harvesting the

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fruits of her labor with a young girl playing nearby.
The overflowing cornucopia she carries is a symbol of
the physical, intellectual and spiritual bounty only
liberty makes possible.

The home, orchard, and silo

represent American hopes, values, and aspirations and
bring to a close the narrative told throughout the
backgrounds of this series from furrowed earth, to
prairies and mountains, and finally to an agrarian
field.
The inscription happiness, a facsimile of
the handwritten word from the Declaration of
Independence, includes the long S, a letter form which
was typical of its time, but is no longer in common
use.
Set 7A, a variation of the set just seen
includes the same obverse for 2018.
For 2019, the variation includes wings on
Lady Liberty, here symbolizing the freedom of
movement, opportunity, and potential made possible by
the preservation of liberty.
2020 includes the stubble field prominently
featured in a scythe, which alludes to the ingenuity

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and exertion required to claim liberty's promise.
Set 8 features the primary design elements
for life, liberty, and the pursuit of happiness set
against the textured field.
The obverse for 2018 renders life in the
form of a branch of the official American national
tree, the oak.

The combination of existing leaves and

newly growing acorns represent the cycle of life and
natural freedom Americans are afforded as a direct
result of the Declaration of Independence.
2019 depicts two hands nurturing and
guarding the flame of Liberty.

The flame lights the

way for all Americans towards their inheritance of
liberty and freedom.
2020 portrays a young girl with her arms
wide open as if to embrace the joy which surrounds
her.

She represents the optimism and collective

opportunity for happiness available to all Americans.
The reverse for this set shows an eagle
standing.
Set 9 illustrates the progression of a
female from infancy to adulthood.

In each the figure

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is accompanied by an American flag enjoying the
protection it affords and holding an olive branch to
symbolize peace.
The obverse for 2018 depicts an infant
symbolizing life, the first and most basic of rights.
The swaddled infant clutches an olive branch, while in
the background the American flag provides a protective
environment.
2019 features a young girl symbolizing
Liberty holding an olive branch.

The American flag

billows around her representing her freedom to grow in
body, mind, and spirit.
2020 portrays a woman having been gifted
with life and liberty now in pursuit of happiness.
The olive branch in her hand represents peace, while
the American flag she holds twists in her graceful
turns as she explores the opportunity around her.
The reverse for this set depicts an eagle in
flight, an olive branch in its talons.
Set 9A are variations of the previous set,
close-up renditions of the designs just shown.

Here

is the obverse for 2018, 2019, 2020, and again, the

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reverse.
Set 10, the CFA's tertiary recommendation,
features a close-up of the hand of the Statue of
Liberty.

The flames from the torch become visually

more energetic underscoring how the inalienable rights
Americans enjoy build upon one another.
The obverse for 2018 depicts a torch held
aloft by the hand of Liberty, its flames and rays of
light flickering to life.
2019 portrays the torch, its flames and rays
of light growing stronger, reflecting the strength of
the American people once they've obtained life and
liberty.
2010 shows the same torch, it's flame and
rays of light intensifying fueled by life and liberty
guiding the way in the pursuit of happiness.
Other reverses for your consideration
include Reverse 11, which features an eagle as it
prepares to land.

Reverse 12 shows a close-up view of

an eagle, emphasizing its powerful form as it looks to
the left.
oak branch.

Reverse 13 portrays an eagle grasping an
And finally, Reverse 14 depicts a close-

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up view of an American eagle's head.
Madam Chair, that concludes the candidate
designs.
MS. LANNIN:
have a question.

Thank you so much, April.

I

CFA picked everything as sets?

MS. STAFFORD:
MS. LANNIN:

Correct.
That's correct.

Okay.

So I

think that even though, sort of by my count, we have
11 or so groups of things to go through, I think I'd
still like to do a culling process.

We've got some

really interesting art here and I'd like to spend our
available time talking about what, what really works
for us.

So if we could start at the beginning.

Vanessa?
MR. Tucker:

Do you want them culled by

MS. LANNIN:

By sets.

MR. JANSEN:

Yes.

MS. LANNIN:

So all those that would like to

sets?

keep, have an interest in Set 1?
MR. VASQUEZ:
MS. LANNIN:

Yes.
Yes.

Okay.

Set 2, please?

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Any interest in keeping Set 2?
MS. STAFFORD:
MS. LANNIN:

This was CFA, right?

recommendation.

This is a CFA secondary

So I think we need to keep that and

to talk about it, please.
MR. VASQUEZ:

Set 3?

MS. LANNIN:

Yes.
Okay.

MR. STAFFORD:

Yes.

MS. LANNIN:

All right.

interest in keeping Set 5?
variation on that?

Set 4?

Okay.

Yes.

MS. LANNIN:

Okay.

MS. STAFFORD:
MS. LANNIN:

Set 8?

7A.
Or, sorry, 7A.

to keep 7, you also want to keep 7A?
MR. HOGE:

So if you want
Okay.

Was that a yes or a no on 7A?

MS. LANNIN:
Set 8?

Set 7?

Yes.

MR. VASQUEZ:

a no.

Any

Set 6, which is a

Any interest?

MR. HOGE:

Set 5?

I think it's a no there.

Set 9?

MR. HOGE:

Yes.

MR. VASQUEZ:

Yes.

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MS. LANNIN:

And then we also have 9A.

And

then Set 10, which is also CFA's third recommendation.
MS. WASTWEET:
MS. LANNIN:

Keep it in.

Okay.

So we do need to -- keep it in.

So the ones that are definitely out are 5 and

6.
MS. STAFFORD:
MS. LANNIN:

7A.

That's fair enough.

And 7A and 8.

Reverses?

Should we go through the

reverses?
MS. STAFFORD:
MS. LANNIN:

Yes.
Number 1.

I think, I think it

should just go without saying that if we kept the
obverse set, that we should also really keep and
discuss the eagle that matches that.
with everyone?

Is that fair

So keep 1?

MS. STAFFORD:

You're looking at the unique

eagles, correct?
MS. LANNIN:
MS. STAFFORD:

The unique eagles.

MS. FRANCK:

So starts with –-

MS. STAFFORD:

11.
11.

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MS. LANNIN:
No?

11.

So we're going to keep 11?

12?
MS. EVERHART:
MS. LANNIN:

Yeah, I'd like to see 12.
Okay.

13?

No on 13.

And 14

looks familiar to me.
MR. HOGE:

It's almost the same as the

Olympic ones Elizabeth Jones did.
MS. LANNIN:

Right.

So we're going to -–

are we going to take 14 into consideration?
Okay.

Keep 14?

eagles.

So we've eliminated only 11 and 13 for the
Okay.

discussion?

Dennis, may I ask you to begin the

And I think we should take all three

years and just go through it.
let me correct that.

We should, we should –-

We should take all three years

of a set and each of us talk about just that set and
then we'll do the next set.
MR. TUCKER:

So do you want to start with

Set 1 then?
MS. LANNIN:

Yes, please.

MR. TUCKER:

I think some of these design

sets call upon the viewer to do maybe more
interpretation than I might like to see and others

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don't.

I just wanted to mention that to start.

understand the symbolism with Set 1.

I

I'm not a big

fan of the execution of this stylized design.

I, I

think that's, that's the extent of my time.
MS. LANNIN:

Okay, Dennis, thank you.

MS. WASTWEET:

Tom?

Do you want to do the full

set?
MR. TUCKER

We're going to do the whole, the

whole –MS. LANNIN:

You were talking about the

entire set; is that correct?
MR. TUCKER:

I am, yeah.

MS. LANNIN:

Yeah.

MS. WASTWEET:

I'm saying the whole package

or –MR. TUCKER:

All of these.

MS. WASTWEET:
MS. LANNIN:

I think that's –No, I think we should go

through –MS. WASTWEET:
MS. LANNIN:

Each one.
Each of us talk about Set 1.

Each of us talk about it.

Okay?

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MR. URAM:
Madam Chair.

Okay.

No, I agree.

I gotcha.

Thank you,

It's a little too stylized

for, for what I think it would strike up as a coin and
be difficult as a, as a series as it relates to the
entire picture at this point.

The retro is just a

little too much for me as well.
MS. LANNIN:

Okay.

Jeanne?

MS. STEVENS-SOLLMAN:
Dennis and Tom.

I will agree with both

I don’t really like - and I will say

this – I don’t like the figure.

I don’t think it's,

you know, drawn appropriately.

I find that eagle on

the reverse is too reminiscent of some of the eagles
that we have seen in other countries back in the '30s.
I don’t think that we want that to be our palette for
this particular series.
MS. LANNIN:

Thank you.

MS. SEARINCI:

Thank you.
I'm never in favor of retro

anything and this is just art deco.

So, you know,

it's, it's, you know, it's a nice, productive art
deco, retro, art deco, you know, but I'm, I just don’t
like to see it.

So I wouldn't go with this one.

MS. LANNIN:

Okay.

Heidi?

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MS. WASTWEET:

I agree with Donald.

We've

asked in the past to see modern designs and maybe the
artist was trying to give us something modern, but
it's coming across as very retro and very nouveau
without a purpose in being nouveau.

And like I said

before, the figure itself is not rendered attractively
to me.

The body's very stiff and I've made comments

before about how important body gesture is in our
figures and this is very inanimate and instead –MS. LANNIN:

Okay.

Thank you, Heidi.

Robert?
MR. HOGE:

I think we, these designs are

just inadequate and they have fascistic overtones we
sort of mentioned.
coin well.

I don't think it would be for a

It's got too many flat plains.
MS. LANNIN:

Erik, how about you?

MR. JANSEN:

I think my thoughts have been

said already.
MS. LANNIN:

Okay.

I, initially I liked

this because I thought that the, the transition from
figure to figure worked well, but I understand
everyone else's comments.

And so I don’t, I don’t

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think this will work for us at all.
MR. JANSEN:

Yeah.

I just want to say I

commend the artist for stepping up and stepping out
because of the set, this one really, really is
different than the rest.

So I commend the artist for,

for their independence in this particular case.

The

art deco is, is I think easily mistaken for modern and
it's distinctly different and I don’t think that's
what we want to do here.

This is the, kind of the

flagship by denomination, by, by history of, of the
eagle set.

And so I think it doesn't just quite slide

into the pedigree.
MS. LANNIN:
All right.

Okay.

Thank you very much.

So we're up to Set 2, which was the CFA's

second recommendation.
MR. TUCKER:
Statue of Liberty.

Dennis, you're up.
I look for a rendering of the

I like the, the idea of

incorporating a flag this way.

I think that the

styles of the designs are a little too different for
this set to really gel as a set and I don’t think that
they represent their subjects well.
And I think the CFA commented on this, the

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preamble to the

Declaration of Independence mentions

the right of the pursuit of happiness and not of
happiness itself, which is what appears to be depicted
for 2020.

So I, I think there's, there are elements

that I like about this set, but overall I don’t think
it quite works.
MS. LANNIN:
MR. URAM:

All right.

Tom?

And since I generally like to

stay positive on, on the designs and only talk about
the ones, it's tough to go around doing it this way.
But I would just say that I'm going to pass.
think it is creative.

But I

I like the idea of -– Britain

actually had a set of coins where they made the shield
out of it, like a six series, and that was very
clever.

I think this is too high of a denomination.

To do that would be great for some other decibel coin
that we have.
point.

But I would defer on Set 2 at this

Thank you.
MS. LANNIN:

Jeanne?

MS. STEVENS-SOLLMAN:

I have to think about

this as being a platinum and I think if we were making
a clad quarter, this would be really terrific.

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really in the vein of -- I don't think it really makes
the mark.

The sun for me is particularly not classy

for the platinum and I think we need to think about
what we're doing here.
Liberty itself, second coin, I think is a
nice direction by looking at it from under her.

You

know, you see her jaw, but we're looking at lay,
running so differently than we'd see it on other coins
as a frontal piece, but this whole set does not work
for me.
MS. LANNIN:
MR. SEARINCI:

Don?

the eagle.

I like the Liberty.

I like

I think the, the sun, the sun, I think I

see what the artist was trying to do, but the
personification doesn't work for me.

And the, you

know, I kind of feel this way myself because I just
had (inaudible).

You know, and I would like the, you

know, design for something else, you know.
wouldn't mind seeing it for something else.

I mean I
I don’t

think it's the pursuit of happiness and I don’t think
it's the, and I don’t think it's, and I don’t think it
kind of -– I don’t really think it fits with it, the

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platinum series of, you know, considering that we're
talking about a $1,700 coin.

So, so I, I, I -– that's

my opinion.
MS. LANNIN:
MS. WASTWEET:

Thank you, Don.

Heidi?

I agree with what Donald's

saying and what Dennis said about them not going with
each other and ultimately I won't support this set for
this program.

But I do want to call out what's good

about it, which has been touched on here.

The way the

flag runs through all three is really fantastic.

And

this is what I was asking for and hoping for on the
9/11 set, to have this kind of continuity between the,
the metals.

I'd like to see this device used again in

the future and presented to us.

So let's keep that

idea, keep that good thing going.
I also like the use of silhouettes.

So I'd

like to see more silhouettes, more use of negative
space.

In this case the images are very literal in

their, yeah, happiness, and we're looking for more
symbolically.
program.

So it's, won't work in this particular

But let's revisit those devices again in the

future and props for that.

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MS. LANNIN:
MR. HOGE:

Thank you.

Robert?

I like the element of the

combination using the flag here also, but I think the
2018 and 2020 designs really don’t go well with the
2019 because they're, the first and last are very flat
and these coin up as very flat items, inappropriate
for the sculptural effect of the head of Liberty on
the 2019 issue.
MS. LANNIN:

Thank you.

Erik?

MR. JANSEN:

First of all, thank you, Madam

Chair, for breaking this review into set by set.

I

think it really gives us some, some really tight
resolution on how the Committee feels.

Otherwise,

there are just too many images to, to get a true
critical sense here.

So thank you for breaking the

analysis down.
To the artist on Set 2, I love the idea of
the flag pulling the set together; however, I think
being marketed over a sequence of three years and a
fairly low volume product, that concept doesn't lend
itself to what might be more appropriate to a high
volume, contemporaneously marketed set of products.

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know the, the, I think the English version when they
took the layout of the shield, the power there was
that they were all contemporaneously marketed.

So

they all came together at the same time in the
marketplace.

I don’t think that fits a three year

plan here.
So thank you to the artist.

Hold that

thought and hopefully in the future we have an ability
to really deploy that powerfully.

Thank you for that.

Otherwise, I think it's, it's a mixed bag of, of, of
symbols, and although the artist would want them to
hang together with the flag, otherwise they don’t hang
together at all in my view.
different sets of feels.
set.

They're just so starkly

So I'm going to pass on this

Thank you.
MS. LANNIN:

Thank you, Erik.

completely with what you said.

I agree

When I looked at that,

in the first place I thought this is a lot of money
for someone to spend.

So they could buy the first one

and then maybe never buy the second or the third year.
So we're asking for a really classy design for this.
And secondly, I looked at that and thought I love the

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idea of the flag going through all three coins in the
way that we've shown it here.

But it's as if someone

gave them a partially completed drawing to three
separate artists and said finish it up.
hang together at all for me.
theme is the, is the flag.

And the only unifying
So I can't, I can't get

behind this one at all either.
thoughts.

Onto No. 3.

They don’t

So those are my

Dennis, you're up.

MR. TUCKER:

Yes.

MS. LANNIN:

And by the way, this was, this

is their number one choice for the CFA.
MR. TUCKER:

Thank you, Madam Chair.

I, I

think that these designs are very nicely drafted and I
think they would make a really nice set of metals
representing Liberty.

Obviously the Statue of Liberty

has all of these symbolic elements representing that
concept.

I think when we try to apply them, those

symbols to life and the pursuit of happiness, it
starts to feel a bit artificial.
But nicely rendered and, and visually quite,
quite attractive.

But I don’t know if they accomplish

what the series is intended to accomplish.

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MS. LANNIN:
MR. URAM:

Thank you.

Tom?

Thank you, Madam Chair.

It's, I

think these designs in looking at all the sets, I kind
of favor these three.
you think a little bit.

It is creative and it does make
It's not everything, but it

is a nice set and it has the potential of achieving
the goal.

And so I would give some votes to this,

this set.
However, I'd like to comment on the eagle at
this point.

I would prefer a different eagle when we

get to that.

That eagle of any of the sets for that

matter.

So thank you, Madam Chair.
MS. LANNIN:

Thank you.

MS. STEVENS-SOLLMAN:
Chair.

Jeanne?

Thank you, Madam

I, I like this set because it's probably the

most symbolic work; however, I'm not really blown away
by any of the designs.

So I'm going to have to -– you

know, I mean I like 2019 because it does break the
chain.

It is on the Statue of Liberty.

It relates to

everything -- everything in these designs relates to
the statue, which is very good.

I like that.

But at

the same time, to have it on the platinum, I'm not

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sure.

I'm going to reserve my opinion for that.
And I will agree with Tom when we go to the

reverse and I think we have an eagle that will fly
higher, higher.

Thank you.

MS. LANNIN:
MR. SEARINCI:

Donald?

this on?

As to the art, it's -– is

As to the art, it's all technically good and

it's, it's all technically good, but, you know, my, my
reaction is it's just, I'm just give a go on that, you
know.

Okay.

We can do it.

As far as the art in relation to the
message, I'm not getting it, you know, the face of the
Statue of Liberty for life, as a depiction of life.
You got to really read the narrative to get it.
Otherwise, I don’t get it.
And the broken chains for, you know, you
know, for Liberty, you know, its, its Liberty.

It's

really liberty, you know, the concept of, you know -Jefferson's view of John Locke and the concept of
individual liberty is a very important concept that
made its way from the Declaration of Independence into
the Constitution and very important for all of those

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people at that time.

And, you know, at the time

liberty from, you know the shackles of government, you
know.

I don’t think this, the shackles here would be

perceived either by contemporary audiences quite that
way.
And then the, the flame for a pursuit of
happiness and the flame from the Statue of Liberty, I
don’t know that pursuit of happiness is the message of
the flame of the Statue of Liberty.
sure where we're going with that.
fails.

So, so I'm not
So I think it

I think it's good art, absolutely, even though

its, you know, its, you know, kind of yawning.
boring art.

But it's good technically.

Its

I don’t -- it

falls down on message completely.
You know, it's just, I don’t see life.
don’t see liberty.

I

in these images.

I don't see pursuit of happiness
So accordingly, I could not support

this.
MS. LANNIN:
MS WASTWEET:
for six years now.

Thank you, Donald.
Thank you.

Heidi?

I've been on CCAC

In the beginning we saw a lot of

what we dubbed storyboards, very literal

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interpretation of ideas as if actors on a stage acting
out the ideas.

And we asked again and again to see

symbolism and thankfully now we're seeing a lot more
symbolism in the designs and I thank the artists for
sending us that.
Now we need to get the symbols right.
what are symbols?

Symbols are using a visual element

to depict a nonvisual idea.

And in our culture we

have a language of symbols, commonality.
knows a heart represents love.
represents peace.
colonies.

Everyone

An olive branch

The 13 stripes on the flag are the

Those 50 stars are the states.

these things.

And

We all know

These are common language in our

culture.
We can't take those symbols and then
reassign those meanings and expect to communicate that
way.

So when I look at these, as Donald was saying,

the symbols fall apart here.

If I were to look at

these broken chains and shackles at first sight, what
comes to mind is slavery.
that; I get slavery.

I don’t get liberty from

And the torch, this is

specifically the torch of the lady Liberty in the

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harbor and when I see that, I think about immigration,
the, you know, welcoming to our teeming shores, you
know, that whole bit, the lantern in the window,
welcome home, welcome to our shores.
I don't get pursuit of happiness.
that's a stretch.

I think

Also on the face of Liberty, on the

first one, I don’t get life from that either.

And

I'm, earlier today you in our admin. meeting we had a
little short discussion about how those sculpts look
different from the drawings.

And as a sculpture, I'm

learning that when I look at a drawing, I see
something a little different than someone who's not a
sculpture might see.

Instantly in my mind I see a

sculpture.
So when I look at this lady Liberty head
here, I see that that neck under her chin and that
cheek, that's all one blank area because we don’t have
shading like we do in the drawing.

This is just a bit

of an odd angle and it's not going to come through in
the sculptures the way it does in this drawing.
On the eagle here, I'm going to -– did you
know that the wingspan of an eagle is up to seven-and-

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a-half feet?

Picture that.

probably eight feet.
span.

These ceilings are

That's, that's a wide, wide wing

And when I look at this drawing, this wing

looks like two feet.

I really want to see the breadth

of those wings when I see these eagles, and the wing
on the far side looks like a different length and
shape than the one on the foresight.
keep that in mind with our eagles.
MS. LANNIN:

Okay.

So let's, let's
That's it.

Thank you.

Erik, I'm

going to call on you right now.
MR. JANSEN:

As I went through the sets

here, I kind of found myself trying to peel off and
retain only the, the sets that match the pedigree,
come together as a set, and convey symbology.

This

was one of three sets - seven and ten were my other
two – that passed the pedigree and the compatibility
screens, but when it came to symbology, if this were a
series chartered to, or commissioned rather, to
commemorate the Statue of Liberty, nice job.
what we got.

That's

That just doesn't happen to be the

charge.
And admittedly as I sat back before I even

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looked at the art to try to preconceive how I might go
after life and liberty and the pursuit of happiness,
it's a tough challenge.

I mean we got a lot of happy

people in these sets, but we didn't get a lot of
pursuit.

We got a lot of liveliness, but I'm not sure

we got a lot of life.

And so I think we missed the

mark on the symbols here.
On the eagle, I think we have a, we have an
over-feathered gull here who's convincing as opposed
to someone at the top of the pyramid who is defending
with strength the notion of peace or celebrating the
enjoyment of peace, which I think is what the, part
and parcel the eagle needs to be.

And I don’t want a

gull on, on any of our coins, let alone on the top of
the pedigree here.
So I'm going to reject this set on symbology
and I'm going to reject the eagle on almost abuse of
symbology.
MS. LANNIN:

Or mythological reasons?

MR. JANSEN:

Or mythologically and I can't

do anything with that better than to say yes.
MS. LANNIN:

Okay.

Thank you.

Robert?

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MR. HOGE:

Frankly I can't see why this

would have been the first choice of the Commission of
Fine Arts.

These are not very strong designs and they

keep, the Liberty is reminiscent of earlier coins
we've already seen.
The second one, the symbolism, I agree with
Donald and Heidi about this, that this really
represents the idea of servitude more than freedom.
This was the argument in Set 293 against the first
United States cents with the chain in reverse.
know, same problem.

You

We forget about these things.

The torch is not very powerful design for a
coin.

Doesn't look like an obverse or a reverse.

And

the eagle, I can't say anything good about that.
This set doesn't work for me.
MS. LANNIN:
work for me either.

Thank you.

The set doesn’t

I look at them because they're so

pricy as individually buying something each year.
would never buy 2019 of the set.
negative for me.

I

It's too, it's too

It's not, even though the chains are

broken, it's just too scary to kind of look at.
MR. TUCKER:

Yeah, it's almost a negative

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symbol.
MS. LANNIN:

It is, it is.

And I love the

way Heidi stated the use of symbology and we can't
just sort of arbitrarily have us convey a new meaning
to something that hung together.

And Erik, I agree

with you, this is a Statute of Liberty set.
what we're charged to do.

It's not

So I can't -– even though

this was the first choice of CFA, this set doesn't
much do it for me.
So I think we're onto Set No. 4.

All right.

So Dennis, would you like to began again?
MR. TUCKER:

Thank you.

This set gets

marks for having a cohesion with the designs.
They're, I think they're obviously all from the same
hand in a way that some of the other sets aren't.
that's good.

So

I'm not fully convinced of the

connection again to all of the rights that are under
consideration, but I do think that this set gets
closer than some of the other sets.
And I think there's, again, we might be
asking the audience to do more interpretation and
heavy lifting in that sense than, than we might want

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to.
MS. LANNIN:
MR. URAM:

Thank you.

Tom?

Thank you, Madam Chair.

I, I

like this set a lot because of the cohesiveness that
Dennis had mentioned there and I like the symbol.

I

like the idea that you have a person here that's
looking down.
sideways.
forward.

You have a person that's looking

You have a look, person looking upward and
So I think it does draw in, I think, once

again, with the right eagle on the reverse.
You could, it would be a very outstanding
series because it has a lot of movement in it, very
similar to Set 7, which would be similar to me, but it
would have been nice had maybe you had life, liberty,
and happiness in one of those, if you felt that you
needed that, but I think it speaks well on its own.
It makes makes you think about it and it's different
enough for each one that it creates a very nice
series.

Thank you, Madam.
MS. LANNIN:

Thank you.

MS. STEVENS-SOLLMAN:

Jeanne.

I agree with, I agree

with Tom; however, I don’t like the symbology of what

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I assume Liberty is doing.

I mean we would have to

have the public really interpret that.

I don’t think

that the drawings are, you know -- let's face it.

If

you're going to hold a cornucopia that's littered with
fruit, are you going to do it like this?
think so.

It's too, it's too heavy.

I don’t

So the gestures

are really not good.
The key, the same thing.

It's like it's

just not any kind of grabbing onto these heavy books.
It's a heavy book.

Now she's just kind of like

treating it as a letter or a piece of paper.
those things bother me about this set.
continuity of it.
the faces.

So

I like the

I like, I like the figure.

I think those are very good.

I love

And so I

give that artist kudos for what they did, she did or
he did because it's very interesting.
As for the reverse, it's very dovelike.
know what?

This isn't an eagle.

that comment about that.

So I have to make

It kind of tops off my not,

my unwillingness to support this set.
MS. LANNIN:

You

Donald.

MS. STEVENS-SOLLMAN:

Thank you.

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MS. LANNIN:

Thanks, Jeanne.

MR. SEARINCI:

I knew I wasn't going to have

to say anything about the eagle.

It's duly covered.

So, so, so I agree with Jeanne.
better than that.

Donald?

I can't say it any

The, the, and first, you know, I

mean my compliment to the artist for, for the, for
the, for the vision and for the cohesiveness, you
know, and, you know, that's, that's very good.
However, here we are again.

And I think

there's a feeling of we have to put classical figures
on coins for some reason.

You know, we, we seem to

have to, you know, put images like this on coins,
that, that, you know, that, you know, touch the edge
of the contemporary mind's ability to relate to is, it
at all.

And you know, I would have felt a lot better.
I mean I think this artist, you know,

certainly could have depicted a more, a more modern, a
more modern woman or more modern women and more modern
obverse that better display life.

And if life is

going to be displayed as water, there's a better way
to do it than a jug and, you know, and just reverting
to antiquity.

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You know, same thing with, with Liberty.
That's, you know, this isn't quite clear, you know.
The symbolism here for Liberty isn't quite clear.
the pursuit of happiness is in a cornucopia.

And

I mean

that's like a horn of plenty, you know, having enough,
fulfilment.

That's the pursuit of happiness.

You

know, it's, a cornucopia again is just, it's just not,
you know.

I just don’t think it's a -– this is just

not a contemporary

-- I just don't think -- I just

don't think people in 2020, you know, in 2018, 2019,
and 2020 are identifying with these things.
So this just doesn't work at all for me as
much as I compliment the artist and the technical
skills and the vision of it.

I think, I think this

needs to go back instead of going forward just, just,
just makes it, you know, makes it a negative for me.
MS. LANNIN:
MS. WASTWEET:

Thank you, Donald.
Thank you.

Heidi?

When I first saw

this, several designs, I had the exact same reaction
that Donald did.

But I changed my mind.

And this is

where it's so important for us to hear from the artist
in their own words about their art.

Years ago we

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asked the Mint can we hear something from the artist
because sometimes we look at these and we go why'd the
artist do that.

We want to understand what that means

and we got what we asked for.
So when I read the artist's statement on
this - and I'll read it to you - it says that this set
features allegorical figures inspired by classical
symbolism, paying homage to the political thinkers of
eras past who influenced the roots and branches of
American democracy."
Now this give it purpose.

We asked for

modern designs and we choose modern designs when we
get them and they're good quality, and we're seeing
more and more of that, but we don’t have to have 100%
modern designs.

A lot of room for collectors like the

classical designs and we hear this.

Our last meeting

was in Denver and we heard from the public and they
told us we like classical designs too.
And so I don't want to be closed-minded to
the classical designs.

And because this set does so

with purpose, then I can get onboard.

I see the Greek

influence here and I remember my first trip to Rome

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when I saw the Forum and I said, oh, my God, it looks
like Washington DC.

It really drove home to me the

connection, the strong connection to our roots.

And I

think that that's a great idea for this set.
Individually I like the symbolism of water
as life.

That's a very simple, basic symbol.

Water

is life.

You can't have life without water.

I like

that.

She's not just pouring it onto the ground.

She's pouring it into a jug as if she's sharing life
and that's the essence of woman.
giving life.

Giving birth is

She's pouring her water into someone

else's jug.
And then the second one, I talk about -- I
want to talk about combining then symbols to tell a
story.

Just like you combine words in a sentence.

You can combine symbols to tell a greater story.
here we have her carrying a book and a key.

So

So we

cannot fully have liberty if we don’t have education
that keeps us in the mindset to protect our, to
protect our liberties.
Now given the size of the coin, it's going
to be hard to see that key in her hand.

So I'd like

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to suggest a little adjustment here.

We don’t have to

literally have her holding the key in her hand.

If we

simply move the key up into the field, we can move the
date out of the way and just have the key above her
hand in the field.

Then it would be visible and clear

and we can see the symbol of the key instead of having
it lost in her hand.

Also on the first one, I love

the way her hair is also in the shape of waves of
water.
And then in the third one with the
cornucopia, I agree with what Jeanne said.

The way

she's holding it doesn't, doesn't show the weight of
the cornucopia.
change.

That's an easy thing that we can

Let's not throw the baby out with the

bathwater.

We can, we can change that or maybe even

ask the artist to revisit the whole idea of
cornucopia.

Is abundance really happiness?

can do better.

Maybe we

But I don’t object to the, to the

cornucopia.
I do agree that the eagle can be swapped out
with a better one.

But for the obverses, I like this

set a lot.

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MS. LANNIN:
MR. HOGE:

Thank you, Heidi.

Robert?

In first seeing this group, I was

impressed with the classics as everyone else has been.
And I thought immediately just who are these
characters here?

The first is like IGF (ph).

a familiar term for us in these days?

No.

Is that

It's a

beautiful image and perhaps shows life and this idea
of water.

I like the fact that the classical

draperies, a little bit different with each of these
female figures.
This is a wonderful representation of
classical art and the designs don’t depend just on a
lot of shading the way so many of these two
dimensional come across.

I like the difference in the

facial features and the hairdos.
set.

It's a beautiful

I'd like to see a few changes, though.
As already been mentioned here, the idea of

a key is not necessarily what we associate with
liberty.

So maybe that needs a little bit of

development.

Classically Liberty always is shown with

a little, the little cap, the liberty cap, and most
people don’t understand that today, but maybe that can

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be incorporated into something like this.

Maybe she

could have a cap on her head instead of the Svengali,
which can be seen here.
For abundance, the third tie, abundancia, a
cornucopia, this might be a good symbol of happiness
for plenty, but classically this would be something
different.

Felicitas or hilaritas, you know.

Happiness, hilarity, felicity.

And these have their

own symbolism in the classical repertoire.
might see a little bit of a change there.

So we
Abundance

is not necessarily the same thing as happiness and
felicity.

So -MS. WASTWEET:
MR. HOGE:

What would felicity carry?

She carries a

caduceus.

It's a

symbol of medicine.
MS. WASTWEET:
MR. HOGE:

Oh.

People might more likely

recognize it.
MS. WASTWEET:

But I think today we

associate that strictly with the medication.
MR. HOGE:

Maybe she could have a cornucopia

and a caduceus.

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MS. LANNIN:

It's

a symbol of protection, I

think.
MS. WASTWEET:

Health and abundance?

That

would be happiness.
MR. HOGE:

I would definitely throw out the,

the strange-looking bird, which looks like a small
winged pigeon, and not include that as part of the
set.

But I think that there's something here and

there's consistency between these things.

The

presentation's got a lot of nice negative space, empty
space.

The figures are all consistent and

proportional.

I think it would be a good series.

Each one stands on its own too.
MS. LANNIN:
also.

Thank you.

I agree with Robert

Although we don’t always have the guide of

mythology in our bookshelves, individually you could
buy each one of these or any one of them or all three.
I think that they're, that they're all really quite
beautiful.
I like the negative space and I would
actually like to applaud the artist for the ethnic
diversity in these, in this group.

She's about to

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lose that cornucopia.

There's no way on earth that

she can hold something like that.

If a cornucopia

were straightened or something, I'm not, again,
necessarily sure that, that an overflowing cornucopia
makes happiness, but I'm always happy when I eat.

So

I'm willing to go with that.
Is it, is it necessary for us to eat and
have the key in the second one?

Perhaps just a

gesture with a hand or -MS. WASTWEET:

I think because of the book

and the key together, that's what tells the story.
Knowledge is the key to a better -- if you had just
the key or just the book, it doesn't work.
MS. LANNIN:
drapery on the women.

Okay.

But I, I liked the

I had a hard time with the art.

That we have as varied as it was to have something
that I thought would hang together as a series and
these three women I believe hang together.

Whether we

all agree it fits our interpretation of life, liberty,
and the pursuit of happiness is separate from that.
And the seagull reverse, I don't think so.
I think we're all going to pick a wonderful reverse

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for whatever we choose for the obverses.

Donald,

you'd like to say something else?
MR. SEARINCI:

You know, it's interesting

'cause what I, what I'm hearing, what I didn't hear is
anyone having a problem with the 2018 design.
answer on the 2018 design.

And the

So if we, if in the end we

come back and want to do this set, what we could do is
make the request that, like we're good with the 2018
design and go back to the same artist and ask the
artist, you know, to give us something else, you know,
to work on.
And then come back to us for 2019 and 2020.
And then maybe that same artist could even, if there's
time, could even do a better eagle so that we can keep
the vision.

Because one thing I love about what's

doing, what we're doing here, is the same artist.

If

we can't, if we have to pick a different eagle, then
I'm sure there's a favorite.

I'm sure you have

favorite eagle.
So, but maybe, you know.

Anyway, that's

something we can come back to if this is, this is a
set that people like.

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MS. LANNIN:

Okay.

Great.

Thank you.

Erik, what do you feel about this?
MR. JANSEN:
Compatibility, check.

Pedigree, check.
Symbology, hey, this is really

nice variations on Lady Liberty.
wonderful.

Ethnicity,

Classic symbols, again they're all there;

although cornucopia usually pours out as though its
sharing the, the, the bounty and isn't worried about
spilling it.
So I think we just missed it on the
symbology and I've listened to the comments from the
team here and I think we're like trying to stretch
this to make it work.

And I don’t think that is -- I

think this series needs to hit it more clearly and not
be kind of nudged to get close enough to be okay.

So

I'm going to reject the set out, outright.
And I think we have destroyed the anatomy of
this clay bird on the back enough.
MS. LANNIN:
much.

All right.

Thank you very

I believe we are, we've passed on Set 5.

passed on Set 6.

We've passed on Set 7.

MS. WASTWEET:

No.

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MS. LANNIN:

We have not?

I couldn't read my own writing.

Oh, 7A.

Sorry.

So Set No. 7 is next.

And Dennis, if you'd like to start?
MR. TUCKER:

Yes.

Thank you.

In my

opinion, these designs were most representative of the
rights that they've been assigned to depict.

And I

think the, the script messages strengthen the
symbolism.

I like seeing life, liberty, and happiness

spelled out.

I think that will help the viewer.

they need help.

I like the designs.

If

You know, they

definitely are again from the same hand and it's nice
to have that continuity throughout the three year
program.
Something I worry about is, are the designs
a bit too finely detailed and I'll let our sculptors
and artists speak more on that.

But the central

figures are bold and centralized and I think that
carries the main weight of these designs.

And then

it'll be up to the mint staff to figure out how to get
every spoke into every wagon wheel.
MS. LANNIN:
MR. URAM:

Thanks, Dennis.

Tom?

Thank you, Madam Chair.

I like

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this set as well.

However, as I've mentioned this in

relation to Set No. 4, I once again like the varying
degrees of the ethnicity that we saw in Set 4.
However, I think there's a whole lot going on in all
of these that the simplicity of Set 4 lends itself to
the size of the coin in the, in looking at maybe 2018
and getting the renderings for '19 and '20 that might
be more refined to keep it with that.
So as much as I like Set 7, I think there's
just a whole lot going on.

I like the depictions of

Liberty, but I think there's just -- I like the
symbology of Set 4 compared to Set 7 here even though
I like Set 7.

Probably would give it a few votes.

But it wouldn’t get my ayes.
MS. LANNIN:

Thank you, Madam Chair.

Thank you, Tom.

MS. STEVENS-SOLLMAN:

Jeanne?

Thank you.

When I

first looked at this, it was, these drawings are very
nice.

I liked the fact that we have this woman,

Liberty, is very outstanding.
of the movement.
background.
postcard.

She is strong in terms

I was concerned about the

I thought maybe we're getting another
But actually I believe this might work.

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It might work because I like the writing.
like life, liberty, and happiness.
very clever.

I

The butterfly is nice.

I think this is
When it's struck

out we'll probably just have a little blob on a coin.
I'm not sure.

But it is a fine -- when I think about

the platinum, this is, okay, you're going to spend a
lot of money on it and you want to have a lot of
information.

Yeah, maybe.

But I think the background can probably drop
back in the foreground of the figures, be very strong,
I believe.

This to me would work.

I like the fact

that we have a lot of negative space and its similar
to No. 4, but it's giving us a little bit more
information.
So I like this set very much and I think we
have an eagle that would be (inaudible) to make that
whole set phenomenal.
MS. LANNIN:
MR. SEARINCI:

Thank you, Jeanne.

Donald?

If it were a choice between

this one or 4, I would go with this one because of
the, I like the life, liberty, and happiness of the
script.

You know, it's the same, the same thing and

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here we are with liberty.
know.

There's a cornucopia, you

Happiness, the liberty and happiness is not

smiling probably because the little kid's running
around chasing a butterfly, you know.
is.

It is what it

I mean we've got the sword in life, you know, you

know, you know.

I mean we'd have to have the sword in

there.
So, so we're just doing the same thing.

But

if, if we're going to have to do one of these things,
and if it's a choice been 7 and 4, you know, and
liberty has to look like that, then I'd probably go
with 7, if that were the choice.
MS. LANNIN:

Heidi?

MS. WASTWEET:
going on for it.

I think this set has a lot

I think having the, the baby on the

hip and the seeds really nails the symbology of life.
Just as we talked in the first set today, the art
nouveau set, how the body gesture wasn't there, the
body gesture is all here.
gesture.

This is, really nails the

I would take out the sword because I don’t

think the defense of life is a symbol for life itself.
I would drop that.

I do like the river in the

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background.
But let's talk about busyness and detail on
-- we talk about this almost every meeting, about what
is the appropriate amount of detail for the size of
the palette and we're still seeing too much detail for
the size of the palette.

And I think that maybe we're

not expressing ourselves fully in what we mean by
busy.
So what came to mind for me was Weinman's
Walking Liberty.
drapery.

You've got a full figure with full

There's a flag.

think all of oak leaves.

There's branches, all are,
There's a sun.

mountains in the distance.
Capitol Building.
it works.

There's

She's got sandals on.

The

There's a lot going on there, but

Why does it work?

Because it's pared down

to the essential details.
There's no more mountain there than you
absolutely need to convey that there are mountains.
If we look at this design, the mountains in the
background, there's just too much going on in those
mountains.

It's not the size of the mountains.

not the fact that there are mountains there.

It's

It's the

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way that they're rendered.

And the tree, there's

practically every leaf on that tree and the rose and
the landscape could have been simplified and the
details throughout could have been simplified to make
this work.
It's not that there's too much on the coin.
It's just that there's too much within what's there
for the scale of the coin.

Like Mary has said, as

we're looking at these, we're considering the price
point.

We want a lot going on there.

We don’t want

super simple on this like we're asking for on the
quarters.

We want super simple.

Here we want a lot

going on, but we don’t want to be busy.
It has to be organized.
right amount of detail.

It has to have the

So these could have been

improved if there had been a boiling down of the
details to the essentials.
The second one here with the, the wagon,
again, we have all the tumbleweeds in the foreground.
I like the wagon, but it could have been just a
silhouette and it would have been actually more.
could do more with less because it could have been

You

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visible.

As it is now when you look at the coin, the

tumbleweeds and the oxen and the wheels and the
spokes, it's all going to disappear like it's not even
there.
And the symbology here of her gesture, the
torch and the book and her mouth, I think she's
singing and that doesn't say liberty to me.

These,

this combination of symbols isn't necessarily telling
the story.

I think the wagon in the background is

telling a story of liberty.

The freedom of movement.

Liberty is a type of freedom to move around, to go
where we want to go.

But because there's so much

detail in that wagon, it's going to get lost as if
it's not even there.

So that losses it a bit for me.

The child pursuing the butterfly, I think
that really nails the symbolism of happiness.
happiness in this child.

I see

But here the cornucopia,

again, too much going on in that cornucopia.

Every

strand of the wheat, instead of simplifying the wheat,
there's too many stocks of wheat and so it's not going
to read well on the coin.

And the farm in the

background could have been just a silhouettes again.

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So this could be been done a little better.
I also don’t like the way the liberty, the word
liberty on the first and third one runs over the
figure.

We're trying to get a lot of depth out of

these coins and I want to see these figures come to
life.

But when you run those tiny letters into a

three-dimensional image, it doesn't work the way it
does on paper.

That's going to need to get moved if

we go in this direction.
MS. LANNIN:
MR. HOGE:

And that's it.

Thanks, Heidi.

Robert?

This is actually my favorite, but

I have to agree with all the comments that have been
made heretofore.

I think the word liberty can

actually be withdrawn from the 2020 designs and
perhaps placed in tiny letters on the coronet of
Liberty as was done in the classical American coins in
the 19th century.

And it wouldn't apply in the second

one, the 2019, because you can't see where the coronet
would be.

You've got a nice floral wreath.

And that

way you have consistency.
I like especially seeing the handwritten
life, liberty, and happiness here, but boy, happiness

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looks profoundly unhappy.
MS. LANNIN:
MR. HOGE:

Yes, she does.
What is going on here?

I mean

you can't have that face right next to the
(inaudible).

So this is bad.

If we could change her,

give her a smile, put a little coronet on her with
liberty, I think that might do the job better.
Also the cornucopia is just improperly
rendered.

She's supporting it okay.

its set forward.

It's not like

You know, it has to weigh almost

nothing to balance on her fingers, but here it needs
to be in the actual classical manner where she's
supporting it and you can see that there's, you know,
it's full.

There's something in it, but it's far too

busy.
These three pieces all have too much
background as we've noted.

And I think that this

could have been done much better if on one we perhaps
see it like a coastline.
mountains.

Another one we see the

Another the plains, I mean symbolizing the

entire country as we move through progressively.
see furrows here on the 2018 and the 2020.

We

These are

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not all that much different.

We just don’t see

mountains on the third one, only in the first two.
The covered wagon, think of the great Oregon
Trail design by Laura Gard and Fraser.

There we see

it, you know, across the world, much bigger.
have been done as a silhouette.
busy.

It could

These are all too

They all have too much in the, the not so

distant foreground.

And then we don’t see Liberty's

feet on any of these.

They're not really balanced.

And in terms of the presentation, Set 4 was
actually better.

But this one I think has a little

bit more going on that might be popular.

Thanks.

MS. LANNIN:

Thanks, Robert.

Erik, what do

MR. JANSEN:

This is my choice for the, for

you think?

the series.

Yeah, this obviously, it hits pedigree.

It's compatibility.

And of all the sets on here, I

think this one comes closest to getting the symbology
at least on the mark and a lot of that comes from the
pursuit of happiness version because the pursuit of
happiness I think necessarily requires the thematic,
the artistic capture of pursuit and that's what we

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got.

We got a little girl pursuing happiness and, you

know, in an abstract way her parent here, her mom
pursuing her happiness through her child's pursuit of
happiness.

So we really get pursuit here.
So I actually like that.

And it almost

stands out amongst all the sets as our best choice
here.

I think the, I don’t like text on the, anymore

than anybody else does, but the scripting of the life,
the liberty, and happiness I think turns it into
something other than pure text.

It gives it a

dimensionality into our artisan.
I don’t like the third one.
flappings (ph).

So I think in the sculpting, that

probably needs to be cleaned up.
would like this set.
the time.

I read that as

Thomas Jefferson

He was the agrarian thinker at

He certainly wrote the document here that

we're going after.
And so I respect the Old English stylized
big S in happiness, but I think for the recognition in
cleaning up the sculpt of the happiness text, I would
suggest just two conventional Ss so as not to turn
this into an IQ test for the buyer.

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The background comments, Heidi I think
totally nailed this thing.

You look at the gold

eagle, you look at the silver eagle, you see this kind
of inclusion of symbols, but they need to be, they
need to be less is more.
more something?

Is that a verb, to less and

And so again, it falls onto the

sculpting team to, whether by eliminating detail,
lowering relief, dropping it into the background.
I'm reminiscent of the Sacagawea dollar that
was done a handful of years ago where we have some
horses running on the horizon in the background and we
didn't get hung up on the anatomy of the horses, just
the silhouettes did the job and it adds the energy to
the, the entire equestrian thing of the coin.
So there we have that and I think it can be
managed quite well.

I guess I'm, I'm trying to

inherit the letter we will send to the Secretary of
the Treasury here and I think not withstanding the
opinion of the director of the mint that might go
along with our opinion and the CFA's opinion, I think
the Secretary of the Treasury's going to be really
confused here as to what to do.

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And so I'm going to recommend that the
committee, whatever we choose, let's try to really put
some energy behind our preference so we don’t add to
the confusion here.

We've got three recommendations

coming from the CFA.
strength of that.

We don’t know the relative

If we come forth with two or three

with a lot of modifications, it's just going to become
a mush for the decision maker and I think we owe them
a little more tight rendering of our expertise than to
let that mush just flow through and say we did our job
'cause I don’t think we will have.
So I'm going to encourage us to concentrate
our voting on however we end up.
choice.

This is clearly my

Thank you.
MS. LANNIN:

Thank you, Erik.

In terms of

this, I like the implied motion of the figure.

You

can imagine that she's just turning after watching her
child scatter seeds.

She's striding forward.

She's

stepping behind her daughter as she's going for the
butterfly.

I thought that this hung together nicely.

I really like Robert's idea of the land and plains and
see just a real simplification of the back.

But

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again, I don’t know how much we can, we can do of
that.
I have no problem with the script.

I do

believe that the traditional Ss -MR. SEARINCI:

No, the script is taken from

the Declaration.
MS. LANNIN:
Okay.

Okay.

Yeah.

So it has to stay.

I can, I can see that, but I do, I think

that we have an easier selling, if you were, of the
symbols on this series than we do of Series No. 4;
although, Series No. 4 is cleaner to look at.

But

this requires less explanation and I do like the
motion that's inherent in this.

And it will hang

together and you would buy any one of these
individually, I believe, as well the set.
Jeanne, did you want to say something?
MS. STEVENS-SOLLMAN:

I'd like to add to

this because it seems like we're all kind of moving,
gravitating to this piece.
Heidi says.

But I agree with what

But I'm wondering if we did choose this

set, can we recommend that, you know, we use maybe
silhouettes of maybe the barn and the wagon and

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everything become silhouettes or cutouts?
let that drop.

And, and

Let those backgrounds drop back so she

comes forward more.
I, because I think this does help the
collectors, those of us who will hold it in our hands
and appreciate this imagery.
MS. LANNIN:

So I have to say that.

Thank you, Jeanne.

All right.

The next one we have is Set No. 9.
MS. WASTWEET:

9A, want to do both?

MS. LANNIN:

9 and 9A we'll do together, if

MR. JANSEN:

Can I --

MS. LANNIN:

Sure.

MR. JANSEN:

-- comment on that?

we could.

Part of

the, kind of the reformation that we went through on
the voting last meeting, one could argue 7 might have
been combined; although, there's some very distinctive
elements in 7A that would say don’t combine 7 and 7A
in the voting or in the discussions.
But I think 9 and 9A, yes, cropping does
change the design absolutely.

However, again, to try

to, to streamline the discussion as to focus a design

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we can then back into the differences between 9 and
9A.

So to April and your staff, merge for simplicity

of process, please, because we can always tease out
the difference between say a 9 and a 9A.

So thank you

for doing that.
MS. LANNIN:

So your saying that you would

be okay with combining, let's say, 2018, 9, with 2019
9A?
MR. JANSEN:

In this case, yes, because

we're not losing information.

We're just trying to

clump it a little more specifically to speed our
process.

Thank you for that.
MS. LANNIN:

No problem.

No problem.

MR. TUCKER:

Thank you, Madam Chair.

Dennis?

really like this design for 2018.
new father.

I

I'm a relatively

I have a seven month old baby, Ava (ph),

so she's a little bit older than this little one here,
but I think this, this depiction will appeal to a lot
of people.

Everyone loves babies.

Similar to Steve

Roach's statement last time, everybody loves turtles.
A comparison.

But there's a human interest factor at

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work here.

Yes, baby turtles.
I would also point out that wording of the

preamble to the Declaration of Independence actually
mentions the inalienable right to preservation of life
and not just to life.

And I think that's depicted

here very well with the swaddling of the baby.
don’t have a naked newborn infant.

So we

We have someone

who is wrapped up and protected and protected by the
swaddling and protected by the flag in the background.
And the olive branch perhaps adds to that
concept of peace.

So I like that design.

And then I

love the action in the 2019 and 2020 designs.

I think

they're well-rendered depictions of, of a woman
dancing with a flag.

I almost feel as if our

colleague, Bob Hoge, has invited us to Barcelona and
(inaudible).

So there, they're nice renderings.

I don’t know if they really spell out what
they're intended to spell out, liberty and the pursuit
of happiness.

So I think that's a complication.

And

to kind of go back subject to our discussion of the
last set, I think the congressionally-mandated wording
of liberty on each, on all of these coins, you know,

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it has to be there.

It's in the legislation.

That's

complicated by, by these sets because one of the
symbols is liberty.
And I want to express my appreciation of Bob
Hoge's suggestion that liberty can be incorporated in
coronets and depicted that way to satisfy the
legislation and harken back a bit to our (inaudible)
history.
Anyway, those are my comments for this set.
I like, I like the infant.

I don't know the other

obverses really capture the other inalienable rights.
MS. LANNIN:
MR. URAM:
with Dennis as well.

Thanks, Dennis.

Tom?

Thanks, Madam Chair.

I agree

I think the 2018's a wonderful

design, and as you move on to the other years, they're
just as you had the art deco in No. 7-1, this is the
other extreme of that and it's just a little bit too
happy for, for what I'm looking at as it relates to
the series.
So I'll listen to the other comments by my
other colleagues here, but I kind of, if I was picking
here between 9 and 9A, I do like 9A and the fact that

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the, not as, not as demonstrative, but it has more
emotion without -- the '19 and '20 are just, can't get
ahold of that.

So anyhow, I'll listen to my

colleagues further, but I'm probably declining.
Although I will say that the eagle's my favorite.
MS. LANNIN:

Thank you, Tom.

MS. STEVENS-SOLLMAN:
Chair.

Thank you, Madam

I have to agree with Tom.

wonderful.

Jeanne.

The eagle is by far

And I think that this eagle could be

paired with some of our other choices.

As far as '18,

2018, I like Dennis's comments very much, but, you
know, I think that the life with our previous set, No.
7, was depicted a little better.

I just like that

better.
I think that 2019, 2020 really challenges us
to what we are trying to depict here.
eagle wins and the others don’t.
MS. LANNIN:

So for me, the

Thank you.

MR. SEARINCI:

Thanks, Jeanne.
I like 9A.

Donald?

I like the set

the most of everything that we've seen largely for the
reasons that Dennis is articulating, but also because
I think we're, you know, I think we're just seeing a

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contemporary first, contemporary depictions.

The, you

know, the choice of a baby for life, that's a good
symbol.

The argument will be, you know, it will be,

okay, so where is liberty, you know, in the pursuit of
happiness.

And, and you could imply liberty in the

carefree, you know, you know, happy nature of, of
2019, but then where do you find the pursuit of
happiness in 2020?
So that's the only argument that I could
really make against it.

But I think overall as a

complete set, you know, of nice designs with
contemporary images without harkening back to the same
old stuff that we produce all the time, I think, I
think I would support, I would support this set above
everything else we've seen.
MS. LANNIN:
MS. WASTWEET:

Thank you, Donald.

Heidi?

I think this is a really

sweet idea to have the aging over the three coins and
I wish we had a program where this would fit, but I
don't think that this fits our life, liberty, and the
pursuit of happiness. Yes, the baby represents life,
but the 2019 looks more like the pursuit of -- well,

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it looks like happiness, not the pursuit of happiness.
Just happiness.
And then because it's an aging thing that I
think is this Lady Liberty or is this just an American
girl.

I'm not sure.

very much.

I do prefer the cropped version

I like that variation.

But let's talk

about text a little bit.
One thing I see a lot in all of our packets
is the lettering looks like it's just squeezed in
afterwards.

It's not part of the design and a good

test for this when I'm designing a coin myself, and I
want to remind myself to incorporate the text into the
design, what I do is I ask myself if I took the
lettering off, would the design look like it's missing
something.

And if the answer's yes, then I've done it

right.
And when I look at these and if I imagine
these with no text on it, there's nothing missing.
It's just an afterthought.
it can fit.

It's squeezed in wherever

It's not part of the design.

it detracts from rather than adds to.

And I think

I think the

other sets are better for this program.

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MS. LANNIN:
MR. HOGE:

Thank you.

Robert?

This is an attractive set.

I

particularly like the 2018 image of the little infant.
I think the crop version is probably superior.

But I

have to agree with Heidi that these things look a
little bit too crowded all together.

For the 2019

series, I mean this is like an anorexic ballerina.

I

don’t know if that's really appropriate for what we
want to say as liberty.
the flag?

And also what is this with

I mean this is, I mean is this Dora Duncan

performing in 1916 or something?
These are attractive designs.

I especially

like the eagle; although, I am a little bit troubled
with the left wing.

I don’t know if it's being

truncated there or if that's the actual contour of the
wing.

I couldn't tell for certain from the drawings.

But I do like that reverse particularly.
I think this is an attractive set.

I don't

think it works as well as some of the other designs,
though.
MS. LANNIN:

Thank you.

Erik?

MR. JANSEN:

This one is not even close in

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my book.

It's kind of like baby happy-happy as

opposed to something that we might be asked to have
done here.

I do like the reverse and to me the only

reason not to choose this reverse would be to save it
for the next modern Liberty metal.
MS. LANNIN:

Thank you.

I enjoyed the

movement in 2019 and 2020, but what does it mean?
like the child.

I

If I had to choose between these two

sets alone, I would choose the one that is cropped.
But I think that we're asking the public who's buying
this to search pretty hard for liberty and the pursuit
of happiness in 2019 and 2020.
The eagle on the revere of No. 9 is by far
my favorite and I believe that it is fine if we pick
only the reverse to match with other obverses that we
choose.

So that would be my comment on that.
So we are down to No. 10, which is the CFA's

third choice.

Dennis, would you like to begin,

please?
MR. TUCKER:

Thank you, Madam Chair.

is an interesting concept.

This

I think the design

focusing on the Statue of Liberty's hand and torch is

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attractive and individual collectors might collect
these individually.

I like the inclusion of the

inscriptions like liberty and pursuit of happiness
because they, they assist the viewer.

I think,

though, that these designs really don’t capture the
concepts that they should.
MS. LANNIN:
MR. URAM:

Okay.

Tom?

Thank you, Madam Chair.

I would

agree and I think that someone might buy the first one
and not buy the others.

I think because they're

looking at it really as the liberty torch and I don’t
know that that covers the entire theme of the three
years as accurately as some of the other designs, but
I think it was a nice concept.
But I just don’t think that it's going to
work for the whole series.

So I'll have to decline.

Thank you.
MS. LANNIN:

Thanks, Tom.

MS. STEVENS-SOLLMAN:

Jeanne?

I agree with Tom.

I

think that when I first saw it, I had to look hard to
see that the flames were different.
very much like the concept.

Oh, I like, I

I liked the, the

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narrative that went with this.

I think when you do

look at it, it's very interesting.

However, I don’t

believe it really depicts symbology like we would like
to see, like the pursuit of happiness on these coins.
And so I can't support this then.
MS. LANNIN:

Thank you.

MR. SEARINCI:

Thanks, Jeanne.
Oh.

Donald?

It's not even worth

discussing.
MS. LANNIN:

Thank you.

Heidi, would you

like to discuss it?
MS. WASTWEET:

I think Tom nailed it when he

said some people might buy the first one, but if it
were me and I bought the first one, which I wouldn't,
I would lose interest by the second and certainly the
third year.

I think it'd be fun to have this as a set

of quarters in your pocket and then like in discovery
process which of the three variations is it because
they're subtle.

That would be fun.

And the

simplicity of it would be really appropriate for a
small circulating shallow coin.
For the price point, for the prestige and
the level of a platinum, just no.

Thank you.

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MS. LANNIN:

Okay, Erik, would you like to

MR. JANSEN:

I would only say when you're

comment?

voting, focus your votes so we can send a crisp
message to the Secretary.
MS. LANNIN:
with Heidi.

Subtle, very subtle.

I agree

Yeah, it's, we're asking people to spend

a lot of money and someone will say didn't you already
buy that and not get the, the liberty and the pursuit
of happiness.
I agree with Jeanne.

It, the difference

between the flames wasn't really distinctive enough.
And Robert, would you like to comment on this, and
then I would like to read -- Herman can't vote 'cause
he couldn't be here, but I do have his comments on all
of these designs and I'd like to read those into the
record.

So Robert, you want to talk about this one?
MR. HOGE:

I think these would all be nice

for reverses, first of all.

This is not a very

interesting proposal for a series.

It's sort of like

going, going, gone or blowing in the wind.

It's just

not something that's really going to appeal to the

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public as far as I'm concerned.

It's not that they're

badly done, but that's about it.
MS. LANNIN:

Okay.

Thank you.

All right.

This is, these are the comments from Herman.

"I found

the entire portfolio extremely impressive.

Many of

the images could stand alone artistically.

Too bad

one cannot scissors and paste and put a series
together that way.
9.

My favorite eagle is Reverse No.

I think that that is -- the most creative set, is

Set 2 with the flag watching across all three proof
coins.

Too bad the reverse eagle cannot replace the

eagle on that set.
"The set I think works best is Set No. 1.
Is it, probably would get my best of class vote, but I
depend on what my colleagues say because they are much
more knowledgably about what has been done in the past
here and elsewhere.

Herman."

So I would like to call for a 15 minute
break.

We can vote and then come back and –- Greg,

did you have something to say?
MR. WEINMAN:

Two things quickly.

I'll be

quick.

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MS. WASTWEET:

We haven't discussed the

eagles.
MS. LANNIN:

Okay.

So good point.

Are we

discussing -- quickly, Dennis, what do you think for
the eagles if were all separate and we could match
them with anything that we've looked at today?
MS. STAFFORD:

I think the only ones will

be 12 and 14.
MS. LANNIN:

Just 12 and 14?

All right.

MR. TUCKER:

I'm sorry, 12 and 14?

MS. LANNIN:

Twelve and fourteen as

independent.
MR. TUCKER:

Oh.

I know eight was not under

discussion, but it reminds of Laura Gard and Fraser's
design for the 1932 George Washington quarter.

I

agree with what everyone -MR. STAFFORD:

Sorry.

interrupt really quickly?

Could I just

Actually all of the other

reverses that are part of the sets are of course in
contention as well.

We just wanted to point out that

of the single reverses, I believe the committee just
opted to discuss 12 and 14.

But all the other

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reverses are, of course, on the table as well.

great.

MR. TUCKER:

Oh, okay.

MS. LANNIN:

First your comments.

That'd be

Okay.
MR. TUCKER:

I think I'll -- I'll concur

with the general consensus.

I've heard about No. 9.

I think it gets to the reality of a flying eagle
better than many of the designs.

Twelve and fourteen

are very marshal or war-like which, you know, is not
necessarily bad symbolism for, for a protective eagle.
I like the motion of No. 9.

I think that has my, my

strongest vote.
MS. LANNIN:
MR. URAM:

Thank you, Dennis.

Tom?

Thank you, Madam Chair.

I

concur, No. 9 was my favorite all the way through;
although, I do like 12 and 14.

There are some things

there, but it just has more of a freedom look to it
versus the war-like as Dennis had mentioned.

I just

like that it's a, it's a bird in flight, in motion.

I

like that a lot, No. 9.
MS. LANNIN:

Thank you.

MS. STEVENS-SOLLMAN:

Jeanne?

I agree.

No. 9 first

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of all looks like an eagle.

It has the wingspan of an

eagle and I particularly like the way the artist has
brought that wing around so it's actually cupping the
air.

So its coming in.

doing.

It's, you know what its

I think that this is probably one of the most

successful eagles that I've seen.

Even though we've

had some great eagles in the past, I think this is
well done.
this.

So congratulations to whoever produced

Thank you.
MS. LANNIN:

Thank you.

MR. SEARINCI:
good.

Donald?

You know, obviously No. 9 is

I also like No. 2.

I also like No. 11.

But,

you know, I think we can go with No. 9 for this
series.
MS. LANNIN:
MS. WASTWEET:

Thank you.

Heidi?

I think that the proper

choice for the eagle depends on what we choose for the
obverses.

If we go with the Greek series, I think

Reverse 8 would pair nicely.

If we got set, you know,

that we're kind of favoring Set 7, and I think Reverse
9 would pair well with that.

I also like Reverse 14,

but as someone else said, it's a little bit too war-

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like for this program.
MS. LANNIN:

Thank you, Heidi.

MR. HOGE:
Reverse No. 9.

That's it.
Robert?

I'm strongly in favor of eagle

No. 11 I think looks like a

belligerent budgie.

And No. 14 I like.

I like the

striping strong huge head of the eagle, but perhaps
it’s a little bit too aggressive.

But very effective.

Some of these other designs are also pleasing, but I
think 9 is certainly clearly my favorite.
MS. LANNIN:

Thank you.

MR. JANSEN:

No. 9 and that's not just a

Beatles' lyric.

Erik?

And I would like to ask the Mint

staff to keep No. 14 coming back.

If you -- every

time I go to a zoo or I live in the Pacific Northwest
and I get the opportunity to see an eagle, and I have
a nest right over my house, they look belligerent.
Let's be, you know, it is.

Sometimes I wake up to --

if you've never heard or you don’t know what a bald
eagle sounds like, come to my house.
But they look just like this.
that eye.

They have

And so please, bring No. 14 back to us.

Thank you.

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MS. LANNIN:

Thank you, Erik.

I too -- No.

9 has the most eagleness (ph) of any for me, but in
addition to bringing back No. 14, I also think that at
some point Reverse No. 12 would be appropriate for
something.

I just really, that very wary eye that's

looking at you.

You know, it's curiosity, but it's

just don’t get to close.
saved.

So I would like to see those

Any other discussion?
MS. WASTWEET:

It's a great segue into our

merit system.
MS. LANNIN:
MS. WASTWEET:

Yes.

Exactly.

Yes.

If you like a design, but it

doesn't fit the program, give it a merit vote, please.
MR. JANSEN:

And thank you to the Mint staff

for making the, the look and feel of our, of our
tabulation page so distinctly different that you give
merit where merit is due and give votes where you want
your impact to be.
MS. LANNIN:

Thank you, and thank you to

everybody who went through all of that subcommittee
for tweaking our voting procedure.

So I would like to

ask you to take a moment and vote and turn them into

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Greg.
12:30.

And then we will take a break and resume at
Is that fair?

Did you have something to say,

April?
MS. STAFFORD:
MS. LANNIN:
MR. WEINMAN:

No.
No?
We wait until we come back.

12:30 is good.
MS. LANNIN:

12:30's good?

Okay.

Thank

you.
(SESSION BREAK)
MS. LANNIN:

We're missing Dennis.

MS. STEVENS-SOLLMAN:
MS. LANNIN:

Okay.

But -All right.

Greg, would

you like to report out the vote?
MR. WEINMAN:

We are getting printouts which

we'll hand out to everybody.
MS. LANNIN:
MR. WEINMAN:

Thank you.
But, so -- yes.

Set 1, we received one vote.
Set 3, one vote.
course were zero.

Yeah.

For

For Set 2, zero.

For

For Set 4, 13 votes.

5 and 6 of

Set 7 is the winner with 21 votes.

Set 8 has zero votes.

Set 9 and 1, set 9A had seven

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nos.

And Set 10 had zero votes.
Moving down to the reverses, which was a bit

of a landslide, the ones receiving votes were Reverse
8 had four.
two.
five.

Reverse 9 had 24 votes.

And Reverse 12 had two.

Reverse 11 had

And then Reverse 14 had

Once again, we have the actual printout shortly

here.
MS. LANNIN:

Okay.

MR. WEINMAN:

Thank you.

But receiving the majority of

votes was, in fact, Set 7 and Reverse 9.
MS. LANNIN:
much.

All right.

All right.

Thank you very

Does anyone -- Dennis isn't here,

but does anyone like, want to make any motions about - Robert?
MR. HOGE:

I would like to.

I'm strongly in

favor of Set No. 7, but only with rather severe
reservations pertaining to the subjects that we'd
addressed.

I would like to submits this for revision

by the artist.

I mean the themes are fine, but some

of the technical aspects.
For instance, elimination of the word
liberty on the first and the third of the coins.

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Maybe incorporating tiny lettering of liberty onto a
coronet without a change to the design.

Perhaps

reduction of the background or modification or
simplification so that they don’t look so busy and so
that they present more of a theme, changing from one
to the other that is shown here.

Consideration of the

use of a silhouette in the background rather than
these very detailed, extremely tiny representations.
Maybe elimination of the sword.

We've discussed this

sort of thing too.
I'd like to see a re-thinking of this.
Maybe we could have this done quickly and do some
curing, but I just don’t see this going as a, as a set
as it is right now in terms of our vote.
MS. LANNIN:
MR. HOGE:

Okay.

So your motion --

My motion is that this, we select

Set 7 as we have already voted, but that we do so with
these reservations and stipulations, that it be
reconsidered.
MR. JANSEN:
MR. HOGE:

And happiness spelling.
And the happiness spelling.

Maybe make it look a little bit less like flapiness

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(sic).

Maybe consider modifying the second to the

last S as well.

Just reconsideration of these things.

I'd like to see some revisions.
MR. JANSEN:

Second the motion.

MS. LANNIN:

All right.

All in favor of

Robert's motion to simplify and -MR. HOGE:

And modify.

MS. LANNIN:
selected Set 7.

All in favor?

MR. JANSEN:
comment.

-- modify and tune up our
And Erik, you said --

Well, I was just going to add a

I thought his idea of incorporating the

liberty in the coronet is both a classic and therefore
valid and really clever way of eliminating this, this,
this awkward liberty's got to be on each coin because
it'll be there.

It'll just be so subtle that it won't

detract from the artistic impact.
MS. LANNIN:
done in one motion?

So can that, can that all be

Greg?

MR. WEINMAN:

Either way.

You can put it

all in one motion of your opinion or do a motion
(inaudible).
MS. LANNIN:

You want to do it motion by

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motion?
MR. HOGE:

Does the motion necessarily need

to demand a send back to the artist, or could it
include discretion to the sculpting team?
MR. STAFFORD?

We work with both.

We work

with both instances depending on -MR. HOGE:

Because I know that they can be

confusing sometimes and I want to be really enabling
of these changes.
MS. LANNIN:

So why don’t we have the record

reflect that Robert made a motion, a complicated
motion.

You seconded it, Erik.

And then piece by

piece we will go through the motion and just vote aye
or nay.

How's that sound?

So to simplify the

elaborate background, all in favor?
(All votes aye.)
MS. LANNIN:

Unanimous.

To add liberty to

the band -MR. HOGE:

As a coronet.

MS. LANNIN:

As a coronet.

All in favor?

(All votes aye.)
MS. LANNIN:

That's unanimous.

Sorry,

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Robert, what was the other ones?
MR. HOGE:

Well, the whole series of --

MS. LANNIN:
MR. HOGE:

To remove the sword.
To remove the sword.

lot of the background detail.

To remove a

Possibly to change

themes a little bit to show kind of a screen of
consistency as I suggested.
country perhaps.
things.

Different parts of the

We have mountains in two of these

We have lakes or rivers in two of them or

whatever it is.

We see the plains with furrows,

plowed furrows in two of them.

I'd like to see

something a little bit different for each one.

Just

redo the background, landscape.
MS. LANNIN:

So a sub-motion to distinguish

the landscape in all three years to be something that
is unique to that coin, land, sea, whatever.
MR. JANSEN:

Donald?

To visually simplify it.

We

talked about removing superfluous detail, which I
think Heidi made the point almost referring back to
the way the Walking Liberty has similar background
elements that don’t distract.
MS. WASTWEET:

Well, we already had a motion

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for simplifying.

So this is a separate --

MS. LANNIN:

That was the first one that

passed.
MS. STEVENS-SOLLMAN:
need.

I think that's all we

Yeah, that's all we need.
MS. WASTWEET:

So far as far as changing

the, the landscapes, do we have a second?
MS. LANNIN:

I think that's going to be part

of this -MR. HOGE:

Well, the carry them all as a

motion and second.
MS. LANNIN:

It's a different motion?

MS. STAFFORD:

It wasn't mentioned the first

one.
MS. LANNIN:
go around.

Okay.

It wasn't mentioned the first

Let's get just through Robert's

first thing.

So we're putting liberty on the band, on

the coronet.

That motion passed.

MR. HOGE:

Well, the third one doesn't

really have a coronet.

So that head would need to be

modified, so.
MS. STEVENS-SOLLMAN:

But it doesn't need it

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because liberty -MS. LANNIN:

Because the word liberty's

right there.
MS. STEVENS-SOLLMAN:
MR. JANSEN:

It's already there.

Well, I think the idea would be

to remove the incused liberty at the 6 o'clock
position in '18 of the '20 models.
MS. WASTWEET:

Yeah, the problem is the way

the liberty rules over the three dimensional relief of
the design in a way that's not practical other than on
paper.
MS. LANNIN:

This is getting to be a very

confusion motion.
MR. JANSEN:

Well, the idea is to, to subtly

include liberty on each coin?
MS. LANNIN:

Yes, exactly.

MR. JANSEN:

Okay.

And then the '18 and the

2020 version, it would be in the coronet band?
MS. WASTWEET:

Right.

MS. LANNIN:

Yes.

MR. JANSEN:

And the '19 version, it is

there by intention?

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MS. LANNIN:

Exactly.

MS. STEVENS-SOLLMAN:

And it could just be a

tiny bit smaller so that it doesn't overlap.

Just

have to, you know, the crossing of the T, which is
actually in the background, it should be on the
surface.

That T is crossed incorrectly.

just, you know, make it a little shorter.

And the Y,
And that'll

be fine.
MR. JANSEN:

And we have to add a band or

coronet on the third liberty head, happiness.
MS. LANNIN:

Okay.

All right.

MR. JANSEN:

The head doesn't really need to

change that much.
MR. EVERHART:
on that?

One comment before we proceed

Would you put a coronet and the word liberty

on there, at that size, are you going to be able to
see it?
MR. HOGE:
it's there.

Is that important?

As long as

The complies with the legislation, right?

MR. EVERHART:

Well, it's not my question to

answer.
MS. LANNIN:

Greg?

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MR. WEINMAN:
marks.

We've obviously used privy

We've obviously used privy marks in the past

and so I think it has to, obviously it has to be
there.

Whether or not it is easily seen, it probably

doesn't go to -- will comply so long as it exists and
see will be perceived on the coin.
MS. LANNIN:

So to simplify this, we have

agreed to simplify the background.
passed.

That motion

Donald?
MR. SEARINCI:

Yeah, I'm, I'm just in a

suspension on these things.

I don’t want to vote no,

but I'm not going to guess.
MS. LANNIN:
MR. SEARINCI:

Okay.

MS. LANNIN:

I don’t like to --

MR. SEARINCI:

So noted.

MS. LANNIN:

-- with the artist.

MR. SEARINCI:

So noted.
What we're about to do, I

don’t like to do.
MS. STEVENS-SOLLMAN:

I think what we're

saying just helps the striking of this wonderful
series a little better.

It's not -- I don’t think

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we're messing with it.

So long as we don’t dictate

how those, that background, that landscape goes.

All

I would like to see is a -- I like the background the
way it is.

Just make it a little more simple.

know, just take away some of it.
redo it.

You

You don’t have to

And I, I don’t think I want to redo it.

But

to say simplify in this motion I think is fine.
MS. LANNIN:

And that, and that did pass,

was to simplify it with one abstention.

So the motion

to add liberty to the coronet on 2018 and 2020 also
passed.

With one abstention.
MR. TUCKER:

Madam Chair?

MS. LANNIN:

Yes, Tom.

MR. TUCKER:

Just to clarify, in addition to

putting on the coronet, it would be removed from its
current placement.
MS. LANNIN:

Exactly, thank you.

be motion sort of part of No. 2A.

That would

We would take

liberty away from 2'18 and 2'20 at the bottom.
MR. EVERHART:

Madam Chair, can I add

something here?
MS. LANNIN:

Certainly, Don.

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MR. EVERHART:
incused and polished.
won't be polished.

As it is now, it'll be

If we raise the lettering, it

It will not attract as much

attention and it'll coin easier.

That's just an

option I'm throwing out there.
MS. LANNIN:

Leaving liberty where is it

right now?
MR. EVERHART:

Yeah.

MS. STAFFORD:

It will be much less bold,

will blend in the background.
MS. STEVENS-SOLLMAN:

If you did leave it

there, can you, instead of putting it straight across,
can we, can we curve it so it kind of goes along with
In God We Trust?
UNIDENTIFIED MALE:
MS. STEVENS-SOLLMAN:

Sure, we could do that.

UNIDENTIFIED MALE:
something new here.

Because liberty's -I'm going to put

I thought we sort of had chatted

about this when we reviewed these for coinability
purposes, that putting liberty over top of that level
of artwork with the different relief is going to be
problematic.

I thought the plan was to fade out the

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bottom part of that design so it could be lowered or
read, but you won't be able to read liberty on top of
all that artwork.

It's going to be very hard to see

that.
MS. LANNIN:

True.

MS. WASTWEET:

And I think your solution of

fading out the artwork to accommodate the liberty is a
solution for the technicality of it, but I think it
compromises the art.

And so I would be more in favor

of moving the liberty, and therefore, removing the
coinability problem.
MS. LANNIN:

So I heard you say removing the

liberty.
MS. WASTWEET:

From its current placement

and moving it to the coronet so it's legally there.
MS. LANNIN:

And I believe that that motion

has passed.
MS. WASTWEET:
MS. LANNIN:

Yes.
I think a sort of separate, and

heard Robert's initial motion that we remove the
sword?
MR. HOGE:

Yes.

That can be -- do you want

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to remove it or -MS. WASTWEET:

I feel strongly that the

sword should be removed.
MR. TUCKER:

I disagree just because of the

wording of the preamble talks about the preservation
of life and I understand what the artist is trying to
convey this there.

I see the conflict, though, but I

understand the artist's intent.
artist's intent, I should say.

I agree with the
I know you understand

it as well, but you're disagreeing.
MS. WASTWEET:

Yeah, I think sword goes

beyond preservation to, to another level of violence
in order to -MS. LANNIN:

I, I understand what Dennis is

saying, but I, I agree with Heidi, but for a
completely different reason.

I wouldn't be sewing

seeds with a child with a sword around my waste.
MR. TUCKER:

Yeah, yeah.

MS. LANNIN:

So I think it needs to be

removed just on that grounds.
MS. WASTWEET:

And it contributes to the

busyness.

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MS. LANNIN:
busyness.

And it contributes to the

So Greg, do we need a separate motion to

remove the sword?
MR. WEINMAN:
MS. LANNIN:

It would be simpler for us.
Okay.

I make a motion that we

remove the sword from the 2018 Set 7, number one.
in favor?

Or somebody want to second?
MS. WASTWEET:

I'll second.

MS. LANNIN:
favor?

All

Three against.

Heidi will second.

All in

Does not pass.

MR. SEARINCI:

I abstain.

MS. WASTWEET:

You abstain.

MR. JANSEN:

It's a tie.

MS. LANNIN:

It's a tie.

So it's a tie?

So it's, it

doesn't happen.
MR. WEINMAN:

Do you have (inaudible)?

MR. JANSEN:

Yes, we still have 7.

We still

MS. LANNIN:

So it's three to three with one

have 7 --

abstention.
MR. WEINMAN:
MS. LANNIN:

So the motion fails.
Motion failed.

So she's sewing

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whatever she's sewing?
MR. JANSEN:

We need to ask for affirmative.

You didn't ask for nos.

I might abstain.

MS. STEVENS-SOLLMAN:

I was going to abstain

also.
MS. LANNIN:

All right.

MR. JANSEN:

I'm abstaining.

MS. LANNIN:

One no.

MS. WASTWEET:

All nos, please?

So it passes.

MS. LANNIN:

What do you know.
Thank you.

All right.

How

many more parts of your initial motion, Robert, are we
trying to squeeze in on one vote?
MR. HOGE:

The others are, first of all, to

modify the figure of liberty that's shown with
happiness on the third one.

Make her smile.

She

doesn't look happy.
MS. LANNIN:

Do we need a motion for that?

MS. WASTWEET:

I don’t think so.

I think on

the coin that because of size of it, you won't know.
MR. HOGE:

Well, the little girl looks happy

here.
MS. WASTWEET:

And that's what matters.

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MR. SEARINCI:

Well, if you want to make her

happy, get rid of the butterfly.

The kids running

around -MS. WASTWEET:
MS. LANNIN:

It's the pursuit.
That's the pursuit.

That's the

pursuit.
MR. HOGE:

I just think that, you know,

there's a quality about the way she's presented there
that doesn't look happy.

Pursuit of happiness, maybe

the little girl and the butterfly, yes, but the
Liberty figure -- and also, the cornucopia needs to be
redone.

It's just far too busy.
MR. TUCKER:
MR. HOGE:

As a book publisher -I hate to be doing this modifying

the art by committee, but I think that it's important
here because these designs are really quite beautiful.
I think they'll be very effective.

It think that

there are various problems that need to be addressed.
If we don’t put this into some kind of a statement,
it's not going to happen.
MR. TUCKER:

As a book publisher, I know

that people will be seeing these designs larger than

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the struck coin.
MS. WASTWEET:
MR. TUCKER:

Right.

to six inches or more.

They'll be seeing them blown up
You know, if a coin is

featured on a book cover, it'll be very large.

So

there are opportunities for people to see the nuances
of the facial expressions.
MS. STAFFORD:
less stern.

We can certainly make her

Less unhappy.

Just because it's in the

drawing, doesn't necessarily mean it will be that way
in the sculpture.
MS. LANNIN:
record.

So your comments are on in the

Greg says we don’t need a motion on that.
MR. WEINMAN:

I don’t think you ever voted

on the distinguished landscape and make it -MS. STAFFORD.

Yes, we said simplify the

elaborate background.
MR. WEINMAN:
MS. FRANCK:

We did.

Okay.

My apology.

Yes, but to make one costal,

get rid of the -MR. STAFFORD:
MR. WEINMAN:

I don't think -That was a possibility.

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was the motion.
MR. HOGE:
redo those.

We'll leave it to the artist to

But I like the suggestion be available.

MR. WEINMAN:
MS. LANNIN:

It's on the record.

else?

It's on the record.

Anything

You needed to say something?
MR. WEINMAN:

Once we, moving past this

particular topic, I just wanted to mention for the
record sadly, unfortunately, Steve Roach has resigned
from the CCC for a very short tenure because he has
accepted employment with the Treasury Department.

And

so we will be, we'll miss him in the CCAC, but glad
he's working with the federal government.

We will be,

therefore, seeking a new member to represent the
interests of the general public and will be posting
for that position soon.
MS. LANNIN:
further business?

Thank you.

So if there's no

I move to adjourn.

MR. SEARINCI:

Second.

MS. WASTWEET:

Second.

MS. LANNIN:
adjourning say aye.

Thank you.

All in favor of

All those opposed who want to

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stay here through lunch?
(Whereupon, at 12:47 p.m., the meeting
concluded.)

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CERTIFICATE OF NOTARY PUBLIC
I, Dylan Hinds, the officer before whom the
foregoing proceeding was taken, do hereby certify that
the proceedings were recorded by me and thereafter
reduced to typewriting under my direction; that said
proceedings are a true and accurate record to the best
of my knowledge, skills, and ability; that I am
neither counsel for, related to, nor employed by any
of the parties to the action in which this was taken;
and, further, that I am not a relative or employee of
any counsel or attorney employed by the parties
hereto, nor financially or otherwise interested in the
outcome of this action.

Dylan Hinds
Notary Public in and for the
District of Columbia
My commission expires:
Notary Registration No.:

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CERTIFICATE OF TRANSCRIBER

I, Penny Knight, do hereby certify that this
transcript was prepared from audio to the best of my
ability.

I am neither counsel for, related to, nor
employed by any of the parties to this action, nor
financially or otherwise interested in the outcome of
this action.

9/20/16
DATE

Penny Knight

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