On January 4, 2004, after a 5 am wake up call, a hurried breakfast, a 20-minute drive to the train station, an hour on the R5 from Exton, and a 10-minute walk through the darkness and rain in Philadelphia, I rounded the corner of Arch St. and 5th and saw the United States Mint for the first time. It was well-illuminated and looked to be a welcome respite from the winter gloom around it.

But I can't say I was thrilled to be starting this new phase of my career. I am a freelance artist at heart, and the thought of an everyday nine-to-five job really didn't sit too well with me. How was I going to maintain my daily regimen of cycling? Was I going to be permitted to be creative?

Even though I had a stereotypical and not-quite-positive idea of what a government position would be like, I decided that I had to make the best of it. At the time I had no idea that the job would be the very opposite of what I expected.

After going through security at the employee's entrance of the United States Mint, I was ushered up to the third floor and the Sculptors Studio. I had already met John Mercanti and Donna Weaver, both staff engravers, when I had my initial interviews the year before. I also knew Charles Vickers and Norm Nemeth previously from my six years of working with them at The Franklin Mint.

I noticed that the corner cubicle was open for me! It had windows on both sides and was at the front of the building. Wow, I thought, they must hold me in high regard to give me the prime spot in the Sculptors Studio!

I found out rather quickly and to my chagrin that when it was cold outside this spot was FREEZING! I can remember Donna wearing a coat and gloves one winter day using masking tape on the windows to keep the chill air from leaking in.

Conversely, in the summer months, it was stifling. We would have four or five fans going at once. The building is made of granite and holds the cold in the winter and the heat in the summer. The windows in the studio faced south.

I began in my new position by cleaning dies, changing dates on pennies and nickels, and started working up some designs. John, who was in charge of handing out sculpting assignments, gave me the California State Quarter to sculpt! I couldn't believe that I was actually sculpting a coin to be circulated in the very successful 50 State Quarters program.

John also gave me the reverse of his Jackie Robinson Congressional Gold Medal design to sculpt. I still appreciate the guidance John gave me while he was the Chief Engraver of the United States Mint.

I worked for about a year developing designs, none of which were chosen. I thought were good enough, but, for whatever reason, they weren't making much of an impression on the CFA (Committee For Fine Arts) or the CCAC (Citizens Coinage Advisory Committee) in Washington, DC.

One day I conveyed my dismay to Dave Puglia, who was Acting Plant Manager at the time. He told me,

I wasn't so sure about that, but about two weeks later I found out my Nevada State Quarter design was the top pick of the committees! Within a week my Benjamin Franklin Founding Father Commemorative obverse design and my Coretta Scott King and Martin Luther King Congressional Gold Medal obverse design were also chosen.

Now I felt like I belonged.

To read the complete original article, see:
Don Everhart: My Career in Coins, Part 2 - The United States Mint(https://coinweek.com/editors-choice/don-everhart-career-in-coins-part-2-the-united-states-mint/)

To read the earlier E-Sylum article, see:
Don Everhart's Career in Coins, Part 3(https://www.coinbooks.org/v25/esylum_v25n07a19.html)