i OAs^ \r -J ^.-^ .\%r HOW TO PAINT- FLOWERS, SCROLLS and FANCY BORDERS for up-to-date SHOW CARDS, POSTERS, DISPLAY SIGNS and DECORATING NEW AND REVISED EDITION PRICE $2.00 POSTPAID Published by W. A. THOMPSON Pontiac, Mich., U. S. A. COPYRIGHT, 1905 BY W. A. THOMPSON NEW AND REVISED EDITION COPYRIGHT, 1915 BY W. A. THOMPSON bO r.0 OCT 15 1915 Cy CV C. E. BISHOP PRINTtNO CO. \ s 'CU414032 i/1 PREFACE This book is especially intended for the show card writer and student in rapid and ornamental designs. From a practical standpoint I have endeavored to make it as plain and comprehensive as possible. The ex- ercises are so arranged that the learner may encounter but one difficulty at a time, and advance from simple outlines to more artistic designs in such a manner that will fully exercise the ability of the learner without discouraging him. The instruction in this book teaches one thing at a time and each part in the order of simplicity — teaching elements at first instead of a finished flower or complex scroll. It teaches form before movement of the brush, and the simpler movement of the brush or pencil before the complex. The same principal runs through the for- mation of different flowers and finished designs. This method lets in a little light to the student, instead of con- fusion in trying to decipher the form and just what part to begin with. A thorough drill in the elements as pro- vided in the different sections of this book is the first step toward perfection in flower painting and designing. Rapid Flower Painting and scroll work as given in this new book has many recommendations, it is easy (easier than ordinary lettering) and is done with com- paratively little labor, and yet it affords scope for the ex- ercise of artistic skill of high order. W. A. THOMPSON Pontiac, Mich. 1915. CONTENTS PAGE DAISIES— Diagrams for easy sketching, position, groups, brush stroke exercises, etc 6-13 PANSIES— Drawing in outHne, groups, brush stroke construction of flowers, etc 14-19 WILD ROSE— Diagrams for sketching, pencil and brush exercises, etc 20-29 EASTER LILIES— Easy method for outlining, brush stroke exercises, etc 30-37 VIOLETS— Outlines, groups, pencil and brush exercises 38-43 HOLLY— Outline sketches, designs, etc 44-47 Scroll Exercises, Designs, Etc 48-63 Flower Sketches, Show Card Designs, Etc 64-89 Scrolls and Backgrounds 90-97 Ornamental Dashes, Corner Pieces, Borders, Etc 98-109 Line Scrolls, Etc 110-131 RAPID FLOWER PAINTING AND SCROLL DESIGNING It is generally believed that considerable talent is necessary to make any progress in flower painting and scroll designing. The only qualifications really necessary are a correct eye, a steady hand, and a moderate portion of common sense, the last being after all, perhaps the most useful, for the two former may be not only much improved but even acquired by careful practice. Flower and scroll work is more free and less mechanical than general lettering. From straight lines to curses is an easy step, and those who have a fair knowledge of form with freedom of move- ment in forming simple strokes with pencil and brush have about all that is needful to make a creditible showing in outlining and painting all flowers of a single leaf variety. Sketching flower outlines within circles and squares which have been divided by vertical and horizontal lines as shown in the following pages will enable all to form quite accurate flower out- lines, as the principal parts of each flower falls upon the points of division. In drawing straight and curved lines the use of ruler or compass should be avoided. The chief object to be obtained is freedom and command of the hand; and this is only to be accomplished by practicing without mechanical aids. Learn to train the eye to see and the hand to execute; the sight that insures cor- rect drawing is not that of the eye only, but of the mind. MATERIALS The materials required for scroll designing, flower outlining and painting io water colors are few and inexpensive. For free-hand drawing, outlining, etc., a good quality of lead pencils and erasers should be used. Russia Sable Flat brushes 1-16, 1-8, 3-16 and 1-4 inch wide are the best to use for accuracy in stroke and ease in Rapid Flower Painting. Use Water Color Paints only. Prepared Water Colors for flower painting are recommended for clean and neat work. For running scroll lines in color on medium size show cards, a No. 5 Red Sable Brush will give good results. Ball pointed pens are recommended for making small scroll designs and all narrow line work. An excellent ink for Ball Pointed pens can be made by merely thinning Water Color Paints with water only, to a free flowing liquid. PRACTICE PAPER Manilla wrapping paper of medium weight and smooth surface will give good results in out- lining with pencil, pen and brush, and can be had in any locality at a very reasonable price. Water color paints work nicely on this paper and will give justice to every stroke you make. Most any paper of a smooth and firm surface (not glazed) will answer for practice on pencil outlines and also for practice on flower painting in colors with brush and paints. CARD BOARD Common white and colored stock, 4, 6 and 8 ply is generally used for show card work. Almost any card board with a good surface (not glazed) will do. Local printers in most every locality carry a supply of card board in different weights suitable for show card work. The light best adapted for general drawing and painting comes from one window, the student being seated so that the light may come over the left shoulder. If there are other windows in the room, it is best that the light be obstructed to a certain degree. The brush should be held similar to the manner of holding a lead pencil in sketching, except that the brush should be held more upright. Freedom with the brush is essential. In practice use a free movement, try to get strength in your lines and curves, but at the same time strive for a light, easy action; avoid a jerky, spasmodic movement. The flower outlines, brush exercises, scroll designs, etc., in the following pages will be found valuable to all interested in rapid floral and scroll work for show card ornamentation. Daisy DIAGRAMS FOR EASY SKETCHING For show card embellishments, the Daisy flower is one of the best varieties most suitable for rapid work as they can be painted in natural colors by a few simple brush strokes. In beginning, for an easy method in drawing or out- lining this flower with a lead pencil, first make a circle as shown in the first dotted outline of the accompanying illustration. Place a small circle in the center, then tick off the relative sizes of the petals on its circumference and proceed with each part as indicated in the third circle outline. The fourth drawing shows the flower in full out- line. By the aid of a circle outline as a guide, the student will find no difficulty in drawing the petals true and well balanced in any size desired. For inexpensive drawing or practice paper, use a good grade of Manilla wrapping paper. White "Egg Shell" paper is excellent for lead pencil outlining practice work. Egg shell paper can be had at most any Job Printing office at about the same cost of ordinary white paper stock. The object of these elementary exercises is to give you an easy method in forming the different parts, and to cultivate neatness and accuracy of the eye and hand. Practice on these outlines until you can do the work quickly and accurately. When you can outline the flower fairly well in different positions, you will then be able to make rapid progress in painting the flowers in natural colors with a brush. Daisy The appearance or position of this flower can be greatly changed by merely drawing the middle portion above or below the center and then running the petals to the outside circle outline. An endless variety of positions can be had in shift- ing the center portion as indicated by the accompanying outlines to the right. Learn to see, then to do. prove profitable. Earnest effort will soon Daisy By the use of an oval or ellipse outline instead of a full circle guide outline an extended variety of positions of this flower may be outlined with ease. An ellipse outline placed in different positions coupled with shift- ing the center portion will enable one to form the flowers to fall or droop in any direction desired. Simplicity is one of the first principles in this line of work. Daisy The illustrations to the right will lend a suggestion for assembling two or more flowers in compact form. When guide lines are drawn correctly in the first place as suggested by the dotted outlines, the subject is easily comprehended, and it becomes nearly impossible to make a mistake in the arrangement of groups. Notice every detail in the construction of each flower such as position, and form of each part. 10 Daisy LEAVES Practice on outlining leaves and buds will be found an advantage, as being familiar with the form of leaves in outline will greatly help one in the use of brush and paint. You should spend at least one hour daily in outlin- ing single flowers and groups in different positions. Take frequent reviews in exercise drills whenever possible. The lower group exercises will not be difficult if you have been faithful in practice on the first outlines. Daisy 11 BRUSH STROKE EXERCISES Leaves and petals can be formed quite accurately by the brush stroke method and the accompanying exer- cises will give a good idea for rapid work. Note how the brush strokes are combined in mak- ing leaves as suggested in illustration to the right. The first stroke is one sweep full length as shown by stroke number one. The second and third strokes are run as indicated. Leaves in all natural positions can be made in this way very rapidly. The petals as shown in the white exercise strokes may also be made rapidly and very accurate. The two downward strokes when formed close together will produce upper and lower petals correct in form without any additional retouching. In painting a complete daisy flower, the card may be turned in easy position as you form the petals. Suggestions for natural colors. White Daisy — Petals, pure white; center, yellow. Leaves, medium green. Stems, dull green. When painting this flower in colors on colored cardboard the white petals should be painted first, then the yellow center as shown in lower part of illustration to the right. Keep the brush fairly well filled with paint. Dip paint often, but sparingly; this is better than taking too much paint at one time, and will assist you in painting the petals clear and distinct by two strokes of the brush. Use Russia Sable flat brushes for flower painting and a good grade of water colors paints, — see page 132. 12 Daisy ^%m - V Suggestions for Show Card Designs. Daisy 13 For further study on show card designs with Daisy flower outlines, see pages 64 to 70. 14 Pansy OUTLINE SKETCHING For an easy method to outline a pansy flower with a lead pencil first draw a square, then run two center lines vertical and horizontal as shown in first illustration. Add the small strokes shown in the center of second square and run oval lines downward for lower petal and connect same as shown in third square. Run a horizontal line in the center of upper half of square as indicated in third outline and you now have a guide to sketch the upper petals of the pansy quite accurately. Run outline for second petal up- ward and to the left and downward as shown in the fourth square. The third petal outline is run upward to the right and downward as indicated in the fifth square. C^ Pansy 15 Begin outline for fourth petal at top of third petal and finish with outline of top petal to the right as shown in illustration. The different stages of treatment of flower sketches in the three lower squares lend a suggestion for finishing the center of the flower. In outlining try to improve the form each time you practice. Do not be satisfied with your previous attempts, but keep on improving. With a little experience and careful study you will find that you will be able to make true and accurate pansy sketches without the aid of guide lines or measurements. Outline guides are valuable for beginning, but not necessary when a fair know- ledge of form and construction has been established. 16 Pansy Pansy flow^ers in outline showing different positions may be drawn in good form by using a tilted square guide outline with dotted sections as suggested in diagrams to the right. Practice one exercise at a time and never pass to another outline until you see some improvement. Do one thing at a time and do that well as possible. Pansy 17 LEAVES Make the center line or midrie an easy curve, and run outline of leaves and buds as suggested in illustration to the right. Practice on outlines of single flowers and groups in different sizes until you become acquainted with the construction and form of each flower in various positions. It is important that you should study and practice on outlines and form of each flower until you can carry its form in your mind's eye at all times, even though it is not sketched on paper or cardboard. In this way you will soon be in a good position to paint any flower desired in color with the brush without any tracing or outline, except in some cases merely placing a dot showing the location desired for each flower on a design about to be finished. Russia sable brushes of the smaller sizes are the best to use for flower painting. See page 132. 18 Pansy ^ In drawing pansies in outline with a lead pencil, we begin with the lower petal as shown in page 14 Paint- ing pansies in natural colors with a brush we begin with top petal to the right and work downward as shown in above illustrations. The outlines to the left show the brush strokes in the make up of the flower, and the petals to the right show the order in which they are finished. For painting, use Russia sable flat brushes 1/16, % 3/16 inch wide and begin at top as indicated and work downward. The top petal should be a light purple tint which IS made by using white paint with a touch of purple. The second, third and fourth petals should be either a stronger or lighter color to\yard purple shade and the lower petal of a light tint. Finish center neatly in purple with a touch of red and white. There is no end to combinations of color, the main thing is to bring uot neat con- trast. Various tints of yellow, white, and purple can be used to good advantage in painting the petals of pansies Pansy 19 SUGGESTION FOR SHOW CARD DESIGNS. Practice on flower outlines in different sizes until you become acquainted with the construction and form of each flower in various positions. Paint in each flower outline in colors with a brush and finally you will be able to paint the flowers complete without using the outlines for a guide. Suggestions for natural colors, Pansy Flower, colors varied. Petals, purple tint, dark red, white, purple and yellow. Leaves, two shades of green — light and dark. Center, touch of purple, yellow, white and red. For further study on show card designs with Pansy flower outlines, see pages 71 to 81. 20 Wild Rose »• -^ • '« + ..♦•t • WILD ROSE — Pencil outline sketches — In beginning, first draw a light line circle for a guide same size as shown by the dotted outline to the right. Draw a small circle in center and tick off circle outline in five equal spaces as suggested in second circle outline. The small arrows show the position or indicate the outside center of each petal. In sketching the first petal, begin at small circle and run line to the left upward to dotted outline with slight curve and downward to small circle in center as shown in the third dotted outline. Begin upward line of second petal from line of first petal and run with slight curve to dotted circle, then downward and around to small circle in center. The third petal is the same as the second petal, only in opposite position and in sketching this petal you simple run pencil line to the right and downward as indicated in fifth dotted outline sketch. O V Wild Rose 21 Outlining the fourth and fifth petals will be quite simple to understand as suggested by the two upper outline sketches to the right. Wild Rose flowers being simple in outline and having very distinct petals and well marked centers, are more desirable for rapid ornamentation than the double or treble triumphs of the florist. The three lower sketches to the right show how the center and petals of this flower may be treated when drawing in simple outline. 22 Wild Rose The student having some knowledge of outlin- ing flowers of this variety, may now begin to make a slight change in form of the flowers by merely placing the center portion of flower in an upper or lower position and running sketch line of petals to dotted outline as shown in accompaning illustrations to the right. The varied and graceful forms that can be quickly made in different combinations and the simplicity of this work will be found interesting to all energetic show card writers. Wild Rose 23 It will pay you to improve every opportunity to cultivate originality in flower painting and designing. These outlines are merely given as a basis to help and suggest the form and make up of different positions of single flowers which may be combined into quite elaborate designs. Study carefully every effect and strive to represent them in practice. 24 Wild Rose In flower groups each detail should be worked out in such a manner as to produce an artistic combi- nation. In beginning, more real benefit can be de- rived from studying simple outlines, than from the study of elaborate subjects. Try to arrange your flower designs so they will look attractive,— something that will look really diffi- cult, but yet simple to make. With a fair knowledge of outlining flowers with a lead pencil one will be in good position to make rapid progress with brush and paints in producing an endless variety of beautiful designs in natural colors. Wild Rose 25 Outlining leaves can be done quite easy. The accompaning sketches to the right will lend a sug- gestion for quick results. Considerable taste and originality may be ex- pressed in the selection and position of single flowers in groups, etc. Very ingenious designs may be created in floral arrangements for display signs and show cards. 26 Wild Rose The exercises to the right show how leaves may be made by the brush stroke method. Clean and accurate work in colors can be done in this way. Brush stroke work in forming leaves and also in flower painting with flat sable brushes of the smaller and medium sizes is a time saver. MIXING COLORS AND TINTS A contrast is effected by placing two colors that are opposite to each other in effect, and to harmoni/e them is knowing what color to use to tone them down. The following will give an idea for pro- ducing tints mostly used in flower painting: Yellow and Blue produces Green. Yellow and Red produces Orange. Red and Blue produces Purple. White and Red produces Pink. Blue and Red produces Violet. White and Yellow produces Cream. The above colors may be blended to make any required tint or shade. ^^^ Wild Rose 27 r^.tJ'lJ'fhVZft ^c! ^a'^ Rose flower in colors, always begin with the upper petal and work down. The upper petal to the left second, and the upper petal to the right, third, then the two lower petals. The brush strokes o;de'r°o7paint1nferh petal.' '''' ''°" ^"^ ''"''''''" '^ ''"'' ^'^°'^^' ^"^^ '''' illustratfons to the right showlhl v.iir,w'°vvi?h'?^^ l"'" "^'"""^^ colors Wild Rose— Petals, three or four shades of light red. Center, light greenish yellow with touches of red and white. Leaves, two shades of green. Stems, medium green. greemsn 28 Wild Rose SUGGESTIONS FOR SHOW CARD DESIGNS. The best way is to mix your tints and try them on a separate piece of cardboard before be- ginnmg to pamt these flowers on a finished design. Wild Rose 29 For further study on show card designs with Wild Rose flower outlines, see pages 82 to 85. 30 Ea^er Lily EASTER LILY — easy method for outlining: — The familiar form of a circle serves as a jvuide outline in sketching this flower quite true in outline and well balanced in form. First outline circle with lines through center as shown in dotted outline to the right, then divide circle in equal spaces for a guide in locating the out- er tip of each petal. The Lily is formed with six petals. Begin outline of the first petal at cenler of circle by running center line of petal downward and add right and left curve lines as indicated in the third circle outline. The third and fourth petal out- lines added as shown in fourth dotted circle. Train the mind to clearly picture outlines, the eye to plainly see, the hand and muscles will soon get familiar and under easy control. •■■..I. ■• .^ / I 2 Ea^er Lily 31 The tM'o upper dotted circle sketches show the fifth and sixth petal outlined in proper position. The sketches in the lower dotted outlines show how to finish the center of flower, petals, etc., when drawn in simple outline. It is excellent practice to make several pencil sketches and select the best one, or better still, make another one containing the good points of the first outlines. 32 Ea^er Lily Many different positions of the Lily flower can be easily outlined by using an oval outside sketch similar to the dotted outlines to the right. The oval outside sketch line may vary in size and shape but the petals can be drawn so that they will appear neat and uniform. Learn to see things as they appear to the eye. Care and perseverance are two qualities you need to possess. They are the keys that unlock the difficult places in ornamental work as well as all other things of life. Ea^er Lily 33 Contrast in form is the beauty of group flower painting. The easy and natural positions with one another make a pleasing effect when used in con- nection with a well balanced show card design. The lower portion of the illustration to the right will give a good idea for outlining leaves, etc. 34 Ea^er Lily The brush stroke exercises to the right show how the leaves in different positions can be made quite rapidly. Two shades of green paint will pro- duce a very neat effect in forming the leaves. To be successful in rapid flower painting, every stroke of the brush must be directed to a definate purpose, otherwise the hand and movement of stroke will not produce the desired effect. Practice on any one stroke or component part of flowers should be repeated with care and accuracy. Each effort should be subjected to criticism and an intelligent elfort made for improvement in succeeding practice. Ea^er Lily 35 The above illustrations show a simple method for painting the Lily flower. Begin at top and finish each petal as indicated. Keep your brush well filled with paint. The paint should be rather thick but free flowing so as to cover well and form each petal clear and distinct without showing broken edges. The chief secret for be- coming proficient in Flower Painting is to closely critize your own work and strive to improve all weak points. Always keep on the lookout for improvement. Close observation will help you wonderfully. Paint the petals of the Lily pure white. Center stems, light green and yellow. Leaves and stem, two or three shades of green. 36 Ea^er Lily Flower and show card outlines. Easier Lily 37 For suggestions on arrangement Df the Lily flower and various designs, see pages 86 to 89. 38 Violet The exercises to the right show an easy method for outlining Violet flowers. In pencil outlining aim to sketch the petals rather irregular within circle guide outline. Work from center and outward. Violet 39 Practice on outlining violets in different posi- tions. Raising or lowering center point in circle outline guide will enable one to sketch this flower so as to droop in any direction desired. 40 Violet In sketching leaves first run center line, then run outline of leaf as indicated. Practice carufully on single flower outlines, buds and blossoms, then combine them in groups. Violet flower designs can be made very compact and when painted in colors always present a neat and dainty appearance- Violet 41 ■^ o.,n h^Si .1 ^1 flowers, bej^nn wilh upper petals as shown in above exercises. Each petal wm I.^tf nn«?P^^^^^' ^'''' ^"""'^ '.''■"^^^ ^^ indicated. White paint with the addition of purple ^vllI enable one to produce a great variety of tints for painting violets in any depth of color desired nnfrS'T' ^""^ "'^7^ ' ^'''"'"'= ^^'"l^' *^^^P P"^P>^ '^'^'^ t'°»« »«^^'^^d white; CenterT touSes of whUe and red; Leaves and Stems, two or three shades of green. 42 Violet Outline Suggestions for Show Card Designs In forming petals of different flowers by the brush stroke method, the aim should be to culti- vate freedom and accuracy of movement and get effects with the least work. Violet 43 Scroll and Flower Outline Suggestions Practice on arrangement of single flowers and groups of same in connection with a simple scroll or background design. 44 Holly In outlining leaves, run the center line or midrib an easy curve upward and run outside outlines down- ward from top of center line in easy short curves, then add veins from center line outward to points of leaf as indicated in illustration to the right. Holly 45 Practice on combining two or three leaves with stems and berries. With careful observation the most complicated series of branches and foliage be- comes simplified and their representation compara- tively easy, both in pencil outlining and also in colors with brush and paints. The leaves can be made rapidly by running center in one brush stroke and outside edge in slight curves showing points of leaf without lifting the brush. Leaves and stems, two or three shades of green. Berries, bright red. 46 Holly simple show card outlines with tinted background can be made very effective. Dry colors may be used for tinting. For neat and delicate background tints an Air Brush is the best to use. Holly 47 Show Card Suggestions For cutting out uniform background patterns, see page 96. 48 Scrolls Exercises and Designs SCROLLS The exercises given in this and following pages show a variety of scroll designs most frequently em- ployed in show card work. For proficiency in general scroll designing, all designs should be practiced free- hand with a lead pencil, ball pointed pen and also with a medium size lettering brush. When using the brush, be sure to have the paint in good working order, rather thick but free flowing so as to make full clean cut strokes without retracing. Nothing equals the first brush stroke for neat work. Red Sable round show card brushes will give good results in scroll outlining. The lines of scrolls should be free and graceful. There is a certain freedom and exactness in simple scroll work that will be interesting and valuable for an endless variety of new and elaborate designs for the ever improving taste of the public. The card writer interested in scroll work must learn to draw in a free and easy manner anything in a straight, horizontal, perpendicular and oblique lines, and afterwards graceful curves. Study and practice care- fully and you will find that the most elaborate scroll outlines are made up by a combination of a few simple strokes. w ^ ZI3 CZT X--" ^ (^ -^ Scroll Exercises and Designs 49 Practice and study different varieties of scrolls. This will require careful practice, both in training the hand to perform and the eye to see. The different out- lines herewith will give an idea of the manner to pro- ceed with the construction of other scrolls that may suggest themselves. The following scroll outlines may be arranged for show cards of all sizes. Hold the brush in a natural way, yet firmly, aiming to be sure of the form you are about to make, but not over-anxious. It is possible to grip the brush too tight- ly, which is often the result of over-anxiety or nervous- ness. Be sure you have the correct idea of the position or manner of holding the brush. The attractive features of a card sign lies in its form and facial appearance, the composition being the con- necting link between it and the goods, which always brings a quick decision upon first impressions. 50 Scroll Exercises and Designs In brush scroll work the student should assume an easy, natural position at the table or desk with the arms in such position as to get the best use in freehand outlines. For small and compact scroll designs use a ball pointed pen and a free flowing ink instead of a brush. Prepared water colors work fine in all pen work when thinned with water only. Scroll Exercises and Designs 51 The line strokes in center of each design will lend a suggestion lor making each outline com- plete. In outlining, always keep your mind on the work in hand. 52 Scroll Exercises and Designs Practice on the exercises before beginning to make a scroll outline. Line stroke exercises give freedom of movement and this coupled with close observation as to form and combining the differ- ent strokes will help you wonderfully in all scroll designs. Scroll Exercises and Designs 53 u^^if° ^^^ ^'°*^ *^^* ^^"' movement is cramped and laborious in making scroll designs, stop right where you are, and practice vigorously on the preliminary exercises. It will pay you well to do this; try it. 54 Scroll Exercises and Desig:ns In all styles of scroll and ornamental work the learner must use a free movement, plenty of it, and put plenty of force and life into it. If you allow the hand to rest heavily, it will retard the movement and the result will be plainly visible in your work. Scroll Exercises and Designs 55 i'«^;-t.T->i- /"i-.*. - -r- I-:.*.." V V S "*^' -/ . .". >-M^^^M&^^^M^ipi^^ In scroll work most all beginners naturally select strong colors, but strong colors mis applied usually result in producing a weak effect. A great deal also depends on the shape of the letters to produce strength in the Show Card. A narrow bodied letter on a heavy scrolled background al- ways gives a weak appearance, the scrolling in this case invariably detracts from the value of the lettering Another error is made by putting scrolled letters on a scrolled ground when plain letter- ing should be used. Always aim for contrast in lettering and scrolls both in styles and delicate tints. 60 Scroll Exercises and Designs Avoid using colors of the same depth of tone side by side. It usually gives the work a muddy or hazy appearance. Care must be taken in any kind of plain and ornamental work in order that it may be uniform and harmonious. Scroll Exercises and Designs 61 The use of metallics or flitters in scroll designs on colored cardboard with white lettering will always produce a rich and striking effect. Gum Arabic Mucilage with a few drops of glycerine added will be found an excellent adhesive for Metallic and Flitter work. This may be used the same as paint in outlining designs, the flitters or metallics to be poured on before dry. It is quick in drying and will hold metallics, flitters, bronze or diamond dust securely. 62 Scroll Exercises and Designs When you can do fairly well in outlining any scroll design, close your eyes and try to recall its appearance. If you really know how it looks you will have no difficulty in making it neat and well balanced. Scroll Exercises and Designs 63 Successful show card designing is by no means "a gift." While the show card writer must have the artistic taste developed to a high degree, he must supplement his knowledge of art with thoughtful preparation and close attention to business, or he may not hope to succeed. 64 Flower Sketches and Show Card Designs Background designs cut with a pair of shears from colored paper, or wall paper in small and compact patterns can be used to good advantage when pasted and nicely centered on a show card of different color. Pretty groups of flowers can be painted on cards of this kind that will attract attention wherever shown. Flower Sketches and Show Card Designs 65 An endless variety of background designs in all colors can be quickly put on show cards with an Air Brush. Water-proof Air Brush colors is the best to use when flowers are to be painted in connection with the design. On water-proof air brush color designs, all flowers in any color can be painted to lap over on the air brush color without bluring. 66 Flower Sketches and Show Card Designs The above flower outlines and those on following pages are merely given as a suggestion as to form and arrangement. Flowers painted in color add considerable life to all show card designs. Flower Sketches and Show Card Designs 67 \ . _ ^ i ^ \_.i-i- ' ,- :-^-i : - -^= -^ •■^^^-^i/^S >- ■^ 1 N-) , ■ Jfc. \ ' y M fe^ ' 'T^*^ ' 'mtr ^ c^tT^ #; ^Sr^ ^js'SW ^yrm> Ac- ^^ ».w^ ,1 rf^ 1 '" j4^*._^ ._ . V-f^-' ^ - ^ k F^~ ^ ^ 1 ' 1 f f N^ _^Kp>^ ---_- :, / ' ^^ ^ ? ^ •^ > Y\^^^^^\^ /jd ^y/]|\-> ''"*** L yy€^ ^ Flowers of the Daisy variety can be painted quickly by the brush stroke method as shown on page 11. Russia Sable flat brushes — see page 132— are the best to use for rapid, clean, and accurate flower painting. 68 Flower Sketches and Show Card Desig^ns For successful results in show card work, it is not necessary for the card writer to follow strictly in the footsteps of others, he can get an idea here, a design or part of a design there, a color effect somewhere else; and, by a little ingenuity combine them into a whole. Flower Sketches and Show Card Designs 69 Paints should be in good working order so as to insure smooth and full brush strokes both in flower painting and running scroll lines without retouching. 70 Flower Sketches and Show Card Designs <^W* r^il^'S-^:'-;.:,-- 4i'"' i.'. .■c:^^^-'^■;;^f;i^;^■;Jj^^"^;?^■:■ In show card publicity "something different" will always increase business and it is well to keep in mind that the object of card signs is to attract the attention of the customer or passer-by. Flower Sketches and Show Card Designs 71 i ^^^^<: ( i ^-iS^^m ^S / i^^ 'i^tii<^^ ^ [# O /m ^r'=^ Beginners should strive for judicious display and keep in mind the principles of simplicity and harmony. 72 Flower Sketches and Show Card Designs - «*-i^^^^Y^^^^ ^- ...gi^ ^Sii///J N (iw^ p ■-^ .ci?. X^Jg). ^ J ?^l^^^-— — Suggestions for background outline with flowers. Flower Sketches and Show Card Designs 73 Scroll and Flower outline suggestions. 74 Flower Sketches and Show Card Designs Suggestions for background outline with flowers. Flower Sketches and Show Card Designs 75 Background and flower outline suggestions. 76 Flower Sketches and Show Card Designs fimrhrh^^Lf^r^^^^J!~y ^ ^ p /?•'" -i^Siir^X % (i WkMl ^ c €. — ■ ^ ff ■jr' /rrTi"i""''!pwAjy,T, w \f M^Slt'^^ Mi/ ( y-^ ^ Scroll and Flower outline suggestions. Flower Sketches and Show Card Designs 77 m \i§%MtinnmrMtM Scroll and Flower outline suggestions. 78 Flower Sketches and Show Card Designs Scroll and Flower outline suggestions. Flower Sketches and Show Card Designs 79 The close observing card writer will get many valuable suggestions by studying nature for de- signs and colors and discover unending combinations of beauty and delicate touches of detail which give artistic effects. For outline and construction of Pansy flower, see pages 14 to 18. 80 Flower Sketches and Show Card Designs Painting pansies afford an endless variety of color effects for those interested in producing dainty show card designs on short notice. Flower Sketches and Show Card Designs 81 Practice is the key note for success in flower painting and show card designing. An important point in rapid flower painting is to study carefully what may be to an advantage left undone, — the main thing is to merely suggest a neat form and color by the fewest brush strokes. 82 Flower Sketches and Show Card Designs Background and flower outlines. Flower Sketches and Show Card Designs 83 For an easy method for cutting out uniform background outlines, see page 96, 84 Flower Sketches and Show Card Designs Scroll and Flower suggestions. Flower Sketches and Show Card Designs 85 For outlining and painting Wild Rose flowers, see pages 20 to 27. 86 Flower Sketches and Show Card Designs Flower and scroll suggestions. Flower Sketches and Show Card Designs 87 Show card suggestion. Flower Sketches and Show Card Designs Show card suggestion. Flower Sketches and Show Card Designs 89 For outlining and painting Lily flowers, see pages 30 to 35. 90 Air Brush Effect Shaded Background and Scroll Outline To produce a shaded background on show cards, etc., similar to the designs in the illustration to the right, first get a sheet of straw board the same size as the show card about to be used. Cut the straw board in a simple outline or pattern design and attach the same to the show card. Then, use a show card spray outfit to spray color of any desired shade around the pattern. The space or surface protected by the pattern remains white, or color of cardboard, while the background or outside of the pattern is shaded by the spray of color. Very rapid and ingenious combinations can be pro- duced in this way, both in delicate flat tints and also when finished wiih a scroll outline as shown by the second card of each design in accompanying illustration. The scroll line should be run with a lettering pencil when the background tint is dry. The following cards also show other suggestions of design and finish. Air Brush Effect 91 Hundreds of new and novel designs in all colors can be made in this way from common cardboard in all sizes at a fraction above the first cost of cardboard. A complete assortment of distinct designs can be made in this way by any show card writer, which will enable one to keep a full supply on hand, ready for lettering on a moment's notice. Very pretty and inexpensive panel cards can be made similar to those given in illustrations to the right. These are simple to make and very at- tractive when the background is in delicate tint and the scroll outline in black or other colors in harmony with the color of background. For the scroll outline use a No. 7 or 9 Red Sable show card brush and a good quality of show card paint. The use of flitters in gold, silver, crimson and green on scroll outline with adhesive ink al- ways produces a very rich and striking effect when neatly done. 92 Air Brush Effect The panel designs given herewith show a still further variety to that of preceding pages which give a good idea for neat and easy designs to be- gin with. Almost any simple design cut in straw board pattern will produce a neat effect and the appear- ance changed wonderfully by a scroll or border outline in strong color. A good method in this work is to outline your design complete on the straw board pattern before cutting it out. In this way you will preserve the original sketch and also use the same for spraying the background color. There is no end to the variety of this work and the show card writer who uses a little ingenuity in this line will be above the competition of any one in his locality who is not so progressive. Air Brush Effect 93 The designs given in this illustration show a variety of half-sheet cards (14x22 inches). These with the pre- ceding outlines will enable the beginner to soon learn to execute original designs, limited only by artistic ability and practical skill. By this method, scroll work and designing becomes very simple because there is a basis to work from on each individual design after the first step is taken. For patterns always use straw board when possible, as this will be more porous than ordi- nary card board and will absorb the superfluous colors or spray almost equal to blotting paper, consequently the colors will not run or blot the show cards when using the same pattern several times. When through with each pattern or design, lay them aM'ay carefully and place a small board or card over them with sufficient weight to keep them flat and in good order for future use. Colored Card Board — In spraying backgrounds on colored card board, remember that the color solution from the spray outfit is transparent; consequently, red sprayed on blue card board will have a pronounced purple shade, while blue on yellow card board will show green, and so on, the underground color always being prominent in modifying the shade or color effect when transparent paint or inks are used. All colors in spraying solution will have a fine effect when used on white card board and produce hundreds of pretty shades in backgrounds and delicate tints. For spray outfit see page 141. 94 Scroll Outlines ^Q.S, \ Illustrations Nos, 5, 6, 7 and 8 give a suggestion of a variety of scroll designs that can be made by any one in a very few minutes. The paper folding method for accurate designs on both sides will be found interesting and valuable to all who wish to excel in catchy and in- expensive show cards. The outlines on this page are made by one fold of the paper. Each design when opened out will show the pattern in full size and give a true basis to finish the scroll by a few strokes of the brush. Designs of this nature can be quickly treated with several styles of finish in the way of tinted back- grounds by the use of a show card spray outfit to pro- duce delicate tints and other combinations of color. The outline of scroll when traced upon a card may be run with a lettering brush in color, or can be finished in gold flitters by using adhesive ink. The scroll out- line may also be made in relief with a raised lettering outfit, which will produce very rich and striking effects when the background of card is finished in a delicate spray of color. The scroll patterns, Nos. 9, 10, 11 and 12, following page, are made similar to those on this page; the only difference is, the following scroll patterns retain the same outlines both top and bottom of each design, and the ends also are uniform. This is done by folding the pattern paper twice, making the same one-quarter size of the full design. A very simple cut or scroll outline on paper folded one-quarter size will produce quite an elaborate and accurate design when unfolded. Scroll designs of every description made in this way can be preserved for future use by cutting out cardboard pat- terns of each design. In this way cardboard outlines will enable one to do quick work and they are also more serviceable than paper patterns. All scroll designs should be made so that lettering or composition of card will show out prominent. /yo. TT Scroll Outlines 95 ! .. V..J / .L^-' / { i.«^ 96 Border and Background Patterns For cutting out border designs and background patterns true and well balanced, first take a sheet of paper the same size of the card you are to use, fold this twice, making it one quarter size. Then cut the same with a pair of shears along the dotted outline as indicated which will produce a full size pattern as shown when the paper is unfolded. Note the different designs, some are made by simply folding the paper once-as shown in the third group of above illustration. Scroll Outlines 97 For making scroll outlines true and well balanced, the above method will be found interesting. In beginning, simply take a sheet of paper the size of card to be used, fold it once, making it one- half size, as indicated by the black portion of the first outline above. Then outline scroll on paper pattern with lead pencil as indicated. Carbon paper placed in fold of pattern paper will produce the full outline when unfolded. Paper folded twice, making it one-quarter size, may also be used to good advantage in special scroll outlining. A very simple scroll outline on pattern elaborate and accurate design when unfolded, this way and preserved for future use. paper folded one-hall size will produce quite an Scroll designs of every description can be made in 98 Ornamental Dashes The amount or form of composition on a show card will suggest what is best fitted to pro- duce a neat finish. A card with lettering of uni- form size and considerable space outside of the lettering will present a neat and tidy appearance without margin lines or ornamental dashes. When the lettering varies in size and spaces be- tween the lines are not uniform, the use of orna- mentation, scroll or borders will make a card appear more compact and add to its appearance. =>^ -(l,^x^^:^^^^^><^J>' End Pieces, Etc. 99 .w.^@ifew rj\jCK-J» C^ Kj:\ f^f f' i- f« «!? # ^D^0^3 ^Iq \ri \g Vju ) •K^^i^^lSKI) hr^^r- p^q p;^ *sm^!m^im^mimimi» Ir^^g^^^SL 100 Corner Pieces, Etc. <,jmi ^® Corner Pieces 101 1^ ^-O O rWir^ (t) -t^s^. G- C*J--/ VvJ/'* ^O^V/ .M^JA 0©©OCm5^505C>©©©0©0©©©0 ®^I>OCOO^OCCC O-O'OOCC >000:j^XC0000o'0C0t.(fe c ooooooooo;;>oo;=>oeooo 9 r ►»*»»»» ■f>'»'»'»'^-»'» « »<»^'e'»^^»^'» »>i^ e«.^^«*4 i 'I ^ I D Borders 105 ^^MMM^M^'^^^^^^^^'^^ I •^^<=?>$^'^r^'$$^:>^$^r^r I I 106 Borders ^^^^f^^^t^i^^fM^S^i^^ ^ rr-^^^^m^m ^^:^^j^^^ :^^ f^ •5!i > ^ ,l ^ ii^' I Borders 107 -^^^' 108 Borders i?^fgi;-9CljL5lQiLH|^^:^3-ggj %-r irt ^ ^^.e,,^,^^^.^.™^.^..^^^ Borders 109 Posters for Retailers, any kind for any business, illustrated, can be had from lithographing companies at a small cost with blank space for filling in name of firm, etc. This affords an excellent opportunity for the show card writer to make considerable ready cash by doing the extra lettering and supplying merchants in their locality with something new and novel in advertising. Use black, ground in Japan, for lettering when these are intended for outside posting. A few samples of this class of work will create a demand wherever shown. no Line Scrolls Scroll lines should be made with a free movement. The above exercise copies and those of following pages will be found interesting both for simplicity of make up and neat effect when properly used. Study and practice on simple forms and combinations of same will produce excel- lent results in making a fine variety of neat show card embellishments. Line Scrolls 111 112 Line Scrolls Line Scrolls 113 114 Line Scrolls Line Scrolls 115 For neat and compact work of this kind on small cards, the beginner will find it best to use a number 3 Soennecken pen or any an ordinary ball pointed writing pen. Ball pointed pens work smooth and free on any cardboard surface. 116 Line Scrolls ^ Line Scrolls 117 118 Line Scrolls 'i»Mi^'¥>-^sf ' -:g ?' rVETTERINsTNK Soennecken Pen Lettering Ink An ideal preparation for smooth and clear-cut Soen- necken Pen Lettering. Put up in seven colors, — sets up firm in lettering, will not rub, scale or crack, and will show full strength of color on any colored surface. Colors of Ink— RED, WHITE, BLACK, GREEN, YEL- LOW, BLUE and PURPLE, with directions on each jar. Price 25 Cents Per Jar, Prepaid PRICES ON SEPARATE COURSES Four Courses Combined — A, B, C, D— at One Enrollment for $10.00 COURSE "A"— Marking Pen Lettering, 6 lessons $3.00 COURSE "B"— Shading Pen Lettering, 4 lessons 2.00 COURSE "C" — Soennecken Pen Lettering, 4 lessons 2.00 COURSE "D"— Brush Lettering, 10 lessons 5.00 $12.00 SPECIAL OFFER Four courses of instruction — A, B, C, D, — in different styles of Show Card Lettering, con- taining in all 24 full and complete lessons, practice and sliow cards, for $10.00 NET, at one enrollment. COST OF LETTERING SUPPLIES Generally the expenses of lettering material depends upon the careful management of the student. Some re- quire extra supplies to that suggested in the different Courses A, B, C, D, while others do good work and justice to themselves without additional expense. The following lettering supplies listed for each Course will enable one to do a fine variety of neat business- bringing show cards for all business purposes. COURSE "A"— Marking pens, plain pens and inks $1-95 COURSE "B" — Shading pens, plain pens and inks 2.50 COURSE "C" — One dozen Soennecken pens, assorted, 3 jars of ink .9.5 COURSE "D" — 4 Red Sable show card brushes and four jars of paint . 2.55 EVERY STUDENT A SUCCESS. NOW IS THE TIME TO ENROLL Remit by Registered Letter, Post Office or Express Money Order. Personal or local checks, add 15 cents tor collection. Address, W. A. Thompson, 16 E. Huron St., Pontiao, Mich., U. S. A. —135— $5.00 COURSE "D" UP-TO-DATE SHOW CARD BRUSH LETTERING $5.00 A complete course of instruction in Commercial Show Card Brush Lettering and Designing for $5.00. In this course we teach uij-to-date Brush Lettering from the rudiments of a plain letter to a large variety of high-class show card work suitable for all business purposes. This consists of TEN practical and comprehensive lessons, fully illustrated, in the following alphabets: MODERN EGYPTIAN, SINGLE STROKE BLOCK, SHOW CARD ROMAN, ITALIC ROMAN, SHOW CARD BRUSH TEXT and OLD ENGLISH, together with practical in- struction on Scroll Exercises, Finished Designs and various styles of Show Card Embellishments. TERMS — $5.00 for Complete Course of Instruction in COURSE "D," Commercial Show Card Brush Lettering and Designing. Show Card Brushes and Paints that will enable one to do a fine variety of neat brush lettering for Cards, Price Tickets, etc. Red Sable Show Card Brushes, Nos. 5, 7, 9, 12 $1.50 ELTREKA Show Card Paint (4 jars). Black, Red, White, Green 1.05 $2.55 COURSE "D," with brushes, paints and show card copies forwarded in one lot — prepaid — for $7.55 Show Card Writer's Brush Oistfit Extra Fine Red Sable Show Card Brushes, Round. Made ex- pressly for Show Card Lettering. Nickel plated ferrules, short handles. Four special sizes — Nos. 5, 7, 9 and 12. PRICE $1.50, POSTPAID. These brushes are sensitive in touch, elastic in stroke and give ready response in clean-cut letter- ing. When charged with paint they can be made to retain a fine point or brought to a chisel edge. The best Show Card Brushes that money- can buy. Separate brushes from this outfit at the following prices : No. 5 25c No. 7 35c No. 9 45c No. 12 60c Eureka Show Card Paint The Twentieth Century Lettering Med- ium, ground by machinery and ready for immediate use with the addition of water for thinning. Dries quick. Heavy body. Easy lettering. This paint is made ex- pressly for brush lettering, display signs, show cards, tickets, etc., and fully an- swers all the varied requirements — sets up firm in lettering, will not rub, scale or crack, and for cleanliness and ease of application cannot be excelled. The only Show Card Paint that will show up in full strength of color on any colored surface. The colors below may be blended to make any required shade. Seven colors. Put up in screw top jars. Prices: Red, 30 cents each. White, Blue, Green, Yellow, Purple, Black, 25 cents each. These prices are net. Ship- ped by express, charges collect. Our best customers for EUREKA SHOW CARD PAINT are those who have formerly used other brands. A trial order will explain why. A small supply of paints forwarded by Parcels Post rate is generally the cheaper way. Each jar of paint weighs 20 ounces, and the Parcels Post rate is governed by distance. In remitting for postage on package you are perfectly safe in enclosing more than you think necessary, for we will prepay charges on packages and return to you any amount that is left over. When postage is not included with order for Show Card Paint, we ship same by express, collect. Address W. A. Thompson, 16 E. Huron St., Pontiac, Mich., U. S. A. —136— Practical Instruction Books on Show Card Lettering By W. A. THOMPSON MODERN SHOW CARD LETTERING, DESIGNS, ETC. EIGHTH EDITION NOW READY This book is a practical treatise on Up-to-date Pen and Brush Lettering, giving instruc- tions on many styles of lettering, position, movement, shading, spacing, designing and ar- rangement, with illustrations of large and small letters of each alphabet, together with a full analysis and diagram for making neat and r I ^>^— prominent figures off-hand for price tickets, etc. Over 400 illustrations of finished show cards and price tickets are given in Marking Pen Lettering. Soennecken Pen Lettering, Automatic Pen Lettering and Up-to-date Brush Lettering outside of fifty-one page alphabet plates and lettering exercises of a large var- iety of standard show card designs, showing how to produce neat and fancy border and '6 ANt^'^J.Vr^t ' 1/ I scroll outlines, tinted backgrounds, etc. This jiX ' " S^ 1 book is far beyond anything ever published in iL^<^>^-~ »j3'g^X I this line. It contains solid, practical, common . - . — — " "—a* ■" ' ■ '■" ■'■■ ' ' ■ ■ "^ ■""> ■'■ * sense instruction — a book that is free from absurd theories and mystifying kinks, and con- tains 2000 Advertising Phrases for Card Signs, Posters, etc. Page size of book 6x9 inches. 144 pages. The price of this book is but $1.00, delivered to your address. 16,000 copies of this book have been sold to satisfied customers and the demand is increasing daily. **li4>W 4 \ftli ( t t It l*t\Jl> \l>Xt )*)«S|\0 §*StH \*^i *%. ^ f H (_ w . " f • fj i> ANt^ - J .) r Ff3 DRUGGISTS AND DISPENSERS PRACTICAL SHOW CARD INSTRUCTOR fwm DRUGGi^ The NEW and REVISED EDITION con- tains thirty-two additional pages to that of the former edition. This book contains a thorough, progressive course of instruction for making all styles of Show Cards required by the Up-to-date Drug- gist and Soda Fountain Dispenser. The alpha- bets and exercises in Pen and Brush Lettering are presented in an easy and attractive form of graded lessons, fully illustrated in every de- tail. The brush stroke alphabets — Single Stroke Block, Modern Egyptian, Show Card Roman, Semi-Script and Old English are a feature of unusual merit. Each brush stroke forms a stem or portion of the letter with a single operation and finished as you go — a feature that is invaluable for rapid, clean-cut, free-hand brush lettering. Over 300 reproductions of finished show cards and price tickets are given in the book outside of lettering exercises, instructions and alphabets. Never before has such a wealth of practical lettering instruction and original ideas been given in one book for home study and at a price within the reach of all. Page size of book 6x9 inches. 144 pages. Order now with remittance and get a copy of this new book by return mail. Price $1.00 postpaid. —137— S^itiiii -.,. x.~-..i.fc»;.JiJ>.i.A^- ^^ ,M MARKING PENS. The Marking Pen makes a solid, plain stroke, full strength of color of ink used. This style of pen is a strong and perfect device for rapid and clean-cut lettering for Show Cards, Tickets, etc., Sample Show Card Lettering mailed free to all interested. SHADING PENS. Make a shaded mark of two colors at a single stroke of the pen, from one color of ink. PLAIN PENS. For marking Background Tints, Letter Shading, Scrolls, Etc. PRICE LIST FOR PENS— NEXT PAGE. PRICE LIST FOR AUTOMATIC PENS EITHER MARKING, SHADING OR PLAIN 00 1-32 inch wide 20c each 1-16 " " 20c each 1 1-8 " " 20c each 2 3-16 " " 20c each 3 1-4 " " 20c each Mail orders promptly filled, postage prepaid. Cash must accompany orders. AUTOMATIC SHADING INKS FOR MARKING AND SHADING PENS 4 3-8 inch wide 20c each 5 1-2 " " 20c each 6 3-4 " " 25c each 8 7-8 " " 25c each In the production of this ink no pains or expense has been spared to insure that the colors a r « the most brilliant and durable manufactur- ed. This ink is pre- pared by a special process, thoroughly filtered, and every drop is pure. It is of the proper con- sistency to letter smooth and free and will dry hard with gloss. Colors — Black, Red, Blue, Dark Green, Grass Green, Brown, Light Brown, Rose, Orange, Pur- ple, Yellow. 1 Oz. Bottle. Prepaid 15c 2 Oz. Bottle, Prepaid 25c Adhesive Ink is used quite extensively for gold, silver, metallic and diamond dust orna- mentation on special show cards, posters, picture and souvenir postal cards. It's the best made for great adhesive qualities and clean-cut work with either pen or brush. Price 25c per Bottle, Prepaid. THOMPSON'S INK POWDER For making Pen Lettering Ink, for ticket writing, show card work, and ornamental lettering of all kinds. Assorted colors — Black, Blue, Red, Brown, Purple, Yellow, Green and Rose. Full directions for making shading ink. Choice of colors, 10c per package, postpaid. Card Writers can save money by using this Ink Powder for general pen let- terin-g. FLITTERS For sparkling eflfects on Show Cards, Banners, etc. Gold, Silver, Crmison, Brilliant Green. Lavender, Orange and Lemon. Choice of colors, 15 cents per package, postpaid. BRONZES, any color desired, 15 cents per package, postpaid. DIAMOND DUST, 15 ceaits per package, postpaid. —139— Letter Patterns for Up-to-Date "Sign Lettering" Store Fronts, Awnings, Board Signs, Muslin Signs, Banners, Etc. The use of letter patterns, not stencils, but true outlines cut from the best quality of pattern stock, showing the letter itself, is now used by the most experienced sign writers. With a good outline of letters to begin with, sign work is two-thirds done, and is a decided advantage to the expert as well as the beginner. A pattern that is cut true will always give a true outline. These patterns are ready to work from, they will not warp or get out of shape like paper letters, and with proper care will last a life-time. The styles presented in the following list will enable the beginner and those of some experience to do a first- class variety of sign lettering in a neat and satisfactory manner. HOW TO USE THEM. — In general sign lettering place the patterns upon the surface upon which the letters are to be used, so that the spacing will be even, and proceed to out- line them by running a sharp pointed lead pencil around the edge of the pattern. This will give a correct outline of the letters and ready for painting any color desired. Very few sign painters shade letters correctly, but shading may be correctly done with patterns. First mark the pattern to show the face of the letter, then move the pattern to the right or left, which ever way you desire the shading, and drop as far as you wish the shading to extend, and run the pencil around the outside edge only. This will make the shading, all except joining the shades of the letters, which should be done with a line at an angle drawn from the point of the shading line to the point of the letter. See letter "H" in following illus- tration. Any man or boy without previous knowledge of drawing or forming letters can do up-to-date sign work with these patterns. They enable the beginner to equal the work of many sign writers with years of experience. Each set listed consists of 26 letters and character &. Lower case letters to match any size or style may be had for the price quoted on capital letters. When four or more styles are ordered at one time, forwarding by express is often advisable. When this is desired, remit only the net amount of order, without postage. LETTER SPACING PRICES 2 inch letters 25c per set — Postage 3c 6 inch letters 50c per set — Postage 10c 3 inch letters 30c per set — Postage 6c 8 inch letters 60c per set— Postage 12c 4 inch letters 40c per set — Postage 6c 10 inch letters 70c per set — Postage 16c 12 inch letters 90c per set — Postage 22c Letter Pattern sets may be had at the above prices. Each set consists of 26 letters and character &. Cash must accompany order. Address W. A. Thompson, 16 E. Huron St., Pontiao, Mioh., U. S. A. —140— Figure Patterns Figures outlined rapidly by running a lead pencil along the edge of pattern. This will give a correct outline, ready for painting any color. Any style at the following prices: 2 inch, per set of 10 15c — Postage 2c 6 inch, per set of 10 30c— Postage 5c 3 inch, per set of 10 20c — Postage 3c 8 inch, per set of 10 35c — Postage 6c 4 inch, per set of 10 25c — Postage 4c 10 inch, per set of 10 40c — Postage 7c Something New SHADED BACKGROUND AND ORNAMENTAL DESIGNS FOR SHOW CARDS, ETC. Dozens of Fancy Designs in Nicely Blended Colors can be made by any one in a few minutes. The variety of show card border and background designs in the ac- companying illustration will give an idea of the work done by the New Show Card Spray Outfit. The most inexperienced can produce from the start a first-class variety of show card designs of all styles in Air Brush Effect, and at a fraction of a cent above the cost of common cardboard. With this outfit the show card writer is above the competition of any one in his locality, who is not so fortunate (no matter how skilled he may be) owing to the fact that the work of elaborate designs can be done just as quickly as that of a simple scroll or outline. The Continuous Spray does the work, and can be regulated to produce a light or heavy tint or shade of any color at the will of the operator. THE NEW SHOW CARD SPRAY OUTFIT INCLUDES: One Show Card Sprayer Complete; six packages of colors — Red, Blue, Green, Brown, Purple and Yellow. Ten Background Pattern Outlines — one for show card 22x28 inches, three for 14x22 inches, and six for 11x14 inches. Ten Show Card Background Copies, assorted sizes, finished in colors, as shown in accompanying illustration. Full instructions showing how to begin, proper position to work, etc. In fact, everything in detail and designed ex- pressly for the show card writer. This outfit is the most complete and convenient ever offered for the price, and will give entire satisfaction. The assorted colors will be enough for over 3,000 backgrounds when properly used. EASY TO LEARN In less than ten minutes practice with this outfit you can duplicate any design in the above illustration, in any color, on a show card, in 30 seconds. This class of work is very simple and an art itself, mechanically exe- cuted with ease and rapidity without any previous experience. OUTFIT COMPLETE FORWARDED PREPAID $3.00 Remit by registered letter, postal order, or express money order. Cash must accompany order. Address, W. A. Thompson, 16 E. Huron St., Pontlao, Mloh., U. S. A. —141— Paasches 3 in 1 Air Brushes ALWAYS AHEAD! Model "E No. 2" Air Brush All Paasche's 3 in 1 Air Brushes are fitted with color cup bottles. Where water colors, dyes and pigments of medium consis- tency are to be used, we recommend the Model "E"-2 Air Brush as the handiest, most practical and serviceable. This model is extensively used for lettering, designing, making ot show cards, price-tickets, signs, stencil work, coloring and tinting calendars, programs, catalog covers (embossed or plain), fans, plumes, portrait backgrounds, photographs, mounts, monumental and commercial designs, and like work requiring rapidity in execution. MODEL "E" NO. 2 AIR BRUSH in leatherette case, with set No. 2 color adjusting parts, No. 1 Model "E"-2 color cup with strainer, "^ oz. color bottle with strainer, air brush hanger, screwdriver, hose attachment nip- ple with strainer, and coinplete directions for its care and handling MODEL "D" 2 AIR BRUSH of same construction but twice as large, suitable for heavier work where oil colors and pigments are used for outdoor signs, etc. Price $21.00 $26.00 Model "F No. 2" Air Brush This model made in three sizes— Models H-2, F-2, F-0 This model is among the most popular air brushes for the reason that they are very easy to operate, and beginners can turn out very artistic and striking work with it from the very start. It is the best obtainable for the money, and very commonly used for making show cards, price tickets, signs; coloring souvenir post cards, calendars, novelties, draperies, ground-laying, and purposes of similar kind. MODEL "F" NO. 2 AIR BRUSH in leatherette case with No. 2 color adjusting parts. No. 1 Model "F"-2 color cup with strainer, J^-oz. color bottle with strainer, air brush hanger, hose attachment nipple and complete directions for its care and handling MODEL "H"-2 AIR BRUSH of same construction but twice as large, suitable for heavier work where oil and colors and pigments are used for outdoor signs, etc. Price $12.50 $18.50 Remit by draft. Registered letter, Post Office or Express Money Order. Huron St., Pontiac, Mich. Address, W. A. Thompson, 16 East -142- Paasche's New, Improved Easel and Drawing Table Indispensable in Any Sign Shop or Studio Adjustable for a standing or sitting position. This table is made entirely of metal except the top. It is enameled in imitation mahog- any and makes a splendid appearance. The top is made of 3-ply bass- wood, revolves into any position whatsoever and quickly detachable. It is the only practical combination drawing board or easel with re- volving top that can be tilted, raised or lowered without unscrewing or tightening of bolts or nuts. It moves friction tight. It is making a hit everjrwhere. Does not wobble. Paasche Easel Table, 22x30 in. rev. top $ 8.60 Paasche Easel Table, 24x36 in. rev. top 9.25 Paasche Easel Table, 30x40 in. rev. top 10.50 Deduct $2.00 if desired with top without the revolving feature. Add $3.00 if desired with double swinging arm and material drawer as illustrated. Shipping weight, crated for shipment, 56 lbs. Paasche Liquid Carbonic Gas Outfit This outfit is extensively used among beginners and it is the most popular among the (ow priced outfits, for the reason that it furnishes a steady pressure without having to do any pumping necessary with foot or hand operating pumps. The cost of op- erating this outfit averages about 2 cents per hour as the price of the 20-lb. drum of liquid carbonic gas varies according to the location of the user. (The cost of a 20-lb. drum of gas in Chi- cago is $1.50.) The supply of gas is obtainable from any soda fountain or saloon supply house in your own city. LIQUID CARBONIC GAS OUTFIT COMPLETE, less drum with wall clamji. wrench and S feet of the best air brush tubing. Shipping weight, 10 lbs ir-j^iLin,, less $10 00 Paasche Foot Pump Outfit This outfit was originated by us and made a hit from its first ap- pearance. With its new improvements, it is the latest, best and easiest working outfit of its kind. It works noiseless and will furnish 40 lbs. '1 pressure without any exertion. 5 Weight, packed for shipment, .30 lbs. PAASCHE FOOT PUMP OUTFIT, COMPLETE, consisting of ' Paasche foot pump, air tank with gauge and air (Il''f ^ /\/^ i cock, fittings and ten feet of the best air brush tlB I ^ till Paasche Foot Pump only, finished in blended enamel $7.00 Air tank, tested for 60 lbs. air pressure, with hose fittings 2.35 Air tank, with gauge, air cock and fittings 4.76 Give directions how you want either outfits shipped — Express or Freight. —143— 9i > ; l£ you Are' Interested in learning Commardal Show Card Lettenng and Designing by mail ■ V; You Can Save Money ; on tuitionlee by enrolling' direct with us for our New Course, ()f Irjstruction; We Teach Practical Worlc : , and a money maker from the, start for those who v\ish to excell jn making high class'Show Cards for all purposes. ■, ,. ._] . •„-:;■■' ^' ' ' 6 Are the Lowest ; The difference between our price and that of other Schools simply go to ex- pensive magazine advertising, and Solicitors or Agents commission, for securing new students. If you are a prospective student, think this matter over carefully and you will easily Figure It Out Yourself why it is possible for us to give the best to be had anywhere at less than half the U5ual price. . , • We Deal Direct With Students ? and our pupils pay only for instruction at first cost, We have no Agents or Agents commission to pay out of tuition fees. , , ' ; ' 75 Per Cent of the Students we enroll come directly from those who have seen the work and the wonder- ftilsuccess of our former students, Our bfest advertisement is a vvell satisfied artci'¥uccessful student. ^., ,■ ' ' , ■" , Don't, Pay Fancy Prices for instruction when you can get the.best in the world today at a shght mar- gin above actual cost. ■ When we say we have the most complete equipment in America for successfully teaching by mail arid the Ijowest Tuition Fee, we are simply saying what is true,— merely the facts about a reliable school /with'. straight-forward business methods. :■ Helpful Suggestions for the Student : We furnish neat show card copies lettered in nicely blehdejJ colors for student.s practice, outside of the lessons and alphabets. 'This feature is original with us and is offered by no other school.- Students workpn each lesson corrected • and returned postpaid during the course: ' , ' / ; ^ .Every Student: a Success. r ^ The Thompson Scho^ '-:^ ■■■; 'r ''PONTIAG,-, M,ICHiGAN."U'S.Ar ''■■^''''- ■:['-/■ }^r' • . The Only Exclusive Show Card School in America; LIBRftRY OF CONGRESS 013 972 910 9^