RGHILD'S apid ;Letterer ::> H O W Z A R D A K E R CDMMERCJAL ALPiHABET CONSTRUCTION W I ■ r i 1 A I R' B R U S M , P E N AND 8 R U S H . COtOH MIXING, SI(3NS, IJNE ENaRAVING, ETC. Class . Book, CoipghtN" COPYRIGHT DEPosrr Copyright, Oct., 1910, by FAIRCHILD COMPANY FAIRCHILD'S RAPID LETTERER AND SHOW-CARD MAKER Commercial Alphabet Construction with Brush or Pen, Line Engraving and Air-brush Work. Color Mix- tures and Color Harmony. The Quickest Methods in Designing for Maga- zine and Newspaper Advertising, Etc. COMPILED BY SIDNEY HACKES. PUBLISHED BY FAIRCHILD COMPANY 42 East 2 1 St St., NEW YORK Lees Building . CHICAGO INTRODUCTORY HIS book contains an elaborate, practical course of instruction for those who desire to learn rapid commercial or artistic lettering and details of show-card making, and is compiled by Sidney Hackes, who has made a special study of this art for 35 years. The book contains more original engravings than any correspondence school course offers for $25. The price, $2, brings it within easA' reach of all. Card writers earn from $1.t to $.50 a week, and although women have not as yet entered the field, they could readily do so by mastering the simpler methods of pen and brush work, for making price tickets, and smaller window cards. Boys and girls with the least inclination to art will find lettering an attractive pastime and it will teach them concentration through amusement. They may be poor scribes, but can develop into fine card writers. The one-stroke flat-brush series, which has recently been introduced through Fairchild's Magazines, lias enabled thousands of clerks to write show-cards and signs in one-quarter the time it takes for double-stroke methods. Storekeepers in any line of business could save much expense if they buy Fair- child's Letterer and place it at the disposal of enterprising clerks, who can soon master the art of ticket writing, and learn how to make their own advertising designs. The articles on engraving for advertising are practical demonstrations of money-saving methods in commercial advertising. Business colleges, trade schools, art schools, and libraries should have this book on file, as it contains only practical, authentic information. The lessons in color mi.xture, both water and oil; the charts on color harmony and color contrast for decorating purposes are extremely valuable and the result of many years of experience in tliis line. ^ \ V^ ©CI.A275711 INDEX FAIRCHILD'S LETTERER Air Brush S4 Air Brush Clothing Cards S9 Air Brush Haberdashers' Cards S8 Air Brush Price Ticl7 * ^tttt Copies M and M are modified forms of copies H and I and are the finishing hooks on lower case letters c, n, s, f, j, x and y. You should first make them double the height shown, and then half again as large as copy. Copy O is one method of making the Period. When the brush is held slightly side- ways it forms a diamond-shaped Period. We have been very concise and careful to guide you In every detail so far, in order to give you a thorough drilling. If you have followed instructions you will be amply rewarded, because you will with perfect ease understand how to join the strokes so as to write a complete alphabet, which we will sub- mit in our next lesson. HOW TO UTILIZE TRADE JOURNALS. THE inserts of many of our advertisers afford exceptional opportunity for the retailer to create highly attractive and remarkably artistic window cards. Neatly paste a single page on a ten-ply-thick cardboard. When completely dry cut out all the center space with your mat cutter. On the back of this card glue a wooden pine frame. Then cut cards to fit loosely into the wooden frame. These cards can be worded as you may desire. Your lettering on the signs need only be black to form a contrast with the high colors of the frame. Have as little wording as possible; do the work very carefully so as to be neat and uniform. Gold lettering having a light edge-line in any color, or white letters on a colored background with a gold edge- line, will also make a pleasing and telling card. A FEW "WARM ONES" FROM OUR EXTENSIVE STOCK OF WINTER OVERCOATS FOR BOYS, YOUNG MEN AND ADULTS The retailer will find these panels highly effective when used in conjunction with displays of haberdashery, but he should always bear in mind a grateful thought toward the firm that makes it so easy for him to obtain high-class win- dow cards without expense. 18 SOME VALUABLE RECIPES, Regular Awning Paint. STANDAGE'S receipt for awning paint is in the following proportions: 2 ounces of yellow soap dissolved in 60 ounces of water by boiling same and afterwards stir in 2 quarts of boiled oil. When cool, stir in 1(1 ounces of gold size, being sure that everything is well mixed. Painting Awnings. To paint canvas awnings and to keep them pliable as well as waterproof, says the "Painter's Magazine," dissolve white beeswax in enough turpentine to make it the con- sistency of soft butter. Add twelve ounces of this to two pounds of zinc white in oil and two tablespoonfuls of soft soap. This thick mass is then applied to the canvas with a spatula. When this is dry, thin down the balance of your mixture with oil and "turps," so that it can readily be used with a wide wall brush and go over the awning with one or two good coats. If you desire a color, you can then give it any oilpaint coating. The durability of such an awning is worth the trouble. Cleaning Painted Awnings. To clean awnings, free them first by briskly brushing off all dirt and dust with dry brushes, then use a liberal supply of soft soap, scrubbing briskly with scrubbing bristle brushes. Then rinse, preferably by turning on a hose till the water has washed oft every trace of soap. A little ammonia may be added to the soft soap if some of the spots do not come out. Cleaning Window Glass. A METHOD for cleaning window or plate glass which is superior to those usually employed by most stores is as follows: Use the finest pulverized pumice stone. Take a soft sponge, dip it into any kind of alcohol and apply it by rubbing the sponge over the glass surface. Then use a cotton flannel cloth for the first rubbing and finally rub with a piece of cheesecloth and your glass panes will be full of luster and clean. To Make Putty. OFTEN you require a small quantity of putty in a hurry and cannot get it nearby. You simply take whiting, such as your wife uses to clean glass or silver, and mix with linseed oil, using a little oil at a time while you continually mix It, and finally knead with your hands, rather adding whiting than oil, and you will have putty which finally dries as hard as stone. Flour Paste for Paper. AN excellent paste for any kind of paper is to take either rye or wheat flour beaten up in cold water so that it is smooth and like cream, and then put it over a fire till it begins to boil. You must be careful to constantly stir it so that it will not be scorched. After it is thick and glossy, take it from the fire, adding one-half of a teaspoonful of carbolic acid to each gallon of paste. This will prevent it from souring. When wanted for use, with cold water mix to the required thinness. Frosting Glass or Mirrors. IN summer many stores cover mirrors with frosting or leave only a small part exposed. It prevents flies from soiling the glass and has a cooling effect in hot weather. Epsom salts can be bought in any drug store. Ten cents will buy enough for frosting several mirrors. Put the salts in a vessel having warm beer or ale, so that it will dissolve with- out showing a white solution. Lay your mirror flat and apply the solution by tapping it on with a soft sponge. This should not be done in a warm room, but where it is fairly cool, so that it can crystallize more slowly, when the effect is prettier. To remove the frost- ing, simply use warm water. Utilizing Fancy Wall Papers. \\T E are on the eve of a great saving of expense by the use VV of wall papers for store windows, but more especially for large interior signs, Jlany of the dainty tinted papers called satin finish are very decorative if used in combination with floral borders, oval or other panels, into which the lettering is placed. Such signs will be appreciated more in the spring season or for the holiday trade, when chrysanthemums of pa- per or other artificial flowers and leaves are placed across the top and the lettering is tinseled in green, silver or gold as a suggestion for spring or holiday sign. You can take one strip of light blue satin paper and paste in the middle distance ot it a panel of roses which you will have cut out from a single roll of rose border wall paper. You then letter the words "Holiday Presents," "Spring Opening" or some such inscription in the panel, using a ball of wash blue properly mixed with mucilage and water for your paint. The lettering can be shaded in gold bronze or with flitter, as explained under the heading "Flitter," elsewhere in this book. Across the top, which has been glued to a cheap curtain pole, you place artl ficial flowers, as mentioned, with one large flower on each end. The bottom of your paper can be cut like an inverted letter V, which will make the entire sign look like a long banner. You should glue a fairly heavy strip of wood across the back of the strip as far down as possible; this will pre- vent it from curling. A professional show-card man would charge $4 to $5 for such a sign. The material would cost you about $1.50, but you would have enough to make 5 long signs. You can buy various colored papers, asking for "single" rolls. In this man- ner for special occasions you can make a rich display with very small expense. For fall use what are called flat papers. These can be bought as low as 15 cents a roll. Paste up nat- ural varnished leaves (mentioned elsewhere) or artificial leaves. You can use the acorn cups, which are described, by inverting them and gluing them to form your words, like "Fall Styles." An oval of oak leaves around the lettering will be highly attractive. If desirable, an edge line can be striped about one-half inch on each side, but it must not be run all the way down, as your line should be made to join into the V-shaped cut-out. Another method for carrying out the same idea so that it will cost about one-third the price is to use one strip of pa- per, then paste on a solid oval or circle, diamond shape or square of some contrasting color. Run edge lines around the panels in gold or yellow and put in your lettering any color desired. Gilt Molding With Paper Signs. FOR a panel sign to be placed temporarily against the side wall in a window or on the wall in any part of the store, a sign whose background is of green cartridge paper (which comes 30 inches wide) can have its outer edge framed with narrow half-inch, half-round gold molding. You must mitre the corners neatly and fasten down by using a few round, thin brads. By cutting any fancy panel of contrasting color — white, red, yellow, etc. — and running an edge line around it you can make your sign 6 feet high to cost about $1.00. 13 SECOND LESSON IN FLAT STROKE LETTERING. Jr you have properly practiced the first lesson, you should quickly he able to form all of the chaiacters here illus- (rated. Let me caution you from the outset not to be too slow. Be bold, follow the strokes in the order of which the arrows are numbered, write fairly rapidly, taking care to touch the brush lightly at the thin parts, where they are joined, and you will soon surprise yourself with what you can accom- plish. For your first trial take a wider brush than is shown in the lines of the copy. Rule your paper in rows IVi inches high, each row having three horizontal spaces, which will be 5-12 of an inch high, leaving a space of one inch between each row, so that your work will not crowd. downward curved stroke, on the upper right-hand ends of their curved centers. This stroke is made after the letter is completed. When you have followed these instructions, go over the second instruction series by again ruling onlj two lines, but — write all of your letters straight up and down instead of slanting. Do not use any guide lines. Your eyo will become accustomed to irregularities and you will gradu- ally overcome what is rather difficult to accomplish, that is, to write perpendicular letters. Do not be discouraged if it takes some time to do this, because everybody experiences the same difficulty, and you cannot expect to be an exception We will now learn to write figures, which are, with the Flat-stroke Numbers. After you practice the alphabet three times in this man ner, rule your next sheets by drawing only two lines 5-12 of an inch apart for the body of each letter, and your eye should gauge the top and bottom distances. When you have prac- ticed this three times, take a smaller brush and you will find yourself pretty clever. You will notice that there is one stroke in the copy which for simplicity's sake has not been indicated by arrows. Letters d, g and q have a short, .shaded. exception of the characters 3 and 8, very simple to master. Follow the arrows carefully. Try them with various-sized brushes. The larger your brush the taller you can make your numbers. Finally, practice the numbers in an upright posi tion. Most showcards have the prices perpendicular; for this reason you should practice figures incessantly, until you are satisfied that you make the shapes correctly, as well as hav- ing them straight. Slanting Lower Case Flat-stroke Letters. 14 PAIRCHILD'S RAPID LETTERER 15 Our Next Lesson. BEGINNING with our next lesson we are in a position to practice the tormatiou of words with prices. Throughout all of these lessons we will refrain from actually marking out all letters in detail. We will simply "lay out" the spaces crudely and quickly, so that a given space shall accommodate a given number of letters. Of course, you notice that i, I and t occupy the narrowest widths; c, e, o are the next in width; g, J being wider than all of the other letters, with the excep- tion of m and w, which are the widest. When you write your words, your "layout" is seldom an exact guide, and your lead pencil marks may be all awry, but your sponge-rubber will wipe them all away after your color is allowed to dry thor- oughly. In order to stimulate interest among our learners, we invite them to send in their last trial copy of letters and numbers for criticism. This will prove a great help to those who are earnest in the work. accord with the observer's reserve fund for this particular pur- pose, he might pay $4 a suit, instead of $3, which he would have paid had he not seen the showcard. Male attire and anything a man or boy requires for winter use is suggested in the third card. A plentiful supply of price tickets on all items displayed will make any other showcard unnecessary in a window. The appearance of all of the lettering here shown could be greatly enriched if it were shaded. This can be quickly accomplished by the use of a wide flat brush, which should be at least V2 inch in Width. We recommend the %-inch flat brush for shading. When letters are too close to permit of this width use a No. 7 or 10 red sable "rigger" brush, handling it flat-brush method when desired. These wide brushes produce remarkably quick and effective results. It is not our intention for some time to show shaded letters, firstly, because we wish the learner yturjr THREE suggestions for the easel signs are here shown. They can, of course, be made to fit on top or in the tack of the easel. The freedom of the designs clearly shows that they were lettered in a hurry and without great caution as to regularity, but they will answer the purpose for which they are intended, and the storekeeper who insists on a fre- quent change of signs will be more in evidence in the near future. It follows, therefore, that the scrupulous regularity of letter designing will gradually grow into disuse, and a businesslike swing to a neatly lettered card that is quickly produced will be the winner, care being necessary to have effective wording to fulfill the proper mission. A man who never wore a "Prince Edward" coat might be induced to try one on if he reads the first card. Quality and warmth should naturally be suggestive of desirable underwear to purchase. If the price is not just in to notice the actual lettering unadorned by shading, which often hides most imperfections, and, secondly, because we be- lieve plain lettering sells more goods and, of course, saves time. Sponge Rubber. There are several kinds of this rubber sold on the mar- ket. There is only one good kind, and this can be bought at the same price which Is asked for the undesirable quality. Sponge-rubber should be at least one Inch thick. If you can get it thicker, so much the better. It Is either dark slate or blackish, and should have no backing, but should be spongy and pliable on all of Its surfaces, every one of which can be used as an eraser. It can be bought at prices ranging from 15 cents to 75 cents each, the former being about IV* inches square. A piece at 25 cents is about what you should get. CAUTION TO BEGINNERS Good brustes are expensive out tney are wortli tne price. For wide rlat-orusn lettering to get clean-edged letters, use either Black or Red Sable flat brusnes. PRACTICE WITH WIDE, FLAT BRUSHES. ALL of our preceding practice in slanting and straigtit lettering should now be done with wide flat brushes. They range in width from % to 2 inches and are rather expensive. The beginner should purchase a "Russian Sable % inch wide, flat brush." The price should not be more than 50 cents. When you see the rapid worli you can do with it and the beautiful, clean-edged lines it writes, you will consider it cheap. By using wider brushes you will be able to write a beautiful large card with four or five words in five minutes. The letters in the copy were written with special care to con- form with the engraver's space in exactly three minutes, but they lack the freedom of swing which the writer can accom- plish in an unhampered space in one-half the time. Your color can be mixed much thinner for these wide brushes because they always maintain the same width. Be sure to remember that when writing, every part of the brush must always lie flat on your card. The brush must be stroked occa- sionally after each loading, to free it from surplus color and to form a uniform flat point. All of the strokes are made exactly as in previous lessons. For practice, rule your paper in rows of four lines, the two center lines to be I14 inches apart and the top and bottom line Vz inch away. The center space is for the letters that have no projecting stems and the other lines are for stem letters like b, t, d, y, g, etc. For lack of space and be- cause the formation of the letters is the same as previously shown, we will illustrate only a few letters. ond stroke, you place your brush into the thin line on top and swing your stroke downward, using the full width till you come to the upward curve. The learner should now rule lines to conform exactly with copy — one inch in the center and one-half inch top and bottom. It will be found more difficult to execute the work because the space is narrower, but after you have become expert you will be able to make these letters with the same brush in a space only one inch wide should you desire to do so. "Palette" would like to see your efforts with this brush, but only when you feel that you are doing fairly well or if you desire advice even though your work is faulty and irregular. We can utilize our knowledge to good advantage by at once constructing cards which are needed for the season. No matter what size your card may be you must allow am- ple empty space on all sides. The simplest construction for card No. 1 is to form the panels first by ruling green lines on the white card. In each corner paint your leaves, which you make with two strokes of your brush, first taking dark green for one side of each leaf, then adding enough yellow to your color to make it a light green for the other half. Now take some red paint and make three small dots between each two leaves and we have the holly effect. The letters C and P are written in red and the others in black. A more elaborate effect for the same device is to cut the panels of gold or tinted paper and paste it on the card. Then rule lines around the panels in FXIKCHILD (s.- Wide, Flat Brush Lower Case Letters Do not use much pressure on your brush. Many writers hold these brushes as though they were writing "back-handed" with a pen. Follow the arrows; begin the letter a by resting the en- tire brush slanting sideways downward, so that the upper edge of the point is stationed at the extreme upper edge of the letter, then finish your stroke as per arrow. When you begin the sec- contrasting color. Make all the lettering black or dark green. Most people are puzzled during the holiday season in know- ing just what to purchase for the boys or men; cards like Nos. 2 and 3 often promote the sale of many goods and are helpful in offering suggestions to customers. Rule two lines with your pencil to indicate the height of 16 FAIKCHILD'S RAPID LETTEEEE 17 your amall letters for the top line in card No. 2 and rule one perpendicular line so that the initials of all the words under the top line will be equally distant from the edge of the card. Now rule two horizontal lines just a short distance across the card for the initial letters and small horizontal lines fairly i4 ¥- Qmiiim^ No. 1. well across the card for the small letters. Lay out the entire card with a soft pencil, taking care not to press too hard. Leave the spaces between the three words on the top line the same, and indicate all the letters, no matter how crudely you do it. All the lettering underneath can be marked out the same way. The wording has been especially constructed gradually to as- semble more letters and to give a variety of new practice on capitals. The simplest coloring for this card is black on white. A more effective style is to run a double red rule under the top line and a single rule under each word. A richer effect is to make all the initials in red and run a gold rule under the top line and a gold rule only under the lettering after each initial. All the lettering to be black. No. 3 is a card that I know is going to give my scholars a lot of trouble because the straight letters are much more diffi- cult to write than the slanting ones. It is laid out both for No. 2. utility for the season as well as practice and we must make It. I would use red for the F and D on the top line and black for all of the rest of the lettering on the entire card and then run nxv collxvs ^xrfers unScrwexr suspenders .I^IRCHUD pue c. No. 3. thin rules of red or gold under each word. The top line should have a double rule under it. An evergreen border stitched on the card will prove very effective. Card No. 4 can be con- structed on the lines suggested for the first card. The ribbons a,nd bows can be left off if you want a simple card. These ribbons are readily made by first using say a light blue and shading with a dark blue. A rich effect is to cut four card panels say of light green. Paint gold borders around each panel; make the initials in dark green, run an edge line of gold or white around each initial. Out of narrow satin light green rib- bon tie three bows with long ends, put a little glue on the back of each upper corner of your initial panels and fasten the ends of the bow there. Now after you lay all three panels loose on the card indicate their proper position, running a small line where each bow ought to be located, then take some glue and spread it along each of these lines and fasten No. 4. the back center of each bow. It will, of course, be under- stood that the other lettering on the large card will have been marked out before the panels were fastened to the ribbon, Bronzing Plaster or Wood. IF you wish to bronze objects like new wood or a plaster figure, they should receive one coat of "flat" oil paint, which means that the paint is thinned with turpentine only; no oil being used. When this is dry, give them one coat of glue which has been made very thin with water or vinegar. After this is dry apply bronze mixture. Your objects can receive one coat of thin shellac and then be bronzed, but the former method is the cheapest and good for indoor purposes, and the eimplest, though the latter Is the best. Flat Brush Edge-Lines. TO avoid answering numerous inquiries individually we here crudely illustrate the proper method of procedure and the method of holding the brush when making edge-lines with a flat brush, such as were made on the price tickets in the preceding lesson. Place your card flat on a table, holding it down with your left hand. Allow about one inch of the card to project from the right hand edge of the table. Hold the brush at as low an angle as possible, in the manner shown above; your thumb near the end of the wooden handle lies flat on the top. Your three fingers rest against the side of the handle. The first joint of your index finger, pointed slanting forward and downward, rests on its inside firmly and flat against the outer side of the brush, exactly where the hairs of the brush end and where the metal begins. You then rest the side of your index finger gently against the edge of the cardboard, plumb down to where the joint is resting against the metal on the brush. Your brush, which has been loaded with easy flowing color, is then slid along the edge of the card, and an even border, the full width of your brush, is the result. All this explanation seems diflicult, but one or two tryeuts will bring it to your understanding. Ruling Other Edge-Lines. YOU can rule lines with smaller brushes in the same manner, whether they are flat or round pointed, by using the first joint of your index finger as a guide and holding all the other Sngers just as shown, only that they are ele- vated from the card, as far toward the center of the card, according to "low far from the edge the line is to appear. Be very careful not to press your finger hard against the edge of cardboard while you glide it along, or you may give yourself as severe a cut as with a penknife. Be gentle. Block Capitals. 'E are gradually increasing our knowledge of various fonts of letters and, as variety with harmony is highly appreciated, we hope to utilize this knowledge in the near w :c o- 1: r n J K L M m-Q r a TU¥WKY IS FAIECHILD'S EAPID LETTERER 19 fature to the best advantage. To accommodate our page space our engraving is made so tliat in to-day's lesson the characters appear much smaller than you should make them. Rule two lines one inch apart, leaving fully % inch of space between the next two. In your first practice sheets the let- ters should be one inch high. You can then take a larger brush and make them 1% inches high. When you master this practice take a %-inch-wide flat brush, the Russian sable being the best, and make your letters 2 inches high. Flat Stroke Block Capitals. As these letters are mostly used on large signs like the 22x28 cardboard, and are also attractive for bulletins, we advise the learner later on to use brushes one inch, I14 and 1% inches wide. With such wide brushes you can quickly make letters 12 to 18 inches high. BRISTLE FITCHES. For this purpose you can buy ordinary flat bristle "fitches." The price ranges from 20 to 30 cents each. A HANDY RULER. When painting these large letters you should always use a two-foot ruler. On each extreme flat end you should glue a piece of wood 1 Inch thick. You will then guide your brush along the edge of the raised ruler, just as though you were ruling with a lead pencil. OILCLOTH SIGNS. In this manner you can use oil colors and paint excellent outdoor signs on oilcloth, which would cost you at a sign shop $3 to $5, at an expense of $1. Your color should have plenty of Japan or varnish mixed in it, and dull-finished white oilcloth is especially made for this purpose. How to Write Block Letters. WHEN you write the letters shown above, the brush must always be full chisel shape, well loaded wth color in the back, but the point should be as pointedly flat on the tip as possible. Use very little pressure, fill and stroke your brush and all other side strokes In this alphabet are made by holding the fingers still, and sliding the hand from left to right. Now make strokes 4, 5 and 6 in this manner, and the letter is complete. Later on, when you have thoroughly mas- tered the brush and the lay-out of space, you will probably do as the writer does. First make stroke 4, then stroke 6, then 6; after this, strokes 1, 2 and 3. Letter B— Make stroke 1, beginning slightly below the top line and ending a trifle above the top. Beginning a trifle to fhe left of the top of stroke 1, make stroke 2, by gliding the hand sideways; make stroke 3 considerably above the center of the space, gliding sideways, but make this line about 1-16 inch shorter than line 2; now make line 4 almost % of an inch longer than line 2; now join these by making strokes 5 and 6. In the beginning you probably will find irregular or rough lines where the curved and straight lines meet. You may touch them up even with your brush, but after a while it will not be necessary. We have carefully guided you in the construction of the first two characters, so that, by following the arrows in the order Indicated, you will be at ease to complete the entire lesson. After you have followed all of the foregoing instructions you can with a small brush make the letters the exact size of those in the copy, and it will be good practice. Wet Weather Signs. EVERY store that retails umbrellas, rubbers, raincoats, etc., should be supplied with oilcloth signs for outdoor use. The frames should be substantially made of 2x2-inch strips, besides having two cleats of the same across their narrow width and a slanting cleat in each corner. If thoroughly nailed together, this will make frames that will stand buffet- ing and wet weather. Many stores place such signs imme- diately under their front show window frames as soon as it threatens to rain. There are two substantial hooks perma- nently fitted to the top of the frame, which can quickly be hung onto two heavy screweyes which are on the window casing. A piece of copper wire is passed through another screweye on the bottom frame, and one which is permanent on the bottom of the store front. The wording as shown is UMBRELLAS often, as every part of each letter is supposed to be of uni- form thickness. The learner is requested during the first practice, until he has mastered the shapes of the letters, to first mark them out in single lead-pencil strokes, merely to get the right proportions, as a guide for the brush. After you have practiced the whole alphabet twice, then do not use a pencil, and you will be pleased to see that you eventu- ally can write them without a guide-line. Beginning with letter A, start stroke 1 a little below the line, going down to within about 1-16 of an inch from the bottom line; make stroke 2 in the same manner to the right; then stroke 3, but notice carefully that this side stroke more apt to sell the goods than if only the word umbrellas is used. The words "Buy" and "Here" can be painted red; the center lettering should be black. A 1-inch red-edge line, which may on its inner edge have a narrow black edge line, will make the sign doubly attractive. Another method is to have the letters all red and then run an edge line of black around every letter. No edge line need be placed around the border of the sign. Some object to using red, as it is more perishable. When you have once painted your letters, it is a simple matter to outline them with a small, flat sign painters' brush, and then fill In with a wide, flat brush. HOW-C AND I HOLIDAY PRECAUTIONS. HOLIDAY time should not only tind the show windows properly ticketed and decorated, but a special effort should be made to place what is most salable during this rush time in easily accessible positions, and everything within the vision of the visitor to the store should have a price ticket. Every clerk is usually busy; there is enough tension to wait on purchasers without being disturbed by constant queries, "How much is this?" etc. The wise store- keeper makes very little effort at decorating the interior of his store. Tinsel decorations and too much evergreen de- tract the eye from the main purchasing channel. It is wise to do this in the window, but when your customer Is landed Inside, his eye should catch a liberal display of silk hand- kerchiefs, neckwear, gloves, bath robes, etc. Turn out as much of your merchandise from the shelves as you can ac- commodate. Have your price cards all of one color, the best being white lettered in black. Square cards hung by the point look the most attractive. Many stores that never have prices marked on anything during the regular season use price tickets in December and you who have never tried this, can profitably make the experiment. Psychological Tickets. MANY a man or woman is too sensitive to ask the price of an article without feeling that he or she is obligated to buy it, or something else. These people, of course, are in the great minority, but the price-ticket psychologically acts exactly as a human salesman and very often does quicker work. "I often see tickets with the words "Sold elsewhere for $1.50." No matter how much cheaper your price may be, this wording is a mistake. Do not divert the possible cus- tomer's thoughts to "elsewhere." You have his attention — keep it! land him! For January you can make the experiment; remembering the old adage, "Turn over a new leaf." trying something new legitimately to effect sales. Cards that read like the follow- ing will surely attract more attention and actually sell more goods than the simple price-ticketed merchandise: "Try this on — $20 the whole suit." "Put one on the boy for $1.25 (for caps). "Keep your ears warm, 35 cents" (tor ear muffs). "Keeps the cold out, $25" (for overcoats). "Make your trip in comfort; put your duds in here, $7" (for dress suit case). "Put one in your pocket for $1" (for a purse). "Your old hat looks shabby — $2.00 for this." "If you're chilly, buy wool underwear, $3.50 a suit." "Avoid colds; mufflers $1.00." "You need sleeve buttons, $2.00 for these." There are enough examples here to illustrate our meaning. January Sales. You can safely rid your show windows of all the extra decorations, and by solid window trims force many sales, especially of men's clothing, during the month of January, by holding your "midwinter" sales. Thousands of men in your city have worn last year's clothing which, until now, looked fairly presentable. Many unselfish men, especially among the toilers, have neglected themselves to buy presents for their sweethearts or family. The next two months should bring many of these possible customers into your store. Suppose you try a new method. Do not scream "mark down sales" in January. Dress your window as for an opening sale of midwinter styles. Let us try something different in a window card. Make a mat for your card of either red or green. If it is a full-sized sheet, 22x28 Inches, have the mat three inches wide. For smaller sizes two inches in width. With your mat-cutter, cut through your card and create designs somewhat as here shown, after you have first care- fully marked them out on the top surface with a lead pencil. When you have done this, glue contrasting colored thin paper, on the back, by putting only slight touches of glue between the designs. This will keep the paper smooth but will also allow you to change the paper so that it can be readily removed for another color where the design shows. Green paper behind a red card. Red paper with a green card. White paper with any kind of card. etc. Now, we must concede that this means a lot of work, but the effect is beautiful. All of these ideas are practical and pay, if you have the time. If you are too busy, mark out your designs, fill them in with gold, and if you desire it you can outline them with black or white. Price Tickets. MAKE your price tickets to match. You need not cut mats for these, but run your broad borders by making the inside edge-lines with a narrow brush, using a ruler to guide it; then take a wide, flat brush and fill in. Personally I use only the wide brush, and perhaps you can do so. Your cards should measure about 3 by 5 inches. Now, cut a small stencil for the border. Use the stiff, emooth sheets sold by stationers for letter copying books. Your mat-cutter should be sharp and the lines cut clean 20 F A I R C H I L D ■ S li A P 1 D L E T T E E E R With a ten-cent bristle brusii apply your bronze for the border design. You should cut the bristles so that they are a trifle less than one-half inch long. The lay-outs of the lettering on these designs is sug- gested on account of their extreme simplicity. Fancy scrolls on the smaller price tickets are undesirable. The lettering should be as plain as possible, the prices sufficiently promi- nent to be quickly seen in any part of the window. Learn to make your dollar signs neat and not large, using a writing pen for the two light lines and a small brush for the rest. Your numbers should be as plain as possible. I think it a great waste of time and even con- fusing to add the customary two naughts or ciphers after the figures. The dollar sign is sufficient, and you will also find that by placing the small triangle after the price you have an improvement over the old method of using the customary period. The small ornaments can be made with gold bronze, bhading these cards is not necessary, although it enhances their beauty but takes more time. A good effect on these two designs would be to shade the words overcoat and suit, in gold. Most show-card writers use water-gold or gold Let- terine, which is also a water-color mixture. I prefer bronze liquid. Water Gold. BUY one ounce of gold bronze, pay 25 cents for it, so that you get a good quality. Dissolve clean white gum arabic over night in cold water, so that you have a clear mucilage. Put the bronze in a heavy coffee cup. Pour in your mucilage gradually and mix it thoroughly, using a six-inch round stick with one end whittled round. It takes a lot of good mixing to make a good water-gold. The stick grinds it against the Bide of the cup, and when it is about like a thick syrup you can put some in a saucer and thin it with water, taking care not to make it too thin. Any kind of bronze can be mixed this way. The most satisfactory results are obtained by using the bronze liquid. You will, however, be obliged to have a separate set of brushes for this purpose, but the expense, no matter what it may be, is trifling when you compare the beauty of your gold, its brilliancy and its durability. In ad- dition to this you will be able to make gold signs on wood that will be fast color and remain untarnished for a year. Your brushes must invariably be thoroughly washed in tur- pentine or gasoline, a small quantity of which can always be kept handy in a wide-mouthed, securely corked bottle for this purpose. Many beginners use what is called banana liquid. This is very desirable if you wish to bronze a large surface, like a register, but as it thickens and as the smell is offensive to many, it is undesirable. How to Make Bronze Liquid. WE will give you a recipe so that you can make your own bronze liquid at one quarter of the cost which you pay in an art store, besides giving you a better mixture: One-half Pint Damar Varnish. One-half Pint Grain Alcohol. One-half Pint Benzine. Always shake well before using and keep tightly corked. When using bronze for stencil work mix it so that it has the consistency of the syrup. This prevents it from run- ning under the stencil. The brush should be tapped up and down over the stencil. Any color of bronze can be used, also aluminum. For shading letters or edge-lining more liquid must be added. It dries within a few minutes after it is applied, and will not rub off. Your brushes should be washed immediately after you have finished the work. n DEVOS^' FLAT BRUSH LETTERS. II ^ A COMPLETE set of one style of letters in all sizes is called by printers a "font." There are two styles of type which are much in use in the printing trade; one is called "De Vinne" and the other is "Old Style." As this style which we here illustrate is a sort of combination of both, we have contracted and combined the names and called it "Devos." Owing to lack of space the engraver has consider- ably reduced the size of the original copy. I should advise you to have much practice before you attempt to make these letters as small as here shown, a Soenneken stub-pen being the best for such small sizes. Rule two center lines one-half inch apart and one line one-fourth inch from the top and bottom. All of the strokes except the stem- strokes you are thoroughly familiar ■with. You must practice this com- bination of strokes carefully as indicated from A, which is the initial stroke, to F, showing it finished. Holding your brush with a slight slant to the left, make the stroke A, being sure that the upper edge of your brush does not go above the top line; bring the brush down perfectly straight, so that the lower left end of the point does not quite touch the bottom line. Now raise your brush and to the top of stroke A add the fine upward short stroke B, which should be a trifle longer than here illustrated; then make the downward side stroke C and you will have the first part of the stem, as shown in D. Now make the base E, of the stem, by using both the flat side and edge of the brush, making the strokes as in- dicated by the arrows 1, 2. 3, and we have the finished stroke F. It is necessary to keep your brush thoroughly clean 1 The "Devos" Stem Stroke. 1 ,$n ■b'-u' ^ .0 f and pliable for these letters. Occasionally wash out the brush, then straighten the hairs out flat by pressing out the water, drawing the hairs through the thumb and fingers and then refilling with color or ink. After you have learned this stroke in the manner indicated you may make the stem-stroke by first making stroke B with an upward movement, then without lifting your brush continue the downward stroke. You are now thoroughly drilled and by following the arrows will be able to write the Devos alphabet. The best capital letters to correspond with the lower case Devos resemble the De Vinne font and are here illustrated. 'While you may find it rather difficult to make them in single strokes at first, with practice you will sub- sequently master them. If you have not acquired the knack of using your flat point for the end- points of the letters, you can take a small round brush for that purpose. You have now at your disposal an additional font of let- ters, the most popular of all, with which it is possible to produce a great variety of tickets and cards that will attract especial attention if carefully written. Many Western stores use what are called store mottoes. These are usually written on full-framed sheets, which are often attached to the upper cornice of the store shelving. Many stores in the East display these mottoes in windows on small 5x7-inch cards, using black on white, with red initial letters and a narrow mat of jt, contrast around the card. The wording of these mot- toes, to my own knowledge, is about the same all along the line during the last fif- hi ijf] ik I ■«. m'(0 p'.c| 'i^ cii- ww^^y '!$ % tm' "Devos" Flat Stroke Lower Case Letters. 22 FAIECHILD'S RAPID LETTEEER 33 A B C D E F G H IJ K L M N O P Q R S T U V WXYZ Fairchud Co, "Devos" teen years and I have originated many of them. A man going into a store in Phcenix, Ariz., or into Fresno, Cal., or Coving- ton, Ky., will be greeted by signs that sing the same old tunes: "We study to please." "If you don't see what you want ask for it." "This is the home of satisfaction," etc., etc. These signs may be very good still, but even the cuwboy Capitals. of the plains and the miner or charcoal burner of the mountain top want to hear a new variety of songs. They appreciate novelty and originality, too, and I would advise storekeepers for the coming year to take down the old, old chestnuts and make or order new sets, and even if they want the old wording to use new colors. You can convey the same ideas with dif- ferent wording. Below we offer a few suggestions. We appreciate jaour custom andiry our best to retain it. Ask to see anything, You are not obliged to spend one cent. FAIRCHUO Co. OUR CLERKS ARE ANXIOUS TO SHOW YOU GOODS. YOU PAY THEIR WAGES. WE ARE ALWAYS READY AND GLAD TO COR- RECT MISTAKES. ASK FOR ANYTHING; WE MAY HAVE IT. IF DISSATISFIED WITH ANYTHING, PLEASE REPORT AT THE OFFICE. fA.IRCHlLD Co. DON'T HURRY; BE SURE YOU ARE PLEASED WITH YOUR SELECTION. YOU NEED NOT BUY. THE FREEDOM OF THIS STORE IS EXTENDED TO YOU. QUALITY AND PRICE GO HAND IN HAND IN THIS STORE. OUR PRICES ARE IN THOROUGH ACCORD WITH THE VALUES WE GIVE. HOW -CAR AND SIGNS. ", CLEARING SALE" SIGNS. mwmWm SOME of the simplest devices attract most attention it the card writer will combine mental exertion with his skill in lettering. Whatever can quickly be devised to attract attention is certainly most desirable. You can readily cut a circle of white or manila paper, letter it and fasten to any part of the inside of the window near the center. A quick method of making a large circle is to fasten the paper to the counter or floor with a small round nail, then tie a piece of soft cord to the nail and on the other end of the cord place a pencil by simply wrapping the cord around it a few times and holding it with your thumb and index finger. In this manner you can draw a circle any size you desire, as the cord will revolve on the nail as your arm moves along, but you must hold the string taut all the time. It you wish to make a border around the circle be sure to draw a second circular line in the same manner, and when using your brush keep inside of this line, thereby making the edge line of uniform thickness. For circles I prefer no edge line, although many card writ- ers use them. Many writers use the brush direct instead of first using a pencil. You can attract much at- tention to the window by mak- ing four manila paper circles, in each of which you letter the price; all to be of one color. Fasten the circles with little touches of paste to the inside of the glass, about three inches away from each corner of the window, then join them with two-inch-wide strips of white paper and in the center of the window place a large circle, a diamond shape, or a shield with the price large and very few words of reading matter, if any. Small pieces of gummed paper, such as are used by stamp collectors, can be bought at 10 cents per thousand, and are good for fastening signs to window. The same idea can be car- ried out with shields or any fancy shape, first cutting out 8ne with your scissors and FAcRCHrLo co. using the same pattern for outlining with a pencil. In this manner they will all be uniform in size. A plain band of paper with a circle, diamond shape, shield or other device pasted on its center, and fastened across the window, is a shape often used without any other device, and with neat lettering in modest size, can be used by stores cater- ing to fine trade. Banners of all shapes and sizes, such as one sees on the ribbonettes of political netting signs, are very attractive for the same purpose, but more difficult to design. With the knowledge you now possess of handling the brush, you should find no difficulty in lettering any kind of card for any purpose. The last half of February is usually devoted to "Clearing Sales." Here is an opportunity to exercise your brain for originality and to manipulate your brush for effect- iveness. No store is too high class to indulge in clearing sales. It Is simply a question of the method suitable to the general run of patronage of each store, but with the establish ment that caters to the "popu- lar trade" it is in reality a mat- ter of ingenuity to adopt win- dow cards which, in wording, color and display lettering, will quickly excite the interest of the transient, as well as create at first glance the impression that you are actually selling out this season's goods at re- duced prices. In the streets where there are many stores I have found that most of them make the great mistake of using only red-lettered signs, and some of the store fronts look disgustingly gory. They may attract the eye at first, but everybody else has red signs or red numbers, so that, to paraphrase the coon song, "all signs look alike to me." When you are ready for your sale, it Is always best to do something decidedly differ- ent than your immediate neigh- bor. It would be presumptuous for us to tell you exactly what you should do, so far as tlie CLEARING SALE 4-. Any SuitM-.> OH! MAMMA LOOK'. 24 FAIECHILD'S EAPID LETTEKER 35 actual merchandise is concerned, but we can, by experience and years of study, tell you quite a lot about the kind of signs to use; how to letter them, and how, during the season of broken sizes and reduced stock, you can utilize a handful of goods in your window, with clever devices that often are quickly made and that require little lettering. Unique Window Signs. 1^ HE first illustration is intended for a sale of boys' clothing. The top of the window is draped with common curtain lace, to the lower end of which the manila paper strip is fas- tened with glue, being iirst lettered and having a broad border. On each side of the win- dow fit the column strips, on which you first paste the diamond panels, which you will have lettered and bordered. The object of the lace Is to permit the daylight to enter, so that the store is not dark- ened. The strip across the bottom of the window must also be lettered and bordered where indicated. You can al- low three inches to project on each side, so that you can paste it down on the back of both columns. The higher you make the bottom strip, the fewer goods you need display. Clearing sales, in our estimation, are much more ef- fective if conducted in this manner instead of filling the window with all kinds of goods. The articles must be considerably reduced from original sales prices. This brings people into the store and effects other sales. Another Window Device. THE arrangement for the other window, as shown in the second illustration, is made as follows: The paper for the panel is translucent. This also prevents the store from being too dark during the day, and in addition shows up the letter- ing at night to good advantage. Take common white sheets of store paper, such as drug- gists generally use to wrap up small bottles. Place the sheets all on top of each other. Get a common wide, flat bristle '^ © iC S # brush, and after mixing some white Demar varnish very thin with turpentine, paint over the top sheet and place it on a rod to dry. Handle each sheet separately in this manner. The balance of the paper used for the columns and the bottom can be left white. The banner and the 90-cent panel are also translucent, made of two separate pieces glued together. All the lettering can be black, shaded in green or red. Making all the lettering medium green, shaded black, is also very effective. In both of these window closing-sale devices, it is not necessary to use lace or trans- lucent paper, as the top strip can be pasted on about eighteen inches from the upper part of the window, in this manner admitting enough daylight. The effect, however, is not so grati- fying to the eye of the ob- server. A striking color com- bination is light yellow paper, with the lettering all in black, with the exception of the first letter in each word, which should be red. The borders should be red. An Attractive Alphabet. F'OR this lesson, rule your center lines y^ inch apart and also one line % inch from the top and bottom. All your strokes, which are to be uni- form in thickness, except at the bottom of the letters e, h, t and y, are to be lettered with the chisel end of the brush. As this font is rather difficult to learn at first, we would ad- vise the student to make the strokes with a lead pencil, carefully following the arrows in the order indicated on copy. These letters are designed to harmonize with the capital block letters. Though they are not generally used where there is considerable writing on one card, you will find it a very handy style to use, either in contrast with other lettering or where you want to emphasize a word standing between other reading matter. For this purpose such words are written in red or contrasting color, and when not black prove doubly effective. 17 e*- 2. \ e ^^ ^ m m ^5 T^ "s* gi^ ~^~^ '/■^ SINGLE STROKE FLAT-BRUSH CAPITALS. THE simplest forms of flat-brush, single-stroke capitals are represented in the engraving shown below. They are featured in a modified style of regular script and you should have no difficulty in writing these from the start. The directions of the strokes are at the discretion of the student, who has had enough guidance in the preceding lessons to enable him to use his own judgment in the con- struction of these characters. For quick work these capitals cannot be equaled by any other flat-stroke series. When they are written straight the lower case letters should also be straight, but it is much quicker to write them slanting. Many writers use this style for price lists, using slanting numbers to correspond. 1% inches high. When you first practice, make them Backgrounds for Spring Cards. THE most attractive backgrounds for the large; sized window cards for spring are what the trade calls "tints." Among these are heliotropes, nile-green, chamois, pale pink, lemon, etc. Such cards, with their refined, delicate tones, can be lettered in any color or combination, and should be mounted in mats of white or darker shades of the tint — the "helio" to have a purple or lilac mat, the nile to have a medium green, the lemon a buff mat, etc. With such backgrounds and frames the use of white let- U "0 llTcKS/ Z & FAIRCf^fLO Co. FAIECHILD'S RAPID LETTEEER 27 terlng, combined with gold or colored edge-lines, is probably the most suggestive of spring. Show Card White. THERE is no difficulty in applying white if it is properly prepared, and it is worth the trouble, as nothing equals it for what artists term "embellishment" or for fine decorative effects. Years of experience have finally demonstrated to the writer that flake-white is the most advantageous and least expensive for show cards. All professional writers use it. Paint supply stores sell it in a dry powder in any quantity desired. take out one ball, grind it and mix it thoroughly on your slab with the spatula, holding it fiat, using at least one-halt of its length while moving it in circular motion and sideways right and left, frequently gathering it by using the edge of the spatula and adding only enough water to make a mass as thick as heavy syrup. If you devote five minutes to grind- ing each ball smooth you will have a perfect paint. By first dipping your brush into water you can fill your brush with thick white and mix up the brushful on the stone, and you can letter on the darkest or any light surface with one ap- plication. Preparing White. BOY first-grade clear gum-arabic, filling a bottle half with gum and cold water. In a couple of days you will have a clear mucilage to use as a "size" or binder, which will prevent the white from rubbing off unless it is moistened. You should mix your paint on a marble or slate slab or a piece of glass. For lettering large characters first outline them with a small brush with the white, and to fill in use a soft wide brush, which should be liberally loaded with as much color as it will hold, going over the spaces only once, so that it dries out smoothly and no background will show through. If you have extra large letters or prices in white, it is more satisfactory first to mark them on white paper, then The Spattila. BUY a spatula 6 to 8 inches long, such as druggists use for mixing salves. One can be bought suitable for our pur- pose for 35 cents in eastern cities. In mixing the white, take a heaping teaspoonful of the dry powder and carefully add just enough mucilage so that you can mix it into a round mass or ball, which will be about half solid. In a tumbler half filled with cold water place this and as many balls as you care to prepare for re- serve white. Now if you wish to use some of your white cut them out with scissors or a mat-knife and paste them down. Novel Window Cards. ''PHE alert clerk will begin to plan designs for attracting 1 spring trade, and though old ideas for "Advance Sales" and "Spring Openings" are generally repeated, they should be presented in a new manner by the wide-awake card writer. Whether it be in the shape of card, the style of mat, border, lettering or color combination, it can and should be done. A little extra thought is the only expense. SIMPLE SHADING OF LETTERS. FOR some kinds of signs shading not only improves the appearance of the lettering but emphasizes the words which have the letters shaded. Shading is used to produce the effect of thickness, shadow or reflection. The simplest method is Indicated on our illus- tration; all the shadings are marked with the letter "S." The shading should he made in single flat-brush strokes. Thin letters which have only one-quarter-inch width strokes are often shaded with brushes one inch wide. The most popular shadings for black lettering are in gold, various tints of gray, red or blue. The design below shows the proportion of a style much in vogue for card work in its simplest and most When you shade the alphabets shown, be sure to practice with various sized brushes, using a medium-sized brush first, and finally make the second line lower case alphabet with a flat brush one-half or three-quarter inch in width, and the shading likewise. Make the capitals fully 2Vi inches high when using the wide brushes, then practice with the smaller ones. This will give you command of the brush and make shading mere play when compared to lettering. It is ad- visable to use various colors when you practice shading, as it not only relieves the monotony of the task, but gives you the proper contrast in color comparison and harmony, which you can best acquire by this method. if Hfl ^^ I 1i»IJ%tfni# practical form. The beginner is cautioned to mix enough color each time so that the shading does not vary in tone or depth of coloring, as is the case especially with gray. In order quickly to learn shading, rule lines one inch apart. Make the practice strokes, which we will designate as the body, with a medium-sized pointed "rigger," in black To avoid mishaps the learner should allow the body to dry before putting in the shading. Now, using the same sized . brush, provide your shading color and make your shadow strokes quickly. Shading can be done much more rapidly than lettering, because, the body being there, it acts as a guide for the eye, and a slight variation either in the thick- ness of the strokes or the distance from the body is not very Important on show card work, except for a permanent sign. SPRING WINDOW CARDS. On the opposite page we illustrate various styles of artistic lettering for spring window cards. The characters are in plain black on white to bring out the formations more clearly to the learner. All of these letters were made with flat brush strokes, some in single and others in double out- line, and then filled in. In the previous lesson we mentioned the best color combinations for such cards. When white cards are used with black letters the mats should be colored. Gold letters with any colored edge line may also be used to good advantage. It requires but little ingenuity greatly to enhance the effect of the preceding designs by placing artificial flowers 28 FAIKCHILD'S RAPID LETTEEEE 29 and leaves in the center of the initial letters, fastening offer the student an exceptional opportunity to learn design- them down with thick glue, which should be left exposed ing. spacing and the artistic swing so much required in prop- until it is very taclty and the flowers will not come oft. "We erly perfecting this graceful letter. show these cards in the floral frames to offset the plain The introduction of the lettering into the curve of the appearance of the black lettering. capital "C" in the last card shows one method of utilizing The letter "S" is prominently displayed in various styles space in a somewhat crowded "layout," but in no way impairs both in the capitals and lower case on these cards, which the »rtistic effect desired. SHOW-CARD FLAT BRUSH TEXT. A SIMPLIFIED form of Old English text and a perversion of the Bradley Series has evolved a font called Show- Card Text. Each of the few prominent card writers has his own specialty in forming this alphabet. Some fonts are so elabo- rate and grotesque that it is a task to know what they mean. Our artist has adopted the easiest and simplest forms for both reading and writing. This style is much in use for ini- tials in panels, and most of the oilcloth or outdoor signs nowadays have three or four lines of Text lettering, contain- ing the body matter, which stands out in marked contrast with the bold display letters over it. As this series is also much easier to write than the various straight-edged fonts and re- quires little time, it is of decided importance to make use of it. The original designs from which these engravings are reduced were lettered with a number nine sable pointed rig- ger, with the point always chisel shaped. When letters are more than two inches in height, it Is advisable to use the regular flat brush. To suit the convenience of the lay-out we have placed the letter J at the end of the capitals. Floral Price Tickets. FOR window display, price tickets with flowers make a forceful magnet, attracting trade for spring merchandise. Our crude illustrations are sufl5ciently developed to convey an impression of the general effect, which will be greatly H I K C m Tl fAlRCMfLoQo, 30 FAIRCHILD'S RAPID LETTEKER 31 Intensified if you make the tickets to match the window card, as previously explained. Our distribution of lettering, the contrast of the various lay-outs, also offers ample oppor- tunity for practicing simple and easily read price tickets. By allowing your leaves or flowers to project beyond the edge of the card, being careful to glue them about in the same position on each card, besides attaching them in the same relative position on each article displayed, it will greatly strengthen the uniformity of your entire decorative plan. FA/RCH 'LD Co. Our first ticket has no border and shows another method for utilizing text letters. The card with a rose should have a gold edge line or should match the color of the flower. The daisy ticket would look well with a solid yellow or gold border. The last card can have the border ruled in violet or gold with an ordinary stub pen and, by crossing the corners, mak- ing a neat panel. The position of the flowers and the style of ruling may be changed to suit your fancy, but unless you are an expert in making scrolls, you should confine yourself to plain, neat borders, which always look refined. The appearance of all of these tickets is greatly enriched if you use cards with a gold bevel edge. Most beginners commit the serious error of trying to write freakish, fancy letters and numbers, but you should strive always to make your characters plain on price cards, so that the possible customer, who momentarily looks into your window, can quickly grasp the price (at least). Embossed flowers, which can be bought in sheets at most toy or stationery stores, can also be used to good advantage. appearing less refined, however, than the hand-painted tickets, which are rather expensive. Another method which is being exploited by some of the card trade is to emboss beveled cards and large panels with flowers in white and then painting these by hand or with an air-brush. Still another and most expensive and difficult method is to use plastic effects, which are made of a composition and in a manner that we shall exploit in later lessons. Small flowers, such as buttercups, violets, daisies and numerous others, can be bought at very low prices. Only one of these need be used on the smaller tickets, and one in each corner on those of medium size. By ruling lines in color or gold to connect, a neat, pleasing card can quickly be produced at trifling expense. FLITTER. Many card writers use flitter on spring signs, but we advise you to use it only for extraordinary occasions, it at all, and especially for night display or winter holiday signs. Flitter can be bought in a great variety of colors, including Durable ^AtFl CM/LD era. " pale gold, deep gold, various greens, purple, fine gilt, silver, copper, etc. If properly used a small quantity will produce very attractive results In decorative scrolls or letter outlining. The best method of applying it is to take liquid glue, which must be carefully thinned with water or vinegar so that it will flow; then immediately pour over flitter, sliding It In liberal quantities over the wet lines by moving the card so that the flitter adheres and then slipping off the surplus. The card should be gently tapped at the back, so that all loose flitter falls off. LOWER CASE SHOW-CARD TEXT. FOR practice, rule lines 1% incties apart, then for tlie body of the letter place two lines % inch apart in the center. Use a No. 7 pointed rigger with the flat chisel point, and make single-stroke movements. For smaller letters the size of copy use a No. 5 rigger, and you must keep your brush-point flat. A retailer attracted a crowd with a white show card hav- ing a heavy black border, lettered in show-card text: "In memoriam; they were stylish one month ago, but, alas! we marked them at first 85 cents, and here to-day we bury cost — yours at 40 cents each." They were good quality but un- desirable patterns. Harmonious Colorings. A MEDIUM green mat, mounted with violet-colored flowers and green leaves. A nile green background; white letters with gold edgelines. Lilac mat; violet flowers; white background, with purple letters. Green mat with small moss roses; heliotrope background, white letters, violet edgelines. as 1' A I IM ' TI I I. I ) ' S I? A r I D 1. E T T E li E K 33 S-tylistv ybr business Suit qs. 02)ear (§ti%a F^l^CM/LCt oij f^-^l^i^HILCt CVl Flowered Cards. illustrations of simple brush work, with the wording the 'pWO more price cards for clothing are shown above on this same on each set of two. in order to show the contrast be- 1 page to illustrate the use of heavier ruled borders, with an tween show-card text and regular lettering, agreeable variation in the formation of the lower case letter In the third card and the one opposite, use red or gold "y," having a graceful stem swing. The small dollar signs for the letters A, S, N and F. hat)c blossomed these 50^ fi^lKCHli^O Co April Showers have blossomed these Neckwearriowers Yaikch/i-o G. which are illustrated on both cards, should always conform R, W and S on the next two cards should also be in con- with the position of the numerals. trasting colors, as well as O in the compound word Slip-Ons. Properly to convey the use of text lettering we show four These cards are intended as examples of proper lay-outs. Ifou can laugh at the RainyWeather if jyoa wear our 5iip^^7to45. fXlRCH II li C'll Hou catv lau^K at the Hjaitty Weather '\j xipvcvdoax our 4 Z to* 15. tXiRCH/LO e«?C'V/^^ CO- Fishing reels for fishing? Real fishing for fish*? or Fishing Clothes? We have a litter of the latter Cool, Light and Durable FAf/iC^/4-£> Cc Tis Swimming Time and togs of merry hue of stj'hsh outline too are ready here fory^ou Bathing Suits X Ton Males and Females fAf^c^^u:^ Cff 'TIS Swimming^ Time and to^s of mern/ fine qfsij/lisk outline ioo are readq kerejbri/oa Bathing (Suits for Males and Females f^.f^f, ^a Co. TisSwimmin^Time and togs of merry hue, of stjlish outline too, are readj here for jou. Jatliing Suits for Males and females June A "fine month to ""P°°" Yacht in^ Togs Newest Ideas, Easy Prices fA //? C f^/d. C=i Co . - June- A fine month to "spoon Yachting Togs Newest Ideas, Easy Prices. /^//^C/V/^-O CO PEN LETTERED SHOW CARDS, Lettering and Ruling Pens. THERE are eleven sizes of the German Soennecken pens, running from number 1, which makes a stroke about 3-lG inch wide, to number 6, which makes a coarse, ordi- nary pen stroke. Card writers use numbers 1, 1%, 2, 2% and 3, and any finer stem strokes are made with ordinary pens. Other pens with two and three points are used for ruling bor- ders on small tickets or for underlining words. Any fluids can be used with these pens, provided that they are not too thick. Those that dry the quickest are the most desirable. Some writers use penholders that are especially made for this purpose, being six-cornered near the pen end to prevent the fingers from slipping, but any ordinary penholder will do. The cards displayed on the oppo- site page have been considerably re- duced from the original sizes in which they were written, being exactly three times smaller. By following our Instructions as to your spacing of lines you will be ena- bled to use the proper sized pens for practice. In the beginning you will think it disagreeable that the pen does not respond or slide so readily as a brush, but soon you will become accus- tomed to the trick of keeping the entire point always flat on the paper, and you will observe the iden- tical movements for your pen strokes as with the brush. In the beginning you can finish all of the points on each side of your stem strokes with an ordinary pen, but after a while you can do this work with the stub pen Just as you learned with the brush. Your fluid, if too gummy, should be frequently stirred and thinned with water, and the pen occasionally wiped clean, especially after you have finished using it. After a fair amount of practice you will write neat cards. For the first, second, fifth and sixth cards, rule spaces 8% Inches by lOV^ inches. The other two cards are 10% inches by 12 inches. For the lettering space layout of the first card, rule lines 1% inches apart for the letter B and use a ruler for the long stem stroke with a number 1 pen. For the small capitals, E, L, T, S, rule two lines % inch apart, and use a No. 1% pen. The lower case letters in the next two lines are V2 inch above the line for all stem letters except the letter F, which is % inch shorter. The space below the lines is i/4 inch. Use a No. 2% pen for these slanting letters, being careful to have them slant in the same direction. The prices written with RULIH6 PENS SHOW CARD PENS number 1% pens are % inch high. The small strokes in the cent and dollar signs should be made with a finely pointed pen. Be sure to leave plenty of white space all around your cards, laying out everything with a soft pencil as a guide, and be careful when the card is dry freely to use your sponge rubber to clean the card of all pencil marks. The wording of these cards is especially for the summer season, and the most is said with the fewest words. Clean Gold Edge Lines. TO obtain clean, even edges for gold signs that have no painted background, it is necessary simply to lay on your size very carefully by first outlining each letter with a sign- painter's brush. Such brushes have the hair at least IM inches long and about 3-16 inch wide, with a point. If you wish small block letters use a flat-pointed brush. Mix your size for edge-line as thin as possible; use a mahlstick on which to rest your hand while painting the edge-line, after the manner of sign painters; then fill in the body of the letter with a wide brush, spreading out the size thin and being sure not to touch the outer edges of the sized edge- lines. When you rub off your surplus gold with cotton it is as clean on the edge as any letter can be. Gold Lettering on Glass. FOR glass be sure thoroughly to clean it where you intend to letter inside, finally wiping with cotton and alcohol. Mark out your sign on the outside with chalk. If yon as an amateur want a perfect result, paint your sign in black water- color, in which you should put a little mucilage on the outside of the glass. Dissolve a thimbleful of pulverized white gelatin in a pint of boiling water. Spread this liberally across the inside of the glass where you cleaned it, allowing it to drip down. Then lay on your gold with a loose gold-leaf "tip," a brush device especially made for that purpose. After this is dry you can follow the outside watercolor sign, which shows clearly through the gold, by lettering on the back of the gold inside of the window. Use drop black ground in japan, which you can carefully thin so that it does not flow too easily, by using a little var- nish. When this is thoroughly dry — preferably the next day — wipe off all the surplus gold with cotton and water or alcohol and water, and clean off the outside sign from the window with a little warm water. Then back letters with asphaltum. 35 2,2k F A 1 1.' C; H I L D ' S RAPID L E T T p] K E R 39 ^^ of all .^^ofAers tojxt am/ ivaist 5 0*t„*2?p FAIKCIf/LD Co. Flannel ^easide^'Vear Z-lU.to^C>. CL (§u2£ FA/KCM/ID Co. Get a Head and i^e ca/z stippli/ the. to FAIflC/i'ip Co. ^rien Duck & Serge and ^/l of/tcr accessories cd /ecLSo/zaSle prices FAiftcwio a>. S^^t ^omfbri d. e ^ai n coats *7.*9. '12.15. FA/flC/Z/lC Co. \ov rlen and Boy5 w e furnish cind Knee Breeches afeverg descriptLOrL. fAI/tCMUO Co AND IGNS. PRICE TICKETS FOR HATS AND SHOES. SUCH tickets should preferably be made in medium sizes, as the larger kinds divert too much attention from the shape of the article shown. We display a few simple designs that are practical and which can be readily made by any clerk. They are capable of changes in color combinations and lettering, just as other cards. Those here shown are en- graved in the actual sizes intended for use and combine pen and brush lettering. Some stores use one shape all the time, others change for each style season ; some have the same card but change the color every month, and others change the style with each window trim. If you desire only a few of one design you should take tracing paper, following the lines of the design in this book. Then place a piece of carbon paper, smooth side down, on your piece of card, and by tracing over the lines on the trac- ing paper with a hard lead pencil you can quickly transfer the pattern and then cut out the design with a pair of scis- sors, being sure for the first card to cut very close to the outlines. Always use your first cut-out card as a pattern for the rest, running a sharp-pointed pencil around the edges. holding the pencil point perpendicularly. For shoe signs, the small tabs underneath are part of the card in one piece, and are usually attached by placing them through the front toe loops of the laces or fastening them to small pins having a round spring coil into which the tab fits, the pin point being first slipped into the top edge of the shoe lining, so that only the little coil can be seen. For hat signs it is advisable to cut off the tabs and paste on longer ones by putting a dab of glue in the center of the back of each ticket. When they are perfectly dry, you slip the tab behind the hatband and the entire sign shows clearly in front, besides being held in proper position. Several of the popular-priced hatters have adopted the use of an oblong price card 2 by 3 inches. These cards are of rough tinted paper and usually bear the firm's trademark and the price printed. Without presumption we can assure our readers that any of the tickets shown on the opposite page will intensify the beauty of their window display. The designs are readily cop- ied, but are especially drawn for the purpose of explaining to retailers a method of making large quantities at trifling cost. Making Tickets at Small Cost. AN engraving can be made of -any of these designs on which only the dollar sign remains, so that after the ticket is printed your card-writer can insert any reading matter or price. Any photo-engraver will make a "line engraving" from these designs for one dollar. Suppose you desire 500 or 1,000 each of the designs numbered 1, 5, 9 and 10, printed at one time; your printer would cut 1,000 cards 5M, inches square, on which he could print the four designs at one printing each time he feeds one card to the press. There would be plenty of space between each design, so that he could cut them in bulk with a machine and deliver them in small square cards, each having only one design. Four-ply card is heavy enough. The printer cuts the cards into squares and can print black on all colors of card without man-ing the effect, besides making a contrast, so the design will be black and the card colored. Should you, for instance, desire all your cards light green, the printing can be in olive or dark green; heliotrope cards can be printed in purple; a buff card with brown printing would make an at- tractive showing. What is called "railroad" cardboard, which comes in a large variety of colors. Is good to use for making these tickets. When you get these cards from the printer, cut out the designs with a pair of scissors, either close to the printed outlines or by leaving a margin of from ^,8 to 1-16 of an inch all around the design, which adds to their beauty. When large quantities are used, a die which has one edge very sharp is made to cut through about fifty cards at a time. so that within a few minutes 1,000 cards are cut. Our designs can be made more attractive by shading them in colors or using gold bronze where desired. Designs 2 and 3 are much used by hatters in the East. Their simplicity makes the price quickly apparent to the busy throng. Numbers 8, 9 and 10 make especially good hat-tickets, but all of these shapes may be used for either hats or shoes. Designs 11 and 12 can be further decorated by first cutting out tlie outside shape of card, then cutting out the inner ban- ner of contrasting colored paper, cutting six at a time by first marking the design on the top sheet. Then paste on your panels, outline them with a brush — any color you desire — and then letter. A number of hatters use an engraving of any staple-shaped derby. The drawing is always in outline and about the same size as our heart design No. 1. The price is lettered in the body of the hat-shaped card. A Bowery hatter displays a bannered card like No. S, and on top, with both arms out- stretched, resting on the points of the banner, is a picture of a popular actress, attracting much attention thereby. Many stores use a square card having a projecting embossed oval, with trademark, and the nrice is lettered below this. 41) FAIRCHILD'S RAPID LETTERBE 41 1 I 1 I PEN LETTERED WINDOW CARDS. VARIETY of styles and sizes of lettering are embodied in thf! four designs shown. The inner borders on the cards are made with a brush. To make corner ornaments uni- form, use tracing paper and transfer the design by first tracing with a soft pencil, reversing it, and then follow with a hard pencil the lines which show through the back. The smaller your letters the more noticeable is any irreg- ^ 7[ Book ^J{ Shady Nook and a f-JammocU 'pye /uire i/icm at prices to salt eyerj/ dema/i^ j L - ^ /=A/fiCHUp> Co- r i Get into the shade ^unXlmbrdlas 1 J FA//ic/^/co Co. ularity. The first card shows slanted letters in contrast with upright headlines. The shirt card exhibits harmonious slanting. The third card displays the use of condensed upright letters in contrast with others. The last card shows grouping of small letters. Were it not for the faulty position of the let ters "o" and "h," in the words "on" and "hammock," this card would be nearly perfect. The long-stemmed F is very pretty. ■^ A(L>2. 4 c/g>& /^A/KCM/IO Co. Gnon lOLLng'in^ abou.-t I the room, or catching I the hre&ze^s at night on the porch or in a ham mock, we suggest /A//fdJ-lll-Ci Co, A GROUP OF HOLIDAY PRICE TICKETS. THE retailer who shows enterprise in observing national holidays awakens the interest of Americans as well as foreigners. While the designs here shown are intended for hats or shoes, they can readily, without the tabs, be utilized for any merchandise. Card A print black on yellow or on gold. The bow can be tied of satin ribbon and glued to the bell loop. For large the sword handles can be touched up with yellow, or any of the numerous colored bronzes. Card G, for July 4, makes an agreeable decoration If liberally displayed. Print black on warm red. A small hole should be pierced in the center of the top, with a darning needle threaded with twine. This should project 2 inches, then be cut off in the back and fastened there with a touch of glue. This device enlarged makes a showy central window card. cards use wide ribbon; for sizes here shown use narrow "baby ribbon." Design B is especially intended for Lincoln's birthday. It should be printed either dark brown on light brown or black on medium brown card. Card C can be printed black on white, and the cherries painted red; or print dark green on light green card, then paint the cherries. Card D can be printed medium blue or white; if desired. Card F can be utilized for the 17th of March, St. Patrick's Day, or for any display. Print medium green on white or dark green on pea green. The Easter egg can be printed black on any color. Purple on heliotrope is undoubtedly the most re- fined effect. Heliotrope on white is also decorative. Any of these designs can be suspended from a matched colored rib- bon, which is glued on the back of an embossed paper seal containing the firm's initial. These can be bought in small quantities at trifling expense at most stationery stores. 43 DOUBLE-STROKE SCRIPT— LOWER CASE, RULE two lines 2% inches apart, and % inch toward the center from the top and bottom line rule two more lines. This will leave a space of 1% inches for the center body of the stem letters, and gauge the height of those having no stems. Use a small sable No. 5 pointed rig- ger. :\Iake all of your strokes with rapid swinging motions. You should do your practice work preferably with black paint on manila or white paper or card. Until you are thoroughly familiar with the forms of these letters you may mark them lightly in lead pencil, being sere from the very beginning to try to make all of the strokes rapidly in the order indicated by the numbers and in the direction of the arrows. You should knov/ that many of the best script writers on show-card work can scarcely write legibly with an ordinary pen. Therefore do not be discouraged if you are a poor scribe, but be persistent and practice much, then you will be able to write script as well as that shown in our copy. Better to emphasize the construction, we have shown the original double strokes, and below the filled-in letters, the dark background Intensifying the beauty of the edgelines. We would caution beginners never to use script on any show-card until they can write a well-formed letter. Imperfect script is an eyesore that is unpardonable, because you need not use it unless you know how to write it. Beginning at point A, in the letier a, make stroke 1, down- ward to the left of point B. Then make stroke 2 downward from A to the right to point B. Then stroke 3 from A to B. ^anama Hats hu ^o SLui I/O ur head and i/our pocket-book tjCi fA"iC/{/-^c> 0> Now stroke 4 slanting downward and then on a quick upward curve to the right: then stroke 5, to the right; and finally stroke 6, which must begin somewhat to the left of the right end of stroke 5, so that the two last double lines are the same distance apart as widest space of strokes 1 and 3 in the curved part of the letter, in order that when the spaces are after- ward filled in, all of your strokes will be of even thickness in their widest parts. In the letter b notice particularly the short stroke 2, which I have purposely not noted by a number in any cf the other letters, but it should always be made first, before you make the downward stem stroke. Stroke 5 in letters h, m and n should only run to point A; then make stroke 6, which is to be followed by stroke 7, beginning at point A and going downward. In this manner j'ou get the proper distance between the stem strokes and the same thickness. The letter m Is faulty, because the middle stem should be about where the stroke number 6 is marked, which would bring the middle stem where our artist should have placed it, making the space between the middle stem and the last curved stroke equal to the space between the first and middle strokes. The construction of all th° other letters should readily be understood. All you require is plenty of courage, bold, rapid movements of your brush aiid a great deal of practice. Your color should be easy fiowing, and by referring to the ^ ^ Cool l^eaiherweight Xlnderwear »2. M FAIRCH//.0 Or -i-i F A I R C H I L D ■ S RAPID L E T T E E E E 45 copy you can readily see where the extreme point of the brush is used and how delicate is the touch on all of the up- ward curved end:^. Seasonable Pen-Lettered Window Cards. Two well-balanced examples of pen work are displayed on the opposite page. It requires constant and deliberate practice to execute lettering so nearly perfect as this is. Tie lay-out shows excellent judgment. The wording of the first card speaks volumes and will attract trade from all classes of society. Any person who can afford to expend two dollars on a sizzling hot day should, through the psychological impression of the words "cool" and "featherweight," be lured into the store and purchase a hat. HOW -CARD, AND SI SCRIPT CAPITALS. IN writing these letters, with their lengthy, quick-swinging strokes, it is necessary thoroughly to load the brush, but not to overflowing. The extreme side of the point of your little finger ("Pinky") may rest on the paper and the rest of the hand be entirely free. The strokes should be rapid and the movements very much as though you were writing with the extreme point of an ordinary pen. With rapid, curved swings you produce the clean-edged, beautiful, graceful sweeps which make script lettering so refined in appearance. After you are thoroughly expert you will be able to write the letters without a rest, free-hand. Use a number 5 pointed rigger. Rule lines 2 inches apart, and with the exception of the letters K, J, L, M, S and Q, you need not go below your lines. A Is readily accomplished by following the arrows as num- bered. B, begin with the long stem stroke 1, on the upper right end, moving to the left, gliding downward in a continuous stroke until you reach the upper end of the upward swing of the circle marked with the large 1; after which you make the last downward stroke, giving your brush a little pressure, which you relax just as you do when shading with a pen. Stroke 2 is then made to where it joins at the point marked by dotted lines. Stroke 3 begins on top at point A, swinging downward to the left and rapidly upward to the right. The other strokes are readily followed, but stroke 8 ends at the point marked D. In letter C, stroke 2 begins at point A; strokes 3 and 4 form the circle to complete the letter. In D, stroke 1 begins at A, followed by stroke 2; stroke 3 begins at A with a rapid downward swing to the right, wind- ing up gracefully at the left. Letter E requires much practice. After rapidly making stroke 1, join it with stroke 2, beginning at point A; stroke 3 should be made with a rapid circular swing, shading it slightly on the inner circle downward, and bringing it to a complete point at the right-hand finish; stroke 4 finishing the letter. F is best perfected by making the top strokes 1 and 2 beginning at the point just below the small arrow marked 3, swinging downward to the left, then circling upward gradually and quickly to the rights from points marked by the arrows 1, 1; the stem strokes marked 3 and 4 are made like those In letter B. The central stroke 5 forms a beautiful curve, requiring considerable practice, and begins at the point marked with a small capital B; some writers prefer to omit it. The upper part of G is somewhat on the order of those in letter E, except that it is more perpendicular. If you have carefully followed these instructions, you will find no difficulty in writing the other letters. I would advise the student after making each outline let- ter by carefully studying the copy, then to fill In the spaces and compare the completed letter with the completed copy letter. This will relieve the monotony of the work and point out faulty construction as you go along. To fill in, use thicker paint and slightly flattened point on the brush, being careful not to disturb the outer edge-lines. Everlasting Signs. SMALL, interior signs that are used for various purposes in most stores, can readily be made by any person. Mark the length and width of the sign wanted on a piece of heavy wrapping paper; or, if it is to be a fancy shape, cut out the outline. Jlost hardware stores carry letters and numbers made of aluminum, porcelain, bronze or copper. These can be laid out on your paper which you take to the store. If your sign is wood you can first paint it and then fasten on your letters with special round brads that come for the purpose, or glue them down with a special cement that will enable you to fasten them on glass also. When letters are fastened with cement always be sure to allow sufficient margin around the letters and between the lines. Carefully study your layout, rule chalk lines so that the letters will be laid on straight, then fasten one at a time, and when all are properly "laid on," place an even board on top, weight it down and allow it to stand one day to dry. The words "Glove Dep't," "Hat Dep't," "Cashier," "Toilet," "Exchange," "Private," "Superintendent," "For Men," "Women," and many similar signs look beautiful when made in this manner. A black sanded panel can quickly be made by painting with ivory black ground in japan, and with a small sieve sprinkle it all over with black smalt, which costs 5 to 10 cents a pound, and which can be bought in blue, green, brown and maroon, etc., if you wish colors. Turn your panel on one edge, giving it a slight tap as you set it down, and the sur- plus smalt falls off. The next day, when it is dry, fasten on your letters. A pine board, stained mahogany and varnished, on which white or gold letters are mounted, makes an agreeable indoor store sign which can be read from a distance. 46 F A I R C H I L D ' S RAPID L p] T T E R E R Numerous stains can be bought already mixed with var- 4? nish. Your board should rfceive two coats. For white signs use one coat white lead and two coats white enamel. Green varnished panels with white or gold letters are very- pretty. At a trifling expense you can have your carpenter de- liver the panel with a bevel-edge any width you require. Plain beveled glass with holes drilled in each end can be bought ready-made. In two holes you can fasten a neat chain and have a good hanging sign, or you can fasten it down with brass round-headed screws. Plush or cloth covered panels used in this manner look well, but become very dusty in a short time. White enamel letters are used for this. Q/l(£8e9) (^9lWW%g/ (0^'U'rw%8/'Z HOW -CAR AND FAIRCHILD SCRIPT LOWER CASE. THIS series of letters combines grace and solidity in all of its characters, and is specially designed by our artist to perfect the Fairchild series of lettering as a result of numerous inquiries during the last ten years for a bold script style. Where a dainty script is not desirable, this font will prove an agreeable and effective substitute, and when combined with the capitals, which will appear in our next les- son, make an excellent window card letter. As the formation of the double-stroke script letters is much on the same order, we will merely point out some peculiarities in the formation *of this alphabet, advising the learner at first carefully to follow the strokes in rotation with pencil, and then with brush go over these marks. In letter "a" the 5 stroke begins at point c, down and upward to the right. In "b" strokes 2 and 3 run to point A, then follows stroke 4, which begins at the stem 3, running to the right downward to the point A, then follows stroke 5. beginning at the stem 3 and down to point A. Letter "c" begins at point A to B. Stroke 3 begins at A underneath stroke 1. Stroke 4 begins at A to the '■ight down- ward. Stroke 5 begins at the point marked 4 and swings in a circle to the left, then around and upward, joining the point of stroke 2. The letter "d" is made exactly like "a," except that it has a long stem. Letter "e" begins the first stroke to the left at A, and stroke 2, directly underneath, strokes 3 and 4 swinging in opposite directions also from point A. Letter "f" begins at A with strokes 1 and 2, the latter running down to point B, ending with a slight upward and downward curve. Stroke 3 begins from A to the right upward and ends in a similar curve as stroke a; stroke 4 begins at A. The circles of "g," "o" and "q" are all formed alike. The letter "h" has stroke 5 ending at A, then stroke 6 underneath to gauge the distance it should be from the stem stroke 3, and stroke 7 begins at A. In the letter "m" our artist has made this corresponding stroke 5 of letter "h" in one continuous stroke to show both methods, but you will be safer and better able to gauge your distances by following the 2 stroke idea shown in "h." In "i" our artist begins stroke 4 at B on a downward curve to the right to point A and then stroke 5. It will soon be easy for you to leave off stroke 5 entirely by beginning stroke 4 where 5 now ends, and circle upward and around downward and to the right to A, joining the stem-stroke 3. Letter "s" should have the 3 stroke in proper swing, being careful to have it rounded out on its lower half and swinging it quickly on the upward circle to meet the stem stroke 2 at the point where the last stroke 3 arrowhead is shown. The downward curved stroke 4 finishes the dot in the "s." Stroke 5 should then be made as though you intended to form a single line stroke, like a capital J, slanting to the right. You will find this letter requires considerable practice. To make a properly shaped "v" you must make stroke 4 curved slightly inward when you start it, and join stroke 3 at A. In "y," strokes 5 and 7 begin from 6 to B on the bottom; stroke 8 from B upward; stroke 9 at point A, curve slightly to the left, then upward to the right and down. In "z," strokes 1 and 2 require considerable practice; stroke 6 has a slightly graduated indented curve, which is best accomplished by shading the stroke in one graceful side sweep as shown. Stroke 5 should be slightly curved outward to the right. Small Stencils. FOR small stencils, not longer than 12 inches, and where the openings are not wider than one-half inch, it is ad- visable to mark out your pattern on thin stencil paper that is sold for this purpose, or to use heavy manila wrapping paper. Pin this down with thumb tacks; draw one complete figure of your design, either by transferring it with carbon paper from a copy, or originating it on the manila sheet. Cut it out carefully with your mat-cutter or other sharp knife, turning your wooden board or thick cardboard on which the paper is fastened whenever you have curved lines to cut, being careful to place your left hand flat on the paper about one-eighth or one-quarter inch away from the knife point. Your knife must be kept perfectly sharp by frequent strokes on your oil stone. In this manner you will soon be able to cut without requiring much trimming, which is done by using sharp nail scissors for curved lines — also flat scissors — wherever corners are not cut clean, or if small shreds are left hanging. You can then take a piece of rag or sponge and wipe over both surfaces of the paper with linseed oil, allowing it to soak into the paper 10 minutes and then wiping off the surplus oil clean, with a dry rag. Another method is to sprinkle paraffine shav- ings over one side of the stencil, ironing it with a warm sad- iron, and then do the other sides. To make the stencil still more durable use shellac or varnish on the edges of both sides where the design is cut out, also on the inner edges. 48 FAIRCHILD'S RAPID LETTERER 49 FAIRCHILD SCRIPT CAPITALS. THESE letters will be much admired and prove intensely attractive, whether combined with lower case of the same font or with lower case, regular script. You will notice that, with the exception of the upper strokes in H and O, all the stem strokes have straight or flattened ends. Throughout the entire series keep your brush point slightly flattened. Carefully observe the completed letter after it has been filled in. Keep the stem strokes as nearly uniform in thickness in each letter as possible, and bear in mind that it takes persistent effort to become an expert script writer. Wire Signs. F' OR wire meshed or roof signs or signs with carved wooden letters the Fairchild Script will be an improvement upon the usual script styles, which are not so durable. Scale Drawings. AT most stationers you can procure a few sheets of paper ruled into blue squares, or you can rule them yourself. Suppose your sign is to be 20 feet by 2% feet high. Draw your panel 20 inches long and 2i/^ inches high. This drawing, with the lettering in the proportion you would desire it, would represent your completed sign; each inch in length and height would be one foot on the actual sign. Fairchild Script is especially adapted for signs with raised wooden letters, because the fine lines on regular script crack more readily when exposed to the atmosphere, while the bolder strokes of the former style are more readily seen at a distance and less apt to be broken by outside exposure. The best method by which your order may be properly For roof signs the letters are cut from galvanized sheet iron. The letters are fastened to the meshed wire frame by means of durable copper wire, which is passed through holes pierced through the letters and twisted tight on the back to the mesh. Such letters should receive one coat of red lead and two coats of other paint, black or dark slate being most easily seen at a great distance. Roof signs require careful, expert mounting, necessitating the use of many steel braces to keep the sign from being blown over. Signs used for store fronts, as shown on the design above, are easily mounted in the same manner, but the letters are generally of wood, painted or gilded, and fastened readily by using small staples, which are hammered down tight into the back of the letters through to the wire mesh behind. Their open surface prevents damage caused by windstorms. carried into effect is to make a scale drawing, mailing it with the exact size of your sign marked on the sheet, and write under the drawing: "Scale 1 inch to the foot." Wooden Script Signs. LT SUALLY it is best to give your local dealer the order for ' signs, but if you have no home talent to do this class of work there are firms who make a specialty of sawing out let- ters, either with square, flat surfaces or half round. They fur- nish any size or design you may require, and deliver them in unfinished condition or with smoothed edges, and surfaces nicely sand-papered ready to be painted and gilded. Scroll and Fretwork. Ornaments for ends, top or corners of the sign, called fret or scroll work, can be bought plain or carved. 50 PAIECHILD'S EAPID LETTEKEE 51 J12C^G^S MEN^S WEAR INITIALS. THIS font of capitals was especially designed for two purposes. First, for initialing show cards; the plain manner of ornamentation can readily be learned by our readers, who by this time should be able to copy any designs or originate styles of their own. Second, by moderating the stem strokes about one-third less than their present thick- ness, you will have an initial that can quickly be read, and which is especially suited for embroidery on men's handker- chiefs, shirts, etc. Therefore we have named this series "Men's Wear Initials." Transferring Initials. THE best method for transfen-ing such initials to any fabric is to draw the letter the exact size desired in the lower part of a square corner on heavy tracing ■ paper, in about the position you would want it on your handkerchief. Then with the point of a medium-sized needle, pierce the outlines of your letter, placing your paper on a thick piece of felt or dense woolen cloth. When this is done use a little emery paper to take off the burr edges from the reverse side. Making a Stencil Pounce. BY tightly rolling a narrow strip of felt (a piece cut from a discarded hat is good) or soft, thin cloth, and tightly tying a string around it or wiring it, you will have a stencil- ing pounce, which you can dip into powdered wash-blue, or other color, rub over your stencil and transfer to as many garments as you desire. Durable Wooden Signs. THE best and almost indestructible signboards are made from lumber one and-one-half inches thick by nailing a 2%-inch flat band around the edges of the sign. The band will project on each side three-fourths of an inch. From three to six cleats four to six inches wide should be fastened to the back of the sign with screws. Paint the back two good coats of metallic paint. Mix all your paints with boiled linseed oil. The front of the sig,n and the band should be painted as follows: First give the entire board one good coat of pure boiled linseed oil. The next day give it one good coat of "primer," which means a thin coating of paint mixed with turpentine, without any oil whatever. The primer should preferably be white lead. When this is dry, paint one coat of yellow ochre mixed with lead and oil. On top of this, one of "flat white lead," which means to have the paint thicker than the first coat but without using oil. Now place ordinary wrapping paper along the floor and on this place your sign. Then immediately use the sand or "smalt" by placing it in a coarse sieve and spreading it thickly over the entire black painted surface, allowing it to stand about ten minutes. Place the sign on one edge, then, revers- ing it, place it on the other edge, and all the surplus smalt will fall on your paper beneath. The sign should then be placed with the back outward. If your sign has raised carved letters, they should first all be placed in their proper position on the board. You can best accomplish this by stretching a piece of string across the length of the board by fastening it to a large tack on each end. This will indicate the bottom position of each letter, and you must lay out the letters in the proper place which they will occupy when finally fastened to the sign. Now mark part of the outline of each letter on the board on each side with a pencil. Remove the letters, which have first been painted and gilded, handling each carefully, so the gold surface will not be injured. Now fasten each letter by hammering through the side edges, thin round brads, in a slanting posi- tion, being careful to strike about the center of the sides and not to hammer the surface. To best accomplish this, use a carpet tack-hammer. Should you desire a sanded background, use a small round or flat bristle ("fitch") brush. Paint around the edges of each letter and in between; do not touch the yellow side-edges of the letters, paint only the flat sign board. Paint the entire background with lampblack thoroughly mixed with boiled lin- seed oil, spreading it thin with a large flat brush, so that it shows no ridges. You can buy the lampblack ground in oil and add boiled linseed oil. Any color of smalt may be used on this black paint, as it will not show through when dry. Fancy and Plain Paper. THERE is an endless variet.y of colored papers which can be bought of most large dealers in the big cities either in rolls or sheets measuring 22x28 inches. Most of this paper has a glazed finish — maroon, green, yellow, gold, blue, silver, red, white and black being the most popular. Imitation oak, mahogany, walnut, birch-bark, oak-bark and flowered back- grounds are popular sellers. Such papers are generally pasted on thick gray strawboard, and then mounted on frames or strainers which are bound with strips of contrasting colors on the edges, after which they are ready for lettering. All these papers should be smoothed down with a soft rag; the bare hand should not be used, as perspiration, no matter how slight, will prevent water colors from properly fastening. 52 FAIRCHILD'S RAPID LETTERER ^ |<|eH's WeAft iniTiAi^ ABCDE 53 >1 PIM M Ky K^ K/ K^ Li . I I ' ' " MIM O^^^Y « n RH >J BRUSH SCROLLS, ALL scroll work depends in its formation upon at least one or two main strokes. Jluch practice is necessary to acquire this art. Rapidity and ligiitness of brush touch are the two requi- sites. On all rounded designs, like series 1-3-4-5, you must acquire the circular swing by resting your forearm muscle on your table and either steadying your brush with a light touch of your little finger on the card or leaving your hand entirely free, and after you have mastered this method to have both arm and hand free. Artists who decorate large fancy panels with scrolls such as are seen on moving vans and circus wagons, use a long soft hair brush about 3 inches long. With rapid full arm cir- cular movements, which are wonderful to see, they make with- out stopping the winding stem strokes, forming in many in- stances almost perfect circles. As we cover comparatively smaller distances for the design here shown, our brushes are much smaller, the spaces being originally 214x3 inches. After much practice you may use the smallest brushes you can handle and cut down your spaces just as here shown in the copy, and then you may use a ball-pointed pen for the same purpose. Such pens can be bought at any stationery store. Although otherwise arranged on our engraving, our first scroll lesson begins with Fig. 2. Beginning with F, which has two angular strokes, make g, h and i, which has five angular lines, to which you add the partly rounded stroke il, and then add j2 and j3 strokes, with their ornaments afterward, to complete Fig. j. Fig. 6 up to Z4 is self-explanatory; to complete it add the ornaments and strokes of Z5. Beginning with design No. 1, make the a and b strokes. To become thoroughly expert you should learn to make these strokes from the top down; see No. 1, Fig. b, from b2 to bl. also from the bottom up — from bl to b2, curves either to the left, toward yourself, as in No. 1, Fig. b, or to the right, away from you and still toward yourself, as M in F'ig. 3, and the lower part of Y in Fig. 5. We now return to Fig. 1 and make stroke C with two brush movements. Then add the circular stroke dl, finish- ing the d2 ornament, which our artist does with one brush movement by squeezing and contracting the brush point, but until you have more practice you may outline it and fill in. The final strokes and ornamentation in Fig. e are added. Fig. 4 has reversed curves in its five panels, panel r being a repetition of q, and the completed scroll t varying slightly with s by having elongated scroll strokes on top and bottom. Fig. 5 is a complete series of circular ornamentation, where reversed curves touch but do not intertwine. The orna- ments in y added to panel x make an ideally beautiful com- bination. F'ig. 3 in its five series shows the stem lines crossing each other with their relative artistic positions maintained, in panel M strokes Ml and M2 crossing each other at M3. Con- tinuing, you add Nl and N2 and complete the scroll In Fig. O by adding the stem stroke 01 to 02 and the two short curved stiokes to this stem, completing the ornamentation leaf or Persian effects. You really now have only begun to practice scrolls. This entire series should be executed by reversing your copy, so that instead of being upright all of the panels are horizontal. Do not belittle the simple strokes. You can now try them in any order you choose. You will find many of the strokes that were practiced in the upright position much easier to make in horizontal planes. To make myself thoroughly un- derstood, so that you can appreciate the varied practice here offered, place your designs so that Fig. 6-Zl is on the upper left corner; then place the designs, with Fig. 6-Z5, on the upper left corner, and finally place Pig. 1 with E in the top left corner. If you can combine Fig. e, j, o, t, y and 25 In varied positions, you can make any kind of pattern and originate complicated designs that are beautiful to behold. To duplicate scrolls so that they are almost alike on two or four corners of a card, take a sheet of tracing paper the exact size of your card; fold the paper by making a crease exactly across its center. On tlie upper left or right hand corner you trace every stem stroke and the minor scrolls, indicating the position of each ornament with a small dot. Be sure that your tracing paper is fastened in at least two places with thumb tacks while you trace, and also use a very soft lead pencil, being sure the lines are not made too thin. Fold the creased paper; again fasten with tacks, and with your thumb-nail pressing and sliding you will trans- fer a reversed design. By cutting oft the quarter of your trac- ing sheet and reversing the paper, fastening it on the opposite corner, tracing all the lines with the soft pencil and repeating this in the other corners, you will have four designs. 54 PAIRCHILD'S RAPID LETTBEER 55 ^ n\ lftk.(R.CMH-P Co 1 1'^ 3 G z' ^x. / g)^3'g) ^ ^ 7 z< FaiUCKII-D Co. I>> OW-CARD, AND SIGNS. SCRIPT SCROLLS OR FLOURISHES. WHEN making flourishes it is necessary first to load tlie brush with color that is fairly easy flowing, and by twist- ing the outer end, getting rid of all superfluous color, leaving the brush well fil!ed toward the handle end but very pointedly sharp on the outer end. < The designs shown in the first panel on the opposite page are rather difficult to accomplish intertwined, but if you at first try single strokes in their varied positions, then two strokes in their relative positions as seen on the copy, then three strokes, and so on, you will soon improve. Great skill is required in the shading, gradually to increase the pressure on the point, relax the strain and finish with a hairline touch. The best results are obtained by doing this work rapidly, plenty of paper and patience for practice being necessary. Fancy Panels. FIVE designs of panels are shown for general use. They should first be marked out with a pencil and then lettered with an initial or any wording desired. You can cut them out with a mat-cutter and paste them on a background of contrasting color, adding scroll work on the out- side if desired or using them cut out as high-class price-tickets on garments. By gluing such cut-outs on a strip of card any length re- quired, you have a beautiful hanging sign to suspend in the cen- ter of your show window. Painting the outer edge gold or run- ning any kind of edge-line one-eighth inch away from the outline, you will produce a chaste appearing sign. Ribbonettes. 117 E show one single ribbon and two double ribbonette designs VV which are used in varied sizes, mainly for hanging signs or to paste on the inner window-pane. Their treatment in the de- sign can be varied to suit the artist, who should mark them out first with a pencil, then outline. Small paper rings with a gummed flat edge are pasted on either side, and a string or dainty chain passed through each ring for suspension. Corner Scrolls. SIX designs in clear outline with generous black space, better to emphasize their beauty, complete the last quarter-page. They are often used only on the upper left-hand corner of a card that has much wording and an initial letter; the central spaces are usually equalized with the lettering that may follow it to the right, centered in lines underneath each other outside of the initial space. For duplicating such designs in each corner we have made explanations in a previous lesson. Plaster Ornaments. BY spreading ordinary beeswax about one-half inch thick, and as wide as you require it, on a piece of board you can take an impression of embossed metal ornaments, wooden carvings or "cameos." which are the carved heads on onyx backgrounds sold by jewelers. First smear a thin coat of oil over your orna- ment, then slightly press it face down on the wax and then take a small block of wood and by steady pressure press it into the wax till the surface of your block touches it. Repeat this opera- tion, leaving about one inch space between each impression. Now, strain your plaster through a fine sieve, mix it in a cheap little pitcher with clean water to a creamy thick state, add a pinch of table salt to this, stir without raising bubbles and pour into the impressions. Allow this to stand six hours or over night. Remove the plaster casts and make as many more as you require. If the foundation of such casts is colored and the design is white, or if you color the design and leave the foundation white you have fine ornaments to fasten down with glue. Bronzing Ornaments. WHEN the plaster is thoroughly dry you can apply a coat of varnish, then use any bronze before the varnish dries. To apply gold leaf you must first give the cast one coat of shellac, as such ornaments are for indoor use, quick drying varnish can be used on the shellac and then apply gold, covering every part and smoothing over lightly with a puff of cotton batting. Brass Ornaments. A ROSETTE or corner pieces on each end of larger show cards makes an attractive finish. You can get these from whole- sale millinery firms, pocketbook-makers or direct from manufac- turers, if you use large quantities. They are nailed on with round brass brads. Imitation Gems. MANUFACTURERS of millinery ornaments and most of the large bead importers and makers of cheap jewelry supply these at 50 per cent less than you will be obliged to pay at "imi- tation stone dealers." Imitation Red Seals. PAPER seals can be bought, with embossed initials in their centers, at most stationers. By pasting one above the read- ing matter on each of the window cards you add to their at- tractiveness. 56 FAIECHILD'S EAPID LETTERER 57 THE '^APPAREL GAZETTE INITIALS. ft ALL the newest wrinkles in styles of ornamental scrolling are embodied in the Apparel Gazette Initials. We have named them after the well-known western magazine be- cause it exemplifies the highest talent in the art of imparting the most recent information {"newest wrinkles") of the men's wear trade, both in news features and illustration, from all the markets of the world. The publishers of the Apparel Gazette are pastmasters in the art of journalism, and our students who can master the general details of this beautiful font of scrolled initials are to be congratulated and can properly be considered pastmasters in the art of brush-work lettering. The methods of ornamentation are greatly varied but they can all be used on each letter, offering the student ample op- portunity to test his skill in designing. Take the ornamenta- tion on letter D and use for F or L. Use ornaments on O with P or Q, etc. All these letters can first be edge-lined like K and Z, or like T with shaded outlines, or like Y and X with fancy scrolled panels. Round or fancy openings or shaped like those in the body of letter D may often be used to good advantage in any of the stem strokes of the other letters. Interlaced Scrolled Panels. THE first design shown below should be accomplished without much difficulty by the student who has carefully practiced the other lessons. The lower scroll is constructed in three groups. Both side groups, though radically different in make- up, are in thorough harmony. See next page for more details. hS P A I E C! H 1 1. 1 » ■ S RAPID L E 1^ T E K E R m MWM fAlRCMILO Co. SIMPLE AND COMPLICATED SCROLL PANELS. To explain the completion of the first scroll panel in that previous lesson, tor this design rule your panel four inches wide and fifteen inches long, using a No. 5 pointed rigger. You will notice there are five main scroll strokes in the make-up. No. 1 followed by No. 8, No. 2 interlaced with No. 3, followed by 4; then the central scroll 5, with 6 and 7 last. The minor ornamentation was placed at random, as the designer's fancy created it under the impulse of the moment. Our first line panel below consists of three main scrolls interlaced and a minor combination scroll on each end. The flat darts on top and bottom are added by the use of a ruler. Until you are thoroughly able to create such designs it is wise to mark them all out with a soft pencil in light lines, leaving off all the minor ornaments. The last scroll is what may without exaggeration be called a masterly stroke of strokes. If, as in the copy, you use a colored or black background, you can use a piece of chalk cut to a fine point before you finally paint it, and afterward wipe off with a cloth. Make your main strokes as you would with a pencil and leave off all minor ornaments. Then mark out the exact shapes of the two broad panels that show black scrolls on white. Now use white paint, first filling in the broad panels, so that they will be dry after you have first completed your main strokes and added the ornaments in white; then, with black paint, put your ornaments into the white panels. Final Scroll Practice. To vary your brush strokes and to become thoroughly ex- pert you must reverse your copy, first placing it in both horizontal positions and then in the two upright poses. You will be pleased and surprised at the difference in the work. 60 FAIECHILD'S RAPID LETTERER 61 F. W. Devoe & C T. Raynolds Co. Paints, Varnishes, Brushes and Artists' Materials NEW YORK and CHICAGO Show Card Writers' Specialties Red Sable, One-Stroke Brushes GENUINE RED SABLE ONE-STROKE FLAT BRUSHES SHOWCARD PAINTERS' RED SABLE, RIGGERS iOl 1-4 in. 3-8 in. 1-2 in. Each: .35 .45 .65 Set of 3 Brushes, $1.25 SIGN PAINTERS. FLAT OX-HAIR BRUSHES 1-2 in. 3-4 in. 1 in. 1 1-4 in. 1 1-2 in. Each: .25 .35 .40 .50 .60 Set of 5 Brushes, $1.80. SHOW CARD BRONZE Pale Gold by ounce, .10 by lb. $1.25 Rich Gold " " .10 " " 1.25 Copper " " .10 " " 1.25 Aluminum 1-2 " .10 " " 1.50 BRONZE LIQUID IN CANS 1-2 Pint, .20 Pint, .35 SHOW-CARD, SPONGE- RUBBER 1 X 2 X 1 in. each, .20 1 1 -2 X 2 X 1 in. " .25 3 X 2 X 1 in. " .45 DRY FLAKE-WHITE 1-2 lb. can, .20 1 lb. can, .30 No. I 2 3 4 5 6 Each: .07 .08 .08 .09 .12 .15 SET No. I to 6 .50 " 1 to 12 - $1.80 FLITTERS all COLORS 15 cents per ounce. SOENNECKEN'S PENS RULIHO PEN5 RED SABLE, LETTERING PENCILS SPATULA 6 iach, each .35 FOR OIL WORK ON WOOD OR GLASS No. 2 4 6 8 Each: .IS .25 .40 .60 Set of 4 Pencils, $1.20 SHOW CARD PEN5 20 lO 3532/a Nos. I. M-2. 2, 2 1-2, 3, By dozen .10 10. 20. '• •• .30 35, 32 1-2 ■• •• .60 1 doz. assorted styles and sizes by mail, 25 cts. If your dealer cannot furnish our goods, send to us direct. Orders must be accompanied with check, money order or stamps to cover, if goods are to be shipped by mail, add enough to cover postage. HOW-CAK AND SIGNS. LETTERING DESIGNS FOR NEWSPAPER HEADINGS. ADVERTISEMENTS with some kind of individual display, whetlier pictorial or with special lettering, are generally more prominent than those having only regular type. In many large cities space in the newspapers is "so costly" that storekeepers lose sight of the great mental impression such a design makes. The most popular designs are headings and signatures. You are now thoroughly conversant with all methods of lettering and can readily learn how to make head- ings for newspaper advertising. On the opposite page we show a design, in which simplicity Is the main feature. Head- ings should be read at a glance, and when once known to the public eye, the customers of that store Immediately locate such an advertisement. When a storekeeper makes truthful an- nouncements, this heading is always a symbol of honest, truth- ful methods, and the advertisement with this on top will usu- ally be read. Suppose you wish to furnish electrotypes to newspapers, to fit a single column, two columns or three columns; you find that the size for the three-column "cut" is to be 6% inches ■wide, but you make it about Vi inch shorter than the actual ■width, so that the printer can place it in tight on each side with wedges or "leads," and that you Intend to have it 1V4 Inches deep, as shown in Fig. 1. If you wish to see what the reduced proportions will look like for a two-column or single- column design, you first draw a diagonal line from C to B. As 6% inches Is the width for three columns, for one column it will be one-third the distance from A to B, which you mark off at 4, then run a line to the diagonal at 6 and then a line to 5, which shows the exact size for a single-column cut. For a two-column cut measure two-thirds of the distance from A to B, which gives you the rectangle, 2 — 7 — 3 — B. Tints and Stipples. YOU can buy a great variety of "tints" in sheets of paper, some of which we illustrate, numbered 1 to 10. Figs. 5, 6, 7 are called straight-line tints; these can be had in curved and slanting lines. Fig. 1 is called graduated line tint. Fig. 8 is a stippled tint. Fig. 3 is a grain stipple. Figs. 2, 4, 9 and 10 are texture tints. We have selected for our back- ground a coarser "stipple" than No. 8. Now cut a piece 6%x 1% inches and paste it on a piece of white card, as in Fig. X2. Later on you can use fabrics like calico, percale or sleeve linings for backgrounds on which to paint your design. The back of a playing card may also be used, but use only red, black, brown or green, or gold backgrounds, as blue and others will not reproduce or photograph. (See Index Photographing colors.) It is advisable for newspaper cuts to have such back- grounds, somewhat open, not too crowded, in order that they will print clearly, not blurred, as is the case when the lines or dots are too close, because the printing ink clogs on the class of paper used by most newspapers. Always remember this when you know that you will want a design reduced to a small size. If, for instance, we had selected stipple tint S for design XI, instead of the widely separated stipples shown, the result in our single-column cut would have made the background too close, and perhaps blurred the ink in printing. With a soft pencil rule light lines and indicate your letters on Fig. X2 with light strokes. Now use white paint, making the body strokes without any special care as to evenness of the edges, and letter in black the address in X3. When this is dry make your edge-lines in black, which may partly cover the white edges, where it is necessary to make the white body strokes of even thickness. Then place a white line in the black letters Mt. Vernon. Now with a ruling pen draw an edge-line all around the panel and fill in with black. Line Engravings. You are now ready for the engraver, to whom you must give proper instructions, which, in this instance, would be writ- ten on the card just as indicated under the finished design X4. This is generally done with a blue pencil, which color will not photograph. State the size or sizes of the engraving wanted and your design will be photographed on a gelatin film, which is transferred to a piece of smooth zinc, and by means of acid is etched into the zinc wherever you have drawn white lines. The zinc plate is then blocked on a piece of wood, and it is called a "zinc engraving," "photo engraving" or "line engrav- ing." Electrotypes. You then send this to an electrotyper, who makes as many impressions in wax of the line engraving as you desire electrotypes. These impressions are brushed lightly with pul- verized graphite and then the entire wax surface, mounted on a board, is placed into a copper solution with an electric battery. After a few hours' immersion a thin film or shell of copper is formed in these impressions, which are then filled with melted lead and are cut and mounted ("blocked") on wood, as finished "electrotypes," or "electros," ready to be used by the printer. Your original engraving should not be used for printing, as it may be scratched or worn and, if subsequently you desire to make electrotypes, all of these defects would show. The cost of a small engraving when you furnish the design is F A 1 E C H I L D ' S RAPID L E T T E K E R 63 EVOLUTION OF A PHOTO-ENGRAVING DESIGN. e ._ ^ 3> ~~~~~-— ~J 3 C<-)l-«-IM NS 3 A ^^^~^^_^ 2 COL-UMNS -4^ fNCHas 5 Z A --____^^l CO»-U(M (St • 2 >9 (^~ • •»• •••• •#••••»••• ■ • •••••••••• •••» •• • •••*•••♦••*••*• •* ■ «••■••••• ••*••••• ♦ • • • • • * * * >••#»•' v"-., ■-■■■■ ■ NO. X;— THE STIPPLED BACKGROUND. 4 17 NO. X:!— LAYOUT AND FIRST PROCESS OF LETTERING. t • • • • ' 1 Cut [- 1 Cut [- 1 Cut t- -Same Size- — 45 in.— — 25 in. — NO. X4~THE DESIGN COMPLETED AND METHOD OF ORDERING ENGRAVINGS. XII X."j— THE TWO-COLUMN ENGRAVING. NO. X6— THE SINGLE-COLUMN EN- GRAVING. ICTThe Narrow Cut at Right Shows Ben Day "Tints and Stipples." The flgures to the right are tlie numbers of the Ben Day process and are the ones to give to the engraver to indicate the tint or stipple you want. a 10 432 10 .334 64 FAIECHILD'S EAPID LETTEKEE about from 75 cents upward — the larger designs being charged by the square inch. Electrotypes are charged according to quantities and size, ranging from about 20 cents upward for small sizes, and by the square inch in large sizes, which greatly reduces their cost. Ben Day Process. MOST engravers have a book showing various backgrounds, or stipples, which are numbered. All you need do is to finish your design as in X4, without having pasted in any background, and say "Ben Day" No. 333, and your engraving would be delivered with lines In the background as shown in tint No. 4. This process is named after its inventor, Ben Day, but for original backgrounds our method is the one to adopt. X5 shows the two-column "cut," or engraving; X6 shows the completed single-column cut. Beginners often make the mis- take of ordering the reduction of a drawing by giving the en- graver two dimensions that are impossible to produce from the drawing unless a new design is drawn. For instance, for the single-column cut they would write. "Make one engraving 2% inches wide by 1 inch high." Such a proposition would be Impossible to accomplish, unless you draw your design according to these two proportions. It the original drawing would measure 3 inches in height, then it could be done. Therefore, it must be remembered that both dimensions re- duce or enlarge in the same proportion, as the camera cannot do otherwise. Should you have a small design, you can have an enlarged engraving of it made without requiring any other drawing. You simply state either the width you want it to fill, or the height, but you should always be sure that you know the exact size which the "cut" will be when it is enlarged, so that it will not be too large or too small for the purpose for which you intend to use it. HALFTONE PHOTO-ENGRAVING, FIG. 1, which has been elsewhere shown in this book as a suggestion for a Fourth of July window card, and which was effectually adopted by many retailers for window display, is what is termed a mortised "halftone en- graving." The artist sends his design, which is made with a brush and called a "wash-drawing," to the engraver, with the following instructions: "Reduce to 3% inches wide; mortise ■Where indicated (showing the mortised panel, lT'gx2% Inches). Photograph through fine screen for Trade Journal." The pho- tographer places the design before a camera, and the picture is left exposed under the forcible rays of an arc light for the required length of time. The light which penetrates through a glass screen forms the picture on a gelatine film, which is then transferred to a piece of copper, and through various processes is etched onto the copper. Then it is "blocked" on a piece of wood, and the lower panel is cut out with a jigsaw, the hole being first bored through the copper plate and the wooden block; this forms the "mortise," into which the printer can place whatever type or reading matter may be desired. Fig. 2 shows the identical design which has been made to be used for printing In the newspapers. The glass screen in the camera, through which this photograph has been taken, you will notice, is much coarser, showing widely separated squares in the background; even in the white background of the mortised panel, into which the type had been set by the printer. The fine "screen," indicated in connection with Fig. No. 1, if used in a newspaper, would show a badly blurred background, because paper used for printing newspapers has a rough surface and absorbs the ink more than the glazed surfaced papers used in magazines. If you place a magnifying glass to the background of Fig. 1, you will see that it is com- posed of these small squares which are only visible to the naked eye of people possessing extra good eyesight. Photo-Engraving. AS a "halftone" photo-engraving costs about three times as much as a "line photo-engraving" and is sometimes not at all desirable, our artist in Fig. 3 shows the same design reproduced in a "line engraving" free from any backgrounds and engraved on zinc, therefore often called a "zinc-engraving." The drawing for this was traced with a lead pencil, then cov- ered by India ink by using a pen and erasing the pencil marks after the ink becomes thoroughly dry. Suppose we wish to use this same design for a single- column advertisement, and would like to see what the exact appearance of the size of such an engraving would be before having the work done. The column being 2% inches in width, we first drawn a diagonal line in lead pencil in the design from A to B and measure 2% inches from B to C, allowing Vs inch space so that the printer may properly wedge In the cut between the column rules, as intimated in our previous lesson. We then draw a perpendicular line from point C to D and a horizontal line from D to E, which gives the exact appearance of the dimensions of the size engraving which we intend to order. These lines and letters must be very lightly drawn with a blue pencil, and they may be left on the drawing because in the process of photographing the blue is absorbed and will not appear on the surface of the engravings. Those drawn in the picture are purposely shown to explain the method to our readers. We then place the lettering, which the printer has first set up, into the mortise in Fig. 3, so that the second line engraving. No. 4, will appear in the 2^4-inch width size, but the type in the mortise will, of course, be proportionately smaller, and type and design will all be in one piece, and the printer has no typesetting to do. Should we, however, at some future date, desire to use the same design with different wording in the mortise, we send it to the engraver, who cuts out (called "routing out") the letter- ing; after sawing out the wooden panel the printer Inserts dif- ferent type. Figure 5 shows this same design, reduced to smaller dimen- sions, being only IVz inches in width. The last five designs. Figs. 6, 7, 8, 9, 10, show the original size letter H as it was first drawn by our artist, to be reproduced on a reduced scale for the "Chicago Apparel Gazette Scroll Initials," previously illustrated, thus explaining clearly how a large design may be reduced to much smaller dimensions, and showing also the progressive reduction of both the height and the width of all these letter designs. They also illustrate how the height and the width of different designs reduce in the same proportion, and conclusively prove that the camera cannot photograph the length smaller without also making the width smaller. In a reverse manner, by taking figures 10 and 5, we can enlarge them in one process to the same size as shown in Figs. 6 and 3, or as much larger as may be desired, and the width and length will also be enlarged in the same propor- tions. When ordering a "cut" from the engraver or your printer always call it by the right name, halftone engraving, line or zinc engraving, or electrotype, and in this manner avoid con- fusion and often much expense and loss of time. FAIRCHILD'S RAPID LETTEKER 65 YOU MAY NEED A Ne\v Stra^v Hat July 5t\i LOOK OVER THIS LINE ^ ^^ ' f YOU MAY NEED A New Straw Hat July 5tK LOOK OVER THIS LINE YOU MAY NEED A New Straw Hat July 5tli LOOK bvER THIS LINE B-. PHOTO ENGRAVINGS. Fig. 1 — Half-tone; fine screen; for magazines. Fig. 2. — Half-tone; coarse screen; for newspapers. Fig. 3 — Line-engraving and two reductions of same. Letter H and four line-engraving reductions. YOU MAY NEED A New Straw Hat July 5t\i LOOK OVER THIS LINE YOU MAY NEED A New Straw Hat July 5tt LOOK OVER THIS UNE THE SOLAR PRISM. A GENERAL TABLE OF COLOR HARMONY. White Cold Green Warm Green Orange Citrine Russet Olive contrasts with Black and harmonizes with Gray. Brown " Buff. Blue Sky Blue. Purple " " Rose. Green Pea Green Crimson Olive. Purple " Citrine. White " Blue. " Pink Brown. Gold •' Black. Orange Gray. Crimson " Yellow. ilaroon Orange. Red Sky Blue. " Pink Gray. ■' White " White. ■• Black Brown, Lavender " " Buff. Purple Yellow. " Blue Red. " Black Warm Gre Olive " " Brown. Crimson " White. Gray " Buff. Purple " Yellow. " Blue " " Orange. " Black White. Brown Green. Crimson " Buff. Green " Red. " Black " Yellow. Olive " " Orange. " Gray " " Brown. Orange Green. " Red " Blue. White Black. Maroon " " Brown. Greens contrast with colors containing red and harmonize with colors containing yellow or blue. Orange requires blue, black, purple or dark colors for contrast and warm colors for harmony. Gold contrasts with any dark color, but looks richer with purple, green, blue, black, brown, than with other colors. Gold harmonizes with all light colors, but least with yellow. Gold's best harmony is with white. Dark, bright colors are usually warm. Light, pale colors are usually cold. 66 PAIR C H I L 1) • S 1{ A P I D L E T T K 1? E R 6? Ho\v Some Colors Reproduce In Half -Tone Photo - Engraving The show-card here ilhistrated is a peculiar combination of colors and materials. The hat and the head of the dude on the left are made of Plaster-of-Paris. The hat is black and the face in flesh color and red. The head behind the fence is embossed cardboard pasted on in the back. The fence is light glazed oak-grained paper, pasted on. All the lettering is black, and the firm and address are white. The dark sod under the fence is medium green and the tufts of grass are dark green. The dude's tie is red, the pipe brown, and his hat glazed black. The background over the fence is medium blue. A light blue would have shown completely white. This explanation may prove valuable some day if you wish to know color effects when reproduced in halftone, and a .reference to the design may save much trouble and unnecessary expense. A Glossy Water Color for Brush or Pen all Show Card WRITERS us iMi'-- ■L-.j\^i:.;U'\Uxl' :^•iiA^;li^. L TriADPEU5 PAV1P5 Co. 95-37VAf/OAMST. NE^ VOW. AU Colors, Ready For Use. Thin Water From Davids' Practical Letlerer WHOLESALE PRICE LIST =^=-LETTERINE For Card Making and Advertising Signs. Extra Glossy — Strong, Bright Colors. Adapted for Brush and Shading Pen. BLACK. Bydoz. 2-oz. Desk Bottles, metal top corks, in boxes of 1 doz $ 1.20 Half-pint Bottles, metal top corks, in boxes of 1 doz 4.00 Pint Bottles, metal top corks, in boxes of 1 doz 6.40 Quart Bottles, metal top corks, in boxes of 1 doz 11.40 Blue, Carmine, Green, Scarlet, Violet, White, Yellow. Bydoz. 2-oz. Desk Bottles, metal top corks, in boxes of 1 doz....$ 1.40 Half-pint Bottles, metal top corks, in boxes of 1 doz 4.80 Pint Bottles, metal top corks, in boxes of 1 doz 8.40 Quart Bottles, metal top corks, in boxes of 1 doz 14.40 GOLD. Bydoz. 2-oz. Desk Bottles, metal top corks, in boxes of 1 doz.... $3.50 STANDARD COLOR MIXTURES. COLOR mixing for show-card and similar work is com- paratively easy to learn. The quantity of each color to use is generally a matter of taste, according to the "intensity" (the strength) of the color desired, and this you can only learn by taking the paint and experimenting. In real high art color mixing there are no two artists who mix exactly alike, therefore, aside from the value of perfect draughtsmanship, the art of coloring is another great factor in the value of painting. Some artists draw perfectly, but their color mixtures are simply horrible. Other artists draw shamefully but paint to perfection. Mixing Water Colors WE, who are commercial artists, will do very well with the receipts below, and to mix colors right it is advisable if they are water colors to first take the dry color and saturate it with alcohol. This cuts into the lumps and enables you to mix it into a smooth mass by using your palette knife vigor- ously on j'our piece of glas3 or marble when you add as much mucilage so that the paint is like thick cream. If your de- sign is small you simply take a quantity of each color and mix them and finally add water, being careful not to have the mixture too thin. For large work you mix each color in a separate cup, and if you need a big quantity always be sure to have more than you require, because if you run short you will surely have trouble to match exactly the original color. [f you want water colors all ready, buy the "fresco" or "dis- temper" colors in glass jars, mixed in water, but you must idd sizing of mucilage or glue. Mixing Oil Colors. IF you wish to mix oil colors, first mix each in a separate can, using a small flat stick for each color. Thin each color Dy adding a small quantity of oil, then, if you are mixing an mtire mass of several colors combined, you add more oil and I'nough turpentine to "cut" the mixture, but not too much, and idd enough japan (called dryer) so that your paint will dry luickly. Then strain all your color through fine cheesecloth tied )ver a vessel or small keg. Any paint supply store will give you a fixed rule for mix- ng quantities. For small work you will readily learn with a ittle practice. When using any kind of brush in oil color t is best to wash it out clean in benzine, but remember, never lo this where there is a fire or gas flame. Large brushes vhich are used in oil color can be washed out and then ilaced in a pail half filled with water. This keeps them soft ind ready for immediate use, after you shake off the water. Two Colors. Green — Blue, yellow. Purple — Blue, red. Orange — Red, yellow. Peach — Vermilion, white. Rose — Madder lake, white. Lemon — Chrome yellow, white. Pink Brilliant— Rose lake, white. Azure — Cobalt blue, white. Three Colors. Violet — Blue, red, white. Claret — Red, umber, black. Brown — Red, yellow, blue. Fawn — Yellow, red, white. Flesh — Yellow ochre %, vermilion M, white %. Chestnut— Red, black, yellow. Chocolate — Raw umber, red, black. Copper — Red, yellow, black. Buff — Yellow ochre, white, red. Cream — Burnt sienna %, yellow %, white i^. Four Colors. Drab — Yellow ochre, white, red, black. Dove — Vermilion, white, blue, yellow. Olive Green — Yellow, blue, black, white. Sandstone — White, yellow, ochre black, red. Grays. white. White, black. Burnt sienna, blue. Black, white blue. Burnt umber, blue (see drab and dove color). Greens. Dark Green — Prussian blue, chrome yellow. Brilliant Green — Lemon yellow, chrome green. Pea Green — Chrome green, white. Olive Green — Lemon yellow, chrome green and burnt sienna. Bronze Green — Chrome green, black, yellow. Odd Colors. Oak — White, 7 parts; yellow ochre, 1 part. Straw — Yellow, 5 parts; white, 2 parts; red, 1 part. Snuff — Yellow, 4 parts; Vandyke brown, 2 parts. Citron — Red, 3 parts; yellow, 2 parts; blue, 1 part. Carnation — Lake, 3 parts; white, 1 part. Copper Red — Red, 1 part; yellow, 2 parts; black, 1 part. 68 FAIRCHILD'S RAPID LETTEEEE 69 Fairchild's Color Harmony for Interior Decoration DOORS, SHELVING, MOULDING, FOOTBOARD FLOOR, RUGS, CARPET. LOWER WALL- LINING. INTERIOR FIXTURE WOODWORK FURNITURE WALL ABOVE WAINSCOT BORDER. CORNICE. CEILING. CURTAINS. Orange Color or Oak Dark Brown Oak Dark Green or Medium Green Orange Oak Light Topaz or Citrine Green Light Citrine White, Pale GreenTinl or Light Gray Citrine Green Olive Green Violet Green Slate Violet Light Slate White, Pale Heliotrope or Light Gray Slate Light or Yellow Oak Yellow Oak Medium Blue Light or Yellow Oak Medium Green Medium Blue Light Green While, Pale Sky Blue or Light Gray Medium Green Medium Blue Cobalt Blue Red Medium Blue Violet Red Light Heliotrope Light Gray Pale Helio, or White Violet Heliotrope Purple or Violet Orange Heliotrope Russet Brown Orange Russet Tint Orange Tint White or Light Gray Russet Brown Crimson or Mahogany Dark Mahogany Yellow Mahogany Orange Yellow Light Orange Lemon Tint Light Gray or White Orange Fairchild's Color Contrast for Interior Decoration DOORS, SHELVING, MOULDING, FOOTBOARD FLOOR, RUGS, CARPET. LOWER WALL- LINING. INTERIOR FIXTURE. WOODWORK FURNITURE WALL ABOVE WAINSCOT. BORDER. CORNICE. CEILING. CURTAINS. Violet Wood Plum Blue Light Oak Violet or Heliotrope Violet Yellow Heliotrope White or Lemon Tint Violet Mahogany MediumBrown or Ecru Warm Green Mahogany Crimson Light Green Light Rose Light Green or White Crimson Medium Dark Oak Dark Brown Purple Dark Oak Orange Purple Orange Tint White or Pale Sky Blue Orange Light Oak White Oak Heliotrope MediumGray, Yellow Yellow Heliotrope Yellow Tint Helio Tint or White Yellow Medium Green Dark Olive Cherry Red Mahogany Medium Green Green Rose Gray Pea Green Pink Tint or White Green Medium Brown Slate or Dark Brown Medium Oak Stain Medium Brown Medium Blue Gray Orange Light Blue Yellow Tint or White Blue :o F A I R C H I L I ) • S ]? A P I D L E T T E K E ER ,ll ffl ' ~^^ GRACEFUL CURVES and NATURAL POSE are the distin^uiskin^ features of our Summer Suits Serges ^^^^^^^^^^^^^^^^^^^B^^^^l Blues H^^^^^^^^I^ISI ^ Flannels t^'W^^^^^^^^^^^^^^^^^gg^ Blacks ^ P^d[wrg5»ff "" Cassimeres Grays \Vorstecls Browns '^ ^HVJ^JHP^^ ^■ rlomespuns iHHrjt jp^ JH Fancies ^ ^ $15 to ^Li..4ll^^ $15 to $45 MORDKIN °'""'"^'"' "" *^''*--"' «""'"'. Af. 1-. The remarkable young RussJan whose aancing has proved a revelation to New York opera goers $45 TROUSERS TO SUIT EVERYBODY I ~ == . nn ■ = 1|! HOW RETAILERS UTILIZE MAGAZINE PICTURES^ F A I K C H I L D ' S RAPID L E T T E R E E 71 This illustrates how retailers use pictures clipped from magazines for window cards. The top and bottom strips were cut from Men's Wear and the lettering placed in the center,— Copyright, 1910, Fairchild Eublishmg Co. AN UP-TO-THE-MINUTE WINDOW DISPLAY. Now That a Successful Airship Flight From Albany to New York Has Been Accomplished and Flights From New York to Chicago and St. Louis Planned, Why Not Put Something Like This in Your Window? J from Albany to New York City in less time than it takes the Em- pire State Express to make the trip. Fifty- five thousand dollars in prizes have been of- fered the "man birds" for flights from New York to Chicago and from New York to St. Louis. From present indi- cations it would seem that before a great many years have gone by clothing designed for the drivers of airships will be a part of the stock of all up-to-date clothing stores. Why not, as a clever advertising fea- ture — one that would tend to give your store a reputation for origi- THE LATEST AERONAUTIC SUIT. 78 nality — have a few of these suits made up for a special window attrac- tion? The model illus- trated here gives the lines of the latest thing in an aeronautic suit. Toy aeroplanes, which can be purchased now in all the toy stores, would add to the effectiveness of the dis- play. Two window card suggestions which are appropriate for a display of this kind are out- lined In the above pen and ink sketches. Pic- tures from the leading magazines of the day can also be used. To use similar pic- tures with your news- paper advertising you can have a zinc engrav- ing made and type set in the "mortised" (cut out) space. FAIKCHILD'S EAPID LETTEKER 73 OridiTval Stj/les aivd Shapeliness art Fall Neckwear JULIETTE DIKA. Engaged for a Prominent Role in Henry W. Savage's Production of "The Wife Tamers." THIS ILLUSTRATES HOW RETAILERS USE PICTURES CLIPPED FROM MAGAZINES FOR WINDOW CARDS. THIS PICTURE WAS CUT FROM MEN'S WEAR AND THE LETTERING PLACED BESIDE IT. 7i FAIRCHILD'S RAPID LETT EKE R Reproduced from Chicago Apparel Gazette by Courtesy of Fairchild Publishing Co.— Copyright, 1910. All rights reserved. How retailers utilize pictures cut from magazines. FAIRCHILD'S RAPID LETTERER 70 Black tie and waistcoat permissible at clubs and at bachelor gatherings. Formal Evening Dress. WE SUPPLY FASHION'S MOST EXACTING DEMANDS. Informal Evening Dress. WHATEVER MAY BE YOUR REQUIREMENTS WE CAN SUPPLY THEM. Formal Day Dress. CLASSY, DISTINCTIVE STYLE'S. This illustrates how retailers use pictures clipped from magazines for window cards. The three panels are cut from Men's Wear. HOW -CARD, AND COMIC SHOW CARDS. HUMOR combined with business is a dangerous proposition unless correctly applied. Our comic artist has created many suggestions that are timely, easy to copy and that will create a smile on the most stern visage. Many an other- wise impossible customer is by this method attracted to tiie show window, and unconsciously absorbs the run of prices and the qualities you offer. Most straw hats during July look somewhat discolored, and a card like the first one, with its trite wording, will induce many men to purchase a new hat. The intent of the artist is to teach you how to make such a card with the least loss of time, using little paint and creating the most attractive effect. At any store selling wall paper you can buy at moderate price single rolls of either "flat" or "cartridge" paper in all col- ors and use these for backgrounds also on some of the figures. Let us take the first design with the straw hat. Rule it with pencil into half-inch squares and mark the top row, beginning at the left, from 1 to 7; now on the outside margin of each side mark the square from A down to H. Suppose you wanted your window card design to be four times as large, the picture will measure 14 inches by 18 inclies. Take a piece of light green paper that size and paste it on any piece of card, showing margin at least two inches wide all around. Your card may be white or any color. As soon as you paste on your paper take a wet rag and rub it across the reverse side of the card. By placing a flat cardboard over the front side and weighting this with heavy objects and allowing it to dry one hour you will find that it will dry flat. If you neglect to wet the reverse side your card will curl up toward the pasted side and give you much trouble. As your paper background is four times the size of the design, you must mark off vhe squares four times as large on your large card; therefore, each one-half-inch space on the original should be two inches on the larger design. With dark green, paint in the mountains quickly and in one mass color. Draw in tha trees with a soft pencil; remember that they need not be at all exactly the shape shown. The first tree trunk and branches occupy squares 1 and 2 down to D. The second tree occupies square 3 down to C and a trifle into D. The fourth tree from square 4 to the middle of C and the last tree (excepting the two branches in 7A) occupies square 6 to the bottom of C. Take any color of brown and quickly paint the trees. A few upright daubs of dark green make the grass grow at the bottom of the trunks, also to show the pathway from 7B to the corner of E2, first ruling very faint curved pencil lines to guide your brush. Draw the outline of the boy first with light pencil, then paint any colors you want. In the store you can buy colored sheets of glazed or flat paper often as low as three cents a sheet. Draw an outline of the hat on yellow paper according to the scale size, then paste it on. Paint on your band in blue or black and run a white line of chalk or paint through it. The firecracker you can cut of red paper and paste on. To make the sizzle on the firecracker mix a little red with yellow. Make an irregular daub of this orange mixture, then put your brusn point into red and make a lew blotches of this into the orange and finally add a few white daubs and the cracker will be sizzling hot. Now letter a white card and glue it down to occupy the jpace indicated for the letter- ing and you have the card finished quickly and attractively. You will readily master this once seemingly difficult task if you always lay out your background in squares, which must be done with a hard pencil or chalk, in light thin lines, scarcely noticeable. On page 84 the coat of the waiter and the coat on the man, as well as the stockings in the colored man's hands, should be solid black. Use dry lamp black or ivory black mixed with mucilage first and then thinned with water. All of the various suits can be marked on various colored papers cut out and pasted on. and if striped or checked these effects can quickly be done with a No. 5 pointed sable rigger. To give too much finish to these cards is to lessen their effect and our artist has planned everything to facilitate copying. Lettering on Canvas. USE color ground in japan and thin with "turps" and japan, using no oil. For neat work outline with a sable pointed brush and fill in either with a flat or round bristle "fitch." Your letters, to run even, should be marked between two chalk lines that are first snapped on in the manner stonemasons snap on lines on sidewalks. You can outline the letters with , pencil or charcoal points. Lettering Signs on Dry Muslin. AFTER you have tacked your muslin on a wooden frame or stretcher, mix best quality of dry color or lampblack in common furniture varnish, which can be bought for about 50 to 60 cents per gallon. Mix into a thick, smooth paste and use gasoline for thinning, so that it is fairly easy fiowing. like molasses. In this manner you will find by using a wide, soft hair brush, you need only go over the surface once to get a solid letter, which will dry in a very short time. Imitation Wood Paper. VARIOUS colored papers, sold in rolls containing about 20 yards, measuring 30 inches in width, can be bought at 10 cents a yard retail. Dark oak, light oak, birch, mahogany, mission oak, in fine or coarse garins, are the most prominent. In pasting this paper on white card for making price tickets, it must be smoothed out perfectly with a soft rag, being sure that the paste is spread out thin. In this manner all blisters are avoided. First cut the cards fiat edge and the bevel so the edge shows white. These papers are much used for show windows when pasted on strawboard. SUGGESTIONS FOR 4TH OF JULY CARTOON SHOW CARDS YOU MAY NEED A New Stra^v Hat July 5tli LOOK OVER THIS LINE i V y\\ 1/ J#lk After tlie Fourtli tKat Boy of Yours Will Probably NeeJ a New Suit HERE IS THE PLACE TO GET IT No matter •who •wins tne ii^nt July 4tli 1 ou nV^iU Look Like a xV^inner IN ONE OF THESE SERGE SUITS Going Fast THESE SHIRTS AT THIS PRIG? WILL NOT BE WITH US LONG 77 CARTOON SHOW CARD SUCGESTIONS MAY WE TAKE YOUR ORDER ? FAST BLACK 12icts PER FOOT I^U!!.l._^ '~: GOING SOME! AUTO TOGS Come In, See Wky Tlbtii-D (o NEVER AGAIN! Can You Buy Snirts Like Xnese at Xnia Prica $1.15 'rtlRCHlU) (2 78 F A I K C II I L D • S E A P I D L E T T E K E R 79 CUT-OUTS. ON the next page we show five cut-outs in various sizes and shapes, so as to illustrate the method pur- sued by the professional card-writer whenever he has to make a number of cards with one design. The cut-outs are left in their original condition, without any attempt at cleansing, so that our readers may more clearly understand us. Pig. 1 shows us the cut-out; Fig. 2 shows how the same is followed by lead-pencil marks and the lettering then quickly laid out, and No. 3 shows the finished card lettered with both pen and brush and the lead-pencil marks wiped out with a sponge-rubber. Instead of showing the exact card in Fig. 3, we merely represent it by the lead-pencil outlines. The method of utilizing the white cut-out Fig. 7 is shown on the gray card Fig. 7 below, as we lacked the space to show the finished card, the same as card No. 3; our readers can well imagine what the laid out card 7 would look like finished with brush and pen. Cut-out No. 8 is utilized in the marked-out card No. 9, and No. 10. directly underneath it, shows the finished card with the lead-pencil marks taken ojf. Fig. 11 shows the cut-out for the card directly under- neath it. No. 12. We have purposely left the lead-pencil marks in this instance, to show how the card appears when written with the ink, before the lay-out pencil marks are wiped off. Cut-out No. 4 is laid out on card No. 5 and the finished card is shown in the lower right-hand corner. No. 6. It is always advisable to make a cut-out when you have ten or more of one kind of tickets to make. In this manner all your work will look uniform and add greatly to your display. Make cut-outs at once for large cards. More About Cardboard. IN most large cities you will find dealers who carry all kinds of paper stock, including show-card stock. The kind in general use in white or colors is called 8-ply, meaning its thickness; 10-ply is also much used for the larger sized cards, as it is stiffer. You can save much loss of time, with a trifling extra expense, when placing your order, to have as many sheets as you require cut up into various sizes, even as small as two-inch squares for diamond-shaped price tickets. There is cardboard with a smooth, shiny surface called "coated stock" and the dull-finish surface cards. The dull-finish white card is the best for general purposes, as pencil marks are more easily erased and, the surface being absorbent, the ink dries more rapidly. Some cards are colored and coated on both sides. They are naturally more expensive, but are often used to be lettered on both sides; for instance, for a hanging sign in the store, or price tickets suspended below mer- chandise, to be read as the customer enters or leaves the store. One kind of card, usually 10-ply, comes in black and dark brown, is much used by photographers for mounting pictures. This is highly polished and stiff, and is excellent card for white pen-lettering for large-shaped cards. The uncoated black 8-ply cardboard is mostly used for all kinds of signs lettered in white or bronzes, as it costs less. Every dealer carries "railroad" cardboard. It is colored on both sides, conies in a great variety of colors, and makes an excellent price ticket if not cut larger than 4x6 inches, as it is only about 4-ply thick. A cream white 8 or 10 ply card, called "egg-shell," has a slightly roughened surface, and is much used for mats and can be had in sheets larger than the regulation size, 22x28. The dimensions of the cards most in use are as follows: Halves. 14x22 inches. Quarters, 11x14 inches. Eighths, 7x11 inches. Sixteenths, 5V4x7 inches. When retailers use enough fancy-shaped tickets of one kind, they can have a steel die made, costing from $4 to $.5, and can have them cut to order, by furnishing the cardboard, at from 40 to .50 cents a thousand. ^Nl A ii Line Engravings on Price Tickets. NY photo-engraver can make you a reduced line engrav- ing of a fashion cut at about 75 cents. It must be small enough to leave considerable white space on the top and bottom. You can place one or two on each card. Your printer will do them for about $1 a thousand. Your card writer does the rest. U' Lettering Dress Suit Cases and Brown Leather. [SE asphaltum with a pointed sable rigger. Thin it with "turps." Your lettering will not spread and will dry glossy in a very short while. Lettering Trunks. USE any color ground in japan. Thin carefully with a little "turps" and more japan. Where you have many trunks cut out a stencil on paper. With a stumpy bristle brush, tap the stencil, which is held down close, with steel pins having beaded heads; then lift off your stencil and fill in all letters, going over the entire surface with your lettering brush. 80 FAIRCHILD'S RAPID LETTEKER 81 ^ . 12 '5. ^.i" JO rA if^CH/LDS G PLAIN OR BEVELED HAT AND SHOE TICKETS. ON the next page we illustrate 23 designs which can readily be duplicated and used for shadow script cards or plain price tickets, as shown. It cut from a colored card with a beveled edge, with a mat knife, you can leave them plain, as the edges will show white or gray. If cut from white card you can gild the bevel. If you cut them out with a scissors, you can paint a gold or colored border on the inner edge, and on the back you paste a length- ened strip of card to insert between the hat band or through the shoe laces. The reduced sizes, as shown here, can be used tor small show windows or showcases, but the original sizes mentioned below are better for the larger window displays: Size of Ticket No. 1— 31/2 inches by 1% inches. •• 2—41/2 •■ 21/2 •• 3—21/2 .. 2 " 4—314 " 2 " 5—2% •■ 2% " " 6—3% - 2y2 " 7—31/4 " 1% " 8—3 " 2% " 9—4% " 3 " 10—41/2 •■ 2% " 11—4 .. 2% ■ 12—4 .. 2% •• 13—21/2 " 2% " 14—4% " 21/2 " 15—4 .. 3 " 16—3% " 1% .. -^7_4 " 2% " 18— 21/2 ■• 2% " •• 19—3% .. 2 •' 20—21/2 " 2 " " 21—3% " 2 " •• 22—2% " 2% " " 23—2% " 2% The simplest method of copying the designs to the exact measurements mentioned is, first, to crease a piece of manila paper, open it, then mark off the space according to the meas- urements given, and by drawing half of the design with a soft pencil, fold the paper over on the crease, and by rubbing it with your thumbnail you duplicate the pattern which you have drawn on the other side, thus having the complete de- sign in the exact size you require it. You can then paste this down on a piece of thin cardboard and with your mat- cutter cut out the exact shape and use this as a pattern for marking out as many tickets as you require. It is always desirable to put as little reading matter as possible on such cards, so that the prices which are the real purpose of the ticket show prominently. It you want cards the exact size of those shown on the engraving, trace them, paste down your design and cut out with knife or scissors. Edges. AJIOST important factor in creating the best impression, on cards illustrated on page 93, is the knowledge of when to use the edge-lines, be they ruled with a brush, edges of shadows, pasted paper edges, or when to leave the card plain. It is always safe to assume, where the exterior of the design consists of scrolls or fancy figures, that no edge-line will be necessary. Card No. 4 on page 93 has a paper edge, because it is mounted on a wooden frame, but if it were finished on a heavy board, a plain cut bevel about % inch wide would im- prove its appearance. Card No. 5, in its general make-up, requires some sort of edging in contrast with the picture and lettering. Card No. 3 would be a complete failure, were it to have any kind of edge-line. Design No. 7, on page 93, shows no card edge whatever beyond the plastic lines, all edges being cut off with the mat-knife when the plaster is dry. This entire design could nevertheless be mounted on any kind of dark background without a border, and this would increase its attractiveness. Rope Edging. ORDINARY manila rope, with a bow tied in one or more corners and the end unraveled and combed out, makes a fine decoration tor window cards. It is applied by running a narrow, thick, flowing line of glue at the center of the edge where you want to fasten the rope, allowing the glue to become sticky by exposure and pressing it down slightly as you go along. If you wish no bow at the corners, you can nicely form a little loop at each corner, or, if you desire it plain, you must "miter" it like a piece of wood, first tying up the end where you intend to cut, spreading glue all over it, allowing it to dry, and then cutting diagonally with your mat-knife. This method is rather troublesome, so most professionals place a round weight in the corner, gluing on the rope with curved corners. Others pierce two large holes through the mat, both in the centers and diag- onally at the ends, . passing the rope through. FAIECHILD'S RAPID LETTER ER 83 HOW- ca: AND SI THE AIR-BRUSH. THE air-brush plays an important part in tlie production of striliing show card work. It is called aerographing, this term being used in England, and with letters shaded with the brush it is called shadow script. It pro- duces soft and graduated tones that cannot be duplicated in any other manner. The numerous air-brush devices on the market range in price from $3.50 to $100, some of the latter being elab- orated by the addition of a gas-pump and large tank to make the cost as high as $250 to $300. Some of the cheaper kind are operated by hand pressure on a rubber bulb, after the manner of the well-known cologne atomizers. Others are used by pumping air into a small tank, using either the foot or one arm while operating, or having another person to perform the labor, while the artist uses the brush. None of these latter devices is desirable, nor would we advise the use of them. There is only one effective and satisfactory manner to use an air-brush, and that is by use of a tank, charged with concentrated air. These tanks are delivered to any part of the country, being cylinders about six inches wide and four feet high. A gauge is attached to the top of the cylinder, and a hose, which connects with the air-brush, is also fastened to the tank, and the air turned on by means of a small button on the top of the air-brush, the flow of the color or paint is regulated. The lines can be made in sharply defined shades, by holding the brush close to the object which is to be colored. If the spray is to be widespread, the brush is raised as high as two feet from the surface. As soon as the thumb touches the small knob the air rushes through a narrow tube to which is fed a stream of color mixture, which is contained in the small cup which is attached at the side of the brush. Unless our readers have considerable work of this class in mind, we would advise them not to incur the expense of such an outfit, which would entail an outlay of about $45. Our two first illustrations show the same device utilized for two purposes, by placing a pattern which Is first cut out with the matcutter from a piece of cardboard and placed on another sheet. By following the edge lines of the piece of cardboard which i.s cut, closely spraying the color of the air-brush, so that it strikes part of the pattern and part of the card, you can within three minutes obtain the result shown, which makes it appear as thougli the panel was somewTiat raised from the card on which it is depicted. By taking the cut-out pattern, and placing it on another card, and following the same instructions with the one exception that you intensify the shadows on the left upper half and left side, you will then have the effect of illustration No, 2, which makes it appear as though your pattern were framed in a clearly cut mat or frame. It should be remembered that all similar patterns which are used for air-brush work should be heavily weighted with a piece of lead or iron to keep them in position, as well as to keep the edges of the design close down to the card, thereby preventing the color from being blown in between the pattern and the sheet, which causes a blurred effect, and spoils the design. In doing let- tering the usual method is to boldly mark out the letters with a soft pencil. If your letters are to be shaded to the right or left you proceed by placing your brush within two and one-half inches of your "layout," following the lead- pencil marks carefully and gradually spreading the spray by raising your hand from the paper and increasing the pressure on the knob. A little practice will soon enable you to get the desired effect. When the spray is dry, which takes but a few minutes, you go with a regular brush over your letter- ing in white or any color that you desire to cover and fill in the lead-pencil marks which were first written, and which clearly show through the spray. Your sign will then be complete in every detail, with shading outside the letters. The air-brush is of great importance in forming artistic shadows and effects, called high lights, when It is used in spraying embossed work, bas-relief, and all raised surfaces, be they of plaster, wood, or other material. Where numerous signs of one design are required, the air-brush is invaluable, saving a great expense and much time. The method em- ployed is to cut out the scroll or mat design, no matter how large or small it may be, and spray the edges of all the open work of the pattern. In this manner a full sheet pattern 22x28 inches can be completed in five minutes. Aside from this benefit, each sign will be exactly the same. 84 FAIECHILD'S RAPID LETTER KR A MIXED GROUI> OF AIR-BRUSH CARDS. AIR-BRUSH PRICE-TICKETS. ON the opposite page we show halftone engravings of price ticliets numbered from 1 to 13. These engravings are re- duced exactly one-half the original size. Design 9 was 4% inches wide; design 5 was 5 inches square; design 1 was 3% inches. The $25 on design 11 has the figures 1% inches high on the original. Any of the suggestions can be enlarged or reduced, according to your requirements. In making No. 1, which can be bought embossed in quantities at a low price, you spray your color from one side, being careful to give it a delicate tone by holding your air-brush fully one foot away, and as you intensify your shadow toward the bottom getting within one inch from the card. The figures are written with Letterine and with a German flat pen. Card 2 has a gold edge. The cards are bought in quantities. With a mat knife cut your oval from a card and on the back you place a piece of flat iron to keep it in position. By spraying all around the OA'al and gradually intensifying your shadows where indicated you will get the effect which looks as though the white oval were iiasted on. The lettering is then put in with a pen. By shading the oval to the left on the inside the same as the circle in flgure 5, the oval would look sunk into the card. On figure 3 the mat is first cut, then placed on your card with a weight on the back to keep it in position. Wherever you have deep shr.dows be sure to let the spray touch the edge of your pattern and the card at the same time and hold your brush close. The upper line is made with a pen and the figures are done with a pointed rigger. Nos. 7, 11, 12, 13 and 8 are all completed in the same manner. On No. 6 the two banners are cut in one piece and laid on for spraying; the separation of the narrow banner from the lower one can be done either with a hair brush or the air-brush. In flgure 9 the little scroll ends are done with a small ligger. Figure 5 is made by cutting out a circle with your mat-knlte from the center of a square card; this card is then placed on top of another square card somewhat wider. By shading the outer square on the bottom left and right sides you get the raised effect, and the shading being intensified on the inner circle gives the middle space the sunken appearance. The outside lines of No. 4 should first be cut out with a mat knife twice. By marking out an edge line a little moie than one-eighth inch and cutting out your stencil at A-A, B-B, E and F. where indicated, and cutting out about one-half inch at D-D and C-C you need only place your last stencil over the fiist cut-out and spray into the stencil from the top and your ticket is com- pleted. To make a quantity you take one large sheet and spray each on your card by using the stencil, then with a scissors or mat-cutter you can readily cut your outline. Figure 10 is an embossed white card bought in quantities and then sprayed in green or color and lettered with a pen in black. Figure 12 has an oblong panel with cut ends placed on a white card which is sprayed in color, shaded on the bottom and lettered with a pen. Where a large quantity of air-brush work of one design is required the professional usually cuts out the mat design from thick brass instead of cardboard. This, of course, lies perfectly flat and does not wear. You can weigh down your card mat by cutting pieces of sheet lead and gluing them on your 'card. If your mat is large you can use weights of any kind, being sure to remove them from the parts you desire to spray. In lettering panels that have rather fancy outlines of scrolls it is always advisable to make both the lettering and the num- bers as plain as possible, thus forming a striking contrast, pleasing to the eye and easily read. A MIXED GROUP OF AIR-BRUSH CARDS. FIGURES 23, 24, 2G, 27, 33, 3G. 37 are all made by placing a simple cut on a surface card and shading to bring up the desired effects. Card 30 has two small, straight slits cut through to com- plete the triangular central effect. Card 34 has a series of light shadows put on the top to represent leaf veins and the lettering is then put on. Car 39 has slight shading in the center, which gives it a real- istic book effect. Cards 29 and 31 show the 7x11 card in an upright position, which is often desirable or necessary either on account of lack of space or because is better placed with groups of merchandise or elongated articles in the .window. Cards 25 and 40 are the simplest in construction, but can be used with merchandise of the highest type. Card 28 is made by cutting a square with fancy designed corners. The ornaments should be cleanly cut. This mat must be fastened down with 8 pins and then sprayed, being sure to put in shading dark where indicated and after lifting the mat put in your lettering. Use steel pins with glass heads. Such pins are usually sold in dry goods stores mounted on pasteboard cubes and are better than other pins. 86 FAIECHILD'S RAPID LETTERER AIR-BnrSH PRICE TICKETS. HOW- CAR AND SI AIR-BRUSH HABERDASHERS' CARDS. THE group of cards numbered 15 to 22 are called "Eiglits," measuring originally 7x11 inches each. The original large cardboard is 22x28 inches, therefore we can cut S cards from one sheet, which is considered by the trade the best size window card for this purpose. The same size can be used for any kind of merchandise and when placed in this horizontal posi- tion are called "landscape." In cutting your mats be sure to very frequently stroke your mat-cutter on the oil stone. Your edges will then be cui clean and free from threads. In figure 19 the large card mu»t be sprayed first and then an oval card is placed in the left corner and shaded. The two top lines are penwork. the last row is let- tered with a sable rigger. Card 15 shows the highest class of concise, clean lettering with the brush script and ornaments combined. The pen letters beneath are thoroughly balanced and almost like steel engraved. The script scrolls on card 16, though as simple in construc- tion as possible, show a masterly stroke that can only be at- tained by much practice, creating daintiness of brush touch. Card 17 has only three words in penwork. The combination of the letters in the first word is happily chosen. A noticeable praiseworthy feature in all of these cards is the remai kable forcefulness of the wording, which conveys so much meaning with so few words and with the perfect swing of the lettering and the layouts classes these as first-rate cards which you should try to copy as nearly as possible. Card 18, with its plain capital letters in the center, encased with heavy double rules on top and bottom, forms a striking but perfect contrast with the dainty touch of the pen lettering above and below it, but the great finishing touch for the balancing ot the entire card is the long initial W, which can readily be made by using a ruler to guide your brush-stroke. All of the center mats, if shaded on the order of No. 20, would create the same effect, giving the apiiearance of a fancy white mat glued on a lettered card. The utility of simple scroll work is illustrated in the ban- nerettes in the last three cards. In all cases the lettering is first done and the banners sketched in and the scrolls added. Lettering in thinly outlined panels should not be shaded. EYE CATCHING CARDS. POPULAR phrases, often of ancient origin, if combined with pictorial display, can be used to excellent advantage, as is the case in some of those described here. A boy is blowing soap bubbles, three of the beautfful Iridescent globes seem floating in the air, but are pasted on black silk chiffon, and the card reads, "Bubbles don't last long, but our suits will keep their shape and stand long wear." Close to a beehive is a man's face; a dozen bees are fly- ing (pasted on black chiffon), and the card reads: "Don't get Btung buying inferior goods. Even'thing here is new, up to date and perfect." Another card shows a man smoking. Perfectly painted rings of smoke (on chiffon) are curling upward, and the card reads: "Our promises do not end in smoke. Everything sold here is as represented." A window frame is painted on the card. Pieces of broken glass are pasted on black chiffon, and the effect is strikingly realistic — the wording reads: "We spare no 'panes' here to ■atisfy our customers." A juggler is playing with six globes, each with a letter to spell the word "values." The card reads: "Values up, prices down. Our policy is to give best at least expense." See page 91. Card No. 2 and the card numbered 3 on the bottom of tlie lower corner are made in this manner. EDGE LINES ON GOLD GLASS LETTERING. If you want an edge-line around your letters — say red or white, etc. — use color ground in Japan. After this is dry and you wish your lettering to appear on a dark background, you can mix two-thirds Japan black with one-third cobalt blue, first painting your panel with an outline and filling in with a wide soft brush. When this is dry paint the entire back with thick asphaltum, using a wide soft brush. By putting on another coating of asphalt you will have a permanent sign that will last for years. Unless you are thoroughly expert with a brush it is ad- \ isable to have such work done by a professional, because noth- ing provokes more criticism than a poorly lettered gold sign on glass. PROFESSIONAL WATER COLORS. Most professionals use Letterine or Markiline for pen work, as they dry quickly with a gloss. Some use ordinary black ink; others mix drop black in gum water and the letter- ing dries flat. Ordinary lamp-black, ground in mucilage, then thinned with water, is much used for "dead black" lettering. 88 FAIRCHILD'S RAPID LETTEKER 89 AIR-BRUSH HAEERDASllERS- ( Al;lit, QUAINT AND PLAIN WINDOW CARDS. VARIED in make-up and styles of lettering are the six designs wliich are numbered on the opposite page. Un- fortunately, the camera often fails to do justice to the artist, and many of the coloring impressions, like blue and violet, are absorbed and show but slightly. The main object of No. 1 is to show shaded script and script scroll application. Figure 2 was all designed with the shading brush, except the white lettering, which was done with a hair brush. The entire design can be made with a regular brush. Comic word- ing that is not offensive will always create a laugh. The man falling from an airship, coolly smoking a cigar as he descends, is ready to "drop in." The panel on which the design is printed or pasted often consists of black silk chiffon, which gives the effect desired, making the man appear as though he were in the air. The chiffon is glued on the back where the card has been cut out. A similar tffect is produced in design number 3, where the smoke rin^s are remarkably realistic. The shadow script and scroll work are thoroughly harmonious. A "fashion cut" can be pasted on, and the arm and hand painted with a brush. The face of the figure partly projects over the lower left end of the chiffon panel. The capital E in the word "Everything" and H in "Here" offer a variation from the usual formation of these letters. In figure 4 the outside oval, witli its rococo scrolls, is raised in plastic effect, having a white oval jewel in the cen- ter of the top scrolls and scarlet jewels in the side ornament rentsrs. The wording "This Season's Wear" is badly marred in the photo engraving, on account of the reflection of the tinsel which is used to ornament each letter, and shaded lines appear outside of this, but the actual card is beautiful to see. Figure 5 exemplifies high art and daintiness in both brush and raised plastic scroll work. The letters F' and O are orna- mented with mother-of-pearl scraps, which are fastened down with glue. The shading of the letters, which is barely seen in the engraving, is brush work. The raised scrolls are properly shaded to bring up high lights by using an air brush. Figure 6, which may be called "decidedly plain" by those who only admire ornamentation, is, nevertheless, an attractive and readily made design. A marble paper background has white lettering with gold or colored edge-lines. The thick black panels were made by pasting on strips of paper. A gold strip with warm color edge-lines would increase the color con- trast. As gold lines in the photographic process appear in black, we must stretch our imagination in this instance. For actual ajipearance of color effects as transmitted by photo- engraving, see the index. Raised Plastic Ornamentation. THERE is a mixture in the form of a white powder that can be bought in 5-pound or 100-pound packages. You first sieve about the quantity you intend to use in a small flour sieve, then add water and stir it to the consistency of very thick molasses. This is then put into a rubber bag. having a Vi-inch wide metal screw-thread opening. Various kinds of end-pieces which form the ornamentation can be bought. Some have round openings, some narrow flat openings and a great variety, such as confectioners use, can be bought. All of these metal ends are soldered on a screw cap that fits on the screw thread in the bag. By pressing the bag the soft mass comes out of the small tube and with a little practice it is easy to make leaves, wreaths, round lines, flat lines and all sorts of fancy flowers and ornamentation, includ- ing scrolls of every description. When you have finished the work you require, it is neces sary to clean the bag and metal ends with water. The plaster mass is already mixed with a size which gradually hardens. Plaster work should stand 24 hours to thoroughly dry and it can then be sprayed with the air brush or left white. If any of the various bronze effects, like gold, fire-gilt, green bronze or silver, are desired, a quantity of plaster is mixed in a small bag, the bronze being first stirred in bronze liquid and then used. These bags can readily be made of white sheet rubber, such as is used in hospitals. A bag about S inches deep, cut pear-shaped and sewed with a double row of silk thread, will meet your requirements. The narrow end is fastened with thin copper wire to the screw thread. Such bags sell at retail for $1.50. You can make them to cost 25 cents. Paste. TO make the best paper paste, use flour paste, to which you add cold glue, diluted in cold water, say one tablespoon of thick glue in half a pint of water, added to a quart of paste; add one pinch of powdered borax. In applying the Iiaste over large surfaces spread it over the back of the paper, using a brush from 4 to 8 inches wide, passing your brush over all of t'ae edges of the paper, just as paperhangers do, first spreading it out on a wide piece of heavy cardboard. For pasting small labels or strips, spread paste over a piece of newspaper, lay on a few labels with the back end flat, then pick them up and paste on where you want them fastened. In this way every part will paste down flat without soiling. Use a piece of blotting paper to smooth down the label or strip and then stroke even with a piece of clean rag. 90 FAIRCHILD'S RAPID LETTBKBE 91 I II JmjL SmmB JSsiclusive Sire®ti®ni ^■d.^ AND IGN, A GROUP OF WINDOW CARDS FOR FALL. THERE is variety enough in the designs shown to make them adaptable for most lines ot business. Although plastic and embossed effects are displayed, each one of these can be copied in flat brush work and shaded to give the desired appearance, but it necessarily involves time and skill. Fig. 1 is a thick panel with a beveled edge, cut with a mat-cutter. The rococo scroll to the left is plastic, with air- brush spray from one side, showing extreme high lights and very decorative. The lettering, with its dark, graduated shad- ing, is skillful and symmetrical. Fig. 2 shows an air-brush design which, though perfectly flat, imitates relief work. The center ehield should have a monogram or initial of the firm or the year inscribed. The shading, which is on the right, appears on the original about % inch from the body of the lettering. Fig. 3 is a thick card covered with oak paper, cut with niat knife, showing serrated edges, on a bevel, imitating an exaggerated thickness of a piece of wood. The pole is a genu- ine piece of birchwood, with a bevel sawed on the top. The rustic lettering, wiiich is very legible, could be improved by the addition of a few leaves painted or glued on to the initial letters. Fig. 4 is a masterly, plastic double panel, made more at- tractive by the contrast of the upper oblong panel, which nev- ertheless is outlined with harmonious scrolls and shaded like the oval, with the air brush. The legible lettering, with its exaggerated points, is neatly executed. Fig. 5 is covered with mahogany paper and the edging is in imitation of malachite marble, which, with the gold edge- line inside, creates a highly attractive foundation for the pic- ture of the woman and boy; these are pasted on from a "cut- out." The top line, lettered in black, with white shading on the left side, is happily chosen to bring into prominence the •'Children's Wear," the initial letters of which are painted turkey red. A slight touch-up of shading to the outer edges of the picture gives it a somewhat raised appearance, although it is perfectly flat. Fig. 6 is a flat "cut-out" mat, having a stenciled air-brush design in colors, rose and light gray, on white. The back- ground is bluish slate. The lettering is graceful, being some- what spread in the word "Fall" and much condensed in the word "Styles," in order to afford space for the white scrolls on letter S, and to leave an almost equally distant space around the mat edge, thus affording to the close student an excellent example of thoroughness in "lay-out." Fig. 7 is a plastic panel. The loop on top and the two posts are three-quarters of an inch high. The scrolling below and the beading around the oval are one-quarter inch thick. The card itself is all white, and the air brush, in this instance, has sprayed a dainty green color over the design and on the left side of the lettering, showing ample space between the shading and the letters. Fig. S is made like Fig. 1, but more elaborate. The denseness of the shading before the white lettering is painted on, gives it a raised appearance. The proper designing of the scrolls to fill in the spaces is an artistic accomplishment. Fig. 9 is an embossed card with a light green background and, like Fig. 11, has gold edges on the "art-nouveaux" panel- ing. The orchids on the first-named card are painted in nat- ural colors. The peculiar scroll, under the word creations, is swung low to fill in the space and made thicker than usual, to balance with the upper edge of the panel. In Fig. 11, the trellised panels are gold and the dark paneling underneath Is green. Fig. 10, on the original, is what is called a "Sepia," the entire background being painted in sepia browns in various shades, and the snow being white, of course. The post and panels of the sign can be made of any color contrasting paper, like green oak, mahogany or light oak, and pasted down, then lettered in white or gold. Figs. 12 and 13 are plastic panels on thick beveled cards, made to be suspended by small brass chains, to hang on chan- deliers or fixtures. The plastic flowers are shaded in high colors, while the panel, wnich is only one flat light gray sur- face, is so manipulated with air-brush shadows to give it a double raised appearance. To get the best results from card 3, you should have a mound of sand in the center of the window, into which you fit the birch pole. You can place a few odd stones on the bottom of the sand and place bits of moss and some loose leaves, artificial or the natural kind which we requested you to save in our first lesson. Paste a few of your leaves to the right of the word Fall, with the points downward, but paste them on irregularly; a spray or a couple of leaves imder the letter F and a spray of sumach or other leaves on the lower center of the birch pole. When you are limited in window bot- tom space no mound is needed, but a considerable part of the birch post should be seen to create the desired impression. For autumn or fall designs a very satisfactory decoration is the use of artificial birch leaves and twigs, which can be bought at reasonable prices in most cities. The varied color- ings and the smallness of the leaves, make this an adaplal.le ornament for any kind of background. Artificial maple leaves are very pretty for the same purpose. 'J 2 FAIECHILD'S RAPID LETTEirKl,' HOW -CAR AND SIGNS FOUR AIR-BRUSH SCROLL-PANELS. THE designs shown opposite are selected tor the sole purpose of illustrating how a few touches of the air- brush can produce what appears to be rather difficult, but which is, after all, a very simple design. The original cards are 22 inches wide by 28 inches high, and are cut from what is commonly termed an eggshell cardboard, which has a ground somewhat like grain leather, and which is glued on thick card and then cut out with a mat-cutter, showing a bev- eled edge on the entire design. Card number 1 is the simplest form of a scroll, which can readily be copied from the design, card number 2 being a duplicate of same, with the center of the top more elab- orately finished. The center panel of card number 2 is first cut out of cardboard and laid onto the eggshell surface under- neath, and a dainty outline of the same is made with the brush by following closely to its outer edges. The panel is then lifted off, thus showing the entire shape of white. The intense dark shades are placed underneath and on the right- hand side, and dainty graduated shades are placed on the upper right and left surfaces. Panel number 4 is made on the same order. The scrolls on panels numbers 3, 4 and 2 are all carefully drawn at first and then shaded with the air-brush. When the panels are complete they are all cut out with the mat-cutter. Lettering in all four panels has purposely been made plain and clearly defined. Simple letters, though more difficult to execute than the fancy lettering, are by far more desirable on most show cards. It is absolutely essential on these cuts that the outlines are fancy and the lettering, by being plain, forms an agreeable and forceful contrast to the shape of the cards. We have taken the liberty to name, in these panels, a few of our leading publications, which form . the connecting links between the retailer and the wholesaler in the men's wear trades. Scroll-Panel Half-Tones. ANY of these or similar designs can be engraved smaller or larger and used with telling effect on letterheads, envelopes or circulars handed out in the store. You can use them nicely for catalogue or book covers, but must be careful to have your lettering with clean edges and the background "routed out" up to within about Vs inch of the design. How Color Charts Are Used. THE helpfulness of Fairchild's Color Charts will at once be apparent to any window-trimmer, no matter how expe- rienced, and will be highly prized by the beginner as a won- derful guide in color decoration. Each store has its own pecu- liar customers, therefore it is the wise merchant who leaves no legitimate methods untried to attract trade to his store. The great masses are attracted by color contrast; there- fore, it is better to use the color combinations mentioned in that chart, for window and interior decorations, by those who cater to that trade. The educated classes prefer color harmony, therefore the other chart can be used to good advantage to attract such trade. It would be ridiculous, however, to say that educated and refined people cannot enjoy color contrast if properly applied and used at the right time. The wise merchant studies all these points and he uses the methods indicated on both charts, either in the display of merchandise or the changing of colorings of the walls, ceiling and furni- ture equipment in certain departments, from time to time. Collecting Letter Designs. T^'OR those who are interested in lettering, there is no more 1 amusing or profitable pastime tlian to observe all kinds of signs and to sketch odd letters. Notice the street-car signs, theatrical door signs, penny slot museums, initial letters in magazines and political banners. Eacli day your sketches can be cut into oblongs or squares and pasted into an ordinary manilla paper folder by fastening only the upper edge. You should reserve several pages for each letter and others for scrolls, bannerettes, etc. Whenever you require it you can readily remove them for reference. Your interest will increase as the collection grows, just as stamp collectors or other hobbyites appreciate what they collect and it is surprising how often such rude sketches re- call events in later years, as you vividly remember where and on what occasion you made them. Imitation Wood for Show Windows. THE most durable backgrounds and window bottoms or ceilings can be made by pasting "wood papers" on thick, heavy, gray strawboard. This can be bought in large sheets one-eighth or three-sixteenths inches thick. Panels can be made by several methods. The simplest is to mark out all panels in light sepia brown to imitate- oblong or square panels or strips. Another method is to paste on to the covered card other pieces of the same paper with the grain running in the other direction. These panels are then carefully: out- lined with color to match, as lightly as possible. A thin; coat of varnish applied makes it durable and readily dusted by using a slightly dampened cloth. A complicated method is to use various colored wood papers and working up designs to imitate regular "parquet flooring" or borders. Unless these can be properly pasted it is unsatisfactory. FAIRCHILD'S RAPID LETTEKER 95 / Vest Pocket Directories Send a 2 cent stamp GET ONE FREE. FOUR AIR-BRUSH SCROLL, PANELS. HOW-CAJR AND SI STENCILS FOR LETTERING AND DESIGNING WITH BRISTLE BRUSH OR AIR-BRUSH, WHERE a quantity of signs of one kind are to be made, it is always desirable to have a stencil and to either spray the color on the card or object on which the lettering is to be placed with an air-brush, or to take a bristle stump brush, which is usually round, and to stencil the letter- ing or design through, onto the card or object, be it a mirror, cloth, wood or other material, either indicating its position and afterward going over the outline with a pointed sable rig- ger, in water or oil colors, and filling in with a wider brush, or to spray or stencil with enough color so that no other work is needed except to join open strokes or spaces with a small rigger. Figure C shows a holly border stencil design used in combination with figure D, on the opposite page. First figure C is sprayed, making the groundwork leaf in a light color, as shown in figure 1. The second stencil, D, is then placed directly over figure 1 and sprayed with a darker shade of green, forming figure 2, showing the leaves shaded. The sten- cil is then removed and the leaf stems, which are shown be- low in the completed figure 3, are painted in, and the holly lierries, made in red dots, with a very light shade of pink or pure white, which give the decorative ef- fect, are added. Figures E and P are two cut-out stencils used in com- pleting a neat holly wreath, so much used during the holiday season by many stores. This method, if followed and stencils made in various sizes, large and very minute for price tickets, will enable you, either by the aid of the stencil brush or an air-brush, to make large quantities of cards within a short time. Holly Wreaths. THE air-brush sprayed over the stencil figure E in a light green color gives you the effect shown in illustration No. 4. The second stencil, F (see third page), placed over No. 4 and sprayed with a dark green color, producing the effect shown in figure No. 'o. and the completed wreath is shown in figure C by adding various berries, brush marks for stems and high lights in the red berries, finally adding a scarlet bow- knot, with flowing ends. You will soon learn to make all kinds of stencils, which will produce massed colored effects, with wonderful rapidity. For instance, if you wish to show a cone-shaped Christmas tree on each side of the card, you first cut out a cone-shaped opening with the trunk of the tree slightly slanting downward. By spraying with a light green on this design on a card on both spaces, with the design near the edges, you will have the foundation of a tree. By i tracing your cut-out on an- other card and cutting out only openings at va- rious intervals, none of them wider than one- 96 FAIRCHILD'S RAPID LETTEREE 97 quarter of an inch, beginning at the center and slanting gradually outward to the edge, so that they narrow to an eighth inch. You then cut out these spaces, and place your stencil over the first one, spray- ing it in dark green. By remov- ing your stencil and filling in the trunk with a dark brown on one side and gradually shading it to a light brown on the other, adding a few brown strokes through the body of the tree for branches, you will have an effect that is extremely pleasing. You then place your lettering in the space between the trees and have an attractive window sign. First we show a stencil cut-out, "Holiday Gifts," and the last engraving illustrates the same sprayed on a card with an air-brush. The open spaces are afterward filled in with a regular brush. This sten- cil can also be used by follow- ing the outlines with a pointed lead pencil and then filling in as suggested before. Brass Stencils. Some sten- cils for air-brush work are made of brass, which is about one-six- teenth of an inch thick. The design, being drawn on thin paper, is pasted down and, after being cut with a jig-saw, is filed up smoothly and then used in the regular way. Lead Stencils. Sheet lead which is wide and about 1-16 inch thick can be bought in rolls, and with slight pressure flattened out. The design is traced through a carbon sheet, the sur- face of the lead being first covered with a thin coat of whiting, which distinctly shows the let- tering and design when the tracing paper is re- moved. A sharp-pointed, angular knife-edge device Is then used for cutting out the letters. There are few men who can do this work skillfully, leaving perfectly clean-cut edges. Such stencils are very valuable where duplication is re- quired, and the effect produced looks exactly as though the design and letters were produced by first making a line en- graving and printing therefrom afterward. The most beautiful and intricate designs in stencils are made in Japan. They are usually cut in square, measuring 14 by 18 inches, but there is a blank border measuring 2 inches, so that the actual layout is 12 by 16 inches. The pa- per used is the usual dark gray, tough, fibrous .tind, about as thin as business letterheads. The most skilled stencil cutters sometimes require an entire week to complete such stencils. They are used only for decorative purposes and often contain hundreds of grass blades and the white spaces between are frequently less than 1-16 of an inch thick. An American workman would find it almost impossible to cut out or to use such stencils, because the foreign artisan has an inherited deftness and lightness of touch which others lack. 98 FAIECHILD'S EAPID LETTEEER Stenciling Fabrics. THERE are two classes of col- ors which are mostly used on fabrics for sten- ciling. What are called tapestry dyes can be bought in all art supply stores. A very small quan- tity of gum mu- cilage is added to the liquid dye in a separate shallow vessel into which about only one -eighth of an inch of a soft, compact round bristle brush is dipped. The stencil must be pinned or held down close to the fabric, so that it does not spread underneath, and care must be taken to wipe off the under side of the stencil be- fore it is again placed down. Such colors are especially desir- able for thin and all gauzy mate- rial, like chiffons, veilings, challies and white back- grounds, because they penetrate the meshes thor- oughly and do not stiffen the fabrics, which should be pressed with a hot iron by placing three folds of damp unbleached muslin and one dry fold over the color, which makes the colors permanent. Oil Color and Bronze Stenciling. Any oil paint or tapestry die can be thinned with turpen- tine and must be mixed according to the absorbent quality and thickness of the fabric. Many show windows have backgrounds of denim, bleached or unbleached muslin, linen or burlap. Thin mixture may be used on all of these, but the brush must be carefully dipped, so that the stencil does not blur. A quantity of japan or "fixative' may be added, wTiich will hasten the drying of the color. All kinds of bronzes may be used on sten- cils, but they should be rather thick and worked into the brush tip first. Either gum or bronze liquid to mix it may be used. Fairchild Company PUBLISHERS Men's Wear and Chicago Apparel Gazette SUBSCRIPTION PRICE, $2 A YEAR A FINAL EXPLANATION In every business, home, club or cliurch, there are occasions when some kind of lettering on a card, tin, wood or muslin is desirable. Fairchild's Rapid Letterer is especially valuable for this kind of letter design- ing and instruction, which is given in the simplest language. The material and manner of mixing and applying it are minutely described. The recipes for color mixing and color contrasts are extremely valuable for decorating booths, store windows, banquet halls and interiors. The department devoted to designing for photo-engraving can be understood by any boy or girl, as it is free from all technicalities. Many youngsters with only little talent for drawing can quickly take advantage of this instruction. FAIRCHILD COMPANY, PUBLISHERS. 99 100 FAIECHILD'S RAPID LETTEREE FAIRCHILD COMPANY PUBLISHERS OF Men's Wear ^nd Apparel Oazette Issued Every Two IVeeks In which appear the newest ideas on SHOW-CARD LETTERING AND WINDOW TRIMMING Subscription Trice, $2 Ter Year TEXT BOOKS WINDOW TRIMMING FOR BEGINNERS $\.2^ "ADVANCED WINDOW TRIMMING" 2.00 FAIRCHILD'S CODE for the Men's Wear Trades i.oo STORE INTERIORS and EXTERIORS ......... 2.00 FAIRCHILD COMPANY PUBLISHERS 42 East 21st St., NEW YORK Lees Building . CHICAGO 5 1910 One copy del. to Cat. Div. '■'> ttfju