IVIODERI\l SHOW C/%RD l-ETTERII\IG DESIGNS ETC WITH 2000 /%DVERTISII\G l=>Hn^SES DISPLAY SIGNS SHOW CARDS AND POSTERS ** PRICE: St.OO PUBLISHED BY THE TH(»fPSON SCHOOL OF LETTERING PONTIACjMICH. REVISED EDITION. COMPLETE SELF-INSTRUCTOR muH-m I'M! m m i n 1 1 1 1 1 1 ii i-H-HH-t-s-n-H-f- n-m- i -n-w ^^^^^-n 1 1 1 1 1 1 1 1 1 1 !■ Modern Show Card Lettering^ Designs and Advertising Phases A practical treatise on up-to-date Pen and Brush Lettering, giinng instruction respect- ing many styles of Alphabets, shading, spacing, figures and show card designing u IS y^ ^ j^^ I flOmpSOTl^ Pontiac, Michigan. ^4„H-+++++++++i-H-Hi++++++++ ^-in^^i^-Mi♦^-H■^■^^i^^-H-^^ ^■M ■^ - ^-^^■^°^^■■H■^-l^^°H^^^^°i^^^■^ LIBRARY of OONOkESS Two Copies Recelvtd NOV 14 1906 • C«pyrl(ht Entry COPY B. Contents. (s> ■T(a Page. Show Card Lettering, how to begin, and necessary ma- terial 5 Marlcing Pen Lettering Exercise 7 Marliing Pen Alphabet and Figures 9 Marking Pen Show Card Alphabet 11 Automatic Shading Pen Alphabet 13 Rapid Automatic Sign Alphabet 15 Ornamental Designs, Corner Pieces and Borders 17 Show Card Illustrations — Marking and Shading Pen Work li» Rapid German Text 21 Old English Text 2S BRUSH LETTERING — How to hold the brush; how to make show card paints, etc 24-2G BRUSH LETTERING — Elementary Study 26 BRUSH LETTERING — Rapid Single Stroke Al- phabet 2 a Page. Show Card Illustrations — Single Stroke Brush Let- tering 31 FIGURES for Price Tickets, Etc 33 Modern Roman Alphabet, Upper and Lower Case Letters 35-37 Show Card and Price Ticket Illustrations 39 Bulletin Script, Upper and Lower Case Letters 41 Italic Roman, Upper and Lower Case Letters 43 Convex Modern Roman Alphabet, Upper and Lower Case Letters 45-47 Medieval Alphabet, Upper and Lower Case Letters. . . 49-51 Modern Script Alphabet, Upper and Lower Case Let- ters 53-55 Show Cards and Price Tickets, Illustrated 57 Modern Show Card Designs 58-59-60-61 Different Styles of Shading Letters, Etc 62 2000 Advertising Phrases 63-95 Pontiac, Mich. ]^ j^ Thompson 1906 ^ i ►+++++++++++++++H Preface A system for learnlngf Show Card Lettering must combine a definite and a methodical 4 arrangement of practical copies with instructions in detail as to practice, materials used, etc. 4 t Among the hundreds of technical books on the market today there are few, it any, on I; + the subject of general show card lettering that meet the exacting requirements for success + J among beginners and those of some experience. f + A special and distinctive feature in this book is the arrangement of graded copies J i and instruction designed for practical business purposes. Many have grown discouraged J J trying to learn the art alone. To those this book comes as a most welcome ai I by giving J reliable and trustworthy instructions with copies for practice. + We believe our friends will find it an invaluable aid to all who want to acquire a + beautiful and rapid method of practical lettering. + THIRD EDITION tOPYlSKillT, iniKt. BY W. A. THOMPSON. REA1SED KDinON. COPYRIGHT, inofl. Il\- W. A. THOMPSON. Show Card and Ticket Lettering How to Begin and Necessary Materials The first number we begin with No. 1 Marking Pen, which throws a solid line or stroke 1-8 of an inch wide. The Mark- ing Pen is a strong and perfect device for rapid and clean cut lettering for small cards, tickets, etc. The use of these pens — different sizes — 1-16 to 1-2 inch wide, enables the learner to acquire a substantial and easy method of under- standing the proper form and slant of all styles of lettering without the perplexing and laborious task of learning the art with a sable lettering pencil. Our method, if carried out by careful practice and strict attention to the Instruction that accompanies each lesson, will bring the student in a very short time to a full mastery of general show card and off-hand lettering with either pen or brush. INKS — A good ink is very important for neat work. Com- mon writing fluid is too thin to produce a deep color or bril- liant letter. You need ink strong in color with enough Gum Arabic in it to be about the thickness of common syrup or varnish. This will keep it from flowing too freely. Should the ink become too thick and make broken work in your lettering, add a few drops of water and mix. Marking and Shading Inks on the market, made of good material and of the proper consistency, will flow free, cut clean in lettering and dry hard with gloss. — See Page 98. In practical work it is a decided advantage for the card writer to be enabled to make marking or shading inks as needed. So we give a simple and neat method as to how the student may make inks from the start by preparing the same at flrst cost. First take a package of "Thompson's Figure 1. Ink Powder" of the desired color (see page 99) and pour the contents into an ink bottle. Fill the same nearly full with warm water. This will dissolve the ink powder Instantly and make an exceedingly strong solution. Now, all that is neces- sary is to get good Gum Arabic mucilage and color same by adding a few drops of the ink powder solution. Very little of the solution will produce a brilliant and deep color. If the ink should be too thin add a few pieces of Gum Arabic about the size of a pea; this will make It of the proper con- sistency. Should the ink become too thick and make broken work in your lettering, add a few drops of water. Very little practice will overcome any difficulty in making and using this ink. For a neat and clean method it would be ad- visable to get six or eight wide-mouth ounce bottles at a drug store, or any small and low set bottles that may be at hand. In this way one could have a full line of inks and color mucilage as needed. In regard to mucilage we may say there are many brands of commercial mucilage now on the market which contain a combination of glue, acids ( etc. This very often does not give the best results for clean cut lettering. The best to use is pure Gum Arabic of an ordinary grade (not pulver- ized.) This, when dissolved with water so that it will bring it to about the consistency of syrup or varnish, may be colored by adding a few drops of the ink powder solution of the desired color. If you make the mucilage in this way always strain through coarse muslin. For individual work an ounce bottle or an ordinary ink bottle of inucilage 's plenty to color at a time and will be easily kept in good working order. PRACTICE PAPER — Any paper of a smooth and firm sur- face will answer; wrapping paper of this quality will give good results. Don't use paper of a glazed surface. Cross ruled paper is recommended if you are a beginner. By this you have a guide in keeping the pen at the proper angle. CARE OF PENS — Before you commence place a glass upon your table containing about a half inch of water, then place pens in this as in glass on table in Figure 1. This will keep them in good order for doing nice work. When a method of this kind is not used the pens are liable to get clogged, which is very vexing, as rough and broken letters is the result. USING INK — Never dip marking pen in ink. Figure 2 shows a neat and quick method of inserting the ink in pen. Take a tooth pick, lead pencil, or small splinter of wood, dip same in bottle, then drop ink by this means between blades of pen, one or your pen. Figure 2. two di'oiis a t a time. Don't overload MOW TO HOLD Figure 3. THE PEN — Observe Figure 3 closely iL> take the pen in your hand and hold in an easy and natural way, as suggested in this illustration, see that the nib ot the pen is at an angle of about 4 5 degrees from the base line and preserve this position in all marking and shading pen lettering. When you have caught the idea you have already I;arned one of the iirst essentials for rapid and ornamental lettering with an easy movement. HOW TO LE'ITKR — Practice a few minutes with a dry pen, following the strokes or principles given in this number, then write copies of same on your practice paper. Before commencing to letter see that your pen throws a full and clear stroke. Have a small slip of paper at hand to make test strokes before beginning on any particular work. If you are careful a base line will be all that is necessary to preserve the proper position. Go slow, study the position and movement of the different characters. In lettering al- ways use downward pressure and only sufficient to make tlie ink flow. The pen should never be moved upward unless running edgeways. Fine lines are made by sliding the pen in this way, either up or down. To be successful in this line of work it is very important to pay particular attention to every detail connected with each number, studying as well as practicing the outlines and construction of each letter. Number 2. Study and practice on the construction of letters given in the first line of illustration, and review work on No. 1 before commencing on alphabet. For a quick mastery of any style of lettering it is necessary to get familiar with the component .parts and the order in which they make up a complete letter. Practice carefully on "1" stroke and oval of "O". Always hold pen so that tlie blades will retain the same slant. Study proportion, spacing and freedom of movement. When lettering lift the pen after stopping — not while in motion. If, at any time you find your Marking Pens do not work satisfactory and have a tendency to scratch, get a sheet of emery cloth, number 00, and cut a narrow strip of this and tack the same on a small piece of board about 2x6 inches. Draw the blades of pen firmly over the emery cloth length- — 'se. This will make the pen smooth and quickly put it in a^od. order for neat work. See that the nitches or teeth of pen are clear, a thin knife blade will remedy any trouble in this line. Always place pens in glass on table or desk as shown in illustration (Number One) before beginning your practice. If anything should occur with your Shading Pens use a smooth oil stone in place of emery cloth. This is im- portant for a smooth surface in order to produce the flat tint or shade of letter. It is not all study, nor all practice that wins in show card lettering, but a combination of both. Be sure you understand the proper method for best re- sults. That the pen, arms and paper or cardboard are in proper position. That the pen contains enough ink — not too much. That the entire point of pen rests full width on practice paper. That the pressure of pen is just enough to secure a full and even stroke. Be careful to use very little of the Ink Powder solution when making Blue or Green Ink. If you get either of these colors too strong they will show almost a dense black. For a bright blue or green color, simply add a few drops of the Ink Powder solution of the desired shade to a small bottle of mucilage. — See Inks, First Number. Number a. Xiiiuber 3. Before teginnlng on this alphabet it would be well to re- view the instruction and outlines given in Number 1 and 2 in regard to position of body, pens. inks. etc.. also practice faith- fully on the outlines and alphabet of same. In this number you will notice the letters are vertical in- stead of slanting stj'Ie, as in former lessons in pen lettering. This alphabet may be made very rapidly and also have the appearance of being somewhat tasty without extra effort, as the letters are formed by natural and rapid strokes of the pen. The size of the letters may be varied by the use of nar- row or wide marking pens. The proportion may be varied by making the letters tall and slender or by making them low and extended. Study and practice especially the form and make-up of each letter, then you will be in good position to vary the proportion of lettering or wording on either small or large show cards, tickets, etc. Pay attention to a few general rules, as follows; For A make the bottom a little wider than B at its widest part. The first strokes of E and L and practically the same. Make the top stem of F as long as top stem of E. Always have the middle stem exactly like E; first stroke of G same as flr.<5t stroke of C, but a little wider, so as to allow for short horizontal stroke and curve as finish. Make H almost the same widih as D. "When making letter S always begin with stroke at bottom and build up. the top stroke being the last made, and should be shorter than stroke at bottom. The rest are all easy when you have mastered this alphabet so far. The lower case letters given in the illus- tration will be found ver.v interesting, as a few simple stroltes ma lie uii the set. Te perpendicular stroke, full and half length, is used in b. d. f. h. i. j, k. 1. m, n, p, cj, r, t. u. If the outlines and in- structions in each of these lessons are followed faithfully, the learner, in a short time, will be able to form letters free hand without a ruler, compass or any other guide, except the eye. Spacing should be determined by the form of the letters. Between full letters the space should be wider than between letters where a curve exists, or between those that are open. For example; FG, the space should then be narrower. There is no definite rule for spacing. Practice alone will teach you. As a general rule make the spacing between open letters nar- nower than between full letters. If the letters are full at the bottom, let the space at the bottom govern. Practice faithfully and study spacing, make an effort to letter cards and tickets without tracing or guide lines. You will find in a very short time this will be an advantage in the work, and also the lettering, when finished, will present a more handsome appearance than drawn strictly to measured lines. -aabgdhefghu Xuniber i. Automatic Shading Pen Lettering The Automatic Shading Pen is so constructed as to produi -o two colors or shades at one stroke from one color of ink. it Is a strong: and perfect device for rapid and ornamental letter- ing of various styles, and iE> daily becoming better known and its field of usefulness is unbounded. The work being above the ordinary style of printing or writing, attracts attention to the goods advertised. Notwithstanding the many merits of these pens many have found it difficult to get good results, simply by not understanding or having a proper method of lettering to do the pen and themselves Justice. If you have carefully followed the instructions and outlines In former numbers you will now be in good position to make a very creditable beginning in Automatic Lettering, and in a short time you will excite the curiosity of your frends by rapidly executing new and novel designs in general lettering, also in forming combinations of colors and shades in a few minutes that can not be duplicated in as many hours by the most successful sign painters. Outside of the practical and unique effects in this cJass iif work by these pens, they enable the learner to acquire the proper forms and slant of many styles of lettering with a greater degree of ease and accuracy than can be done in any other way. This work and practice will be found valuable when beginning on Brush work, as it will aid the learner to make rapid progress in off-hand lettering, and also be an ad- vantage to the more advanced student. In this number we present a rapid marking alphabet. You Once more in regard to your inks. Shading ink should be a little thicker than the ink tor marking pens, but in your practice work, of you use ordinary manilla wrapping paper of a fairly smooth surface, the ink you have been using In former lessons will throw two shades and will work very nicely. In using paper or cardboard of a better quality, that is a hard, smooth surface, your shading ink will have to be of the proper consistency to produce two distinct shades. If your ink does not make two distinct shades (with the Shad- ing Pen) it is too thin. In this case add a few pieces of Gum Arabic: this, when dissolved, will thicken the ink. If the ink makes broken work and does not work smooth It Is too thick: to remedy this add a few drops of water and mix. When practicing always keep a glass v/ith about half an Inch of water in same on table or desk as in lesson 1, so as to keep your pens in good working order. will notice the Shading Pens used are considerable wider than the Marking Pens you have been using in former num- bers. Hold the Shading Pen exactly the same as Marking Pen (see Fig. 3, lesson 1), and be careful to keep the pen at one angle — see lettering. Study carefully the combination of the letters, so as to have your shading uniform. This is important. See letter H in the large letters. (First line in illustration No. 4.) Make first stroke, then cross- bar and finish with last stroke. When making letter S always begin with bottom stroke and build up. the top stroke being the last made. Pay particular attention to the make- up of these two letters as you proceed, and you will readily catch the idea for neat joining of the different parts, so as to bring them clear and distinct. This will help you in forming the other letters of this alphabet. In the small letters note carefully the curves, length and width of each. See how the stroke "I" and the curve of "o" are combined. In making d, first make small "o," then add stroke "I" close to the right; finish b like o; h like n. .t^^-^^^J"^' '^ ,^^\Vs^ Xiunber 5. In this number we have the alphabet as given In Number 3, but done with the Automatic Shading Pen. To combine the shade or flat tint in this style of lettering, careful study hi the construction or make-up of each letter is very important. as success in shading pen lettering depends almost entirely upon a definite knowledge of how and when each part or stroke of the letter is made and connected. Persistent practice on the alphabet of number 3 will help you wonderfully in freedom of movement in the style of letter- ing we present In this number. Practice carefully on vertical strokes and always try to keep your work compact — not too large in beginning, but keep close to the size of copy. Get a definite idea of the strokes of the letter you intend to make before beginning. Put the pen on the paper or cardboard before starting the movement and stop the movement before or as you raise the pen. In beginning the first stroke of second A, (large letters) draw the pen downward the length of letter, next add cross- bar just below the center, then place pen at top or beginning of first stroke and draw horizontal stroke about half length of cross-bar and run slanting stroke to the base line — see al- phabet number 5. Note the construction of letters in first line of this illustration. When you have mastered the work of this and former numbers you will be able to do very creditable work In either styles of lettering, such as German Text, Old English, etc. i^k^^iU^f^'^dti'i^mx^} Ornamental Designs, Etc. For Automatic Shading and Marking Pen Work Corner pieces, notice the construction of the first corner piece given in illustration Number 6. It is simply made up of one simple oval stroke. In begin- ning make first stroke of small o for beginning of corner, then finish with strokes as shown in illustration. A very neat border can be made up by a continuation of this one stroke. The size of the border or center piece may be varied according to the size of pen used. Shading pens are of differ- ent sizes, from 1-16 to 7-8 inch wide. — See page 98. The second corner piece is similar in construction and make up to that of No. 1, only the strokes are more precise in movement and require considerable practice to make parts uniform. This second corner piece is one of the best move- ment drills that can be had to strengthen, ease, accuracy and firmness of stroke in all styles of Automatic Shading Pen Lettering. Tile third corner piece and following border outlines can be followed very easily. We present these illustrations simply to give an outline of this class of work. An endless variety of neat and pretty designs can be added by any one after carefully practicing the copies herewith presented. WHEAT HEAD DESIGNS — Notice the make-up of small scroll, after you have made this, take another shading pen and insert a suitable color of shading ink in pen, (generally a light brown or pea green) for the wheat heads. In prepar- ing to make the wheat heads first reverse your pen so that it will make a mark opposite to that of general lettering — that is the heavy line or color of stroke being upward, then place pen at small circle of scroll — see illustration — and run pen downward and finish with slight curve to the right) make four strokes of this kind, then begin above the scroll and run pen edgeways and upwards, and complete the fine lines in the direction given in first outline, then finish as shown in second illustration. In finishing the wheat heads always begin at extreme point and work backward, enlarging a trifle at each stroke. In the last wheat design the broad flat tint stroke or background is made with a Non-Shading Pen. Quite a variety of neat scrolls, tinted backgrounds, etc., of various sizes can be rapidly made in this way and can be used in many ways for special work, such as book marks and Christ- mas cards, by inserting name in place as shown in last out- line in plate No. 6. GOLD LErrTERING, for fancy initials, can be quickly and accurately done with either Shading or Marking Pens, but with Shading Pens the ink must be in good working order to produce clean w'ork. Very handsome lettering can be done by using purple shading ink, in fact any suitable color can be used if it is the proper consistency. In this class .if work — ilrst do your lettering as in the ordinary way, then in a few moments add Gold Bronze upon your paper or card- board and draw or dust the bronze over the lettering with a soft cloth or wad of cotton batting, or a clipping of plush, then when thoroughly dry dust or wipe off superfluous bronze upon another sheet of clean paper so that you may use it again. Flitters, Diamond Dust, etc.. may be applied in the same w^ay with brush or lettering pencil. Mucilage alone is a good adhesive and quick in drying, and holds bronze or flit- ters securely with a high gloss. You will notice that the bronze does not adhere to the tint or shade of letter, as the ink of the shading dries almost instantly after leaving the Shading Pen. In this way you have a Gold Letter with a purple or pink thickness or shade which is governed by the color of the ink used. Flocks, Bronze and Metallics can be used with Marking or Shading Pen Lettering with neat and striking results. Very pretty work can be done with Mark- ing Pens on curtain stuff or opaque cloth, in Bronze Lettering of various shades. When using flocks or bronzes always have your inks covered so as to keep them in good working order. For Gold arid Flitter work a few drops of glycerine added to Shading or Marking ink will be found an advantage for clean cut lettering, and have great adhesive qualities for Jg Tronzes, Flitters, etc. X umber 6. Mo. I. M> a. 4,U cvvvC-^- Pen Lettering XiinilK-i- 7. Demand for advertising cards made witii Marl ^^ Modern Roman Brush Lettering Careful systematic practice on single stroke lettering will enable you to master this style of alphabet vary readily. In practice on this style outline each letter complete with lettering pencil before filling in. Be careful not to get the light lines or joinings too heavy, as this will have a tendency to make your work appear heavy and clumsy. Note the form and make up of open letters in Illustration. The small figures show the order in which each letter is made. Make the upper part of B smaller than the bottom. The bottom stem of E a little larger than the top stem. First stroke of G is the same as C, but a little wider, so as to allow for G finish. Make the bottom part of K as wide as bottom of A. Let the slant of K that forms the lap, strike the per- pendicular stroke a little below the center. The first stroke of X and character & should slant more to the left than first stroke of either V or W. For general proportion of letters read Number 11 and study the width and form of each letter in this lesson. The same strokes of letters in Number 11 are used in this style in making first outline. The following strokes are added as shown in illustration to give body and strength to each letter. Always have your lettering pencils or brushes in good working order before charging with color. For quick work the size of letters generally determine the size of lettering pencil to use. In practice make the letters about the size of those in "SIGNS" as shown in illustration. This size will give good command in movement that will enable one to do larger let- tering. Number 15. ■T' M. •■'rrm OP<|R^TUVWXYZ You Pay Two Prolits When One Will Do? Your Jvulsment Will Toll You at a Clanre — Extraordinary Values, Your Fall Suit is Here. You Can Thank the Weather for These Bargain Chances. Your Income is of Less Importance Than What You Save. You'll Applaud Our Efforts. Your Fancy and How We Satisfy It. You Can Go Farther, but Can't Do Any Better. You'll Enjoy Giving at These Prices. You Can Buy More When We Sell for Sess. You'll Never Be Displeased with the Chances Offered Here. You Don't Get the Best if You Don't Purchase Here. Y'ou Might Get Cheaper Ones, but They Couldn't Be as Good. Y'ou Save Time and Labor by Its Use. You Can't Go Wrong Buying Here Because We Buy Right. You'll Find What Y'ou Want Here at Saving Prices. Yo\ir Loss; If You Don't Buy It Now. Our Profit; We Will (let a Higher Price for it Tomorrow. You'll Never Lose Your Job if You Depend on This Alarm Clock — $1.50. You'll See Two Good Points When Examining These Laces — The Material and the Price. You Will Get "the Proper Light on the Subject," if You Use This Lamp- You Needn't Inquire Concerning Our Bargains. They Spealc for Themselves. You May Find as Good Shoes Elsewhere, hvit You Will Pay More. You Are Welcome Here. You Are the Judge, Also the Jury. You May Pay More — You Can't Get Better Value. You'll Elect Us for Bargains. Y'ou'll Be Sure of the Quality. You'll Never Forget How Nice They Are. You'll Be Well Dressed if We Furnish the Things. You Can Have Our Best Advise When You Ask for It. Y'ou May Be Sure they Are the Best Made. Your Attendance is Respectfully Requested — You Will Be More Than Paid. You Will Be Money Ahead by Doing It. You Never Faced Such Out-and-Out Sacrificing as This. You Get the Values, We Get the Business. Your Coming Merely to Look Pleases Us. You Don't Wait Here — You're Waited Upon. 94 Your ••Good-By" Means a Return of Buy and Buy. You Have Horse Sense, Then Don't Be a Donkey You Can Do Sharp Trading in Cutlery Here. You Can Have More Riches by Practicing Less False You'll Make No Mistake in Following the Crowd. Economy. You Don't Want Wheels Within Wheels: Get a Strong You Can't Afford to Pay Even a Few Odd Cents if the Ex- penditure is Useless. You Have the Conflden(,'0, We Have the Goods— Let's Your Approval is Our Ambition. Trade. Your Position nnd Ours is a Mutual One. ESTABLISHED 1895 N^ V^ The Thompson School of Lettering Headquarters for Shoiv Card Writers' Supplies Instruction, Etc. T'p-tii-date scientific instruction by lail. My complete course of instruction has constantly grown in patronage and public favor, and is now recognized as the FOUNTAIN HEAD for practical lessons in high grade show- card lettering and designing. Up-to-date ideas, and quick methods that will eminently tit you for the best and most desirable positions. NO TIME LIMIT. I am personally interested in the suc- cess of all students, and I have the most complete equipment in .\merica for successfully teaching the art by correspon- dence. If you are interested, write me for further particulars, — it will pay yau. .-address: W. A. Thompson, Pontiac. Mich. i)fi >s ^ Scientific Instruction by man. I teach up-to-date lettering from the rudiments of a plain letter to a large variety of elaborate work, embracing many styles of show card alphabets, neat and prominent figures, ornamental dashes, borders, scrolls, flowers, leaves, branches and backgrounds in detail for special card effects. There is no uncertainty in my knowledge as to what is re- quired to make an expert and successful Show Card Writer. The main thing that I want to impress upon you is that I have a better course of instruction for less money than any other school in America. It is natural that it should be so; I do nothing else, and I have the most complete equipment in the United States for successfully teaching by mail. In my New and Improved course of instruction, I teach practical show card lettering from start to finish, correct student's work during the entire course and furnish neat show card copies — fresh hand work — for students practice outside of the lessons and alphabets. Tliis latter feature i.s original Hitli me and is offered by no other school. My students are enthusiastic with the lessons, they receive solid practical in- struction in high class work with special outlines in detail adapted to their needs. Whether 100 or 3.000 miles away, the same service, the same satisfaction, the same personal attention is yours. The time may be arranged between lessons to suit the con- venience of the student. If you are a beginner do not hesitate on that account, for I give special attention to those who have never made a start at card-sign lettering before. It is not an uncommon thing to see the very poorest letterer at the beginning become a genuine expert before completing the course. I have successful students in almost every state in the Union, and many in Foreign Countries, who are enthus- iastic with the lessons and excel in high class work. Write for prospectus. Address: W. A. Thompson, Pontiac, Mich. Students who would rather pay tuition fee for complete course on the installment plan can make very .satisfactory arrangements by writing to me at once. Marking and Shading Pen Supplies SHADING I'KXS. a Sliadod Mark of Two Colors at a Single Stroke of the Pen. Price. Size. 1-16 inch wide 20 1-S 20 3-16 20 1-4 . 20 3-8 20 1-2 20 3-4 25 7-S 25 20 cents each post paid PLAIN PENS. I'Vn' Making Back Ground Tints, Etc 1-16 inch wide 20 cents eai 1-S 20 3-16 1-4 3-S 1-2 3-4 7-S MARKING PENS. Make a Solid, Plain Mark. Full Strength of Color. 1-32 inch wide 20 cents each post paid 1-S 20 3-16 20 1-4 20 3-S 20 1-2 20 MAHKING AND SH.XDING PEN INKS. Einest Quality. Black 25 cents per bottle, prepaid Blue 25 Brown 25 Purple 25 Red 25 Green 2 5 Yellow 25 Automatic and Marliing Pen Alphabets. Clean rut work, fresh from the pen. Bach set, both large and small letters. Rapid Marking 25 cents postpaid German text 25 Old English 25 German round hand 25 Show Card Style 25 Address: W. A. Thompson, Pontiac. Mich. I'l.ITTKUS. For sparkling effects. Gold, Silver, Crimson an i Gr^-en, pkg:., 15c, post paid. Bronzes, any color desired. 1.5c per package, postpaid. Diamond Dust, 15c per package, postpaid. . The chemicals in this Ink Powder are identical with those used to make our Celebrated Shading Inks, which have for years been recognized as standard. Makes a beautiful glossy ink for ticket writing, show card work and ornamental lettering of all kinds. Assorted colors — Black, Blue, Brown, Red, Purple, Yellow and Green. Full directions for making shading ink. Choice THOMPSON'S INK POWDER. For Rapid Pen Lettering. 10c per package, postpaid. Six packages, 50c of colors postpaid. Card writers can save money by using this Ink Powder for general pen lettering. Price. 10c per package. Address: W. A. Thompson. Pcntiac. Mich. 99 Window Trimmers' Rapid Pen Lettering Outfit COXTKXTS. riiicc liroiul lA'ltt'riiii; I'eiis. Suitable sizes for Show Card Work. Six Packages of Ink Powder, Assorted colors — Black, Red, Hrown. Green. Blue and Purple, with full directions for making :i Kicli. Glossy, Marking and Shading Ink. Two Sets of Alplialiet.s, Lai-ge and Small Letters, with instruc- tion Chart and Copies. Srt of figures for l^i-ice Ticket."*. The two sets of alphabets (Marking and Rapid Show Card Style) and lettering chart with extra copies, will be found In- teresting and valuable. The chart contains exercises showing the construction and principles of capitals and small ietter.s. Just the thing for all in every day work, being simple, rapid and attractive. The lettering of alphabet sheets and chart is hand work in beautiful colors, fresh from the pen, with printed instruction helow etxch line. A few minutes' practice with this chart will dispel entirely the idea that difficulty stands in the way of understanding the art of Rapid Pen Lettering with artistic finish. The extra copies contain a pleasing and comprehensive variety of exercises, so that any per jn writing an ordinary hand can make very rapid progress in lettering and duplicate the above cards and a large variety of .similar work in a very short lime. I'Kici: ( <)Mi'i,i:ri:. .sn.oo i'o.sit-au). \V. A. Thompson. Pontiac, Mich. 100 Show Card Writers' Brush Outfit Extra Fine Red Sable Brushes Silver Plated Ferrules, Polished Handles FOUR SIZES— Number 5, 7, 9 and 12. Price. Si 00. Postpaid Mail Orders Promptly Filled. Address, W. A. THOMPSON, Pontiac, Michigan. For general show carcl woik. the above outfit will give entire satisfaction, prite that money can buy. lest ami most reasonable in Lettering Pencils and Brashes EXTRA FINE OX HAIR I.ETTERING PENCII.S. In silver plated ferrules, with polished handles. Perfect in elasticity and ease in lettering. Alternate sizes are recom- mended for a good variety of card — sign work. No. 1 12 cents each. No. 5 20 cents each. No. 2 12 cents each. No. 6 20 cents each. No. 3 16 cents each. No. 7 25 cents each. No. 4 IS cents each. No. S 25 cents each. Ox Hair Brushes. Broad — Flat. For Siffn Writers' Use. 1-4 inch wide. 1-2 inch wide. . 3 cts .40 cts -4 inch wide. 1 inch wide. 'lO cts. each. 60 cts. each. These brushes aie excellent for muslin sign work. ''Ever Ready'' Show Card Paint-Ink l.iquiii form. Strong. traiisp;uonl. brisht lolors. Abso- lute i.uiily siiiiranli'i'ii. I'lU up in bottles and the popular liall Hros. Mason i|uarl and pint jars. I'UU'KS: Per Bottle. Pint. gviart. Hlaek -•"-■ »0i' $1.00 Red 25c 50c 1.00 Hlue 25c 50c 1.00 Yellow 25c 50c 1.00 Purple 25c 50e 1.00 White 26c T.Oe 1.00 Green 25c r.Oe 1.00 Shipped by express. Charges eoUeeted. Card writers who use this Paint-Ink tind it unsurpassed for Kapid and Ornantental Lettering on white eard board. It Is of proper eonslsteney to letter snioooth and free, with Brush. Marking Pen and Shading Pen. Sample Lettering Free. SPKCL\L Kxpress charges prepaid on the following trial order: Four bottles of "Ever Ready" Show Card Paint- Ink- Black. Ued. Yellow and Oreen. securely packed and forwarded to your address for $1.00. express charges PRE- PAID to any point In the I'nited States and Canada. To insure safe delivery we ship the above four colors in a special lock-corner box. made expressly for this outtlt. Remit bv pi>stal or express money order. .\ddress. W. A. THOMPSON, Ponti.ic. Mich. 103 Eureka Show Card Paint The Twentieth Century Lettering Medium Ground by Machinery and ready for immediate use with the addition of water for thinning DRIES QUICK. HEAVY BODY. EASY LETTERING. 103 This paint is made expressly for brush lettering, display signs, show cards, ticlcets, etc., and fully answers all the varied requirements — sets up firm in lettering-, will not rub, scale or crack, and for cleanline.ss and ea.se of application cannot be excelled. rilE OXIA' SHOW CAKD PAINT THAT WTLL SHOW UP IN FILL STUENGni OF COLOR ON ANY COLORED SURFACE. The colors below may be blended to make any required shade. SEA'EN COLORS. Put up in screw top jars. PICK E.S — Rod, 30 cents each. White, Blue, Green, \'el- 1<)«. J'lirple, Black, 25 ceiit.s eacli. These prices are net. Shipped by express, charges collect. Transportation on Show Card Paints (either EUREKA or EVER READY) may be reduced by ordering a supply at one time, as express charges on one or two colors will amount to about the same as that on half a dozen lots. Address, W. A. THOMPSON, Pontiac, Mich. Are You Looking for Ideas? This is u special and entirely new series, each number con- tains invaluable knowledge on each subject in question. From a practical standpoint it has cost many a man con- siderable outlay and inconvenience just to get to know what is explained by any one of the following numbers. They are not book.s, but small leaflets giving instruction from experi- ence boiled down in compact form. SKE \VH.\T THE l.IST <(»NT.\IXS: No. X25. SIGN WKITIXG. How to begin w'ork. Method of practice for free movement with valuable sug- gestions for best results. No. X26. MV SUN SIGNS. What material to use. How to mix paint for same. Practical hints to bring out finished job. No. X27. SM.\LT SIGNS. What paint to use and how to prepare back-groLind. How to apply smalts for neat work. No. X28. on. < IA)TH and OP.XQUE CLOTH SHJNS. Management tor (juick work. How to prevent paint from crawling on oil cloth. Hints on hangers, advertising signs, etc Itlea.s that Hill be worth dollars to you. If you are. you oaiuiot afford to be without the following- list. No. X2!t. rUl.I'.VHING SIGN BOARDS for Good Work, Priming, etc. How to prevent blistering and chipping when exposed. How to bring out uneven or rough spots to a smooth and vel surface. ). X3((. WINDOW LETTERING. Showy Signs. Aluminum bronze work How to make suggestions. lending, etc. size for window work with v; No. X;J1. SHOW CARD PAINT. Mixing Colors, etc. \A'hat to use for easy and smooth lettering. How to mix, economical method for best results with table of colors. No. X:52. HRl SUES and LETl'ERING PENCILS. What kind and sizes to use for card and sign work. Best and cheapest lettering pencils with the REQUIRED EL.ASTICITY. How to keep them in good order, etc Number, 10c each, postpaid. 104 No. X33. RAISED LETTERING. How to begin work. Position, essential strokes. What to do and what not to do. No. X34. RAISED LETTER WORK. Explicit directions for mixing lettering compound. How to make white or colors. How to keep compound in good working order for smooth and solid lettering. No. X35. RAISED LETT'ER WORK. The AIR PENCIL, and how to make it. with full directions in detail, articles can be had at any druggist's or hardware store at small cost. How to All the Air Pencil with lettering compound. Easy and rapid methods. No. X36. RAISED LETTER WORK. Bronzing and flittering on black or colored card-board. How to apply Gold and Silver Bronzes, Diamond Dust, metalices and flitters of all colors. Directions for a superior water proof lettering compound accompanies this number. In all orders plainly state name and number desired. Remit by stamps or money order. Orders promptly filled ty return mail. PJtKE PER M .MBER. l(»c E.\CH — POSTPAID. .\. THOMPSON, Pontiac. Mich. Letter Patterns for Up-to-Date Sign Lettering Store Fronts, Awnings, Board Signs, Muslin Signs, Banners, Etc. The use of letter patterns, not stencils, but true outlines, cut from a good quality of straw-board, showing the letter itself, is now used by the most experienced signwriters. With a good outline of letters to begin with, sign work is two- thirds done, and is a decided advantage to the expert as well as to the beginner. A pattern that is cut true will give a true outline. These patterns are ready to work from, and with proper care will last a life time. HOW I'O I SE. In general Sign Lettering, place the patterns upon the sur- face on which the letters are to be used, so that the spacing will be even, and proceed to outline them by running a sharp pointed pencil around the edge of the pattern. This will give a correct outline of the letters and ready for painting any color desired. Very few sign painters shade letters correctly, but shading may be correctly done with patterns. First mark around the pattern to show the face of the letter, then move the pattern to the right or left (which ever side you desire the shading) and drop as far as you wish the shading to extend, and run the pencil along the outside edge as far as you wish the shading to extend, and run the pencil along the outside edge only. This will make the shading, all except joining the shades of the letter, which should be done with a line at an angle drawn from the point of the shading line to the point of the letter. The following outlines will give an idea of the styles gener- ally used, also price of each size, etc. In sending an order, note carefully the class or style you desire, also state size of letter you wish. ST\'LK ;50. 2 inch letters 25 cents per set. . . . ; Postage 3 cents, 3 inch letters 30 cents per set Postage 3 cents, 4 inch letters 40 cents per set Postage 6 cents, 6 inch letters 50 cents per set Postage 10 cents, 5 inch letters 60 cents per set Postage 12 cents, 10 inch letters 70 cents per se.. Po-tage 16 cents Following styles same price. 106 Any man or boy without previous knowledge of drawing sign writers with years of experience, or forming letters can do up-to-date sign work with these pat- Patterns cut from card-board showing each letter, true in terns. They enable the beginner to equal the work of many outline and ready for immediate use. STYI.E 32. STYLE 38. For price list see style 30. In sending an order, note the class or style you desire, also are ordered at one time, forwarding by express is often ad- size of letter wished. visable. When this is desired, remit only the net amount of Each set listed consists of 26 lette:s and characters & order without postage. Lower Case Letters to match any size or style may be had for Address all orders the price quoted on capital letters. When four or more styles 107 W. A. THOMPSON, Pontlac, Mlcb. Figure Patterns Figures outlined rapidly by running a peicil along the edge of pattern. ents Postage . ents. inch, per set ot 10 inch per set of 10 20 cents. Postage 3 cents,. inch, per set of 10 25 cents, Postage 4 cents. inch, per set of 10 30 cents. Postage 5 cents. in h per set of 10 35 cents. Postage 6 cents. inch, per set of 10 40 cen's. Postage 7 cents. Either style, 48 or 49, see alcove price list. W. A. THOMPSON, Ponliiif. Mich. Raised Lettering For Novelty Signs and Show-Cards This lettering is made in any plain color, or in silver and gold bronzes, metallics. flitters, diamond dust. etc.. on wood, cardboard, glass, etc., and presents the appearance of fine em- bossed lettering, but in greater relief and much more attractive. In producing this style of work the operator simply manipulates the AIR PENCIL as he would an ordinary pen or lead pencil, the raised work or lettering being produced wholly by the pressure of the Air Pencil in the hand of the operator. Fine Raised Script and De- signs., can be produced in the same way. The work is very fascinating and executed with ease and rapidity. It is a money-maker from the start. Outside of lettering Sign-Cards, etc.. the work can be made very profit- able in ornamental decorations for the home. Flower pots, vases, panels, picture frames, etc., can be decorated in relief with leaves, flowers, scrolls, and other designs with the MOST SATISFACTORY RESULTS IN A VERY SHORT TIME. Materials for preparing lettering compound can be ob- tained in any locality at a cost of from 3 to 7 cents per pound. Plain lettered card signs sell from 15 to 25 cents each. actual cost of production from Ic to 3c. Elaborate styles with Diamond Dust, Flitters, etc., in Gold and Silver Letter- Oc each: cost of production from 2c to ing. sell from 20 6c each. SPECIAL — We can furnish a complete RAISED LETTER- ING OUTFIT with instruction for $2.50. Outfit includes — One air pencil: one package of lettering compound; one pack- age of Diamond Dust; three packages of Flitter.s — gold, silver and crimson; alphabet chart, large and small letters, with set of figures — FRESH HAND WORK — full instruction for raised letter work — everything in detail and of practical value. Out- fit complete sent prepaid $2.50. Address. \V. A. THOMPSOX, Pontiac Mich. lOfl Something New SHADED BACKGUOIND AND OHXA3IEXTAI. DESIGNS I.X>R SHOW CARDS, ETC. Dozens of fancy designs in nicely blended colors. Can he made by any one in a few minutes. The show card backg-round in the accompanying illustra- tion will give an idea of the work done by the New Show Card Spray OutJit. The most inexperienced can produce from the start a flrst-class variety of show card designs of all styles in Air Bmsli Effect, and at a fraction of a cent above the cost of common card board. The Show qtud Spray Outfit will enable you to produce backgrounds and designs for show card equal to the work done by an Air Bnish, costing from $25.00 to $35.00. With this outfit the show card writer is above the com- petition of any one in his locality who is not so fortunate (no matter how skilled he may be) owing- to the fact that the work of elaborate designs can be done just as quickly as that of a simple scroll or outline. The Continuous Spray Does the Work and can be regulated to produce a light or heavy tint or shade of any color at the will of the operator. THE NEW SHOW C.\RD SPR.W OUTFIT IXCIA'DES: One Show Card Sprayer, complete. Six packages of assort- ed colors — Red. Blue, Green, Brown, Puiide and Yellow. Six Background Pattern Outlines — one for show card 2 2x2 8 inches, two for 14x22 inches, two for 11x14 inches and one for 7x11 inches. Six Show Card Background Cg-pies. assorted sizes, finished in colors. Full instructions showing how to begin, proper position at work, etc., etc. In fact everything in detail and designed expressly for the show card writer. This outfit is the most complete and convenient ever of- fered for the price and will give entire satisfaction. The as- sorted colors will be enough for over 3,000 backgrounds when properly used. OITI'IT CO."MPLETE FOHWARDED PREPAID FOR $2.50. Remit ty registered letter. Postal order or express money order. Address W. A. THOMPSON, PONTIAC, MICH. Samples Free Postpaid. 110 LIBRftRY OF CONGRESS liillHI 013 972 918 3 #