i i ill iiiiliii !! Class Jmi:^^_Q_ Book.. -xS^ Copyright N^__j_aa._a, COEaUGHT DEPOSffi THE ART OF SHOW CARD WRITING A Modern Treatise Covering All Branches of the Art Many Beautiful Designs and Complete and Comprehensive Instruction in Pen and Brush Letterinij- — Also the Latest and Best Methods With One Hundred and Fifty-Three Illustrations ;ui(l Thirty-Twcj Lettering Plates, C'omprising All the Standard Ancient and Modern Stvles LAWRENCE J. STRONG President AND CHARLES J. STRONG Founder The Detroit School of Lettering REVISED EDITION CHICAGO FREDERICK J. DRAKE & COMPANY PUBLISHERS ■i ^fo^ Copyright, 1922 Ky FREDKRICK J. DKAKK & CO. Chicago Copyright, 1919 By Detroit Srhool of Lettering I'rinted in flii> fniti-ii Siatis of America FEB ' How the Various Kinds of Pens Employed in Show Card Lettering Are Used — Their Advantages and Limitations Considered from Both the Business and the Artistic Standpoint. IV Show Card Colors and Inks 56 Uses of the Various Types of Colors and Inks — Dry Colors — Distemper Colors — Water Colors — Show Card Inks. V Tools and Materials 61 Cardboard and Matboard — Air Brushes — Atomizers — Ornaments — Flitter Work — Powders — Adheslves. VI Why Is a Show Card ? 74 The Advertising Value of Good Show Cards — How the Show Card Writer Can Put Selling Force Into His Cards. VII Laying Out the Inscription 77 Practical Methods — Correcting Errors — Slargins and Borders — Ini- tial Letters — Methods for Practice — Japan and Oil Colors — Circles — Shading — Stencils. VIII What to Charge 104 Business Methods that Allow Profitable Charges — How to Arrive at Basic Prices on Show Card Work. TX Examples and Methods lOS Poster Embellishments — Raised Panels — Wall Paper Decoration — Blended Grounds — Mat Borders — Spatter Work — Pen Knife Dec- oration — Perforations — Flowers and Ribbons — Air Pencil, Atomizer, and Air Brush. X Season-able Decorations 145 How to Make the Ornamental Work on Show Cards Suit the Time of Year During Which They Are to Appear — Examples for Each Mouth. CONTENTS XI Panels and Tickets 161 Examples of Types and Sizes of Price Tickets and Panels — Sugges- tions and Examples for Decoration of Tickets — Making Duplicates. XII Show Card Phrases 183 Appropriate Wording with Examples for Such Lines as Jlen's Clothing, Men's Furnishings, Ladies' Wear, Men's Hats, Bo.vs' Clothing, and Shoes. XIII Theuky and Practice 190 Tools and Materials Used in the Show Card Shop — Selection of Brushes — T-Square and Striping — Rest Stick — The Easel — Com- pass — The Palette — Tracing Wheel. XIV Alphabets, Ornaments, Borders and ^Ionograjis 203 A Series of Thirty-Two Plates Showing Twenty-Eight Complete Alphabets for Use in Show Card Work — Also Plates of Ornamenta- tion, Scrolls, Panels, Monograms, and Bands. Index 235 THE ART OF SHOW CARD WRITING Show Card Lettering and Alphabets Scope of the Subject. — Recent jears have wrought a marvelous change in the kind and style of sign used for temporary purposes by the average merchant. Neat, attractive card signs, price-tickets, etc., have now become such a staple and popular medium for advertising all commoditias, that many let- terei's have adopted card writing as a specialty. The growth of this branch of the sign painting trade has been remarkable. The demand for work of this kind has increased so rapidly and unexpectedly that up to this time it has been impossible to supplj' it without help from the sign painter, who, as a rule, is not equipped for such work and does not cater to it. Those who have taken up this ti'ade as a specialty are reaping a golden harvest. Good card writers are extremely scarce. Nearly every city with 5,000 inhabitants, and upwards, will provide sufficient work to keep at leagt one, and perhaps two, card writers eonstanth- employed. The real reason why the merchant in the smaller cities does not use card signs to any great extent is becau.sc he cannot get them quickly and for a reasonable price. Mo.st large department .stores and like institutions now employ steadily one or more show card experts. To have a value, both in an artistic and a commercial sense, card signs must be done neatly, legibly and very rapidly. ' The follow- ing pages contain instructions for the use of the latest tools, brushes, mate- rials and methods used in modei-n show card writing, starting with the various appropriate alphabets. Alphabets Show Card Alphabets. — The selection of appropriate alphabets for show- card writing is tlie first thing that should be considered by the novice. To give a proper realization of the importance of this .subject, we will analyze it from a strictly business point of view. Signs may be properly divided into 9 10 THE AET OF SHOW CARD WRITING two divisions; namely, the temporary sign and the permanent sign. Signs of a temporary nature command little remuneration, as compared with the other kind. However, the profit from the cheap or temporary sign, in proportion to the outlay of time and material, as a rule exceeds the returns from the permanent sign. Card signs are classified as temporary signs. They may also be termed "cheap" signs, by which is meant signs that cost but little money. There- fore, the quicker they are executed, the greater the profit. This, of course, is also true of all other kinds of signs; but, when you consider that the sum received for an equal amount of work on almost any other surface is four or five times greater, you will better under.stand why speed is an absolute necessity. For this reason the style of letters used for card writing should be carefully chosen. The brush strokes in a given piece of work must be reduced to the minimum. Every extra stroke requires extra time. Thus, the letter that can be executed with the least number of brush strokes is the style best adapted for any work of a cheap or temporary nature, regardless of the surface on which the letter is placed. That some card writers, either through ignorance or lack of proper training, fail to realize this is evidenced by their work, some of which often contains styles such as the Half Block, Full Block, etc., none of which should ever be used where speed is essential. As just stated, the number of strokes necessary to execute the letters must be reduced to the least possible number. This suggests at once the use of such styles as may be executed with single strokes, or what are better known as " 07ie-siroke" letters. One-stroke does not mean that the entire letter may be executed with a single stroke of the brush, but that each individual part of the letter should be executed with a single stroke. For instance, the vertical strokes of the letter 77 (Fig. 21) may each be drawn with one stroke and the center horizontal stroke likewise. This is the full meaning of the term one- stroke. Now let us state again, as emphatically as possible, that any style of alphabet, the letters of which have square corners (such as the Half Block), are totally unsuited for rapid execution. "With a little practice you will learn that a round, or curved sweep or stroke can be drawn more rapidly and with much greater accuracy than a straight line. The Egyptian S, for instance, requires but three strokes by the one-stroke method, while to make the same letter in the Half Block style requires exactly twenty-eight strokes. I call attention to this startling comparison to add emphasis to the importance of this .subject. Any style of alphabet, therefore, having the greatest number of curved strokes and the lea.st number of superfluous embellishments, is best adapted for rapid execution. Show cards do not, by any means, comprise all of the signs that are classified as "temporary." For instance, there is the cloth and oil-cloth sign. both of which are frequently used, and nine times out of ten these carry letters the majority of which should belong to the one-stroke variety. It is unneces- sary to go to extremes with reference to one-stroke letters. It would be an SHUW CARD LETTEEING 11 example of poor judgment, or rather, poor discrimination, to execute an entire inscription with single stroke lettering. The sign will always look better if a line or word of "finished" lettering is interspersed here and there. One line or word of neat, nicelj' executed letters will draw attention from the one-stroke letters and give to the sign as a whole, a clean, attractive appear- ance. To make this more comprehensive, I will call your attention to Fig. 54, wherein you will note the word "HATS" is executed in the usual finished manner. The remainder of the lettering is done in the one-stroke Italic style. You will find many other examples illustrating this point. Classification of Show Card Alphabets. — The aphabets especially con- structed for speed pnri)oses are as follows : 1. MODERN ITALIC (lower case) 7. DRAFTSMEN'S STYLES 2. JiIODERN FULL BLOCK 8. OLD ENGLISH 3. BRADLEY TEXT 9. TUSCAN BLOCK 4. HEAVY SCRIPT 10. EGYPTIAN 5. ITALIC SCRIPT 11. JIODERN ITALIC (upper ca.se) 6. ARCHITECT'S PEN STROKE 12. ANTIQUE ROMAN The last three alphabets in the list — Egyptian, ilodern Italic (upper case) and the Antique Roman — are classified among the finished alphabets suitable for show card work, about which we will have more to say hereafter. The Antique Roman is not in any sense considered a one-stroke style, but a fairly correct duplicate of the Egyptian and Modern Italic (upper ease) may be executed by this method with the use of proper brushes. These three styles should be used almost exclusively when a "finished" letter is desired. The word finished in this sense means just what the word implies,' that is, a letter that is correctly formed and proportioned showing all details and characteris- tics and omitting none of the component parts as is often done in one-stroke execution. Almost every inscription contains one or more lines or words that should be prominently displayed, and in most cases these lines or words should be executed in a style Ijelonging to the finished variety. A correctly proportioned line of lettering will give a poor sign an air of respectability and serve to redeem what would otherwise be a very ordinary piece of work. It is essential, therefore, that you should not only become familiar with the one- stroke styles but also learn the correct formation of the styles recommended for fini.shing purposes. Lower-Case Letters. — The lower case letters of the various alphabets should be used almost exclusively for card work. Keep this constantly in mind. By comparing the formation of the capital letters with that of the lower-case you will find the reason almost instantly. You will note that the number of strokes required to execute a majority of the lower-case letters is less in every instance. This is particularly true of the lettei's, a, h, e, f, h, I, m, n, etc., all of which may be executed with from one to three strokes less than for the same letters in the upper-case style. 12 THE ART OF SHOW CARD WRITING Fur the purpose of showing to a better advantage the particular (lualilieations of each of the show card alphabets, they will be considered individually in the order given. Modem Italic (Lower Case). — This style is one of the handsomest and most practical alphabets ever designated for rapid execution. It resembles somewhat both the Italic and Full Block styles. The width of the body of the letter is uinform throughout, thus conducing to speed, and the spurs are square cut and placed with few exceptions only on the upper extremity of the letters. The lower extremities are finished plain, in much the same manner as the Egyptian. It is extremely legible although somewhat eccentric. This is the alphabet above all others that you should first master. Although but recently designed (by the writer), it has jumped into popular favor like magic and is now used by most i;p-to-date card writers. The reason for this is very apparent. Its construction is beautiful. The letters are not designed along rigid, inflexible lines, but, on the contrary, allow of great freedom in the general formation, as is evident by the several vari- ations of the ditferent letters shoiAai on tbe alphabet plate (No. XVI). It is governed by no rule but that of uniformity, thus removing every chance for criticism by the iminitiated. It is extremely gi'aceful. It is easy to execute because it slants to the right. It may be executed with fewer strokes than any known one-stroke style, with the possible exception of the Italic Script. When you have mastered this style you will be prepared for any emergency wherein speed is absolutely necessary. In Fig. 1 is shown each individual stroke necessary in the construction of this alphabet. The strentgh of the shades indicates the order in which they should be made. For instance, the lightest shade is stroke No. 1 and the darkest shade is the last or finishing stroke. The dart indicates the direction of the stroke. In this work, you will find similar plates to illus- trate the brush strokes for all the one-stroke and finished alphabets used in card writing. The idea of showing the various strokes in shades of different strength is original and will prove to be of great assistance. Modern Full Block. — This alphabet might also be appropriately called the upper case or capital letters of the IModern italic (lower case). Every- thing that has been said of the former may be .fittingly applied to this alphabet. You will note that the general proportions of the letters are almost the same as the Round Full Block and that the spur is identical with the exception that it is somewhat extended here and there. You will also observe that the various eccentric twists and curves in some of the letters do not. in any way, afi'ect their legibility. This is because they are not used as component parts of a letter, but rather as embellishments to relieve the plain appearance and give a modern, or stylish, touch. The letters of the Round Full Block alphabet, owing to their uniform proportion and many square cut corners (necessary to foi'm the spurs), are SHOW CAED LETTERING 13 14 THE ART OF SHOW CARD AVRITING entirely unfit in their correct normal form for rapid execution; but spe- cially prepared brushes have made it possible to produce a very close imitation by the one-stroke method. To again illustrate the diflference in favor of the one-stroke method, Fig. 2 shows the application of the one- E ♦ lol r 2 IH^l .'1 t s Fig. 2 stroke principle to the letter E. Tin;; character, if lettered in the usual eoi'rect manner, requires seventeen separate strokes of the brush, while but six strokes are necessary with the one-stroke method. Of course, it is not always possible to execute an absolutely correct letter in this manner; but, Pig. 3 for show card or temporary work this is not strictly essential. What is desired is a clean, neat, "snappy" effect, rather than a close attention to detail. This alphabet gives a very good idea of the liberties that may be taken with the fundamental styles without in any way affecting their usefulness or legibility. ©LEAK Pig-. 4 The novice should be very careful, when using this style, not to com- bine ill one word or line, too many of the lettei's ha\'ing eccentric eliarac- SHOW CAED LETTEEING 15 teristics. As most begimiers have but a vague idea of pleasing eoinbiiia- tioiis of modern letters, we will again show by illustration the exact mean- ing of the point. Fig. 3 shows a combination of letters, each of which is an exact duplicate of those shown on plate No. XVIII. The effect is poor because the ornate features are overdone. There are too many curves and fancy additions in a limited area. Now, by making the change shown in Fig. 4 where some of the fancy flourishes have been omitted, you will observe that the word is not only more legible, but the artistic appearance is also much improved. Thus you see how easy it is to overdo. Careful discrimination is necessary when the modern styles are used. A modern style may always be used appropriately as a "starting" letter, which means the first letter in a line or word. The Modei'n Full Block alphabet and the Modern Italic styles comprise all the fancy or eccentric letters necessary to give any piece of work an up-to-date appearance. These two styles, if used in conjunction with the plainer alphabets, will produce excellent results. Few, if any, deviations should ever be made fi'om the normal form of the remainder of the show-card alphabets. PR I VATE Fig. 5 shows a line of lettering the oi"iginal of which was made with the flat brush illustrated in P^ig. 6 by the one-stroke method. You will be surprised at the speed with which these letters can be made after a little practice. Fig. 7 shows a pretty effect obtained by the use of this lettei- combined with the lower case letter of the same style. Fig. 8 illustrates the individual brush strokes of the letters of the Modern Full Block Alphabet. Bradley Text. — This alphabet very closely resembles the Old English style. It is exceptionally handsome and appropriate for any part of an inscription except display lines or words. It may be executed very rapidly with either a shading pen or flat chisel-edge brush, and shows to the best advantage when used for small lettering. It requires but a glance to observe that each component part of each letter must be executed with a single stroke if speed is to be obtained. To execute this style in the same manner as required for finished lettering would require so much time as to render it unfit for card 16 THE ART OF SHOW CARD WRITING work. The capital letters of this alphabet should never be combined. This means that the placing together of two, three or more capital letters as in Fig. 9 is not allowable. Don't forget this, for it applies with equal force to all alphabets whose capital letters are eccentric in form. To prove and emphasize this injunction, note Fig. 10, wherein the capital is used only as a ".starting" letter. You may draw your own deductions as to which example presents the more satisfactory appearance. 90 DA Fig. 7 The above rule or caution may bo put in a more simplilied form as follows: SiViv combinr two or more capital letters of any fancij or modern style. Use tliem only as a starting letter or iclicrc capital letters are appropriate. NOTE. — Combining the capital letters of the standard styles, such as the Roman, Full ISlock, Half Block, etc., is iiiit onlji li gifimati . hnl, in mf)st cases, advisable. Fig. 11 illustrates the iiuliviclnal l)i'i'.sli strokes of the letters of the Bradley text alphabet. Heavy Script. — Scrijit (Heavy) letti-ring is often employed with good effect to relieve the moiintony of straight lines and to give jiromincnce to certain words in an inscription as illustrated in Fig. 12. This stjie is espe- cially adapted for one-stroke execution. The heavy "swell" which occurs in the body of each letter can be executed very easily and quickly after a little SHOW CAED LETTERING 17 18 THE AKT OF SHOW CAKI) AMflTIXC! jn-actice and with the use of the proper brush. Just a litth^ experienee will demonstrate that they may he drawn with a brush almost as rapidly as with a pen in writing. rncoHT?Ecr Fig. n In Fig. 13 is shown the manner of applying the one-stroke principle. Notice that the a can be executed with two strokes; also the c, e, r and .s. The rule referring to combination of capital letters also applies to this alpha- Correct Fig. 10 bet. Generally, but one word or line of script lettering should be shown in any inscription ; and, in no case, should this style be used exclusively in a piece of work. Refer to Fig. l-t for detailed strokes in the letters of this alphabet. Italic Script (Lower Case). — The lower case letters of this style might l)roperly be called abbreviated examples of the Spencerian Script alphabet. By "abbreviated," 1 mean minus a large number of curves and artistic "sweeps" necessary in the formation of the pure Script .style. The charac- teristics are retained and the principles governing the genuine Script are the same, the chief distinction being that the letters of the Italic Script are not connected ; each occupies a space by itself the same as the Block styles. The capital letters, with a few exceptions, are almost exact facsimiles of the capitals of the Antique Roman style, the principal difference being that each is slanted in harmony with the lower case letters. The spurs with which they are finished makes it necessary to classify them as finished letters. They will, therefore, be considered more fully under another head. The vari- ous brush strokes necessary in the execution of the Italic Script are shown in Fig, 1.5, Architect's Penstroke, DraftsmaJi's Old English. — These three styles are usually executed with a writing pen designed particularly for the purpose. They are really pen. and not brush alphabets, although some of the styles SHOW CARD LETTERING 19 20 THE AKT OF SHOW CARD WRITING may be executed equallj- well with a brush. All of these styles belong to the one-stroke class and are easily and quickly made. Fig. 16 shows a variety of inscription.s combining these and other styles. Tuscan Block. — This is another of the block alphabets Avhieh may be used to splendid advantage for one-stroke work. The formation of this letter ■is. V2 is such as to |)eiiiiit the use of a flat brush like that required for the execu- tion of the Kuuml Full Block. The letters of tho Tuscan Block alphabet are formed almost exclusively with curves, which, as you have been told, are characteristics that always mean a saving of time. In Fig. 17 you will find examples showing the nice effect which may be obtained regardless of the fact that the letters are not perfectly formed or constructed. This is one SHOW CAKD LETTEEING 21 22 THE AKT OF SHOW CARD WRITING SHOW CAED LETTEKING 23 ^ont put off! Do it now ID est anitl largest orgamaatioJ> in the ' ' T ' ' tSlO f T t T 1 1 T 24 THE ART OF SHOW CARD WRITING of the oue-stroke styles used very frequently by the sign painter. See Fig. 18 for detailed brush strokes of the Tuscan Block alphabet. Finished Alphabets We have previously explained the meaning of the term finished. Any letter correctly executed may be properly called a tinishd letter; but, as some of the styles may be executed with more rapidity than others, we must be careful to make a wise selection. Antique Roman. — Most expert card writers employ the Antique Roman almost exclusively for display purposes whenever the space will permit. Don't overlook the significance of the .statement, "whenever the spate will permit." Never try to crowd a letter into a space that will not permit it to CHOICE PICTURES Fig. 17 be correctly proportioned unless you use a style that is constructed for con- densing. The selection of the Antique Roman for general use is a good one, for it is not only very plain and handsome, but may, with a little practice, be executed with much gi'eater speed than any of the other standard styles with the exception of the Egyptian. This style like the Roman should not be condensed to any great extent ; therefore, as stated above, it should b(> used only where the space will permit an almost normally proportioned letter. This and the Modern Italic (upper case) are the only .styles appropriate for show-card work that cannot properly be classed as one-stroke alphabets. In Pig. 19 is shown the number of strokes required to execute the letter E (Antique Roman) and also the order in which they should be drawn. The vertical stroke is Number 1 and should be executed with one stroke of the brush. The horizontal hair-lines are next in order, after which the spurs SHOW CARD LETTERING 26 THE ART OF SHOW CARD WRITING are added. The same principle of execution should be applied to every lettci- of this alphabet. Pig. 20 shows to what extent it may be condensed and elongated. You will note that there is a wide dift'erence in the proportions of tlie letter.s constituting these two examples, and that the etifVct is equally good in either case. E Egyptian. — The Egyptian alphabet is almost an exact counterpart of the Spur Egyptian .style, the principal difference being the addition of the small pointed spurs to the latter. To execute the spur recpiires much more time. This is, therefore, a good argument against the freciuent use of the Spur Egyptian for card jniriioses. It is jiossible to execute a very exact duplicate of the Egyptian .style by the one-stroke method, as illustrated in Fig. 21. HATS You should practice the formation of this style until you are able to execute the vertical and horizontal parts with a single stroke. Try to finish the extremities of the stroke without showing a ragged edge. To prevent an uneven edge, the brush must be full of color. In the figure, you will observe that only a limited number of strokes are required for the execution of the SHOW CARD LETTEKING 27 > ^ #( < H'} ^%ii J 28 THE AET OF SHOW CAED WAITING various letttei-s. For instance, but three strokes are required for the A, tliree for the B, two for the C, two for the B, ;uid so on, thus making them admirably adapted, in every way, to rapid execution. This style has only one objectionable feature; viz., it is somewhat clumsy in appearance. This is due to the uniform width of the body and the absence of artistic characteristics. It is the very plainest style known to the letterer, and this is a point in its favor, for legibility is the very first thing that should always be considered in the selection of styles for the average inscription. Egyptian letters executed by the one-stroke method, are some- times called "plug" or "stump" styles. Modern Italic (Upper Case). — The capital letters of the Italic Script are so nearly like thi)Ke of the Antique Roman as to need no extended explanation. As you have been told, slanted letters may be executed much quicker than the upright letters. This is a strong point in favor of this alphabet. The spurs are omitted at several of the extremities also, making it possible to execute the letters more rapidly. This is particularly true of the letters .1, B, K, R and W. This alphabet (Plate XVTI) has been pronounced one of the handsomest styles ever created. With a thorough knowledge of the one-stroke .styles and the three so-called SHOW CARD LETTERING 29 30 THE AET OF SHOW CARD WRITING ■'finished alphabets," you are in a position to compete with anyone and obtain results equal to those of the experienced and accomplished card writer. Show Card Numerals A few words of advice with reference to numerals. But a glance at the work of the expert card writer is required to observe that the figures of the Antique Roman style are used almost exclusively for card work. They are preferable to all other styles. The chief reasons for this are the same as those given to explain the popularity of the Antique Roman alphabet. Any style of numeral suggested by good judgment may be used, however, for the reason that the figures constitute, as a rule, a very small part of the inscription, and when qiven prominence should, in nearly every instance, be executed in a "finished" manner. In Fig. 22 is shown a combination of one-stroke and Antique Roman styles to illustrate the point with reference to the numerals. Fig. 23 illustrates the brush strokes in the numerals of the Antique Roman stvle. II Brush Manipulation There are just foui'teen different strokes necessary tu t\w format icm at any given style of letter or scroll. They are as follows: Right vertical stroke. Left vertical stroke. Upper horizontal stroke. Lower horizontal stroke. Right and left slanted stroke (right). Right and left slanted stroke (left). Right curved stroke. Left curved stroke. Compound curved stroke (right). Compound curved stroke (left). Upper semi-circle stroke. Lower semi-circle stroke. These strokes are illustrated, in the order named, in Fig. 'J-t. One or more of these fourteen strokes enter into the construction of every style of letter or scroll; therefore, once they are mastered, the path is thereafter easy. Keep in mind the importance of plenty of practice. Constant exercise with the brush will bring surprising results. Execute all kinds of examples of your own conception. Always make your brush strokes continuous. Avoid .short, "choppy" strokes. A little practice will demonstrate that a line, either curved or straight, can be drawn much more exact with a moderately rapid, steady stroke, than when the movement is slow and hesitating. Always begin the formation of any letter by executing the vertical strokes — the left vertical stroke first (finished letters) and the right vertical stroke next. The correct formation and proportion of the letter is the first thing to be accomplished, after which add the spurs or other peculiarities, which, as a rule, do not affect the proportion. Before beginning the brush exercises illustrated in Fig. 24, commit to memory the following rules: (1) Do not work with the point of the brush. Use the side of the brush and keep the hair spread as much as possiible. This is not only the easiest way to draw a correct line, but helps to fill in the letter as you go. 31 32 THE AKT OF SHOW CAKL) WKITING BBUSH MANIPULATION (2) Always begin the formation of a letter by fii'st exe- cuting the vertical strokes. (3) The spurs are what give the letter character and tiinsh and should therefore be executed last. (•4) A moderately I'apid, steady stroke is more desirable and will insure better results than a slow, hesitating movement. (5) When making a connection; i. e., joining two brush strokes as illustrated in Fig. 25, do not l)egin exactly at the stopping point (A) but begin a short distance back of, or above the preceding stroke and gradually spread the hair until you reach the point from which you desire to continue. (6) Always use a brush large enough to hold sufficient color to execute the vertical strokes without recharging. 33 Vie. ■2'< The brush should be held between the thumb and first finger firmly but lightly, in much the same position as a pen or pencil, — not stiff or rigid, but so as to allow the handle of the brush to roll between the fingers when neces- sary, as in the execution of a curve. Try to maintain a uniform pressure unless a "swell" is desired. In this case, first place the point of the brush to the surface, increase the pressi;re gradually until you have reached the required width of the stroke, and then decrease the pressure until the brush comes to a point at the termination of the stroke. At the beginning of j'our brush movement, draw the lines slowly and continuously. Do not allow thr movement to become jerky. The object is to execute a .straight, iniwavering line on the .side of the stroke that represents the finished part of the letter. Pay no heed to the other side of the stroke. This rule cannot be followed when one-stroke work is being done. In this case, both sides of the stroke must be straight and 34 THE AKT UF SHOW CARD WRITING uniform. One-stroke work requires an even pressure on the brush constantly, with the exception of the Script styles in which the "swell" occurs. After you have become reasonably adept with the vertical strokes, try the horizontal strokes. You will find these much more difBcult. Practice them over and over and do not become discouraged if the results are not what you anticipate. Next, practice the curves and compound strokes, not forgetting the fact that your object is to execute all of the brush exercises with a single Pig-. 26 stroke. Keep the brush well filled with color so as to avoid ragged, uneven edges. If the color is too thin, or the brush is too full, it will spread beyond the outline of the letter when applied. The color must be the proper consistency — not too thick nor too thin. If it is too thin, the hair of the brush will become "wobbly." If the color is too thick, it will "pull" and refuse to flow freely, resulting in an imperfect line. Dipping the bru.sh in the color is not all that is required before apply- ing it to the sui'face. It is necessary that the color in the brush should be evenly distributed through the hairs, so as to have as much color in the center of the brush as on the outside. After yon dip your brush into the color place it on a palette, and "work" or wiggle it back and forth, turning it to the BRUSH MANIPULATION 35 right and left alternately several times, after which draw it gently toward you on one side. The side resting on the palette should now be applied to the surface. The brush should be charged with color frequently. In order to acquire confidence, it is necessary to work rapidly. Do not be over-careful. Start in boldly, just as though you were an expert. Practice faithfully. Follow instructions closely. Do not e.xpeet to master any part of the instruc- tions without conscientious and honest effort. Pig. 27 Position of the Brush, — The brush should be held in the hand in the position shown in Fig. 26. Allow your two lower fingers to rest on the arm- rest. This is the position of the brush for the beginning of the vertical strokes. As the .stroke is continued toward the bottom it will be necessary to contract the thumb and draw all the fingers toward the palm of the hand as shown in Fig. 27 so that, by the time you reach the bottom, the brush will be in a perpendicular position. The.se strokes require a movement of the fingers only. To execute the horizontal strokes requires a movement of the wrist. Hold the brush in the same manner as shown in Fig. 26 and move the hand from left to right without changing the position of the fingers. The right and left slanted strokes are executed in the same manner as the vertical strokes. 36 THE AKT OF SHOW CARD WRITING The right aud left curved strokes require a movement of the fingers only. After j-ou have mastered these strokes, you will find it comparatively easy to execute the remainder of the strokes. Practice all brush strokes first vfith a No. 6 brush. After you have become accustomed to this size, try a No. 8 and then a No. 10 and so on. The larger the bru.sh, the greater the speed. Thus you should cultivate the use of a brush that will execute the vertical strokes of the letter without refilling. Oblique and Slanted Lettering'. — A very pleasing variation in the appear- ance of a piece of win-k may Ije obtained by slanting some lines in an inscrip- tion, either to the right or left at a uniform angle of about 60 degrees. In no ease is it advisalile to slant a combination of extremely ornamental or eccentric letters. Slanted letters are sometimes used to emphasize, or call ])articular attention to a certain word or line. Letters .slanted to the right can also be executed in much less time than the upright letters. This is because, in making all upright strokes, the brash is drawn from the right to the left, toward ilic Icttrrer, as in writing. That this is the most natural and free-hand movement can be quickly demonstrated. Utensils.— The best workmen always use the liest tools. An old saying runs something like this : "A Good Workman Needs Pew Tools." This was, perhaps, intended to mean that a good workman could accom- plish more with inferior tools than his less adejit brother, for it is a well laiown fact that most skilled artisans are exceedingly particular about the things needed in their work. Good brushes, good colors, good materials of all kinds are absolutely essential ; for, not only do tliey conduce to speed, but they help to preserve a sunny temperament and also make it possible to obtain maximum results with minimum exertion. My advice is to surround yourself with the very best tools and materials obtainable. The best cost little as compared with the cost of tools needed by the members of most other trades. The card writer is fortunate in needing but few tools and materials in the execution of his work. At the start it is not nccessai'y to buy (tU the various things reciuired to produce unique and odd effects. The following list of materials includes everything that is absolutely essential for ordinary work: One No. 4 Red Sable Show Card Brush. One No. 6 Red Sable Show Card Brush. ■ One No. 10 Red Sable Show Card Brush. One No. 12 Red Sable Show Card Brash. One T Square. One Straight Edge. One Set Solid Marking Pens Nos. Vs and l^. One Set Shading Pens. One Bottle Black Shading Ink. One Bottle Red Slinding Ink. BRUSH MANIPULATION 37 One Compass (with pencil attachment). One Pair Large Shears. One Jar Aqua (Water) Color, Black. One Jar Aqua (Water) Color, White. One Jar Aqua (Water) Color, Blue. One Jar Aqua (Water) Color, Yellow. One Jar Aqua (Water) Color, Red. One Backage Gold Lettering Bronze. One dozen Soennecken Pens, assorted sizes. One Soennecken double end pen holder and ink retainer. One Soft Lead Pencil. One Box Charcoal. One Ruler. One Sponge Rubber. One Half Dozen Thumb Tacks. One Bottle Mucilage. One or two dry colors. Cardboard. The cost of all the articles enumerated above (cardboard excepted), if purchased from the Detroit School of Lettering, will not exceed if!! 2.00. Thus, very little capital is necessary to begin work. Eqiiipped with these tools and materials, you are in a position to execute card signs for any ordinary pur- pose. Later on. you may find it necessary to add several other tools, such as the Air Pencil, Air Brush, etc., in order to keep pace with the times. The list above will suffice for all kinds of plain work. Ann Rests. — Cardboard signs, unlike the average sign, can be lettered to the best advantage and with the greatest speed by being laid fiat on a slightly inclined surface as shown in Fig. 28. There is one very good reason why this method is preferable, i. e., the brush is held in a perpendicular posi- tion, thus permitting the color to flow freely and naturally. For this purpose use a table of convenient height, having a top about 3 by -4 or 5 feet. The top is sometimes arranged in such a manner as to allow raising or lowering to any desired slant. For the purpose of steadying the hand in which the brush is held the arm-rest is sometimes used (see Fig 26 and Fig. 27). The use of the arm-rest is not recommended except in rare eases. How- ever, a few years ago most card-writers used the arm-rest on all classes of work. The bridge or rest is made from a strip of smooth wooil 1 inch hy 214 inches by 36 inches. W^ith a small nail fasten a block at each end, 1 inch by 2t4 inches by 2V2 inches. Sand-paper edges, and you are ready to work. We call your attention to the bridge because it comes in handy sometimes in executing feature lettering, that is, the large display lines usually drawn in a finished style. The card-writer should make it a point to woi-k directly over his work on the card itself. Experts but rarely use the bridge or arm-rest. they prefer the natural way to work, that is. resting the hand directlv on the 38 THE AKT UF SH()A\ CARD AVEITING card surface, the same position as for writing. Most card-writers execute their work in a standing position or, for a rest, use a high stool. Fig. 28 shows the natural position of the hand resting directly on the card surface. Fig. I'S Show Card Brushes The brush is tlu- first and most important tool with which you should become familiar. Ked Sable lettering brushes, with handles about six inches long, securely fitted into nickel or copper ferrules, are the kind all experts use and ai'e, therefore, the kind reconunended. Sable brushes are the only kind that can be used to advantage in water color. Camel's hair brushes soon lose their "spring" and elasticit.^- when they come in contact with water. Sable bi'ushes, on the other hand, are not in the least afi'eeted by water. With proper care, they will outlast brushes of any other character, and the work that you can do with them will be clean and free from ragged edges. For average purposes a set of five, comprising the numbers 4, 6, 8, 10 and 12, is sufficient. Although these brushes, in their normal form, are pointed, they can be manipulated to do all kinds of one-stroke work. Card brushes .sold by dealers everywhere are fitted with handles about ten inches long. We consider this length a nuisance and, therefore, reduce the length of the handles in all brushes to six inches. If you purchase the long handled kiiul, we advise cutting off about four inches. A stvle of brush BRUSH MANIPULATION 39 wliicli we have designed is recoiiiinended. It is made in 10 sizes, viz., Nos. 3, 4, 6, 8, 10, 12. 14, 16, 18 and 20. P'ig. 30 shows this copper ferrule brush. Note the perfectly square top on each brush, resulting in a square start of every stroke. Fig. 29 shows the new Speed Ball pens which are taken up later in the text. Care of Brushes. — Brushes are your most valuable tools and should bl- eared for accordingly. They should always be thoroughly cleansed after using by rinsing in clean water and laid in a flat position, or stood on end iiair up, until needed again. Never stand the bru.sh so that the weight of the handle rests on the point of the haii's. Never allow your brushes to dry with color ^ Speed-ball lettertinif Pamij '""kittle Wizard of Lettercraft' »» 6-SIZES snuare finish ^^izE of strokesi M?l M02 M»J N?4 N?5 _ i: i: niilOj Fig-. 29 ill them. By observing these few precautions, the life of your brushes may be greatly prolonged and they will always be ready for immediate use. The Possibilities of the Lettering- Brush. — The late Wm. Hugh Gordon discusses the possibilities of the leltcring brush and gives some valuable pointers which I believe will prove very valuable to all readers of this book. "There is a logical reason for doing certain things in the manner pre- scribed by those who have practiced these things successfully. "To attain the highest degree of proficiency in working with tools, the operator must first learn to eliminate the difficulties arising from misdirected effort. "There is no tool made but what has its specific limitations even when manipulated by the most proficient operator or mechanical means. "The limitations increase in greater ratio with each degree of misapplied human as well as mechanical energy. 40 THE AET OF SHOW CARD AVKITING "lu i)oint of illustration, some energetic individual who never drove a tack may declare 'Gimme the tools and I'll build a boat.' " 'Gimme the paint and brushes rnd I'll paint a sign, if I eau get the letters to copy from.' "Herein we must credit the ambition, largely egotistical; but when the misdirected energy is applied the result is liable to be disappointing. The best tools in the world do not make a workman, which reminds me of a storv Fig. 30 told about Vanderloaf, of Spokane. A party dropped into his shop one afternoon, one of the 'Seekers' variety. Van, who is a past master in the art of lettering, happened to be working on a nice job. The visitor watched him for a while, then remarked: 'Gee, but that's a dandy brush you've got.' 'Yes,' retorted Van, 'but did you notice how smooth the paint works?' " Getting at the Seat of Trouble. — "Any mechanic is liable to have diffi- culties thrust upon him by the use of unrelialile tools of his craft. However, if he is a good mechanic and understands tools he will (|uickly determine what the trouble is and whether it can be remedied or not. "It seems that there is more complaint about the unreliability of letter- ing brushes than the tools of all other crafts combined, with the possible exception of razors, which have likewise a great deal to do with the action (and pull) of the hair. "The average sign writer can get better results from the average bru.sh than any other branch of lettercrafters. Why? Simply because he applies the color to any given surface with the brush at right angles to that surface. This permits of a cleaner stroke, a more even width on rounding curves, and cleaner terminals, both on the start and end of a stroke. The end of a stroke is called the pick-up, conseqiiently, if a brush cuts a good clean pick-up, the BRUSH MANIPULATION 41 letter requires less pateliiiig or retouching, which is a time saver. Some brushes will have a tendency to cut a clean even stroke at the starting point but have a ragged pick-up. Another may have both a good cut start and pick-up but will refuse to cut a clean even width line or curved stroke. This is more noticeable in small than in large size brushes. In any event, the start, the stroke and the pick-up are accomplished better and with less effort where the brush is manipulated at right angles with the surface to be lettered on. Methods of Handling Brush. — "Most all sign writers use either a mahl stick or bridge or use the left hand rest on lettering of ordinary size such as door and window work, outlining plain or gold letters, etc. On large work, such as wall bulletins, etc., the mahl stick may be disijensed with on account of the big sweeping strokes necessary, but it will be noticed that the brush is held far enough back on the handle to allow the .strokes to be made at right angles with the surface. In other vvords, the brush points as nearly directly at the surface as it is possible to hold it, especially on rounding any curves, ovals or circular strokes or compound curves .such as appear in the letter 'S.' "It will be noted that on all curved strokes, the brush handle must be rolled in order to present an even width contact of the hair point of the brush to the marking surface, otherwise there is bound to be a stroke of vary- ing width which requires building up or remodeling. If the brush is not pointing at right angles with the surface, but held on a slant, like a pen staff, it is utterly impossible to roll the brush sufficiently to produce an even width stroke on any letter containing curves, ovals or round elements, simply because of the elbow or twist in the bend of the hair part of the brush when pulled sideways. "Up to a certain limit, the distance from the point at which a brush is held decreases the speed attainable, but increases the control when lettering over a stick, bridge or hand rest. For lettering free arm style or offhand, a brush is held near the end of the handle. In lettering over a stick the distance held from the point varies from three to six inches depending on the size of the letters. However this distance is usually determined by the results shown by the strokes produced by the brush, which usually has its peculiar limitations. The Sign Writer and the Card Writer.— "The average sign writer has the best of show card writers beaten to a standstill in point of mechanical excellence of workmanship. The precision with which the sign writer manipulates a brush admits of no defeat of purpose, simply because he applies his individual efforts in proper conjunction with the maximum limitations of the brush and colors with which he works. "That is where the average .show card writer or student of lettering defeats his purpose and in failing blames the brush. The main point of difference between the methods employed by sign writers and show card writers is that a sign writer works over a rest, holds his brush further back from the point, consequently his woi-k is slower and the strokes more deliberate. 42 THE ART OF SHOW CARD WRITING " Oil or japan colors do not How from the brush nor dry as quickly as distemper or show card colors, but they have more pull, which tends to steady the stroke. "The show card writer works on a flat or slanting desk or drawing board, does not work over a rest, but proceeds to manipulate a brush in the same manner as holding a pen. normally a 45-degree slant. Here begins his difficulty in modeling letters, caused by a wrong angle of bi'ush point contact with the marking surface. "When held at a normal pen angle the bru.sh cannot be rolled suf- ficiently on the base of a curve unless the elbow is drawn away from the body. The top stroke of a curve to the right is impossible with the bn;sh held like a pen. A pen can be pushed, but a brush must be led, consequently the necessity of holding the brush in a vertical or right angle position with the plane or marking surface in order to effect a proper width contact of the hair with the said marking .surface, whether it be flat, slanting or in a vertical position as is a wall or door. "Another thing, in working without a rest, by the so-called free hand, the further back from the point a brush, pen or pencil is held, both control and speed decrease in a like ratio. To demonstrate this fact, attempt to make a stroke or letter with either brush, pen or pencil at various holding distances from the point. It will be noticed the further up the handle is held, the greater becomes the effort and a less degree of speed is being maintained. Speed, Control and Efficiency. — "For the above reasons in order to attain speed, control and the utmost efficiency in modeling small letters with a briish, the short hold and vertical position of handle is absolutely necessary to the methods of the show card writer, commercial artist or poster letterer who expects to attain the delicate touch, masterly control, and perfection in model- ing different styles of lettering in either common or out-of-the-ordinary use in these lines of work, also to attain a sufficient degree of speed to make it a financial proposition worthy of consideration. "Do not confuse the methods of the sign writer with those of other lettererafters. His methods are eminentl,y correct in the application thereof. Other letterers who aspire to extreme speed and efficiency in brush manipu- lation, working on a desk, without other rest but the wrist or fingers of the brush hand, must endeavor to perfect a position of holding that will not interfere with the correct mechanical or automatic action of the brush. Fail- ing in this means a struggle with misdirected effort and no amount of prac- tice will correct this measure above a mediocre point. Placing a Limit on Effort. — "There are certain styles of letters which can be made fairly good while operating a brush in the same manner and on the same degree of slant on which a pen staff is normally operated, but this fact again puts a limit on the efforts. The only limit to an efforrt should be as near perfection as human endeavor will allow when unhampered by me- chanical difficulties. BRUSH MANIPULATION 43 "The main point of the above comparisons between the methods used by sign writers and show card writers or other letterers is this: The sign writer, by reason of the nature of his work, applies the action of the brush to the marking surface in the only possible way to get correct results. It is not possible for the show card writer to follow the exact method employed by the sign writer and attain the necessary speed, consequently something must be sacrificed. He first dispenses with the mahl stick, bridge or left-hand support. This brings his hand closer to the work and increases the speed, but sacrifices a correct position of the bru.sh by allowing the handle to drop back of the knuckle like a pen staff. This also takes all the natural action out of the brush point, by changing the point of contact with the marking surface, also precludes the possibility of modeling letters in diversified styles properly and speedily. His individuality of style is limited to a certain class of work that bears a close resemblance to the work of all other letterers who work along the same lines. There is no chance of further excellence for the simple reason that he has probbaly reached the limit possible by misusing a brush. MaJdng the Brush Function Properly. — "The logical solution must then be to adopt a method of holding the brush in position to function properly without the use of a rest stick or bridge. "The siare, speedy and correct operation of a brush may be attained by lightly grasping the handle between the thumb and index finger, as close to the hair as possible. Hold the brush in a nearly vertical, position, allowing the hand and wrist joint to act as a sliding rest. Thus the operator can effect the rolling of the brush in rounding all curves in the same manner as the sign writer working over a rest. The short hold gives all the neces- sary control at twice to three times the speed as where a long hold either free hand or over a rest is used. "In this manner the show card writer or any other lettercr who works free hand on a flat or slanting desk is enabled to obtain the maximum efficiency of the brush on all styles cf letters and strokes either on uprights, horizontals, or curved line-s. Also, it v.-iM be found easier to fashion or model letter styles that, by other methods of holding, seemed impossible or imprac- tical on account of the time involved in the production. "The average sign writer is expected to b? able to copy any style of let- tering, freak signatures, trade marks, sketches of designs that he never saw before, etc., and he can do it, and docs it. Tt'.s all in a day's work done at a profit. "Slip this class of work to the average show card writer and he will climb a tree. Why? Simply because the average show card writer does not use a brush in a manner calculated to get out of it all there is in it, .auto- matically. Then 'He damns the brush,' 44 THii; ART OF SHU\^' CAED WEITING I I I I I I I Snpiinecken Pen. Wold Fountain I . i i. Ill Pen Work Pens Used. — "Tho pens used for show card work consist of sevei*al varieties as follows: "Speed Ball Pens. (Pictured in Pig. 29.) "Sonneeken Pen. "Ruling Pen. "Shading Pen and ^Marking Pen. "Payzant Pen. "Wold Fountain Lettering Pen. "All of these pens are illustrated in Fig. 31. The round writing pen can be used only for very small lettering, the body of which does not exceed in width the stroke that can be made by the pen. These pens can be obtained in eleven si^^es. Before using the pen, its hardness must be removed. The process is very simple, but must be carefully done or the pen will become too soft. First piace the pen in a holder and then light an ordinary match and hold the point of the pen in the flame three seconds and then dip it quickly into water; after which dip it into your color. Fig. .",2 "Round writing pens are best adapted for Old English letters about the size shown in Fig. 32, where I have illustrated the strokes to show the order in which they should be made. Fig. 35 shows the authors' latest pen alpha- bet executed entirely with a No. 1 Soennecken pen or round writing pen. The pen should be held as shown in Fig. 33. As often as necessary, dip the pen into the fluid, being careful to shake off the surplus color to avoid blot- ting. Now proceed to 'write' the letters in the manner illustrated. It will be necessary to apply con.siderable pres.sure to the pen when the broad or heavy strokes are executed, graduating or reducing the pressure for the fine lines. Keep the whole of the pen point on the surface all the time, regardless 45 46 THE AKT OF SHOW CARD \\ KITING of the width of the stroke. The principle is exactly the same as for ordi- nary writing, where the pressure is graduated according to the width of the stroke desired. Card pens are 'stubby' and less elastic than ordinary pens, hence it is necessary to use a trifle more force. Pens should be cleaned fre- quently to insure good results. Keep the pen clean by washing occasionally in water. Fig-. 34 PEN WORK 48 THE AKT OF SHOW CARD WRITING Ruling" Pens. — ' ' These pens are used exclusively to draw straight lines of ditiVrent widths. The thickness of the line may be regulated by the thumb screw that passes through the blades. "They are very useful for drawing lines, especially on price tickets and for underlining purposes. They are not filled by dipping them into the ink, as most beginners suppose, but by passing a brush or ordinary pen-point, loaded with ink, between the blades of the ruling pen, where the ink is deposited to a depth of about one-quarter of an inch. If filled too full, they will blot. The outside of the blades should be kept scrupulously clean. They cannot be used successfully in a free-hand manner, but should be guided by a straight-edge or a T square as shown in Fig. 34. Any kind of ink, water color or liquid bronzes may be u.sed in ruling pens. When water colors or bronzes are used, they should be thinned to the consistency of ink. Clean the pen thoroughly when your work is finished, otherwise it will rust. If the ink or color should refuse to flow freely, it may be started instantly by applying the points of the blades lightly to the trngue. The pen must always be held in a perpendicular position so that both blades will rest evenly on the surface. This rule w'ill insure neat and accurate lines. "The name 'Soennecken' is the inventor's name, and only pens bearing this name are genuine. These pens are designed specially to execute what is known as 'Round Writing.' This style of alphabet is now generally used by the card or sign writer. It is a very handsome style, and for small let- tering on price tickets is really beautiful. It is used almost exclusively by draftsmen, architects, etc.. and there are many good reasons why it has ])ecome .so popular with the card writer. "Round writing is so called because of its predominant round form. It unites distinctness, beauty and ease of execution such as no other style can pretend to posse.ss. I have not thought it necessary to give this style great prominence in the alphabets of this cour.se for the reason that it is suitable only for sma^l lettering. T have, however, illustrated the capital and lower case letters in Plate No. XXTI and in Fig. 3.5 and have shown individual strokes of each letter. Letters of this style, with the exception of the join- ings, are exclusively formed by heavy strokes. Shading" Pens. — "These pens are very serviceable for executing letters ranging from one-quarter inch to three or four inches in height. They are more popular, however, for very small lettering on price tickets. They derive their name from the .style of the stroke which they make, as illustrated in Fig. 36, wherein you will note that one stroke of the pen makes two distinct shades. "The color or shade that flows from the left side of the pen is always considered the .shade. The part of the letter that is solid black is called the main stroke, or 'body.' Solid Marking Pens. — "The only difference between this pen and the shadinii' ]>eii is that it makes a solid, opaque stroke without a shade as shown PEN WORK 49 ill i^'ig. 31. This stjle is a recent invention and is much preferred by modern card writers, because of the absence of the shading feature. Both styles are manipulated exactly the same. They may be used in the execution of the Bradley Text, Old English, and Round Writing styles, to which they are l^articularly adapted. By paying close attention to the following instrue- Fig. 36 tions, you will find that only a short time is required to learn to hand'e the marking pen satisfactorily. "Fig. 37 shows the correct position of the pen. The angle of io degrees has been adopted as the standard position for the point of the pen. This iingle may be varied more or less, but it must always be uniform in order to have the heavy strokes the same width. The width of the strokes may be decreased or increased by changing the angular position of the pen. Fig. 37 "The tvliole width of the point of the pen should always rest evenly on the surface regardless of the direction in which the pen is moving. This is the first important thing to remembei'. All fine lines or slanting strokes are made by sliding the pen edgeways — either way — as shown in Fig. 37. All wide strokes are made by drawing the pen straight downward. Curved lines are made by sliding edgeways and around to the right, or left, and downward. Hold the pen finnly, so that when looking down directly on the pen and holder it will cover the line as shown in Fig. 37. The pressure on the pen should be just sufficient to make the ink flow. Practice the strokes shown in Fig. 38. beginning with the simple movements (a), after which practice 50 THE AKT OF SHOW CARD WRITING (lie curved strokes (b). By a proper combination of these strokes, you can i'orni any letter that can be executed with the pen. It is filled the same as the ruling- pen described on page 42, i. e., by passing a small brush, laden with ink, between the blades of the pen. Methods and Mediums for the Show Card Writer, With Pertinent Ex- amples. — "Aside from the individual ciualifications as a letterer the chief rccjuisite of the show card writer is 'speed,' and to this end, letter styles have been and are still being devised that can be made fast enough to accomplish the amount of work tiiat the present-day craftsman is called upon to com- plete in the average day's work. "If the show card man still copied the styles and methods of lettercrafters in producing Iiand k'ttering, it would require the services of four or five workmen to accomplisli in the same time that which is now done by one. Fig. 38 "The evolution of reading characters (letters) is mainly responsible for the record-breaking bursts of speed displayed by the show card man. Whereas most of our predecessors used carefully drawn or modeled 'upper case' or capital letters in most all of their copy. We of today have by necessity devised certain styles of lower ease or small letters that permit the greater speed in execution. These changes have occurred gradually, and for the most part their individuality in appearance is caused by the mediums employed in their production. For the major part of this work, certain .styles of letter- ing brushes, pens and other materials have been devised which are specially adapted to the rapid semi-automatic rendering of the elementary principles involved in these styles. These tools, in turn, have proven the logical possi- l)ilities of designing new lettei- styles or making acceptable modifications of existing styles both of type and hand lettered origin. "The study of letter forms based on various classifications such as Printer's Gothic. Roman, Italic, Text and various others should receive careful iittention by the student. The ability to distinguish these classifications in devising a style be.st adapted to certain needs is one of the prime requisites. "The ability to draw these characters does not qualify one as a letterer, especially from the show card writer's viewpoint, which is 'Qiiantity first.' PEN AVOEK 51 "There are at least half a dozen methods of producing letters by hand. Of these, but two can be considered, namely free-hand modeled and written. "Why the maker of show cards is called a show card writer, is from the fact that most of his lettering is really written, so called because it is pro- duced by the single stroke method much the same as writing, regardless of whether a brush or pen is used or whether the characters are slant or vertical. "A capable workman must be able to rapidly produce a fairly good resemblance to either upper or lower case Roman, Block, so-called Printer's Gothic, or Italics, with numerals to match either case, by the single stroke method. Also he must be able to do this with either a brush or lettering pen. depending on the size of the space to be occupied by the copy. Lettering pens can be used with much greater facility than brushes, due to the fact that to .successfully and rapidly manipulate a brush one must accustom him- self to the absence of the feel of contact with the writing surface, which is apparent in using a pen or other devices of a like character. "A selection of lettering pens for the smaller work is of vital issue. Those of the stub variety called round writing pens are generally known by trade names, and all have their pai-ticular use. Of these we have the Sonnecken and Hunt's No. 400 line, of which there are eleven sizes, each particularly adapted to Text styles of lettering, also Italic marking alphabets and single-stroke Roman. These pens being of a flat chisel shape, produce heavy down strokes of absolutely even width, light or hair lines or lateral up strokes from left to right and on the horizontals. Used the full width of the larger sizes, it is impossible to condense the spacing and give the letters full weight values, but if sufficient space is available in which to make full round ovals and other oval elements, a beautiful copy can be made with these pens. "For pens that produce even width strokes throughout in production of bold face display lettering, these three styles of the speedball, round, oblong and square points, each fitted with fountain retainers, may be used more suc- cessfully by the beginner or amateur than most other styles. It has been remarked that anj'one who can letter with a pencil can operate these pens. "Specimens of the work done with the three dilf eren styles of speedball pens are indicated in the accompanying illustrations in reduced size. Plate 1, made with a No. 1 style B pen, size of original 11x14. Plate 2, 11x14, numerals 3 and 4 style A pen with white ink on black cardboard, size of original 12x20. Plates Nos. 3, 4, 5 and 6 show the work of the new style C speedball. "It has an oblong shape, turned up point which makes a broad down stroke and a narrower horizontal or lateral stroke. The work of style C is the closest imitation of brush work at a remarkable degree of speed. "WM. II. GORDON." Wold Fountain Shading and Marking' Pen.— The Wold Interchangeable lettering pen is a radical departure from the ordinary lettering pens, although the .same make and style of nibs are used. It eliminates the paint 52 THE ART OF SHOW CAEI) AVEITING PLAIN GOTHIC LETTERS made with "style B"Speedball ABCDEFGHIJKLMNOPQ RSTUV WXYZ8t abed efgh ij kl m nopq rstu vwx yzs 123456789 0$^. comported Jiodds ^Particular m ttuntion IS called to th,e diafactetistic sfLa|3|)ffLess oP t^e xootk ciofue \x)ltL "S Wle C" S p eectoa.!!- letteriag" petis. TXe Si)c<2^iia]] is "ue Oriflind! dnurican Speed 6(ZK- Gordon \Gcoraii Pat PEN WORK 53 - now about ^our 9p©Ga . , — about how much time do you ' lequiie to turn out a first class job of lettering-a menu or floor directory, size 30^40 with a heading and double colume of letteringf- say. fifty two items and prices -a line border etc.to cost the customer about 4 2.50 Can you make H.OO an hour on such work. I using a brush on theentire job in order to give the customer a bold face letter of a legible character ? /'Must be readable at a ^ \ distance of twenty feet. ^ Sack jots are called "Sticliers"- and at tke prevailing^ prices a slioxx) cafd ^writer must be a fast ^x)orker to make xoag'es. ' ^ka SbojoAhall httmngpms \X)ill helj) 3/0U tufa the trick- better^ and in less time-fhaa xcith a brush or aaj^ other pea ,or letteriag- deuice^ Three St^/Zcs- A- Band O Each Stjlk comes m 5- difftrayit Sizes — -^ 'IlLeI)ctfoit Schooiy Letteriag: PLATE Q,. 54 THE ART OF SHOW CARD AVRITINU Snappy Stylos A\)ifh'*St^le C" Itic Latest cdittoa "Id/uz closest imitation of small brush letters at S-tinuz-s t/te spud of trofcunl: brush tun. abcdef^ijklmiu}pqfstuwxyz&:? ABCDEFGHIJKLMNOP QRSTUVWXY2V-\0-XYS^ Advertising slides, CJAo\)in<^~Pictuic 1 1 i LjhjD. in tke wost afprovad letter st^Us tnacCe xoitK tfie new STYLE "C" SPEEDBALL, l^c tiering Jb^sirab]e in case of error, as the coating may be easily removed with a sharp knife-blade. Some cards are coated on both sides ; others are the natural pulp color or grayish white. Cardboard for average commercial purposes should be about eight ply, or heavy enough to stand on edge without curling or bending. Colored cardboard is nearly all finished with a dull *"flat" surface, which readily absorbs moisture, and is, therefore, especially adapted to the applica- tion of water color. It may be obtained in about twenty different colors and is made in the full sheet size only. Tinted cardboard (i. e., light shades of the pure colors) is usually the same color on both sides, and can be obtained in several thicknesses. Thin cards are always undesirable. Matboard. — Matboard is used extensively for border or frame effects, and can be obtained from picture frame dealers. It is finished with a dull "pebbl.y" surface, and forms an excellent contra.st when combined with the smooth surface of the inner card. It may be obtained in full or double sheets as desired. Owing to the rough surface of matboard it is not suitable for lettering purposes. PhotogTaphers ' Cardboard. — This cardboard is best adapted to perma- nent work as it is very thick (not less than ten ply) and the surface is eufhciently hard to pei-mit the use of the pen. It may be obtained in various sizes and is usually finished with a bevel. Small photo mounts make very neat and attractive price tickets. Card beveling is a business by itself, and should not be attempted by the novice. Cardboard signs ma,y be cut into anv shape or design to please the fancy of the letterer, being careful to have the pattern designed so as to accommodate the inscription nicely and in keeping with the purpose for which it is to be used. An extremel,v fancy- shaped card, for instance, one bearing a memorial inscription, would look de- cidedly out of place. A card announcing a sale of cut flowers, on the other hand, could be very ornamental in outline. As I have stated, cardboard is usually cut into quarters, halves, etc., for economical reasons, but as the material is inexpensive a good rule to follow is to design the form and .size of the card to accommodate the inscription to the best advantage. Fig. 43 shows a large variet.y of different shapes .suitable for small price tickets. Artificial Flowers. — Artificial flowers are used extensively l)y the up-to- date card writer for decorative ])urposes. They are fastened to tlie cai-ds by means of a thin wire run through the cardboard and twisted together on the back. Fountain Air Brush. — The -ivork that can be accomplished ])y this simple instrument is not (jnl.\" beautiful, but very attractive. No ju-dgi'essive card or *The term, "jlaf," as applied to pai)it:i. means a- ilull surface without a particle of (/loss. TOOLS AXD MATERIALS G?> ...^yK. G4 THE ART OF SHOW CARD WRITING sign writer can conduct his shop along up-to-date lines without the use of the air-brush. It is now a necessary part of the equipment of the card writer catering to modern requirements. Air-brush work is in evidence on every hand, and it deserves its popularity. The instrument is easy to manipulate and wonderful effects can be obtained with it. It is used extensively by lithographers and engravers, also portrait artists, photo-retouchers and pho- tographers. It is especially serviceable for all kinds of work whereon shad- ing effects are desired. It is an old invention used for many years by por- trait artists exclusively, but has recently been gi-eatly improved. It has a marvelous capacity for applying color and distril)uting large quantities in a very short time, and yet it is ad.iustable for the finest line. Air-brush work will undoubteldy be very popular for years to come, as the limit of its use- fulness has not nearly been reached. It is more de.sirable for signs that are done in duplicate, triplicate, etc., i. e., a great many alike. The reason for this will be explained later in this work. 4 JX^ Fig. 44 Pig. 44 shows the exact .size and style of the instrument. Fig. 4(i shows the air pump and tank which are used to supply the pressure and make thi' ink flow. Full directions are sent with each instrument. Fig. 47 shows Model H Paasche air-brush in action. There are but three popular air-brushes on the market toda.y. These are the "Wold," "Paasche" and "Thayer & Chandler." Strange to say, all three are manufactured in Chicago. The air- brush models recommended for show-card purposes are the IModel B, Thayer & Chandler, ]Model Wold, and Model F-2 Paasche. The costs of the.se models vary from $14.00 to $25.00. This includes the cost of the air-brush only — the necessary attachment costs extra. Complete instructions for care and nse are usually sent free to each purchaser of an air-bri;sh. For executing both large and small work (show cards as well as banners, or large posters) the ]\Iodel ]M Wold and Jlodel II-2 Paa.sche are recommended. It requires only a few days' practice to learn how to apply the different effects. It takes much longer, however, to learn how ta care for the brush properly, but it must be said at this time that if an air-brush is cleaned thor- oughly after it is used, it should always be found ready for the next job. It is practically indestructible, and, with proper care, may be u.sed for year.s. TOOl.S AND MATERIALS 65 66 THE AKT OF SHOW CAED WRITING The instrument illustrated in the figure greatly excels the old style, both in .speed and quality of work, the volume of spray being three or four times greater than that made with the old style brush. For detail work, the pencil position permits much more freedom, and better execution is thus obtained. The most l)cautiful effects may be obtained by the use of stencils or masks. The best material to use for cuttin-i- stencils is prepared wax paper, which can be purchased in sheets or rolls. Sheets are preferable, because they lie flat. The design is first drawn on the stencil paper and the openings are cut out by means of a stencil or mat knife. Stencils are kept in position with the aid of small weights. Jloore's push pins are also used to advantage in liolding stencils in place. The push pins are the surest and most convenient. as tlie mask is not ^o apt to slip from jiosition. Students as well as experts FiK. 4(1 Fig. 47 are cautioned not tu "over-do air-brush work on a .show card." It is the natural tendency on the part of the lieainner to throw to much air-brush work on a card. The most attractive shmv cards are those on which there is but little air-brush work — just enough to throw out tlic important words in the inscription to the best advantage. "When applying air-l)rush color to a white or light colored card, the colors used should be subdued tints. On tlie other hand, on a dark card, use black for your air-bru.sh or a dark l)rt)wii with the lettering very light. Air- brushes will last from five to ten years with proper care. There are no parts so delicate that they cannot be replaced very easily. The first cost is practically the only cost. For those posses.sing an air-linish the following information will ])rove mighty interesting as well as profitable. The scheme is a time saver for doinir what is known among: air-brTish artists as "lias-relief nv back-shading" on show cards without the use of stencils or masks. Make a solution of either gum-arabic or yellow dcxtiinc. addins .snf- TOOLS AND MATEEIALS 67 ficient alcohol to render it fluid enough to flow from a pen, if fine work in desired. Color the gum solution with a little distemper black; just sufficient to render the work discernible. The least black you can get along with, the better. Use a good coated board which has a good waterproof coat. By this is meant a coating "which will not work up" when moisture is applied to it, and it is then rubbed. There are several good makes on tlie market ; among them is the De Jongh coated stock. Lay out your card in the usual way, with charcoal or pencil, and first paint in with the gum solution the parts which are to stand oixt the most promi- nentl}% The alcohol and the giun permit it to dry i-apidly, and as soon as dry, immediately "air-brush in" the shadows very intensely. For the air-ln-ush waterproof colors are necessary. For tints use Snowberry or Johnson's wooil dyes. For intense black, use Snowberry or Higgin's ink. Having completed the air-brush work, immerse your card completely in cold water, using a wide camel-hair brush to work otf the gum. thus leaving your design in pure white against a shaded backgroimd. IMot off the super- fluous water and permit the card to dry flat. Bold letters or ornaments may now be rounded up as taste may direct. Figure 45 illustrates the base relief effect without the use of patterns or stencils. Atomizers. — Atomizers may be used fin- spraying designs on a card. Tlu' work they will accomplish, however, is not neai'ly a.s satisfactory as that obtained through the use of the air-brush, for the reason that the spray cannot be regulated. Atomizers may be obtained from most dealers in artists' sup- plies or at drug stores. There are two kinds — one which operates by placing the end in the mouth and blowing through a tube which meets another at right angles. One end of the other tube extends into the bottle holding the liquid. The other kind of atomizer is just an ordinary perfume holder with a bulb which is held in the palm of the hand. The pressure on the bulb regu- lates the strength of the spray. Good drawing inks (any color) may be used. The method of procedure will be fully explained in connection with the examples illustrated further on. Raised Ornaments. — Raised or embosssecl ornaments in the shape of wreaths, ovals, circles, scrolls, etc., are often used by the professional card writer and give to a card a very elaborate, costly and rich appearance. They are difficult to obtain, however, as they are a German product. Some picture frame dealers keep them in stock. They are fastened to the cardboard as fol- lows : Spread glue or any other strong adhesive over a piece of glass, place the backs of the ornaments on the glass and then press the ornaments into the glue. With a pair of pincers then place the ornaments in the position desired on the card and press firmly until the adhesive is dry. Bran^e Powders. — Bronzes are put up in one ounce packages in powdered form ; also, in cans containing from one to five pounds. They can be obtained in many colors,, the pale gold and aluminum lieing the most popular. Alumi- (58 THE AKT OF SHOW CAED AVEITIXG TOOLS AND MATEEIALS 69 nnni should not be confounded with silver bronze, as the latter is not at all suitable for lettering or decorating purposes on cardboard. Bronzes (gold especially) always give to a card a rich, delicate tone, and do not add greatly to the cost of the production. Bronzes should be mixed and applied in exactly the same manner as dry colors. They are not prepared ready-mixed. They show to the best advantage on' dark colors. There are two kinds of gold and aluminum bronzes, to-wit : Brilliant Gold Lettering Gold Brilliant Aluminum Lettering Aluminum The "brilliant" bronzes are so-called because they are much brighter than the "lettering" qualities, and, therefore, more nearlj- resemble gold and silver when applied. They will not cover, however, unless mixed with about two parts of lettering bronze. The lettering bronzes are ground finer than the brilliant bronzes, which makes them cover perfectlj'. When applied, how- ever, they have a dull lustreless appearance, which may be overcome slightly by adding one part brilliant bronze as ju.st stated. Other colored bronzes are made only in the brilliant grades, and are seldom used for card pur- poses because thej' do not cover well. Dry bronzes should be removed from the paper in which they are pi;t up just as soon as purchased and kept in a bottle securely corked. When exposed to the air, they collect moisture vei'y rapidly, which soon brings about a chemical change destroying their lustre. Bronzes (except aluminum) are not suitable for permanent outside work; that is, they should not be used on signs that are exposed to the weather as they deteriorate quickly when placed in the open air, the tendency being to turn very dark (sometimes black) in a very short time. For card work, gold bronze is the most suitable. It may be used to the best advantage for borders and ornamental work, also as a shade for the letters. On dark colored cards it may be used for lettering. As stated, a few touches of bronze, judiciously distributed, will greatly enhance the artistic effect without adding much to the expense. The card writer's equipment is incomplete miless it includes an assortment of bronzes. Flitter Brocades. — Flitter is made of the same material as bronzes, but in small flakes instead of powder. Being very brilliant, it is very effective for many kinds of decoration. It resembles flak}- tinsel, and is sold by the ounce or pound as desired. Nearly all paint and art stores sell the following colors : Deep gold Pale Gold Silver Blue Green Fire Purple 70 THE AKT UF SHOW CAKD AVKiTING TOOLS AXD matp:rials 72 THE ART OF SHOW CAED WRITING Brocades show to the best advantage on signs intended for night or holi- day display purposes. The little flakes sparkle and glisten like so many miniature diamonds when the card is placed in a position where the light will strike it. They are applied as follows: First place a large sheet of plain paper beneath the card. The lettering should be perfectly dry. Now with a small lettering brush or glass tube and a good, strong mucilage or LePage's gliie, decorate the face of the letters, borders, etc., to suit your fancy. Decorate but a few letters at one time, as the nuicilage dries and soaks in very rapidly. When you have embellished a few of the letters, pour on enough of the brocade to cover the mucilage com- pletely. Continue this until the entire sign has been decorated, and then let set fen- a few minutes, after which dust or shake off tlie superfluous material — that which does not adhere. The mucilage, or adhesive, can be prevented from drying too quickly by adding a few drops of glycerine. If the mucilage or glue becomes too thick, it can be thinned by adding a few drops of vinegar. If you desire to decorate the card with two or more colors of the brocade, repeat the above process after you have applied one color. The card should then be allowed to stand for several hours before handling again. Diamond Dust. — This material has every appearance of being just what the name iini)lics. It resembles brocades very much except that it is pure white. It is applied the same as flitter, and is particularly appropriate for Christmas cards. By decorating the tops of the letters as shown in Fig. 48, the effect of the frost and snow can be closely imitated. Adhesives. — LePage's glue, which is put up in small screw-top cans, also in 10c and 25c bottles, is indispensable to the card writer. It may be used for uniting two or more cards as explained under Cardboard, and for secur- ing them to a frame, also to attach all kinds of rai.sed ornaments, etc. It is perhaps the most reliable adhesive on the market. Instructions relative to applying, thinning, etc., are printed on the label attached to each can. Plain cardboard is sometimes covered with fancy papers of various colors and designs, some examples of which are shown in Figs. 49 and 50. When this is done, a common ordinary flour paste, such as used by paper hangers, will answer the purpose. The paper should be liberally and evenly coated with paste, using a soft, wide brush, and the wrinkles removed with a clean, soft rag and the palm of the hand, rubbing the paper toward the edge from the center. Weights should then be applied until dry. The preceding list of materials comprises nearly everything that is abso- lutely necessary in the every-day work of the card writer. New effects are constantly being originated and new methods are continually being devised. Novel and attractive effects are steadily sought by ambitiovis members of the fraternity. It is likely that, before the ink on this book is dry, quite a number of new and practical ideas will have been originated. You should try to be original. Experiment with various materials until you finally run across something that is attractive. Always be careful to consider the cost of TOOLS AND MATERIALS 73 production. In seeking new eflfeets, do not allow your enthusiasm to over- balance your judgment. Any effect that is attractive and can be produced at a trifling expense, is practicable. Any new method that will produce the best results in the shortest time, will receive instant recognition. The most desirable style of card for the average business purpose is white with black lettering. Shading and ornamental features are the next step from simplicity and should be indulged only with careful consideration and "good taste." In a following portion of this book you will find some good advice with refer- ence to "inscription designing" as applied to card signs. VI Why is a Show Card? The answi-i- to ti;i> abdve (iirtv will be Iduiul iii tiic following para- graphs. This question, if aii^^wered correctly, sums up the entire show-caril profession. When anyone seeking the services of a show-card writer wishes .some show cards made, he is, in reality, wanting to dispose of merchandise. Ever3"one wishing show cards made wants to sell something. Remember, therefore, that the show card is made to '"sell something." It doesn't matter whether it is an undershirt or whether the bank is to close at a certain time, there should be a .selling appeal in every show card sign. In the olden days, the printer was the show card producer, and to-day anyone could go to a printer and have a show card made, but the cost is too miieh, considering the finished product. In other words, it costs too much to produce a show card on a printing i)ress. because there are not enough cards to be made. U.stially only one inscription on one card is desired, so the customer naturally turns to the man who can letter free-hand. The printer is limited to the stereotyped styles only. The show card writer can give the customer any style he wants withotit extra charge. After the copy passes from the ctistomer to the card writer, he should inunediately proceed to inject into that card a selling force. This may sound like a very simple matter to accomplish, and it is, if you will follow- the rules and suggestions to be set forth, bitt even expert card writers find it very diffictdt to inject a selling force into their show cards, simply because they neglect to di.scover this very important character in their work. The average card writer pays more attention to his technique than he does to his final result or ultimate selling power in his card. How are you to know when a card will sell something? In other words, can you make a card that contains the selling punch? If you can't, then it doesn't matter how good you can letter, because the actiud lettering of the card is only about 33if, ]ier cent of the work. The other two-thirds is selling force. The old school of card writing tatight decorating selling value. That was when we had more time to read and admire. Today we are reading head-lines. The card you make today must be read at a glance. In other words, the big important word or words on every card should be very promi- nently displayed. The unimportant letterino: should lie drawn very small in comparison. 74 WHY IS A SHOW CARD? 75 Dark strong colors should be used for lettering of the head-lines or important words when operating on a light surface. White should always be used for the head-lines when operating on a dark surface. Study your inscription carefully, and be sure that you are right before you go ahead. You will find that the man who orderedi the card made wants to sell some- thing and you will find in the copy he gave you the word or words represent- ing the article or statement that he wishes to sell. It is not always a shirt or shoes; it may be the word "Closed." It may be the word "Opening." It may be "Cooler Inside," but in every description the point we wish to bring out is this: There are words that must be displayed very, very prominently. Then, in order to get the contrast which is most essential, we display tlu' unimportant lettering very snuUl. In executing your lettering keep the styles as simple as possible. This helps to make the lettering easily read and also helps materially in obtaining speed through simplicity. Speed reduces the cost of the card to your cus- tomer and adds more profit for yourself. Why is a show card? It came into existence because it has or should have SELLIN'G FORCE (display) MINIMU]M COST (speed) Speed means nothing unless you have selling force in the card and selling force may mean everything in disposing of the card to your customer at a good price. Combine the two and you may consider yourself a first-class card writer, regardless of your proficiency in the technique of lettering. The aver- age customer does not know when a card is what a show card writer may term "well lettered." The customer wants selling force at a minimum cost. We produce selling force through display. We produce minimum cost by speed. We have told you about displaying the lettering. Now, if you intend to add any embellishments whatsoever, such as scrolls, underlines, space-fillers, borders or shading, please remember that for this class of decoration you should use nothing but tints when operating on a light surface and nothing but very dark tones when operating on a dark surface. On a light colored cardboard, the lighter and more delicate your tints are, the more attractive your card will become and the more selling force it will exhibit. The darker you make your decorative work, the more you detract from 3'our lettering. This rule just reverses itself when working on a black surface. Why is a show card? A show card, as the term implies today, means a masterpiece of lettering. Study the chart that follows. Combine the three essentials (Nos. 1, 2 and 3) and the resi:lt will be satisfied customers, because the card will satisfy owing to its .selling power, and the price will be within reason because of the rapidity with which the work was executed ; and listen, get this — you are making more money following this plan becau.se you can meet competition by reducing the time required in execution of the work. 76 THE AKT OF SHOW OAKl) AVElTlN(i which also means that you ciiii turn out more work, resultiufi- in ;i f-i-fater income to yourself. Again, stutly the diagram carefully. i'lilling power Simplicity of design Reducing the wordiiifi- so iis tn tell the stoiy ipiiekly 1 -< Contrast between inijjortant word or wonis Contrast in colors used Letters strong in color Deeorati(m in tints Legibility Simplicity of letter .styles used ., / Attractiveness I Simplicit.v of color iiiibinaf ions VII Laying Out the Inscription Method of Procedure. — Card signs, like all other signs, should always present a neat, clean appearance when finished and ready for delivery, regard- less of the style of execution. The more the lettering is slighted, the more the necessity for observing this caution. For this reason it is very important that the medium employed to lay out, or mark out, the inscription or reading matter should be made of a substance that may be easily removed or erased. You .should obtain for this purpose a good grade of Artists' Charcoal, which can be purchased from art dealers, and is made in various grades and sizes. The best for ordinary work is known as Contes' French Charcoal. Each box contains fifty sticks six inches long. The sticks should be sharpened to a fine point and applied to the card very lightly, making the marks just as faint a; possible. "When the lettering is dry, all traces of the charcoal can be instantly removed with a soft cloth or feather duster. White chalk sharp- ened and manipulated in this manner is the best material to use on dark cards. Cut the narrow end of the chalk into a sharp wedge shape. Dip about one-fourth inch of the chalk into water and withdraw quickly. Tt will then 77 78 THE AKT OF SHOW CAKD WRITING make a tine neat line whieli can he reaiiily erased with a vh'j: uv a spouse ruhber. It will not injuie the eardbuard. Leacl pencil marks cannot be easily erased, especially from a glossy surface. When it is necessary to use a lead pencil, select one with a ver\ hard lead and apply the marks very li<;htly. Straight lines should always be favored when arranging or laying out the inscription. Letters placed in straight line.s not only read easier, but give to the sign a "balance" difficult to obtain when curved lines are used. Sometimes, as shown in Fig. 51, where short and unimportant words pi'ecede and follow the display line, the curve is not only handy, but desirable. .\void the use of curved lines to any great extent. How to Correct Errors. — The best workmen fre(|ucnti\- makt' ei-rois. Mistakes are expensive, necessitating erasing one or more letters. It is jier- haps needless to caution you against making them. The best way to avoid errors is to mai-k out each letter distinctly, and then read over the inscription carefully before you begin the work. It is not necessary to mark out the lettering perfectly; simply show a faint or indistinct form of each indi- vidual letter. To read over the inscription carefully each time after it is laid out will recjuire only an extra minute or two. The time thus lost will be time saved in the end. Errors can be rectified in most cases as follows: If the card is white, take a sharp pointed penknife, or steel ink eraser, and carefully scrape the letter or letters until the surface or coating of the board is completel.v removed. Be extremely cautious not to ])enetrate below the glazed coating. "When the color is entirely obliterated, rub the scraped surface with a small ]iiece of vrri/ fine sandpaper. This will smooth the rough edges, if any, after which polish, or burnish, the spot with your thumb nail. If the error is made on a dark card with a glazed surface, the letter may be removed with a damp cloth. If this method is used, the operation must be very quick, for the reason that the cards themselves are coated with water color, and the background is apt to rub up if the wet cloth is applied more than two or three times. If the error is made on a tinted card, such as light blue or light purple, it will be necessary to match the color of the card (having previously removed the letter with a .sharp knife as exi)laincd) and then recoat the .soiled sur- face. Mistakes on tinted cards are sometimes nicely remedied by ]iainting a panel over the entire word or line. In Fig. 52 this method is illustrated. On the lower card you will observe a mistake in the spelling of the word "SHOES." The upper card in this figure looks much better than the lower one, thus proving that the card as a I'ule is more attractive if the mistake is corrected in this manner. This is one of the easiest ways out of a bad predicament. If an alteration is to be made on a black card the lettering should be scraped off and the surface recoated with black water color. To remove pencil marks or dirt, use a sponge ruliber dipped in powdered pumice stone, using but a little of the latter. Perspiration from the hand often makes a cardboard greasy. As water and oil will not unite, it is I.AYIX(i OUT THE INSCRIPTION 79 Fig. 52 80 THE AKT OF SHOW CARD WRITING inipossiblf to make the color adhere to grease spots. To overcome this. mix a thiml)h'fiil of biearbouate of .soda (baking soda) and a tablespoonful of water and wijie the grea-sy siirfaee with this. . 0^^son^3/e . NECKWEAR Margins. — Unlike the average sign, show cards are intended to be read from a very short distance. They are used almost wholly for interior display and in show windows. It is, therefore, not necessary for the card sign to carry letters as large, proportionnfrlif. as the ontside sign. Card signs sh(mld LAYIXG OUT THE INSCRIPTIOX 81 always have a very liberal margin ; iiiueh more than any other style of sign. By referring to tlie examples shown you will find this idea uniformly car- ried out. The inscription should be well "centered," that is, kept well in from the outside edge of the card all around. It is almost impossible to go to extremes in this respect, as illustrated in Pig. 53. The wider the margin the better the card will look in the majoi-ity of eases. This matter, however, like all others, must be governed by sensible principles. Don't be ".stingy" with tlie border or margin: remember that the reader will Ije very close to the sign, and also that a small letter with lots of space around it is more conspicuous than a large letter, unless similarly handled. Borders and Scrolls. — Scrolls, lines, or any other styles of decoration used as a boi'dcr should always be executed in a subdued color. l>y subdued we mean a shade or tint that is much less conspicuous than the colors used HATS Fig:. 54 for lettering. This is in keeping with previous instructions relative to sttb- ordinating all ornamental features. The aUjU of ornamentation is not so important provided this rule is followed. The ornamentation around the let- ters may be very elaborate provided the colors are comparatively distinct, thus not detracting from the in.scription. If the border is vciy heavy, ma.s.si\-e or bulky, as in P'ig. 51, tlie more the necessity for adhering closely to this rule; bi't, if it is delierte and light, the color can be proportionately stronger. Thr.s. bi'ight red, blue or green, or any other jture color may be used if the border is no larger, proportion- ately, than shown in Fig. .54. 82 THE AKT OF SHOAV CARD ^VRITIXG Pig. 55 shows a great many designs suitable for corners and borders, in nearly all of which you will notice the absence of straight lines or me- chanical eliects. To reverse any of these designs proceed as follows: Take a sheet of mauilla paper a trifle larger than the design that is to be made and fold it in the middle. On the right side of the crease draw the design you select with a very soft pencil or piece of charcoal. Reverse the fold so that the drawing will be face down on the left side of the paper. Then rub the back of the drawing Avith the palm of the left hand until the pencil marks have been transferred to the blank paper below the drawing. Now, open the paper and trace over the whole design with a hard pencil to prevent its becoming obliterated, after which turn the paper over and rub the reverae or blank side all over with charcoal if the design is to be transferred on a white card, or with chalk for a dark card. Then place the design face down in the position desired on the card and repeat the tracing process, using a hard lead pencil. The pressure of the hard pencil will transfer the soft lead marks to the card. I'pon removing the paper, a thin and perfectly dupli- cated outline of the design will he found on the card. Transfer carbon paper can be iised for this prirpose just as effectively- and with great saving of time. Patterns for raised panels, price tickets, etc., are made in the same manner, except that the design should be transferred onto a heavy piece of cardboard and then cut out with a pair of scissors. By running a sharp lead pencil around the edges, you will he able to duplicate as many as you desire. All sorts of desims, scrolls, etc.. may be multiplied by this method. Re- versing the scroll does not lessen its beauty, as you will note by turning Fig. iSo upside down. You should practice reversing the position of scroll designs as much as possible. The sooner you become proficient in this, the quicker you will be able to do awa>- with the pattern method, and thus effect great saving of time. On Fig. 5fi you will find a large variety of what we call "filling-in" scrolls. Those to the 7-i(jlit are best adapted to filling space at either side of a word or line ; those to the left may be most advantageously used to .separate an inscription, or to mark the end of a pai'agrajih. Ornamental Panels. — We have previously explained the importance of the rococo scroll with reference to speed and beauty in designing. You will observe, by referring to the examples, that this style of scroll is used very frequently. The reason requires no further explanation. The .specimens are sufficient to prove conclusively the endless variety of combinations which ai'o possiljle with this scroll. Panels which are used for raised effects, and which are cut out. must necessarily be of the plainer sort, as the time required to cut out an elaborate design would usually make its use prohibitive. The styles suitable for this purpose may be found in a large number of examplrs in this work. Fancy Initials. — The color suggestions suitable for the various designs in Figures 57 and 58 are as follows: (A) Leaves, lio-ht ai'een : hotter, liriijlit rc(l ; outline, gold. LAYING OUT THE liVHCEIPTIUN Pig. 53 84 THE AKT UF SHUW CARD WEITING LAYING OUT THE INSCRIPTION 85 (B) Background, dark green; letter, white; outline of letter, black; bor- der on panel, gold ; scrolls, light green ; inner border line, light green. (C) Letter, ultramarine blue; background, very light blue stripes, white; scrolls, gold. ( D ) Rosette, light purple or violet ; rays from center, darker shade of purple ; circle, gold ; letter, blue. (E) Letter, dark red; scrolls, light green. (F) Letter, black; scrolls, gray. (G) Raj's, gray; letter, black or blue; outline, gold. (H) Letter, white; center of panel, medium shade of blue; border of panel and ornaments, gold. (I) Letter, dark green; background, light green; white outlines, a snade lighter than the background ; scrolls, darker shades of back- ground. (J) Background, light brown; scrolls, dark brown; letter, black. (K) Ornaments very light .yellow; letter, orange; outline, dark red. (L) Outline of letter, dark blue; ornaments in center of letter, light blue; stripes, gold. (M) Letter, black; outline, dark gra.y; background, light gray. (N) Letter, gold; outline, black; background, two shades of gray. (0) Rosette white; circles, light blue; letter, dark blue. (P) Letter, dark blue; ground back of letter (represented by the light- est shade of gray), very light blue; ribbons, very light blue; ornaments suspended from the ribbons, very light blue; ribbons and main panel outlined with medium shade of blue; scrolls around the letter, white or gold; background of rear panel, lemon yellow ; border on rear panel, gold. (Q) Ornaments, pink; letter, very light blue; outline on letter, very dark blue. (R) Letter, white; background, light shade of olive; stripes on back- ground, darker .shade of olive; small ornaments, white or gold; outline on letter, black. (S) Background, lilac; letter, purple. (T) Wreath, light green; outline on wreath, olive green; elliptical panel gray ; high light on letter, white ; shade on letter, black or dark green ; background to pedestal, light green ; ornaments and outline on pedestal, dark green. (U) Background, orange: letter, blue; outline, lemon yellow. (V) Letter, orange; outline, dark red: panel, very light blue; dark orna- ments, gold ; light ornaments, wdiite. (W) Letter, light blue,- outline, dark blue; ornament.s, dark gray. (X) Letter, white; background, two shades of blue, dai'k and light. (T) Background, gold; letter, black; outline, black. (Z) Background and scrolls, silver; letter, medium shade of blue; face- shade, dark shade of blue. 86 THE AIJT UF SHOW CAKI) A\K1T1NG LAYING OUT THE INHCKIPTIOX 87 J^t.«i j;A^a?afe*Mftric ^tJKf^ 88 THE ART OF SHOW CAKD WEITING Tlu- above eoiiibinatioiih; may be alternated or varied for any of the let- ters. You will note that the strongest or brightest color is, in nearly every case, the one used for the letter. I mention this to emphasize again the impor- tance of subordinating ornamental features. ]\Ionograms may be, and should be. treated in the same manner as capi- tal letters. Poster Embellishments. — Pictures, engravings or designs cut from posters, newspapers, lithographs, magazines, calendars, etc., may often be used with telling effect. You should never overlook an opportunity to clip and save an attractive design. Suiu-ound yourself with a large and choice collec- tion of designs. Appropriate pictures should be selected and pasted on the card with flour paste or photo paste in such a position as not to interfere with the inscription. Painted scrolls, flowers or other ornamentation may then be used as a border or frame work for the pictures to bring them into relief as the design nmy require. To illustrate the many handsome effects that can be obtained through the use of clippings, note Fig. 59. The picture on this design was clipped from a popular magazine advertising a well-known cereal. The reading matter in connection therewith is quite appropriate, and the picture not only gives the design a very attractive appearance, but adds weight to the reading matter. Fig. 60 .shows a halftone of an automobile, which was also clipped from an advertisement in a magazine. Here, too, the reading matter is strengthened by the addition of the engraving. The automobile in Fig. 61 is a clipping pasted into the painted background. The effect is splendid. The name of any other automobile could be substituted for the word "Columbin." and the card used to advertise motor ears with splendid effect. Fig. 62 is another ]iretty specimen. Practice Work. — For practice purposes, provide .^■ourself with ;i ^ood grade of manilla wrapping paper. When you practice the various styles suit- able for cards, remember that show card work is not presumed to be executed with the .same careful attention to detail as that which is required for perma- nent sign work. There are several terms used by judges of good lettering to express their approval of a given piece of work, among which are the words "dash," "snap," and "character." It will, perhaps, be necessary to use these terms quite frequently, and therefore, we will first explain their full .significance. The first two terms practically mean the same thing. The last means just what you have perhaps surmised. A letter without "character" means a "shabby," "slovenly" or "tired-looking" letter, on which one or more of the .spurs do not fit (too long or much too .short, ma.vbe) — a letter whose body is not uniform (too fat or too thin in places) or which is "de- formed" (an effect easily produced through carelessness in proportion). Thus a letter, to have character, must look bold, stand erect, be graceful and well proportioned, and in everv way be a credit to itself and surroundings. Letters that are cliaraoterized as "dashy" of "snappy" must not look I^AilXG UL-T THE IA-«Cl^Ii'TiUX 89 90 THE AKT OF SHOW CARD AVKlTiXG Fig. 60 LAYIXG OUT THE IXSCKIPTIOA^ 91 92 THE AKT OF SHOW CARD WKITING LAYING OUT THE INSCRIPTION 93 like "niacliiiie-made." Printer's type gives the machine-made kind of let- tering. Type letters always look stiif and clumsy, due entirely to their exact and perfect, clean-cut proportions and the absolute precision of the outlines. The hand-made letter is usually easy to distinguish. In it, the .stiff, even, perfect lines are absent to a large extent. The less the number of strokes used in the execution of a letter, the more "snappy" it will appear, provided, of course, you do not carry this idea to extremes. To enable you to understand the full import of this, we have shown an example of "machine" or type let- ters in Fig. 63. Next refer to Fig. 64, wherein you will notice an example made by hand with a No. 8 brush. You will observe that the letters in the hand-made example are not perfect by any means. Some of the spurs are a trifle longer than others, and not as square and clean-cut as the "type" letters. The effect from an artistic viewpoint, however, is much better, as the letters have the "snappy" effect. They appear to have been executcl easily and hurriedly. All letters executed rapidly and without the careful, studied, preliminary preparation (usually seen in the work of the novice) will always passess the characteristics referred to. Try, then, to have your work "snappy." Crowd your designs chock full of "character." Give them a "dash" that will identify them instantly as the product of an expert. To have your work exemplify these character- istics, requires a knack that can only be acquired through practice. Don't give up until you have reached the highest point of perfection in brush manipulation. Do not forget, however, that the foregoing instructions may be appropriately applied only to work of a temporary nature. Permanent signs should always carry a very clean-cut and perfectly proportioned letter. Japan and Oil Colors. — Cardboard signs for outside purposes should alwa.ys be lettered with japan or oil colors. Japan colors are those mixed or ground in japan exclusively. Oil colors are mixed with oil only. Either kind may be purcha.sed in one-half and one-pound cans of most paint dealers. Japan colors dry almost as quickly as water colors and should be used only in .such quantities as may be needed for the time being. They should be thinned with turpentine. Keep a little turpentine over the top of the color when not in use. Oil colors can only be used to advantage on cardboard with a glossy surface. The glazed finish prevents the oil in the color from spread- ing beyond the letter. If oil colors are used on cardboard withoiit a glazed surface, the oil in the color will spread, thereby ruining the work. Oil colors cost about one-half as much as japan colors, and do not dry out and get hard as do the latter when they are accidentally or carelessly left uncovered. Always add a liberal quantity of japan dryer (liquid) to oil colors to insure drying. Thin with turpentine and mix only a small qiiantity at one time. Oil and japan colors emit a disagreeable odor and are exceedingly dif- ficult to remove from the hands or anything else on which they are placed, either intentionally or accidentally. We advise all who are taking up show card work as a specialty to let them alone entirely. It is seldom that you will 94 THE AKT OF SHOW CARD AVKITING be asked to exeeute a sinn on wliieh siicli colors are used. Vou will, there- fore, lost' little by followius this adviee. Mounting Cardboard. — Halt and full sheet cards, iiitendetl for indefinite service, will look better and wear longer if mounted on frames made of soft MACHINE MADE Pigr. 63 HAND MADE Pigr. 04 pine wood. Strips about V2 k^ 1 inch thick will do for the small size. For whole shi'ets the wood should be two inches by one inch. The frames should be made with mitred coi'ners. To fasten the card to the frame use sfood. LAYINCJ OUT THE INSCEIPTION 95 strong glue, liberally applied to the face of the wood. Moisten the back of the card with a clean sponge, after which give the edge of the back of the card a coat of glue. The glue should be allowed to stand for several minutes before the card is placed on the frame, to give the glue a chance to become tacky. Heavy weights may now be put on the card to keep it in place and allowed to remain for several hours. "Wetting the cards serves to shrink them. When they dry out, the surface will be perfectly smooth and taut. The frame will look more attractive if the exposed edges are given a coat of color, preferably a medium grey. Gold or silver bronze will also look well. Another inexpensive finish may be obtained by covering the frame with wall paper scraps or remnants which may be obtained in endless variety of dealers simply for the asking. Wall paper may be used for a great many decorative purposes in the work of the card writer. It is best to finish the card before it is pasted to the frame. Use care in handling, as the cards are easily soiled and torn. Keep your hands clean and thereby save lots of trouble. Circles. — Most card writers have a large wooden compass capable of drawing a circle at least twent.y-four inches in diameter. Small circles may be drawn with a regulation drafting instrument with extension attachment. In the absence of either, a perfect circle (any size desired) may be drawn with the aid of a piece of string, looped around a nail or thumb tack as shown in Pig. 65. To execute a true circle quickly with the brush, drive a pin or nail through the center of the card and then turn the card to the right and left several times until it will revolve easily. Next, make a loop at each end of a stout piece of string ; place one loop over the head of the nail ; fill the brush with color in the usual manner and pass it through the loop at the other end of the string, as shown in Fig. 65. Keep the brush in a perfectly upright position, so that only the point rests on the card. This will insure a fine, even line. While holding the bru.sh so that the string will be taut, turn the card to the left until the circle is complete. The size of the circle may be varied by increasing or decreasing the distance between the loops in the string. The size of the brush stroke may be increased by slanting the handle of the brush toward you a trifle, thus allowing the brush to rest on the side instead of the point. Border lines are ruled as shown in Fig. 66. Here also the brush is main- tained in a perpendicular position for fine lines and slanted according to the width of the strokes desired. These methods of execution are great time-savers and must be mastered before you can consider yourself adept. There are a great many "short-cuts" and tricks of the trade which will be explained as occasion requires, but, before calling your attention to another one, let us impress this upon you. To accomplish the most in the least time should be your constant aim. You can never hope to rank with the best until you have acquired the knack to do this or that by the quickest method. None of the practical methods are really difficult ; in fact, they arc comparatively simple tasks. If you are an 90 THK AKT OF SHOW CAED AVRITINC average person you will quickly master tlie most tlidieult part of your work, to-wit: How to space and proportion letters correctly. The practical part of your education is much the easiest to acquire. I'ractice will accomplish wonders. All that you need is the spirit: ""l will." You should not infer from this that years or even months of persistent effort is necessary to reach a satisfactory stage of profiency. On the other hand, you will find that the knack necessary in connection with the string methods, for instance, ean be acquired in just a few minutes of faithful practice. Don't become discouraged because you fail at the start. Don't quit Pig. 65 because you think the method is too hard. Don't .say to your.self, "I'll do it my way this time and try the right way later on." Don't make excuses to yourself. "When you think you have reached the limit of your patience, and success seems as far away as ever, you will suddenly find that the knack or ability has come to you unexpectedly, and apparently, without a moment's warning. To accomplish anything with the hands requires more or less skill. To pare a potato quickly and without waste is quite a feat and ean onl.y be accomplished through practice ; yet. how reluctant we would be to admit that we could not soon become expert at potato peelinu'. The LAYING OUT THE INSCRIPTION 97 brain directs, the eye guides and the hand performs. You can soon train your hand to respond quickly and accurately to the bidding of your brain. Don't despair, but keep everlastingly at it. Kemeniber you can if you will. Now note the position of the hand in Fig. 66. You will observe that the ball of the first joint of the finger rests against the edge of the cardboard, and that the end of the third finger rests on the top of the card very close to the edge. The second finger acts as a brace to hold the brush in a steady position. The top of the card should be raised and held in the left hand at an ani:lc df aliout forty-five degrees. You then draw the brush rapidly Fia-. 66 along the edge. Keep the brush and fingers perfectly rigid. Don't allow either to relax for an instant. The brush should be held in a vice-like grip. Just as soon as you can train your hand to maintain a fixed position you will have acquired this knack. As already related, a piece of string can be used for drawing circles, ellipses, and also for executing circles either with brush or pen. This little inexpensive article is one of the handiest things imaginable in the workroom (ir pocket of the workman. We will now explain another method of manipu- lation by which all straight lines may be quickly drawn, obviating the use 98 THE ART OF SHOW CAKl) WKITING of measurements and straight edge. This method is one of the greatest time. savers coneeivable. By it, all vertical and horizontal lines may be drawn in much less time than it takes to explain it, provided the top or bottom of the sign is straigld, thus giving it a reliable guide. This is the only requirement. All lines drawn by the string method will parallel the guide line. To use the string for this purpose, tie a loop at the end of the string, through which place a piece of crayon or pencil. Hold the pencil between the thumb and forefinger. The other end of the string should be held between the thumb and forefinger of the left hand, as shown in Fig. 67. The thuml) and fore- finger of the left band sliould be placed lieneath the edge of tlie sifin and kept in a rigid position. If the under edge of the sign is inaccessible, place the sign on a ledge .so as to form a right angle with the sign. The fingers holding the lower end of the string should now be run along, or in, the groove thus formed. Mark witli dots the points where you desire to draw the lines, and then begin at the left side of the sign, keeping the string taut and moving both hands simultaneou.sly to the right. The string must be kept perfectly perpendicular, otherwise the line will .sag to the right. Shading". — Tf you Avill study the shading on the letters in many exam- ples in these lessons you will observe that some of the rules you have been LAYING OUT THE IXSCElFTlUX 99 taught have been slightly violated. This is particularly true of the angles, very few of which are absolutely the same. The ditference is very slight, however, a.s are all other errors in the execution of the shade. I have said that absolute precision in card work is not necessary. This applies to the shade as well as to the letters and all eiiibellishnionts. To execute a shade correctly on some letters (exactly as the rules prescribe) requires more time than to execute FiPT fiS the letter itself. Our object is to get a good elfect without unneessary work. If you will refer to Pig. 68 you will notice that tlie shade between the letters il and A is disconnected. This .shade was made with a flat brush with one stroke. To join it would necessitate several strokes for it would .f1 Vig. 69 be ssaiy, on account of the narrow spaee between the lower extremitise of the letters to use the point instead of the side of the brush. Such liberties are legitimate, and, if not carried to extremes, tend to give a piece of work that "dashy" appearance to which I have previously referred. Shading ■should always be done with single strokes as nearly as possilile. TTse the .side of the brush. Spread the brush so that it will come to a flat or square edge. 100 THE AKT OF SHOW CAED WETTING ^Vllen the space between the letters will not permit of the full width of the laush, do as illustrated in Fig. IJl^. AH horizontal and vertical shades may easily be executed with one stroke. Where the static is continuous as on the letter / in Fig. 69, both the vertical and horizontal strokes may be executed without removing the brush from the surface. A shade is a great help to a poorly written letter, as it serves to hide a great many imperfections that would otherwise be very noticeable. The relief shade is the most appropriate for all kinds of temporary work. A very liberal .space should be allowed lietween the letter and the .shade. Compare Figs. 70 and 71 and note how much better the effect is when the shade is set well away from the letter. Soap Lettering' on Mirrors. — Very effective work can be done on mir- rors with a piece of connuon laundry soap (brown), and the work can be removed quickly without damage to the gla.ss. Cut a strip of soap about two inches long, one inch wide and one-half inch thick, and then sharpen one end to resemble a w.edgc. The gla.ss nuist be i)erfectly clean. U.:o the soap in exactly the same manner as the flat brush or pen. Considerable pressure is necessary. Sharpen the point freciuently. Fis 70 Stencils. — The stencil is a \ery eticctive time-saver when large quanti- ties (if cards bearing the same inscription are desired. It is used only for the largest letters in the inscription as a rule — those that cannot be executed rapidly with a single .stroke. The .stencil is made as follows. Take a piece of tough, medium-weight manilla paper the size wanted and give both sides a liberal coat of boiled linseed oil. When the paper is thoroughly saturated, allow it to dry for at least twenty-four hour.i. Then mark out the entire design on the prepared paper with a hard lead pencil. Next cut out the letters as .shown in Fig. 72. The parts that are not cut out are called "ties." These are necessary to strengthen the weak parts of the pattern. The cutting is done with a good steel laiife-blade sharpened to a fine point. Cutting into or through the ties should he avoided. When the stencil is cut, coat l)oth sides with orange shellac. Then place the stencil on the card in the desired position and fasten with thumb tacks. To apply the color use a LAYTXa OUT THE iiNSCElPTlON 101 luuml, .short bristle brush. Dip only the end of the brush into the color so as to keej) the t-uhn on the outer surface of the brush. The color should be luueh thit-ki-r than required for lettering purposes. Pounce the brush up and down on the stencil until the exposed cardboard is completely covered. The secret of success is the handling of the brush and color. If the color is too thin, it will extend beneath and beyond the edges of the letters. This will also be the case if the color is applied too liberally. When the stencil is removed, the blank spaces caused b.y the ties may be touched up by hand. Stencils are of no practical value to the card writer ynless a large number of signs (all alike) arc wanted. A small niniibcr can easily be exe- cuted by hanil in less time than is retjuired to make tlie steneil. Pig. 71 Cut-Outs. — Another method that may be used to facilitate the viork of the card writer, when several cards alike are desired, is somewhat similar to the stencil plan. This method, however, is only used to mark out the guide lines quickly. For this purpo.se a pattern, called a "cut-out," is used. The method is very clearly illustrated in Pig. 73. The sample card is fii\st written, after which you place a piece of tissue paper over the design and mark thereon the exact position of the lines representing the limits of the lettering. Then place the tissue paper on another card the same size as the sample and trace over the lines with a hard pencil. The indentation made by the pencil may be plaiidy seen when the paper is removed. The space showing the position of the lettering is then cut out with a sharp knife as shown. You may next place the cut-out on any number of cards and make a duplicate of the pattern by running a soft piece of charcoal around the edges of the cut-out spaces. This method is pojinlar because it insures uniformity in all duplicates and also because the pattern can be made in a few moments. Plain Cards.— In Fig. 74 is illustrati'd tiie most papular style of card for commercial v.ork, i. e., v.hite witli black lettering. It is the most suitable for any line of business, and can lie depended upon to give satisfaction nine times out of ten. Plain cards are the most desirable. Black and white is the sti'ongest contrast obtainable. The main thing to look after in all classes 102 THE AKT OF SHUW CAKD AVKITING of sign work is legibility. This requirement is often neglecteel. Rarely indeed will you hear a customer complain because your work is too plain, or because of an absence of ornamental flourishes. A sign that cannot be read at a glance hardly deserves the name. Very few are attracted by ornate features on a piece of work. No matter how nicely a card is lettered, it can be rendered absolutelj' worthless by a superfluous amount of scroll work. Be very conservative in the matter of fancy lettering. Study the examples herewith and you will observe that the fancy letters are used almost exclusively in the small or unimportant lines. Fancy combinations of letters are not the most telling by any means, although something de])cnds upon the purpose in view. A card advertising your own business (card writing) might quite apjiropriately be very decorative — much more so than that of a dealer in dry goods or groceries. Fig. 72 Again, the surroundings should always be considered. Suppose, as an example, that you are requested to make a card to be used in connection with a display of artists' materials or millinery. The lettering should, in any case, be very legible, but you could carry the ornamental work almost to extremes without any fear of criticism whatever. Furthermore, the elaborate character of the ornamental w'ork would be in keeping with the surroundings, and perhaps also in harmony with the inscription. To recapitulate: the general tendency of all sensible letterers is to suji- press ornamentation and avoid unnecessary details, keeping Init one ]ioint in view, viz., pure simiilicity. Always remember those who will be asked to read your signs — the public, ^lake your signs legible. LAYING OUT THE INSCRIPTION 103 i ry Our Delicious SODA Fig. 73 VIII What to Charge The average beginmT is just as much in the dark as to what his work is worth, wlien completed, as he is with the various other subjects in this business. In truth, few scholars have the faintest idea as to what to charge for their services. The general tendency is to quote too low instead of too hi<>h. As a large majority of stutleuts are capable of executing a satisfactory piece of work for a bona fidv purpose before their training is completed, this is just the time and place to refer to thi.s very important matter. Before the author had been fairly started in his chosen vocation, his esteemed employer gave some wholesome advice which has never been for- gotten. Tt was very terse and contained a world of meaning. This is what 111' said: "Always be sure to charge enough. Kemcmljcr it is easier to come dnwn than to go up." This is a very old saying, and like most old sayings, full of sensible advice. Learn it by heart and never let it slip your memor}". It means just this: IMacc a value on your work that will give you a satlsfdcfuri/ profit; one cnmmensurati' with your ability. If necessity reciuires, you can always modify your cliarue a trifle. Init you will find it an exceedingly ditlicrit matter to advance the price, if, through an. error, due either to ignorance or careless- ness, you make your fir.st price too low. Many diplomatic and logical excuses may br ( ffered in defenre of the high price; but few for the low. A fixi d scale of prices to govern all kinds of sign w(irk has been adopted in some places, but the result.s have been far from satisfactory. If space permitted and it seemed necessary, it would be possible to name one hundred good reasons why the product of the sign painter cannot be catalogued and listed till' same as most manufactured articles. Attention is called to the most imi>ovtant i-easons, the first of which is this: The inscription cannot he forrtdhl. The actual time necessary to execute, cannot, therefore, be pre- dieti'd imr rstimated. Time is the most expensive item in the cost of any piece of woi'k. Tf signs were divided into classes, that is, made only in regula- tion sizes to carry a certain number of letters and finished in a pre-arranged manner, it would be an ea.sy matter to solve the price problem. But this is not the case, and perhaps never will be. The price of anythiim- made by hand must be governed by the time 104 WHAT TU CHARGE 105 SHOWI>fC3- WRAPS GOWNS <^EA€ON 1808 -'09 L. <3^s£ 'I^crenrec// Ja^AianaI>/e OATS IMSPECTION j IIH-VITED. 1 wMIe they last 50 -J 'I Fig. 74 106 THE AKT OF SHOW CAKU AVRITJNG required to mauiifaeture it. The materials are a secondary consideration iu nearly every t-ase. Signs exist in endless variety. Hardly any two are alike. " Scarcely any two carry the same reading matter. Seldom will the size of any two agree. Very rarely is the finish the same. Sign.s are painted on almost every conceivable material. They are made in all kinds of shapes, in nearly every size imaginable, on every surface possible to paint. Thus it is very difficult to estimate the cost of a sign until you arc in po.ssession of complete and explicit details relative thereto. With the card writer the price problem is not so serious for the reason that the work is not so varied as that of the sign painter. In the first place, the materials used are nearly the same the year round and the sizes are limited. The cost of material is, comparatively, an uniin])ortant item, and, therefore, when you have learned to estimate the probable time necessary to execute a certain word, a certain size, you will need no advice from anyone thereafter, as you will then be able to judge the time necessary to execute any ordinary inscription. Now remember this: Charge for your ability — not for material. It is not meant by this that you should ignore the cost of material, but rather, that the card and all other more or less expensive eml)ellishments, such as flitter, artificial flowers, etc., are but trivial items as compared with your time. Insist upon a written copy in every in.stance. Never estimate the cost of a sign until you know the reading matter that is to be placed on it. Decide on a just remuneration for your labor and stick to it. Good workmen get good prices. Wherever this rule does not apply, there will be found a mitigating reason; usually uvrrlinhiJiftj. Cheap prices and cheap workmen can usually be found linked together. You cannot hope to obtain all your work is worth through quality alone. There are other things to be considered. The first is promptness, which really means reliability. You will learn very soon that the world is full of people ready and willing to pay, and pay well, for }•< liable service. Business men will not tolerate excuses. They insist upon a close adherence to promises. Be prompt. Never disappoint. Don't make a promise that you cannot fulfill. By co7nbining good work with reliable service you are in a position to ask more, and reasonably expect more, for your product. Now, as to a fair price for your work at this stage of your studies, it is unnecessary to state that the novice cannot reasonably or consistently expect to charge as much per hour or per day as the expert, because of the fact that he cannot accomplish as much in a given time. Therefore, until you have acquired the average speed, it will be necessary to govern your charges accordingly. Thus, if the expert is remunerated at a certain rate per hour, your labor would be worth one-half, one-quarter or one-third as much accord- ing to the skill you have developed. This is a matter I must, thei'efore, leave entirely to your own judgment. ^Members of the lettering fraternity are agreed that .$1.00 is a fair etiuiva- lent for an hour of work. This remuneration is based on steady employment and a business of your own. Tt should not bo confused with an equitable WHAT TO CHARGE 107 wage, which is only about half of this amount, thereby allowing- for tixed expenses and a fair protit on your labor to your employer. A piece of work that requires an hour of your time is thus worth $1.0U; one-half hour, $U.5U ; one-quarter hour, $0.25. The. latter price is the limit to which the rule may be pro-rated. I have always contended that it was worth at lea.st the modest sum of twenty-five cents even to prepare for a certain piece of work. This means that you should make it a rule to obtain at least this amount for anj' piece of work irrespective of style, inscription, or purpose. If your customer is not inclined to agree with you, make no ehaige whatever, but present it to him with your compliments and try to make up the small loss at some other time when it will not be noticed. The smaller the .job, the greater the price should be proportionately. There is but very little difference in the time required to execute a word on a small or a large card, thus the small card is worth as much or nearly the same as the large one. This brings us right back to the beginning of this subject, "Charge for your work and not for material." Cards for ordinary business purposes iiveruge about the same all the time. Thus you could safely undertake to make all the cards desired by a certain firm or individual for pre-arranged price per sheet or fi'action thereof, with the proviso that the style is uniform, or, as mutually agreed upon. The cards shown in Figs. 12 and 16 represent the plain or average kind. These may be contracted for in advance, regardless of the probable inscription, for the prices given below : Full Sheets $ .75 Half Sheets 50 Quarter Sheets '25 Eighth Sheets 15 These prices are based on quantity lots (not alike) ; that is, on the assumption that you are to receive a certain amount of work in a specified time. You should ask the transient or occasional buyer about twenty-five per cent, more than the steady or regular customer. The prices above represent the minimum. They are as low as you can execute any kind of satisfactory work and make a fair profit. You now have something to guide you. This is as far as we can go into this subject for the reasons previously given. Fancy signs are worth just as much more in proportion to the work and material necessary to produce them. In addition to the explanation of the examples in the following pages, we have placed a value on each. If, after reading the preceding advice, you are .still in doubt as to what to charge for a certain piece of work, compare it to a similar one herewith and charge accordingly. The price problem will not worry you for a great while. You know what your ability is worth. You also know better than anyone what you will be satisfied with. Don't be a clicap man. IX Examples and Methods Plain Cards. — On Fig. 74, you will find four cards illustrated represent- ing the limit of simplicity. Note how nicely they read and how the orna- mentation is subdued. These cards are those referred to as the "average" kind. They are done in black and gray exclusively. The illustrations are exact duplicates of the originals, both in style and color. The small lettering was executed with a No. 8 show card brush, and the large lettering with a No. 12. Gray is a combination of white and black. A M-arm gray can be obtained by adding a little red to black and white. Blue and white, with a little red added, also makes a very handsome gray, or neutral tint. The shading you will note is done exclusively in the relief style. On Fig. 75, are four examples showing the efifect that nuiy be produced by using various colored cardboards. These cards are also the ])lain or average variety. Observe particularly the card with the black ground and pure white letter. Note the absence of ornamental work, and the strong contra.st. Some firms iise this style of sign exclusively. Others select the plain white card with a pure red or black letter, without ornamental embellish- ments. Your attention is called to the large, "roomy" margin that is .shown in these examples: and. in fact, in nearly all other examples. The combina- tion of colors shown in these cards, i. e., white, black and gray, produces a very neat and dignified appearance. This combination can always be used without fear of criticism. It is, therefore, very popular. In the "Chil- dren's Wear" sign, the bright red could be substituted for white in the upper line. This would tend to attract attention and give more prominence to the display line. The underlining on the "Fashion" sign, if done in I'ed, would serve to emphasize or give force to the inscription. Presuming that all of these examples represent full sheets their commercial value would be 75 cts. each, and parts of sheets as previously quoted. Poster Embellishments. — The pictures on the examples in Fig. 60 (including the "Auto" on the "Columbia" sign) were clipped from maga- zines and newspapers. They not only enhance the artistic eflPect, but convey a very clear idea of the inscription. The style of the "Columbia" sign .suggests the use of black, white and blue only in order to obtain tlv cold effect that predominates throughout. The center of the letters in the word "Columbia" could, however, be shown in a bright red with effective results. Blue would harmonize with the surroundings as it is a cold color. 108 EXAMPLES AND METH(_)Ln !09 r »st ■if^ ic^ r J g.3 1 a. D 3 I ■ no THE ART OF SHO\Y CAKl) WRITING EXAMPLES AND METHODS 111 Fig. 77 112 THE ART OF SHOW CAKD WRITING EXAMPLES AXD METHUUS 113 Fig. 79 114 THE AKT OF 8H()W CARD AVKITIXG The oruamental features in the "Toggery" sign, if done on a grej' ground, should be either a light shade of grey or a very light shade of green. A blue-green outline around the lower paiiel would look well, provided the lettering is done in bright red. A pretty shade of light green can be obtained by adding just a small amount of chrome green (light) to pure white. IMue-grecn i.s a iiiixture of blue and green. This can lie toned with white to obtain lighter shades. The "Outing" sign should.be done in warm colors — these suggesting the summer r.ionths — an orange letter outlined with white would look beautiful. For the bhiek ornamentation shown in the example, substitute a dark brown, and for the remainder of the ornamentation use a lemon yellow. Light green is suggested for the small lettering. Lemon yellow is a mixture of chrome yellow (light) and white. Brown is made by combining red and black. These examples represent the first .step beyond simplicity. The addition of the 1)0 -iter embelli.shment makes them worth a little more than the plain variety; full sheets (plain poster embellishment"). -$1.00; halves, cjuarters and eighths in proportion. Figs. 76, 77 and 78 .show tlie extremes to Avhich the poster idea may be carried. : Thc-e dc-igns are very elaborate, and therefore suitable only for rare oeeasior". The pictures on these examples were also cut from news- paper advertisements and ])astcd on the cards. The "Clothes" example worild look very hnndsome if executed in various shades of grey, black and white, or in other word^, exactly like the cut. Yarioi;s shades of blue could be .substitr.ted •"ith equal effectiveness. The "Duds" and "Spring" signs could be treat(Yl in a like manner. Signs similar to these are worth not less than sf'LSO each. The example .shown in Pig. 59 is a very beautiful specimen. The picture was clipped from a popular magazine. This example illustrates the splendid effects that can be obtained by the use of appropriate posters. Kaised Panels. — Raised panels give the woik a veiy artistic appear- ance. Such panels may be either pasted onto the card or secured with brass fasteners, as illustrated in Fig. 79. When a panel is u.scd. you should be careful to combine the colors harmoniously. Two shades of the same color are the most suitable. Thu.s a dark grey on a bliiek card wov.ld he a good combination. Also a dark green on a light green: light blue on dark blue: bright red on dark red, etc. Panels may be either very plain or ornamental in design, as illustrated in Figs. 80. 81. 82. 88, 84 and 85. Rai.sed panel cards are Avorth about the same as those decorated with posters. Wall Paper Decoration. — Wall paper can be used in all manner of ways for the decoration of cardboard signs. There is but one precaution that sliould h:' olisci-vcd, and that is to to select light colors. Unless you are careful to observe this precaution the ornamental work will overshadow the iu.scrip- tion. The examples shown in Figs. 49 and 50 are thoroughly representative of what may be nccomiilished by this method. In a previous article it was explained 1'ow thr jiaper should Ite pasted onto the card. The prices you EXAMPLES AND METHODS 115 116 THE ART OF SHOW CAED WRITING EXA.AIPLES AXD AIETHODS 117 118 THE ART OF SHOW GAEL) WRITINc; Fig. S3 EXAMPLES AND METHODS 119 120 THE AKT UF SHOW CAKD \VL'iTlX(! EXAMPLES AND METHODS 121 should obtain for this style of work woukl be the same as those for poster pmbellishmcnts, as the method is almost identical. Blended triound. — The effect shown in Fi^- ^'i is called blended or tinted ground work. There are several ways of producing this effect. For fine work, the air brush is the most suitable. The ordinary way is to place a little dry color on the card and then, with a wad of cotton enclosed in a piece of cheesecloth, rub the color briskly in a circular, vertical, horizontal or zig-zag direction, according to the style of decoration desired. If the cardboard is smooth and the color is perfectly dry, it is possible to ol)tain a very even, smooth effect. Some colors are much stronger than others. Just a little experience will demonstrate the quantit.y to use. Another method is similar to the spatter work method, which will be explained later. The ground-work should always be very light ; in fact, it is impossible to make it very dark by this method. You can obtain very beautiful effects by com- bining several colors. Thus a combination of prussian blue, chrome green and chrome yellow will make a very attractive effect. Tinted ground cards may be classified with the poster variety, relative to price. Mat Borders. — Figs. 87 and 88 illustrate the handsome eft'ect that may be obtained through the use of heavy mat borders. The inner card is pasted onto the back of the mat jind can, therefore, be removed from time to time and other cards substituted. Mat borders make an excellent frame-work for the card and give to it a very substantial and durable appearance. In Fig. 88, the corners are decorated with raised work. This raised effect is obtained by the use of the air pencil. This is another method that will be fully explained hei-eafter. A proper combination of colors should always be kept in mind the same as explained for raised panels. Some card writers furnish mat frames to their regular cu.stomers without charge, or, in other words, loan them only. When sold outright, add enough margin above cost to give you a fair profit. If they are embellished or decorated, charge pro- portionately. Spatter Work. — The dotted or spattered effects shown in Figs. 89 and 90 may 1>e obtained by two methods. You will notice that the backgrounds of the examples are covered with specks or dots of various sizes. One method is to use an old tooth brush. This you dip into color and then shake the brush until it does not drip. Hold the brush with the bristle side within six or eight inches of the card. Now draw a small stick (a match or a tooth- pick will ansAver) acro.ss the bristles. You repeat this until the entire sur- face, or such part of the sign as you desire decorated, is spattered. In Fig, 90 an old piece of lace curtain was fastened to the card with thumb tacks after which the above method was used to ol)tain the effect illustrated. Leaves, let- ters or any other design may be cut from heavy paper and laid flat on the cardboard. The other method is as follows : Use an old tooth brush, as .stated above, 322 THE Airr (_)F .SllUW L'AUO AVKlTlXtJ 4 Dry (BohojL EFFE0T EXA^MPLES AXD METHODS 123 T- rat /'jSosDc^ L^y ^m, sfS9«w*w<«^»i(«a^®5S Fig. 87 124 THE ART OF SHOW CAKL) AVKITIXG EXAMPLES AND METHODS 125 126 THE AKT UF SHOAV CAKD WKITING BOia^BHHHqB 1 EXAMPLES AXl) METHODS 127 PEN KNIFE /ecoranon^ ife_ . - Fig. 91 128 THE ART OF SHOW CAKD WRITING EXAMPLES AND METHODS 12!) but instead of a stick, substitute a piece of ordinary wire window netting. Dip the brusli into the paint and then draw the bristles across the netting. These methods are very inexpensive and the effect can be produced by anyone after a little practice. The time necessary to execute a card in this manner ought to be about the same as for raised panel and poster embellishments ; hence, the price should be the same. The colors for spatter work should be selected according to the foregoing advice referring to blended grounds. Pen Knife Decoration. — The effect shown in Fig. 91 can be produced by fir.st sketching the design desired on the cardboard with a piece of soft char- roal, after which run the point of a sharp knife along the outlines of the design very lightly. The blade should not be allowed to penetrate the card more than the smallest fraction of an inch — just sufficient to lift the glazed surface a trifle. This is a novel and very attractive style of decoration, and, like the others previously explained, can be accomplished without much trou- ble or time and with little preliminary practice. Cards of this style should be quoted at the same rates as the raised panel variety. Diamond Dust Decoration. — Fig. 48 is an example of diamond dust decoration. You will observe that the letters have been done in grey. This was necessary in order to give prominence to the diamond dust in the cut, and not to obtain the best effect. Diamond dust will always show to the best ^ Ma. m advantage if the lettering on which it is placed is pure white. The white letter adds to the snow effect. Diamond dust on white produces the appear- ance of erystalized ice. Blues and greens are the most suitable colors to use in connection with this material for card work. This is because both are cold colors and thei'efore harmonize with the general effect. Diamond dust deco- ration may be classified the same as knife decoration and charged for accordingly. Fig. 92 shows a design for a Christmas card withoiit diamond dust deco- ration. This card could be made more attractive by pasting a picture of Santa Claus in the panel where the date is now shown. By edging the holly leaves with diamond dust, the effect would be very realistic. A color com- bination for this example is as follows: Background Very light blue. Lettering Ultramarine Shading White. Border Gold. Holly Leaves Light shades of green tipped with diamond dust. Berries Bright red with high lights of pure white. i;io TH1-: ART OF SHOW C'AIM) WKITIXG [ > \ .'« • < ^ \ --H-^ L_. EXAMPLES AND METHODS 131 Pig'. 93 illustrates a handy device for applying mucilage to cards that are to be decorated with diamond dust, flitter, etc. The cut is just one-half actual size. The instrument is a glass tube with a small opening at one end through which the mucilage flows freely but slowly. The adhesive may be a]iplied much quicker and more accurately with this instrument than with the brush. Air Pencil. — Fig. 94 is an example of the work that may be accom- plished by the use of this simple little instrument. You probably have but a vague idea of how the rai.sed letters are made. It is very simple after yon know how, nuich like anything else that puzzles you. The air pencil is illus- trated in Fig. 95. It is simi>ly a large rubber bulb with a nozzle (funnel- shaped) attachment. You fill the bulb with a mixture of whiting and glue. A little experience will demonstrate just the proper consistency to have the mixture. If too thin, it ^V'ill run or spread: if too thick, it will refuse to flow from the point of the funnel. After the bulb has been filled with the mixture, screw on the nozzle, and it is ready for use. First mark out the ornamentation and the letter lightly. You then hold the bulb in the palm of the right hand and regulate the flow Fig. m of the composition by the pressure on the bulb. Signs made in this mannei' are exceedingly attractive and excite considerable comment. The composition may be decorated In a variety of ways. When this is done, diamond dust, flitter or bronze, etc., should be applied before the composition dries. After it is dry, dust ofi^ the superfluous material. The air pencil should be thor- oughly cleaned with warm water after using. Various tints or colors may be made by mixing dry colors with the com- position. The work may be done on wood or glass or any other surface. The air pencil is manipulated almost exactly the same as an ordinary pen or lead pencil, the letterinnr being produced wholly by pressure on the bulb in the hand of the operator. The work is fascinating and may be executed vei\v rapidly. The air pencil is u.^ed for other styles of decorations, such as raised work on flower pots, vases, picture frames, etc. The material is very inex- pensive. Whiting (the compound) can be purchased at three to five cents per pound. This .style of work is worth about the same as plain cards. Atomizer Decoration. — The examples shown in Figs. 96 and 97 repre- sent work produced with the aid of the atomizer. By comparing these exam- ples with Figs. 102 and 10,3 (air brush work), you will notice a decided dif- ference. As previously stated, the atomizer will not begin to produce the 132 THE ART OF SHOW CAKD WRITING results that, may be obtained with the air brush. The method of procedure is exactly the same as for spatter work, i. e., cut out the design desired and secure it to the cardboard, after which spray the backgrouud with ink. Card> made by this process are worth about double the plain or average kind. Perforated Signs. — Perforated signs may more appropriately b( "tranpsarcnt " signs. They are designed especially for night display will, however, serve the purpose of the average card for day display. called They Card's «>&**!&»" liMg. Of, of this kind are made as follow^ : First letter the card in the usual manner, just the same as though it were intended for ordinary purposes. When it is finished and dry, punch holes in the letters, through the cardboard, as illus- tratetl in Fig. 98. Dies of various sizes are used for this purpose and may be obtained from any hardware dealer. The card should be placed on a solid foundation while the holes are being cut. When the perforations are made, you then paste colored tissue paper over the back of the card. Foil paper in various colors may also be used. The sign is placed in a conspicuous positimi and a strong light put back of it. At niuht the i>erfoi-ated letters and figures will appear to be illuminated. EXAMPLES AND METHODS 133 Full sheet cards with an ordinary amorint of reading matter are worth $2.00; halves, quarters, etc., in proportion. It is not advisable to perforate all the letters; simply those that represent the display or important part of the inscription. (See Fig. 98.) Artificial Flowers.— Figs. 99, 100 and 101 illustrate, better than can be described, the very beautiful effects that may be obtained through the use of artificial flowers. The examples speak for themselves. Artificial flowers are very inexpensive. In the examples, a bunch, or nearly a bunch, is used to decorate each of the specimens. This, however, is unnece.ssary. A bunch can be used to decorate several cards, thus reducing the expense. It is super- Fig. 97 tluous to add that they may be used effectively on any style of card. This being the case, simply add the cost of the flowers and the time required to put them on, to ascertain the price. Air Brush. — The air brush, illustrated in Fig. 44, is still in its infancy. Its growth has been slow on account of its novelty. It is now used for all classes of designing. The air brush handles all liqi^id colors and distributes on every surface. In addition to card signs, it may be used for coloring maps or geological .surveys ; also in decorations on silk, china, porcelain, glass, albumen, etc. It is recognized as a legitimate tool for the artist. The me- chanical contrivance will furnish a constant, uniform current of air for carrying the liquid color, and the means of controlling this current is oper- 134 THE AET (.)F .SH()W CARD WEITIXG J EXAMPLES AND METHODS 135 atea by the slightest pressure of the thumb and tlio least movement of the hand or wrist of the artist. The color is thrown on the surface with the rapidity of a jet of com- pressed air. The air brush has heretofore been used almost exclusively by portrait artists and for applying lithographers' ink to stone. ^There is no liquid pigment which cannot be applied with it. The work done" by the air brush possesses diffusive qualities, naturally inclining to soft outlines, and a shadow produced by it, however deep, is transparent in itself, being illumi- nated b.y minute interstices. The air brush, by its wonderful rapidity, ren- ders practical and immediate results possible. Figs. 102 and 103 are excellent examples of plain air brush work. To obtain similar eft'ccts, it is first necessary to cut out a pattern of paper or cardboard and attach it to the surface in the manner described for spatter work. You are then ready to use the air brush. There is scarcely any limit to which the shading may not be carried. You will observe that the letiers appear to stand right out from the background. Delicate shading may be accomplished with the air brush much quicker and more effectively than by any other method. It is a very difficult matter to give an adequate idea as to how to charge for work of this kind. All depends upon the design. Flower Designs. — Fig. 101 illustrates a large number of practical flower designs. It will require but a glance for you to note that they are not by any means exact nor correct floral specimens. They are designed with but one object in view; i. e., speed and effectiveness. You will note also that there is an entire absence of detail and shaded effects. A spray of flower decoration always adds to the appearance of any piece of work. Fig. 105 is a plain example of flower decoration and Fig. 106 a more elaborate design, showing how some of the examples may be used for decorative purposes. Ribbon Designs. — Ribbons are used very frequently in the work of the card writer. To have the greatest artistic and commercial value they should be devoid of straight, accurate lines to a certain degree. The examples show-n in Fig. 107 give an excellent idea of the effect that may be obtained without shading. Ribbons may be twisted and curled in endless shapes and designs. Have them graceful to an extreme. Avoid straight severe-looking lines. Fancy Capitals. — The fancy letters illustrated in Figs. .57 and 58 are surrounded with ornamentation of a practical sort. The word "practical" in this sense means easy to duplicate and execute^. It is unnecessary to state that any of these lestters may be transposed, or their position changed, with equal effectiveness. Thus the A, if placed on the panel whereon B is now shown, would look fully as well. Fancy capitals may be used with good taste in most inscriptions. By softening, or .subduing, the colors used for the background or ornamental work, the effect will always be equal to the example shown in Fig. 108. 136 THE ART OF SHOW CAED WRITING Fig. 09 EXAMPLES AND METHODS 1.37 J Pig. 100 138 THE AKT OF SHOW CARD AVKITING J JilXAMPi.Ji,tS AND METHODS 139 Matliesori Cuts on this pacie ftirnishrd hii courtcsii of Pnasclie Air Brush Co., CMcacio. III. Ml illustrations made entirely with the Air Brnsh and Aid of Stencil.s. Pigs. 102 and 103. 140 THE ART UF SHOW CAl^D WlJlTiXU Pig. 104 EXAMPLES AND METHODS Ul 142 THE ART UF SHOW CAKD AVKITIXG 1 EXAMPLES AND METHODS 143 144 THE AKT OF SHOW CARD WEiTiXG X Seasonable Decorations The cai-d writer who uses good taste and judgment in the selection of colors, embellishments, etc., can depend upon his efforts being appreciated and liberally rewarded. Few card writers seem to have a comprehensive under- standing of what "seasonable" decoration implies. To make this perfectly plain, we will call attention to a poor example observed some time ago in connection with an elaborate display of hammocks. The window in wliicb the hammocks were displayed was very tastefully decorated. The arrange- ment of the articles was designed to create a feeling of contentment and ease. In the window were several card signs calling attention to the goods displayed and giving prices. .In the center of the window a very large card had been placed bearing the inscription "KEEP COOL." AH of the cards were a very bright red. The effect was, therefore, paradoxical. Red is a warm, in fact, it would be more fitting to say a "red-hot" color. The skill and art of the window trimmer w-as, therefore, completely ruined by the poor judgment of the card w-riter. The card should have been white, light green or Ijlue, thus being in keeping w-ith the feeling suggested by the goods and the word ing of the sign. Examples of bad judgment similar to this can be seen daily. You should make it a rule to have your ornamental work and colors symbolical. In the following pages and examples are pointed out and explained various kinds of deconative work and colors appropriate for the seasons. January. — In northern latitudes Januaiy represents tlie montli of snow, ire and low temperature. The decoration should harmonize with existing conditions. Note the effect in Fig. 109, where the design is so simple that the time consumed in executing did not exceed twenty minutes. The land- scape effect is produced with white exclusively, ilany suitable pictures can be obtained from magazines and newspapers, especially during this season of the year. Clip them out and reproduce them, being careful to select those that are simple and easy to duplicate. The coloi's most suitable are white, black and various shades of green and blue. February. — February is not unlike January with i-egard to general conditions. This is the month of all /months with wliicli we should be familiar. The 22nd day of February commemorates the liirtli of the illustrious George 145 146 THE ART OF SHOW CAED WEITING Pis. 110 SEASONABLE DECUBATIUNS 147 THE ART OF SHOW CAED WEITING SEASONABLE DECOEATIONS 149 150 THE AET OF SHOW CARD WRITING SEASONABLE DECOEATIOXS 151 "^^^^^^^m^^^^i^mm- . clune-< Deco|i5fioi7 Fig. 114 152 THE ART OF SHOW CARD WRITING Wasliingtou. All have heard the story of the ill-fated cherry tree. The deco- ration at the bottom of the example in Pig. 110 is thus quite appropriate. The snow and ii-e effect is appropriate for this month also. March. — Thi> weather conditions in March are much the same as the preecdins nimith. This month is characterized by severe windstorms and heavy rainfalls. The examide shown in Fig. Ill is very fitting, and illus- trates a very eonunon occurrence. April. — Like most of the months of the calendar year, April is con- spicuous because it brings to mind a period in the world's hi.story with which all civilized people are cognizant, i. e., Easter, commemorating the Resur- lection. The Easter Lily (or Davis Lily) may therefore be used for decora- tive purposes. Chicks peeping from bur.sted shells and egg designs in bright colors are also appropriate and legitimate for this season of the year. Purple, lilac, violet and white are Easter colors. Fig. 112 is a handsome example of Ai)ril decoration. May. — The ceremonies that are universally ol)S(n"ved in this month, are looked forward to by every patriotic citizen of the United States. The 30th of Hay (Decoration Day) is the day on which loyal Americans pay tribute to their departed heroes. Flags, bunting, wreaths and other national emblems may, therefore, be used for decorative purposes after this month. The colors should be patriotic, i. e., i-ed, white and blue. The design in Fig. 113 is fairly representative. June. — June is known as the month of roses, therefore the style of the design illustrated in Fig. 114. Roses and, in fact, flowers of any kind, are exceedingly difficult to duplicate in natural colors. For card purposes, we eliminate details and shading and obtain harmonious results through the use of broad, effective strokes. June is the month when nature begins to take on new clothing. The trees bud and the grass begins to shoot from its winter quarters. At this season of the year, nature may be appropriately represented by a medium shade of green. Later on, the folia.ge, grass etc., assume a darker shade of green. Green is the complementary color of red. Jlost roses are red. Therefore, red and green may be used very appropriatly for the month of June, July. — "We all know what happens in July. Some of us know to our sorrow. July in most parts of the United States is given over to a general celebration of a great national event with which all of us are familiar. The shield, the eagle (the national bird), the American flag, all sorts of explosives (firecrackers, torpedoes, etcl, such as are used to give vent to our enthusiasm, may be classified as legitimate decorative designs for the month of July. The colors must be in harmony with the decoration, red, white and blue. Fig. 115 is an appropriate example. S>L\SUNABLE DECORATIONS 153 154 THE AKT OF SHOW CARD WRITING Fig. 116 SEASONABLE DECUEATIOX 155 156 THE ABT OF SHOW CARD WKITING SEASONABLE DECURATlUX 157 158 THE ART OF SHOW CARD WRITING SEASONABLE DECORATION I5f) August. — August has been appropriately termed "vacation month." This and the following month represent the time of the year that is usually devoted to recreation b.y those who can aiford it. Boats, giuis, fishing rods, books, hammocks, fans and other articles that conduce to rest, recreation, pleasure and similar enjoyment may be used to exemplify thi.s season as shown in Pig. 116. Cool colors are most appropriate, i. e., blue and green. September. — September marks the beginning of the cooler months. This is the month when Nature begins to disrobe. The foliage turns from a bright green to a light yellow, and from this to an orange, and then to bright red. This is the season designated as the most beautiful time of the year; the time when Nature is at her very best. In Fig. 117 is shown the effect of falling leaves. In all the designs exemplifying the various seasons, we have avoided detail and studied, laborious effects, the object being to make each example as simple and as easy to duplicate as possible. The work should he suggestive rather than exact. This idea is fully carried out in the design representing the month of September. October. — October is very similar to the montii of Septciiil)rr. The apple design in Fig. 118 is very appropriate. Of course, all beginnei's arc not competent nor capable of executing a correct drawing of fruits gathered in the fall months. Here, again, is an opportunity to call attention to the value of poster embellishments. If you cannot duplicate the fruit decora- tion in color, select and cut out an appropriate design from your collection of posters and paste it on in an artistic manner. Grapes or any other late fruit will answer. Colors for the fall months should be those given in the preceding article, i. e., various shades of brown, yellow, orange and reel. November. — November offers an opportunity for several styles of em- bellishment. In some parts of the United States, it is known as "Foot Ball" month. It is universally known as Thanksgiving month. You, therefore, have your choice between pennants, football, turkeys, cranberries, etc. This montli usually marks the beginning of winter in earnest, and, therefore, an entire absence of all bright colors in nature. Combinations of cold colors arc thus seasonable. Fig. 119 illustrates some of the features mentioned. December. — December is the month that brings joy to the youngster and more or less pleasure to all. As it is entirely unnecessary even to men- tion the style of decoration most appropriate for this month, we will simply call attention to Fig. 120, which will suffice. The most suitable colors are red and green. In naming the colors appropriaite for the various months, we have made some statements, such as "combinations of red and green." which may be misleading. Where certain colors are designated (red and green, for instance,) as appropriate, it is not meant that you .should confine your combinations to these t,wo colors exclusively: neither is it meant that you should shade a 160 THE AKT OF SHOW CAKD WRITING red letter with green nor that you should show a red letter on a white card with green ornamentation. The colors suggested should predonmiate. Never lose sight of the fact that all ornamtntal colore should be subordinated. The combination suggested in connection with Pig. 92 will give you an exact and comprehensive undei'standing with regard to this matter. Autumn Decoration. — The example illustrated in Fig. 121 is a good speci- men of seasonal lie decoration. Here you will notice a pleasing combination of grajies and [lunipkiiis and also an absence of detail, thus rendering the execution simple and rapid. XI Panels and Tickets Fig. 122 illustrates some very handsome and attractive panel designs, all of which may be classed among the practical kind. Panels, either painted or cut out and pasted onto the card, serve many purposes in the work of the card writer. They may be used for display words or to carry the unimpor- tant part of an inscription with equal effectiveness. Price Tickets. — Price tickets exist in almost endless variety-. Thei'e is scarcely any limit to the style or design that may be used for pricing various commodities. The many examples shown in Figs. 123 to 127 offer ample opportuuitj" for the study of various effects and methods. Those in Fig. 123 illustrate the extremely plain and simple models. Blank cards, in fancy designs, such as 1, 3 and 8, can be purchased ready made. The others in this figure may be cut by hand with reasonable speed. When a large quantity is desired, however, it is not advisable to attempt to cut fancy shapes with a pair of shears. Examples 5, 6 and 7, you will observe, have a stem. These stems are used to fasten them to the article displayed. This may be done by passing the stem through the band of a hat, for instance, or in the hollow of a shoe. The illustrations are about one-eighth the size of the average price ticket. Price tickets range from a very .small size up to 12 inches square. The average size is about 8 by 4 inches. To give you an idea how price tickets may be decorated in various ways, we will suggest a combination for each (Pig. 123) in their numerical order: No. 1 Edge line, gold ; border line, gray ; letters, black. No. 2 Edge line, light blue: lettering, dark blue. No. 3 Border line, gold ,■ lettering, black. No. 4 Border, gold ; lettering, bright red. No. 5 Edge line, light green ; letters, red : shade, lisxht green. No. 6 Edge line, red : lettering, blaek. No. 7 Edge line, gold : lettering, dark blue. No. 8 Border lines, gray; shade, gray: letters, black. No. 9 Border line, lilae : letters, purple. No. 10 Border, light green; letters, dark green. No. 11 Return, light green, border line, light green: letters, bright red ; shade, gray. 161 THE ART OF SHoAV CAKJ) AVEITING PANELS AND TICKETS 163 164 THE AET OF SHOW CAED WEITING ^ — /^i ,f. \>^ '-i^'- i.. *' Ai.,.Ala». » PANELS AXI) TICKETS 165 l() "Wall paper, two shades of olive green ; lettering, white ; numerals shaded with dark green ; letters underlined with bright red ; border line inside, light green ; outside border line. gold. No. C> Light gray card ; w-all paper, two shades of red ; let- tering, white : letters underlined with gold ; numerals shaded with black; border lines, gold. Xo. 7 "White card : wall paper, lemon yellow ; lettering, dark blue ; numerals shaded with old gold ; let- ters underlined with old gold ,■ border line, gold. The examples shown in Pig. 126 are much more elaborate than those previoiisly illustrated. They are specimens of raised panel effects : No. 1 Light blue card; ]ianel, white; edge on lower card, gold ; edge on panel, gray ; lettering, blue ; shade, gray. 168 THE AET OF iSHUW CAKi) AVKITING PANELS AND TICKETS 169 No. 2 Under card, dark gray; panel, light gray; border lines, silver; numerals, raised and decorated with gold ; lettering, white or blue. No. 3 Light green card ; border and scrolls, gold ; panel, covered with dai'k green wall paper; letters, white ; border lines, black. No. 4 Lower card, white; panel, dark gi-ay; letters, blue; outside border line, black ; inside border line, gray. No. 5 Lower card, lilac; panel, dark blue; ornaments and border lines; gold; lettering, white. No. 6 Lower card, dark red; panel, covered with light green wall paper ; scroll and border, gold ; letter- ing, dark green, outlined with white. No. 7 Lower card, dark blue; panel, white: border, light blue; lettering, dark blue. The examples in Fig. 127 consist of air brush and embossed specimens. Those in 2, 6, 7, 8 and 9 are specimens of pure air brush work, while 1, 3, 4 and 5 are combinations of embossed and air bru.sh effects. These cards can be purchased in quantities from the makers at very reasonable prices. The lettering on all of these examples was executed with a No. Vs solid marking pen. The numerals were executed with a No. 10 lettering brush. Price tickets are sold from one cent upward. The price depends solely on the quantity. The plainest kind of a price ticket, in small quantity lots, is worth about five cents. The average charge for plain price tickets is fifty cents per dozen. Elaborate cards must be priced proportionately. The price you pay for the embossed and air brush variety must govern your charge foi' them. Book Cover Desig-ns.— The designs that are illustrated in Figs. 128 to L39, inclusive, may be appropriately termed book cover designs. Of course, they are too elaborate for average card purposes. They may be used, how- ever, for special occasions when the customer is not particular about the price. These designs are worth from .$3.00 to ,$5.00 each, depending on the style. 170 THE ART OF SHOW CAED ^\■K1T1NG PANELS AND TICKETS 171 172 THE ART OF SHOW GAEL* WRITING PANELS AND TICKETS 173 174 THE ART OF SHOW CAKD AVIJITIXG PANELS AND TICKETS 175 176 THE AET OF SHOW CARD WEITING PANELS AND TICKETS 177 178 THE ART UF SHUAV CAKl) WRITING PANELS AND TICKETS 179 iSd THE AL>T OF 8HUW CARD WRITIXO PANELS AND TICKETS 181 Fig. 13S 182 THE AKT OF SHOW CARD WEITING XII Show Card Phrases Some lines of business will stand for flippant ad-talk; some demand dignity of style; some, convincing argument. In the selection, good ad-sense is demanded. "Light humor," like fire, is a dangerous thing to handle. The fellow who tries to be witty is often only foolish. Sensible talk appeals most to sensible buyers. Therefore and wherefore, study your customers; then study your ads; and finally, studj- them over again before posting your ad. Don't write ads over the meaning of which people have to puzzle. It's ad-space wasted. Only idle people have time or inclination to guess conun- drums or study riddles, and usually they haven't the price. Under Poster EmbeUlsInncnls we referred to the practice of up-to-date card writers of clipping pictures, cuts, etc., from magazines, newspapers and periodicals from which ideas can be obtained and improved. This same idea can be applied to "catch phrases" or "headings" .suitable for card signs. Watch the work of your competitor. Look over the advertisements in the daily papers. Observe the headings used to attract attention. Clip out the good ones and save them. "While, as a rule, the merchant will supply the inscription or reading matter, at times you will be asked to prepare "copy" and you must be ready for such an emergency. To help you to this end, we have selected a large number of witty phrases — all .short and to the point — from which you will be able to select something appropriate for most any occasion. These phrases are not all original. Men's Clothing'. — Manning Modes for Little Men. Paj' .$13.50 for one of these Suits and Congratulate Yourself. Next to Your Ability Comes Your Appearance — These Suits Make You Look Smart. Coats That Have Been Built for Fine Taste. To the Other Virtues of These Suits We Have -Just Added an Extremely Low Price. Suits That Will" Easily Prove Their Intrinsic Worth— Re- duced in Price for Logical Reasons. Suits to Fit Perfectly all Planner of Men — Normal or Ab- normal in Girth or Chest. All Our Clothing Is as Good as It Looks. 183 184 THE ART OF SHOW CARD WRITING Blow-on-Your-Fingers Weather Ls Coming. So Be Overcoat Wise. Contrary to What Anyone jMaj- Say, a ilan Is Judged by His Clothes. Comfort Clothes for Hot Weather — Prices Just as Liglu as the Goods. Extraordinary Values in Seasonable Clothing. Good Clothes Are Tools of Advancement. Help Out the Old Coat and Vest with a New Pair of Trousers. High and Low Trousers — High in Quality and Low in Price. If Nine Tailors Jlake a Man, We Have the Best Nine Tailors in the City. Just the Kind of Suits That Will IMake You Look Like a $40 Tailor-JIade Man. No Investment Pays Better Than Good Clothes. See Our Suits at $ Ready-to-Put-On Suits That You'll Not lie Ready-to-Put-Off Till the Last Stitch Gives. Men's Furnishings. — Collars That Fit the Season, the Shirt, the Fash- ion and the Pocketbook. At This I^opular Price Our Assortment of Cravats Is Con- vincingly Complete. Socks With Clocks That Are Right Up to the IMinute. Worn Particularly by Particular Men. Here Are the Sort of Fancy Vests You Have Been Looking for All Over Town. Are You Troubled With "Holy" Socks? These Are Wholly Good. Our Store Is the Capital of " Scarf dom." The Man in Search of a Touch of Newness Will Find It in These Shirts. An Ounce of Good Underwear Is Worth a Pound of .Medi- cine. An Underselling Sale of Summer Underwear. Pine Furnishings for Fastidious Fellows. Medium and Heavy Weight.s — Soft, Fleecy Garments. Sightly! Worn Nightly. Made Rightly, Priced Sliuditly. (Men's Night Shirts.) Ladies' Wear. — Favorite Dress ]\Iatei'ials for Summer End-of-Season Prices. The Miss WHio Wants White AVill Be Well Ph-ased With Our Assortment. SHUW CAED PHKASES 185 For the Girl Who Wants to Be Prettier, Here Are Suits to Take You '"Out of the Crowd." Stylish, Ship-iShajie Sailor Suits. Women's New Autumn Suit.s to Put Rigiit On and Ue Com- fortable. Waists That Have the Secret of Good Simplieitv and Good Taste. Tailorish Silk Shirt-Waist Suits. Women's Suits of High Degree — Low in Price. A WHIRLWIND of Bargains in Dress Goods Tliis Week. Exquisitely Tailored Suits. No Lady's Wardrobe Complete Without These Dainty Rust- ling Garments. Noisy Silks at Quiet Prices. There is a Superior Grace and Character to Our Tailor- Ma de Suits. Men's Hats.— Here's a Straw Without a Flaw. Stylish Straws — Sensible Shapes — Smart Styles. Soft Hat Comfort for Hard-IIeaded Men Who Appreciate Style, Quality and Good Values. Here Is the Hat You Had in Mind. No Headaches in These Hats. Boys' Clothing.— Suit Your Boy, Y'ourself and Y'our Pocketbook With a Norfolk Suit. Clothes to Please the Lads — Prices to Please the Dads. Clothing Is Cheaper for a Healthy Boy Than Doctor's P.ills for a Sick One. He'll Never "Play Hooky" if You Dress Him Like a Gen- tleman. Nothing Too Good for Mother's Boy. Shoes.— A Paradise of Rest for Weary Feet. No Trouble to Show Shoes — No Shoes to Show Trouble. It's Oxford Time. Let Our Shoeman Take Care of Your Feet. A Shoe With Every Mark of Correct Style. It's Time to Step Into New Spring Shoes. Shoes Tliat Are On tlie Tip-Toe to Get Out of the Store. Shoes as Y''ou Like Them for Less Than You I'sually Pay. We Sell Shoes— Not Our Customers. New Shoes Sold— Old Shoes Re-Soled. Ease and Comfort Combined— Comfort for the Feet. Easy for the Purse. .>|^2.00. Easy Shoes for Tender Feet. 186 THE ART OF SHOW CARD WRITING Fit Well, Feel Well, Look Well; Are Well ilade and Well Worth the Price. For Your Foot's Sake Lend Us Your Ears. Low Shoes at Low Prices. Xot Only Gnod Shoes for Perfect Feet, but Perfect Shoes for All Feet. Real Leather — Real Workmanship — Real Style. Shoe.s — Good to Buy Because They Are Good to Wear. If the Tongues in These Shoes Could Speak. They'd Say "Mighty Good." Right Shoes in All Varieties. Character Is Told by the Shoes One Wears— II(i\v Ahout Yours ? Shoes Shaped to Satisfj- Comfort and Style and Stayed Not to Yield to Pressure. It's No Feat for Us to Fit Feet. An Ea.sy Shoe at an Easy Price. A Shoe "That Fits the Foot and Feasts the Eye." Be Sure of Your Footing, Then Go Ahead. Calf Lined, Double Soled to the Heel. Common Sense Heels, Extension Soles and Goodyear Welt. Storm Slippers! Wherever It Rains It Reigns Snprenie. Springy Shoes for Spring and Summer. The Kick of the Boy and the Skip of the Girl Are I'rovided for in Our School Shoes. That Boy Will Find His JIatch in Our School Shoes. The JIan of Taste Never Allows His Taste to Fall Short of His Shoes. Miscellaneous.^ — A Saving Worth Making. Short Prices — Long Values. Pretty Patterns at Petty Prices. :Millinery That Is a Treat to the Eyes. Distinctive Styles at Distinct Savings. Smart Followers of Fashion Will Endorse These Styles. Practical Silks for Economical Women. Small Prices That Bear a Heavy Burden of Quality. June, the Wedding Jlonth, Finds Us With Plenty t-i Inter- est Those Who Contemplate Making Gifts. Things to AVear for Men Who Care. Faultless in Fabric. Finish and Fit. Hang Up a Hammock — The Season Is in Full Swing. Wash Suits That the Tuli Will Prove W^orthy. Just a Little Different— Just a Shade the Best. Here Is Cool Gray Comfort Combined With Style. What You Buy— We Stand By. 8HUW CARD PHEASES 187 On Alany Stocks We've Put a Price That's Sure to Move Them. Spring Is tlie iMohair Season— Blue Is the Jlohair Color— This Is the Mohair Opportunity. We Are Earliest With the Latest Things. IMoving Pieture-s- Low Prices Are .^loving- Them. For Judges of Value, a Glance Will Pe Salesman Enou-h lhe.se Prices Keep People Coming In an.l Goods Going Out Fa.shionable, But Not Too Fancy. It's Lace Curtain Time for Wise Housekeepers Here Are Veils— Avail Yourself. Pure Foods Economically Priced. This Price Is a Libel on the Value. Satisfaction Goes Where These Go. These AA^ill JIake the Most E.xacting Happy. The Price Is as Low as True Jleri't Will Allow These Are the Fabrics for Which Pasliion Is Makin- Such Urgent Demands. Quality Gained and Jloney Saved. Good to Look at and Better to Wear. We Feature Fashion's Fairest Fancies Here. The Quality Is as Substantial as the Saving. Little Things Most Necessary in Evei-v Household Now Is the Time— Here Is the Place— This Is the Price You Can Safely Buy Them With Your Eves Closed at -This Price. As Fashionable as They Are Seasonable; as Serviceable as They Are Reasonable. Pretty Pieces at Persuasive Prices. Sample Trunks That Want to Go Travelino' Comfortable Bedding for These Chillv Nights The Latest Hatchings from Fashion's' InculMtor Heavy Walking Gloves That Are Under Marching Order.. Throw Them ni the Tub and Wash Them to Your Heart's Content— You Can't Wash Out the Fact That This Price Is Only Half Their Value Turkish Bath Towels That Are Soft. Thick and Thirstv AVhatever Is Needed for Coolness and Appearance Is Here in Plenty. Every Seam, Every Plait. Every Hem Shows Perfection of Workmanship. Soaring Quality— Falling Prices. Rain_ Rattles Off These Rain Wraps. Fashion's Favored Fancies in Furs. TIci'e's a Chance to Save by Spending. Stirring Economies on Good Housewares, 188 THE ART OF SHOAV CAED WRITING A Harvest Festival of Good Things to Eat. The ]More You Like Comforts tlie ]More You'll Like These. The Tailoring and Fabric Are Better Than the Price Suggests. Summer Cottons for Winter Tourists. Prices That Tell the Tale— Qualities That Make the Sale. A Profitable Loss — Turning These to ^Money. Window Space Permits of But a Small Display — Step In and See the Full Line. Comfortable But Not Clumsy. Good Razors at Price Shavings. As Good as Any — Better Than Most. These Prices Rarely Buy Such Qualities. A Happy Blend of Comfort and Style. The Price Gives No Hint of Their Real Value. Things You Want — At Prices You'll Like. If Your Pocketbook Is Your Guide, Walk In. Hammocks Fall — These Have Dropped from .$5 to $3. Just an Instance of What Our China Section Is Doing. Such a Splash! When These 225 Bathing Suits Go to Sea. They Look Fine and Well IMade, and Will Prove So in the Wear. Get a Notion of This Humming Notion Sale — It's Near the End. Cut to Insure Comfort Without A.sking Your Vanity to Pay the Penalty. A Dull Knife Tries the Temper — Here Is the Finest Ameri- can Table Cutlery. Good News of New Goods. Prices of Powerful Popularity. Prices Reduced to the Laughing Point. Worthy Silks — Worthy Savings. .\fter These Are Gone, No ]\Iore: It's Just Changing ^loney. A Harvest of Furniture Fancies. A Trumpet Call for Bargain Seekers. l^argains — Not Remnants. Come Again and Gain Again. Doing Beats Promising. It Will Be Our Fault if Yon Don't Return. It Takes Sense to ]\Take Dollars. It Takes Nerve to Sell at These Prices. Alade on Honor — Sold on IMerit. Our Patrons Wear Smiles. Our Clerks Are Here to Assist — Not to Insi.st. Quality Costs, But It's the Surest Guaranty. The Eailv Buver Gets the Choice. SHOW CAED PHEAtSES 139 The Key of Wealth Is Right 13uying. We Have Been Looking tor You — Now Listen. We're Out-Talked Often— Outdone Never. We Originate— Others Imitate. We Do Everything to Sell Our Goods Except to Misrepre- sent Them. W^e Give Lessons in Right Buying by Examples in Low Selling. Don't Worry About the Pit— We Attend to That Don't Let Cigars Get the Best of You; Get the Best of Cigars. If You Don't Decide To-day, You Will Find Us Here Tomorrow. Leave Your Thirst at This Fountain, 5c. Now You Get the Pick- Later You Get the Remnants Quality the True Test of Cheapness. Take Your Clioice From This Choice Lot. Talking About Strikes. How Do These Prices Strike You? To Have Been Fir.st Proves Antiquity— To Have Become First Proves IWerit. W^e Can Make It Warm for You if You Need Blankets We Have Trunks That Will Laugh at Any Bag ki this may .soon be acquired. re(|uired to deftly luindU' 1h.' knife, but Gilding Tip. — The gilding tip is made of camel's hair secured to a hea\T piece of cardboard. The hair is from li/o to 21/2 inches long. It is used to apply gold leaf to glass principally, but may be used to apply the leaf to any surface. The badger hair tip, which is identical in size and style with the camel hair tip, is used exclusively to apply silver leaf to glass. Tracing--Wheel and Pounce-Bag. — "Whenever it is necessary to letter several signs bearing the same design or inscription, much time can be saved by first making a pattern for same. To do this, we first draw the inscription Fig. 153 on a sheet of manilla paper the exact size and style desired. This is then perforated with the tracing wheel, the result being, when finished, a series of small holes that follow the outline of the letters and ornamentations, as shown in Fig. 153. A pin or needle secured in the end of a small wood handle may be used for very short lines and curves where the use of the wheel i.s impracticable. After the pattern is perforated the back should be lightly sandpapered to remove the roughness, after which it is fitted to the surface 202 THE AET OF SHOW CARD AVEITING to be lettered and the pounce-bag is used. This is a small bag made of cheese cloth OX' other porous material, tilled with whiting, charcoal or any other dry color that will show distinctly on the background, and tied securely with a stout string. This is now rubbed lightly over the pattern just suffieieut to allow the powder to sift through the holes in the paper. If the pattern is now removed an exact fac-simile of the design will be seen, which may be easily removed with a feather duster. . Another method of transferring a design from a paper pattern, used almost exclusively in connection with gold leaf work, is as follows : First draw the design on the paper as before, after which saturate the paper with linseed oil, using a cloth or wad of cotton, until it becomes transparent, or until the design can be distingui.shed on both sides of the paper. Tlie ])attcrn must now be allowed to become tlioroughly dry, which usually requires from twelve to fifteen hours. When the pattern is dry rub the face or front of it with chalk or whiting. Now fit the pattern to the sign (if glass) face down and carefully trace over the design with a lead pencil, taking care not to allow the pattern to slip or move. On removing the pattern a perfect dupli- cate of the design will be seen. 1 il JLJik fiW jIIM tflTI 1 %^* 1 1 5 ^^^^1 1 1 ^^^1 WM HI^H ^■im ^^^^K . 1 1 1 ^ ^^^^ 1 ^ Bl^ P^^ A X ^ i ■ ^^K^u 1 1 ■^■^H ^ ^' m gi ^^ p^ ^ 1 ^^ ^^ ■ ^^ ■ii^ ^ ^M 1 1 M t St ■■ ■ & 1^ 4 W\ 4 tjj ^ ■■ ^^ 1 1 i M b .d 1 ^J^r- 1 ^ p^i r\ ^ ^ ■^ 1 1 1 1 ■■ ■■ n 1 ^ u ^^ "^ MM i ■■1 U ^k 1 H k k f^ 1 |i^ T r\ 1 1 M M 1 ■■■■I ^ ■ ■ Q ^ y 1 ^ t TT X > r r o n 7s u o D [ 1 1 II j" 4 ri i 1 1 1 ' u ] w 1 1 1 ■ I 1 w 1 ■ 1 1 ~^ 1_ s iS li : II n ^B^^^T" rt I I i M I ^Tb < a r— — -p" f ► ■■ m 1 ] f 1 * UILli 1 i 1 M r ^ ^ s .. -x;-- id t 1^ r T .^^^kj .^^^^^ 1 L»«, 1 _^ w lit- ^. ^ N 1 fe py -^ If \ M ■ L^»'H — 5^_ 1 i 1 r 1 k. 1 1 1 1 ■■■■ri It u o CQ D Q D O f M P ^ I u o CQ 2 < U (/) D h i. ^ » 1 i i Li ii 1 1 li 1.1 li 1 1 •1 1 tl Mill N ^1 ff" IT", ' ii H k - il p ^ n U. *• ^ ^ n 1 li 1 * S» w 1^ *n k.a ■ ■ J -■ ■ n 1 ^ ■ _ •. '1 - ■ ■ <: H >^ O w CO X o a > o D a if) 2QJU3 1 X 111 < h > o D OTN Is O Urn u n ID t u o DQ U, < X D h < D Q U < > in O Z 0) fs 10 N in X lA <« cu u < < (K u r a O ^ > CD O u H X o u w tlH O CD ON 0) 00 N (0. t w Oi u z • ^ (M 2 < O < u I 111 O Q e -J rt ^ I > 3 CD ^ CO o ^ > CO o CO d) U D^ m ^fe.^ .^ U 0) a < Q^ U feget^ u o DQ o CbOfD H M ^>-)(ir) CO o :z; ^; w Oh CO 0^ u u I i ^ I ^ ^ ^ N ^ I N S u > 111 It > h en en Z $ en h < Q X > J ^ 2 r^ on ^ ^ n X > Q < CQ J5 X CO >i <3 O 1^ :5 ^^ H W < < Eh X a Pi ^1 2 ^ ^tVft»Ai^B^ | If Interested for Bill Boards. Wall Signs Large Work. Ask for Portable aintin? Machine Catalog DRAKE BOOKS For Sign and Scene Painters , Card Writers and Designers A Complete Line Covering the Whole Field of Painting SCENE PAINT- ING AND BUL- LETIN ART. By Frank H. Atkin- son. About 250 pages, size 9x12. Fully Illustrated. Decorative Cloth Binding, Stamped in Five Colors. Price $4.00 "A SHOW AT" SHO' CARDS. A Practical Guide to Show Card Writing. By Atkinson & Atkinson. 300 Pages, 120 Designs, 35 Alphabets, Size 9x12, Decorative Cloth Binding. Price $4.00 THE ART OF SHOW CARD WRIT- ING. By Chas. J. Strong and L. S. Strong. 1922 Edition. 250 Pages. Cloth, Price $4.00 NEW HARDWOOD FINISHING, In- cluding Wood Manipulation, Staining and Polishing. By Fred T. Hodgson. l2mo, 320 Pages, 117 Illustrations. Cloth. Price $1.50 THE AMATEUR ARTIST, or Oil and Water Color Painting Without the Aid of a Teacher. By F. Delamotte. Large I 2mo, 1 60 Pages, illustrated, cloth. Price. .$1.50 AUTOMOBILE PAINTING. By F. N. Vanderwalker. l2mo, 200 Pages, Illustrated. Cloth. Price $1.50 STRONG'S BOOK OF DESIGNS By Chas. J. and L. S. Strong. Re- vised Edi- tion. Large Quarto, 8x II inches, 200 Pages, Over 300 Designs. Leatherette, Gold Stamping. Price $4.00 THE SIGNIST'S MODERN BOOK OF ALPHABETS. By F. Delamotte. Large Octavo, 200 Pages, 100 De- signs. Cloth. Price $1.50 MODERN PAINTER'S CYCLO- PEDIA. By F. Maire. I2mo. 464 Pages. 106 Illustrations and 8 Plates. Cloth, Price $2.00 SIGN PAINTING. By Frank H. At- kinson. Large quarto, 3 70 Pages, Cloth with Cover Design in five colors. Price $4.00 NEW STENCILS AND THEIR USE. By F. N. Vanderwalker. 148 pages. Cloth, 12mo. Illustrated. Price $1.25 ESTIMATES, COSTS AND PROFITS, House Painting and In- terior Decorating. By F. N. Vander- walker. 12mo, 133 Pages, 14 Illustra- tions. Cloth. |iiiliiii, , llllii||||||il!!iii''v;!||||||l|H| ™"™ ";.^S" i Profata K » 1! is :,i,i Price $1.50 Any or all of these books will be sent postpaid upon receipt of price Write for Descriptive Catalog FREDERICK J. DRAKE & CO. PUBLISHERS CHICAGO Fighting the Hidden Enemies That Daily Attack Your Work SUN light, gases, fumes, moisture and de- composition are constantly attacking your work; attempting to rob the color of its heaut}', the lettering of its grace. In the Devoe laboratories, ceaseless experi- ment is going on to minimize or eliminate the changes to which pigments are subject. \Mien you use Devoe Show Card Colors, you are assured of four things: the results of scientific ingredients, extreme care in com- pounding, and inimitaljle skill that comes from our 167 years of experience. DEVOE SHOW CARD COLORS Manufactured by New York Devoc & Raynolds Co., Inc. Chicago EVERYTHING IS IN THE "Art of Show Card Writing" That is, if you are equipped with the proper tools, you can put real ART into your work —increase your efficiency, save valuable time. Always use — EEr&gBmh" BRUSHES AND SUPPLIES These nationally known sup- plies are recognized as superior equipment. They give day-in-and- day-out service — always to be re- lied upon. Get my latest Catalog No. 8, which contains the complete line. Daily's Show Card Writing System A compact volume, con- taining a world of valua- ble information. Postpaid $2 BERT L. DAILY Entire Fourth Floor, 126-130 E. 3d St. Dayton, Ohio ^■■■■■■■■IIP M«WMBg¥MMim«limimHlK <^Ke Little Wizaid of LeUercrafL IXPEEDBALi: Gordon &Geor<;,ePaien.i improved models aie now made of specially prepared steel ?fittecb w^iih flexible bras5,double resei-voir bmntaininK retainers whidi auiDinatically control the flowfi spread the color evenly over tlie entire "workinif tip r insuring a faultless nonfloodiag flow of eitlier black or white inks or thin opaque water colors at aiiy speed r UAz,new style'C model is desig^ned for Eomitalic lettering and movie/ title work- rcquiring^ the use of extra heavy inks Ihe new Sludent Edition of the Speedball Text Book, contains KEW layout features r decorative stunts aad simplified nxethods for movie titles and Comm.ercial lettering r^ Compreheizslve^ mwtmm Mm C.HOWARD HUNT PEN COMPANY Ji^anu/actwej-s - CA M DE N - N . J. - 'Distn'huiors iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiilfiiiiiR I want to send FREE a copy of the most^ valuable book published for the ' _ '' show-card writer and sign-painter. it is really a gold mine on hints and suggestions for the man who makes his living with the lettering pencil. We cater exclusively to the lettering fraternity, and in this book I speak of, you will find a most complete line of modern, up-to-date tools and materials. My goods are not the kind you have been getting — not the "store" variety — not "selected at random" sort. My goods are not on sale elsewhere, except through my authorized agents, because they are my own design, and made to my order exclusively. They are designed for a specific purpose; thus, if you have a particular piece of work to execute, I have just the kind and size brush for it. "Your brush problems have always been mine." 1 have made the brush question a life-study. I know and you know, that good lettering brushes cannot be obtained from the average dealer, and I also know why it is, because few dealers are practical men. They do not know^ what you require. Goods to meet your requirements should be designed and selected by a prac- tical man. My 20 years' experience is back of every brush. Furthermore, I guarantee everything I sell to give complete satisfaction or I will expect you to return it for a refund. I can't begin to tell you all the good things originated for you, so I invite you to write for this big book of supplies. IT'S FREE. Get acquainted with a house that made it easier for the sign-painter to make money. Ask for catalog B. ADDRESS. L. S. STRONG, Manager Supply and Service Department, Dept. L DETROIT SCHOOL OF LETTERING DETROIT. MICHIGAN "OldeBt and Largett Dealers catering excluaioely la 'he letlerine fraternity" . f !'•" .Iiilli ill 013 972 909 2* iilH^^^^^^^^^