^^ m. ^ •7CTK1NSOM ^ KrimsoH ('0p\7lgJ]| X^^ f-Oi-MiK.liT Dlil'OSIT. ^p ^^^r. ■ 4- 4- -.. ,vj Publishers' Note N THE last pages of this volume you will find the names and addresses of the largest and most reputable manufacturers in the United States in the different branches of supplies for Sign Painters and Show Card Writers. As publishers of this volume, WE GUARANTEE any orders sent them will be promptly executed, at their reasonable, low prices. Yours fraternally Frederick J. Drake & Co. PRESIDENT •I* 'i" 4* m COMPREHENSIVE ^ COMPLETE Jf Vconcise/ FJH. ^Atkinson: PUBLISHERS FREDERICK J. DRAKE & CO. CHICAGO, U. S. A. CoPYKKiHT 1912 BY FREPERICK J DRAKE. )C!. A 3:} 0318 PREFACE ^ A modern treatise on card writing with the sole intent of i presenting in a clear and concise form all that can be desired in ) the way of practical method execution and design, relative to the i art as applied and practiced in every-day work in show card shops or studios, and department stores. Between the covers of this work will be found a series of instructions written and illustrated in a manner which will enable anyone of average intelligence to acquire a thorough working knowledge of this interesting, agreeable and lucrative profession. There is much in the work that has been gleaned from con- temporaneous talent for the very good reason that a work of this kind to be complete and broad should be contemporaneous, giving expression to the methods most in vogue with present day experts and also a strong showing of contemporaneous design. All art is subject to never ending development and it would be impossible to anticipate all contingencies or compile between the covers of any book however large all that might be said upon this or any kindred subject; however, it is believed that the prac- tical phases of the art have been thoroughly covered, so thoroughly in fact, that the work is respectfully submitted and dedicated to the Show Card Writing Fraternity and those desirous of entering the profession. FRANK H. ATKINSON. SHOW CARD WRITING The growth of this branch of the sign painter's profession has increased very rapidly within recent years. The demand for clever artistic cards can be attributed to the progressiveness of the average merchant. Card writing in the old days, a decade or more ago, was usually supplied by the local sign painter who did not cater to the work and very seldom considered it of enough importance to install equipment for the rapid and artistic execution of cards. A show card order invariably found its way into the "knock-out" department and "grovmd" out in a hurry. A few there were who had the foresight to depart from sign painting and take up show cards as a specialty and they, in turn, became the vanguard of present day Show Card Writing, incidentally reaping a golden harvest for their pains. Following will be found instructions as to use of latest tools, brushes, materials and methods used in modern show card writing. MATERIALS With reference to materials, it is suggested that only the best are to be considered, especially brushes. All expert letterers will be found in possession of the very best tools, the care of them almost a religion. The card writer is fortunate in needing but few tools and materials in the execution of his work. At the start it is not necessary to equip with all the various things required to produce unique and odd effects. The following list will suffice and includes everything essential for ordinary work : One No. 4 red sable rigger, one No. 6 red sable rigger, one No. 10 red sable rigger, one No. 12 red sable rigger. One-half dozen, assorted 1 to 6, Russia sable brushes. Marking pens, Nos. 1 and 3; shading pens, Nos. 1, 4 and 5. One No. 8 flat show card brush, one No. 10 flat show card brush, one No. 12 flat show card brush. One bottle black shading ink; one bottle red shading ink; one ounce usual gold bronze; one ounce striping gold bronze; one box white school crayons; one box artists' charcoal; one pair large shears; one sponge (rubber), one straight edge; one T-square; one wooden pencil compass; one jar Monogram fresco 2 SHOW CARD WRITING color, black; one jar Monogram fresco color, flake white; one jar Monogram fresco color, ultramarine blue; one jar Monogram fresco color, deep Turkey red; one jar Monogram fresco color, light Turkey red; one jar Monogram fresco color, medium chr. yellow; one jar Monogram fresco color, light chr. yellow; two Soennecken jiens, Nos. 5 and 6; two stub pens, Nos. 1 and 4; one soft lead pencil, H. B. The al)ove list of materials will be supplied to you direct b_y the pul)lishers of this book at the low price of $7.50 — the equip- ment will be found to be first class in every particular. Brush Practice Do not attempt any lettering with the brush until the 14 strokes necessar_y in the formation of an_v letter or scroll are fully mastei'cd. Pigi _. These strokes are shown in Fig. 1, where they are combined in the formations I, S, 0, and again in their individual form in Fig. 2. Bear in mind that constant practice is necessary to master these strokes and the control and use of the letternig ])rush. Always make a brush stroke continuous. Avoid short, "choppy" strokes. Practice will demonstrate that a line, either curved or straight, can be drawn much more exact and 1 z iV'^ pleasing with a moderately rapid, stead^y stroke, than when the movement is slow and hesitating. Always begin a letter liy executing the vertical strokes, the left vertical stroke first (finished letters), and the right vertical stroke next. Execute the correct formation and proportion of the letter first, after which add the spurs or other peculiarities, which as a rule do not affect the proportion. In Brush Practice Note the following: Do not work with a sharjily pointed lu'ush. Brush should have a "flat" point like a chisel and kept so by keep- ing the hair spread by stroking upon a palette at each recharging of the brush. (For flne line short stripe, the brush can be turned edgewise of the flat ]ioint and the line drawn rapidly with the THE SINGLE STROKE METHOD 3 bare tip or extreme point.) Wlieii joining two brush strokes do not resume at the stopping point of preceding stroke, begin a short distance back or inside the preceding stroke and gradvi- ally work the "pencil" to point of continuance. No matter how long a stroke is it should appear as though drawn in one operation. The brush should be held between the thumb and forefinger fii-mly, but lightly, in much the same position as a pen or lead pencil, not stiff or rigid, but so as to allow the handle of the brush to roll between the fingers when necessary, as in the execution of a curve. Try to maintain a uniform light pressure unless a "swell" is desired. In this case, first place "point" to surface at begin- ning of stroke, increase pressure gradually until the required width of stroke is reached, and then decrease the pressure termi- nating the stroke at point of brush. (The foregoing paragraph applies only to "single stroke script.") Draw lines slowly and continuously at beginning of practice. Execute a straight unwavering line on the side that represents the "finished edge" of the letter, pay no heed to the inner edge of stroke. This rule cannot be followed in "one stroke lettering," as both sides of the stroke must be uniform and straight. "One stroke work" requires an even pressure on the brush constantly except in "one stroke script" where the swell occurs. Keep V)rush well charged with color to avoid ragged edges. If brush is too full of color, or color too thin, it will get beyond control. Color must be proper consistency, not thick nor too thin. If too thin, it cannot be controlled. If too "thick," it will "pull" and refuse to flow freely— resulting in an imperfect line. Dipping the brush in the color is not all that is required be- fore applving it to the surface. To thoroughly "charge" a brush and get "shape" to it after dipping, work it back and forth on a palette, turning to right and left several times, after which draw it gentlv toward vou on one side, the "side" resting on the palette should now be applied to the surface. Charge frequently, never work with a "semi-dry" brush (the secret of good execution is a fully charged pencil), and eventually acquire the ability to execute with light touch, enabling you to execute with point of brush and the brush fullv charged. Do not form the habit of "hard pres- sure" on a lettering pencil— there is nothing in the heel of the brush, it's all in the point. THE SINGLE STROKE METHOD The term "one stroke" is applied to a letter whose individual parts are executed with one stroke of the brush; thus the Egyptian 4 SHOW CARD WRITING letter "K" one stroke, is executed with but three strokes of a suitable brush. (Brushes having fine square points and those of the "flat" variety, are most suitable for "one stroke work." Properly "loaded" and with the proper "touch" a square "start" and a square "stop" Avitli uniformity of stroke is the result.) The "start" and "stop" of the stroke and its general swing determines its claim to character. To execute the Egyptian "K" in the finished method requires 10 distinctive strokes. On card work, oilcloth and muslin signs it is highly commendable to use "single stroke" lettering, or upon am" sign work of a temporary nature, owing to the rapidity of execution. Do not confuse the "single stroke" method with carelessly executed work. It requires more ability and good expert touch to execute a "single stroke" letter than it does to execute a "finished" letter for the reason that the mmiber of strokes are reduced to a minimum, whereas a "finished" letter is a letter correctly formed and executed in every detail with equivalent strokes necessary to Ijring this result. Letters outside of the "Pen Alphabets," viz.: Lettei*s carry- ing thick and thin strokes are not adaptable to the single stroke system, excepting heavy script, which readily adapts itself to the "single stroke" method by using the "swelling" stroke. Those best adai)ted arc the Egyptian, Round Full Block, Mod- ern Full Block, Eccentric Block, Tuscan Block and Modern Italic. These can all be rapidly formed in "single stroke" minus the accurate finish of spurs and minor detail which would class them in the finished order. As mentioned, the Pen Alphabets, such as "Bradley Text," "Old English Modified," "Pen Roman," "Round Writing," etc., are readily adapted to rapid one stroke execution. Never do an inscription entirely in "one stroke"; execute dis- play lines in "finished styles," reserving the "single stroke" let- tering for the less important text of the inscription. Following this suggestion your work will always have character and "classy" appearance. On rush work, incident to special events, such as Fairs, Carni- vals, Department Store Sales, etc., the opportunity is great for the development of designing and letter composition that will come under the "single stroke" head and have the appearance of serious high grade work. As much Art can be introduced into temporary sign display via the rapid stroke route as in the serious conserva- tive field of permanent sign painting. Cultivate a knowledge of abbreviated ornament, principally Rococo, which can be rendered quickly. Odd shaped panels, and BOLDNESS OF STKOKE 5 in fact anything in the way of embellishment which is nncon- ventional. This snggestion alone gives one nnlimited scope in clevelojp- ing originality. In order to acquire confidence it is necessary to work as rapidly as possible, with a "knowing decision" as to direction and formation of stroke. BOLDNESS OF STROKE And it is well not to work too carefully — ^boldness is the slogan of all experts and to hesitate might spell failure in the ease of one naturally timid. Faithful practice will eventually bring results — do not expect to master brush manipulation with- out conscientious, hard, earnest effort. THE BRIDGE OR ARM REST The "bridge" is made from a strip of pine, 1 inch by 21^ inches by 36 inches. Plane it smooth and tack a block at each end 1 inch by 21/0 inches by 2^/2 inches, slightly round the top edges and it is ready for work. The bridge is recommended for the display or feature letter- ing on a card which is usually in a "finished" style. Most experts do not use the bridge at all; they prefer to rest the "brush hand" directly upon the card surface. The object of the bridge when used is to give steadiness to the hand and increase the latitude of all strokes, raising the hand as it does about 2 inches above the card surface. POSITION OF THE WORK Card writing should l^e executed upon an inclined plane, the letterer to work in a standing position. The best card bench to be had is the popular "DRAWING TABLE" found in all artists' material houses. It is qi;iekly ad- justed to any desired plane, and can be raised or lowered. A thin piece of moulding strip tacked on bottom edge of table to act as a "ledge" will prevent loose cards from sliding off of table. SHOW CARD BRUSHES The lirush or tool is the most important item of card writing. RED SABLE BRUSHES stand in the front rank as the best for water color Avork. The brush known as "RED SABLE RIGGER" is the most popular card brush. It is "regular stock" 6 SHOW CARD WRITING in all supply houses, and when put into commission the handles should be cut to a 6-ineh length. Bert L. Daily, Dayton, Ohio, caters exclusively to card writers and sign painters in the brush line and has several very fine spe- cial brushes that are made to his special order. His catalog will enlighten those interested in the special tools designed to meet the demands of critical experts who will have only the best. CARE OF BRUSHES Brushes used for lettering should be religiously cared for. Brushes used in water colors should be thoroughly cleansed in water and smoothed between the fingers to their natural position and laid away carefully. Never stand a brush on end, as the weight of the handle will so warp the hair that the brush is practically unfit for use. Never allow brushes to dry with color in them. If several brushes and colors are in use on cards, rinse each brusli l^efore laving it down, and in this way save time, temper and BRUSHES. PEN WORK The pens most used in card writing are of several varieties and sizes, as follows: STUB PENS, RULING PENS, SOENNECKEN PEN, SHADING PEN, MARKING PEN. All of til CSC ]X'ns can be found and purchased from The New- ton Automatic Sliading Pen Co., Pontiac, ^lich. The STUB PEN is used for very small lettering on cards and price tickets. They can be obtained in many sizes and before use Marking Ffen glrokes {Till fXT^\^x<^^?^y^ should ))e slightly softened hy placing pen in holder and holding lighted match to the point 2 or 3 seconds and then QUICKLY dipping into water. It is then ready for use in ink or properly thinned down color. Pens all sizes are adapted especially for the Alphabets, known as OLD ENGLISH, Bradley Text, Round Writing and several of the modified Roman stvles. RULING PENS ^ The pen strokes are shown in Fig. 3. It is best to fill or charge pens with a brush or pen filler instead of dipping; in this way the danger of blotting is reduced to a minimum. Practice the PEN STROKES as perseveringly as you have the brush strokes. You should be as proficient with the several sizes of pens as you are with the brush before anticipating much real progress. Upon the mastery of brush and pen will depend the success you wish to attain. Card pens are not as elastic as the writing pens everyone is familiar with, hence they will require more "pressm-e." They should be cleaned frequently and kept clean when not in actual use. RULING PENS The Ruling Pen is used exclusively for straight lines of differ- ent widths, regulated l)y the thumb screw^ that passes through the blades. They are very useful for drawing lines on price tickets and for underlining purposes. Must be filled by passing a brush charged with ink or color between the blades, depositing the ink to depth of V^ inch in point of pen— the outside of the blade should be kept clean. Ruling Pens cannot be used for any free hand pen work; must be guided by straight edge or "T" square. Any kind of ink, water color or water mixed with bronzes may be used in Ruling Pens; if the ink or medium refuses to flow from pen, touch point of pen to back of finger. The pen must be held in an almost perpendicular position wdien runnmg Imes. SOENNECKEN PENS Soennecken Pens can be used for every purpose that the "stub" pen is used for, particularly adapted to Engrossing Text, Round Writing, Old English, etc. MARKING PENS Marking Pens are to be used in the same manner suggested for Soennecken and ' ' stubs. ' ' They are larger in size and adapted for full sheet cards and double full sheets, where a larger text is used in executing the inscription. Fcllowing suggestions cover fully the manipulation of the Marking Pen. Fig. 3 shows all the strokes. Hold pen same as in ordinary w^riting, being careful to estab- lish a position that will give point a 45 degree angle when placed 8 SHOW CARD WRITING upon the paper; once established this position must be maintained throughout the whole inscription devoted to pen execution. The whole width of the pen should at all times rest evenly upon the card surface, regardless of the direction of stroke. All fine lines are rendered by sliding pen edgewise, the gradu- ated "faces" of other strokes are created automatically by j^res- sure. Continued practice will demonstrate this. Practice the strokes and after mastery you will find that a proper combination of these strokes will form any of the styles known as PEN LETTERS and previously suggested. SHADING PENS These pens are so-called for the very pleasing feature of the "double-value" stroke; i. e., one stroke of the pen makes two dis- tinct shades or color values. The lighter color value that flows from the left side of the pen is known as the shade or thickness, the deeper color value is known as the main stroke or "body" of the letter. SHOW CARD COLORS MONOGRAM FRESCO COLORS (Geo. E. Watson Co., Chi- cago) are the colors most suitable for card work. They are rapid and have the advantage of being previously ground in water to a suitable degree of fineness. The adhesive or binding quality must be added when a color is to be used. Japan and oil colors can be used successfully in lettering cards and are often used in sign shops where the volume of card work is so small as to render it impracticable to carry a water color equipment. Also bear in mind that card signs exposed to the elements should alwavs lie executed in Japan colors, or water colors mixed with LIQUID GLASS. Liquid Glass can be obtained at the nearby drug store and works with water color quite agreeably. DRY COLORS Most of the dry colors can be gromid in water, either in small druggist's mortar or upon marble or ground glass slab, using glass muller or large palette knife or spatula, after which add adhesive enough to bind the color sufficiently to prevent same from "rubbing up" after the color is dry. ADHESIVE FOR WATER COLORS Obtain a pound of DEXTRIN at drug store; dissolve in boil- ing water say 1 quart; dissolve as nuicli as the water will take up; ANOTHER GOOD ADHESIVE 9 stir constantl,y while dissolviug, after which strain through cheese cloth and when cool add OIL OF CLOVES, 20 drops to the quart, to prevent mold and souring. ANOTHER GOOD ADHESIVE One pound of GUM ARABIC to one quart of water (have water quite hot) ; let dissolve slowly, a da.y or two will suffice, stirring occasionally; when well dissolved strain through folded cheese cloth; add 20 drops of OIL OF CLOVES and a tine strong mucilage is the result. SHOW CARD INK Bleached Gum Shellac, 2 ozs.; Borax Crystals, 1 oz.; water, 16 ozs. Powder the Shellac and Borax in a mortar and place over heat in an enameled pot. Boil, and when it begins to foam remove from lire and allow it to cool. Repeat the boiling until thoroughly dissolved. When again cool strain through cheese cloth. Add any desired pigment and mix thoroughly; strain again. If a glossy ink is desired add Yellow Dextrin; 1 to 4 ozs. Dex- trin to 1 pint of ink. However, "glossy lettering" on cards is not much in vogue at present, the "flat" effect is most desired. The above will take care of the gloss problem, and dispense with the older method of using Asphaltum, wdiich must be thinned with Turpentine and causes no end of annoyance when the effort is made in other than a well equipped sign shop. Hence, as |)reviously mentioned, the Dextrin mixture will take care of the Gloss problem when a Gloss is intended. LETTERINE Letterine is a fairly agreeable Ink in Black, but cannot be recommended in the colored Inks for the very sane and practical reason that they are semi-ti'ansparent, and no lettering mixture for any surface in card writing or sign painting can be tolerated if semi-transparent. The lettering must be opaque; i. e., thev must have COVERING CAPACITY. WHITE French Zinc White (dry) is the best white for card writing purposes. Grind same on slab or mortar same as an}^ dry color. It has the very excellent quality of absolute opaeit.y — it covers readilv on first stroke on black or dark colored surfaces. 10 SHOW CARD WRITING "MONOGRAM FLAKE WHITE is second" as good "cover- ing white" for cards. CARDBOARD Under tliis head will be given all kinds of board and papers necessary to produce the "smart" and novel effects in Show Card Art. The regular size bristol board is 22x28 inches, half sheet is 14x22 inches, quarter sheets 11x14, one-eighth are 7x11 inches. Following these dimensions the card can always be cut without waste, and these sizes are known as "stock sizes"- — not advisable to cut them by hand; it is best to have the dealer from whom the cards are purchased cut the stock in the sizes given. If the dealer has no cutter take your "boards" to the nearest job printer and he will cut up the stock for nominal price. Double sheets (28x44 inches) are very desirable for large cards, obviating the necessity for pasting together two "full sheets." If double cards cannot be obtained "butt" two full sheets together and glue together by using strips of cardboard on back. Make these strips at least 5 inches wide to get sufficient adhesive surface, and use Le Page's Glue for the adhesive agent. Use no bristol board less than 4 PLY and keep in stock coated boards (i. e., boards having white glossy surface) and un- coated boai'ds (boards having dull surface). The foregoing will apply to yoTU- white board. Colored cardboard is nearly all finished with a dull "flat"* surface, making it very suitable for water color. Obtainable in many different shades and made full sheet size only, but of differ- ent weights. Light weight cards are not desirable. Have weights run from 4 to 8 ply. MATT BOARD Matt Board is used extensively for border and frame effects; it is finished in a dull pulpy surface, also pebble surface. Obtain them from picture frame dealers or wholesale paper houses. They form an agreeable contrast when combined with the smooth surface of inner cards and panels. Not suitable to bear lettering but yield readily to decorative effects in floral and ornamental motifs or themes. Photographers cardboard is adapted for work of a perma- nent character. It has a smooth siirface that "takes" pen letter- ing well. Can be obtained in various sizes and is usually beveled. *The term "Flat" as applied to paints means a dull surface without gloss. ARTIFICIAL FLOWERS 11 Small photo mounts are very tine for neat exclusive price tickets. Card signs may be cut into any shape or design dictated by the fancy of the letterer, being careful to have the shape of the card accommodate itself to the inscription nicely and appropri- ate for the purpose intended. For example: An extremely fancy shaped card beai'ing a memorial inscription would be an unpardonable incongruity, whereas a card announcing a floral exhibit could be very ornate in its outline as well as in general design. The standard sizes of cards less than full sheet were estab- lished for economical reasons, which, however, does not prohibit the designing of novel cards that call for a little clever cutting, and which would incidentally place the product of your hand con- spicuously in the lead. ARTIFICIAL FLOWERS Artificial flowers play a very important part in clever card creations, and can be made to enter largely into your very special work; fastened quickly to card by means of fine wire passed through card and twisted on back. FOUNTAIN AIR BRUSH The work that can l)e accomplished by this simple instrument is not only beautiful l»ut very attractive. NO PROGRESSIVE CARD WRITER PRETENDS TO DO BUSINESS WITHOUT THIS MOST WONDERFUL LITTLE TOOL. It is the most important item in the general equipment of the card writer catering to modern requirements. Air brush work is in evidence everywhere and is deservedly popular. The instrument is easy to manipulate and most wonderful effects can be obtained by it. It is used extensively by lithographers, engraving house de- signers and artists, portrait artists, photographers, monumental designers, etc. It is especially desirable for all kinds of Avork whereon differ- ent values of tones or shading effects are desired. For years it was used by portrait artists exclusively, but has recently been improved, the "pencil" model forcing the old block model entirely out of the field. The Paasche Model E-2 has a marvelous capacity for apply- 12 SHOW CARD WRITING iBg color and distiilniting large quantities in a short time — adjustable to the tinest line. Especially desu-able where background designs for show cards are desired in duplicate and in (|uantiiies large enough to warrant the designing and cutting of the stencils or masks. Also in giving an agreeable rounded effect to displays or featui-e lines of letter- ing upon even your cheapest work. It has the happy faculty of lending tone and dignity to the most hurried and rapidly executed cards that you would term cheap and mediocre. STENCILS OR MASKS FOR THE AIR BRUSH The very best material foi- cutting masks for air l)rush work is reasonably heavy sheet lead foil. To ])i'epare the foil for cut- ting, roll or press in close contact upon sheet of glass, give slight thin coat of white water color. Design is previously drawn upon white Damascus Bond ])a]^er. Rub back of drawing Avith dry English Vermilion (dust oft' lightly), attach drawing to glass by means of "stickers," take 8-II LEAD PENCIL and trace drawing upon foil, after which proceed to cut out the "openings" in foil mask with cambric needle fas- tended in holder. This mask has the tendency to lay absolutely flat upon the card while "}ilaying" the air brush spray upon the openings. PAPER MASKS FOR AIR BRUSH Paper masks are reconunended if it is impossible to olitain lead foil. Proceed as in the foregoing and cut out the "openings" with sharp pen knife. When in use keep mask in position by weighting it down with "printers' leads," or slugs, as they are sometimes called. The air brush is practically indestructible and with proper care will last for years. The cost of an air brush outfit is expensive only in a preliminary way when it is considered that they endure no end of usage. Care is the only essential, and it is not safe to "feed" an air brush with any but the purest, finest colors and inks. Observing this precaution the life of an "air" equipment is indefinite. The above Paasche Air Brush Model E-2 supplied by publishers of this book or by Paasche Air Brush Co., New Era Building, Chicago. ATOMIZERS Some very pleasing broad eft'ects may be ol)tained by using an ordinary perfume atomizer. However, a i:)iece of work sprayed RAISED ORNAMENTS 13 with an atomizer cannot compare with an "AIR BRUSH CREA- TION." Higgins Drawing Inks may be used successfully in the atomizer. RAISED ORNAMENTS Raised ornaments, in the shape of scrolls, wreaths, ovals, circles, odd shaped panels, etc., are used extensively by all pro- gressive card writers. They give a card a rich elaborate appear- ance. They are rendered with the air pencil, which is simply a rubber bulb with several differently sha]ied nozzles. Fill the bulb with the plastico mixture of the right consistency to flow from nozzle inider i)ressure of the hand. After lighth' drawing in design with pencil or charcoal, hold the bulb in the palm of the right hand and regulate the flow of mixture by hand pressure on the bulb. The comi^osition may be decorated in various ways, using diamond dust, flitter, dry lironze and AIR BRUSH. Diamond dust, flitters or bronzes should l)e "dusted" on be- fore tlic com]io dries and dusted after it is dry. After vise the AIR PENCIL should be well cleaned with hot water. PLASTICO FOR AIR PENCIL Dissolve 1 pound glue in 1 gallon water; add 2 pounds bolted whiting, 2 pounds plaster of paris, and 1 pound keg lead. Thicken with whiting or thin with w-ater to w^orking con- sistency. PLASTICO No. 2 One pound plaster of paris, 1/4 pound dry white lead, 2 table- spoonfuls of liicarbonate of soda. Mix with water to paste con- sistency; fill bulb and proceed. Various colors can also be produced b.y adding dry colors to the plastico mixture. The air pencil is manipulated almost the same as pen or pencil; design or lettering produced by pressure on the bulb in hand of the operator. With practice relief work can be executed very rapidly. BRONZE POWDERS Bronzes may be had in 1 ounce packages; also in 1 and 5 pound cans. 14 SHOW CARD WRITING Obtainable iu many colors, the pale gold and aluminum being the most popular. Aluminum should not be confused Avith silver In-ouze, as the latter is not at all suital)le for decorative work on cards. Bronzes used for shading, underscoring and ornament give a card a very rich appearance ^xhen properly mixed. They are as easily applied as color. They show to best advantage upon dark grounds. Bronzes are manufactured in two degrees of fineness — coarse or "brilliant," and "striping." THE BRILLIANT BRONZES have no covering capacity when used fur lettering — they are classed as "RUBBING BRONZES." STRIPING BRONZE is ground finer and therefore has great covering capacity. However, if used clear for lettering it will have a lifeless appearance. To overcome tliis difficulty mix one- third brilliant bronze with two-thirds STRIPING or LETTER- ING BRONZE ground in mucilage the same as any dry color. Bronze powders should be kept in tightly corked vials or bottles to prevent deterioration in lustre and quality. Bronze (except aluminum) should not be used for permanent outside signs. It will turn black in a very short time. As previously suggested, bronzes will greatly enhance the appearance of the most ordinary piece of work; in fact, the judi- cious use of gold bronze on ornament, shades, panels and letter- ing is to be recommended at all times. No card shop is complete without a good assortment of high grade bronzes. Don't Iniy the cheap grades. FLITTERS OR METALLICS Flitters are small l)rilliant metallic particles and quite effec- tive for accenting decorative effects on Christmas and New Year's cards, wdiieh should be quite ornate in character. They are applied per the following: Use a small sable brush and apply clear mucilage to the parts to be accented and do but a few strokes at a time, as it "strikes" in rapidly. Therefore the flitters should be sifted on quickly and the surplus dumped upon a sheet of clean paper. Proceed until all parts are accented as the fancy or judgment dictates. Few" drops of glycerine added to mucilage will retard drying too rapidly and permit greater freedom in executing accents be- fore dropping on the flitters. If two or more colors of flitters are desired u]3on one card each color must be applied separately, repeating the process. DIAMOND DUST 15 DIAMOND DUST This is a material resembling diamond dust very closely and is fine for holiday cards. Can l)e used to enhance the general effect of frost and snow in POSTERIZED WINTER LANDSCAPES and upon the top edges of letters. Apply the same as flitters. "CUT OUT" FLOWERS WALL PAPER SAMPLE BOOKS will afford an endless variety of flat and embossed flowers for card decorations. They are to be cut out with pen knife and mounted upon the card in position desired, using a good photo-mounting paste. To attach them, follow with a few strokes of the "local" color in leaves of the floral and they will have the appearance of a hand executed bouquet. CELLULOID Transparent celluloid can be used eft'ectively for creating transparent backgrounds in circular and oval openings cut out of main card. ^Mounting a cut-out fashion figure upon the cellu- loid wiU give a unique and novel eff"ect. Mount the celluloid upon "back" of card. Figures of flying doves and l)irds can thus be shown realistically. WALL PAPERS ]\Iany patterns of wall paper lend themselves readily to odd panel shapes. Can be cut out quickly and mounted upon main board. ENAMEL AND IMITATION WOOD AND MARBLE WALL PAPERS Are thin papers and when mounted upon card in artistic shapes also produce novel creations that mark the products of your brush as distinetivelv different from the "other fellow's." CUT-OUTS— FIGURES, ETC. Newspapers, magazines, lithographs afford an endless variety of figures that can be "filed" and "cut out" when desired. Should be used appropriately and not indiscriminately. RAISED PANELS Raised panels produce very artistic cards. The panel should be in harmony with the "matt" or main card— dark red on light 16 SHOW CAKD \V KITING red, deep gray on black, deep blue on light blue, deep PURPLE on lavender. Panels may be ornamental or plain, and embellished in bronze ornament or color. BLENDED GROUNDS There are many wa,ys of producing "l)lends." The air brush is the most suitable for very tine effects. A very tine blend can be produced by using dry colors or soft pastels. A CHEAP BOX of Pastels can be obtained at the art store and will suit all ordinary simple blends. Rub the pastels or dry color upon surface and "soften" the desired "color values," using compressed wad of cotton. Rub briskly and stop when desired effect is reached. Do not attempt a blended ground upon a "glossy" or gloss coated card; use the "dull surfaced" or uncoated card. The sur- face of a card for blending must have a "SLIGHT TOOTH," and it naturally follows that the card must be white. Aim to render the blended eft'ects in delicate tints — not too strong or too low in color key. SPATTER WORK Spatter or stipple effects are quite novel if rendered carefully. The operation is verv simple and adds very materially to the card writer's repertoire. Panels of lace curtains, silhouettes of objects, such as leaves, fruit, heads, etc., may be used and kept in position on card by laying card flat and weighting the desired "mask" with ])rinters' leads. To spatter exposed space on card select an old worn tooth brush, charge with thin w^ater color and rub vigorously back and forth on piece of wire window screen (which has been previously tacked to light wooden frame), and held at agreeable distance above the work. A little practice will demonstrate. After sjjattering embellish with lines, ornaments or in any manner suggested by the individual taste of the letterer. SOAP LETTERING ON MIRRORS Cut strip of common laundry soap into wedge shaped "sticks" or soap crayons. Use in same manner as flat brush or pen, using considerable pressure. riean glass thoroughly before beginning the work. SOAP LETTERING, in combination with Avater colors for eml)ellish- meut in the form of scrolls, floral pieces, etc., is in freqiient de- ORNAMENT, BORDERS AND SCROLLS 17 mand; drug stores, soda fountains and bars favor this class of announcement. ORNAMENT, BORDERS AND SCROLLS On comparatively simple cards all ornament should be sub- ordinate to the inscription in color value; embellishment can be very ornate as to design and if rendered in subdued color will be found verv agreeable. This rule will apply to practically all styles of announcement cards. However, it has been agreed that the intelligent and artistic use of ornament, and any form of embel- lishment, rests with the individual, and there is in reality no fixed rule that can be applied except in a very general way. OVERPOWERING DESIGNS Overpowering designs are designs that are very ornate in character and quality, in which lettering panels are created in a subordinate or secondary degree, and when lettered are classed as high grade and conservative; in fact, very dignified and very exclusive. LAYOUT "Layout" in lettering is the principal fundamental involved. Most beginners are prone to "cover" or scatter lettering eutii-ely over a given space and are confined only by the "edges" of the space. This is at once the most offensive erroneous error that can be made. If the beginner will stop and study the best examples of print- ing in catalog and general display composition in newspapers and periodicals it will be noticed that the compositor has created plenty of margin and white space. Lettering will be found to be balanced in the space thus created and consequently looks well. The same rule applies in card writing and sign painting. The inscription should be "well centered," and it is almost impossible to go to extremes in this respect. The wider the margin the better the card will look in the majoritv of cases. And also bear in mind that a small letter with plenty of space sm-rounding it is more conspicuous than a large letter unless similarly handled. LAYING OUT INSCRIPTIONS Regardless of the style of execution card signs should always present a clean, tidy appearance. 18 SHOW CARD WRITING On quick knock-out cards nothing is more essential tlian the precaution of keeping the card clean. For tliis Yevy good reason the medium employed in "layout" should be of a substance easily removed from the surface after it has served its purjiose. For white and light colored cards Artists' French Charcoal is suggested. (Sharpen to tine point upon sandpaper pad; lines and lettering should be indicated very lightly and faintly — after lettering is dry the charcoal can be removed with few quick strokes from a feather duster. For dark cards use white school crayons. Sharpen to point with pen knife, di^) in water and withdraw quickly. It will then make delicate neat line, readily erased with the sponge rubber, without injury to card surface. 8-H (hard) lead pencils may he employed if carefid to avoid pressure. Apply lightly and do not use pencils upon glossy card surfaces. Use light pressure charcoal. CORRECTING ERRORS Errors in card writing are bound to occur and are annoying and expensive. The best wa,y to avoid mistakes is to render the layout fvdly; carefully read before proceeding to "letter" the card. This will only occupy a minute or so and wall reduce to a minimum the possibility of several mistakes each day in your card shop. Errors are rectified per following: On white cards scrape out letter or letters with sharp pen knife or ink eraser (steel point). Do not penetrate below the glazed coating. When color is entirely removed, rub the scraped surface with piece of fine sandpaper, after wdiich polish with knife handle or thumb nail. Error on dark glazed card may be removed by passing DAMP CLOTH or DAMP CHAMOIS SKIN (must be done qui.kly) over color to be removed — must be vigorous and quick stroke to avoid disturbing the glazing of the card, which is also water color. On tinted cards after scraping out the color, it will be found necessary to "match up" the ground or color of the card. How- ever, it is quicker and better to "coat out" the entire line of lettering with a dark color and create a panel ])y so doing. Follow by re-lettering in white or tint color upon the dark panel of color. This in most cases adds to, rather than detracts from, gen- eral appearance of the card, and looks intentional from the start. REMOVING PENCIL MARKS AND DIRT 19 REMOVING PENCIL MARKS AND DIRT Dip spouge rubber in powdered pumice stone and erase marks and soil spots. Wipe greasy spots caused by perspiration from hand with solution of bicarl)onate of soda, thimbleful to tablespoonful of water, or mix soap water with the color. Both are effective. CARD ALPHABETS Signs may be properly divided into two classes, viz.: the "temporary" sign and the "permanent" sign. Signs of a tem- porary nature command little remuneration as compared with the permanent kind. However, the profit from the temporary sign in proportion to outlay of time and material usually exceeds the profit from the permanent sign. All temporary signs, including cards, are termed "cheap signs," i. e., signs costing little money, wdiich follows that the quicker they are executed, the greater the profit. This applies to all kinds of signs; and Avhen it is consid- ered that the sum received for an equal amount of work on any other siu'face is four or five times greater than that received for a card, it can readily be deduced that speed is the most valuable attribute. For this reason, card writing alphabets should be carefully chosen. The brush strokes should be reduced to the lowest miniminn. Every stroke requires additional time, making it al)solutely essen- tial that the style or styles employed should be those carrying the least numl)er of strokes. The Round Block and Tuscan Round Block, and modified styles derived from them, lend themselves easily to rapid exe- cution via the "single -stroke" method. "One stroke" does not imply that the entire letter can be executed witli one stroke. This Avould be a physical impossibility. It implies that each individual part or composite of the letter can be executed with one stroke. For example, the letter "A" can be executed in three strokes, if the "EgA-ptian" or "Plug" style is used; one stroke each for the side or oblique strokes, and one stroke across for the hori- zontal stroke. This is the full meaning of the term single stroke. Now take the Full Block (square), and to execute the let- ter "S" seriously requires just twenty-eight strokes; in the Egyptian or "Plug" style (single-stroke method), it requires just three strokes; to execute the Egyptian "S" in serious style would require eight strokes. This naturally places great emphasis upon the importance 20 SHOW CAED WRITING of using "speed styles" and those that adapt themselves to single- stroke execution. Referring to the foregoing, it is necessary to add that no piece of work should "carry" exclusive single-stroke styles. Never execute an entire inscription in a single-stroke style. The Display or Feature Line should be a finished style, except in Motto inscriptions, which may be rendered in Old English or Bradley Text. Also bear in mind that on card work a finished line of letter- ing in conjimction with single-stroke styles will always "cany well" and present a neat, attractive appearance. "SPEED ALPHABETS" Following is a list of alphabets that are known and termed "single -stroke" alphabets. ^Modern Italic. Modern Full Block. Bradley Text. Heavy Script. Italic Script. Old English. Tuscan Block. FINISHED ALPHABETS Eg^-ptian, Antique Roman, ^lodern Italic. These three styles should be used exclusively where a "fin- ished" letter is required. "Finished" in this sense means just what the word implies ■ — i. e., a letter that is formed and proportioned, showing all details and characteristics, omitting none of the component parts, or in any way abbreviating the execution, which is so compulsory in one-stroke work. Most every inscription contains one or more lines or words that should be prominently displayed, and should in most eases be executed in finished styles. The principal reason for this rule is, that a correctly or seriously finished line of lettering or words will give a ra])idly executed sign a touch of dignity and redeem it from an other- wise ordinary piece of work, therefore making it almost needless to say "that it is imperative to master correct formation and execution of the styles known as 'Finished Letters.' " LOWER CASE Apropos of the foregoing, and in connection therewith, will say that Lower Case Lettering should he used almost exclusively. MODERN FULL BLOCK 21 This should be borne in mind constantly. A card lettered in lower case is much more interesting, and incidentally it must be mentioned that they can be executed more rapidly in most of the styles recommended; also note how much better lower case will read than upjier case, which is the most clinching argument in favor of lower case. Modern Italic (Lower Case) A practical and artistic letter that meets with all speed requirements. Originated by Mr. Chas. J. Strong, Founder of the Detroit School of Lettering, and for many years a conspicu- ous figure in Sign Painting Circles in Chicago and other large cities. The alphabet is a combination of Italic and Full Block; its fullness of stroke is characteristic of the Full Block; the slant and general contour is that of the Italic. It can be executed with fewer strokes than any known one-stroke style, with the exception of the Regular Italic Script. Mastering this style prepares you for all speed emergencies that might arise in your daily work as a Professional Card Writer. MODERN FULL BLOCK Modern Full Block will answer for capitals in conjunction with Modern Italic. Never use them in a word entirely Upper Case, for the reason that they carry ornate features that unfit them for full words; however, they can be vised as "starting letters." Modern Italic (upper case) is the natural capital for jNIodern Italic (lower case), and should be so used in most cases. BRADLEY TEXT This al])habet is extremely modern, and can be truthfully called "Abbreviated Old English," as it was derived from the Old English Alphabet, designed by Will Bradley, a famous Amer- ican Decorative Artist. It is very handsome, and appropriate for any part of an inscription, except display lines, and in some cases even display lines, using "Bradley" throughout. Executed rapidly with either pen or flat brush. Should at all times be used upper and lower case; never combine the capitals of this alphabet. It applies to all letters more or less eccentric in form. However, combining the capitals of the standard styles, such as Full Block, Half Block, Roman, etc., is not only legitimate, but customary and advisable. 22 SHOW CARD WRITING HEAVY SCRIPT Heavy Script is employed to good advantage in display lines or words, especially if the words are short. It is a one-stroke style, and with the proper brush can be executed easily if the "swell" pressure is exerted; in fact, the same movement is used when writing with a Spencerian pen, except that the movement is not a continuous one. Form the composites of the Script with individual single strokes. Never overdo Script on a card unless in the serious Spen- cerian Style, in which case the entire inscription may be in Scrijit. The Tailoring Business is very partial to "All Script" inscrip- tions, and, as suggested, it is best to use Spencerian or similar light-face Script. Italic Script Italic Script is in reality half-script, derived from Standard Spencerian Script. The curves, flourishes and connecting strokes of Spencerian Script are alisent in Italics. Capital Italics are condensed Romans, slanted in harmony with the Lower Case Italic. Italic Script is not suitable for any part of an inscription, except subordinate lines — i. e., the second- ary portion of the "copy." OLD ENGLISH Old English is a flat brush or pen style, and in tlie one-stroke list; suitable for "display heads" or entire inscriptions; very classy and dignified. TUSCAN BLOCK Tuscan Block is a splendid one-stroke letter if formed "light face" (not too heavy); very speedy on account of predominating curves. You will note the components are all variations of curve, with exception of vertical strokes, and the "diagonals." It is used with great frequency by the sign painter, and, as suggested above, is splendid if executed in light-face stroke. FINISHED STYLES Antique Roman. — Space permitting, it is a fine style for "displays" on cards. It cannot be successfully condensed; must be as nearly normal in proportion as the space will permit. For a finished style it can be executed quite ra]iidly without detri- mental effect. The vertical stroke (both sides) is first executed ; folloAV with NUMERALS 23 the horizontal stroke, and lastly add the spur strokes. The Red Sable Rigger is the most suitable brush for Antique Roman. Egyptian Alphabet. — It is possible to render this style in a finished manner by the one-stroke method with a good brush hav- ing a square point which will admit extremities being executed without recourse to additional strokes to "clean" them and remove ragged edges. A very agreeable style, if not too heavy in stroke; if too heavy, it will look chimsy. NUMERALS Light-face Roman, heavj^-face Roman and modified "French" are all splendid for price tickets and ALL NUMERALS in Card Writing. ART OF LETTERING In the art of lettering we have no fixed rvdes; the law is based entirely upon approximates. With the laity, or people outside of the profession, the supposition is that all letters are the same size, formed on mathematical lines. Nothing is farther from the truth. All letters are the same size in appearance, and are so rendered by the ])rofessional, whose trained e_ye and expe- rience direct which letters are to have normal space and those that must occujn' MORE SPACE and those that must occupy less SPACE. It is thus that the pleasing uniformity of size is produced. COMPOSITION Composition in lettering is almost too intangible to define by ANY RULE. All the mathematical formulae ever given on the subject are incapable of equaling the result that may be obtained by spacing and producing the effect solely from artistic experience and intui- tion. Tlie final result should always be judged by THE EYE (no tools of measurement employed at all) , which must be trained until it is susceptible to the slightest deviation from a perfect whole. It is more difficult to define good composition in lettering than in "painting" or any other of the more generally accepted arts, and it resolves back into the same problem. The eye must be trained by constant study of good and pleas- ing forms, also proportions, until it appreciates instinctively almost intangible mistakes in spacing and general arrangement. This question of composition is so important that an inscrip- IS' SHOW CARD WRITING tioii of most beautiful individual letter forms, badly spaced, will not produce as pleasing an effect as an arrangement of more awkward, badly proportioned, poorly executed letters, when their arrangement or layout is good. Any professional sign writer or designer will tell you that a good "layout" (good com- position) is the most essential thing in pro- ducing good examples of sign art. This quality has been disregarded to such an extent by many beginners, and even men far advanced (so called liecause of time spent) in the profession, that it is of vital importance the aml:>itious student's attention be directed to it with great emphasis, in order that he may give the subject of composition serious consideration from the very start and con- tinue to keep it in mind for all time, for the very good reason that there will be no time in his career that its importance can be imder- estimated or neglected without serious injury to his work. SHADING Shading is used to cause letters, scrolls, etc., to appear in relief, or to appear projected or raised from the background, and is the most important auxiliary of lettering. The subject of shades and shadows are di- versified, and either of the examples shown can be used at the will of the letterer. Shading to the left and on the bottom is un- A\ritten law in signpainting, and is usually ex- ecuted at about a forty-five degree angle, it Iteing assumed that light falls upon the letter at this angle. On the round letters, C, D, B, G, J, 0, P, Q, S, U, &, 3, 5, 6, 8, 9, it is a common, unjusti- fiable error with many to crowd the shade ex- tremities beyond the points of limitation, with the bad effect of making the shade ap- pear clumsy and distorted, and failing in the primary object. Figure 4 shows the incorrect method to which reference is made. SPACING 25 All letters must be shaded on the same angle, and every char- acteristic must be indicated as at "a," Fig. 5, and every part of shade should be of equal width on all letters, except the round letters, whereon the shade reaches the extreme width only at the point shown at "a," Fig. 4. On letters A, Y, V, W, M, the shade is narrower in width on the diagonal "letter strokes" that are affected by the shade at a forty-five degree angle. On ordinary work and Card Writing, the relief shade is most commonly used, as it permits of quick execution, and in most cases is rendered in single stroke, using a brush that will accommodate itself to the width of the shade desired. Where extremities of letters are close together, the stroke can be left disconnected, which liberty is legitimate and permis- sible, especially on card work. On the relief shade leave "relief space" quite wide — i. e., the space between the edge of letter and inner edge of shade; it gives the letter better emphasis and is more professional. SPACING A line of lettering on any surface, no matter what style, must have a starting point and a stopping point. These two points are a matter of taste with the workman and are not "permanently established" until a rough layout of the entire inscription is made, this is to be rendered VERY FAINTLY in chalk, charcoal or pencil, to permit of repeated correction and alteration, if same is found necessary. The governing factor is the rule that a letter cannot be con- densed or elongated to the point of distortion, however the lati- tude is very wide in both extremes before reaching distortion, owing to the many and varied modifications of the standard fixed styles normal in proportion. Hence the taste of the workman can be exercised to almost an unlimited degree in condensing and elongating. Never condense a letter more than 3-5, and never extend or elongate more than 5-5. No matter how long a space is, when it is to carry a short word, never extend lettering more than 5-5 — which would create a "letter space" 5-5 high by 10-5 wide. Take away sufficient space from each end of space so that the lettering will approxi- mate itself into 10-5 spaces, with good proportionate space be- tween letters. "Space" between letters must be proportionate and not dic- tated bv any mathematical rule, the sole intent is to equalize the 26 SHOW CARD WRITING open or blank space between letters, j)rodueing a pleasing effect of approximate space, incidentally compelling the word to read solidly or in com^jact fonn. If this rule is not carefully observed 3^ou will frequently execute words that will have a "scattered" effect, broken into syllables, or one or two letters having the ap- pearance of separating themselves from their fellows. All round letters should be spaced a trifle more closely to each other (such as C, J, G, 0, and Q) and the full space letters such as B, D, E, H, K, M, N, R, U, S, X, Z must be allowed more space between them. All "open" letters. A, F, J, L, P, T, V, W, Y, must be spaced very close, owing to their open spaces. In order to get the appearance of uniformity throughout a line of lettering it is necessary to observe the following: In normal or square space lettering divide letter space into fifths, five sqviares high, and five squares wide. For A add 1/5 to width, B nonnal, G normal, D normal, for E 1/2 of 1/5 less in width, F 1/2 of 1/5 less in width, G normal, H 1/1 of 1/5 less in width, 1 1/5, J 1/5 less in width, K normal, L 1/5 less in width, M add 1/5 to width, N 1/2 of 1/5 less in width, add 1/2 of 1/5 to width, P normal, Q add 1/2 of 1/5 to width, R normal, S normal, T normal in Full Block, Tuscans, and Romans, and practically all styles except EGYPTIAN, where it is 1/2 of 1/5 less in width. U 1/4 of 1/5 less in width, V add 1/2 of 1/5 to width, W add 2/5 to width, X normal, Y add 1/2 of 1/5 to width, Z normal, &c. normal. Same increase and reduction must be ol)served in elongating and condensing, and in condensed lettering the reduction of L, E, F, H, J, N, and T may be highly exaggerated without detri- mental effect. Quite the contrary, the eft'ect is pleasing and highly proper. On "full face" lettering, viz: Full Block, Half Block, Round Block, and Tuscan Block, draw all horizontal strokes one minor fifth less in width than vertical strokes. If this suggestion is not observed the horizontal strokes will appear clumsy or larger than the vertical strokes, although in reality they are the same size. The foregoing suggestion wdll overcome the delusion and will give the letter an interesting and pleasing contour. MAJOR FIFTH AND MINOR FIFTH A normal letter s]>ace is square, subdivided into twenty-five smaller or "unit" squares, making a letter space five major fifths high and five major fifths wide. Now, if we subdivide one major fifth or imit square into fifths, we have minor fifths. Major and minor fifths are used in an elementary way to COLOR COMBINATIONS 27 assist in fixing good approximate proportions in letter form, must positively be abandoned as soon as the student is qualitied to draw and form lettering Avithout their assistance. COLOR COMBINATIONS Where color is used for letters, lines, etc., black or dark colors should l)e used upon white or light colored grounds, and vice versa. In using colors great care should be taken to have tones har- monize agreeably, for example: on dark green grovmd use white, on lemon yellow tint, or on pink tint groimd use black or deep red, on deep blue use white, pale flesh tint or pale blue tint. AMien more than one color is used the following combinations will be found valual)le. TRI COLOR NEUTRAL Background — Letter — Shade— Black White Dark gray Black Light gray White While Black Light gray Wliitc Gray Black I ieht pray Black White Dark gray White Black SCKCILL Dark gray Dark gray Medium gray Medium gray Black Black Bdrder — Medium gray Dark gn, y Medium gray Black line r)ouble black fine line Pale gray _e placed beneath the edge of the bench or sign and kept in a rigid position. If under edge of sign is inaccessible, place 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. "Dot" the points where lines are desired, and then begin at left of sign, keeping string "taut," and move both hands simul- taneously to the right. Repeat for each line. String must be kept perpendicular, or lines will sag to the right. PLAIN CARDS Without question, the most popular style of card with busi- ness houses in general is the white card bearing black lettering. It can be depended upon to give satisfaction in the majority of cases. Also, in the majority of cases, the plain card is the most 32 SHOW CARD WRITING desirable; and again, l)lacl-: and white is the strongest conti'ast obtainable. The main thing demanded in all classes of sign painting is "legibility." This requirement is often overlooked and neglected by the too zealous young card writer, who wishes to give expression to his artistic ability, whether good, l)ad or indifferent. Rarely indeed will you find a customer who will complain that your work is too plain, or ])ecause of an absence of ornamental flourishes. A sign that cannot be read at a glance will not, as a rule, meet with the approval of your customer. Very few are attracted by ornate features on a piece of work. No matter how cleverly a card is lettered, it can be rendered abso- lutely worthless by an "overdose" of scroll work. Ornament should never be carried to such an extreme that it may l)e termed on the whole as superfluous. There is a strong line of demarcation between an overwrought piece of w^ork and the example that has "just enough" embel- lishment, so it is well to be conservative in the matter of fancy lettering and embellishment; and again, the line of business gov- erns to a very important extent. Fancy, ornate cards would he appropriate for Millinery, Candy Shop, Place of Amusement, etc. ; for the more conservative lines, their use would be prohiliitive — the taste would dictate something very dignified and rich. In the main, the general tendency among professional card writers is to suppress ornament and avoid unnecessary details. It requu-es real ability to execute a "clever" card which can be termed "the personification of simplicity and legibility." MORE ABOUT COLOR SCHEMES The average "run" of "cards" can be "white," bearing neat Black Lettering, with Light Gray Shade. Keep inscription well centered and balanced. Always l)ear in mind that this style of card is appropriate for any line of business, and can be used without fear of criticism. "This stvle of SHOW CARD IS AS STAPLE AS SUGAR." Another very handsome style will be found in white card, black lower case letter, Red Capitals; matt line two inches from edge of card. This matt line to be quite fine, in Red or Gold Bronze. For a rich card, use white, all black lettering, gold bronze shade, gold bronze matt line. MARGINS It is never necessary for show cards to carry letters as large proportionately as the outside or permanent sign. P < o iz; .^>1 >V >i j-tt:'^ r"^ ;;; ^"o sasQSisKa >>(::::s.C7if SCROLLS AND BORDERS All decorative features in the form of scrolls, borders and lines should always appear in subdued color, much less conspicuous than the colors used for lettering. THE STYLE of ornamentation is not so important, providing this rule is followed. The motif of decoration may be A^ery elaborate upon a FANCY CARD, if the color scheme is com- paratively indistinct, thus not de- tracting from the inscription. BORDERS If border is heavy and massive, the more the necessity for adhering closely to the foregoing paragraph with reference to color value; but if it is delicate and light in weight, the color can be proportionately stronger — in fact, pure colors, such as red, l)lue, green, even black, may be used agreeably. 34 SHOW CARD WRITING Reversing Ornament Corner Pieces and Scroll Panels Use piece of thin Manila paper, if corner piece; "draw in" fully upon the Manila with ])iece of black carbon paper under- neath the drawing, carbon side up. This will give you duplicate drawing upon the under side of your paper, and in reversed posi- tion (duplicate). Place in position upon your card, carbon paper underneath (carl)on side down). Trace with hard lead pencil, and repeat for subsequent duplicates at each corner. For conventional scroll designs or designs luiiform in charac- ter as to sides and general outline, proceed as for corner pieces, except that you "draw in" one-half of the design and duplicate, as previously suggested. Patterns for air brush masks and stencils are made in the same way with reference to preliminary drawing; should be trans- ferred to heavy cardboard or foil, per previous suggestion under the heading, "Stencils or Masks for the Air Brush." Patterns for raised cardboard panels are prepared in the same way by drawing in design upon separate paper and trans- ferring, after which they are cut out with stencil cutters knife or (if not too intricate as to design) with a pair of sharp scissors. Rococo Scroll Rococo is without question the most Y)oj)ular scroll used by the lettering ])rofession, for the very important reason that it is the most flexible of all known ornament, meaning that it can be rendered in an endless variety of combinations, very elaljorate for brush execution, and simplified for jianels that are to be cut out and used for raised effects. Ribbons Ribbons can be used effectively in (•oml)ination with scroll effects, and must be pleasing in contoui- and kept simple and artistic. The examples shown in "design division" of this work will serve as general guide. Fancy Initials or Capitals are indispensable to the card writer. Never use more than One on a card. If more than one is used in an inscription, the card will look overdone, making more than "One Cap" superfluous. The "Illumination" or ornamental features are to be ren- dered in subordinate color values, as previously suggested hints on ornament. The ilhunination must of necessity be simple, easy PRICES FOR CARDS 35 to render, and quick; otherwise, if too elaborate and serious, it would naturally be prohibitive. PRICES FOR CARDS No work of this kind would be complete with the Price code eliminated. It will therefore be given due consideration in a gen- eral way, and sufficiently to guide you in your every-day work. With beginners in Sign Painting and Card Writing, the tend- ency is to quote too low instead of too high. Place a value upon your work that will yield a satisfactory profit, conunensurate with your ability. Charges can always be modified a trifle, but it is one of the physical impossibilities to advance the price if, tlu-ough ignorance or carelessness, the fii'st price is found too low. No excuses can be offered for the low price, unless the reason be that of meeting a price-cutting competitor, and that is no reason at all. A price-cutting war between rival sign painters or card writers meets with but one logical end — the retirement of one or both from the field, and incidentally the cheapening of a medium of commercial publicity that has a true and intrinsic value to the advertiser. With the card writer, the price problem is not a very serious one. Materials used are nearly the same the year round, and the sizes are limited. Cost of materials is comparatively vmimpor- tant. Time to execute work is the principal factor. Nor will ■you, in the beginning, as a novice, figure on getting the same prices and consideration that the expert gets and is entitled to. Your ability is the first essential to develop, and this accom- plished, your price list and profits will take care of themselves, provided your scale of j^rices on staple items is consistent. If in business on your own account, your charge for work should be based upon $1.00 per hour, plus your overhead expense, which includes shop rent, light, heat, and fixed incidentals. Approximate this, and you can't go backward. This would resolve into the following scale, which is prac- tically universal : Average run of cards, plain in treatment — Full Sheet 75 cents Half Sheet 50 cents Quarter Sheet 25 cents Eighth Sheet 15 cents These prices are based upon quantity lots — i. e., upon the assumption that you are to receive a certain amount of work each week or month. 36 SPIOW CARD WRITING You should quote the transient customer at least 25 per cent more. Double Full Sheets and Cut-Outs— (Air Brush design) $2.50 to $3.50 Single Full Sheets and Cut-Outs— Fancy or Air Brush designs. $1.50 to $2.00 Half Sheet Fancy $1.50 Quarter Sheet Fancy 50 Price Tickets 25c to $1.50 per doz. SEASONABLE DECORATIONS ON CARDS (Cards Synonymous of the Mouth) The expert card writer should make it his sj)ecial business to acquire a comprehensive understanding of seasonable decora- tion. Co-operate with the chief window trimmer, and get an advance knowledge of the predominating color in a contemplated "window trim"; it will do much toward eliminating the "jar- ring" effects ofttimes seen in the windows of the "best shops." A window trim can be a beautiful creation in itself, and the whole effect marred by introducing a "false note" in the shape of a card entirely at variance with the general scheme. The aim at all times should l^e harmonioiis, or if complementary color is introduced, have it quietly enter agreeably. The more svibtle it is, the more refined it becomes in feeling. For example, the "Window Trim" is one in which blue pre- dominates. The card or cards can be l)lue in monotone — i. e., deep blue ground, pale blue lettering, or pale Ijlue ground, deep blue lettering. This would l:»e in full harmony. If complement is desired, use different tones or tints of terra cotta or old gold. "The crime" would be a red card — a discord. It would take vol- umes of text to say all that could l)e said upon this one subject, so we deem it advisalde to pass the proldem on to the ambitiovis student, who will find much pleasure in analyzing this most inter- esting phase of Showcard Art; passing on to suggestions for sea- sonable decorations to cover calendar months. January In northern latitudes, January represents snow and ice and freezing temperatm'es. Color schemes for cards should be in cool combinations — blues and greens — simple and easily executed poster snow scenes (supplementing suitable panels) acting as general background. Winter amusements can be symbolized in posterized skates, snow shoes, sleigh bells, curling irons, etc. SEASONABLE DECORATIONS ON CARDS 37 February is practically the same as January as to weather conditions. It also commemorates the birth of George Washington. Many sym- bols can be used, such as s^Yords, cross guns, first battle flag, national shields, Washington Hatchet, etc. March The month of wind and unsettled weather conditions, over- cast skies, and much rain. Color schemes should be in black and neutral grays. Poster landscapes can be used, preferably after- sunset effects, overcast sky with rift of bright afterglow upon horizon, swirl of dead leaves in foreground. Stormy petrels and gulls flying about, to further animate the scene. April April is conspicuous because it brings to mind the Resurrec- tion. Easter Lilies may predominate as decorative features. Chicks, bursted egg shells, etc., may be effectively used. Purple and White are Easter Colors. May May 30 brings Decoration Day, and is a national holiday. Flags, ijunting. wreaths and national emblems are suggested. Patriotic colors should be used— red, white and blue. June The month of roses and weddings. Roses should be the cen- tral or predominating feature on cards; artificial and "cut out" may be used. Tennis rackets, croquet balls, oars, college regalia, class pins, pennants, etc., are suggested as symbols. July Flags, bunting, cannon, firecrackers, rockets, shields, eagle, eagle's head, spread eagle — all symbolical of the Glorious Fourth. Red, white and blue for color. August Vacation month. Symbols: oars, canoe paddles, books, fishing tackle, hannnocks, fans. 38 SHOW CARD WRITING September Beginning of autumn. Use bright color combinations, syn- onymous of change of season; posterized figures of children, school books, etc. October Use late fruit as symbols, grapes, apples, etc. Render in poster effects; squirrels and nuts are also apjoropriate. November Foot ball, college pennants, turkeys, cranberries, wild game, corn sheaves, are all synonymous of this month. Neutral grays and yellows for color. December Santa Claus occupies the center of the stage; needless to say, he is accompanied by holly and mistletoe. Go to extremes as to color and frost effects — nothing too elaborate for this great Annual Festival of all Christendom. PRICE TICKETS WTiere price tickets accompany a set of Display Cards, do not have them at variance with coloring and general scheme of the main cards. Treat tickets in same style and color scheme; have them all "one family," identifying them as a pleasing whole. AIR BRUSH (General Description) The AIR BRUSH is totally unlike any l)rush or pen, and in reality is not a brush, if truly named. It is a cleverly made little instrument that applies colors or inks to surfaces by means of compressed air or carlionic gas, and this little tool has been very aptly styled the Air Brush. The air forces the liquid out of the tool in a fine spray. By pressing a small lever or "trigger" on the air brush, it is possible to gauge and control this spray so that any effect can be produced, from a fine line to a gray or wide color value, rendering a great variety of color values, enal)liug one to "model" more cleverly than with any known "loose" medium, dry point, stomp, crayon sauce, and usual brushes. In Show Card work, the variety of color values are rendered (as previously suggested) by means of placing "cut-out" letters (called masks or stencils) upon the surface in desired position. PAYZANT PENS 39 and then "playing" the air-brush spraj- over entire surface. When "mask" is removed, you will find a white silhouette. This, in turn, can be "rounded up" or modeled to give the appearance of "relief" from the background, by "playing" the spray upon the left-hand edge of vertical strokes, and the under edges of horizontal strokes. On ordinary cards it is customary to spray a black "shadow value" upon red or colored lettering placed upon white or tinted ground. This is the most popular quick air-brush route. Besides the Air Brush, it is necessary to have an air pump or gas tank (gas tank preferred), to give necessary pressure to the brush. The air compressor or tank should be placed at the left of your table and hung in its clamp against the wall. This position gives a good vantage point, making it easy to note the pressure by a quick glance at the "gauge" on the tank. A convenient hook should be provided near at hand, on which to hang the brush when not in actual use ; this should be on your left, and as near as possible, to be witliin easy reach. To produce fancy panels quickly, to be used as masks, and where the foxu* corners are to be alike, take a piece of light Manila paper or lead foil, fold it twice, bring all four corners together, sketch in the design, and cut away the outer edge of the super- fluous paper or foil; unfold, and a complete mask is the result. The same method can be applied to all borders and ornaments that "repeat" on corners, or where "sides" are to be uniform, fold but once, and sketch in one-half of design before "cutting away." PAYZANT PENS One of the most recently patented Card Writer's Pens is called the PAYZANT (free-hand) PEN, with an ink reservoir attached, made in various sizes. It is particularly adapted for free-hand stroke lettering, and for outlining large letters, that may be filled in with a brush. It is very easy to acquire the use of these pens, as the point is so constructed as to produce the same gauge of line, no matter in what direction the pen is moved. The reservoir holds enough ink to letter from one to two hundred words. For ruling borders, they have a capacity of from twenty-five to thirty feet. This pen was invented by S. Wallace Hess, noted Chicago card writer. The pen is so constructed that it will last a life-time. 40 SHOW CARD WRITING Directions Fill the pen by a qnill or dropper, in the same manner that a rnline^ pen is tilled; never dip it into the ink. After tilling, adjust the nibs to the proper feeding distance, and test on scrap paper. If pen becomes clogged while in nse, open the nibs slightly and insert piece of paper. After nsing, remove set screw, open reservoir, and, clean thoroughly. Obtain this yion from puljlishers of this l)ook, Chicago, 111. THE AUTO MARKING PEN The Auto ^larking Pen with the Fountain ^Vttachnient is the most rapid implement for lettering made. One filling of the Foun- tain is sufficient for several homes' work with the ordinary sized l^ens. Get them from publishers of this l)ook, Chicago, 111. Soennecken's Parcels Pen Is A'ery similai' to the marking pen, except that it has four additional blades "atop" of the "lettering blade," and they act as an ink reservoir. Fill Avith a "dropper." Also obtainable from the publishers of this l)Ook. Keeping the Air Brush Clean If the brush "throws" an irregular spray, it is dirty, and this is caused by one of three things — either the color needs straining, or color has dried in the color passage, or the adjustment is not right. Any one of these would cause "spitting." Correct the fault, and if "tip" is not split, the trouble is easily overcome. If tip is split, get a ncAv one. If brush is double action, never let the trigger snap forward into the tip ; it will surely split it. Keep the brush clean; strain the color or ink used. Never take a brush apart unless absolutely necessary. If anything should get into the tip, use the reamer carefully; don't force it out. Placing the finger over end of brush and blowing tank air l)ack through the color tube will nearly always remove the obstruction. A strong solution of fSal Soda, used hot, is very fine for clean- ing out accinnulated color out of a brush; use i^lenty of clean water afterward. SHOW CARD PHRASES 41 Card Writer's Idea "Hatchery" The card writer must of necessity be constantly on the alert for new ideas and idea material. Glancing over Newspapers, Magazines and Periodicals, **spot" and "clip" every drawing, design, etc., that appeals to you as being artistic. File it away so that it can be reached easily when wanted. Also do this with every good illustration or reproduction of card writing or sign painting that you fancy; then, when called upon to deliver "something different," you will have an abun- dance of reference to rely upon. Make a note and rough layout of every good card that you will notice in your ramifies; file these also. This will keep you posted as to what is "doing" in your local field, and make it pos- sible for you to "create" decided novelties. There is nothing new in design under the sun — merely modi- fications of Period Styles of the long ago. Abbreviations and individual expressions of standard styles have given us the "New Ai't" of the present time. Originality is merely another term and name for Versatility on the part of the individual. The so-called and self-styled artist, wdio passes contemporary art by with closed eyes, is at best a narrow-minded egotist, and unless he be a genius (which can hardly seem possible), his work will be rather mediocre. Don't be afraid to emulate and copy your fellow-craftsmen; it will broaden and. add much to your al)ility as a show card writer. Your individuality will be EVER PRESENT in your work, no matter who or what you emulate. Keep at least a dozen ordinary letter files for your "clip- pings." Label them under different classifications, such as Alpha- bets, Card Reproductions, Heads, Ornaments, Female Figures, Male Figures, Child's Heads, Children, Birds, Dogs, Horses, Marine Scenes, Winter Landscapes — Serious, Winter Landscapes • — Poster Style, Flowers, etc. These files Avill act as your "Idea Hatchery." You should begin to install it at once. SHOW CARD PHRASES A diamond — the gift of gifts for a woman. For Xmas— A GLOVE CERTIFICATE solves gift giving. Cravats, daintily lioxed for gift giving, gratis, $1.00. The sweetness of low price never equals the bitterness of poor quality. The memory of quality lasts long after the price is forgotten. 42 SHOW CARD WRITING Don 't waste your money ; appreciate its full value by buying here. The wind of fashion has blown these straws into favor. A saving worth making. Short i^rices — Long values. Pretty Patterns at Petty Prices. Millinery that is a treat for the eyes. Distinctive styles at distinctive savings. Smart Followers of Fashion endorse these styles. Practical Silks for economical women. Small prices that bear a heavy burden of quality. June, the wedding month, finds us bm^dened. with just the right gifts. Things to wear, for men who care. Faultless in Fabric, Finish and Fit. Hang up a hammock — the season's in full swing. Wash Suits that the Tub can't dismay. Just a little different — just a shade the best. Here is cool gray comfort combined with style. What you buy — we stand by. On many stocks we've put a price that's sure to move them. Spring is the Mohair season — Blue is the Mohair color — This is the Mohair opportimity. We are earliest with the latest things. Moving pictures — low prices are moving them. For judges of Value — a glance will suffice. These prices keep people coming in and goods going out. Fashionable, but not too fancy. It's lace curtaui time for wise housekeepers. Here are veils — avail yourself. Pure foods economically priced. Satisfaction goes where these go. These will make the most exacting happy. The price is as low as true merit will allow. These are the fabrics for which fashion is making such urgent demands. Quality gained and money saved. Good to look at, and better to wear. We feature fashion's fairest fancies here. The quality is as sulistantial as the saving. Little things most necessary to the household. Now is the time — Here is the place — This is the price. You can safely buy them with your eyes closed at this price. As fashionable as they are seasonable — As serviceable as they are reasonable. SHOW CARD PHRASES 43 Pretty pieces at persuasive prices. Sample trunks that waut to go traveling. Comfortable bedding for these chilly nights. The latest hatchings from fashion's incubator. Heavy walking gloves that are under marching orders. Throw them in the tub and wash them to yoiu- heart's content —you can't wash out the fact that this price is only half their value. Turkish bath toAvels that are thick and thii'sty. Whatever is needed for coolness and appearance is here in plenty. Ever.y 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. Here's a chance to save by spending. It will be our fault if you don't return. Doings beat promising. Come again and gain again. Bargains — not remnants. A trumpet call for bargain-seekers. A harvest of furniture fancies. After these are gone, no more— It's just changing money. Worthy silks — Worthy savings. Prices reduced to the laughing point. Prices of powerful popularity. Good news of good goods. A dull knife tries the temper— Here's the finest American table cutlery. Cut to insure comfort without asking your vanity to pay the penalty. Get a notion of the hunmiing notion sale— It's near the end. They look fine and well made — And Avill prove so in the Avear. Sucii a splash!— When these $2.10 Bathing Suits go to sea. Just an instance of what our china section is doing. Hammocks Fall— These have dropped from $6 to $4. If your pocket-book is your guide, walk in. Things you waut at prices you'll like. The price gives no hint of their real value. A happy blend of comfort and style. These prices rarely buy such qualities. As good as any — better than most. We have shaved the price on good razors. Comfortable but not clumsy. 44 SHOW CARD WRITING Window sj)ace only a small display — Inside we show the full line. A profitable loss — Turning these into money. Prices that tell the tale — Qualities that make the sale. Summer cottons for Winter Tourists. The Tailoring and Fabrics are better than the price suggests. The more you like comfort, the more you will like these. A harvest festival of good things to cat. Stii'ring economies for good housewives. We give lessons in right buying. We do everything to sell our goods but misrepresent them. We originate — Others imitate. We are out-talked often — outdone never. We've been looking for you — Now listen. The key to wealth is right buying. The early buyer gets the choice. Quality costs, but it's the surest guarantee. Our clerks are here to assist — not to insist. Our patrons wear smiles. Made on honor — sold on merit. It takes nerve to sell at these prices. It takes sense to make dollars. We give lessons in right buying by examples in low selling. Don't worry about the fit — we attend to that. Don't let cigars get the best of you — Get the best of cigars. If you don't decide today, we can be found 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 choice from this choice lot. Talking about Strikes — How does this strike you? To have been first proves antiquity — To have liecome first proves merit. We can make it warm for you if you need Idankets. We have Trimks that will laugh at any baggageman. We don't follow the leaders — We lead the followers. We're so far ahead that we're lonesome. Shoes WE SELL SHOES— NOT OUR CUSTO:\IERS— NEW SHOES SOLD— OLD SHOES RE-SOLED. SHOES as you like them for less than you usually pay. SHOES that are on TIP-TOE to get out of the store. It's time to step into Spring Shoes. A shoe with everv mark of correct stvle. SHOW CAED PHRASES 45 It's Oxford Time. Let our Slioeiiian take care of your feet. No trouljle to show shoes — No shoes to show trouble. A Paradise of rest for Weary feet. The man of taste never allows his taste to fall short of his shoes. That Boy will tind his match in our School Shoes. The kick of the boy and the skip of the girl are provided for in our School Shoes. Our Storm Slippers Reign Supreme Wherever It Rains. Springy Shoes for Spring and Summer. Common Sense Heels, Extension Soles and Goodyear Welt. Calf Lined soled to the heel. Be sure of your footing, then go ahead. A SHOE "That Fits the Foot and Feasts the Eye." An Easy Shoe with an Easy Price. It's no feat for us to tit feet. If the Tongues in these Shoes could speak, they'd say, "Mighty Good!" Not only good Shoes for perfect Feet, but Perfect Shoes for all Feet. Low Shoes at Low Prices. For your feet's sake, lend us your ears. Fit Well, Feel Well, Look Well, Well Worth the Price, Well Made. Easy Shoes for tender feet— Ease and Comfort Combined — Comfort for the Feet, Easy for the Purse— $2.00. Men's Clothing and Furnishings Collars that fit the Season, the Shirt, the Fashion and the Pocket-Book. They can "tie" our Cravats, but can't beat them at this price. Socks ^^■ith Clocks right up to the minute. Worn particularly by Particular Men. In Vests We have just the Vests You'll invest in. Are you troubled with "Holey" Socks'? These are ^^Hiolly Good. Our Store is the Capitol of "Scarfdom." The man in search of a touch of Newness will find it in this Store. An Ounce of Good Underwear is worth a Pound of :\Iedicine. An Underselling Sale of Summer Underwear. Fine Furnishings for Fastidious Fellows. Medium and Heavy Weights— Soft, Fleecy Garments. Sightly! Worn Nightly, Made Sightly, Priced Slightly. 46 SHOW CARD WRITING Ladies' Wear Favorite Dress Materials for Summer End-of-Season Prices. Tlie Miss who wants wliite will be well pleased with our assortment. For the Girl who wants to he Prettier. Here are Suits to take you "Out of the Crowd." Stylish Ship Shape Sailor Suits. AVomeu's New Autumn Suits to put right on and l)e com- fortable. Waists that have the secret of good simplicity and good taste. Tailorish Silk Shirt- Waist Suits. A Whirlwind of Bargains in Dress Goods this Aveek. Exquisitely Tailored Suits. No lady's wardrobe complete witliout these Dainty Rustling Garments. Noisy Silks at Quiet Prices. There is Superior Grace and Character in all of our Tailor- Made Suits. Men's Hats Here's a "Straw" without a Flaw. Stylisli Straws — Sensil)le Sha])es — Smart Styles. Soft Hat Comfort for Hard-Ileaded Men, who appreciate Style, Quality and Good Values. Here is the Hat you had in mind. No Headaches in these Hats. Crown Yourself with the Season's Latest "Lid." A Bewildering Assortment of "Crowns" for His Majesty "The American Citizen." 'old hon, 'ere his your 'at. Hat the Right Price. Boys' Clothing Suit your Boy, Yourself, Your Pocket Book with Norfolk Suit. Clothes to Please the Lads — Prices to Please the DADS. Clothing is Cheaper for a healthy boy than Doctor's Bills for a Sick One. He'll Never play "Hooky" if you dress him like a Gentleman. Nothing too Good for YOUR BOY. Men's Clothing Mannish Modes for Little Men. Pay $13.98 for one of these Suits and congratulate Yourself. SHOW CARD PHRASES 47 Next to your ability conies your appearance — These Suits Make you Loolv Smart. "Costly thy Raiment as Thy Purse will Permit" note the Price. Our "Duds" are as Good as they Look. Zero weather is coming! Get into a Heavy Overcoat at a Light Price. Comfort for Hot Weather — Prices just as light as the Goods. 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, Low in Price. Real "Eye Arresters" — These Nol)by Suits at attention com- pelling Prices. Odds and Ends Everlasting scents for 50 cents. Long Life Hair Brushes. SOAPS OP SENSE AND SCENTS FOR SEVEN CENTS. A CUT IN SHEETS. NOT HARDWARE BUT UNDERWEAR THAT WILL STAND HARD WEAR. "A WORD TO THE WIVES IS SUFFICIENT"— These Willow Plumes will move rapidly at this Price. "Tub Ties" that will take the Tub Test. Form Tracing Spring Raiment $15. to $40. The foregoing have been added to this work to aid you in m.aking up "copy" when called upon to do so by your customer who at times will be at loss to know off hand just what he wants in the way of inscription. The phrases are mostly "Jingles" and are fairly representative as they are mostly "pick ups,"- — and the number is sufficiently large so that you can cover most any line. Be on the lookoiit at all times for catchy phrases, good catch lines, display heads, etc. % X ^ 0) y (0 ►^ -^ CO N (/) > Z <& < tin JD Q O I 11 Iff tc X ll. (D < > a o z 1-^ J^ t ^ ^ 2>^ (/) g lU I x/x (3 C3' <^ 00 ■0, 6^ R Q! Q '■■4 Hi O o ^ s o rvj X < CD ^ 3 s S CO CD 00 oj > ,icn •ro: Cl o > D +-> CO cr a o c -:^ ^ X O 13 CO UJ Q O < ft^ 0. P. CO O > CO O Oh O 2 o w u CO CO (3) S. 00 ^ CD CO CO d- O bo ca Otor O 00 ^ 0/1 ^ o o Is M PS td c> tr §1 ^ Oc(j Qtf) 1 - t— * (lT 01 z D o ^ > CO (5^ o u cQ < (U (^ S-c\J bo 2X1 i 6> CO, Q 22^ o2> Q Snip > no CSI i go o O < V) i a. s I' o B u ■M 8- ,^ n g-' ^Td lit *^ o o g u o ai I-- (/J iz; M CO I X u ■ T— I u a. ^^KlohiOis> miporied ea^rli/Jvr No. 1— Is a Avhite card, red display letter, Ijlack subordiuate letter, embossed "cut out" tloral. No. 2— Wall paper "cut out" floral— on white card, panel effect pale green air brush— lettering in red. Air brush gray shadow. No. 3— Main Card white— panel, wall paper mount, imitation leather. Blue letter, white outline and ornament. Black letter on main card. No, 4— White card — white letter, purple shadow and blended ground air brush. Rendered "cut out" floral. No. 5 — Wall paper mount — white letter, air brush shade iu pale green, black outline. ^^l0l^@!)- No. 6— White Card— panel ''cut out" created— iu imita- tioB bronze color — accented in gold bronze. "Red Caps" black letter on display, remainder of lettering black. yf//S/zes <2^^<^ jn^yar^ No. 7 — White Card — fashion figure "cut out." Red panel — white letter — modeled on shade side — air brush gray. No. 8 — White (Jarcl— red letter, Easter Lilies in white "air Ijrushed" in pale green, circle in pale 3'ellow tint. Matt line — pale yellow. No. 9 — AVhite Card — wreath is a bronze "cut out' brushed pink blend from base of wreath, — all black letter. air No. 10 — Russet Ingrain panel mounts on white, Price in red, "Suits" red, orna- ment red, white ornament on suit panel, letter ou triangle in white. No. 11— \Yliite Card— pauel iiicdiuiu purple, oruameut in lavender tint. No. 12 — White Card — black lettering, gvay ornament. No. 13— Mediiuii ( iray Card — white matt Hue, air brushed shadow, value upon "line" and lettering — lettering white. No. 14 — White (Jard — panel aii' brushed outline, in blue. No. 15 — Dark Green Card — old gold ornament, or bronze, letter ]3ale bnff tint, red ontline and accent. No, 16 — Dark Green Card — red letter, pale buff outline on "Furs," gold bronze lining top and bottom. ^ hZ '7t5 No. 17 — White Card — white panel — pink and pale green A'alues air brnshed, violets rendered l)y hand — all black letter. No, 18 — White Card air l)riished in Sepia tone white panel — black letter. Sbfeds^ No. 19 — White Card — air brushed pic- torial in lihie, grays — warm green. Lettering in Ijhick. No. 20— Olive Green ]\[att Board— hand painted floral, white lettering and ornament, gold bronze, matt line. out oiKumg. —Chicks are mounted toy Chicks. No. 24 — White Card — cut out open, lattice at upper left hand corner — artificial flower entwined in lattice — Russet panel, mounted, and ornamented in white, gray tint back panel — black letter. No. 25 — "White Card — panel suggested with air hrush blend of pale green — pink ornament, red display lettering — black snb. letter. m iS) UmJUTT Bargain Basement No. 26 — White Card — black letter, gray ornament. No. 27 — White Card — air brushed white panel in gray — on air brushed pale green, hand painted floral. No. 28 — Eiiiboissc'd "cut out" on browu card, ^Yllite liuc. No. 29 — l^i'dwu Card — white border — "cut out" wall paper fruit. No. 30 — AVhite Card — white panel air l)ruslied in pale green and gray — floral hand painted. No. 31 — Mottled Russet Wall Paper mouut — white ornament. No. 32 — White Card — Avreatli pale green, ornameut in flesh tint — accented — ■ with deeper terra eotta tint — ^pale yel- low tint — purple and red. No. 33 — Hand paiuted — in color combination of your own selection. No. 34 — Moonlio'ht marine in two values of bine and green — air l)rnshed — on white card — pale green ornament. No. 35 — Air brushed pale green tint — center of triangular panel, Sepia or "Ashes of Roses" hand painted floral. No. 36— White Card— white oval- blended ground of pale green and d^dl purple tint hand painted "lilacs." No. 37 — Decorative design — New panel, iu purple and old gold, white ground. Art No. 38 — White ground — blue air brush value forniiug oval — oval white — fashion figure "cut out." Ornament — in two tints of pale blue. No. 29— Air brush design— white card— white panel, pink air brush tint surrounding panel. No. 40 — ^Medium ( ira>- Card — L'ietorial "Se- pia Print" — "air brush" background using leaves for ' ' maslvs. ' ' Sienna orna- ment, gold accents. No. 41 — Air bruslicd iu pale green and gray, No. 43— Serious ''cut out" modeled in grays entirely air brushed. No. 44— Little design over "iiiasi-: •o* No. 45— Little design sprayed in o]K'ning of pattern after mask was ent — showing how l)oth "mask" and "wasted" opening of paper can be utilized in creating two designs. No. 46 — Showino- what may be accomplished Avithout a mask — this letter was "laved out" accm-ately — and straight loose "slip masks" four in number, each "composite value" rendered by blocking it or fencing in and the method repeated until the entire letter was completed. o m u S -tj fcf _g C3 O H ■4J OJ ■73 ^2 ^ o -M O <53 rt m o TS ^ -^p 5K m OJ 1-1 ^ "^ In 03 ^ ,-H o (U o 7; O m c3 r-l o o o ci 00 .^ O o Tx; O t^ ^ 1 ^ c3 6 ■* ' _j ^ m :^ V) o !zi o m o m o No. 53— Yellow nioiuit ou white card lettered iu bine— aii- brush shadow in gray. No. 54 — Imitation Burlap mount on white card, white letter and border stripe, air brush shade on the price. No. 55— Blue "oat meal" wall paper mount on white— white letter. No. 57 — Yellow Onyx AVall Pai)(>v mount, bevel border air brushed in pale green. No. 58— Red "oat meal"— white letter, white brush 50e. border, air o No. 61— "Oak" Wall Paper mount — on white, white letter and ornament. ^ f^ No. 64— White Card— air bruslied iu purple. r^ ^ No. 67 — White — air l)rushed in purple. No. 68— Ornate design — in neutral grays — all air brush. No. 69 — Air brush panel in grays ou wliite. No. 70 — Warm dark olive — ground — floral, cm- bossed wall paper "cut out," also top edge cut out forming silhouette, — very fine — accent and matt line in gold bronze. No. 71— Dark Gray Card— "cut out head,' white gloss card mounted from or on back. No. 72— Ditto as per No. 70. No. 73— Ditto as per 71 aud 72— thin green "oat meal" wall paper mounted on back hand painted flowers in pink values. No. 74— Mcdiiini gray "cut out," mottled buff wall paper, "back niouut," $2. Red, with black outline and accent. Any Hat, in white, red "poster spot." No. 75— Dull Tan Mottled Card — panel "cut out" and white back mount, floral in ]jurples, hand painted, Avhite, letter on main card, black ornament, l)lack letter on the white panel top edge "silhouette cut." No. 76 — Medium green "cut out." white panel mounted from back, blacl^; letter, hand painted floral. No. 77— Dark green card, celluloid "l)acked'" cirele panel, "cut out "fashion figure" white letter, black ornament. No. 78 — Dark ^reen card, "cut out" panels white niouuted on back — black poster effect on main card — $15, Red — rest of lettering black, hand painted floral in pink values. No. 79 — Medium brown card, "Cellu- loid panel" "cut out" fashion figure, white ornament. No. 80 — Eml)ossed Litho "cut out," on Avhite card. No. 81 — "Cut out" heavy einl)ossed fruit, mounted on brown card- white line. Nos. 82, 83 and 84 — Are imported emljossed designs— on white, can be air brushed agreeably in pale colors. No. 83— See Xo. 82. / ( \\ m '. t No. 84— See No. 82. \ P"' i r > No. 85 — Special Cellu- loid "projectors" for side of show window. No. 86 — Lettering on the celluloid in blue. No. 87— Full Card— Easter design— air brushed in pale green and purple. No. 88 — Fruit entirely air brushed green and purple on white card. No. 89 — Wliitf Card — Lilies, air brushed in ])ale .screen, New Art vase in terra cotta, letter in red, air brush shade in gray, red line. No. 90 — Combination hand and air In'ush decoration, figure in black, — white panel, blend of pale o-reen from l)ottom, pale g-reen border on panel also for ornament, — fill openings in ornament, pale pnrple, blend of background from deep to lemon yellow, — tabourette in black. No. 91 — Marble effect air brushed in Sepia tones, Floral festoon, embossed "cut out," ^Yhite ornament and border, air brush Sepia shadow on the festoon. 'f I fflr'iitiiiiiiiiiMmifiii JiliMIIliliiiiiiMiiMil ^^ ■■-*^?^BSW*I8^||| N ^irms^^fm No. 92. — AVhitc, aii* brushed in Sepia. mmm,.^ \ / \ / \ \ \ / No. 93— Embossed "Floral Cut" and lattice, Grape Vine air brush in Sepia on white. .:* V > No 94-Air brushed "rustic" letter in greeu tones-Conveiitioiial trees m green, air brushed in gray— blossoms m pmk. No. 95— Air Brush Pauel ou white, iii pale green. No. 96 — Eml3ossecl Pictorial mounted,- — air brush design in Sepia tones. No. 97 — Ail- Brushed Vase in .2,Tay aud pale green- flowers ou \\iiite ground. -artificial No. 98— Lilliputian Stage Setting— air brush the drapery in purple, cut out the opeuiug, and separate the "Back" or panel card with ordinary bottle corks — which will give an effect of depth to the creation. Use regular Ijall fringe on the drapery. .~ be ^ bJD 5 3 '^1 o 5 o ^ g ^ 9^ •r-l ,^_, 2' > Ph J qzl O ^ — TO ^ o No 100— Frame is of 8-plv white hoard, "cut out" wall paper floral mounted trom ■ iiack— to top of framV. IVIain card is heiit in flat semi-circle or concave to back of "frame." Frame is air hrush blend in purple and green— pale tints— wliite ornament on frame, letter on frame in oold bronze. Main card is blend ot red to lemon yellow— letter in gold In'onze, shade letter m white. No 101— Eo-o- shaped silhouettL— c-ut out and air Innished m piirple — opeinng iii ' center ref't clear —head is Litho "cut out" floral decoration in pur])le values, hand painted. This creation is to be suspended on invisilile fine wires and in- tended to form the central or "feature" of an Easter Millmery A^ mdow. No. 102 — Mottled Russet Wall Paper mounted on white, curled naturally at upper left hand corner, — blend the "turn" in pink and green — ornament in white. No. 103 — Comer piece — cut out — air brushed — hand painted bouquet. No. 104 — Side ami piece, air brushed- liand paiuted "posies." No. 105 — White letter on gray. OPENING No. 106 — White ou dark green, air bruslied in light green. No. 107 — Brown matt, white letter. o No. 110 — Cut out lu'ads ou dark green- white line. No. Ill — Air brush price ticket. No. 112— xVir brush price ticket. No. 113 — Various forms and sliapes of price tickets. No. 114 — Larger sizes of price ticlvets. 1 ^""^ ■ (noice Ist special ^7o cYatf Sale 1 Price 1 4? ^■■■^^■^^H ^^^^^^^H No. 115 — Aud some more price cards. No. 116 — Artistic ])lioto mounts for price tickets. No. 117 — More photo mounts. No. 118— "Stock" air lirusli tickets. (Merchant'^ Supply House, 59 E. Van Buren St Chicago, 111.) No. 119 — "Stock" air brush tickets. (Merchants Supply House, 59 E. Vau Bureu St., Chicago, III) No. 120— Iiiiitatiou Wood Papers. (25 in. x 34 in. only, Henrv Bosch Co., Chicago, 111.) No. 121 — Onyx Marble Papers. (25 in. x 34 in. only, Hem\y Bosch Co., Chicago, Illinois.) "S-g INDEX A Page Air Brush (general description of) 38-40 How to keep clean 40 Alphabets — Descriptions of 19-23 Antique Roman 20-22 Bradley Text 21 Card /. 19-20 Egyptian 20-23 Finished Styles 22-23 Heavy Script 22 Italic Script 22 Lower Case Lettering 20-21 Modern Full Block 21 Modern Italic 20-21 Old English 22 Speed 20 Tuscan Block 22 Ali:)habets (illustrations of) Figs. 6-43 Antique Light Face Roman Fig. 11 Automatic Pen Script Fig. 38 Automatic Old English Fig. 40 Bradley Text Fig. 39 Card Writers' Plymouth Fig. 22 Classic Stroke Fig. 33 Detroit Stroke Fig. 30 Engrossing — Single Stroke Fig. 15 Engrossing Text Fig. 16 Egyptian — Upper Case Fig. 27 Heavy Face Egyptian Fig. 13 Heavy Foster Block Fig. 35 Heavy Sign Script Fig. 34 Italic Script Fig. 12 Light Face Spur Egyptian Fig. 18 Marking Pen Roman Figs. 36-37 Modern Single Stroke Block Fig. 25 Old Classic Roman Fig. 28 INDEX Page Old English Fig. 14 Olson Bradley Fig. 19 Ornamental Creations Fig. 43 Payzant Pen Stroke Figs. 6, 7, 8, 9, 10 Pen Stroke Roman Pig. 41 Plain Egyptian — Lower Case Fig. 29 Plain Pen Stroke Fig. 20 Plain Rapid Single Stroke Bloek Fig. 26 Price Ticket Nnmerals Fig. 42 Rapid Single Stroke Tuscan Fig. 23 Sign Painters' Script Figs. 31-32 Spike Spur Roman Fig. 21 Strong's Italic Fig. 24 Tuscan Full Block Fig. 17 Art of Lettering ! .23-27 Composition 23-24 Letter Strokes 25 Major Fifth 26-27 Minor Fifth 26-27 Shading 24-25 Single Stroke 25 Spacing 25-26 Atomizers 12-13 Auto-Marking Pen 40 Automatic Brush 31 B Blended Grounds 16 Borders 33 Bridge or Arm Rest 5 Bronze Powders 13-14 Brilliant 14 Lettering 14 Striping 14 Brush Practice 2-3 Brushes — Show Card 5-6 Care of 6 C Card Board 10 Card Creations — Numljers 1 to 121 Card Synonyms of the IMonth 36-38 April .' 37 August 37 December 38 INDEX Page February 37 January 36 June 37 July 37 May 37 March 37 November 38 October 38 September 38 Card Writers' Idea "Hatchery" 41 CeUuloid 15 Colors — Dry 8 Water — Adhesive for 8-9 Color Combinations 27 Cold Color 27 Strong Contrasts 27 Tri-color Neutral 27 Water Color 27 Color Schemes 32-33 Special for Fancy Cards 33 Correcting Errors 18 On Tinted Cards 18 On Wliite Cards 18 Relettering 18 Cut-outs 15 D Diamond Dust 15 E Elementary Color Mixing 28 Instructions for 28-30 F Fancy Initials or Capitals 34-35 Flitters, or Metallies 14 Flowers — Artificial H Flowers — Cutout 15 Fountain Air Brush 11-12 Paper Masks for 12 Stencils for. . 12 G Gum-Arabic ^ INDEX L Page Layout 17 La^ying Out luscriptious 17-18 Lt'tteriug 10 M Margins 32 Materials 1-2 Matt Board 10-11 N Numerals 23 Ornament, Borders and Scrolls 17 Overpowering Designs 17 P Payzant Pens 39-10 Pen Work 6-7 Strokes of 7 Pens 6-8 Marking 7-8 Ruling 7 Shading 8 Soenneckeu 7 Stub 6 Phrases for Show Cards 41-47 Boys' Clothing 46 Cutting Prices 43 Gift Giving 41 Ladies' Wear 46 Men's Clothing and Furnishings 45, 46, 47 Men's Hats . /. 46 Odds and Ends 47 Prices and Styles 41-42 Quality of Goods 42-43 Shoes " 44-45 When to Buy 44 Plain Cards " 31-32 Plastics for Air Pencil 13 Position of Work 5 Practice Work 30-32 Circles 31 Lines Without Straight Edge 31 INDEX Page Price Tickets 38 Prices for Cards 35-36 R Raised Ornaments 13 Raised Panels 15-16 Removing Pencil Marks, and Dirt 19 Reversing Ornament 34 Corner Pieces and Scroll Panels 3-4 Ribbons 34 Rococo Scroll 34 S Scrolls and Borders 33 Show Cards 33 Show Card Ink 9 White Covering for 9 White Monogram Flake 10 Show Card Writing 1 Colors Suitable for 8 Single Stroke Method 3-5 Soap Lettering on Mirrors 16-17 Soennecken's Parcels Pen 40 Spatter Work 16 Stroke — Boldness of 5 W Wall Papers 15-16 Enamel 15 Imitation Wood and Marble 15 ^11 iiiiiii niii:iiiiiiiiiiiiniiiiiii!iiiiMiiiiiitii!;Hiiiiiiiiiiii[!tiiiii[iiiiiiiiiiiii!iiiiii!iiiiiiiiiiiiiii!iiiiiiiiiiniiiiiiiiiiiiiiiiiitiiiiiii!iiiiiiiiiiiiiiiiiin BOOKS THAT REALLY TEACH YOU THE THINGS YOU WANT TO KNOW In a simple, practical way that you can understand UR ILLUSTRATED CATALOGUE, Avhich will be sent yow free upon request, tells all about the PRACTICAL MECHANICAL BOOKS FOR HOME STUDY that WE PUBLISH. There are popular priced books on the op- eration of trains and station work, practical mechan- ical drawing and machine designing, pattern making, electrical railroading, power stations, automobiles, gas engines, electrical wiring, armature and magnet winding, dynamo tend- ing, elementar>- electricit\-, wireless telegraphy and telephony, carpen- try and architecture, concrete con- struction, plumbing and heating, sign and house painting, amuse- ments, etc., etc. CLNo matter what your ambition or desire for knowledge ma^' be, we publish books WRITTEN BY AUTHORITIES IN THEIR DIFFERENT LINES that will gi\e you just the training and information that you want and need. Write today for this up-to-date and complete illus- trated catalogue andl popular price list. It is free. FREDERICK J. DRAKE & COMPANY PUBLISHERS of SELF-EDUCATIONAL BOOKS 1325 South Michigan Boulevard, CHICAGO, U. S. A. llUUlUUIh^ One nf the many pop ular models of Paasche's "3 in 1" Air Brushes., with quick detachable plete outfitshowine sign painter at work usins; ".3 in 1" Paasche A i r Brush. Electric Com- pressor Outfit and New Iiuprrtved Easel-Drawing Table. UP-TO-DATE Card Writers. Sign Painters, Window Trimmers and Decorators USE "3 in 1" PAASCHE AIR BRUSHES with remarkable success. The air brush will in a few^ minutes furnish the richest and most striking effects requiring hours of tedious labor to do without the Air Brush. THE HANDSOME ILLUSTRATIONS IN THIS BOOK fully demonstrate the unlimited possibilities and indispensable value of the Air Brush. A PAASCHE AIR BRUSH OUTFIT will in- crease your earning capacity manyfold and pay for itself many times over, and as a result prove one of the best investments YOU have ever made. impos^ible tu do witlicait the air blu^ll. Write for our catalogue— it tells you more about them ^^^^WWwwW ^ www ^^^^0^9ww ^^W • 608-a Blue Island Ave. MANUFACTURERS CHICAGO, ILL., U. S. A. SHO-CARD WRITERS' REQUISITES THE COAST BRAND ADHESIVE DRV COLORS A REVOLUTION IN WATER COLORS FOR DECORATORS. FRESCO PAINTERS. SIGN PAINTERS, CARD WRITERS. SCENIC PAINTERS, PICTORIAL PAINTERS, DESIGNERS. ARCHI- TECTS. PEN ARTISTS, ETC., ETC. Not to be classed with Cement or Plaster Colors used for wall tinting and calcimining. The COAST BRAND are full strength colors and need no Klue. niucilaRe or other adhesive. The addition of WATER ONLY is all that is required to make a fine, smooth, easy flowing color that will not rub np. A further addition of water reduces it to an ink which is SUPERIOR to the India Inks. Eberhard's MASTER Round Stroke Brush For Showcards, Illustrating: and Designing. (In oiuch Cedar, polished handle, mund. nickel f.Trulc) A SPECIALLY FINE RED SABLE ONE STROKE FLAT BRUSH CARD WRITERS' PURE RED SABLE For a clean stroke letter IT HAS NO EQUAL Illustration shows .actual widths — made in six sizes uj) to ^'s of an inch wide. Also made in Pure Ox Hair. Pure Red Sable Riggers, with fine square points. Send 2 cents in stamps for ]*)I2 Catalogue. 36 pages. NOW READY EBERHARD&SON Dept. S. C, 298 Pearl Street NEW YORK %riEi:f SfrnlfB OU Fellows who have tried ' this, that, and the other brush" and have failed to get 100 per cent satisfaction, here's "the surest thing you know." ^]P The "Perfect Stroke" has no equal for clean lines, accuracy, dependability and all-round clas- siness. #? The material and workmanship are ' 'away above everything' ' and I guarantee that every brush will make good. So don't hesitate — no need to be a skeptic, but WRITE RIGHT Now for Free catalog to BERT L. DAILV DESK A DAYTON, OHIO :t: x: £ o M j: t: M •5 3 u O 8 g 3 ^ a = = 3 « J .2 c o _. ^ 'S •= 5 1 |HS £ ^^•S-° 8 £ 2£ 2 E Q. GEO. E. WATSON CO. 1 -The Paint People" 1 62 W. Lake Street :: CHICAGO. ILL. 1 ■ •= c g S 1 l-o S S c 2 ^ t: S •- -^ E 3 ■; " - r= I 1 1 1 - « » J C 2 T3 o B a 2 J2 J: IbI 1 i i B f 1 Show Card Writers : Sign Writers Window Trimmers : Decorators Store Front Publicity Men Are YOU a Subscriber to SIGNS OF THE TIMES? HTHERE are a hundred reasons why you should subscribe. Here are only five of ■*■ them : 1. Because SIGNS OF THE TIMES is publishing every month articles on show card writing that are educational, inspiring; articles by some of the best men in the business, articles that suggest new ideas, give new theories, that indicate errors commonly made. Among its contributors are such men as L. O. Butcher, H. L. Hiett, E. A. Hoppman, Morris Einson and other practitioners known through- out the country. We would like to have YOU write an article for it, too. 2. Because SIGNS OF THE TIMES has a SERVICE BUREAU that digs up informa- tion for subscribers free. For instance, a fellow comes across something he is not sure about. He writes SIGNS OF THE TIMES. If we haven't the information handy, we generally know who has it on tap. This service is FREE to all subscribers. FREE FROM THE MINUTE YOU SUBSCRIBE. 3. Because SIGNS OF THE TIMES is edited especially for the show card and store front publicity field. It is boosting the profession and is doing much for its uplift. It is helping to create a greater demand and clearer understanding of the value of good signs, show cards, window displays and profitable store front publicity. 4. Because SIGNS OF THE TIMES is not controlled by any association or agency and is free to give its readers the very best paper possible. It treats matters in a fair, impartial manner and is sincere in its criticisms. Also, it publishes the NEWS. 5. Because SIGNS OF THE TIMES is only ONE DOLLAR a year, and anyone who is at all interested in his profession shouldn't be without SIGNS OF THE TIMES. Just think, one sug- gestion gotten out of SIGNS OF THE TIMES would more than pay for a subscription. — But why this argument? SIGNS OF THE TIMES pays for itself many times over. SUBSCRIBE NOW. SEND ONE DOLLAR SIGNS OF THE TIMES 25-27 OPERA BLDG. CINCINNATI, OHIO, U. S. A. NOV 27 "iflil?