TT 360 .04 Copy 1 HiiliiMiiiiHiiNiiiiiiiiiiiiriiiiiiiiiiiiiitii iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiuiiiiiiiii iiiiiHMiitiiiii itiiiiiriiiiiirdDtiiiriiiiiiiii riiiiiiii iiiiiiiiiirniiniiiiiiiiii iiu ii i mil liiiiiiiiiiiilluuiuiiiuiMUUUUUluiuiuiuiiiiiiiiiH^ Containing Simple Brush and Pen Alphabets, With Easily Understood Instructions on How To Form Them. Revised from the Series of Articles Which Appeared Originally in the Northwest Commercial Bulletin and the Hardware Trade. Also Many Additional Novel Ideas and Suggestions INCLUDING CHAPTERS ON RETAIL ADVERTISING and WINDOW TRIMMING WRITTEN BY JOHN H. DE WILD Manager Service Bureau Northwest Commercial Bulletin and Hardware Trade cTWinneapolis - Saint Paul SmmniinDiiininninmiiHinimninmmitiiiHriiinniiMiiiHiiintMiiiiiiiiiiiiiiiiiriiitMnMiiiiinintiMiiiiiiiriiiiiriiniin[iiiiitiiiinuni!iuii:irtiutuuiiiinin ©CU652259 2/^ X 9./PP % The Value of a Sign or Show Card Is Measured by Its "Pulling Power'' Whatever j^ou expect to do with an Air Brush, the Paasche will do it better for you. These illustrations show the value of attractive display matter, as well as give you an idea of the un- limited possibilities of what the Paasche will do for you. The Paasche "pays its own way" in every show card and sign shop. Put the Real Punch or Kick in Every Piece of Display Mat- ter You Ttu-n Out. The versatility of Paasche Air Brushes, combined with speed, durability, efficiency, make them the most sought for and most widely known tools. The Paasche is easily cleaned and stays in working order long- er and better than any other air brush. What the Public Appreciates in Artistic Display Matter the "Boss" Is Willing to Pay Well For For the Simplest Price Ticket to An Elaborate Card The Paa- sche serves the purpose much better than any other brush — and DOES BET- TER WORK. Paasche Model "D" 3-in-l Air Brush Attractive able Sign done with and Profit- s are best Model "D." Is KING OF THEM ALL. More of these Air Brushes are in use in Sign and Show Card Shops than all other makes combined. Model "D" at Work— Bottle for Large Work, Cup for Small Work. Both come with Outfit. Paashe Famous 3-in-l Air Brushes Are Made in All Sizes CANNOT BE EQUALLED FOR Show Cards - Window Backgrounds Our Larger Air Brushes are used for Refinishing Fixtures. Make the Old Fixtures look like new. Write for Our Catalog Today Signs Manufacturer's Largest and Most G)mplete Line of Air Brushes and Accessories 1288 Washington Boulevard CHICAGO, ILLINOIS YOU CAN DO GOOD WORK WITH A "HANDY" OUTFIT 1 Red Sable Show Card Brush No. 12 1 Red Sable Show Card Brush No. 8 1 2-DZ. bottle Black Show Card Ink 1 2-cz. bottle Red Show Card Ink 1 2-cz. bottle Blue Show Card Ink 1 2-oz. bottle Green Show Card Ink 1 2-oz. bcttle Yellow Show Card Ink ™^ "HANDY" SHOW CARD OUTFIT ■^XYz I Automatic Lettering Pen 1 set of Five Speed Ball Pens 1 bottle Speedink for Pens 50 sheets Cardboard, assorted colors, size 7x11 100 Price Tickets, 3x5 inches 200 Price Tickets, 2x3 inches 5 Practice Charts for Speed Ball Pens THIS "HANDY" Show Card Outfit was specially designed and selected by John H. DeWild, of the Commercial Bulletin and Hardware Trade Service Bureau, and is securely packed for shipment in a heavy corrugated board box. The outfit contains all the materials necessary for good show card work in the average store. Everything is first-class, the same as used by professionals. iiiiuiiiiiiiiiittiiiDiMiiiiiirriiiiriiiiniiiiitiiiitiiiniiiiniiitiiiiiiiii Our Price, Complete Parcels Post Prepaid, Only $6 ,50 liiiiiiiiiiiiiiiiMiiiiiiiiiiiiitiiiiiiiiitiiiiiiMiiiiliiitllinriiiiii SEND ALL ORDERS AND REMITTANCES TO 7Ae Northwest Commercial Bulletin or Hardware Trade MINNEAPOLIS SAINT PAUL INTRODUCTION ATTRACTIVE show cards, signs and price tickets help sell merchandise — and realizing that there are many merchants who desire to add to the attractiveness of their show windows and store interiors by the use of well-let- tered, attractive display signs, the Commercial Bulletin has decided to publish a complete book on this important work. The following pages cover thoroughly the rudiments of lettering with brush, also the various pens now in use, and explain the details in such a simple way that any one, even young boys and girls, can become quite proficient, even expert in lettering, by carefully studying each lesson and practicing until each exercise is thoroughly mastered. The author has endeavored to use simple language, avoiding technical and professional terms — so that nothing can be misunderstood. There has been but one thought in mind, throughout — that of giving to the retail trade a simple treatise that will be practical, helpful and easily mastered. The chapters on Advertising and Window Trimming have been written so that many merchants may have a handy, brief, instructive outline of the essentials that con- stitute successful publicity and Window Display, Better ad- vertising and neater displays mean more business. HOW TO WRITE SHOW CARDS LESSON I— FUNDAMENTALS Advice as to Brushes, Ink, Cards, Etc. — Simple Letters Form Initial Lesson — Practice Main Requirement for Mastery of Work. Show card lettering is really simple. Once the beginner is supplied with the proper materials, and taught the correct manner of forming the various letters, it is only a matter of practice and patience, plus a little ambition and determination. First the student must provide himself with a few brushes and a jar of black show card ink. These may be obtained from any firm whose advertisements appear in this book. If you have difficulty in securing sup- plies, write to the Bulletin and the names of reliable firms will be furnished. Brushes of Prime Importance Brushes are very important. Secure the red sable show card brushes and DO NOT TRY TO LETTER WITH ANY OTHER. Good work is absolutely impossible with inferior brushes. The student should secure first, a brush that will make a stroke about one-eighth of an inch in width. This will cost very little. Fig. 1 Fig. 2 Most brush manufacturers call this a No. 8. However, the size numbers vary somewhat, but this is a splendid size for practice. A size smaller, and one or two larger ones should also be secured, and be sure and se- lect the show card ink in the flat black. Do not use drawing ink with brushes. The glos's black dries too quickly and is too "stiff" for the average beginner. The proper use of the "gloss" ink will be taught in the closing lessons. We will now suppose you are supplied with the necessary brushes and ink. Pro- vide for yourself also a number of sheets of coated cardboard, or sheets of heavy weight enameled paper. Insist upon card- board that is coated. Your printer can sup- ply these sheets — and have them cut into convenient sizes. Show card stock is regular cardboard size — 22x28 inches, and quarter sheets 11x14, make the best size for practice. Should Have a "T" Square Next you should secure a "T" square; and either make or purchase a drawing board or table which can readily be placed in a sloping position of about 30 to 45 degrees, to suit the convenience of the student. A few thumb tacks are also handy for fasten- ing the cardboard or paper to the drawing board, and you are now ready for the first lesson. Starting Out Draw a series of lines, with a lead pencil, lengthwise across your practice sheet. The first two lines should be not more than three- fourths inch apart, or nearly so. not less; then skip an inch and draw two more lines. The one-half to three-quarter inch spaces are about the proper height for the "lower in a small pan of water, or add water to your ink. Keep your brush in the shape as shown by the drawing on the right in Fig. 1. How to Hold Brush Hold the brush as shown in Fig. 2, and study this position carefully. Observe that the brush is NOT HELD LIKE A PEN, but that the handle is slightly ahead of or in front of the third joint of the forefinger. This is vitally important because without this position, straight, perpendicu- lar lines are impossible, and curves ami flourishes cannot be made in a uniform manner. BEGIN RIGHT AND THE REST WILL BE EASY. Do not hold the brush too tightly — and keep the chisel edge turned in the general direction of the stroke to be made — so that where the width of the stroke. Fig case" letters to be practiced when using the No. 8 brush mentioned, or its equivalent. If however, after practicing for a while, the student finds that better work can be done with a larger brush, simply increase the height of the letters proportionately — and proceed just the same. Of Great Importance You are now ready to make the letters. First of all, you must always bear in mind this important point. Keep your brush well equals the width of the brush — the brush will be traveling squarely with the stroke, or nearly so. Ready now with your brush. Let the hand rest lightly on the paper, bearing the weight on the little finger which is slightly bent underneath the hand. Practice this po- sition so that the hand "slides" easily over the paper without effort. The First Lesson If you will now note Fig. 3 — you will see CI I Q 6> S Fig inked so that the extreme point of the hairs forms a "chisel shape". Note Fig. 1. The drawing on the left shows how NOT to use the brush. You cannot make a neatly shaded letter when the brush coines to a point. "Work out" the bristles by moving the brush forward and back across an old piece of cardboard, or an old saucer after you have dipped it into the ink. Carry suffi- cient ink to cover the surface of the letter thoroughly — and if the ink is too thick moisten the brush occasionally by dipping that only four letters are given for the first lesson. The reason for this is that the "a", "e", "o" and "s" are the most difficult to make — and also that these four letters com- pose the dlflacult strokes that enter into the composition of most of the other letters, with the addition of the long downward stroke of the "1" and the shorter stroke of the letter "i". Figure 1 shows the position of the brush in making the various strokes. Note care- fully the angles at which the brush is held. Fig. 5 Begin practicing the letter "a". Make the strokes as indicated by the numbered ar- rows in Fig. 3. Hold yovir brush straight in front of the body — and make the first stroke slightly sideways so that the "chisel edge" of the brush will form the light line, and gradually increase in width as you draw downward, then upward, completing the curve. Now take the brush and see that when you begin the second stroke — it is in the same relative position as when you started the first stroke. Then come straight down, using the full "chisel width" of the brush. As the brush reaches the pencil mark, or lower line, make a slight turn to the right, and gradually lift the brush from the paper. By doing this carefully you should have no difficulty in forming the "finishing curve" so necessary to good letter- ing. In making the second letter "a" as indi- cated in Fig. 3, start the brush lightly and then make a sweeping stroke downward and toward the right, finishing by lightly lifting the brush from the paper or cardboard. The second stroke is made similar to the first stroke of the other "a" shown in the dia- gram. Bear in mind that the upward strokes of the brush must be light, thin. strokes. If the students prefer to make the letters exactly the same size as shown in the let- ters reproduced herewith — USE A No. 10 BRUSH, or one that will make a stroke about the width as shown. In making the letter "e" note that the first stroke is very similar to the first stroke of the letter "a". Proceed the same way. Then make a short stroke of No. 2, and be sure to have the brush in such a position that the strokes join neatly. Stroke No. 2 is downward in a curve, and stroke No. 3 starts downward with a gradual curve up- ward. Practice Required The first stroke of the letter "o" is the same as the letter "e" and the second stroke is a simple curve to the right — joining neatly a little to the left at the top and a trifie to the right at the bottom. (See the cross lines in Fig. 4). When you make this letter have your brush traveling straight with the stroke at its widest part. The letter "s" is rather difficult and may require considerable practice. Don't become discouraged at first, but always make the letter exactly as indicated by the various strokes and you will then have a uniform, neat letter. The first stroke is short, very similar to the second stroke of the "e", and the second stroke should be rounding, and come forward as far as the first stroke. Be careful in making stroke No. 3, and keep the brush in such a position that it will join into No. 3 without showing a "ragged" fin- ish. This completes the details of the four most difficult letters. In practicing Fig. 5, using a No. 8 brush, rule your paper with lines about one-half inch apart, thus making the long strokes about one inch high. This exercise if prac- ticed thoroughly will enable the beginner to become used to the brush and its peculi- arities. Thoroughly Master This Lesson Consistent practice will bring success. Sit down and practice the various strokes at every opportunity. Then take a sheet of paper and cover it with the letters "a", "e", "o", etc., alwa,ys ruling your paper to keep the letters uniform. Thoroughly master this first lesson, and the rest will be easy. It's all in the begin- ning. HOW TO WRITE SHOW CARDS LESSON II— LOWER CASE ROMAN How to Make Each Letter in the Easiest, Quickest Manner — This Is the Simplest Alphabet for Show Card Writing. Have you practiced the first lesson thor- oughly and mastered the simple strokes which are so necessary to good work? If so, you are now ready for lesson num- ber two. This is ihe alphabet promised in the first lesson, and you should be so proficient with the brush by this time that after several preliminary efforts, very creditable work should result. Only the lower case letters are shown, because this will limit the beginner to one professional loiterers are not "fast" in the strict sense of the word. The more artistic the letterer, the more time that person takes in doing good work. "Work fast where you can, but slow where you must," is a good motto to remember. Keep in mind the instructions given in the first lesson, and always keep your work in front of you. Do not lean too much to one side or the other, nor work from a slant, because this will soon prove tiresome, and is ruinous on the eyes. Your brush Fig:. 1. The lower case alphabet line of work; thus more will be accom plished, and there will be no confusion. Many students make a hurried effort to accomplish too much within a short time and as a consequence, never properly mas- ter the rudiments of the work. Practice of Vital Importance The preliminary pi-actice work is vitally important, because it is the real foundation, and unless the beginner conscientiously trie^ to make each letter just as it should be made, taking infinite time and pains where necessary, it will be useless to try to do clever work later on, where rare skill and practice are essential. Take Your Time Do not liurry in your practice work. Even liand should be in front of the body, and this will enable you to make the perpendic- ular strokes, that is — the straight "up-and- down" lines, in a more uniform manner. Brush Hints Keep your brush well filled with ink, so that smooth, clean lines result, but do not bear down too hard on the brush. One more word of advice and you will be ready to practice the alphabet. DO NOT KEEP YOUR BRUSH IN TOO MUCH OP A CHISEL POINT. Learn just how wide the brush should "spread" to do good work, and keep it in that shape. If you force the "chisel" edge to an unusual width on some strokes, your letters will not be uniform. 8 The natural stroke of the brush is the width of stroke you should always make. Here's the Alphabet Now for the alphabet as sho\vn in Fig. 1. Note that the lines and arrows indicate the direction of the brush stroke, and the numbers indicate the order in which the strokes should be made. In the first letter "a" as shown, you make the long stroke first, and the "bow" of the letter is made with the second stroke, an.l so on. Note the numbers of the strokes carefully, because they are important, and represent the easiest way of forming the letters. By way of further explanation it should also be said that several styles of the letter "c" are shown, as well as several variations of the letters "f", "g", "h", "j", "k", "m", "n", and "s". This has been done to enable the student to take some choice in the matter, also for the additional reason, that lessons soon to follow will contain variations similar to the ones shown here. And as said before — now Is the time that the practicing should be done. The second figures showing the "m" and "n" have ihe last stroke somewhat on the slope, and these should be used where they happen to be the last letters in certain HOW TO WRITE SHOW CARDS aBcd Figf. 2 words, or ihe last in the line. They should not be used in the body of a word, unless you are using rather extended letters, and this will he shown in another lesson. Ruling Your Card When you rule your card board or prac- tice paper, do not forget the sizes of letters, and brush to use. As suggested in the first lesson — if you desire to make the body ol' your "lower case" letters, that is the round "bows", about one-half inch high, rule your paper accordingly and use a No. 8 brush, or a brush that will make a stroke a trifle more than one-eighth inch in width. The top line of your ruling to be used as a guide for the tops of the "stem-letters" like "b" and "d" should be not quite the same distance from what we call the middle line — that is the top line of the "a", etc. Fig. No. 2 shows the proper ruling for a No. 8 brush. If you are going to use a larger brush than No. 8, Increase the height of your lines accordingly. A No. 10 brush can be used for three-quarter inch letters, and a No. 12 for letters about one inch in height or slightly over. Always bear in mind that the word height herein used, means the height of the "bows" of the letter, and not the total height of the "stems". The next lesson shows the Capital letters, and the figures, and then — you will be ready for actual window work. In the meantime, spend all the time possible in practice work. Master all the details, and the rest will be easy, for there are a number of alphabets to be siven, and the rudiments of lettering are much the same throughout. LESSON III— "ROMAN" CAPITALS AND NUMERALS Neat "Capital" Letters and "Figures" or Numerals Are Absolutely Neces- sary If Good Work Is to Be Done. With this lesson are given the capital let- ters used in connection with the lower case alphabet already given, and also the figures, because you will no doubt want to use them in connection v.ith immediate work. To make the capital letters properly will take some time, but be earnest In your ef- forts, make each letter slowly and accur- ately, and speed will come with practice. What to Avoid In actual show card work it is best for the beginner to avoid usinp; words of "all- capital" letters. This will make your work easier, but there are times when it is neces- sary to spell out a word in capitals in order to make it larger and more striking on your show card. The numbered arrows on the chart re- produced herewith will show how the vari- ous strokes should be made, and after a little practice the entire series of letters can be made with one brush. For the beginner however, it will be easier to make the "spurs" that is — the little feet — and small extensions on each letter, with a very small, separate brush. The result will be neater, and it will save much time. How to "Mix" Your Ink As said before, keep your brush well chiseled, and do not have your ink too thick. Nor should you have the ink too thin. Mix a little ink on a piece of cardboard, or in a dish of some kind, and as the ink thickens, add a few drops of water or dip your brush in water. Do not keep dipping the brush in the ink jar, as this is apt to give your brush too much ink^ and at the same time spoils the chisel edge. Work the brush back- wards and forwards on the cardboard or dish where you have placed the surplus ink, and you will have no trouble in securing clean, neat strokes. There are several ways of shaping some of the letters, as you will note from the diagram, but it is best to avoid using the fancy letters, except at the beginning of a line, or for the first word on the show card. Too many fancy letters distract the eye, but one or two add much to the appearance of a card. Height of "Capital" Letters The height of your capitals should be the same as the longest stems of the lower case, except in rare cases where you desire, for the sake of appearance, to make the capital a bit larger. How to Form the Numerals And now for the "figures," or numerals. For the beginner — the making of neat fig- ures is usually a difficult proposition. But we shall try and explain some of the ele- ments which compose the most difficult fig- ures, and this will make it easy. You can all make a figure "1". That's simple! The Figure "2" To make the figure "2" take your pencil and decide on the height and width you think the figure should be. One and a-half times higher than the width is a good pro- portion. When you have decided on this, with your pencil draw a box the height and width your numeral should be with front and back lines about as shown by the lines "a" and "b". Now, when, you start to make the figure "2" you begin at the center of the top, and come forward toward the left, and down- ward to the line "a", completing the stroke by putting on the "ball" shaped finish. Then from the top and center you draw to the right and downward to the line "b", making a graceful curve, and when about half the distance down, you begin to curve toward the front of the letter, and continue this curve until you reach the line "a" at the bottom of the fisure. Then draw the bottom bar, making it quite heavy, and ex- tend it to right until it touches line "b" In other words, the round ball at the top of the figure must be flush, or even, with the front of the figure at the bottom, and the back of the curve must be flush with the bar at the bottom. This will give you a nicely proportioned figure, but bear in mind that it must fit into an imaginary, oblong right-angle box. Many beginners get the front of the figure too far out, and this throws the numeral off its feet, and gives it a very homely slant. The Figure "3' The Figure "3" is easily made, by keeping in mind that the upper half should be made somewhat smaller than the lower section. The Figure "4" For the figure "4" draw with your pencil an oblong box the same size and shape as for the figure "2". Then start your first stroke with the brush, making a thin line from a little above the ton of the line "b" downwards and to the left, until your strike a point not less than two-thirds of the way down on the line "a". Then make the sec- ond stroke, somewhat of a wave, directly to the right, extending a little outside of the line "a". Then make the third stroke from near the beginning of the first line, down- ward to the base of the figure, and make this line rather heavy. In fact all the heavy lines of the figures should be the same thickness as the figure "1". This will give you a pleasing uniformity. Usually the figures "2", "4" and "5" are hard to make, but we hope we have made it easy, and by a little practice, you will soon be able to form neat, compact figures. The Figure "5" With the figure "5" again make a box with your lead pencil, and when making the figure with the brush, draw the thin line, numbered "1" to a point about half the height of the figure. Then draw half of the bottom loop, stroke number "3", then make the top bar, (stroke 3) watching that the right of the bar is not drawn to a point more than the center of the heavy line of the loop below (See the dotted line "a".) Then you draw the last part o£ the loop, stroke number "4", and bring this out to a point just a little beyond the thin down- ward line (stroke "1") which if continued, should penetrate the ball about the center. (Note arrow numbered "a") and that the center of the ball is centered under the first stroke. This gives you a well proportioned figure "5", and you can vary this as you desire, when more proficient. The first half of the figure "6" is just like making the first stroke of the letter "0". Then you make the round part as shown by stroke "2", and then finish off the top. The figure "7" is self explanatory. Make the top first, drawing from the left toward the right, and then downward. The figure "8" is simply the making of two "o's" having the top a little smaller than the bottom. The figure "9" is simply the reverse of the figure "6" with the exception that many show card men prefer to make the small loop first, as shown by the numbered strokes. The figure "o" is made the same as the letter "O". Concludes Fundamentals of the Roman This will conclude the fundamentals and instruct ion:5 on how to draw the plain Ro- man alphabet. Read the A(dvertisements — They Tell You Where to Secure the Various Supplies Needed. 10 HOW TO WRITE SHOW CARDS LESSON IV— EASTER SHOW CARD SUGGESTIONS Following the instructions in the previous lessons we have taken the same style of let- tering for the four Easter show cards re- produced herewith. Easy to Produce Those who have been practicing diligently will find the making of these cards a very simple matter. There is only one require- ment — patience. Make each letter slowly and do not hurry. Keep your brushes well filled with ink, and keep a good chisel edge on the brush. The originals of these reproductions were "half sheets" or 14x22 inches. Before you begin to work on an expensive piece of card board, however, it would be a good idea to take a sheet of white paper the same size and letter out your show card as you think it ought to be arranged and when completed, study the "balance" and note whether or not it is just what you want. If not you can make the alterations desired on the original, and thus avoid much time, waste and possible discouragement. The decorative borders, etc., of the cards were all made by filling a common atomizer with ink and spraying against the stencils, which were cut from cheap paper. Figure 1 The border design of Figure 1 was made by cutting a piece of paper about one inch Fig. 1 smaller, all around, than the card board and then cutting out the corners as shown. This cutout was fastened to the show card, and purple ink sprayed about the edge. The lettering was done with a No. 10 show card brush, using black ink. For the mak- ing of the small letters in the lower right hand corner, the brush was rolled in the Ink, until the point was somewhat round. For the underscoring — simply take the ruler and mark a line underneath the lettering with a pencil. Follow this line as closely as possible with the brush.. Figure 2 In Figure 2, a plain piece of paper with square corners, and about one inch smaller, all around, than the card board was used as a design, and fastened to the show card. Green ink used in the atomizer. The lettering on this card was also done with a No. 10 brush, and then the letters of the first two lines were shaded with gray. Fig. 2 A pretty shade of gray may be easily mixed by using equal parts of black and white ink, adding white until the proper shade has been obtained. For the shading, a No. 8 brush was used, the edge being kept well chiseled. For shading, just imagine that the original letters are about one inch in height, and held out from the paper, and that the light from a lamp held above and to the right of the letters, was making the shadow or shad- ing. This will tell you where the shading lines should be drawn. More will be said about shading later on in the .show card course, but for a finished card for Easter, this makes a very attractive design, and one that is very easily made. Figure 3 In Figure 3, the top and bottom designs of the rabbits were drawn from a paper cut- out, and black ink sprayed against the cut- out. The lettering was in gray. The first line was underscored in black, and the center of the letters was decorated with a black dot, and two small lines, one above and the other below the dot. These decorations do not show up strongly In the reproduction, but they add much to the original. The three small lines of lettering in the center of the card were shaded with black. Fig. 3 A No. 10 brush was used for the letterfng, and a No. S for the shading. Underline the first word as directed in the first design. Figure 4 Figure 4 was prepared in about half hour's tjme. The design of the "chick" just ap- pearing from the egg shell was drawn with a pencil on a piece of paper and then cut out as Shown. Then the purple ink was sprayed against the design with the atomi- Appearance Fig. 4 zer. The letterlns was done entirely with a No. 10 brush. This will give an idea of what can be done in a short time, and perhaps will aid many enthusiastic card writers, who are endeavor- ing to prepare something "new" for Easter. Various colors of cardboard may be used, and there is no limit to the color combina- tions that, may be obtained by the use of the many colored inks that can be purchased at small cost. Patronize the Advertisers in This Book. They Are Reh'able. 11 HOW TO WRITE SHOW CARDS LESSON V— THE "ITALIC" ALPHABET 'Italic" Style Has Many Uses — Clear-cut Instructions in This Lesson, To- gether With Sample Show Cards. This lesson shows a complete alphabet, including numerals, in what is known as "Show Card Italic." The word Italic as applied to lettering, and type in general, means that the letters have a slight slope toward the right — that is they "lean" at an angle of about twenty degrees, according to the fancy of the show card writer. The alphabet as drawn for this lesson is a combination of the printer's Italic, and the Script Italic— the latter being a deeply shaded style of connecting each letter with the one following, as in actual writing. Has Many Uses Italic in show card work has many uses. In the first place — a line or two drawn in Italic style breaks up the monotony of the plain Roman style, which already has been shown. Italic is also much used on small size show cards and is especially adapted for jeweler's windows, small cards for display cases, etc., and is also called into play a great deal for what is known as "catch Fig. 1 lines" which are shown in the examples of show cards reproduced in this lesson. For the beginner, who has already mastered the Roman alphabet, there are a few fundamental points or "tricks" to bear in mind in order that the work may be uni- form. Tricks of the Trade Before practicing the Italic, take a piece of heavy cardboard about eighteen inches high and about ten inches wide, and with the scissors or knife trim one side at an angle as shown by the line "D-C" in Figure 1. The lines "A-B" and "B-C" should form a perfect triangle. Some card writers make a "square" of this kind out of light wood or sheet metal, and it can be used for many purposes, because two of the sides are square for straight lines, and the side that has the "slope" is used as the Italic guide. Serves as Guide With the cardboard cut as shown, the be- ginner should place this upon the paper or show card upon which he intends to prac- tice or letter, and draw a series of light lines upon the surface of the card, beginning at the extreme left side and continuing to- sons, except that the brush may be held with the left hand side of the "chisel" slightly more downward than formerly. By holding the brush in this manner, you may find that you get the "angle" of the Italic more read- ily, and the turns at the top and bottom of the letters will be more uniform. Figure 2 Shows Lower Case Figure 2 shows the lower case, and it is very much the same as the Roman, with the exception of the slope. Practice this very carefully, endeavoring at all times to get your letters uniform and neat — and the strokes of even width. Tlie brushes for this alphabet are the same size as suggested i'or the Roman. Capital Letters Figure 3 shows the Capital letters and c CI a b b Ih I ^k i n u i u -\ cec '^^Q" " Fig. 2 ward the right at intervals of about one inch. These lightly drawn lines will serve as guides, and will insure that all the words done with the brush, or pen, in practicing will have a uniform slope. By punching a hole in the cardboard guide it can be hung up when not in use, and will thus always be available when you desire to letter in Italic. How to Hold Brush The general style of lettering for this alphabet is the same as in the previous les- the figures. Note that there are a few new styles shown in Capital letters. The stu- dent should become familiar with these — and use them whenever possible for the rea- son that much of the beauty of the Italic comes from the fact that it is a little dif- ferent. The figures are made the same as shown in the Roman, although they should follow the same general slope as the letters. The dotted lines indicate how the beginner Fig. 3 12 should draw his "guide" lines for practice and this will insure uniformity. In the lower case aJphabet reproduced, here will be found a number of examples with numbered strokes, showing the general composition of some of the letters, and by closely observing the details there should be no difficulty in getting the right start. Take a little time at first, and by going slowly the "knack" will soon be acquired. Specimen Cards Figure 4 shows the use of the Italic in act- ual work. This card has the first prominent lines in Italic, and is an example of how they contrast with the other lettering. This would be more so if the words "Attractive Neckwear" were drawn with red ink, or other bright color. Figure 5 is an example of emphasizing the wording in the center, or nearer the bottom of the card. Wherever Italic is used it should be borne in mind that "contrast" or "emphasis" is the effect sought, and the Italic should be used accordingly. Figure 6 shows the Italic used for the short lines which in printing and show card work are called "catch lines." By drawing your catch lines in Italic, rather smaller than the lines that are to follow, you save space, and break up the monotony of the same style of lettering. "Catch lines" may be drawn in either lower case or all capital letters — but the latter should generally be used when the lines that are to follow are to be lettered in Capitals. Bear These in Mind There is another rule to remember also, and that Is when show cards are lettered entirely with the Italic, they should be in Upper and Lower case, with the exception of prominent display lines. Many show card writers use the Italic extensively because of the rapidity with which the letters can be drawn, and many who practice this style of lettering will also find that this alphabet can be drawn more easily than the plain Roman. Always bear in mind, however, that the letters must be drawn with a UNIFORM SLOPE, otherwise the show cards will ap- pear terribly amateurish, and spoil much of the attractiveness. Learn to do the work well, and speed will come with practice. Draw slowly and you will gradually acquire a steady hand. Don't try to draw rapidly to "keep your hand from wobbling" because this will prove a bad habit that later must be overcome. -".^ — 1^^ s^ ,. \Ab araairt TIP ^or* IDide AwalaCe ^hoppers L. ._J Fig HOW TO WRITE SHOW CARDS LESSON VI— FORMATION OF "SPURS" Various Ways of Forming "Spurs" or the Little Finishing "Touches" That Change Appearance of Alphabets. This is a very important lesson in Show Card writing, and should be carefully studied. As promised in the previous lesson, this article will show how to make three lower case alphabets out of one. A simple change in forming the "spurs" does the trick. If you will refer to Lesson Number Two, you will note from a careful study of the shown next, and then the straight "spur" or Roman "spur." By transforming the tops and bottoms of the stems of the alpha- bet you happen to be making, to conform with any one of these examples, you have a perfect lower case alphabet. The "angle spur" is one that Is very popu- lar with professional show card men. One Important Rule There is only one important rule in Nole the differeat \\)qv3 of Finishiag Ike "Spars" 5 - - ' I i I 1 1 I "^ • 111 mj J J mm Fig. 1 Fig. 5 lower case shown there that most of the stems of the letters begin with a curve. See Figure 1 Now look at Figure 1 in this lesson and you will note from this diagram that there are three ways of forming the top "spur" of these stems. There is the round spur, as shown first and then the "angle spur" as transforming these strokes, and that is — when you use the "angle spur" the last stroke of the lower case "m," "n" and "h" should usually form a curve. Note the first lower case "m," in Figure 1. It may take some practice at first to form these strokes, and have them uniform but if you have learned to keen your brush well chiseled, and your ink thin enough to work 13 well and flow freely from the brush, you will have good success. Study Figure 2 In malting the alphabet as shown in Fig- ure 2, start the stems of the letters with a slight up stroke, as this will assist greatly in forming the sharp angle just before you begin the downward stroke. Then, when the downward stroke has reached the base line, or bottom of the letter, go back to the The strokes of this style of lower case are the same as shown in previous lower case alphabets, and the same adaptation can be made of the Italic which was shown in the last lesson. And perhaps a word of encouragement will not be out of place here. Of Great Assistance To the student who perfects this alphabet it will be found a great aid in show card abedef qKijk Imaopqrsluuu) XVjZ top and finish the spur. Next you nnish work because it is a professional style, and the spurs at the bottom of the stems. Take great care at first and learn to be exact and have the spurs uniform, and also see that the stems of the letters are of the came thickness. works well with many other styles of let- tering — no matter whether an extremely condensed style is necessary, or a very ex- tended letter must be used. The various in- novations exemplifying "condensed" and To further insure uniformity, it would be "extended" will follow in a future lesson. well for the student to rule the practice The lower case alphabet shown in Figure abcd^fgKijKlm nopqrsluvwxy% Ihree-in-one Fit;-. sheets as shown in the second lesson and if good work cannot be accomplished with a Number 8 brush, take a larger brush, and increase the size of the letters accordingly. Some students when beginning to learn to letter have much better success if they make larger letters, many times using a brush as large as Number 12. Size of Brush Immaterial Keep in mind that the size of brush you use is immaterial, the main idea being to form neat, even letters, and prevent ragged edges at the spurs. Care at first, insures speed later on. 1 .1 It 3troKe Stroke) : Stroke 1 a 3 FIs. 4 3 is a reproduction of how to form the sharp or square spur. The strokes are the same as in previous alphabets, with the exception that it is not necessary to make a slight upward stroke in forming the stems; but rather the artist touches the brush to the cardboard very SprinQ, SllllGi- Glorious lightly, in beginning the stroke, and then moves the brush a trifle to the right, having the chisel edge exactly at right angles With the direction of the downward stroke. At the completion of the downward strokes, the brush is held at right angles, and the chisel edje moved slightly toward the left, and then toward the right. This movement, followed by two strokes made from the stem of the letter, and just above the spur, will assist in forming a perfect spur. Figure 4 a Guide Note the direction of various "strokes" as shown in Figure 4. Here you will note the beginning of the stroke, the completion of the lower spur, and last— the completion of the top spur. Three Specimens in One Illustration Figures 5, and 7 show the same word Spring Smles Glorious Fig. 6 ing, written on the same size show cards, but using adaptations of the three styles, as suggested in this lesson. Figure 5 is the style of "round" spur as shown in Lesson 2. This style of lettering dHev Spring Diijles In Olorious cSrrau Fi:-;. 14 FiK. 7 is simplest and quickest, but not always the neatest. Figure 6 is an examnle of the "angle" spur, and is very neat and rapid work can be done with this style. Figure 7 shows the straight or finished "Roman" style of "spur". This style pat- terns after the printed style to a consider- able extent, and is used in many carefully drawn show cards where "dignity" is essen- tial. HOW TO WRITE SHOW CARDS LESSON VII— "SPEED BALL" PENS This Lesson Illustrates a Rapid Means of Lettering With a Pen That Any- one Can Master. This lesson on show card writing, and the one following, should be intensely interest- ing. We are going to forsake the brush tem- porarily, and take up what is professionally known as the "SPEED BALL PEN." These pens, which are among the best things out for simple pen lettering and Quick show card work, get their name from the flat foot, which is bent in such a manner that the foot rests flat on the paper or card- INK rLOW RSOULAT09 OVeR BCNT- UP SECTIOM OF Ptti T) Fig. 1 Showing both the round and square point pen. board, and enables the person using the pen to make a rapid, even, uniform stroke. Simple Operation The "speed ball" is only a recent inven- tion, but has been adopted by show card men all over the country as extremely prac- tical and rapid, and Is meeting with the ap- proval of merchants who are doing their own show card work because of the extreme simplicity of operation. These pens come in both the round and square point but for the average show card writer, the round point will suffice, as it is easier to manipulate and for this reason will be the only style considered in the next three or four lessons. Figure 1 will give the reader an idea of OF SriSOKES Fig. Width of strokes the appearance of the pens. They are simi- lar to the ordinary writing pen, and are made in the same shape, of the same inateri- al, except the foot or writing point. How to Order Tliere are five sizes, and Figure 2 will show the various widths of the strokes. When you order a set of these pens, order a full set of sizes and then you can do a much greater amount and variety of work. They retail at a very reasonable price per dozen, and may be had of the firms whose advertisements appear in this book. The ink should be drawing ink and there are several grades on the market. There are -various colors to be had, also, but blue, black, green and red are the best. Light colors have a tendency to gather at the lower edges of the letters, and this spoils the neat appearance of show cards. White ink can also be used for black cardboard, but most professional show card men are using the plain white card, with neat black lettering, embellished sometimes by brush work, for large figures, colored ornamenta- tion, etc. Quick Results Figure 3 shows the lower- case of the simplest pen alphabet that can be made, and we have tried to make this rudimen- tary that every merchant and student may the pen, first try out the exercises as shoivn following the letter "z" on Figure 3. Keep the pen flat on the surface of the paper or cardboard, and press down suffi- ciently hard with the hand so that the pen makes a full even stroke. Follow Previous Rules Be sure and learn to have your work straight in front of you as stated in other lessons, and rule your cards with pencil, so you have a suitable guide for your work. Don't try to carry too much ink, or it will "run" and spoil your work. Each pen is proMided with a special fountain which comes with the pen, and this enables the user to judge the amount of ink that the pen can hold. The pen should not be dipped too far into the ink bottle. When there is too much ink — it is best to have a piece of blotting paper handy, or soiled cardboard, and by quickly jerking the pen to one side, before using, the surplus ink can be shaken off. "Haste Makes Waste" Practice slowly and patiently. It has been found in demonstrating these pens at the various state conventions and merchahts short courses that there is a tendency on the part of beginners to "rush" the work, thinking that they can make better appear- ing letters if they do it rapidly. This may seem true at fir.ot. but the person who begins slowly and does neat work will soon master a style that is both rapid and neat, while ifippqiir^tww C)0 rs "^ \^' Fig". 3. Lower case alphabet soon become "artist" enough to make very good show cards and price tickets. The light lines with arrows show the di- rection in which the pen should move in forming the letters and the figures denote the stroke that should be made first, and so on. The original drawing from which Figure 3 was made, was drawn with a Number 3 pen, and the total height of the letters was one and one-half inches. In practicing and becoming familiar with ttherwise there will never be a real "finish" to your work. Begin by practicing one letter at a time, and make a full sheet of letter "a's". Then begin with the letter "b" and so on through the alphabet. From this simple alphabet we will chow three or more, each with the same general principle, but with some little changes that will enable the studious persons to do some wonderful show card work within a short time. 15 HOW TO WRITE SHOW CARDS LESSON VIII— "SPEED" PENS CONTINUED "Capitals" and "Numerals" Given in This Lesson— Completing the Sim- plest "Speed Ball" Alphabet. It might be well also at this time to again caution those who are using these pens as to the kind of ink that should be used. Ordinary writing ink, in the dark colors, is too thin for good work, and it will be much easier and much more rapid if you Drocure the regular drawing ink, or inV that is made for the speed ball pens. With some colors, purple, red and green, the ordi- nary writing fluid might do, especially If confined to the smaller pens, but the regu- lar drawing inks are much to be preferred, and the range of colors is almost unlimited. Have Bright Colors on Hand For those who are going to do consider- able work and make large numbers of show cards it is best that a good supply of colors be kept on hand, for in this lesson we men- tion a great many unique color combination.s that are easily formed, and the result is very attractive show cards. Those who have been practicing the lower case alphabet consistently will find it easy to form the capitals and figures. Care in Practice Work The important thing to remember is that great care should be taken in the practice work, and the show card writer must take time to see that every letter is carefully and perfectly formed. If great care is taken in practice it will be found that speed -will come later and much neater cards will be the result. In Figure 1 it will be found that all the strokes are numbered, as in previous les- sons; and it will also be seen that several ways are given for making some of the let- ters. This is done because it is often de- sirable to add a little embellishment to some cards, and a "fancy" letter for the first word on a show card, especially if the wording is large, adds to the attention pulling power of the card. Early Efforts Count Remember it is the early efforts that count, and now is the time to learn to do the work as it should be done. The neater you make your show cards, the more attention they will attract, the more comment I hey cause and the more merchan- dise they will sell. In forming the capital letters it will be seen that most of the lines are straight lines. How to Form "Curves" Where there are curves to be made these curves should be formed by working the pen from right to left and from left to right, instead of keeping the pen on the paper and trying to complete the "curve" in one stroke. Take the second capital "A" for instance. The curve indicated by the strokes num- bered 1 and 2 is more easily made by lifting the pen at the bottom of the line, and then again coming downward in stroke 2, than were you to attempt the complete line by moving the pen upward, toward the left. Downward strokes are the best, and you should practice with this idea In mind. In forming a more complete curve like the second capital "J" the main stroke, and the circle or curve require three strokes, and the pen is lifted from the paper or card each time. By making the strokes in this man- ner you get a better curve, and the work is more easily and quickly done. This same rule applies to all of the pen alphabets and to brush work also. In forming the capital "O" the same meth- od should be used, moving from right to GASOLINE TODAY Fig. 2 left, for half of the letter, and then coming down the other side. Making the Capital "S" The capital "S", usually a difficult letter for most beginners, is very easily formed, and the strokes should be made as indicated. Do not attempt to make this letter in one stroke. You will always have difficulty in making a neat letter if you do not follow the directions here given. Start right or it wil be a serious handicap for the work that is to follow. Follow Directions Practice the letters just as they are given, and in the manner indicated — this will be found the best as you progress, and will en- able you to readily learn the other pen al- phabets which appear in other lessons. From the alphabet given In the last les- son, and the capitals and figures shown here, there are several adaptations which will surprise and delight you. and in time you will be able to do every bit as neat work as that appearing in many of the large cities. How to Make "Figures" The numerals, or figures, are very easily made also. Note that most of them consist of curves, and if you practice as indicated moving the pen downward as much as pos- sible in forming the "curves", you will have very little trouble. Keep to the designs and shapes as shown, because other designs are to follow, and if you learn each lesson as you go along there will be no confusion later. Use of Colored Ink Figure 2 shows a simple show card made with the speed ball pen, and the large price near the bottom was outlined with a com- mon fine point writing pen. Black ink was used. There are any number of color combina- tions that can be used, however, in outlin- ing price figures and some of the larger let- ters, by using colored inks. If you will procure some orange colored 16 drawing ink and outline with faint lines the prices, or some of the important word- ing, you will be surprised at the effect. In outlining the figures and letters use a fine pen and make rather "rugged" lines, trying to keep about the same distance irom the letter as you work the outline around it. Price in "Bright Ink" Using a brightly colored ink for the price in contrast to the balance of the card is also a good way to add to the attractiveness of your displays. Red is a good color for the price and blue also. If you use blue, try outlining ihe price with black, and note the improved appearance. Most show card writers in the large cities are confining their "speed ball" work to white cardboard. There are, however, many card colors that can be used, but you should procure card boards that have a smooth surface, at least until you become more fa- miliar with the use of the pen. Colors for Small Cards You can get yellow, pink, blue and other colored boards from the printing otfice for small cards, and these add variety to win- dow displays and your display cases. As you add to your variety of inks you will "happen upon" many other combinations which you will want to use. Practice the work as shown here, and in Figure 3 is shown a very simple card which any one can make after a few trials. In cards of this character the price should be in large figures, and in this case could be in red ink. Borders on Cards If in making your show cards you desire to have borders on some of them, use a light colored ink and draw light lines about three-quarters of an inch from the edge of the card. This makes a better card. Don't have all your cards "fancy" for if you do you lose much of the effect that is gained in contrast. Have the feature cards made in color com- binations, and use plain colors for the smaller cards. If you have feature cards in sight continually, you lose the value that is gained by flashing unique cards when there is a big sale on, and when you want to attract unusual attention particularly just at the Christmas season, Easter, Spring and Fall Openings, etc. The next lesson contains a number of novel ideas for show cards, and some adap- tations from the alphabet shown here. Practice this one thoroughly and you will be ready for the next. HOW TO WRITE SHOW CARDS LESSON IX— FANCY SPEED BALL ALPHABET How to Improve Your Style of Lettering by Addition of Spurs, or Feet- This Style Is Best If Properly Mastered. This lesson, as promised in the previous one, will show how it is possible to make practically an entire new pen alphabet from the last "lower case" shown, using the basic strokes of the former one for a beginning. Study the alphabet shown previously, and then compare it with the lower case letters shown here in Figure 1, and you will note the similarity. The only difference in the forming of the Q bed C QG fail jKlmmnaopqrrs lu UV\)V^Xljg>^6 ■u'l- \ m m o \w Fie uniform in appearance. Circle is the Unit In this pen alphabet the circle is known as the regular unit — and every alphabet has a "unit" which designates the various sizes or proportions of the letters. In making the letter "a" for instance, bear in mind that the round part should be as Tr^ One of Our COOL/ RE;rRi;3niNG ^ODAS roR THAT HOT TAlDTi' Relief Guai'diileed nearly like a circle as it is possible to make it; and so in the letter "b". Try and make the round part, the bow — as nearly circular as you can. The same rule applies to the rest of the letters as stated above, where there is a "bow" to be formed. Figure F shows how to form the lower case "w" in that the two parallel strokes should be made first — and remember they are downward strokes. After you have made the downward strokes — then put on the "spurs." Be in Earnest — Practice This in brief tells all there is to do in making this very pretty and attractive al- phabet. If you are really in earnest in your efforts to do good show card work, practice faith- fully until you have mastered every detail. This is a type of lettering that is in use In many large department stores, and is real- ly one of the most attractive alphabets ever designed. Practical Use Now for some examples to demonstrate how this alphabet may be put to practical Fig. 4 use — and the next lesson will include a set of Capitals, that will add greatly to its desirability and practicability. Figure 2 is a Combination Figure 2 shows a combination of the last two alphabets, in that the first line "Silks" the letters are finished off with "spurs." The second and third lines are the same, while the last three lines are lettered after the style shown in lessons 7 and 8. This style of show card is easily made and many attractive color combinations may be used. The capital "S" should be white, the dark background surrounding, could be gold, and the thin line around the outside of the gold background could be bright red. ■ The border line could be some shade of green, or a black line would do. Figure 3 for Warm Weather Figure 3 is a very striking design. The border on this card should be light blue, slightly touched up with white, to represent snow and ice, and this could be made all the more realistic by spattering with dia- mond dust before the ink or paint dries. The first line of lettering should be in black, then the next three lines, drawn rather irregularly, to denote coolness, should be in dark blue, also spattered with dia- Ouf Mid- Summer Clearance Dr'mqs Dovn. Shoe Prices 1 Kese w/( ere no^ Ll*^ Fig. 5 mond dust to resemble snow. The re- mainder of the card could be lettered with black. Figure 4 — Something Different Figure 4 is a very simple design, yet there is no limit to the variations of this idea. The first word was simply written in with red ink, using a large speed ball pen, :\nd the balance of the card was lettered in black. Care should be taken to choose some word, or words for the top of the card that will not appear too crowded. The border, also drawn with the speed ball pen, was made irregular to add to the attractiveness. The style of lettering is an adaptation of the lower case alphabet shown in this les- son. Figure 5 — Sales Cards Figure 5 is an example of clear cut letter- ing, and is an excellent style for clearance sale windows or interior decorating. The lettering may be of any color, but black is preferable, on white cardboard, for the upper section. The circle should be drawn with green ink, and the price within the circle should be drawn with red. This makes a very striking bargain card, and the price can be seen for a great distance. The originals for the show cards shown herein were all about 14 inches in heig'ut. Every Store Should Have Pens A set of pens should be in every store, and surely there is someone in each store who, with a little practice, can do very cred- itable work. 18 HOW TO WRITE SHOW CARDS LESSON X— "FANCY" SPEED BALL CAPITALS Additional "Speed Ball" Capitals and Numerals, Also Hints on How to Improve Style of Lettering, Including Easily Executed Examples of Show Cards and Color Combinations. This is the lesson you have been looking forward to. Study the charts carefully, for these "capital" letters are the neatest and most desirable for general show card work that you will find published anywhere. The "capitals" shown here are designed to go with the "speed ball" lower case ehown in lesson 9. The letters are not difficult to make, and we are sure a little practice upon your part will enable you to duplicate the general style to perfection. Bear in mind that the same general char- acteristics possessed by this alphabet were called to your attenfion concerning the pre- vious lower case in lessons 7, 8 and 9. Idea of Circle Important Wherever there is a circular part to the letter, this circular shape should conform as nearly as possible to a circle. Keep this idea in mind when practicing, and the rest will be easy. The only change in this alphabet from the "capitals" previously shown is in the finishing of the letters. Note that the stems of the letters in Figure 1 all have the "feet" or finishing "spurs" carefully placed at top, and bottom, also that the right and left strokes like at the top and bottom of the capital "B" extend a short distance beyond the straight up-and-down stroke, and this adds much to the finished appearance of the let- ters. Note also the extension on the capital "D", "E", etc. "Fancy" Letters The fancy letters, like the second "A", the first "M," etc., are to be used for the first letter on a show card, that is the first letter of the most prominent word; al- though there are excepions to this rule. Your artistic sense of judgment will tell you where the fancy letters will appear the best, and after all has been said and done, clever show card writing is much a matter of individuality. The original of Figure 1, reproduced here- with, was lettered with a No. 4 round "speed ball" pen, and the letters were 1 1-2 inches in height. Choosing Proper Size Pen In choosing which pen to use, do not get the lettering too heavy, particularly on the white cards. A dainty card is much better AqUDCDDT 0niQlKbG)4 MdHNOPr TUV\)\)VA for delicate lines of merchandise than one where the heavy, black lines predominate. The same should be borne in mind con- cerning the designing of price tickets, ex- cept where the price Is a bargain special and is played up as such. Another Important Rule One other rule to remember, and we will proceed with the show card suggestions. That is — it is not best to use all capital let- ters in lettering a card. The examples shown in this lesson are of course lettered with all capital letters to piOMBTniHe THAT INTE}RE,ST ■WBRY— \)OMAN IN TOVIi Fig. 1 Fig. 2 show the style of lettering, but show cards so lettered are rather hard to read, and the average eye does not follow a capital line as readily as lower case. Figure 2 is a new idea to many of you and if properly colored up makes a very effective card. Contrasting Colors Are Effective The "boxed-in" border should be of Bome contrasting color that will stand out from the color of your cardboard, and the words "SOMETHING NEW" within the border should be of a different color, also in con- trast to the border. Red and green would be a good color com- bination, or orange for the border, black for the big words, and red or green for the lettering that follows underneath. Figure 3 is a design that is very effective, particularly if carried out In large quanti- ties throughout the store or for some sale, and used in all the windows. The light line inside border, drawn on the bias, should be of a color that is in keeping with the season. Seasonable Designs and Colors For a general store, or a dry goods store, this colored border should be a purple if the season happens to be Spring, or before the 19 Easter opening; green for mid Summer, and a tan or reddish brown for use in the Fall. A dozen or more cards distributed about the store with this same design malve a very MAKO A NOTE> or TftESE, SPDCIAU price;3 Fig. 3 Strong display, although the wording should vary somewhat on each. The words "FALL OPENING WEEK," or whatever lettering Is desired for the interior of the box, might be of a different color, other than black. If the border Is purple, this lettering could be a pretty shade of blue; green and red are good, also tan and brown. Figure 4 is a splendid example of how striking a simple design can be made. There is nothing fancy about this card, but you place a series of these within your windows or throughout the store and they will attract a great amount of attention because through their simplicity they are very striking. For the Fall season, the words "FALL OPENING" might be drawn with brown ink, or the words that follow underneath might be drawn v.'ith brown or tan ink. The originals of these cards were white cardboard, about 8x14 inches, which is a very good proportion for the average cards to be placed in windows. PALL ormiwe POU Q51UTUMN AND \)lNTi:/K Fig. 4 Larger cards are desirable where only one is used, but several cards in a window should not be so large that they "overbal- ance" the merchandise. HOW TO WRITE SHOW CARDS LESSON XI— "ROUND" WRITING PENS Showing a New Alphabet That Can Be Made With Either "Broad" Pointed Pens or Brush. Fig. 1 This lesson, giving as it does, full instruc- tions on how to make one of the prettiest alphabets in the whole book, should prove useful to our show card writers, and those who are searching for a general alphabet for all 'round use. Figure 2 is what is known as a "com- bination" alphabet, and can be made with either a broad point lettering pen, profes- sionally known as the "Round" Lettering Pen, or with a brush. If made with a brush, tlie bristles should be kept extremely well "chiseled" otherwise the shading of the let- ters, that is the contrast between the light and heavy lines, will not be well defined. This alphabet can also be made with the "automatic" lettering pen. We are reproducing, in actual size, a pic- ture of the various sizes of the broad point lettering pens. These may be had at most stationery stores, and run in sizes and hair sizes, from No. 1 — the largest, down to No. 6 which is the smallest. (.See Figure 1.) How to Order Pens When ordering these pens, which fit into the ordinary pen holder, be sure and specify "ROUND" lettering pens, and it is best to order an equal number of "fountains," which are small brass "tongues" easily fastened to the pen. These "tongues" make it possible for the pen to carry much more Ink than ordinarily, and are absolutely necessary In using the larger sizes of pens. There is also on the market a little cup arrangement made of aluminum, which at- taches to the under side of the pens, and this is preferred by many show card writers. The pens and fountains are very Inex- peuoive. It also might be explained here that these pens are known by many as the "Soen- necken" pens, and they are the same style, but the "Soennecken," being a German pro- duction, has not been on the market for some time. Use Enameled Cardboard Always bear in mind that these pens, whatever model you may use, work best on enameled cardboard, or anything that has a hard, smooth surface. It will take much practice, and you must experiment with various inks before you can do very creditable lettering on rough surfaced stock. Those who have practiced the "speed ball" alphabets and have thoroughly mastered the rudiments and general proportions, will find the alphabet. Figure 2, in this lesson, very easy to follow. The general principles of formation, or characteristics, are exactly the same. Wherever there is a "bow" to the letter, keep this in the shape of a circle as nearly as possible. Also make the capital "O" and the capital "Q" as nearly circular as pos- sible. Look back to the lesson showing the "lower case," and the capitals of the last speed ball alphabet, and you will readily note the similarity. When to Employ Brushes The pens should be used in forming let- ters from one-quarter inch in height to those about one inch, or perhaps one and one- quarter inches in height. After you go beyond this height, you should use brushes, the size of brush depending on the height of the letters, and the "heaviness" of lines preferred. This alphabet, because of its neatness, is much used by card writers for "dainty" signs. It is an excellent style for jewelry, and all lines of "classy" merchandise, as well as for small cards for interior display in show cases, etc. The show card, shown as Figure 3. is an example of simple lettering, and can be 20 FflollVblinVOP a b e d e o e/Q KgRlEivopqt advance or the outside, or right hand corner of the point. It is also best to learn to work with the right band slightly to the right of the work, rather than try to make all letters directly in front of you. In other words, the Tore- arm should be at an angle, and the elbow away from the body. How to Practice Begin piacticing by making circles, or lower case "o's." Do not start the letter at the top, but place the pen down a trifle, and TKGivlV>rai\)livQ c ni\)©r^QrQ Fig. -I made effective by using a different color of ink for the last two lines. If all the card is lettered in one color, then the smaller lines should be lettered with a smaller pen than that used for the large lines. May Be Used Variously Figure i is an idea than can be worked in many ways. This style card could be drawn with white ink upon black cardboard; or silver show card ink could be used upon black board, or blue board. This would rail at llveir X>QS'\' Fig. 3 give a very rich appearance, especially If the show card were made 14x22 inches, or half-sheet. Figure 5 Is easily made, and shows that all catch lines, or small lettered lines, should be made with a smaller pen, thus giving contrast. Many beautiful effects can be obtained and there is no limit to the coloring combi- nations for pen or brush. For the Fall season dark reds, yellows, and orange are wonderful colors for inks, and the cardboards used should be white, light yellow, and dark red. Always use an ink that will stand out very plainly. Final Word And now, permit a word of encourage- ment. When you first begin using the broad pointed pens or round lettering pens, if you prefer to call them such, you may experience some difficulty in "getting the swing," but do not be discouraged. Do not hold the pen loo stiffly, but use a limber hand and wrist, and keep the pen somewhat on the slope — that is do not hold it squarely with the heavy line. It will glide much better if the left hand corner is kept "ahead" of the right hand corner. To make this a little clearer: In making the downward stroke do not hold the pen so that It is traveling squarely and at right angles with the stroke, but have the inside or "left hand" side of the point slightly in 21 Fig. 4 toward the left of where the top of the let- ter should be. Then travel toward the left and downward, to a point slightly above and to the right of where the exact middle of the bottom of the letter should be. Now take the pen and go back to thu point where you first started — moving the pen so that it will make a very light stroke. Come slightly upward and to the right with this stroke, and gradually form a perfect curve. As you reach the exact middle of the top of the letter, come downward toward the right, forming a perfect curve until the line joins the end of the first stroke. Practice this movement again, and again, and this will soon give you the "swing" of the pen. The same movement applies to the han- dling of the brush for this particular alpha- bet. Fig. 5 HOW TO WRITE SHOW CARDS LESSON XII— "EGYPTIAN" OR "GOTHIC" ALPHABET This Is One of the Most Useful Alphabets If Properly Mastered— Very De- sirable for Large Lines on Show Cards and Cloth Signs. The alphabet shown in this lesson is known hy most show card and professional sign men as the "PLAIN EGYPTIAN." It gets .this name from the uniform width ot the "strokes," and the similarity of Bome of the letters or characters to ancient carv- ings found among the ruins of old Egypt. All printers, however, and some show card writers, refer to this style as "Gothic." You can use your judgment in the matter, but In referring to this style, when talking to your printer, bear in mind that it is "GOTHIC." General Foundation In studying a complete course in letter- ing, as given in schools and colleges, engi- neering classes, etc., this alphabet is used as the general foundation for all lettering and is one of the first lessons. For the average card writer, however, and especially for the amateur who has little time to practice, it is a difficult alphabet to master. Once mastered it will be a great help in lettering, and is necessary in show card work, also in the lettering of banners, cloth signs, streamers, etc., where a large, bold letter is desired — even necessary. In forming the letters be sure that your brush is well chiseled and that it will easily form the width of stroke you desire, with- out forcing or "aoing over" the second time. How to Operate Brush Carry plenty of ink. and hold the brush almost perpendicular from the show card. Also be sure that you operate the brush with the thumb and the second finger— using the first or index finger as a sort of guide. Follow this plan In your practice and you will find that you can make the "curves" l/WOSSA VWXYZDRCrA Praclice much easier, and more uniform. Keep the fingers and wrist "loose" in forming the curves. When you first begin to practice this al- phabet you will encounter some discourag- ing obstacles, such as forming the letter "C", "D", "0", etc., but keep at it. Persist in twirling the brush between the thumb and the second finger, using the first linger to g^iide the brush, and do not grasp the brush too low, but just high enough to on- able you to "cut the corners" without cramp- ing. Those who are fortunate in having long Fig. 1 fingers will find this much easier than the person whose h^nd is short, or "blunt." Strokes Must Be Uniform The first line of strokes as shown in Fig- ure 1 is given to show the student the lunda- mental strokes. These strokes should be practiced until they become easy. The per- pendicular strokes are necessary, because you MUST learn to keep the strokes uni- form, rather than having some lean toward the right, and others "slanting" toward the left. Straight down is the rule — and perfect yourself in this. Then come the "slants" which form parts ot the "A", "V" and "W", as well as of the "M", "N" and "W". The next set of strokes contains the ele- ments of the loops of the "B", "P", "R", etc., and nuist be made in a uniform manner. Next practice the three strokes that form the letter "S". Further Instruction Here you may encounter some trouble, but always make the top stroke first, and form a neat, regular curve. In coming downward on stroke two, move slowly, and after mak- ing the front "curve" come as far as possi- ble toward the left and turn the wrist. If you will do this you can easily finish the letter with stroke three. Unless you come farther to the left than usual you will find your hand in a cramped position in com- pleting the last stroke, for the reason that it is awkward to bring the brush upward and to the left. The last figure in the top row is given 22 as a make shift in case you should desire to letter a card or cloth sign before you can give this alphabet much practice, and do it easily. If you do not have the time to practice you can form the letters by using a Email brush for outlines, as shown, and then filling in with a larger brush. This is a good plan to follow when lettering cloth signs, large banners, etc., where a large, single stroke brush is out of the question. Don't Hurry The next four lines in Figure 1 show the '"Capitals," and as the strokes are plainly numbered, there should be no trouble in learning exactly the proper way to make the letters. The top of the "A" should be about a stroke and half in width, while the bottom of the letter "V" should exact- ly the single stroke width. The bottom points of the "W" should also be single stroke in width. Take your time in forming the capitals. Do not hurry, or get nervous, but make each letter perfect, and gradually you will find the brush "behaving" as it should and then you can pick up speed. If forming any of the letters that have curves watch both the outside and inside of the curve. Keep your eye on the outside of the curves that you do not go above or be- low the regular height, and if you watch the "inside" of the "loops" you will find that you can shape them in a much more uniform and even manner. Practice Makes Perfect Don't be discouraged the first few times you practice the "C", "D" and "0." It takes patience to "get the knack," but after you have mastered these strokes, you will reel proud of your work. The five last letters, following the regular capitals, are known as "freak" letters. That is, they may be used with this alphabet, but they do not conform to the regular outlines. If you like the "looks" of these freak let- ters, it is permissible to use them, but they should be used rather sparingly and then only on show cards. They are much out of place on large banners, or signs, because it is difficult for many persons to read them — • and. for that reason, professional show card and sign men avoid them as a general rule. Some department store card men, when the style will permit, use this type of lettering on a set of feature cards, but not regularly. Now for Figures The numerals or "figures" are shown next. The numbered strokes should be your guide, and a little persistent practice will en- able you to make very creditable price cards, where bold figures are wanted. Keep the "loops" uniform — that is the round, circular parts of the figures. For in- stance — If you have a price of 35c — the oval of the figure 5 should be the same general proportion as the lower oval of the figure 3. The figure "0" is the same as the Capital "0." The lower case letters should be easy for those of you who have done a little practic- ing with the brush on alphabets shown in previous lessons. The strokes are much the same, and all that is required is to keep the "loops" uni- form. The straight up and down strokes — straight down is better — are easily made — • if you carry sufficient ink in your brush. It the tops and bottoms of the strokes do not trim evenly — that is if there is a "ragged" edge, smooth this off with a cross stroke of the brush. As IVIakeshift For the beginner who desires to letter a sign or large banner, without taking suffi- cient time to perfect the lower case, the same plan can be followed as was suggested for a makeshift for the capitals. Take a smaller brush, and outline the letters, after which they can be easily "filled in." The "E.gyptian" series shown here should be the foundation for future work, and after having mastered this one, you will find that brush work will come easy, and you will take much more pleasure in doing show card work. Once you master the brush, the work Is really very interesting, and many students will spend hours practicing on a few letters. That is all there is to show card writing — PRACTICE. With this alphabet — the same as with the others — there is a condensed style, and an extended slyle. Always make your letters of a height and size that will fit the space. Three Styles Figure A shows how to form the capitals if you desire to use a condensed style; Fig ure B is an example of the regular style, with the following three lines lettered in a "Roman" style. Figure C is the extended style, and is very attractive if carefully done. The show card writer who is going to do a large amount of lettering on cloth signs, long streamers, etc., should procure a set of poster brushes, or flat sign brushes, measur- ing from 1-2 to 1 1-2 inches. These brushes may be ox hair or camel's hair, and are not expensive. You can not make large signs with email brushes. The letters will not be uniform — and it takes too much time. HOW TO WRITE SHOW CARDS LESSON XIII— ACCESSORIES "Tricks of the Trade" Explained, and a Few Accessories Suggested ^That Every Show Card Writer Should Have. "Tricks of the trade" will no doubt be very interesting to those who have been studying this series on show card writing. There are number of "tools" necessary besides brushes if you intend to do artistic work of a decorative sort, and in this lesson we shall give a few hints on what to get. and how to operate the various devices. If you plan on doing considerable window or interior decorating, and have a large amount of artificial foliage, flowers, etc., that fade out from time to time, you should pur- chase an air brush. Spray With Brush An air brush is in reality a spraying de- vice which sprays the ink in a very fine spray, and wonderful decorative effects are obtained from its use. The air brush, as who will gladly send catalogs illustrating the various models and accessories. Stencils The air brush is used largely for "stencil" work; that is, work that is "stenciled" or cut out for special designs. Such stencils may be cut from ordinary tough tag board. Fig. 1. shown in Figure 1, operates from air pres- sure, and can be attached to a carbonic tank, or operated from a small air tank. In the latter case it is necessary to have a small foot pump for pumping into the tank. If you use the carbonic or liquid air tank, you will need a pressure gauge to regulate the pressure, as not more than 15 pounds pressure is needed. Note the names of advertisers in this book This cut .shows a sample of air brush wurk. and later rubbed over with linseed oil to make them impervious to moisture, or you can cut your stencils or "masks" from regu- lar stencil board. Your printer probably carries the tag board in stock, and can get the stencil board from any paper house. Stencils that are already cut out can oe secured from the air brush manufacturers at reasonable cost. The air brush is also much used for spray- ing flowers and foliage, or wherever tbere is need for an even distribution of color. In the design shown, which is about half the regular size, "A" is the hose attachment plug; "B" is a color cup which is inter- changeable, making it easy to work with 23 several colors; "D" is the adjustable "nose", and "E" is the air regulator which is usu- ally operated by pressing downward with the forefinger of the right hand, the brush being held in the same hand. There are several other models — costing less money — which will do good work. The Atomizer Figure 2 is a reproduction of an ordinary atomizer, which may be procured at any drug store, and with a little care in operat- ing will work much the same as an air brush for coarse "spatter" work. An atomizer even may be attached to a small air tank by using some sort of a clamp for the hose In order to shut off the air when necessary. Fancy, delicate borders, and other fine work should never be attempted with any- thing but a good air brush, but heavy bor- ders, colored centers, and panels can be Fig. 2. made very nicely with some of the make- shifts. In using either the air brush or atomizer it is best to secure the regular air brush inks, as plain water colors are liable to "run". Figure 3 shows another "tool" for stencil- ing and spraying. This outfit consists of a stiff bristled brush, about the same as used for cleaning typewriter type, and a small piece of fine wire screen. By saturating the brush with air brush ink, or ink that is not too thin, and drawing the brush across the face of the screen, a very fine "spatter" is obtained, which may serve your purpose. Practice Perfects Practice and experiment with these ideas. and you may be able to do some very "fancy" work. Figure 4 shows what is known as a "re- lief" outfit, and sometimes called an "air '■.. '■>>-■- :) Fig. 3. pencil." The latter name however really ap- plied to the smaller sizes. This outfit consists of the bulb or bellows, and the design shown here is about half the regular size. The bellows are removable, and upon be- ing detached from the "nozzle" forms a cup. Into this cup your mixture is placed. This mixture is about the consistency of thick paste, and by squeezing the bulb, the paste is forced through the nozzle, forming raised letters, borders, or fancy figures as preferred. The paste dries rapidly and adheres to the surface of the cardboard, or background, and when thoroughly dry the letters or borders may be tinted any color desired. Cost Little These outfits are inexpensive, and the smaller size is best unless you expect to make large borders, raised letters of large dimensions, or extensive wreath work. Figure 5 is a pantagraph. This device Is composed of four arms about 20 inches long, and used for the enlarging of pictures or drawings — also for the reduction in size of pictures or drawings — as preferred. The arms are perforated at equal distances and each hole is numbered. Small screw eyes are Inserted at the proper enlargement or re- duction scale figure — and by tracing the Fig. 4. Pig. 5. original drawing with one arm, the other arm either reduces or enlarges, as desired. Pantagraphs are much used by artists and commercial designers. It is possible to get the outline and dimensions of a figure very rapidly, and accurately. The cost is very small. To Produce Unique Designs These "tools" will aid any show card writer and decorator in doing good work. With a little ingenuity, many unique desigAs may be brought out at little expense. On the following pages will be found a number of additional alphabets, from which you may choose from time to time — when jn search of something new. HOW TO WRITE SHOW CARDS LES.SON XIV ALPHABETS (See following two pages) 24 abcdefghljKlninoparst umyzAKDmniJKL MNOPQtSTl]VmYZ?^< 12 34 5 6Z590 Condensed Condensed Single Stroke "Roman' OL t> o d ^f^ tvj -W-W-M-0-X-«***<^-* Mid-Summer showing of Seasonable Merchandise Our Wash Goods tables are filled with' dainty weaves in the latest colors that are now being worn. The great demand for Wash Fabrics this season is no doubt due to the beauty of many of the patterns as well as the improved quahty of the material. i This i"> a^ c■^|^ella^t "iMhododlor^^ihd ^lrou^p■> the ihtppe')t "j tSe rP4(if r, f^uf hr\pFj>eojic iteiTiS whii-S wDui'l N4ve led To rnihy We are showing more beautiful de- signs than in former y ears at prices Always th e lowesj considered. JoKi\ Smith ^Co. Somev/Kere A mere i'itpjnml Vvi1Koi;t ^nin<^ppKPi ' ■5usy)ic;«r\ i^ IKproitui oj^'flxe I'nder. ■ititofnPnf'^ Fig. 1. Merely a general statement with little to arouse interest in the mind of the woman reader. Advertising of this type has no chance along side thta of the retail mail order house, and large department stores of the big cities. nine descriptions in detail as you would write or talk to a customer. In short — advertising copy must be in- formative — answer the questions that the purchaser wants to Itnow — and then CREATE a genuine desire for that merchandise. Make the reader WANT the merchandise. Then your advertising will begin to show results. Thus it is that in many communities we find merchants who are successful com- petitors with the large catalog houses, be- cause, as stated before, modern advertising creates — actually creates, thousands of dol- lars worth of new business. The merchant who Is awake to the num- berless possibilities of advertising is con- stantly making suggestions that lead to new purchases — when but for the timely sug- gestion the sale would have been unmade. Why Small Town Merchant Must Advertise In addition to the favorable sentiment among your patrons that real, constructive advertising creates, there is the love of the public to be with a winner. The public is usually slow in giving its patronage to a losing proposition — to a man — or concern that seems to be getting behind the times. Then again, advertising is necessary from another angle — considered from the buying habits of the rural communities. The people of the agricultural commun- ities admire the merchant who goes after their business in the proper spirit — who really invites them to his store. These coun- try people are susceptible to advertising. They get hundreds of folders, catalogs, and letters in their mail from outside concerns, and they have learned to read and KNOW good advertising. Consumers Distance Retailers in Many Instances The country people are no longer "Rubes." In many communities they have passed the merchant in their modern desires, and they trade where they can secure the things they have learned are up-to-the-minute. The automobile has made it possible to the average farmer, or town resident, to widen his radius of observation, and people from these sections are now visiting the lar- ger cities frequently. Here they come in contact with all that new in store appear- ance, new merchandise, and store service, and when they return home, they, too, judge their local merchant by the high standards they have learned to recognize as possible. So, at the very beginning for the benefit of the merchants who really desire to strength- en their advertising, permit this rule to be a fundamental principle — THAT A MERE ANNOUNCEMENT, GENERAL IN CHAR- ACTER, IS NEVER AN ADVERTISE- MENT. This applies to all advertisements that are Intended to sell merchandise direct- ly from the advertisement. John Smith, the dry goods merchant, re- ceives a shipment of silk waists and In his weekly announcement he advertises thusly: A NEW SHIPMENT OF SILK WAISTS JUST RECEIVED YOUR INSPECTION INVITED This is not an advertisement in the strict sense of the word, except that it might arouse curiosity — and the merchant's money is practically wasted as far as direct sales are concerned; because such a weak, gen- eral announcement will sell very little mer- chandise in this advanced age. Had John Smith made mention in detail of the materials, told of the colors, then the styles, and added a touch of human appeal by saying they were so moderately priced that many women would want two or more ■ — and close by reassuring the women that he had the sizes — he would have had half the waists sold before the women even reached the store. In other words, his ad- vertisement would have brought the women to the store for that particular item. Fig. 2. An adverti.senu-iit wliirh means little and has no selling power whatever. It sliould have been either a i-ravat or a raincoat ad, with descriptive matter u.sed and prices named on specific items. 28 FUNDAMENTALS IN DISPLAY ADVERTISING Every display advertisement to be suc- cessful must do four things, and the mer- chants who desire to make their advertise- ments 100 per cent effective should enlarge- the following outline and hang it in plain sight upon their desks. Your Advertisement Must Do These Four Things 1st— ATTRACT ATTENTION Appearance — Heading. Striking Illustrations. Signature (Special Cut). 2nd— AROUSE INTEREST Enthusiastic, Sensible Introduction. Announcing New Merchandise. Extraordinary Prices. Lively Sub-headings. 3rd— CREATE DESIRE Complete Descriptive Matter. Informative or Argumentive Copy. 4th— CLOSE THE SALE Bringing the Customer to the Store. Ordering by Phone or Mail. Clipping Coupon. Sending for Catalog. Fig. 3. Now to analyze the various steps. Your advertisement must not only attract attention, but it must be favorable atten- tion. This is why it is so important that you should follow the same general style of display from time to time, and have the typographical appearance of your advertise- ments in keeping with the merchandise. A crowded, smeary advertisement, set in bold, black "Gothic" type will never sell dainty merchandise. Let the blacksmith, the hardware man, and the implement deal- er use the bold type, except in the case of large headings for big sales. Therefore the appearance of your advertisements is highly important. The Heading This should tell something of the mer- chandise if possible, and give the reader a YOU MAY BE AWARE- That the greatest difficulty which a mer- chant, and particularly a clothing merchant, haB to face is that of getting merchandise of the khrd be wants when he wants it. We have just received a few Young Men's --SUITS In- the popular waist seam- models. JJ'-*"' prevailing (Jncertainttf of •^•' FMg. No. 4. clue of what follows. It should be relative, and never non-sensical — never negative. To illustrate — two headings are given here: Figure 4 is absolutely irrelative, and might apply to anything. Certainly it Clothes to Keep Men Cool Keeping cool is a problem during hot summer days. But there's a way of doing it. Wear AIR-0-WEAVES They are light, crisp, and coo!--niade tohriiifi real com- fort when tlie heat weighs you down. ,\ir-0-Wehves are made to look as well as they feel. The House of ''nnuenheimer makes them— all the taii^-;".^ "'■;" ' Fig. 5 doesn't carry an appeal to the man who is looking for a summer suit. Note the appeal in Fig. 5. The heading attracts you at once, and Invites you to read the entire advertisement. This shows why every meichant should be careful in the preparation of headings for his advertise- ments. Bear in mind that your advertise- ment is in competition with other advertise- ments, in the same paper, or from other near-by towns; and a weak, irrelevant head- ing may lose a sale. Attract the reader at Straw Hats A bunch lot, lOc up. children's and misses'. Mothers, attention. We have an- other big lot of those Unionatls for the kidlets, size 4 to 12. They have proven big sellers as they are the most sensible garment every sold for the purpose. New Line ©f Buttons, hundreds of dozens. New Beads in coral red, black and amber. They are the rage all over. A fine line of House Dresses and Aprons, stylishly made, all all rick rack trimmed, full size, couldn't be made any better, $1 75 to $2.50. Middies. Middies Very scarce, but we picked up a lot of Misses' and Children's, $1.49 to $2.50, easily worth double the price. Well made, in red and blue contrast. 100 yds of Towel Crash, 12Lc. Twelve pieces of Wash Goods, short pieces of our best spring styles, Half Price as long, as they last. Five pieces 22c Percale 15c. Per- cale is now 16c wholesale. Beautiful Lawn Waists, very sheer, contrast pink and baby blue, easily worth $2.50, Sale Price $1.98. See the fine Georgette Waists at $5.00 to $10.00, the best ever shown ^^^^' _..^.Acc* Win I* Fig. 6 once and hold his attention until he has read your entire advertisemnt. Illustrations Illustrations are also very important, and the proper cut takes an advertisement out of the ordinary, while a poor illustration is worse than none. Whatever your line of business have an abundance of good cuts of everything you may wish to advertise. Special Signature Then comes the signature. If you would add individually to your advertisement FASHIONABLE DOLMANS Smart and exclusive styles— all new colors in velour, Duvefyne, Bolivia. Iricotine and silk. Regular $45.00 to $200.00. HALF PRICE CLOTH SUITS Semi-tailored and fancy styles in series, tweeds and trieotine of the season s fash- ionable colors. Regula $57.50 to $65.00. for $39.00 WAIST SPECIAL An assortment of waists in voile, Jap silk and crepe de chine. Exceptional values. Specially priced ^ O *) S at ....._ _ ^t3 ti£^ SILK UNDERWEAR In crepe de chine and Jap silk, embroider- ed and trimmed with laces. Regularly priced $5.00 to $14.50. For $375.0 $10,90 Fig. 7 have a striking name plate made, and al- ways use it. Then it is easy for the read- ers of the paper to recognize your name. If you do not have your own signature — your name may be set in one kind of type this week, and next week the printer will use the same face of type in setting up your competitor's name, and your name will be set in something else. This is why the big city stores have individual signatures — they become trade-marks in a way — and serve to make the advertisements stand out from all the others. Arouse Reader Interest The second step in advertising is to "Arouse the Reader's Interest." To carry the reader from the heading in- to the body of your advertisement you should use all the enthusiasm you possess in writing a sensible introduction, particu- larly if the advertisement is a large one. Never attempt to enumerate any number of items at reduced prices, or to hold a spe- cial sale without giving the reader some log- ical reason for it. Also in the advertisements of the arrival of new merchandise, be enthusiastic, tell your people what big things you have pre- 29 pared for them — and then carry them through the numerous items by lively sub- headings. Don't mix up various unallied items in long columns that are difBcult to read. Make it easy for the readers to pick out the items in which they may be in- terested. Illustration No. 6 shows the wrong way to arrange any quantity of merchandise. The headings are misleading, and are fol- lowed by a hodge-podge arrangement of items of every description that are hard to find, difficult to read, and the prices should be displayed at the end of the lines where they will show up. On the contrary Fig. 7 shows a splendid way in which to arrange merchandise. Note how the headings aid the eye in locating the particular item in which you may be inter- ested: then follow the tempting descrip- tions, and the price which is displayed at the end of the line is in a size that indi- cates its importance. Create Desire The third step of the advertisement is to "Create Desire." This you must do by go- ing into details about the merchandise. Al- ways remember that the higher the price, the more detail is necessary. You can de- scribe a 10c article in very few words, but before a woman spends f75 for a new coat. Temper the Heat with Cool Underwear There is a world of relief and com- fort these hot days in wearing knee length athletic type underwear. It certainly helps to take the sizzle oiit of summer heat. We have splendid Hot weather gar- ments In unexcelled varieties. Both Un- ion Suits and Two Piece Wear can be had in SulUble Material!. Come in toda^ and lookoverour com- plete line of Summer-Underclothing. The kind you want is here at the price >^>u want to pay. Phone 17 for your Grocery order. Fig. S or a man $50 for a new suit, they want to know something about the merchandise. Thus it is that complete descrii)tive copy, that really informs, is necessary. Study Fig. 8. Note the complete lack of information in this advertisement. It is a mere mention of items, and carries no de- scriptive or informafive copy. It is impos- sible for the reader to form any opinion of the goods mentioned, and such copy tails utterly to create any desire. Fig. 9 on the other hand is a spleiuiid .'x- ample of informative copy, that really cre- ates a desire, and at the same time tells the price. The reader could order by phone or letter from this advertisement, while in Fig. 8 this would be absolutely impossible. And note, also that Fig. 9 occupies the came space as Fig. 8. One will sell merchandise, the other is money wasted. If you write your copy carefully and take plenty of time in working out the various steps, you have led the reader to the point where he is ready to purchase. Closing the Sale If your advertisements bring people into your store to purchase the merchandise — THE FINE NEW LINGERIE WILL DELIGHT YOU! of real bargain. The larger the price figures, the bigger the bargain— in the mind of the average reader. Priced $1.29 to $3.95 J' "UNE BRIDES aie nor the only temininM who pauK in rapt adrajratiof) o( jiiful exhibit o( hngetie these summery days. The aiJdcd inleiest which Hudiofi'i Bay Quahiy altachct a tciponiible u much ai anything tot the un- uiual attiactivcneu of these display) —Then there are the styles lo think about and the finicky charming trimmings and what not. — Envelope ■ombmaliom ate cxquUilt in fint quo/r/Jr bopUile, nain- iook and Voile. Somi: aic enibroideicd, olhen have lace i/ol(c^ or Inmmings. Eithct lite linltd Hah or u-htle. All lizey HOLIDAY HOSJERY FOR WOMEN SILK LISLE HpSE" 49c —WOMEN'S FINE silk lulc ho,_«»nilt». wiih lemforccd httii and Iocs and garlet lop. WLile only. S.z« 8iA lo 10 WOMEN'S StLK HOSE $1 25 -WOMEN'S EXTRA qu.U, ,,11 how— «> ,.. colleni slocking lot ical haid weai —Of puie ihicad silk, m fancy unpc cllecis PUin colon ace while, pink, sky and biown All sKC*. COLORED SWISS FRILLING 69c -FINE SWISS Inll.ng. wiih p.coi cd;,. Tht mosl populai neck hung for Summer dreasct. Colois shown are pink, sky and maice —Also ninon in plain or scalloped edges, in na»>. victoiy red, "blue, sand and while then your advertisements are successful. But you must not be satisfied by a mere sprinkling of customers — particularly If you have published a large advertisement. There must be stimulated trade — a ready response — and you should be satisfied with nothing less. Do not try to prepare advertisements on the spur of the moment. Select your mer- chandise carefully — and prepare your copy in advance. In each advertisement — have something that will stand out as a feature. At the same time, it isn't necessary that every advertisement should be a bargain advertisement. There are two ways in which to prepare copy that will bring trade. One is the quality appeal, in which you play up the quality and arouse a desire for something better in the minds of the reader, and the price may he subordinated — or made a secondary matter. The other method is to play up the price. When you use the price appeal, feature the price in type large enough to carry the idea TYPE "FACES" AND VARIOUS SIZES For the benefit of merchants and advertis- ing writers, who are unfamiliar with type faces, there are reproduced here a number of commonly used "faces". Familiarity with type is necessary if you desire to plan good looking advertisments and these elements are therefore included under the heading of "fundamentals." Every merchant, or whoever is writing the store advertisements should know just what equipment your printer has; such a knowledge will be a great aid in writing large display headings and sub-headings. Type is measured by what is known as the "point system." In brief — a "point" is 1-72 of an inch. In other words, 72-pt. type is one-inch in height, and 36-point type is one-half inch in height of printing face — al- lowing a trifle for the "shoulder" or cut-off. This refers to the capitals, lower case let- ters being on the average one-half the height of capitals. In estimating how much space a given amount of copy will occupy, use this rule: A newspaper column is usually 13 ems wide — and an "em" is 12 points as usually spoken of. Therefore a 13-em column is 2 and 1-6 inches wide. If you set your copy in 8-pt., which is this size type, estimate six words to the line, and 8 lines to the inch. Allow for all headings, and large prices. If you .set your copy iu 10-pt., which is this size type, count five words to the line, and 7 lines to the inch. If you .set your copy in 12- pt., which is thi.s size type, count four words to the line, and six lines to the inch. It is best, however, to set 12-pt. type ill a line at least 15 ems wide, same measure as shov.ii here, and for every three ems additional Avidth, add one word to the line. The following letters are set in a single line to demonstrate the various sizes of type. Note that the large "A" is 72-point, and so on down to 12-point. In addition to the regular "faces" there are also styles known as the "Condensed" and "ExtendeiL" Your printer will be glad to explain these to you. ABc De Fg 60 38 '24 IS 12 30 CUTS AND COPY THINGS YOU SHOULD KNOW In addition to a woricing knowledge of type, every merchant and every writer of advertising should know something about the different "cuts" that are used and also how to arrange copy so that the printer will know and understand what you have in mind. For all practical purposes — there are two styles of "cuts" used in most newspaper offices— the Half Tone and the Zinc Etch- ing. Fig. 1 shows what is meant by the "Halt- Tone." Cuts with what is known as "photo- graphic faces" are usually made from photo- graphs and wash drawings. If you will ex- amine the surface under a microscope you will find it composed of a series o£ "dots" which print heavy or light as the cut must show the dark and light of a photograph. sensitized plate, when the exposure is made. For coarse printing, newspaper work, etc., a 65-line or 85-line screen is used. This means that there are 65 lines or 85 lines to the inch running two ways across the sur- face, or in other words 65x65 or about 4,000 small dots to a square inch. For high-grade printing, especially on en- ameled papers, finely screened copper half tones are used of 225 screen — or finer. "Zinc Etching" is the name usually ap- plied to the cut made from a line drawing — These dots are necessary in printing, and are formed from what is known as a "screen" when the engraver exposes his plate for the making of the cut. This "screen" is a finely ruled glass with a large number of lines running across its face. This is placed before the engraver's or pen and ink drawing. These cuts print from black lines — in duplication of the original drawings, and differ from the half tones in this respect. Zinc etchings of which Fig. B is an example, are most satisfactory where small cuts are used and where there is considerable detail to be shown. Small cuts of shoes, small hardware cuts, etc., should be zinc etchings if space is to be conserved and the best results obtained. The next step is how to properly mark your copy, and this is a simple matter, provided you have an understanding with your printer. If you find he has an idea or plan which is better for you to follow — use the method that will prove mutually agree- able and satisfactory. Department store advertising is planned in the office of the advertising manager, and carefully laid out before it is sent to the printer. The copy is edited and marked, so that the printer may know just what to do. If you expect well displayed advertise- ments — follow this plan insofar as you are able. If necessary call in your printer and ask him to assist you — work with him. We will suppose that you have a simple list of prices in your advertisement that you wish set in small space, and you desire the prices in what is known as "1-line" bold face type. For this you would mark your copy as shown in Fig. C. Beef Blrloln, T-bone or round BtcaJi, pound 50^ pot roast beef, pound .1B< Lean boiling .beef , pound ,16< Rib boiling feef, poimd I3j^ HeaT7 Teal, fancy Teal round etealc or veal chope, pound30^ Veal shoulder roaat, pound .50^ Veal stew, pound .15^ Fig. C You will notice that in Fig C there is one bold line drawn underneath the price. This one line of underscoring means that the price is to be bold face, and the printer sets up the copy that way and the result is shown in Fig. D. Beef sirloin, T-bone or round steak, pound 30c Pot roast beef, pound . . . .18c Lean boiling beef, poimd..l5c Rib boiling beef, pound. .I2V2C Heavy veal, fancy veal round steak or veal chops, pound. .30c Veal shoulder roast, pound. 20c Veal stew, pound ........ 15c Fig. D The underscoring of prices is simple, but means much. One line underscore means BOLD FACE PRICE in same or about same size type. TWO LINES of undescore means that you wish the price set in type equal to about two lines of the body, or descriptive matter. THREE LINES of underscore signifies that a 3-Iine price is to be inserted, and so on. Another illustration of single line under- scoring is given in Fig. E to show how to mark copy when you write the name of the item first, and desire this in bold type in addition to the price. — Heinz Tomato Ca taup , July sale, per bottle, 25jf and 40 ^. — Coffee^ freslily roasted. July sale, per lb. 3V. — - Tea, Hudson' s Bay bulk, July eale, 3 lbs, $ 1.49. — Cocoa, buUc, finest quality, July sale, per lb. 33^. -«. Pxire Ca ne Sugar. Lantlo brand, 6 lb. pkga. 63^ . Fig. B When Fig. E is set up in type it will ap- pear as shown in Fig. F. — Heinz Tomato Catsup, July sale, per bottle, 25c and 40c, — Coffee, freshly roasted, July- sale, per lb. 37c. — Tea, Hudson's Bay bulk, July sale, 3 lbs. $1.49. — Cocoa, bulk, finest quality, July sale, per lb. 33$. — Pure Can-e Sugar, Lantic brand, 5 lb. pkgs. 63c. Fig. F When you have small copy (that is copy of very few lines), but desire the prices in two-line type, mark your copy as shown in Fig. G. 31 T. B. Y . IlakeoyTjaotogeB fjjr .J6|^ g^l B^ln S^"? tottHa for" t|^ ^/Bo^'p^^^e^'^^'^ree packa£e -J^ Fig. G This class of copy should be set in narrow measure, and when in type will resemble Fig. H. V. R. V. FLAKBS— 9R(. 2 packases for fcww BLUING— 25i; 2 bottles for **"• SOAP POWDER— OKjj Large packaee fcww Fig. H When you believe that a large price is necessary — mark your copy for a three-line price as shown in Mg. I. liuslln Pe tticoat s Good quality T.hlte uuelin - wide flouncee daintily trimmed with lace and embroidery .. 96^ Fig. I This when set up will show as in Fig. K. Muslin Petticoats Good quality white muslin — wide flounces daintily trim- med with lace and embroidery uainiiiv trim- 98c Fig. K This will take care of the mechanical details and enable you to work understand- ingly. THE "LAY-OUT" HOW TO PLAN YOUR "AD" Getting the "copy" together seems to be a stumbling block for many merchants — yet this is one of the simplest things imaginable — if it is done right. Go through your stocks carefully — ask the salespeople to assist you — and find out what should be moving. Also include in your ad- vertisements such merchandise that may be among the new arrivals — it the season is right. Take the time to write attractive descrip- tions of your goods, and explain the merits sufficiently so that there will be nothing for the prospective purchaser to guess about. When you have gone through your stock carefully you should have a pretty good idea of what should be advertised. Now take your copy, and decide upon a plan of layout. That is — decide on just what you want to "play-up" or feature — and decide on how much space the important items should take. This will give you a gen- eral plan for your advertisement, and you can arrange the other items as space will permit. Always have a plan in mind when you "build" your advertisements, just as though you were going to build a house. If you feel that you cannot do this alone, ask the assist- ance of the printer. There is a fundamental principle in ad- vertising— and that is — "THE GREATER TliE VARIETY OP MERCHANDISE YOU CAN INCLUDE IN YOUR ADVERTISE- MENT— IF THE MERCHANDISE HAS BEEN CAREFULLY SELECTED — THE GREATER ITS PULLING POWER." And a merchant should never under ordi- nary conditions attempt to prepare an ad- vertisement hurriedly, and rush the copy to the printer at the last minute. For writing your copy use cheap "print," cut about 9x12 inches. The reason for this is that it is handy for the printer, and can be readily handled upon the linotype. DO NOT WRITE UPON LARGE SHEETS OF WRAPPING PAPER. The word "lay-out" means that you should have prepared by your printer blank sheets the size of your newspaper page, and marked off in columns and inches, or you can do this ^^^^ Cl earan ce Salgs CLCARANCC OF Hosiery & Underwear WOMEN'S SILK HOSE— Mode seHmlov with thread silk boot and cotton top, Ihi colon are black. gre» and cordov regular $1-35 Talue, special at WOME-N'S COTTON BOSB— In bbtk, Brry ad cwdovin, #ole and hich splicnJ b»l, apecioLIy priced lot Ihit 98c &E.KLf^AI. f^i:'S LISLE \ Sl>— A ( triitd II in, out rcfTjlm- Mc 3"p»iWfor"«.66' CHILDBEN'S HOSE— A fine ribbed mltoB itMkinc, Id bUck of vbiK. 29C WOMEN-S COMBINATION SCITS— All -Itn Id 4t, mida with Uc( kD«. TCc 49 C .^M. 25c CHILDREN'S WAIST UNION 65c »»la«. Imiltd quamily, ' tb(T iMt. ipKi"! "' 65c ■I'lTS— Brimlmr • 45c /^ Cl«ar*nc* SaU Georgette Sport Hats Hats Navy and white, tailored and trimmed stjies. §5 and $6 values. $3.98 Panama Sport Hal^^^jTX : 98c BABY WEAR 9Sc -All- G m„nlhi In E ycr. - ."" 98c [ tM OLIVER TWIST in 1.95 Silverware BOGEftS 18); OLD lATTERN— m: TEA spoon: 2.69 4.98 \ \U1 KMVES 7.75 UANDLEU Sltrtmc •95c Morning Specials On SbI( 'III! 1 o'clock White Middles 49c Apron Seta 1.00 69c Waists 69c >Sc CARPET BROOMS 45c Brltfs Ammonia 9c 5c Toilet Paper 39c Lux 9c MEN'S DRESS SHIKTS—Made of tast cotor percale with ' soft turn back cuffs, large range of patteniH to select from. { fliies lo n. values to J2.00, specially 4 ^E j prKf.i lit - A B^ J \ MBh'-S UNIO.V SLITS— Of •< |1«VM. IpKllll)' 4 OC J MEN'S UNION s'liits^AtWclif ityli, - - "" 7Sc ' Continuing Our Semi - Annual Clearance Sale Women's & Children's Garments rKenominal Kt-duetiuns Oflerfd on Suits, Coals, Ureses and Skirts 285 GINGHAM AND FIGURED VOILE DRESSE: dozens of cool summery at* lea for women or mibses. ruffles, tunics or wide belts, reduced t0 Coats. Silk Drevsei S11.50 5* 'TJ Coats. Capev, Dolmans S9 H7 C ildren's Coats, at '/, and 'j Off Regular Price :« 16c Silk Poplin Skirts s?:^";'5r?E¥* $3.98 SILK DRESSES Reduced to . . . Black and colored, satins and talTeta-t, few crepf de chcnes, good assortment of slylf' tailored or trimmed, our rcfrular ^.7.50 values, apccially |iriied % A Clearance of Housefurnishtngs l Soniflief SllflCS, POIUPS & up: i.K vthfr and V. hUt ' ;inias Lace Shoe", values ii[, to ;;. B to E, 3 to B. apecinlly ;: ■■" "■'■ "'•■ 3.35 "■.>l. special tor this ^ O^k vuile, at . .... Ab79 MISSES- AND CHILDREN'S TAN S»n nnd Women's Velour Leather Silk- llniinr Slipper", Silcs i up to II. f.p.:.mliy pric.M. AgC 1.50 I - 2.69 8. B to E. spccialb 52. Si.5("andS3^0OMUITECAM AS Lace Shoes and Hit'ti llrnili- Tennis Shoes and 4 JitZ Oxfords, special at . i«"*0 MEN'S WHITE SHOES AND OX- fords. specLal « ilC at 1.95 and . .. X B**^ A BIG CLEANtr TAIII.B OK Children's an'l MisKea' Clippers; tan and while M«ry Jiine«, ^(>ccial- ly priced for this sale, 7ttrf* 54.81 and It WOMENS AND G1R1S' Oxionls. Slippen ami Pump-, in specia ind LiL Fig. 10 32 yourself. By following this plan you will soon become expert in planning out excel- lent advertisements. By way of illustration and for the guid- ance of merchants who are having difficul- ties in securing attractive "set-ups," we will begin by laying out a July Clearance Sale advertisement, as shown in Figure 10. To really get the benefit of this article, the merchant should take a sheet of paper, mark it off into a five column "dummy," and work out this advertisement step by step, as described here. You now have your copy written, and a number of cuts selected. If you have a Ready-to-Wear department, we will say that you want to feature this class of merchan- dise. Any other line would do just as well — if it deserved special mention as a feature. You also desire to push Hosiery and Underwear, as well as Men's Furnishings be- cause Saturday in the average community is a good day to sell this class of merchandise. If you carry groceries, you can use your judgment as to location of this department in your advertisement. Take a "dummy sheet," and sketch out the space the largest part of your copy is to occup; namely the Ready-to Wear. See Figure 11. Place the cuts on opposite sides of the copy whenever possible — this balances the display. See copy marked "A" in large layout, figure 12. By writing in the headings and the bold prices, you find that this part of your adver- tisement will occupy a space practically three columns wide by about 7 inches deep. Mark this "A". Fig. 12 Fig. 11 Ne.xt, you find that the shoe cut you would like to use is about two-and-one-half columns wide by about 1% inches deep. See "B" In figure 12. Write your heading above this, being careful to select words that will fit the space; and as the number of items is an even number in this case ten, and about an equal amount of descriptive matter in each you "split them up" into two columns, because short lines are easier read than long ones. Note the original advertisement, Figure 10. By counting the words as suggested in "Fundamentals" you find that if set in 10- point type, which Is a good size for ordinary display, it will take about 2% inches deep for the copy — therefore your shoe copy will fill up the space of two-and-one-half columns by almost 5 inches deep Number this box sheet "B". See Figure 11. Now. by roughly sketching in these two departments upon your full size dummy sheet, (See Figure 12) you decide you have have about enough other copy to fill up ap- proximately five columns. Letter in your heading, after you have decided upon the size of your advertisement, as shown also in Figure 12, and make al- lowance for your store name, or signature. You now go over your copy again, and note that you have some "Morning Spe- cials" which you want to display in some prominent place. These with the Hosiery, Underwear and Men's Furnishings, you place near the top of your advertisement. Take the space necessary for your Hosi- ery and Underwear and paste upon the dummy sheet a proof of the cut you want used. Then you find that the "Millinery" will fill the space under the Hosiery and Underwear, and you "play-up" the two 33 prices and also use a cut. Good sized cuts in a millinery advertisement are better than small ones, and the prices should be set unusually large, especially in a clearance sale, while the Millinery should be near the Ready-to-Wear it at all possible. You now discover that the waist copy will about "balance" with the millinery — that is, will take about the same space in- cluding a small cut, and you place this box on the opposite side o£ the advertisement, and near the Ready-to-Wear, because allied lines of merchandise when placed together in the advertisement add strength to each other. The next st.eps are easy. The merchant knows that he must play up the "Men's Furnishings," and by perhaps cutting down the copy a bit if he has written too much; or by adding to it, if too little; he places an attractive cut to go with the items, and displays this as shown in the dummy, near the top. See Figure 12. There is little left to do except to fill in the sides of the dummy with the most im- portant merchandise that remains. If house- hold items are carried in stock, fill in as shown in the dummy. This completes the lay-out as shown in Figure 12, and with the copy carefully edited, the merchant takes dummy and copy to the printer. Together they go over the lay out, and the result is shown in the completed adver- tisement. Figure 10. This is a good type of bargain advertise- ment, and is reproduced for that reason. It isn't necessary for every advertisement to be so compactly set ; the merchant can choose his own style, and use a more open style it he so desires. The important thing is to choose a style and always follow it. GROCERY DEPARTMENT WHAT TO AVOID AND HOW Avoid the use of generalities in grocery advertising. Always write enough descrip- tive copy that will at least play up the quality and desirability of what you want to sell. Simply the name of the article and the price isn't enough, unless you have built up a reputation on price alone. Grocers as a rule are notoriously poor advertisers. Taking it tor granted that people must eat if they expect to live, the average grocer believes that he will sell so much in a given time. This is true, but it is also true that you can stimulate trade and increase sales by suggestions, and you can oftentimes create a big demand, where there otherwise would be a lull. One thing is sure — and that is — such meaningless advertising copy as shown in Figure 13 will sell very few groceries. The advertisements reproduced herewith might have been called "advertising" about twenty years ago, but such copy that tails to give the slightest information is a mere waste of space. Then in Fig. It we have reproduced a number of really creditable advertisements, Fig. 13 as compared with the average grocery copy; and it took an immense amount of research to find these. Some of them are small, but this is not a fault. The average grocery merchant will gain far better results if he will run small advertisements frequently, particularly in towns and cities where there are daily or tri-weekly newspapers, than an occasional large advertisement — appearing once in a great while. Most of these advertisements (Fig. 14) are price appeal examples, and this is strong advertising. However, the merchant, if he is going to continue this style of advertising at regular intervals, should buy merchandise accordingly and watch for special buys that will bring him a regular profit, or nearly so. To show how a small advertisement can carry tempting descriptive matter, arouse EXTRA FiVlSCY BING OHEREIES POIND BOX DELIVERED $2-^^ PER 10 IJNISU\LL> URGE AND LlSClOlS Blue-black in color, sweet and juicy. Ideal for table use or presening. Immediately upon receipt of your order these cherries are picked and packed. Each box receives personal atten- tion and careful inspection. Absolute Satisfaction Guaranteed They reach you with that tang of freshness found only in the finest fruit. A big ten pound box will be sent t« your nearest ex- press office all charges pre- paid upon receipt of $2.85. Buy direct and save the middleman's profit. Order at once as the season is short. This ad will not ap- pear again. Sunset Fruit Co. Kclerencc >al rnent o( patterns in these popular fast colors. Fast color and well weanng . ^materials at somewhat lower pnces^ A good line o! Children's Gingham Dresses, well madf of gr-i-J materials, and made to hi, $1.00 lo $3.50 each DRESSES Mina Taylor Dresses and Aprons, irinimed. neat filling. "Mina Taylor" dresses ha've plenty of room at points where room is needed. You can move freely and easily with never any pull- ing or binding to contend with. Youll find pal terns lo pIcASe you, both light and dark colcrs. APttONS Aprons, large and roomy, rnade to fit and give satisfaction. BLOUSES AND SHIRT WAISTS ilouscs and Shirt Waists, made ol L dainty georgelles and crepe de chines lely made up and trimmed'for Ea»- |ter.seilmg at each $3.89. Other Blouses and WaisU up to J5.00, $5.50, J6.50. RIBBONS, UCES, ETC Ribbons. Laces, Embr-iidcnes, in greal man> patterns, styles and very reasonable IMen's F'umisHings New Dress Shirts that will please in style and quality. Prices are lower on some goods and you will find that we are trying as niuch as possible to keep with the maikct. We handle the Lanphcr Hat. famous the country over for style and quality, $5.00. New Ties, Socks, Suspenders, Un- derwear. Collars, Spring Caps, etc., Domestic Dept. ™°' ... $1.98 f erorheled and trtrt $2.75 h'ltA Crochet Bedspreads — Full Bedspr-ndi m s big Msorl o[ pfldtruj, ?;75 vbIqm Hnnmoil SprMdi— Tbuo i hrgf nrr. nice range ot patlci M.7.1 gra^r, only, each BaU) Mats Ooe-ThlrJ Oll^In vfry »icluiiv« pnilfnii. iiirlit aocl dark pallcrna, ta cloi? oul. Od« Third OS 1500 Yards Toweling Remnants i and 6-yafd Itnetha. Extra Bargain Table •ilk) and Odd Lota bed DlicoDtlnued Lieu, (oniislini; plojn colored crop-", plain colored plain pLpUci. luDali silki, plain luiii niBiiy olhfn. These good* are 3n inchu w idf, 75c B9c. tl-00 81.25 yoluM; all to cIoib ^Qq out at, yard Notions Bone Hair PiM, !p«>»l Slielcrrie BfaJd, aprcial Hair N*u with clulic. S (or One lot of Itnej aod plain Hair Bo^v Ribtxan. Special at, yard -.•■ K. II. C. Croettl Cotton at. » bill .,. 10« ~>n> lot Ecabroidertd Petticoat Flounciag. Special 4 '' Oii*.'>.-. Filet Late^ valuta lo 29e. Spefia!. yard. IBc Hemltitbed PiUow Casta. Speci.l H.Sfl Ono lot Veiling Remoaoli. Sj»«ial, each 1 One lot LsiJicj' Organdy and Lace Collan. value* U $1.00. iiptcial ' Ladiei' Silk Vtfitei, wbile and colon. Special, .aeh W" ■W'lndior Titi. all eolort. Special, eath .39o Your choice of any Ladies' Piirio in our alock at ONE THIRD OFF This sale starts Saturday. Be here early for choice. Dress Goods Eillt Poplins in a big raogt of colors, ihii niakei a boauiitul drcia or iVin. in this salo Qy (; •t. a yirA Buy your Tiib Silks oow tor uaisu or mcn'i iliirli a% the.e art very icaree . our R-W qunlilj £ J ^g^ in Ihn Kate al. a yard... ' ' , . Kojicy Georgette CrepM, tbo moat pi.pular «itl[ ■'! today ; value] to $3.50 • yard. £9 47 Special at, vard *fc.-r« A bic auorimcnt of Silk and Wool Bemnanli go in ih.t da at ONETHmU OFF 3.1-incb Natural Poagee, the coolest iumm-r tilk OTir SI SO quality u, this lala at $1,07 Gingham Dept. U-INCH tMPONTED SCOTCH QINCHAM— Thli li IhB (anu- I1IIB»»1H>. onlT. >-«rf 03C 't INCN r«tHCM lEPMYH OINOHAM— On. <.f Ih. «rr bt.( Aih, .. .h. cn«^..^ .B M.U eWb i-T .•^mm.,: 29 £ Drapery Department Voile Curtainfl — Neatly lace trimmed, on bcm- ini?d citge, 2V^ yards long and of good quality. Suitable for Dining or Bed Boomj values to $1.50 a pair, special, QAft nttpair WWV Caltaln W*U — Choice ot ecro or while patltm anJ plain efffcU, Ihtao aie good durable qiiali:y. ^^ Q and good values at Tie. Spdil ti, yard Hosiery "■".""" ™.""$r.bo '^1 n'omin-i Buck nbr* H««« 39C 'CZZ""si-o6 Glove Department .li^s' Long Silk Gloves, whito and black. Sp«- ■al. pur -. ■-■■Me (!,«■ Chamoi-etlo GloTM, «h,lt. grey, broira. alack. -Special. p>ir ^ dies' ■gillie Silk Gloves. Special, pair . BJto ,c lot White KiJ Gloves. Special, pair 61.89 Fig. 17 Wash Goods Dept. iO-Ineh FiTicy Wa;h Qooda In Epuird patterns nnd ■:hcek». cooiiHing of voiles and orgjudieSi 39C C9c value', only ^•i'*^ lO.Inch Fancy Wa«h Drcsa Good) in Ihlriy beauHful palleras, cooMiling of voilct, orgaodiei and tmue ginghami. Thii i* an elegant lot ot clean mercSan.lue , and «-ilI ecU out [asC> 75e values 59 C 40. Inch Colored Waib Ooods— Tlii* line contaio!! the latcrt French patlerna, printed on a round thread vmle, niti waili and mako up in Juna Itjte^ G9c E5c valun only, yard w*#^ Se^Incta Plain Wbita Fancy Wash Voflci— Tbia ii a vi'r)' lar-,.-p BI^ortlnent. very suitable for uparalo iciiiii ojid (Ireuci, in atripea, ebecks, plaida and Sn^ifi ptt- lemi, valuca to G9c, 49C Ons Tabla of Ttwf Colotvd Wuh VoQ«9 In a fino iLly?!.*!'"'^'^ ^^^ Se-Inch White BklrUng— The but and coolcit itifoj { .r iumm-r ikirit and middy euiU; ^Qf 7^e values, .pccial, yard _ "t^C Si^lDch Fancy WUte Skirting In a irondertul lins cf up-to dale paltems and tteiits — tricotmei. gabet dinci, baaket weave], Oxford and many otber n9» ireavcs,- £1.00 Talnes. only 69C Table of Plain Wblta Llnweaves — '^ttn lilie linen and ketpi as fl-h.lc ai inoiv. for >vaiit«. dteaiei OQC aotl children's "ear, only, yard *4**» 40.1ach Plain While VoUca— Five bolts ol elegant round thread voiles with a very fine finish, eome early for Ibcsc 65a values for, 35c 40-lncli Plain Voile in Colorv^SS new and np-to-thn niinuto colors, lait colors and cheap al 53c; ^Q^ thi. .ale, yard O^C 40-Inch Pine French VoOee in b good asiortment of new pallemsi Iheia sra faal colun. ^Q/> E.tra .[**,al. yard J»^ Muslin Underwear Dept. One lot of Cortet Covtrs, sold up lo SI 0(1 CQtf* Thisaalc JJ»* Xeally trimmed OiemiHi, loma irilh embroidery and lace, othcn smoeked in blue, all sites. £4 OQ (rood value at SI C9- Thi, sale . ,, **»*^ A pink crepe Teddy. Irimnieti triih blue •m^fjulT' all slKj; $1.75 value- 0.4 •3 only, all liies. Deal Incc trim ... ... 'OC tiseraent — Percale is in a class by itself, as compared with Ginghams, organdies, etc.,, and if she has planned on some garment she desires to make out of Percale, she is inter- ested in YOUR advertisement and she wants to know all about the colors, and the price. Such items should be separated and ac- curately described as to color combinations, and suggestions as to what they are most de- sirable for. If you have some short lengths, say so; and don't forget that Mrs. Smith may be looking for a bargain in something with a "blue stripe", while a "pink dot" doesn't interest her a little bit. Be accurate — be complete in your descrip- tions — that's the way to advertise and SELL DRY GOODS. Suppose the mail order houses should list their "NEW WASH GOODS" in the manner shown in Fig. 16 — would they receive any replies — or any orders? Certainly not. Then why should local merchants try to accomplish the impossible in advertising? Fig. 17 is a good example of how to ar- range a large number of items, whether they represent bargains or not. The sub-heads enable the women to quick- ly pick out the items in which they may be interested. In Fig. 17 there is no "hodge-podge" ar- rangement of everything, but a systematic, attractive, set-up, that can be written up in any store and set up in any printing office. It taikes time to write this kind of copy, but it is well worth while, if you expect results. Fig. 16 READY-TO-WEAR COPY THAT APPEALS TO WOMEN Women's Ready-to-Wear is largely a sea- sonable proposition, and the successful mer- chant must keep pace with the seasons in his advertising, or rather — be a step in ad- vance. Beginning with the Spring season — every merchant who sells ready-to-wear should be- gin advertising the '"new things" and create a desire for new clothes — as early as possi- ble especially if the "Easter" season is early. Do not wait, and permit the catalog houses and large city department stores get tlie "jump" on you. The same thing applies to Summer styles. Be ahead of the game, and CREATE DE- MAND. In large cities the Fall and Winter suits, coats and dresses for women, along with other Autumn necessities for milady's wardrobe, begin to make appearance early in August — and at the same time the fur- riers, the department stores — as well as the specialty shops — all announce their "August Fur Sales." Keep your advertising and merchandise just ahead of climatic changes, and with the seasons following in rapid succession it is obvious that oftentimes one class of mer- chandise must be "'clearing" before all the new merchandise is announced. With this in mind, there are two distinct classes of advertising copy that must be pre- pared, if the merchandise is to be successful- ly and profitably moved. Advertising copy that announces the ar- 35 JUNE SALE COATS and SUITS Graceful Designs Latest Tjrpes «( put on wk %NiM. J« l'*>h, •»• reli" >tock ol LmSb*. ^fll•a' ami QuMtoi'i CuU ud SuiU al ■ 20 Per Cent IXi bM nul tKu ipfoil 6pf»f1iiiu(v to pWcKcJC *i up Is ike ininiV*'ai*l and tuil. MVmg on^UlIi tb Suits Coats n-xiT>fl Sn Sn. CAbotSM CUbK* Poir.lT«a r«b I.«* The August Sale of PLUSH COATS lor Misses 20% Discount On Every Garment rival of new merchandise must be of the style variety — high class in every respect, and it must play up the desirability, materi- als, style features, and colors to the limit. To hurriedly prepare copy and "skimp" on descriptive matter in describing new Fig. 20 CLEARANCE SALE. Our entire line of Ladies Spring Coats at 33 'I3 per Cent Disc. All Ladies', Misses ami Children's Trimmed Hats to close at \VM per cent Discount. A large line of Ladies Underwear to sell at Bargain Prices. Ladies and Children's Dresses at old prices. A large line ot Cliildrcn's Summer Wash Suits to close at One-Half the present prices A large line of Summer dress goods and waisting materials to close at less than ONE-HALF the present prices. Just a received a large line of New Rugs in Velvets and Axminlsters, Linoleum and Congoleum, all sizes and good patterns. merchandise, which all clearance advertise- ments should do. Compare this style of so-called advertis- ing with P^g. 20 and note the vast differ- ence in the amount of genuine, desire creat- ing descriptive copy. Good cuts are neces- sary and in Fig. 20 they help the "ad" im- mensely. Figures 21 and 22 are also good styles of effective advertising. Fig. 22 is known as Red StanitJ- The Season's Most Slunnlc^ Soils Arrive My { m m m NEW SPRING SKIRTS iitylci and gathered nM)iIel»: pockeU nnd btlU, SpMliUly priced for Monday MM THE P;EW dolman coat Ai>iD capes vflopcil In Wool Vclaura, Silverlonr, Miti> Wear Scrjv » ~ " Our BMltm ot »elUtig vn umiill nmrglni Is I plniulion of thwe low pHeea — (5> St TricoliliU. im -^ 2Si ">• '*if ^COVERALL APRONS fft | Ruqs -Slair ? Fig. 21 merchandise, is to commit commercial sui- cide. If you are holding a clearance, there can be a trifle less detailed descriptions, espe- cially if prices are made low enough to create a sensation. In all "bargain" adver- tising, however, it must be kept in mind that prices should be set in large bold type — WHENEVER PRICE IS MADE THE FEA- TURE. In high class copy announcing new goods, the price may be subordinated, and even a range of prices is often times sufficient, but in "clearance" sales advertising, be specific concerning garments and prices, and leave little for ihe customer to guess about. Figures IS and 19 are examples of "weak" copy. Neither advertisement gives any im- pression of unusual values, and worthwhile A Big Shipment of The Newer Suits $50 $SS $59.50 IN NAVY MADEof fi^e serge, at»o need !c-poin( gabardine, in new tailored, belied and bloiiscd modes; with ind wiih- oui vcsiccs, All arc sniarr, conservative suio. wiili silk Itn- ings and perfect finish. A good varicrj' of models. Tit Suit Sbop— Semnd Floor. $50 $55 $65 MOST attractive arc these jtm arriicd suede velours and siKcrtone wrap coats with their capey backs and nar- row front sash belts: big collars; lonely silk lining. Come in old blue. Titian, Pckin. deer, tan and taupe. $i>0 and $55. Navy blue capes of fine serge, with scarfs and cuff bands of navy tricolct, -' ser\-ice- ''^' ' made to stand the able matenal— ^^■LjOi^i^A^tJ^ No matter what kind of a hat you want we are pretty sure to haveit It is an extensive show- 1K|^/ ' "'earandtearof thelaundrj-.The ing we have here in the new 9^^* ^'~. pattemsaresoattractiveyou will straws and styles.— .Younji mpj ^,^.''' yf enjoy wearing them these days seem to favor the u-ough straws !^ .r, i / when you go about without a coat . We have them— tijjy ar^ snaiJpy v^n ^ so much. Srn thrm "'ii ua'il looking roodefe* / 7 ■ , ") ' ' see they are^reat value^-'WML, . OfvlT^-w ^A^-*^ .' "^ =^ atw ■ Get acquainted with this store. You will find us progressive. We are on duty here evei-y minute of the day to give you satisfaction. We will have a finer location later on — the Coffey Building but we could not handle any better goods than we have — they are the best made. Fig. 24 37 to describe their merchandise as it ought to be described— and get away from mere "nothings"— there would be thousands of dollars coming into their tills instead of going elsewhere. Note carefully the difference in Fig. 25. Here the merchant has taken the readers of his advertisement into his confidence. While the descriptions are perhaps a bit brief, the items are plainly marked, and the reader readily gains a good idea of the mer- ways be common sense copy. "Comedy" is dangerous, but at times can be used. Tell the men about your merchandise — as though you were talking to them. Make your per- sonality stand out in your advertisements. Generalities have long since had their day. Men like new clothes, new neckwear, new hosiery — new hats — and they will always ask the price? Why not tell them all about it in your advertising? If you are not doing this now — begin at once — and watch your business grow. Use good illustrations— and have the "fellows" looking for your advertisements every week — every day if possible. "You say Cool Shirts for Hot Weather? 0, yes, we have a biR line of fancy patterns in madras silli and mercerized. Just drop in our cool store and wc will convince you that we have jusl what you are looking for at right, prices too— o. ^ TKe Furnislimg Man J06 THIRD STREET PHONE SBl J J. SnvitK, Fiff. 26 chandise. Advertisements of this character will draw trade where Figure 24 fails utter- ly. The advertisement shown in Fig. 26 has been reproduced — because it shows how so many merchants fail to grasp the necessary details in iidvertising men's furnishings. The reproduction shows an attractive cut; the first part of the introduction is ex- cellent—and THERE THE USEFULNESS OF THE ADVERTISEMENT ENDS. And you ask why? Because there is a variety of materials hinted at— Madras, Silk and Mercerized. Necessarily there must be a wide range of prices. Somewhere within this merchant's territory there are men who NEED NEW SHIRTS, and they WANT SILK SHIRTS— but they are not going into town— a distance of perhaps 10 to 15 miles to find out the prices— when right at home they have hand- somely illustrated folders from various cata- log concerns— telling all THEY WANT TO KNOW ABOUT SHIRTS. And another important point — SIZES. Women buy many shirts for their husbands —and their sons. Many times these women have come into your store to choose some- thing advertised, and found only disappoint- ment because THE DESIRED SIZE WAS NOT TO BE HAD. Therefore in advertising shirts— if there is a complete run of sizes— say so— it sizes are broken mention it— then the customer cannot be disappointed. Clothing and furnishings copy must al- FOOTWEAR ADS SHOWING GOOD and BAD POINTS To advertise footwear successfully you MUST have exact illustrations of the styles and models — most manufacturers will gladly furnish these if you will only make your desires known. Single column cuts or a trifle smaller, are to be preferred for general purposes; but when there is a particular style you desire to feature it is best to have a cut that is about a colunm and a-half or two columns wide, so that the feature illustration will "standout" from the others, and be readily noticed — thereby creating the impression of something out of the ordinary. The general "style" of shoe advertising is the same— whether you are handling shoes exclusively, or whether you conduct a gen- eral store — and carry your shoe copy in your general advertisement. Briefly— there are FOUR IMPORTANT SELLING POINTS that should be brought out in the advertising. They are STYLE, FIT, QUALITY AND PRICE. Under style you give the names of the Under quality comes the names of the leathers, their durability; how well the shoe is made, quality of soles, and the many other strong points which a thorough study of your merchandise will bring out. Under price comes the selling price — which should be quoted — especially if you are closing out or featuring a special lot. Fig. 27 particular models— tell of their newness— and it advertising women's shoes you should enlarge upon the beauty of the models you are showing — how trim and neat the woman's foot would appear in a pair of such pumps, or shoes, as the case might be. Play up the styles and CREATE DESIRE. Under fit you should tell of the range of sizes; impress all with your superior ability to fit shoes comfortably, and tell why the shoes you handle are built for ease and com- fort. Popular Priced Low Shoes See the Big Display in Our Window of Popular Priced Footwear. l-adics' patent )cailicr or kid. Louia heel Oxfords Pnccd UM, $6-00, $7.00 ILadici and Girls" while Military heel Oxfords, made in white fabric at tiSa, $4jOB, »M. »SJ« and .- ......»« .White Buckskin P^ White kid J9J» tjyta a.^^ '■'^-^ cUrrvTpv It is difficult to describe shoes in your ad- vertising, and bring people into your store, if you do not quote at least a few prices. People living in the country can form no idea of the value of your footwear if you 38 insist upon leaving out the prices in your circular and newspaper advertising. Cuts Are Necessary As said before— suitable cuts are neces- sary and extremely important. Every dealer should see to it that he is plentifully sup- plied, especially if he is contemplating run- ning large advertisements — either in an- nouncing new styles or for closing out sales. Avoid generalities in all advertising copy — they will never sell shoes, and are just as much out of place in footwear advertis- ing as anywhere else. Figure 27 is an example of too many generalities and is very poor selling copy. Has Selling Punch Figure 28 is the kind of advertising that sells footwear, and proves that the mer- chant knew in advance just what he was go- ing to advertise and had the proper illus- trations at hand to go with the shoes he wished to sell. There is only one grave fault with Figure 28, and that is the descriptions should have been underneath the cuts, rather than above. The mother at home reads this advertise- ment — and forms from it a splendid idea of the styles she would like — the price she feels she can afford to pay. Figure 29 and Figure 30 offer an inter- esting study. They appeared on the same date in the same country weekly, and the <><>0<><><><>0<><><><>0<><><><><>CX>0<>0<>00<>00000< I Men's Shoes I With the arrival of our New Fall Ralston Shoes, our now complete stock of Men's Shoes is ready for your in- spection. We have shoes to fit every foot and every pocket- book; with Style, Quality and Comfort combined in every pair. Comparison with city prices and with wholesale price-lists will show that we are endeavoring to protect our customers, as we have always done in the past ; and it is not too broad a statement to make, when we say that we are selling shoes today, at prices which are as low as those of the manufacturers, according to the wholesale lists. Come in and look over our stock — we challenge com- parison. (Jarie^ HEADQUARTERS FOR J Florsheim, Crossett, Rals- I ton, Connelly Shoes g Fig. ■.;:i reader can judge which pulled the most business. Figure 29 is mere mention of geis- eralities. Figure 30 goes into detail about the merchandise, and is an invitation to buy. Perhaps the heading in Figure 30 coulil have been stronger by saying "DURABLE FOOTWEAR FOR THE WHOLE FAMILY" and the prices might have been larger. It is however a very good piece of copy for the average store, and in comparison with Figure 29 demonstrates why it is desirable to go into details. If you do not, your com- petitor WILL. Thus it can be readily seen that shoe ad- vertising is simple — but you must be pre- pared for it. Ordinarily small space can be used. Large space when there are the new styles to be around your advertisements. Be liberal with white space, and use the best illustrations you can procure. There are occasions when new styles can be featured, and if a general group of new arrivals is mentioned — you can refrain from SHOES! @ #, YOUR FEET CALL FOR OUR IF THEY COME FROM THE '^KWU CLOTHING CO. THEY MUST HH RTRHT Are your feet raatjy for a ne* psij* of ibo. ITiaM kh TTcrsLj aJio« OD th« market but aol (iv^y Aoe at« e«aC7 toot. W« art pleased to state that we mxr? the bipgart wtbn df shoe."! tn the county. Men's dreBa shooi Id bt«o4 m •Q^ed. lace or button, in a variety of atyleas VX 13.90, »9.0I), S3.50, 84.00, H.M, 55.00 and op to rS.50. M»aB Work Shoes. reRuIar height and Mjrh tops and wit- ing Bals. at KSO. $2.75, S3. 00, 53.50, $4.00, J4.B0 SS.OOard ap to S9.00. ' IfaK'e Mule Skins, at S1.95, $2.26 aad J2.36 ' Boya' Dress and Work Shoes, sizes 2>^ to &i^. button and I tece, narrow and wide toe, at $1.66 t*) $4.00 I Tloiitha' Shoes, siaes 11 V^ to 2, sama as bo,Te'. . at — - - $1.50 »o S3iS Littte Gents' Shoes, siies 8V4 to 11, at _ $1.35 to P3.00 Ladies' Shoes in a Tarietv of colors, etyle and wi.Uhs. I at _ $2.50 to SS.50 I llfiiww' Shoes, sizes llVz to 2. at _ .$2.00 to $4.00 1 Gtrla" Shoes, sizes »¥> to H. at... _...$1.75 to »S.00 j Qlfld's Shoes, sizes SV4 to 8. at- _90c to $2.25 ) Infant's Shoes, sizes 1 to 5, a4._ 50c to $1.75 Ken's Tennis Shoes, at $1.0!raiid $1.25 ' Boys' Tennis Shoes, at $1.00 and $1.K ', And many other thinfrs in footwear too numerous tj ) mention but come Sn and see th*>m. ) .^^^__^^^^^_^^^^^_^^^^__ featured — or where a large clearance sale is to be held. The big sales should be planned far in advance, and the stock arranged accordingly. Shoes to be closed out at one price should be advertised in groups in the newspaper advertisements with a bold, black price; and when the customers visit the store — have these shoes in plain sight upon bargain tables — and under a big price card. This saves much time — and customers like to sort out the bargain shoes for themselves. In announcing new footwear — especially for the women — neat borders should be used Fig. 31 mentioning price. But these occasions are rare — and such general advertisements should be well written with the distinct pur- pose of creating sufficient desire upon the part of the readers to bring them into the store. (See Figure 31.) Shoe merchants should watch the daily papers. Keep in close touch with the adver- tising of the firms you know to be unusually successful — and you will gain many valuable ideas for your own advertising. HARDWARE COPY THAT WILL BRING RESULTS Increase the number of prospective cus- tomers, and you increase your business. Hardware men have been many years in learning that women are good patrons — but the hardware must be so stocked that women will find it profitable and easy to trade there. Women in large numbers would long ago have been patrons of the hardware stores had they known — ori even thought, that this class of store carried very much in which they were interested. Then and Now The old time hardware merchant did very little advertising, and what little he did, was too much in the nature of "general mention" which failed to attract very much trade. Today the successful hardware merchant advertises his wares through carefully pre- pared publicity. He tells people of the many things he has for the home — for the farm; things people want — and his trade is increas- ing because he has CREATED business. In other words, the progressive fellows in the hardware business have taken a broader view of their territory, have sized up the needs of the community along with the pos- sibilities, and have literally compelled peo- ple to buy because of the attractiveness of their stores, the variety of merchandise in stock, and the manner in which they have advertised. The extent to which this can be success- 39 fully carried is best illustrated by the ac- companying reproduction of a modern "hard- ware" advertisement. Type of Real Hardware Advertising Study the reproduction marked Figure 32. Note the illustrations — how uniform they are — and how they really illustrate the articles advertised. This proves that the advertisement was not hurriedly thrown to- gether — but that the cuts were provided for HARDWARE CO 13 SO 6^ ST ELECTRICAL SUPPLIES NATIONAL MUCA UMPS "But THEM BY THE BOX" COMB. S4U*REt Sl.U 1l.»1.33 SLOT LOCK WRENCH Oc MICROMETERS S8.7S S s CHENEY HAMMERS »c 9 8 TOOL GRINDERS ■■'■ "fwi IlctiiTtriT pH^ ■" Hp«lAI. ■Z.«S $3.33 Bl/Y WAR SAVINGS STAMPS WINCHESTER SHOT GUNS U- S. Clitnax of .26 $1.05 S6.00 Duxbak Huntl^ng CLOTHING T» pruwrl; «ijnf rpor bunllor or BDOrji lr1|> im a'lit t* (lilUDir virbrd ETh iM iBiri jB^ji Doilurt nt KiKp 11 dutm J« aar ipsrllDI Oi>od« Daptrlmaiil *« biT* moDT tljln of (ffnn»r», roilh bid, mci (Oil ' o(ti»r tfU''l« of truibii^k inil E*ia[> U •«/- lug •pcnari rpr uw •[locritDaD BUY WAR SAVINGS 'STAMPS WARNEB Hardware Co. o 13 So. 6th St. S in advance; and the same is true of the merchandise mentioned. Advertisements of this character build up a tremendous business, because they have a popular appeal, and they CREATE SALES. This advertisement was timely also — having appeared in October, just at the opening of the season for which the items were in- tended. Naturally, of course, this store also carried a general line of hardware of all Newspapers are used by this firm for items which appeal to ALL of the people. Here is a broad field for hardware men and advertisements of this class demon- strate how to take advantage of the oppor- tunity. No matter what the size of your advertise- ments Illustrations play a prominent part, and you should be plentifully supplied, other- wise much of the attractiveness of your ad- vertisements is lost. Compare this interesting advertisement with Figures 33 and 34. It is true that you can't say very much in a small ad, but in HtliiiiiiiMiiiiiiiiiiiiiiiiiiiiiiiiniiiinriiHiiiiniiiiMiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii I HARDWARE | I Builders, Hardware, Tools, .Slpves, Ranges i Heating o «> o o o ^ H o o o o o o o o i Hot Water Steam Hot Air I Plumbing Your old job repaired or new installed § Now's the time to have it done. = uiHujiiuiiiiiHiiiumtinHuiiiiiuRtniiHii ^7Tt/vAi>«*>\54 •\u*| Fig, ■iiiniuHiiiHiiBiiiiiiMiimiiuHiiHninnpiHninwnHin iuwiiiiiM WiiiiHiaiifm Fig. 33 this case 33 and 34 do not say anything that is interesting, informative or instructive. Such ads are meaningless generalities and create no desire for the goods. In other words they cannot produce direct results. Pi.gure 35 is an example of effective stove advertising. While it is not necessary for every dealer to be advertising "cut" prices — the general arrangement of this advertise- ment is the point sought to be emphasized. Note in Figure 35 that the cuts are of uni- form size, and this is a valuable point to remember. The descriptions are complete, and a prospective customer can form an opinion of each stove. When you can impress people with the merits of your goods through advertising, you may rest assured that they will come into your store the first time they are in town. If you do sell your merchandise through your advertising — there is a chance — a very grave chance — that these people will go to the other store FIRST. They may even go to some other town. Figure 35 has another important feature that many merchants should note in addi- tion to the uniformity of the illustrations. The general appearance of this particular advertisement is very similar to mail order catalog arrangement. This is not difficult to obtain, and is most effective where com- petition is very strong, and where the price appeal is an important element. Advertisements of this character must be carefully planned and laid out on "dummy sheets" in order to accommodate the type matter. You must utilize all the space. It is impossible to obtain any such results from hurriedly prepared reading matter, with cuts of any and all sizes, and expect your printer to set up a good advertisement. Any given amount of space must have a given amount of type matter or illustration to fill that space. The printer cannot fill the space of your advertisement by magic. In Figure 36 the dealer used an excellent illustration furnished by the manufacturer. The accompanying text is quite good, and had the merchant followed with copy of his own, half as good, he would have had a very attractive as well as an effective advertise- ment. But instead of this the merchant lapsed into the old-time generalities — without going into detail. Sad Irons are more than plain sad irons. The merchant could have played up their safety, convenience, the good work they do, economy, and many other GOOD points, and made the WOMEN WANT THEM. The same with ice cream freezers. Why couldn't the merchant have played up the deliciousness of home made ice cream, how much richer and palatable than factory made, and even gone farther and told how easy it is to make dainty ices, and numberless frozen sherbets that would add individuality to the luncheon, dinner, or sup- per when there are invited guests? Ice cream freezer manufacturers have at- tractively printed recipe books, and the mer- chant could have advertised these in connec- tion with the freezers. Where is there a woman who would not have been interested at once, especially in the average small town^ and that is where this advertisement appeared. Taken all in all it is simply a matter of making hardware advertising attractive. They are hundreds of items in the average hardware store that people need. It only re- mains for the dealer to mention them in a way that will attract, really CREATE desire. Take advantage of the opportunities of- fered in your respective communities. Be well informed on your entire line. Be a sportsman, know shot guns, fishing tackle, foot ball, in fact anything that will add to Hardware THE people of s<.u UKc and vicinity will find a reliable and complete stock of Hardware at this store,- Our prices are right and our goods are the best that can be bought. Your patronage respect- fullv solicited. Fig. 34 40 "V. Take Advantage of These Big Bargains Saturday*-Save Money At BBrtmu'i, tba BIf Stor*— Opy EvenliwEuleit Cndit T«nua In tkc (3(7 Lufitt LJM tf Fig. 35 your trade. Make the people WANT to come to your store for every possible item they can buy of you. Give real service. In addition to newspaper advertising there are thousands of attractive folders to be se- cured from the manufacturers and whole- salers. These, when printed in colors are es- pecially good business pullers and should go out regularly to a large mailing list. Have pie's needs. It's easy to be just a little in advance of the other fellow. And don't rest on the idea that a hard- ware store is for men only. FURNITURE COPY HOW TO MAKE IT PULL To be a successful furniture dealer and advertiser, the merchant must make a com- plete and exhaustive survey of his particular field. He must know exactly what his people need and will buy and then decide on the extent to which he is going to push certain lines. By "furniture" we mean the general class — including not only beds, chairs, tables, etc., but carpets, rugs, draperies, and the hun- dreds of other articles that come under the heading of home furnishings. First of all, the furniture dealer must plan his advertising campaign in accordance with the size of the community in which he does business. In the smaller communities where the trade is largely from the rural communities, the mailing list and the personal letter should play an important part. In the larger cities, where the newspapers have a wide circulation, the newspaper ad- vertising will keep business going. In all printed advertising, whether news- paper or by large circulars, there should al- ways be included quite a wide variety of merchandise, and the furniture items should be illustrated with well chosen cuts, of uni- form size. The reason that personal letters, and per- sonal solicitation are necessary, is because much business is to be had with individuals, when there is a marriage, a new home be- ing built, etc. FLORENCE\ OIL COOK STOVES BISCUITS, baked po.Mots. . »vorj iM.t. .OOP. and coffee-all at once. Suchi. hou.ekeepingwithaFlorenee. Untit Tou owD ih>i -r.ckle» o.\ (love. >oii ■e to k' (heo drudgerf. The n< The Fuel Adm >al. iicn Buthoii; ..e um of Oil Cook Slovei and Oil Heaters at ihia line s ver^ important help inihe nece*iary conserva- tion o( coal for war pUTpOM*. Come in and let ui thaw you how ■ioplj it woika, Gasolene Sad Irons Ice Cream Freezers All Sizes- Lhi :;iaTr- innKT'^-a-i.-.Tnr jti Fig-. 36 your mailing list "split up" so that washing machine folders will go to women who are prospective purchasers and your folders ad- vertising something for the farm to farmers. Watch the seasons, and anticipate the peo- When jou patronize this furniture store ?'' you can assure yourself that the merchandise ^■', is dependable and that you are getting a full \(.' dolUr's worth for your money. >: This is strictly a one-price stor..^ — no r>at- i?'; ter how much you purchase or how little, the ; . price is fixed by .-idding to the cost of merchan- ^; dise the overhead and a small margin of pro- ^ /^ The next limo you need some furniture % I cme here and save money .ind ppt hett^-r fur- AN 5o\^ WSBSSSSSSswwswunp Beds, Bedding, Wallpaper, I Baby Carriages, Portieres, i Suitcases, Trunks, Cup- boards and Cabinets. CASIvETS 7?? Furniture and Undertaking Carpets, Window Shades, Mouldings, Etc., Etc. ?? ^^■>c-»^»<->»x->.^»e»> n c ^ ^^ .>.x-x-:-K->**->*<->*««««««^ I Pig. 37 41 F^^ale Prices on furniture — tor the KnrirL- Home— arc but a few ( many exceptional values in furniture of the better grades. The Savings Should Appeal to Every Thrifty Person Security Stamps are an Addi- tional Saving to You Advertising through the newspaper, and by other means, must carry suggestions, and the details must be complete. Mere gener- alities, where only a tew things are men- tioned, and that in only a half hearted way — mean nothing to the reader, and cannot lead to sales except in rare instances. The kind of advertising to avoid is shown 'Lace and Novelty Curtains-- In the Clearance Sale at About One-Third to One-Half Under Real Value. Ml lijcliidine Clunyn, t>ble Nets, Marquisettes, Voill MbAtSs Weaves and NotUtigharai— abQut fifty diffJ kinds — from ordinary NottiDghams to fine haol e French Lace CurtainB — in the Oearancc Sale J Prices About Ont-lhird to Onehnlf lender Real Valu^ •23^ CurtamB, pr $1.3 $0,00 Curtains, pr $1.5 $1 50 Curtains, pair $1 40 Curtains, pair 68^ POc Curtains, pair Cl^^l 75c Cortains, pair 58« $20 Curtains, pr $10rOO $J5 Curtains, pair $7.50 ^.-^ Curtains, pair $4.00 $7 Curtains, pair $3.50 $6 CurlB.ns, pair $3.00 $5 Curlama. pair $2.50 $3 Cortoin<(, pair $1.08 ^ $1.25 to $1.75 Sash Curtain*, pair— Of Marnuis.'Hc and Voile — Ao assorted lot io Tom spnn« HouM tcrki and wtiile, the hottoms are hemmed, and Ectuniistucg Is not lo the lops art- headed. The material alone in many v«fy far od-wty not „f ,),ggp Curtains is worth i5c to $l-"3 — ^^^' ^f2;?.»°.°,' ,''£ •»" '"•''"' •" "•"" '° """ ^'" """ t«Io7 at pa; "69( Fig. 39 in Figure 37. These are reproductions of double column advertisements clipped from newspapers. It would seem that dealers would see the utter uselessness of running this kind of advertising copy. Surely it is evident that there is no "punch", no pulling power in such advertising. The style of newspaper and circular ad- vertising that will bring business is shown in Figure 38. There are plenty of pictures, descriptive matter and prices. Even though small, the illustrations are attractive. They show relative values. Had one cut in this section of the advertisement been out of proportion it would have ruined the effective- ness of the entire display. Figure 39 demonstrates the possibilities of describing a large amount of curtain and drapery material in small space. Furniture dealers pay entirely too little attention to these important lines and advertising along these lines should receive careful attention. It is not necessary at all times to make "cut" prices as shown in these examples; the feature to be Impressed upon the dealer is the typographical style — the general style of set-up, which can be followed out in al- most any printing office. Figure 40 shows one way of advertising rugs and other floor coverings. A cut adds much to the attractiveness of this class o£ home furnishings — in fact a rug advertise- ment appears very uninteresting unless an illustration of some sort is used. A rug shown on the floor, with some of the furni- ture in place is the most effective, and such cuts can be readily secured from the whole- Timely Values in g f r I c i 'ir i i« riK The seas-^n'^ phowinp constitutes an interesting .Trray cT rugs in all the newest colorings End designs from the most famous manufactur- ers. The values offered clearly emphasize to those who contem- plate buyinj: floor coverings the advisabilitv of m.-iking their selec- tions here Saturday. SEAMLESS VELVET RUGS Where moderftte priced nigs arc desired these fill every require- niertt. They are dependable in texture, effective in design and colorings at these low prices — Size Dxl2 feet $60.00 Size g'UlOii: feet $55.00 Size 6\5 feet $35.<>0 WOOL AND FIBER RUGS They meet a popular demand for every room in the home or apart- ment, especially where a decora- tive effect is desired at a nominal cost- Size 0S13 feet »30.00 Size S'.iJtlO', feet $19.00 .Size CO feel B12.O0 Size 4x7 feet $T.OO STAIR CARPETS In a iplendid variety of grades. patterns and colorincs no.v much used m apnrtmcnt halls. Price per yard 85<-. 91.75. $3.0O and $4.lt0. Floor Covering$ SEAMLESS TAPESTRY BRIS SELS RUGS In nent small designs and fe>rac- licfil coIoriiiKS for resisting wear, suitable fur any room at thesfl et- traciive prices. SiEc 9x12 feet $3T.60 Size 8'iTlOVi feet $35.00 Size 7',vk9 feet $2C.OO Size 6x9 feet .$20.0« NEW LINOLEUMS Inlaid Linoleumi where the pal- lern and colors go through to the back in neat tile effects, suitable for dining room, kitchen or bath- room. Price per square yard, S1.7&, 92-25 and $2.50. Printed Linoleums, price per ;quare yard. 65^. $1.35 anc >t A k Vy A :^ ^ A A^; A A A i< A k^ on each end. If the relics are small, they should be near the glass where people can readily see them, and if an explanation is deemed necessary — each article should be appropriately tagged. Another unique idea would be to build a flag staff in the center of the window. Have a flag flying from the top. kept fluttering by the breeze from a large electric fan, placed in the back corner of the window and partially hidden from the public by a mask- ing of foliage, etc. Flag Pole Base Tile foot of the flag staff could be sur- rounded with a round table, arranged in they harmonize nicely with the general di- mensions of the window or section of the window as the case may be. It is preferred that these panels be made of good material, and a good grade of white cloth might be used with red ribbon serving as the up and down stripes. However, cheap bunting or common flags can be used. In the latter case, the blue field with the stars should be folded out of sight. Where Wall Board is Used If wall board or other substantial ma- terial is handy, these ornamental panels should be tacked to this substantia! ma- terial, and around the outer edge of these 48 panels should be nailed a very neat gilded moulding, very much the same as a narrow gilt picture frame. If these panels are made in this manner they can be easily suspended from the back and sides of the window. The blue border with the white stars should be of a good grade of material to harmonize with the panels, but if common body be used for the panels the same ma- terial will do for the border. Silk Very Desirable If, however, you desire the best effect possible, silk material should be used for the panels, and a strip of blue silk should be used for the border, or perhaps a strip of plush; and the white stars could be made of white card board and fastened with ordinary pins. If the decorator finds it desirable to make up a border, the strip of cloth may be made of blue and the white stars painted thereon; or white cloth may be used for the border, and, by cutting out the star shapes from cheap card board boxes, these can be fas- tened in their proper places and the border stenciled with an air brush or common atomizer, dark blue show card colors being used for that work. If a plain border is desired, such as is shown in the drawing, this should also be fastened to some substantial material, and a wide border would do very nicely. The idea of tacking the panel to a board is that when the border is in place, it should be trimmed on the top and bottom with neat gilded moulding to match the panels. Different Effect If a straight line border is not desired, the effect can be changed by draping the ' blue field in very neat drapes, having the largest and deepest drape in the center. The shield can be easily made from any substantial material that is large enough, first painting the material a glossy white, then outlining the blue field with the stars in white. The edges of the shield should be beveled and touched up with a gold paint. Two ordinary flags may be used for the trim as indicated, or a large number of flags can be used as desired. Acsessoriss The arrangement of flre crackers behind the shield can be made by using light-weight card board bent in cylindrical form and painted dark red. If desired, however, some other decoration may be substituted for the fire crackers. In placing the footwear in the window, it would add to the general color scheme to use fixture of a light shade of blue if pos- sible especially tor the display of white footwear. Draped Display Devices If this is impossible, the stands and deco- rative pedestals should be draped with blue plush or blue silk in several places through- out the display to keep up the color scheme. The blue draping should particularly be interwoven with the display of white shoes, etc. War Relics, Etc. If it is desired to use some war relics and souvenirs, these could be grouped on small stands or placed on the floor close to the front of the window, depending on the num- ber and size of the articles used. If the relics are of such size and shape that you desire to make them a feature of the window, the center could be used for this purpose, taking as much room as neces- sary, and the footwear could then be ar- ranged in two groups on either side — somewhat in the shape of a semicircle. The background design has been drawn with the idea in mind that the center of the display should be quite high. Economy or Opposite This is a window that can be made up very elaborately, depending on the expense and material available. The more expensive the material used, the neater will be the display, although ordinary bunting and cheap material may be used with a very good effect where economy is desired. It is suggested that the panels and shield should be made quite permanent, so that they may be used again. GENERAL TRIMS B.ickground Suggestions for Seasonable Trirrs That May Be Used Any Time. The illustration here reproduced, is a very attractive window background tor shoes, general merchandise, or even clothing. The trim can be made up at very little expense, or it may be elaborated upon — depending on the foliage or flowers, and other additional trimmings the display man or merchant has on hand or desires to use. For Spring the draped background may be made in the work room, and taken into the window afterward. If all the work must be done inside the window, and you do not care to drive tacks or pins into the woodwork, proceed as fol- lows: Sew a wide seam across the top of the cloth, the long way, then insert a wire or stout cord, or even an iron rod, and suspend this across the window at the height you want the drape. Then this drape can be tacked to a 2-inch strip at the bottom. Another quick way of draping is to use a stout "drawstring" at the top and bottom of the drape. If the window is rather small, and you are careful, you can even drape crepe paper by using a draw string at the top and bottom and then fasten to a frame to fit the window. If the right shade of green or dark red is unobtainable, a very pale blue or tan may be used — in fact for clothing and men's furnishings — the latter is preferred. After the background drape is in place, the ornamental figures may be brought in. These panels may be made of wall board and painted a rich, bright purple, or you can procure mat board, or card board of the right shade of purple. The window effect, or lattice work across the face of the panels is made by using nar- row pine strips, enameled with white paint, or you can cut strips of heavy white card board the proper width. In the drawing, reproduced herewith, it is impossible to show the beauty of this window, but such an arrangement is really very attractive. Of course, this idea is only basic and may be elaborated upon considerably, depending be any material of a bright green color that will cover the space. For Fall this background drape should be a deep golden red. Crepe paper will do, or cloth may be used. The closer the pleats, or folds, the more attractive the drape, hence cloth is preferred. If there is an opening to your show win- dow through which a large frame can be taken into the window, this back drape can upon the time, and amount of material you have to work with. There should be flower pots, vases, and fancy stands distributed throughout the dis- play of merchandise, and at least three large vases should be procured for the holding of real or artificial Easter lilies, these to sit in front of the panels. If your window is of such size that only the center panel can be used — then make 49 this large enough to balance your display, and use only the one large vase, or you could place a vase on either side of the panel. Bear in mind that the flowers should be set high enough to show through and above the merchandise display. The arrangement of the flowers and fo- liage adds much to the richness of the color scheme — and the more color, the better. The merchandise trim, or arrangement, should be so placed that the top outline comes well up beyond the center of the middle panel. It's a very easy trim — but if put in right, will prove decidedly effective. SPORTS GOODS TRIMS Hardware Dealers Must Not Neglect Their Windows — Many Items People Buy Are Through Suggestion. Hardware dealers as a rule are very care- less in the general arrangement of their windows. This is the wrong attitude for the reason that many dollars' worth of extra business can be brought into any store through the proper display of seasonable merchandise in the show windows. Perhaps the reason so many hard- ware men are careless and indifferent con- cerning their show windows is that very few ideas are given them which are simple enough for general use. Here is One Way If such is the case, here is an idea for a window bacliground that requires very lit- tle material, and very little time. The general dimensions of the background may be changed, from the proportions shown in the drawing, to fit any size win- dow. Wall board is most suitable and prac- tical for the panels, but cardboard may be used, or board panels may be made, and then covered with wall paper of a suitable design. Ordinary pine boards will do for the gen- eral frame work, but these should be of a uniform thickness and smoothly planed on one side. Fasten this frame work securely together by using lag screws, or by fasten- ing the reinforcing blocks with screws onto the back of the framework. When this is done paint the frame work a suitable color, and you are ready for the rest of the trim. Bear in mind, however, that the frame work should be of a color that is in strong con- trast to the color of the panels. If the pan- els are green, have the frame work painted a cream color, or other contrasting light color, or stained a natural oak. To Make the Big Baseball You can make a very good imitation of the big "baseball" design by borrowing a large wooden "butter bowl" from some dealer, if you do not have them in your own store. Paint the outside of this bowl with a white water color, and stripe with black where the "seams" of the cover would come. Then make little red dashes with a small brush to imitate the stitches. Cut a hole in the panel that will admit the butter bowl, but be sure that the cut-out is not too large. There must be a snug fit. many dealers will decide to place many varying lines in this space. For those who handle bicycles, coaster wagons, etc., these articles should be grouped in the center. If there is plenty of room the bicycles might be placed upon a platform, thus giving more room in front for the display of other merchandise. Display Seasonable Goods If you do not handle bicycles, or do not care to display them in this window, use the center space for any other merchandise that is seasonable. You can display lawn mowers, hose, seeds, etc., it matters not, so long as you place something seasonable in the window, and have it neatly arranged. Do not crowd the window, but place therein and then a board may be mailed across the back of the panel to hold the bowl in place. The steps in front may be made of boxes of various sizes, and these should be cov- ered with some green material. Upon these "steps" display your baseball and tennis goods, bats, rackets, balls, mits and gloves, shoes, hosiery, etc. Trim for Rest of Window The opposite side of the window is easily arranged. Simply group a few fishing rods, tackle boxes, minnow pails, and various sets of bait, etc. Also have a large show card naming the various opening dates, or any other information you care to use. The center of the window has been left blank in the drawing for the reason that as many articles as you can that will call people's attention to the things they should be buying, and that you want them to buy. This is a very simple window, and yet will prove decidedly attractive, especially in the smaller towns. It may be elaborated upon, and perhaps many an ingenious window trimmer will think up some scheme for making a number of large "baseballs" to add to the attractiveness and attention pull- ing power of the display. Our suggestion to all hardware dealers is — do not permit this season to go by with- out decorating your windows. Get out of the old rut, and push your store to the front. 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