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LIBRARY
A TEXTBOOK
ON
SHOW-CARD WRITING
INTERNATIONAL CORRESPONDENCE SCHOOLS
SCRANTON, PA.
SHOW-CARD WRITING
SHOW-CARD DESIGN AND ORNAMENT
LETTER FORMATION
SCRANTON
INTERNATIONAL TEXTBOOK COMPANY
A-3
Copyright, 1, b, where it
is completed. The tendency of the average letterer is to
give too much thickness where shade begins or finishes.
All letters must be shaded on the same angle at every point,
and, after practice, this angle becomes as well established
with the letterer as the horizontal or vertical lines. Every
characteristic point of the letter must be shown in the
FIG. 16
FIG. 17
shade, as at a, Fig. 16, and all must be of equal width in
all letters except the round characters, whereon the shade
reaches this width only at the maximum point of thick-
ness in the letter.
42. Block Shade. There are many methods of obtain-
ing beautiful effects in shading, which will be considered
separately. The block shade, as its name indicates, consists
of the effect of making the letter appear to have thickness.
This is done by the use of two shades, the dark, or stronger
one, being used underneath all horizontal strokes, and the
lighter tint on the side of all vertical strokes. The block
shade can also be placed on the top or right side of the
letter, in which case the block, as well as the letter itself, is
shaded the same as that shown in Fig. 17. Here the shade
has below and to the left of the letter the appearance of a
cast shadow.
SHOW-CARD WRITING
25
43. Cast Shadow. The cast shadow is also used in
connection with heavy-stroke letters, block shading, etc.,
giving the letter the appearance of standing upright, either
on a level or on a slanting surface. The top of the shade is
on a line about one-fifth of the height of the letter below the
top. The shade is made on an angle of 30 to the left, the
FIG. 18
point resting on the lower left corner of the letter, as in
Fig. 18, where (a) shows the letter with a block shade and
cast shadow, and (b) shows the simple outlined letter and cast
shadow. The shade is sometimes used by duplicating the
letter in the form of a shadow cast on the background, one-
fifth of the height of the letter below the top, and on the
same angle (45) as the regular shade, as shown in Fig. 19.
FIG. 20
44. Relief Shade. Relief shade is obtained by leaving
a space between the letter and the shade on the same angle
as the shade, as shown in Fig. 20, making the space and
shade of uniform width. When used in connection with
block shade, it is often of the nature of the natural shade,
and is added to the block shading without any line or space
26
SHOW-CARD WRITING
between. The relief shade when used as a natural shade on
a white or tinted ground is made to represent the strength
of the shadow cast from an object on the ground on which the
letters are placed. This shade is produced with the pen by
means of lines, but more effectively by the brush and trans-
parent color.
LETTER-FACE LIGHTING AND SHADING
45. Importance of Subject. The treatment of the
face of the letter is a very important consideration. The
letterer often finds himself confronted with a line of
extremely plain lettering that, even after it is shaded,
remains flat and unsatisfactory. This effect can sometimes
be overcome by the addition of lights and shades placed
directly on the letter face itself. The face of the letter may
be variegated or blended from a light to a dark shade, in
which case a sharp outline must surround the entire letter,
as shown in Fig. 21. Lighting and shading are used with
FIG. 21
FIG. 22
FIG. 23
best results on heavy-faced letters, as all treatment of the
face of a letter by shading has the tendency to considerably
reduce the apparent width of the stroke.
46. Effects Produced. Another effect is produced by
running bars of color across the center of the letter, and
diminishing these bars in width to a point midway from
center to top and bottom, as in Fig. 22. Diminishing circles
are also used on letters of lighter face, such as the Roman,
and can be made to occupy the entire face, or, as is shown
in Fig. 23, terminating at a given point, which must be
regularly observed throughout the line of letters.
1
SHOW-CARD WRITING
27
47. Heavy Highlight. The heavy highlight is used
in the treatment of the face of the letter by making the
upper half of the letter a uniform tint, either by lining, as
shown in Fig. 24, or with colors. The darker shade b is
placed on the lower half of the letter, allowing a highlight
on this equal in strength to a, or the upper half. The high-
light c on the upper half of the letter is left white. By a
combination of the shades of colors many beautiful effects
can be produced by this means, using blue, green, gray, or
gold color, the last of which combines with sienna for the
lower portion, and with cream color for the upper highlight.
Blue or green when used should have tint and shade of the
same color.
48. Beveled Shading. Shading on the face of a letter
to represent a beveled appearance is another treatment that
gives a line of lettering a finished and pleasing effect. In
FIG. 24
FIG. 25
this process it is necessary only to observe the rules of light
and shadow, as shown in Fig. 25, by shading the letter on
the left and bottom sides from a line drawn through the
center of the face of the letter. This form of shading is
often used on a gold or silver letter by the use of trans-
parent colors such as varnish stained with asphaltum, which
is used on gold, and varnish darkened with lampblack is used
on silver letters. There are many other methods of treating
the face of letters by the use of ornament, whereby it loses
its identity as a plain and becomes an ornamental letter.
28
SHOW-CARD WRITING
THE HIGHLIGHT
49. As its name indicates, the highlight is used to
illuminate or light up a letter, which it does with wonder-
ful effect. The highlight is placed on the edge of the
letter, opposite the shade, or on the right and top of
the strokes. It is always a fine line of either gold, silver,
white, or cream, according to the color of the letter on
which it is to be placed. If the letter is a colored one,
gold or silver can be used. If the letter is gold, nothing
will serve the purpose of a highlight so well as cream or
white. On silver or aluminum, white only can be used.
To be most effectual this highlight must be a fine, even
line. The heavy highlight is used in letter-face lighting
and shading, and is explained under that head.
CUTTING IN LETTERS
50. Uses of Cut-in Letters. This term is applied to
that style of treatment wherein the letters are drawn in out-
line, and the background is filled in around them. In
inscription designing this method is resorted to frequently,
m _
BR
FIG. 26
in order to break the monotony of several lines of plain
lettering. The insertion of a panel or ribbon, on which the
letters are cut in, provides a colored background, against
which the letters are outlined, allowing the same color for
the letters as the main ground of the inscription design, as
shown in Fig. 26. The color of the panel and background
will govern very largely the character of letter to be cut in.
If the general ground is white or any light color, and the
SHOW-CARD WRITING
29
cutting-in or outline color is very dark, a heavy-faced letter
may be used without causing any appearance of clumsiness
or ill proportion. A white letter on a dark-blue ground
can be read at a greater distance than any other combina-
tion of colors.
CLASSIFICATION OF LETTERS
ORNAMENTAL, LETTERS
51. Scope of the Subject.
all alphabets in which no line or
curve enters that is not absolutely
necessary to show their form or
outline; a line thus added may
place them among the ornamental
letters. Although it will be impos-
sible to go over the entire ground
covered by this subject, as there
are endless varieties of orna-
mental letters, the styles found to
be most essential will be con-
sidered. There are many letters
into which ornamental construction
The plain letters include
FIG. 28
FIG. 27
enters but slightly, while
others are composed en-
tirely of ornamental
forms. The ornamental
letters of most value to
the student are those on
the face of which the or-
nament appears, either in
the form of relief scrolls,
geometrical figures, or
designs in arabesque;
although this latter treat-
ment is not used exten-
sively in modern practice.
30
SHOW-CARD WRITING
1
52. Ornamental Forms. Letters classified as orna-
mental are of so great a variety that such as are used in
connection with the shade
to produce a bent or
rounded effect, as shown
in Figs. 27 and 28, might be
classed with this style.
Fig. 27 shows the ground
to be a plane surface and
the letter bent or warped,
while Fig. 28 shows the
FIG. 29 letter to be perfectly
straight, and fastened with
screws, while the ground has the effect of being bent or
warped.
FIG. 30
53. A letter that in itself is perfectly plain but sur-
rounded by ornamentation, as shown in Fig. 29, is called an
ornamental letter also, though
as a matter of fact the letter
itself may be perfectly plain.
54. Other Forms. Other
ornamental forms are as fol-
lows: The relief-ornament
letters shown in Fig. 30 can be
made in various ways. The
whole form of the letter may be treated in this manner, as
at (a), or by simply suggesting it in the middle or edge of
the letter, as in (b), (c), and (d). A letter may be plain, so
FIG. 31
1
SHOW-CARD WRITING
31
far as its face is concerned, but on account of its form and
construction it may be classified as ornamental, as shown
in Fig. 31.
There are many forms of designs used in letter-face orna-
mentation, either filigree work, geometrical designs, or a com-
bination of both. In Fig. 32 are shown three letters of the
(a)
face-ornament class, the one at (a) being decorated with
filigree work, while (b] shows a geometrical design, and
(c ) simply the cross-line shading.
GROTESQUE LETTERS
55. Rustic Letters. All letters are either plain, orna-
mental, or grotesque. The first two classes follow in their
outline construction the forms of the fundamental styles and
their many variations, but this third class is entirely different.
The grotesque letters have no recognized
or classical form, such as would place
them among the styles of the alphabet,
but are made by using natural objects,
which are arranged so as to conform to
any regular or irregular shape that w r ill
cause them to represent a letter, and any
form, therefore, is allowable so long as
the letter may be recognized. To accom-
plish this, objects such as a human figure, a piece of rope
or ribbon, broken boards, leaves, vines, and trunk of a tree
are used. Of the three latter forms, the rustic letters are
made. The leaves, tendrils, stump, and trunk of a tree
FIG. 33
32
SHOW-CARD WRITING
form the material used for an entire alphabet, one letter of
which is shown in Fig. 33. These letters can be made very
artistic, and show great skill in their arrangement. And,
while they may be pleasing to the eye, they are of no
practical importance to the student in the study of show-card
writing, as their proportions are purely arbitrary. Examples
of these letters are given in order that the student may
be able to form any style of letter were he called on to
do so. Fig. 34 shows the forms of some of the grotesque
FIG. 34
letters, in which (a) is formed by a human figure, (b) by
broken boards, and (c) with a piece of rope. Any alphabet
may be constructed of these forms as the fancy of the artist
may dictate, even though he may be ignorant of the true
form or proportion of the simplest style of the alphabet.
ILLUMINATED CAPITALS
56. History and General Use. The monks of the
Middle Ages were the first to make use of this art, many
specimens of which would indicate that they must have
spent days in designing and executing a single letter. In
treating this subject here, our purpose is simply to call
attention to the most simplified forms of illuminating,
especially those forms designed for the use of the average
card writer. The practical use of this art is now confined to
lithographing, engrossing, card work, and ecclesiastical
decorations. The printing and lithographing artists have
displayed wonderful skill in recent years in illuminated
work, especially on show-bill designs. The use of colors to
1
SHOW-CARD WRITING
33
light up the capital letter gives a surprising effect to a com-
plete line of lettering, and is done by a simple combination
\
FIG. :r>
of designs of most harmonious colors with the letter exe-
cuted, and by using colors of striking contrast to the tints
used to form the background.
Such colors as can be combined
to give a brilliant effect are used
in the form of a plaque, part panel,
or both, on which the letter is
brought out most conspicuously,
as shown in Fig. 35. The illumina-
tion practiced by engrossers is
usually of such a nature as to pro-
duce a finished and pleasing effect
without resorting to colors. There
are many ways by which this can be accomplished. One
method is simply by the use of a pen and black ink, as
shown in Fig. 36, outlining the letter first, then making the
FIG. 36
34
SHOW-CARD WRITING
ornamentation surrounding it conform to any desired design,
thereby giving the letter prominence. Great care should be
taken that the ornamentation is not made more pronounced
than the letter, but rather that the former is used as a means
to bring out or illuminate the letter.
57. Card Work. For card work, the illuminating of
capitals gives tone and finish, and relieves a show-card
FIG. 37
of extreme plainness. For practical purposes, such as
attractive advertising cards, banners, etc., the illuminating
of capitals will be found to hold an important place, and is
coming into favor and more general
use. There are also many forms
and designs employed as a panel, on
which illuminated capitals are placed,
in a solid or outlined letter; the out-
line letter, however, being the most
convenient, is most frequently used,
especiallv when either the panel or
FIG. 38
the letter, or both, are to be treated
in water colors. The letter outlined is sometimes filled in
with carmine or other bright color, while the panel surrounds
it with a tint of cream white, yellow, or green. Two or
SHOW-CARD WRITING
35
three shades of color are sometimes used, either variegated
or in the form of line work on top of tint, as in Fig. 37.
58. Index Capitals. Fig. 38 shows the index capital
that may be used both as an illuminated capital, or to draw
FIG. 39
attention to the inscription following. If the hand be colored
in natural colors, and the letter brought out conspicuously,
this will produce a most
attractive form of a capital
letter.
59. Paneled Capitals.
Illuminated capitals are
used in show-card writing
on a panel or design made
to conform in a general way
to the letter used. By the
use of water colors these
capitals may be made most attractive and very little time
will be consumed in designing them. Several examples
of these capitals are given in Fig. 39.
FIG. 40
36 SHOW-CARD WRITING 1
60. Heraldic Shield. A heraldic shield is often brought
into use, on which the illuminated capital is placed. There
are many designs or forms of this shield, which can be changed
to suit any form of a letter, as shown in Fig. 40.
TREATMENT OF LETTERS
CONDENSING, ELONGATING, TELESCOPING, AND
INTERLACING
61. Condensing Letters. In conforming letters to
fill a required space, we are often compelled to resort to
various means of accomplishing our purpose, without making
the inscription appear distorted or out of proportion. When
the panel or space to be lettered is much shorter than would
admit of a regularly proportioned letter, we are compelled
COMPANY
FIG. 41
to resort to the condensing of the letters, observing
generally the rules of their proportionate width. To illus-
trate more fully, the word company is used to show the two
forms of condensing, as well as the two forms of elongating.
62. Example of Condensed Letter. In Fig. 41 is
shown the condensed form, as may be seen by comparing
the proportions of the letters with those of the Egyptian
Plate. The letterer may condense his letters to the width
of those of Fig. 41, and find they are still too large for the
required space; the vertical strokes can then be reduced to
one-half the regular width, and the horizontal strokes main-
tained at the regular, or even greater, width, and less space
1 SHOW-CARD WRITING 37
allowed between letters, as in Fig. 42. This reduces the
word to almost one-half that of Fig. 41.
63. Elongating Letters. To elongate the same word
in the same style of letter, make the height, for convenience,
one-half that of Fig. 41; thus, it
will be observed that if this elon-
gated letter were twice the height
it is in Fig. 43, it would occupy a
space almost four times that of
Fig. 41. To further elongate this
word, reverse the rules of Fig. 42,
by reducing the horizontal strokes
one-half the regular width, keeping the vertical strokes regu-
lar width; or these may be increased to twice their regular
width if desired, also giving more space between the letters,
FIG. 43
as shown in Fig. 44. By this means a word can be made to
fill a space much too long for the regular proportion given
this style of letter.
64. Exaggerated Example. To show condensing
and elongating in its maximum form, the example in Fig. 45
is given. This, however, is a form of lettering that is not
IV!
FIG. 44
practical for card writing except it be used merely as a
novelty. In reading this style of letter it is necessary to
incline the surface in order to produce a foreshortened view
of the letter, and to close one eye to avoid a confusion of
the vertical lines.
38
SHOW-CARD WRITING
FIG. 45
SHOW-CARD WRITING
39
65. Telescoping. Telescoping is not of so much prac-
tical advantage as condensing or elongating, and is used
O
FIG. 47
mostly to produce a relief effect. This is
done by giving the letters the appearance
of overlapping one another, as shown in
Fig. 47. Every alternate letter is dropped
enough below the line to prevent con-
fusion of horizontal lines and to preserve
the complete identity of each. These
letters can be shaded on the background
but not on the face, as this would tend to
destroy their legibility.
66. Interlacing. Interlacing to its
fullest extent enters into the construction
of a monogram; but the form of inter-
lacing at present under consideration is
somewhat different, and includes the inter-
lacing of an entire word. This is very
often resorted to by the designer, espe-
cially in the use of eccentric letters, which
are made to extend far beyond the limits
of the fundamental styles from which they
are derived, as shown in Fig. 46. There
are examples of interlacing and tele-
scoping combined, one of which is given
in Fig. 48. This is also a practical treat-
ment in designing, but a letterer who
understands the principles of the fore-
going subjects may easily apply them FlG - 48
whenever the inscription requires to be thus treated.
40 SHOW-CARD WRITING
BRUSH WORK
METHODS OF HANDLING THE BRUSH
67. Treatise and Practice. In the foregoing pages
we have endeavored to give the student all the information
necessary to enable him to intelligently undertake the prac-
tical study of brush work in all its forms. Having acquired a
knowledge of the various colors, tools, appliances, materials,
etc., which have been given him thus far simply in the form
of a treatise on these subjects, we now require him to take
up the study of the following subjects by putting into practice
every detail of instruction given, subject by subject. Before
beginning on any portion of the practice work, on which we
are about to enter, we again urge upon the student the
necessity for constant practice. If you do not make a credit-
able attempt, even after many trials, do not be discouraged;
keep on trying until you are successful.
EXERCISE I
STRIPING
68. Position of Hands. For practice use white card-
board. After charging the brush with show-card black, the
hairs of the brush should be drawn to a point on a paper
palette before attempting to apply the brush to the show-card.
Use a No. 5 red-sable rigger. Study carefully the position
of the hand shown in Fig. 49. The brush is held firmly
between the thumb and forefinger, allowing the handle to
rest against the fleshy part of the thumb. The three fingers
remaining free are used to guide the hand.
The beginner should at first run a stripe quite near the
1
SHOW-CARD WRITING
41
edge of the card, about i inch from it. We would advise
that he first mark the line lightly with a lead pencil, using a
straightedge. Draw an even straight line. To avoid the
possibility of making what is known among stripers as a fat
line, that is, wider in some parts than others, the hand
should be maintained at
a uniform distance from
the surface of the card.
This feature of striping
requires much practice.
The first attempts
will show irregular and
wavy lines of various
widths; it is possible, in
a short time, however,
to make a hair line by
this method at any re- ,
quired distance from the .
edge of the card. Many
expert card writers ex-
perience no difficulty in
running a stripe 2 inches
from the edge, which is
the maximum distance generally required. After striping
the card i inch from the edge, the student should run
another stripe parallel with this and about i inch inside of it.
Repeat this operation until the striping is 1 inch from the
edge; then use a fresh piece of cardboard.
FIG. 49
EXERCISE II
69. Striping With the T Square. There are two
methods of accomplishing the same results in hair-line
striping. The card-writer's design may be composed of
several fine lines that run at various angles with the edge
of the card. He is compelled, therefore, to seek some other
method for striping than that given in Exercise I. The
position of the hand shown in Fig. 50, aided by the use
42
SHOW-CARD WRITING
of the T square or other straightedge, will best serve all
requirements.
For practice, take a piece of cardboard or stiff flat paper,
charge the brush as previously instructed, take the brush
between the thumb and forefinger, rest the fingers remaining
free against the edge of the T-square blade, and proceed to
draw lines as described in Exercise I. The brush must be
FIG. 50
held in a vertical position. Hold the brush in the fingers
as closely to the hair as possible. By observing these
few directions the student should soon be able to draw
a hair line with comparative ease.
EXERCISE III
70. Broad Striping. In Fig. 51 is seen another process
by which the card writer is enabled to execute a broad stripe.
It is by this means also that large letters are outlined with
accuracy and rapidity. When practicing the method of
striping the student will first notice that the position of the
1 SHOW-CARD WRITING 43
hand is similar to that used in Exercise I. In this case,
however, the hand is inclined to the right in order that the
brush maj 7 be carried beyond the blade of the T square.
The brush should be held as nearly parallel with the surface
of the card or paper as possible.
The brush is drawn over the surface, spreading its hairs
somewhat, and touching with almost the entire length of the
brush. Be careful to keep the width of the stripe uniform;
this can be accomplished only after much practice.
The width of the broad stripe must be governed entirely
by the width and style of brush used. The brushes recom-
mended for practice in this style of striping are the Nos.
o and 9 red-sable rigger. After practicing, using this
position, the student may make the broad stripe with the
hand in the position shown in Fig. 49, Exercise I. He will
find the latter as convenient and useful in show-card writing
as the former. When striping with the T square, do not
hold the square at the head as when working with the
drafting pen, but it should be held firmly in the center in
order to resist the pressure necessary in guiding the hand.
EXERCISE IV
LETTERING
71. Position of Hands. The show-card writer has
need for but two positions in placing his hands on the
surface of the card. The mahl stick, a round stick with a
padded end, formerly used for a hand rest by letterers, has
long since been laid aside, and the arm rest, a narrow strip
of wood with cleats fastened underneath either end, is now
seldom seen in a modern show-card establishment. The
show-card writer must possess the same freedom in the use
of his hands as is necessary in penmanship. To accomplish
this, he must place his hands on the surface of the card.
Fig. 52 shows the position used in writing. When making
letters 1 inch high or under, this position will be found most
44
SHOW-CARD WRITING
1
SHOW-CARD WRITING
45
practicable, and the card writer may attain great speed in
executing some styles of letters by this means. Practice
holding the brush in this position, making vertical lines
1 inch long. When letters of a larger size are required,
it is necessary that the right hand should be given some
rest, or support, in order that the hand may be raised a
sufficient distance above the surface to enable the letterer
to make a longer stroke with
the brush. The position
shown in Fig. 53 has been
found, by card writers gener-
ally, to be the only position
that will serve the required
purpose. The former posi-
tion being the one used in
ordinary writing, is familiar
to the student. We there-
fore require him to practice
especially the position
shown in Fig. 53. Allow
the left hand to rest in any
easy position, projecting the
little finger somewhat in
order to steady it. The right
hand should rest comfortably on the left, and be arranged in
such manner as to allow the wrist of the right hand to rest
on the thumb of the left; the brush, being held between
the thumb and forefinger, is also supported by the second
finger.
Although this may seem to be somewhat awkw r ard at first,
it will be found, with a little practice, to be the most natural
and comfortable position, as well as the one by which the
best work can be accomplished. It gives a greater scope to
the hand in making a stroke than any other position or
method; it also forms a rest, giving the letterer entire
control over his brush. After some practice, a perfectly
straight line may be drawn with the brush, either vertically
or horizontally.
FIG. 52
46
SHOW-CARD WRITING
1
PLATE, TITLE: ELEMENTARY LINES
72. Elementary Lines. It is important that the stu-
dent should become accustomed to the use of the brush in
the several positions in which he has been instructed, and be
able to draw all elementary lines and curves before begin-
ning the work of executing the alphabets. It is for this
reason that we require him to give a large amount of time
to the practice work given in the preliminary plates. As.
FIG. 53
previously instructed, use Manila pattern paper for practice
work; make each line and curve many times, and when you
are satisfied that you possess the ability to construct these
in a creditable manner, prepare them as shown on the copy,
using the drawing paper furnished in your outfit, and send
the work to the Schools for correction. Draw the plate as
follows: On the drawing paper, 2i inches from the edge on
either side, draw a light lead-pencil line; 3 inches from the
bottom edge draw another line, and 9 inches above this draw
the top line, which encloses a rectangle 9 in. X 15 in. Within
1 SHOW-CARD WRITING 47
this space arrange the figures, beginning with the vertical
lines. Use the No. 5 red-sable rigger. Make an even
symmetrical line the width best adapted to the brush.
Show-card black or India ink may be used by the student
in the preparation of the work to be sent in for correction,
although we prefer that ink be used for this purpose.
The figures on this plate consist of vertical lines, horizon-
tal lines, ogee lines (vertical and horizontal), left and right
arcs, radiating lines, right oblique lines, diagonal lines, left
oblique lines, parallel ogee lines, and double ogee lines.
After completing the figures, place title where it properly
belongs. Print your name, class letter and number in the
right-hand corner of the drawing, the date on which you
completed it in the left-hand corner. An ordinary writing
pen may be used for this purpose. Make the letters of the
size and style shown in the copy.
PLATE, TITLE: ELEMENTARY CURVES
73. Elementary Curves. In the construction of let-
ters generally, there are several principal curves or features
that predominate throughout the alphabet. In ornament
this is called the motive; in the alphabet, it is known as the
stroke. To execute a series of these curves and become per-
fectly familiar with all curves employed in letter formation
will better fit the student for the more difficult task of join-
ing these together to form a symmetrical and well-propor-
tioned letter. Give much time, therefore, to the study and
practice of these elementary curves. After you have prac-
ticed making them, and are able to execute them with accu-
racy, draw a rectangle 9 in. X 15 in. on the drawing paper
as described in Art. 72, and arrange them in their proper
order, as shown in the copy. Letter the title and print
in your name, class letter and number, and date where
these properly belong, and send the work to the Schools
for correction.
48 SHOW-CARD WRITING
IMPORTANT TO THE STUDENT
74. The subjects that follow cannot be put to a practical use
until the student has had considerable practice in letter forma-
tion. We therefore recommend that he defer a practical study of
the following subjects until he has completed the plate entitled
Condensed Egyptian. However, read than over carefully noiv
before proceeding with plate entitled Brush Stroke Letter.
When a study of these subjects is resumed, take up each separate
subject in the same manner as you would an exercise in brush
work, and put into practice every detail of the instructions
given, whether this be in the form of a process or a practical
suggestion.
SPEED IN LETTERING
75. A Common Error. Too much cannot be said to
warn the student against making the mistake that the begin-
ner is very liable to make, namely, that of at once aiming for
speed in lettering. Speed in the work is essential for the
show-card writer in our day of activity, as well as for any
other tradesman; but it has been observed that our most
expert and speedy card writers are those whose early career
was built on foundations of accuracy, study, and painstaking.
As a result of these qualities they have acquired the greatest
speed, and while they may execute a piece of work in the
shortest possible time, it does not fail to bear the distinguish-
ing evidence of a master hand. The beginner that would
make speed his first requirement unfits himself at once
for the highest attainment, and is soon found in the class
whose worthiest ambition is expressed in their creed,
"Anything is good enough that will pass." We would say,
therefore, do not at first consider the amount of time that
you spend in executing a piece of work. Let the student
ask himself these questions: Have I done the work to the
best of my ability? Could I improve on it were I to
execute it again?
Again, the question of salary enters into the argument in
favor of the careful card writer. The card writer of greatest
1 SHOW-CARD WRITING 49
versatility, whose brain sparkles with original ideas in design-
ing and whose work is faultless in its execution, can readily
command a salary equal to four times that of the workman
whose position is assured him only because of his ability to
turn out a large number of cards each day. We would say,
therefore, put a high premium on your ability, and do not
allow your work to fall so low in the estimation of your
employer that, were your hand work not a matter of economy
in his printing bill, your services could be easily dispensed
with. Make the artistic and attractive feature of your show-
card writing paramount, and you will find laurels laid at your
feet in the number of positions offered you and in your
opportunity for advancement. In conclusion, we would
again urge upon our students the need for hard and con-
tinuous study combined with untiring practice. We give
complete instruction by mail, but education does not come
to the student straightway on opening the envelope; it is
acquired only by hard work.
METHODS AXD APPLICATION
DRY COLORS
76. Use of Dry Colors. In show-card writing many
beautiful effects are produced on white show-cards by blend-
ing several colors together, thus giving the appearance of
much labor, while in reality little time is required to accom-
plish the work. Primarily, dry colors are intended for use in
combination with some slow- or quick-drying vehicle, when
they are converted into the form of ready-mixed paints. The
dry colors used for blending must not be mixed, but applied
only in their dry state. The student's outfit consists of five
small packages, labeled: dry blue, dry green, dry orange, dry
lemon, dry red.
77. Blending. Let the student now study the subject
of blending with these colors by first taking a sheet of white
cardboard 14 in. X 22 in. Hereafter we will refer to' this
50
SHOW-CARD WRITING
1
as a half card. Lay out a diamond from points, 1 inch
from center of top and bottom edge, and i inch from center
of either side; 2 inches from the edge of the card draw a line
entirely surrounding the card, but omitting this where the
points of the diamond cross it. We then have the design as
shown in Fig. 54. Cut out a triangular opening in a piece of
Manila paper that will correspond in size and form with one
of the triangular corner pieces of the background left uncov-
ered by the diamond. Allow a margin around this triangular
opening of 4 or 5 inches. Begin by rubbing an even tint on
the four triangles. To insure an even tint take a small
r m :>'
^f^^^fn^
BUTTER
amount of the green and place it on a piece of paper. Use
a chamois skin or a wad of cotton batting for rubbing on
the color. In order to avoid the use of too much color, the
pad should be dipped into the color and rubbed out well on
the paper until entirely free from loose color, and it should
then be applied to the card, using the triangle in the form
of a stencil. Rub the space until evenly covered with the
tint. Do not make these colors too strong; their purpose
is to take a secondary place to the inscription of the card.
Repeat the operation, by cutting out a diamond the size
required; blend this by occupying one-third of the center
horizontally with yellow. Into this blend red in the top
1
SHOW-CARD WRITING
51
and blue in the bottom part. Outline the entire design with
a fine line of black or red. The inscription may then be
placed on the diamond in black, as shown in the figure.
Many beautiful designs, such as illuminated capitals, ribbons,
panels, borders, and in fact any design that can be cut in
paper to form a stencil, may be thus transferred to the card.
FIG. 55
78. Blending Around the Design. Another treat-
ment with dry colors is as follows: Design a heraldic shield,
or a fancy panel, suitable for an illuminated capital; cut this
out and fix it in the desired place on a white card. Two
colors may then be rubbed on and blended together either
horizontally or diagonally, one color above the center and
the other below. These colors should be of greatest strength
close to the shield or panel and gradually diminished in
strength as they leave the panel until they become indistinct,
52 SHOW-CARD WRITING 1
as shown in Fig. 55. The panel should then be outlined
with a strong color. The letter may be outlined with black,
and filled in with scarlet lake, and thus, by a very simple
process, an elaborate illuminated capital may be produced.
79. Border Effects. There are many ways of intro-
ducing artistic effects by the use of dry colors for bordering
cards. This may be accomplished by laying on a straight
piece of paper 1 or 2 inches from the edge of the card and
rubbing on the dry color toward the edge of the card. A
serrated edge may be produced by cutting the edge of the
paper, or a simple design may be cut in the edge of the paper.
After rubbing on the dry color, the edge may be striped with
some harmonizing color, or with black.
ILLUMINATION OF SHOW-CARDS
80. Use of Water Colors. Water colors are used to
the best advantage on white show-cards having a dull finish
that readily absorbs the moisture. By the use of water
colors, white or black lettering may be made most conspic-
uous, either by shading the letters or treating the letter face
as described under separate headings that treat these subjects
in a special manner. But the handling of water colors is not
confined to these subjects only; the modern show-card writer
can embellish and elaborate the show-card until this may be
rightly classed as a work of art. The designs that are com-
posed of artistic trade marks, floral pieces, or symbolic
ornament offer an excellent opportunity for the display of
skill in coloring. In Show-Card Design and Ornament, such
designs are given, and the student will more fully appreciate
our present instruction when he possesses an experimental
knowledge in the more advanced subject of designing. We
now require him to devote his time to applying the present
instruction by filling in outlined letters with water colors.
On a piece of cardboard outline several letters from the
alphabet entitled Condensed Egyptian. Fill in one letter
with scarlet lake, making this a medium shade. On the
lower half of the letter, when dry, flow on a stronger shade
1 SHOW-CARD WRITING 53
of the same color. The other letters may be colored in
various ways, as shown on the plate entitled Transparent
Color Work.
81. Outlining: for Water Colors. The outline is made
with India ink or with the card black, to which the water color
will not adhere, but flows to the edge and stops. By this
outline method, beautiful designs in flowers and highly illumi-
nated effects can be produced. The outline of the design may
be used as the guide for all water-color work in lettering
panels, floral designs, etc., although this is not always essen-
tial for the latter. The wider this outline is made, the easier
will be the work of flowing on the color evenly, and the less
the liability of running over the line; the fine outline, how-
ever, should be used in many places, especially for floral
designs and other work where a black outline does not
enhance the artistic merit of the work.
82. Shading With AVater Colors. There is nothing
that will take the place of water colors for shading show-
cards either in economy of time or in convenience. For
shading the letters, a brush is used that will as nearly as
possible make the shade with one stroke. The camel's-hair
brush known as the square shader is best adapted to this
special purpose. Water color cannot be worked over, when
once applied, without showing brush marks; therefore, the
color must be flowed on evenly with a quick, well-directed
stroke, using care not to apply the brush again over a shaded
part when the excess water has been absorbed by the card.
Aside from filling in letters, designs, and for shading,
water colors serve the purpose of ornamenting the show-
card, being used to tint borders and for blending. A knowl-
edge of the handling of water colors is, therefore, a necessity
to the card writer.
54 SHOW-CARD WRITING
LETTERS
VARIOUS TREATMENTS
83. Black Letters. The comparative strength of black
and white is found to be in favor of the latter. Nothing in
nature is pure white, nor is a shadow so deep as to require
black to represent it. We have therefore in the use of black
and white the greatest possible contrast. They may be said
to balance evenly in the proportion of three-fifths black to
two-fifths white. The reason for this is, that black absorbs
the light, and therefore cannot be made neutral in combina-
tion with white because of their opposition to each other.
In show-card writing, black is used mostly on white card-
board. It is important for the letterer to know that black
letters should always be made heavy in stroke. Especially
is this true if it be the intention of the writer subsequently
to treat the face of the letter with colors or ornamentation
in order to embellish it.
84. White Letters. White letters may be placed on
black or on any dark-colored card. If white lettering be
done with neatness and accuracy there is less need for
shading or face treatment than is necessary in the use of
black. The stroke of a white letter should be narrow, and
in fact a small letter is always preferable. The student
should choose such styles, therefore, as the extremely light-
stroke Egyptian with^ an almost indistinct spur on each
corner of the letter which classifies it as Antique Egyp-
tian. A Roman letter is also used; while the letter best
adapted, and the one that may be executed most rapidly
and present the most artistic effect, is script. White letters
may be shaded or they may be tinted on the face, by either
making the center or lower part of the letter of one or more
1 SHOW-CARD WRITING 55
tints, or by filling- in the entire letter with a tint, leaving a
white outline surrounding the letter.
85. Colored Letters. Colored letters may be placed
on white or black cards without regard to their nature except
in reference to their harmony, which must always be con-
sidered. Colors should be mixed with white when placed on
a black surface, or such opaque colors as orange vermilion
may be used clear. On vermilion a transparent color, such
as crimson or scarlet lake, may be used. Colored letters on
a white card may be opaque or transparent, but they should
invariably be made of sufficient strength to appear well and
be easily read.
86. Bronzes. Gold and aluminum bronzes are often
used for lettering, in which case they are mixed like paints
and are brushed on; after that, they may be outlined with
white or some bright color, such as orange vermilion. Bronze
is often used to outline letters or otherwise embellish them.
If a large panel, ellipse, or disk be required, gilt or silver
paper may be cut out and mounted on the card; or, if bronze
be used, it will be found necessary to employ some means of
checking the natural absorbing quality of the card. Shellac,
glue, or a quick-drying varnish may be used for this purpose.
Give the surface one or two coats, after which a coat of
varnish size should be applied. Banana oil or brass lacquer
is used if the bronze is to be mixed first and then applied as
paint. If aluminum be required, make the size by adding a
small amount of white lead and turpentine to the varnish.
If gold or copper bronze be used, lemon yellow may be
added to the former, and Indian red to the latter.
87. Flitters, Metallics, and Brocade. Flitters,
metallics, and brocade are small flakes of thin sheet metal that
are applied to a letter face in order to more highly illuminate
the work. These adhere to the letter by first coating the part
with varnish where it is desired to place the metallics.
88. Isinglass. Crushed isinglass is sometimes used on
white letters to produce a sparkling effect, especially when
56 SHOW-CARD WRITING 1
the letters are made to represent ice or frost. In card writing
anything may be resorted to that will produce a novel effect
and serve to attract attention to the show-card and so induce
the passer-by to pause and read the inscription.
89. Embossed Letters. A bulb known as the air
pencil is used to make relief letters, but its use is not espe-
cially recommended, for the reason that sharp clear-cut letters
cannot be produced by any mechanical means. This, as well
as Scollay's relief bulb, known as the decorator's relief bulb,
are convenient tools for any card writer to possess for deco-
rative and ornamental purposes. Relief compound, a powder
used for this purpose, is mixed with water to the consistency
FIG. 5C
of thin putty and placed in the bulb. It is then applied by
squeezing the bulb, thereby pressing the mixture on the
surface of the card through the small tube or nozzle attach-
ment, as shown in Fig. 56.
90. Automatic Shading Pen. Perhaps no mechanical
device for card lettering is so serviceable as the shading pen,
and we therefore advise every student to become familiar
with its use and the various styles of alphabets best adapted
to it. These pens are furnished in sets of six sizes, ran-
ging in width of stroke from iV inch to 1 inch. There are
also six colors of ink specially prepared for shading pens,
SHOW-CARD WRITING
57
as follows: purple, green, blue, crimson, brown, and black.
The pen is grooved so as to leave a dark color at the right
of the stroke and an even light shade of the same color for
FIG. 57
the remainder of the stroke, as shown in Fig. 57. The
automatic shading pen is convenient also for certain kinds of
ornamenting in card writing.
MODIFICATIONS OF LETTERS
91. Limits of Eccentric Letters. It is the constant
aim of the show-card writer, as well as letterers generally,
to produce an exaggerated form of a letter, or to give to a
well-known style of letter some new and original character-
istic. For this reason letters are distorted into every forma-
tion possible. This departure is always allowable and even
commendable on the part of the designer so long as he does
not depart from the chief essential of lettering; namely,
legibility. If this be attained, the matter of eccentric form
is of secondary consideration.
92. Modifications of a Block Letter. In illustrating
the following modifications of letters we will show the nor-
(c)
(d)
HIG. 58
mal or regular letter and its modifications, as in the example
given in Fig. 58. (a) is the style known as Full Block; (b)
is the Railroad Block, in which the horizontal stroke is greatly
58
SHOW-CARD WRITING
reduced and the vertical stroke increased in width. For
elongating there never has been a letter invented that may be
extended to equal this style of letter, (c) and (d] show the
condensed forms.
93. Modifications of the Egyptian. The same modi-
fications appear in the Egyptian also, as shown in Fig. 59.
(a) represents the normal letter, (b) the elongated, and
(c) the condensed form of the letter. Another modification
of a letter exists in the enlarged or reduced size of the
stroke, as in the Antique Egyptian character &, shown in
Fig. 60. In treating the modifications of letters, when the
size of stroke is the principal alteration of the normal style,
(a)
(c)
FIG. 60
it often becomes necessary to change the character of the
letter to meet the new conditions and give the letter a sym-
metrical appearance.
94. Letters That May Be Modified. Many letters in
the alphabet are not capable of much change on account of
their simplicity, while others may be changed in several
1 SHOW-CARD WRITING 59
details. Such letters as , c, d, e, g, h and y of the lower
case can be made eccentric to better advantage than many
others. Fig. 61, beginning with the normal letter g, shows
a variety of modifications of this letter. Also, several forms
of the letter d are shown in Fig. 62 that illustrate how, by
FIG. 61
simply altering the curve of the stroke, the character of the
letter is entirely changed. It would be impossible to show
every modification of the fundamental styles of letters, as
these exceed 800 in number, and can be seen in a type-foundry
dd
b d
FIG. 62
specimen book. The principles on which these changes are
made are comparatively few in number. It is to these we
desire to call the student's attention. The change from the
normal letter occurs either in distorting the regular propor-
tions of the letter, in altering some detail, or by changing the
60
SHOW-CARD WRITING
character of the letter in its stroke or outline. In Fig. 63
several examples of the latter change is shown. Instead of
the symmetrical outline, (a) shows how this may be utterly
disregarded, and the serrated edge used; (b) shows the
curved stroke, and (c) the ornamental outline of a letter.
The inventive propensity of the expert letterer will lead him
to create an entirely new detail to a letter and thus allow
him to add this in a corresponding manner to other letters
that will permit of its use. For example, the cross-bar in
the letter A may be made in the form of a cyma, which may
also be added to the letter H. The letter A is perhaps sub-
ject in a greater degree to modification than many other
letters, although this may not appear to be so from a first
glance at a normal letter. Without reference particularly to
the styles of alphabets to which these belong, examples of
some of the modifications of this letter are given in Fig. 64.
95. Extended Letters. Such modifications as are
easily and quickly made serve the purpose of the show-card
writer. Freehand graceful curves are, therefore, to be
sought after in making letters. To this end the letters may
1
SHOW-CARD WRITING
61
be extended above or below an entire word. An example
of this is shown in Fig. 65. The letter S, while it may not
extend underneath a word when used as a capital, yet the tail
FIG. 64
may extend a great distance to the left of the body of the
letter without distorting the effect of its symmetrical pro-
portions. When this is done it is always advisable to make
FIG. es
some other modification that will counterbalance it in
appearance, as shown in Fig. 66. Fig. 67 also shows how a
stroke extending above the line may be counterbalanced by
62
SHOW-CARD WRITING
1
a corresponding stroke that may be ingeniously attached to
the final. Some finals, it is true, will not permit of this
addition. In such cases, if desirable to use some balancing
FIG. 66
feature, it may be done by placing it in a detached manner
or connecting it with some projecting letter in the middle
of a word.
RELIEF LETTERS
96. Block Shading. A letterer who is thoroughly
familiar with the principle of shading may give great variety
to his work by introducing some exaggerated form of sha-
ding, such as will bring out the letter conspicuously. This
FIG. 67
may be accomplished by representing letters cut out of a
thick block and placed in some position that will cause them
to appear erect, inclined, or flat, which is done by means of
FIG. 68
SHOW-CARD WRITING
63
shading. There are several ways in which letters may be
shown in relief. Some artists drawing on their imagination
have placed letters on water above a picturesque waterfall,
showing the reflection of the letters in the water, etc. Such
ideas, however, are somewhat chimerical and require more
labor and thought than a practical show-card writer would
care to devote to this subject.
In Fig. 68 is shown three examples of relief letters. From
these the student may arrange letters in a number of
positions.
Another form of relief shading is shown in Fig. 69, in
which the letter is made to project from an opening while
FIG. 69
the shade or block appears to extend back to a point where
it is cut off by a frame. The opening being dark gives an
excellent opportunity for strong contrast in coloring as well
as light and shade.
BEVELING
97. Plain Beveling. When one colored card is
mounted on another, which is often done by the card
writer, it greatly improves its appearance if the upper, or
even both cards be beveled on the edge, instead of being
cut off square. When beveled, the thickness of the card
is apparently increased, and the edge may also be bronzed
and thereby enrich the card without causing much extra time
to be given to the work. The beveling is easily accom-
plished even by one who may never have had any experience
in this line of work. It is necessary to use a beveled iron
straightedge for this purpose and a sharp-pointed steel knife.
64
SHOW-CARD WRITING
When cutting the card the hand should be maintained in a
uniform position that will give an angle of about 45.
98. Ellipses and Circles. For beveling cards in the
form of an ellipse or circle, it is advisable that the machine,
made especially for this purpose, be used. This will insure
a perfect and even bevel joining the line with accuracy.
These figures are much used in show-card writing and serve,
in a marked degree, to make the show-card artistic and
attractive. It is therefore advisable that the show-card
writer possess the beveling machine.
99. Fancy Beveling. There are several methods used
for producing a deep bevel, either on the edge or in the cen-
ter of the card.
The beveling on the edge of the card may be done as
follows: Measure off, on the back of the card, the width
desired for the bevel, as shown in Fig. 70, which should be
from 1 inch to li inches; then score the card, by using a dull
FIG. 70
knife that will not cut through, but will permit of bending
the edge to the required angle without a liability of break-
ing the surface. To join the corners accurately, make a pat-
tern on a piece of card by cutting out a triangular piece on
the corner that will allow the beveled portion to meet with
a perfect joint on the proper angle, shown in Fig. 71. This
1
SHOW-CARD WRITING
65
pattern should then be used on all corners in order to insure
a uniform and perfect bevel. A piece of tough paper should
be glued in each corner in order to hold
the bevel firmly in position.
Another method, shown in Fig. 72, used
in beveling, is to cut a square or rectangle
out of the center of the card, and fasten a
card that has been ^beveled by the fore-
going process to the back of this opening.
The glued strips should in this case be
placed on the reverse side of the card, as
the back of the former card is used as the face when placed
in this position. The bevels of the card may be gilded or
silvered with bronze, or a gilt or silver paper may be
FIG. 72
mounted on the bevels. This beveled treatment greatly
adds to the attractiveness of a show-card if proper regard
is paid to the inscription, design, combination of colors, etc.
MOUNTING
100. Purpose and Methods of Mounting. There are
many occasions \vhen mounting, if neatly done, may be
made to deceive the eye and allow the observer to believe
the work to be done entirely by hand. A sketchy print may
be mounted on a card and afterwards colored, or the card
66 SHOW-CARD WRITING 1
immediately surrounding it ornamented so as to cover the
edge of the mount.
101. Photo Mounting:. Photographs are also mounted
on show-cards, which may be done by the following method:
Place the print in a tray of clear water and allow it to remain
long enough to become thoroughly soaked; sponge the
card on which the photo is to be mounted with clear water
in order that the absorbing quality of the card will be
arrested; lay the photo face down on a clean surface after par-
tially drying; use a sponge in applying paste, which should
be made of gloss starch and free from lumps. Locate the
position the print is to occupy on the card by making two
small triangles with a sharp-pointed lead pencil and apply
the print. When this has been laid on lightly, a clean piece
of thin paper should be laid over the print and rubbed care-
fully but firmly from the center to the edges.
102. Mounting Heavy Cards. It is necessary when
placing one card on another to use some adhesive that will
cling with greater tenacity than starch or flour paste. Ready-
mixed glue, which may be obtained in screw-cap pots, is best
adapted and most convenient for this purpose. When mount-
ing the card, it is necessary to apply the glue to the edge of
the card only. This is not only a saving of time and material,
but prevents the liability of the card from warping or twisting
when the glue has dried. In mounting small cuts or thin
paper, library paste may be used.
MANIFOLDING
103. Printing. When a large number of cards are to
bear one inscription or design, it becomes a matter of econ-
omy in time to duplicate them by some other method than
brush and hand work. To avoid the use of printers' type,
which is recognized as such at a glance, the work must be
produced from a freehand design. The work of printing
may be done on a printing press, but the preparation of the
form should be done either by the use of a zinc etching,
1 SHOW-CARD WRITING 67
wood engraving, or on a lithograph stone. The etching is
done on a zinc plate after the same has been covered with
two coats of pure asphaltum w r ith a small quantity of varnish
added. When this has dried sufficiently the design is
executed in the asphaltum after which the edges are banked
up with a beeswax dam. Nitric acid diluted with water, in
the proportion of one-third acid to two-thirds water, is flowed
on the plate, which readily eats its way into the exposed
zinc without affecting the asphaltum resistant. After the
plate has been etched to a depth of about -gV inch, it is thor-
oughly rinsed in clear water, the asphaltum removed with
turpentine, and, after it has been mounted on wood, the plate
is ready to be used for printing purposes. Wood engravings
are made on boxwood or hard maple by cutting away the
parts not required in printing. This is done by means of
small gravers and chisels. The lithograph stone is used in
manifolding by placing the design on the stone with a water-
color preparation, after which the stone is etched and other-
wise prepared for the press. The design in all cases is
placed on the zinc, wood, or stone in a reversed order or
backward to that on the printed card.
104. Use of Stencils. For manifolding in show-card
writing the stencil pattern very effectually fills this place,
and is made to stencil either the letter or the background.
The stencil for the former purpose is made by cutting out of
paper or other material the greater portion of the letter, but
allowing parts called tics to remain, as these tie the inside
of the letter and parts likely to curl up when in use. A
second stencil is also required, which is laid over the work
done by the first stencil when it has dried, thereby covering
up the spaces left by the ties, and thus making a solid and
complete letter. The same rule is observed in regard to the
cutting-in stencils, which are used to make the background,
and leave the letters the original color of the surface on
which the color is spread. Large ties are used for cutting-in
stencils, reaching from the letter to the edge of the stencil
or border. A second stencil, so cut as to overlap the edges
68
SHOW-CARD WRITING
1
of the ties, is also used, thereby completing the entire back-
ground, leaving the letter clear and distinct.
105. Materials for Stencils. The toughest medium-
weight Manila paper should be used for stencils, oiled thor-
oughly with boiled linseed oil, and allowed to stand at least
24 hours before coating both sides thinly with orange shellac.
If a light quality of fiber board is used, no preparation is
necessary. A sheet of glass laid on a perfectly even table
provides a surface on which the stencil can be cut with a
good steel knife sharpened to a thin point. It is well to
mark the ties with some bright color, to avoid cutting
through them, as a single tie cut through destroys the whole
stencil, and an imperfect stencil will cause more bother in
its use than it is worth. It is best, therefore, never to use a
patched or repaired stencil.
106. Cutting Letter Stencils. Fig. 73 shows one
method of cutting a stencil; (a) shows the stencil that makes
(c)
the body of the letter, allowing ties to remain where most
strength is needed for the preservation of the stencil; (b)
shows the stencil used to cover the parts left in the first
stencil, and (c ) shows the completed letter. When preparing
the stencil pattern (a), cut two notches on either end of
stencil pattern where shown by d, d. The purpose of this is
to insure accuracy in placing the stencil (a) on the surface
of the paper when preparing stencil (b). This second stencil
SI SHOW-CARD WRITING 69
may be made by marking around the letter with a sharp-
pointed lead pencil, or it may be stenciled with a brush that
should be almost free from color, after which the stencil for
the ties that were left by the first stencil may be cut out. By
using both stencils we have the perfect letter, as shown at (c).
107. Background Stencils. To make stencils for a
background, everything is reversed from the plain letter
stencil just described. In this stencil the letters must be
covered, and all ties so cut as to keep the letters firmly in posi-
tion. If a border is desired, we must treat it just as we would
a letter. The ties should be cut wider on the border edge, as
additional strength is gained where most needed by doing so.
In making this stencil, it is better to have too many ties than
to leave one place weak. There is a great possibility of
leaving one or more such places, especially in this form of
stencil. In Fig. 74 is shown the two forms of stencil pattern
necessary, (a) represents the pattern that stencils the body
of the background. The lined portions indicate the parts cut
out, the letters and ties being allowed to remain, (b) shows
the stencil so cut as to cover up the ties that were left in (a) ,
the letter being allowed to remain covered also, as in (a),
(c) shows the finished work and the completed letters. We
would recommend that the student make the plain as well
as the background stencil, in order that he may become
thoroughly familiar with the subject. Make the letters shown
in Figs. 73 and 74 for practice 3 or 4 inches in height.
108. Card Stenciling. For stenciling on a cardboard
surface, a color should be used that is free from oil. Coach
black ground in japan is the best black to use. Colors should
be mixed with a slow-drying varnish. If an oil color be used,
the oil is absorbed by the card and spreads beyond the edge
of the letter, leaving a yellow streak surrounding the letter.
Card signs that have been stenciled may be relieved by a
few touches of hand work and made to present a very artistic
appearance, either by shading or ornamenting with some
bright color. The letter may be outlined with gold bronze or
red, entirely covering all traces of a stenciled effect.
79
SHOW-CARD WRITING
1
(a)
(b)
I
FIG. 74
1
SHOW-CARD WRITING
71
STORK AND WINDOW SIGNS
INTERIOR SIGNS
109. Store Banners. The progressive show-card
writer should be capable of preparing every manner of
announcement sign used in the store or window. Such
work as gold lettering on windows, board, or other outside
signs are necessarily outside the province of the card writer,
and are therefore not considered in this Course. These sub-
jects are fully treated in
the Course on Lettering
and Sign Painting. All
signs that are made on
paper or cardboard will be
prepared by the show-card
writer, and, besides these,
enameled cloth and ordi-
nary cotton-sheeting let-
tering may not be con-
sidered outside of his
province.
110. Wall Banners.
Store banners are much
used for permanent in-
scriptions either to direct
the customer to different
departments or to utilize
wall space with attractive
signs that will bear some
suitable motto or appro-
priate inscription. These
signs are often prepared
in the form of a banner
and are stayed on the back with a thin strip of wood at
the top and bottom of the card. Window-curtain fixtures
and other inexpensive and available material, such as rings,
FIG. 75
72
SHOW-CARD WRITING
poles, tassels, and trimmings, are used for these banners.
The bullion fringe used on silk banners is represented with
gold color, shaded with burnt sienna. A detailed sketch of
this banner is given in Fig. 75. a represents the body of the
banner on which the chief portion of the inscription is placed;
b the hood, a very appropriate place to put the name of the
firm; c shows where the fringe is usually placed on the
banner. If a banner is to be placed on a white wall it is
desirable to have the body of cream or some light color,
while the hood should be a dark color. For example,
if cream or gold color be used for a, the hood b should
be a dark blue.
111. Combination Metal and Card Banners. A
banner that is used in our leading stores at present is a
FIG. 76
brass frame, silver plated, with a slot in one end through
which a card may be slid into place. This is projected from
a column, window sash, casement, or other convenient object
by an artistic ironwork design, shown in Fig. 76.
SHOW-CARD WRITING 73
OUTSIDE SIGNS
112. White Enameled-Clotli Signs. It is often desir-
able that a bulletin or other announcement be hung outside
the store window, in which case cardboard could not be used,
for the reason that it would not withstand moisture, either
rain or snow, and therefore some other material that will
serve the purpose must be used. This is found in enameled
cloth, which is white, glossy, and durable. Show-card black
and varnish colors may be used to letter on this surface.
It is well to sponge over the surface with benzine before
marking or lettering on enameled cloth, in order to prevent
the color from creeping, which means that the color will not
remain always where applied, but will leave a straight line
and become an irregular and broken outline, causing much
annoyance to the letterer. When enameled cloth is used for
an outside sign, a frame is usually constructed of strips of
wood strong enough only to allow the cloth to be stretched
over the frame without bending. To prevent the possibility
of this, which is inevitable if the sign be a long one, cross-
strips should be placed far enough apart to give the required
strength. The cloth is then drawn over the edge and tacked
securely, or it may be tacked on the back of the frame, which
is preferable when a better finish is desired, for in the latter
case the tacks are not seen. If the following directions be
observed, the student will have no difficulty in stretching the
cloth on the frame without wrinkling: Lay the frame on the
cloth and cut the cloth, allowing a margin that will lap over
the edge and giving an additional width for tacks. Do not
begin to tack from the corners to the center of the frame, but
always from the center of the frame to the corners, stretching
the cloth from the opposite side, and at the same time drawing
it toward the corner. After four tacks have been temporarily
driven in all four sides, continue the tacking by putting not
more than two tacks on either side of the center at a time,
which will serve to hold the cloth and withstand the strain
put on it when tacking the opposite side. Endeavor as
nearly as possible to reach the corners of the sign at the
74 SHOW-CARD WRITING 1
same time; in other words, do not tack one entire side before
another, as this will invariably cause wrinkles.
113. Sheeting Signs. Special announcements are
often made on material that is cheaper than enameled cloth,
more quickly lettered, and less permanent in appearance.
For this style of sign, common cotton sheeting is used.
Another advantage in using sheeting is that several narrow
widths may be sewed together, and thus a sign of large
proportions is quickly and cheaply produced. To letter on
cotton sheeting, use the best lampblack. Mix this with
copal varnish and thin with gasoline to the consistency of
cream. Apply the black with a flat camel's-hair brush 1 inch
wide. The inscription is marked on the cloth by using
charcoal. The lines are snapped on with a string that is
charged with charcoal. After lettering the cloth, the char-
coal marks may easily be dusted off the surface when the
black has thoroughly dried.
114. Show-Card Transparencies. The advent of thin
celluloid sheets has developed a new use of the show-card,
namely, a window transparency. A fancy panel is usually
cut out of the center of the card, and the celluloid sheet, of
some brilliant color, is fastened with glue on the back of the
card. The portion of the inscription of special importance
is reserved for this opening. This style of show-card is
suspended with an incandescent lamp directly behind it, pro-
ducing a sign that may be read in the evening as well as
in the daytime; it is especially attractive by lamplight. To
letter on celluloid, use a solid varnish black that will make
the letter opaque and serve as a base. After this has dried,
the center of the letter may be filled in with gold or alumi-
num bronze (penciled on), leaving a blank outline surround-
ing the entire letter. The remainder of the show-card is
lettered as usual, surrounding the panel with appropriate
lining or ornamentation.
115. Window Transparencies. Another form of
transparency that may be prepared by the show-card writer
is the transparent window sign. This sign is designed to
1
SHOW-CARD WRITING
75
extend across the entire width of the window, the width of
the sign being governed by the size of letter and the inscrip-
tion. Heavy Manila paper is used for this purpose, and it
should be well coated with some dark color or it may be
used without any preparation. The letters should be cut out
and a bright colored tissue paper pasted on the back of the
sign, entirely covering, with one thickness of the paper, all
openings or letters. The inside portions of such letters as
A, B, D, O, R, etc. are then fastened in their proper places,
pasting these on the tissue paper. A heavy line of black
surrounding each letter, placed on the Manila paper, will give
strength where needed and make an attractive sign in day-
light as well as in the evening. If the ground be dark, a
heavy line of bronze may be substituted for the black.
116. Card Klet-trie 8ig:ns. Many very artistic and
attractive signs may be made of cardboard and illuminated
with special 2-inch globular incandescent electric lamps.
These signs are not only attrac-
tive in the window display, but
are used also for interior deco-
rating. The letters are cut out
of heavy white cardboard for
this style of sign. The edge of
the letter is covered with a
heavy stripe of bronze, inside
of which is worked a stripe of
black. The lamps are then
placed at intervals that will
show the letter almost inde-
pendently of the cardboard.
The proper number of lamps
that should be used is shown in
Fig. 77. The framework used to hold the letters together
should be i-inch iron rods, and painted black or some color
that will not cause the attention to be called to this part of
the sign. The rods connecting the frame and strengthening
it, with the exception of the ends, should be flattened on
76 SHOW-CARD WRITING 1
either end and looped, allowing the top and bottom rod to
pass through it, thus making them adjustable. They may
then be placed to the back of a letter. These signs may be
made suitable to every season by supplying the required
number of lamps or cutting out the surplus.
Revolving-wheel flash signs and stationary flash signs are
thus easily constructed if the show-card writer possesses the
"spark of genius" necessary.
117. Mechanical Devices in Window Lettering.
There are almost numberless contrivances and devices that
will give the card writer an opportunity to continually
display novelties in arrangement, or to make new and
attractive windows. Cardboard may be used for arches,
round or square pillars, etc., on which lettering may be placed.
Grilles and other openwork may be made by cutting out the
parts, leaving the design. Among the novelties in show-cards
is that which may be constructed to read differently from three
directions. This sign is made as follows: Glue strips on
the four edges of a card that will make a tray about li inches
in depth. On a card li times the length of the tray, minus
H inches, the width of one strip, letter the desired inscrip-
tion, which should be of large bold letters. Letter the reverse
side of the card also; cut this into H-inch strips. Letter the
inside of the tray, after which the strips may be glued in
position 1 inch apart. The sign is then complete, as shown
in Fig. 78, (a) showing the front, (b] the left, and (c) the
right view.
1 SHOW-CARD WRITING
CARD HANGERS
118. Eyelets. To suspend a show-card it is necessary
that an eyelet be affixed to the back of the card. This may
be attached without marring- its face, or a small hole may be
punched in the margin and a metal eyelet inserted that will
prevent the string from tearing
through the margin. The gummed
eyelet shown in Fig. 79 is used
for the back of the card and may
be obtained at a stationer's in
gross quantities. To insert metal
eyelets, it is necessary to use a
small combination hand punch and
set, that will not only cut the hole the required size but
firmly set the eyelet by upsetting the obverse end so as to
clench it into the card. The eyelet known as the B skirt
eyelet is used for this purpose. These are put up in boxes
of 1,000 each. They have a burnished silver finish and are
therefore not detrimental to the appearance of the card.
PUNCTUATION
119. Importance of the Subject. There is seldom
sufficient attention paid to this important subject among:
letterers, as may be observed by an inspection of the card
signs in almost any show window. Were the show-card
writer to realize to what extent a well-executed piece of
work is often marred by improper punctuation, he would not
consider the time wasted that might be devoted to acquiring-
a full knowledge of this subject.
120. Origin of the Possessive Symbol. The apos-
trophe is frequently misplaced in the plural possessive case.
To fully understand the rule governing the possessive case
and the origin of the mark used to denote possession, we
should first know that the apostrophe is used to indicate that
something has been omitted. If we should look on the fly
78 SHOW-CARD WRITING 1
leaf of some very old book, we would see the name of the
owner, for example, "John Smith," and underneath, the
words "his book," which was the early form of expressing
the possessive. Later, it became a custom to contract the
name and article possessed thus, "John Smith's book"
and to insert the apostrophe to indicate that the his was
omitted. By bearing in mind this simple custom, one can
always locate the proper place for the apostrophe, according
to the location of the pronoun. To further illustrate, take,
for example, the words "men's and boys' clothing." To
use the method of our ancestors we would express it, "men
and boys, their clothing." According to the rule, the apos-
trophe and final 5 should be substituted for the pronoun,
making the phrase read "men's and boys' clothing 1 ." Thus,
the letter ^ would not be necessary after the apostrophe in
the word men's, as the pronoun their, which has no final s, is
used; but for euphony, or to obviate harshness of sound, the
s is often added after many words, and also omitted from
words ending with s for the same reason.
RULES FOR PUNCTUATION
121. The period is put at the end of every word,
phrase, or sentence that is complete by itself, and not inter-
rogative or exclamatory. It is also placed after all abbre-
viations.
Quit yourselves like men. The M. D. addressed his letter to James
Howard, LL. D.
122. The colon is an intermediate point between the
semicolon and the period, and is used as follows:
1. After words that promise a series or statement of
something important.
His accomplishments, he said, were not many: a stout heart, a firm
resolve, and fifty cents.
2. Before an important remark added to a sentence, espe-
cially when it sums up the sentence, or presents the meaning
in another form.
1 SHOW-CARD WRITING 79
Avoid evil doers: in such society an honest man may become
ashamed of himself.
123. The semicolon, is used to separate clauses that
are themselves divided by the comma, or that require a
point greater than a comma and less than a colon; or to
separate the parts of a loose series.
He was courteous, not cringing, to superiors; affable, not familiar,
to equals; and kind, but not condescending or supercilious, to inferiors.
124. The comma is the most frequently used of all the
punctuation marks. The chief purposes for which it is used
are the following:
1. To separate terms of a closely related series, or two
such terms when the connective is omitted.
Hedges, groves, gardens.
It was a dark, desolate region.
2. To separate terms that are contrasted or otherwise dis-
tinguished, and terms of which a part in one might be referred
improperly to the other.
He is .poor, but honest.
3. To set off a word, phrase, or clause that is paren-
thetic, or that comes between other parts and breaks their
connection.
You will then, however, be in no better condition.
4. To set off a modifying word, phrase, or clause that is
not closely connected with what it modifies, or that is
removed from it by inversion.
Behold the emblem of thy state in flowers, which bloom and die.
By Americans generally, the hero of the Battle of Manila Bay is beloved.
5. To set off words or phrases used independently or
absolutely.
Ristalfo, give me what is mine, and that right quickly.
6. To separate the predicate from its subject, when the
subject is very long, and has a clause, or consists of punctu-
ated parts.
The fact that he is allowed to go unpunished, makes him more
insolent than ever.
80 SHOW-CARD WRITING 1
7. To separate clauses that are neither very closely nor
very loosely connected.
There mountains rise, and circling rivers flow.
8. Short simple sentences or clauses seldom require a
point within them; and phrases or clauses that stand in close
connection with that on which they depend seldom require a
point before them.
Tell me when it was that you saw him after he returned.
125. The interrogation point is placed after every
complete direct question, whether it forms a complete sen-
tence or only a part of a sentence.
What mean'st thou by that? Mend me, thou saucy fellow?
Julius Ctzsar.
126. The exclamation point is placed after a word,
phrase, clause, or sentence that indicates great surprise,
grief, joy, or other emotion in the speaker.
Woe unto thee, Chorazin! Woe unto thee, Bethsaida!
127. The dash is chiefly used for the following
purposes:
1. To show omission caused by interruption.
Cassius. Yet I fear him:
For in the ingrafted love he bears to
Caesar
Brutit-s. Alas! good Cassius, do not think of him.
2. To show emphasis or suppressed feeling, or to show
an unexpected turn in thought or style.
Heaven gives to its favorites early death.
3. To set off a parenthetical phrase, especially when
emphatic or when there are other points within it.
To render the Constitution perpetual which God grant it may be-
lt is necessary that its benefits should be practically felt by all parts of
the country. D. Webster.
4. Before echoes, or where the words that is or namely
are understood.
The four greatest names in English poetry are almost the first we
come to Chaucer, Spencer, Shakespeare, and Milton.
1 SHOW-CARD WRITING 81
128. The parenthesis is used to enclose some inci-
dental remark or explanation that breaks the regular con-
struction of the sentence and can be omitted without injuring
the grammatical sense.
Know then this truth (enough for man to know) ,
Virtue alone is happiness below. Pope.
129. Quotation marks are used to enclose words
taken from the saying or writing of another person.
The doctor made the sage remark, "while there's life, there's hope."
130. The apostrophe is used to denote the omission
of one or more letters.
'Tis pleasant, sure, to see one's name in print;
A book's a book, although there's nothing in 't.
Chatterton .
131. The hyphen (-) is used (1) at the close of a
syllable that ends a line when the remaining part of the
word must be carried to the next line; (2) to join the parts
of compound words.
132. The ditto marks (") are used to avoid the repeti-
tion of the word or expression directly above them.
133. The underscore is a line drawn under words in
manuscript or copy to give them special emphasis, showing
that they are to be printed in Italic or capitals, one line
denoting Italic, two lines denoting small capitals, and three
lines large capitals.
SHOW-CARD DESIGN AND
ORNAMENT
(PART 1)
INTRODUCTION
1. Application of Design to Show-Card Writing.
Designing, as applied to show-card writing, includes many
forms of treatment, and therefore covers a broad field of
study. It has its beginning when the letterer, in the slight-
est degree, departs from a straight line in the arrangement
of his inscription, or from a perfectly plain background on
which he is to place an inscription. It consists of a number
of general rules and established forms that serve as a founda-
tion for the building of new and original ideas. Unless the
show-card writer possesses some knowledge of the subject
of design, his ability is limited to a mere knowledge of the
proper formation of letters and their arrangement into words.
Designing will ever be an art that, aside from general
fundamental rules, involves the faculty of the artist for pro-
ducing original conceptions and combinations. In its high-
est and most classical form the character of its composition
follows the style of some recognized historic period or
school of architecture. The show-card writer's require-
ments however are seldom of so classical a nature. There-
fore, in the following pages, only the elementary composition
of designing is considered. Originality must be developed
by the student, for it is impossible for a teacher to impart
knowledge to a student that will aid him after entering on
this ground.
For notice of copyright, see page immediately following the title page
2
2 SHOW-CARD DESIGN AND ORNAMENT 2
2. Ornament. The subject of ornament likewise is
treated from a practical standpoint, in order that the instruc-
tion may be of the most profitable nature to the beginner.
Were we to prescribe certain styles of ornament to be used
exclusively on each particular kind of work, the student
would soon find himself relying on the ability of others
rather than on his own. The instruction, for this reason,
treats on the various styles of ornament, and the forms best
adapted to the card-writer's requirements. The student must
then learn to make a practical application of these styles by
suiting them to his requirements.
ELEMENTS OF DESIGN
SIMPLE FIGURES
3. Lines and Curves. Aside from a straight line, a
curved line may be said to be the first step in designing.
There are, however, several ways of placing letters on a
straight line; these may be vertical, inclined to the right or
left, or they may radiate from a point above or below the
line, as explained in Show-Card Writing, and shown in Plate,
Title: Elementary Lines.
4. A curved line, or a curve, is a line no part of
which is straight; it may be imagined to be formed by the
bending of a straight line. Any portion of a curve is called
an arc.
5. A circular arc is any part of a circumference. Cir-
cular arcs having the same center, but different radii, are
called parallel arcs. They are inside one another. They
are also called concentric, which means with the same center.
6. When three words or lines of letters of suitable
length are used in an inscription, the card writer often so
arranges them that the top and bottom lines of letters are
made to stand on curved lines. The center line being
2
SHOW-CARD DESIGN AND ORNAMENT
straight and the top and bottom lines curved in opposite
directions away from the center line, as shown in Fig. 1.
To draw concentric lines, the letterer usually relies on the
following- simple method: First ascertain the exact center
of the card; make a small loop in a piece of hemp twine,
sufficiently large to admit of passing the point of a lead
CARPETS
FIG. 1
pencil through it; then, from a point on the lower part of the
card as a center, describe an arc, using the finger to hold the
string in place. Let the string slip beneath the finger in
order to draw several parallel curves. Letters are placed
on a plain curve either vertically or on lines radiating from a
point called the focus.
7. A circle is a closed figure, all points of
whose outline are at the same distance from
a point within called the center, Fig. 2. The
term circle is applied both to the curved out-
line of the figure and to the space enclosed by
it; but the curved outline is more commonly
called the circumference of the circle.
8. Radius and Diameter. The distance from the cen-
ter of a circle to any point on the circumference is called the
radius of the circle.
SHOW-CARD DESIGN AND ORNAMENT
2
A line through the center of a circle, and having its ends
on the circumference, is called a diameter. In Fig. 3, O is
the center of the circle, OB, O D, O A,
and OC are radii, AB and CD are
diameters.
Every diameter is equal to two radii,
and divides the circle into two equal
parts, or semicircles, and the circumfer-
ence into two semi-circumferences.
Two diameters perpendicular to each
other, as A B and CD, divide the circum-
ference into four equal parts called quadrants.
THE ELLIPSE
9. Methods of Describing an Ellipse. There are
many ways of making, or describing, an ellipse, some of
which are quite complicated. For designing purposes,
exclusive of architectural work, a knowledge of two or three
methods will serve every purpose. The simplest method is
by means of two tacks and
a string. Draw a horizon-
tal line and erect a perpen-
dicular bisecting it; point
off on the horizontal line
the length of ellipse de-
sired, proceeding from the
perpendicular equal dis-
tances to the right and left;
divide the horizontal line,
from these points to the
vertical, into four equal
parts; fix tacks on the third point from the vertical on either
side; tie a string around both tacks, and fasten the ends
together at one of the points farthest from the vertical on
the horizontal line; place lead pencil inside and follow
around, and a perfect ellipse will be the result, as shown in
Fig. 4. The ellipse may be elongated by moving the tacks
FIG. 4
2
SHOW-CARD DESIGN AND ORNAMENT
FIG. 5
farther away from the vertical, or it may be widened by
moving the tacks closer to the vertical.
10. To draw the ellipse shown in Fig. 5, construct two
squares and draw lines from the corners intersecting in the
center of each square; from this point of intersection, describe
arcs, with compass, from a
to b; from the points r, de-
scribe upper and lower lines
/ ' \ from a to a and b to b.
11. Another simple
method of constructing the
ellipse is as follows: De-
scribe two tangent circles,
such that the sum of their
diameters shall represent
the length of the ellipse
and draw a horizontal line through the centers of both circles,
as in Fig. 6; divide each
semicircle into three equal
parts, as at a, #, a, a, and
draw a line from each divi-
ding point through the cen-
ter of each circle, meeting
at the points b; from these
points describe curves
from a to a, top and bottom,
and the resulting figure
will be an approximate el-
lipse. The ellipse is some-
times spoken of as an oval.
As applied to an ellipse the word oval is a misnomer.
The word oval comes from the Latin word ovum, meaning an
egg; the shape of the oval, then, is that of the outline of an
egg. To speak of an egg-shaped oval, therefore, is an
absurdity, and no more sensible than to speak of a circle as
a round circle.
FIG. 6
SHOW-CARD DESIGN AND ORNAMENT
2
THE PANEL
ITS USE IN DESIGNING
12. The Rectangle. The elaborate panel has its
beginning in the plain figure called a rectangle, shown in
Fig. 7, a four-sided figure having only right angles; a
right-angled parallelogram.
From this beginning, lines are
added until the panel becomes
a work of art. It is not essential
that this growth be considered
step by step, but every detail that marks the transition from
the rectangle to the elaborate panel finally used as a design
will be contained in the examples given.
13. Panel Ends. We will first call attention to the
methods of finishing the end of the panel. Fig. 8 (a) shows
a perfectly plain panel and its plain outline; (b) shows a
(a)
FIG. 8
plain panel, the outside of which is slightly ornamental;
(c) represents an ornamental inner panel, while the outside
is perfectly plain; (d) is an example of an ornamental out-
line, with the ends of the inner panel finished as a scroll, or
in imitation of a ribbon.
14. Combination Panels. Two panels of entirely
different shape and character are often used in designing;
the one in the foreground is made to bear the inscription,
2 SHOW-CARD DESIGN AND ORNAMENT 7
while that in the background is given less prominence.
In Fig. 9 (a), a diamond-shaped panel is used as the one
on which the inscription should be placed; (b) represents
(b)
FIG. 9
FIG. 10
FIG. 11
8 SHOW-CARD DESIGN AND ORNAMENT 2
the panel on which the body of the lettering should be
placed, while the shield or upper panel of this design may
also be used for a trade mark, price mark, or other purpose.
In dealing with the panel for designing purposes, the nature
and importance of the inscription must be considered. The
interior panel may be made extremely ornamental, as shown
in Fig. 10, or the reverse may obtain, and the entire attention
may be given to elaborating the surroundings of the pane),
as in Fig. 11, which illustrates a plain panel surrounded by
an ornamental design.
15. Part Panels. Another form of panel is that which
is combined with some other design, in which the panel is
not in the foreground. When the panel is left unfinished on
one end, as in Fig. 12, it is known as a part panel and
many beautiful effects can be produced by its use. In this
FIG. 12
style of panel the damask principle may be used, the panel
being blended into the ground by using the lettering brush
or by stippling with the end of a stiff hair brush. The
lettering is also blended; the extreme of light color is thus
contrasted against the darkest part of the panel, and the
dark lettering is continued on the light ground outside of
the panel. This principle illustrates one of the essential
elements in designing; namely, to make the strongest lights
come directly in contact with the darkest shades. If several
shades of equal strength are combined in a design, the
tendency is to weaken the general effect.
PIG
SHOW-CARD DESIGN AND ORNAMENT
16. Rococo Panels. A panel much used by the
designer of lettering inscriptions is one that may be made
to fit any irregular space; it may be made to correspond
in the general arrangement and design of its ends, thus
making a balanced design, or, it may be made without regard
a- to uniformity. This is
known as the rococo
panel. It is especially
useful to the show-card
writer, being easily and
quickly constructed; i t s
outline is made with one
continuous brush stroke.
Fig. 13 shows this style
of panel. Its unlimited
application rests with the
versatility of the letterer.
17. Relief-Scroll
Panels. In Fig. 14 is
shown a panel that serves
much the same purpose as
the foregoing. This panel,
known as the relief-scroll
panel, is often so elabo-
rate in design and composi-
tion that the entire inscrip-
tion can be placed within its
outlines. The relief scroll
is based on the natural
form of the acanthus leaf,
but it is idealized into a
great variety of forms. In
the following few sugges-
tions, Fig. 15, the elements of the relief scroll are given.
Arrange these in a relief design, introducing the leaf and*
other features where they properly belong. The student
should not expect to be able to construct a relief ornament
10 SHOW-CARD DESIGN AND ORNAMENT 2
and shade it properly without considerable practice. Grace-
ful curves are an important element in the construction of
this ornament, and, in fact, in all freehand ornamentation.
Therefore, one who possesses the ability to draw symmet-
rical curves is better qualified to execute the relief ornament,
which is considered to be the most difficult of all styles
to master.
RIBBONS
18. The Several Forms of the Ribbon. The ribbon
is used in many forms, and can be made to suit almost any
style of inscription by folding or extending. When folded,
the part representing the back of the ribbon is called the
return, and must be shown by color or shading. The ribbon
is made either in a regular curve or with irregular and
broken edges. Fig. 16 shows the ribbon in some of its
many forms; the names of its component parts are: a, the
bow; b, the broken band; c, the regular band; d, the return-
ing band; e, the streamer; and /, the roll.
19. The ribbon is used also in a square or geometrical
form, shown in Fig. 17, in which case the graceful and nat-
ural wave does not enter. This form of ribbon is chiefly
employed in conventional or set designs.
20. The most graceful and symmetrical design of the
ribbon is in the form of the double ogee curve; when so used
both ends must be made precisely the same in outline. The
fold can also be made in the middle of the ogee, as shown
in Fig. 18, without distorting its symmetrical effect, but
rather giving it ease and grace, which should always be the
aim of the designer.
21. Shading the Ribbon. To make the shading of a
ribbon appear natural, always observe the natural law of
light and shade. If the light strikes on one part of the
ribbon, the opposite side corresponding with it must neces-
sarily be in shadow.
The study of light and shade is the first requirement in
SHOW-CARD DESIGN AND ORNAMENT
11
designing, and has been considered with reference to individ-
ual letters in Show-Card Writing. In designing, as in drawing
from nature, strict adherence to this law is absolutely neces-
sary; the slightest disregard of it is noticeable to the skilled
FIG. 17
eye. We have seen the advantage of shading single letters
to the left, and it is well to practice the shading of designs
on the left also, in order to avoid such mistakes as are likely
FIG. 18
to occur by showing a shade on two opposite sides of an
object or of several objects when they are combined in
one design.
22. Reflected Light. In the shading of ribbons or
any rounded object, the principle of the
reflected liglit must be observed. By
it is shown the edge or line which, with-
out the observance of the principle,
would be lost where the darkest shaded
parts come together. Fig. 19 shows
this principle of reflected light, the
greatest strength of the shade being
somewhat removed from the extreme
edge of the object, as at , while the
shadow cast by the object itself is strongest against, the
edge at b.
FIG. 19
12 SHOW-CARD DESIGN AND ORNAMENT
INSCRIPTION DESIGNING
23. How to Arrange an Inscription. A show-card
writer is confronted with all kinds of combinations of words in
inscriptions. It should be one of the chief ends of his educa-
tion in lettering to be able to fit the inscription to any required
size. He should also possess a comprehensive knowledge of
the almost unlimited forms of arrangement that make it pos-
sible to design the card, so that it will be neat and artistic as
well as legible. To do this it is necessary that the words of
greatest importance should be most conspicuously brought
out in the inscription. When this is accomplished, the desired
end in show-card writing has been attained.
24. Straight-Line Arrangement. There are two
general methods of arranging the wording on a show card.
If there is a considerable amount of matter, it may be lettered
in a uniform style of capitals and lower case in the same form
as printed matter, or it may be arranged in the form known as
the display ad, discussed under Art. 25 The straight-line
inscription may be made of capitals throughout, and it may not
be necessary always to follow the printer's rule of beginning
all lines at the left margin; sentences may end at any point.
The first few words, if especially important, and the final line
also, may be placed in the center of the card without detri-
ment to the appearance of either inscription or design.
25. Display Arrangement. In this method of design-
ing the inscription, first draw a light vertical line through
the center of the card and place the lettering equally on
either side of ft. In the display ad, several lines may be
occupied without giving any special consideration to uni-
formity in the style of the alphabet selected, or the size of
SHOW-CARD DESIGN AND ORNAMENT
13
letter used, so far as their relations to the appearance of the
work are concerned. The vertical line should be drawn
through the center of the card in order to guide the letterer in
placing a word exactly in the center. This is accomplished
by counting the number of letters in the word, or, if more
than one word occurs on a line, by counting also the spaces
between the words, allowing the width of one letter for each
space, and balancing the total number of letters and spaces
Is Unequalled
BY
Y0UR TAIL0R
FIG. 20
equally on either side of the vertical line, as shown in Fig. 20.
This method is also used when the inscription is composed
of words that may be suitably arranged in curved lines.
These are made to balance by observing the center vertical
line, as shown in Fig. 21. The space between the curved
lines should be equal on either side of the central vertical.
The proper selection of various styles of freehand letters
is essential to the speed of the show-card letterer. If letters
consisting of rounded strokes be selected, they may be
14
SHOW-CARD DESIGN AND ORNAMENT
2
executed much quicker than letters having many angles.
For example, the third line of Fig. 20 is in the style known
as Full Block; it is a letter seldom used by card writers,
because not quickly made. While this is true in regard to
FIG. 21
letters, it is likewise true in regard to the studied arrange-
ment of the lines of an inscription. An elaborate design
may be used when the occasion requires, but to save the
extra amount of labor and time necessarily spent in making
v Tvr/ < c^ r
NEGLIGEE
of tktte
FIG. 22
an accurately balanced design is greatly to the advantage of
the card writer and his income. He therefore resorts to the
following method, when the wording is of such a nature as
to permit of the use of the freehand arrangement:
SHOW-CARD DESIGN AND ORNAMENT
15
26. Freehand Arrangement. Fig. 22 illustrates the
style we have chosen to call the freehand arrangement com-
posed of straight lines only. This style requires no observ-
ance of a center balancing line. It is necessary, however,
that due regard be paid to a uniform margin line for begin-
ning and ending words, also that the first and last lines of
the inscription be at equal distances from the top and bottom
edges of the card respectively. The expert show-card writer
never marks out the letters for this arrangement.
FIG. 23
27. Freehand Curved Lines. The freehand arrange-
ment is not confined to straight lines, but the inscription
may also be constructed entirely of curves, in which case it
is only necessary to balance the inscription equally in the
center of the card by simply giving heed to the uniformity
in width of margin. Fig. 23 shows an example of the style
of curves used in this arrangement. It is not advisable,
however, always to use curves throughout an inscription.
A combination of straight lines and curves gives the same
results and avoids the confusion and irregularity in general
effect that arises from too many curves.
16 SHOW-CARD DESIGN AXD ORNAMENT 2
LOCATION OF INSCRIPTION
28. A Common Error. The beginner is usually of the
opinion that the entire space on the card should be covered
with letters. This, however, is not the purpose of the show
card. The inscription is never of such a nature as to require
letters so large as will not permit of a liberal margin. The
observer is usually not more than 10 or 15 feet from the sign,
and small letters may be easily read at this distance, espe-
cially if the letters be made clear and distinct in outline and
in such styles as are most suitable to the inscription. Our
leading show-card writers carry this idea almost to its
extreme limit without impairing the appearance of the card
Latest^
X
FIG. 24
or depreciating its value as a show card. We would, there-
fore, urge on students the imperative demand for neatness
in their work, and the necessity for margins on the card suf-
ficient to allow a small space within the stripe. The stripe
should be made at least li inches from the edge of the card.
Fig. 24 shows the comparative location of an inscription
composed of two or three words.
29. An Emphatic Word. If an important single word
requiring special prominence occurs in the inscription, as, for
example, the name of the maker or the .name of an article,
the word may easily be made prominent, while at the same
SHOW-CARD DESIGN AND ORNAMENT
17
time the general effect of keeping the body of the inscrip-
tion the desired distance from the edge of the card may still
be preserved.
Fig. 25 illustrates this style of design. The fine-line stripe
may surround the design, being omitted only when it would
otherwise come in contact with the lettering; or, the stripe
may be merely suggested in the upper left- and lower right-
hand corners of the design according to the nature of the
inscription.
FIG. 25
30. Diverse Treatment. It often happens that a num-
ber of words in the inscription need to be given special
prominence, while a large portion of the matter is purely
descriptive and therefore may be put in one style of small
letters. With this kind of inscription, the letterer may give
the words the form of a design by embellishing the principal
lines of letters, or he may prepare his sign with no attempt
at artistic designing, using plain letters only. Fig. 26 shows
two designs bearing the same inscription: (a) the plain
lettered sign, and (b) the inscription arranged in the form
of a design.
18
SHOW-CARD DESIGN AND ORNAMENT
In the latter case, the strong contrast of the black ground
and the white cut-in letters repays the writer for the extra
time required in thus treating the inscription.
fpe prices charged for
Ru{5s at this sale are
pot equal to those asked
by the rug dealers, but
are ir> keepipji with the
prices of this store.
Tfye Pricey
charged for Rugs at
this sale are pot equal
totfjose asked by t|je
rug dealers, but are ip
keepipg v/ify tpe prices
of tp is store. ^
JB
HASTINGS & Co.
(a)
(b)
FIG. 26
31. Selection of Alphabets. The selection of the
most appropriate style of letter to be used is a subject
that should be given careful consideration. The letterer
should have the various styles of letters so fixed in his
mind that when given an inscription to design he may be
able to give to every word the particular style of letter best
adapted to its length, to the combination of its letters, and
to its relation to the other lines of the inscription. This the
letterer cannot hope to do until he has had considerable
practice and long experience in lettering. To provide him
with those styles of letters most commonly used is the pur-
pose of the plates of alphabets to be drawn and sent in to
the Schools for correction. In the following alphabets,
however, styles less frequently used are given. A student
who has become proficient and has ability to draw the regu-
lar plates of the Course will experience no difficulty in
executing any of these added styles. Practice these alpha-
bets during your leisure moments, and in a short time you
It l
I
i
I?
s
2 SHOW-CARD DESIGN AND ORNAMENT 19
will find that yon have memorized the details of construction
in every letter of the various alphabets now in use. These
plates will be found valuable for reference purposes, and, for
this reason, they should be kept close at hand when the
student is designing.
SUPPLEMENTARY ALPHABETS
32. Full Block. This style of letter is suitable for
headings, or for a short single word. Perhaps no style of
letter is so little used as this, and yet the card writer, to be
thoroughly prepared to meet every requirement, should
at least possess a knowledge of the construction of this
letter. By following the few general rules given, the Full
Block letter may be made freehand. First, note that the
width of the letters generally is equal to their height; also,
that the stroke and the space between horizontal strokes are
equal. The length of the spur is equal to one-half the width
of the stroke. The inside and outside bevels should be
parallel and the distance separating them should be the
same as that given to the width of the stroke. The bevels
begin one-fourth the width of the stroke above or below the
horizontal and reach to the vertical, thus avoiding too great
an angle in the construction of the letter. By always observ-
ing these few rules, the letterer will find it unnecessary to
use ruled lines for Full Block letters, except when absolute
accuracy is required.
33. Half Block. -This style of letter, like the Full
Block, is mechanical and composed
of many angles; it is, therefore,
seldom used. Its practical appli-
cation is confined mostly to that
feature of designing known as
cutting in. While a round letter
may be made more quickly than
.
any other style when lettering in
the ordinary way, the angular letter with its many bevels
is made with greater rapidity when cut in. The card writer
20 SHOW-CARD DESIGN AND ORNAMENT 2
may add spurs to the corners of the Half Block, thereby
relieving the letter of its severe plainness; when so relieved,
it is classified as Antique Half Block. Fig. 29 shows how
these spurs are added to the side bevels as well as to the
corners of vertical strokes.
34. Antique Egyptian (Light) . This style of letter,
shown in Fig. 30, is an extreme light-face treatment of the
normal Antique Egyptian letter. It is especially useful to
the show-card writer when the inscription calls for a small
neat letter on a black or colored card. No style of letter
answers such a purpose so admirably as this. Great care
must be given to its execution, in order that the proper
uniform width may be maintained in the stroke, that the spurs
may be made small and sharp-pointed; also, that the curved
strokes may be made symmetrical by merging the rounded
part gracefully into the horizontal stroke. The student
will find it necessary to devote considerable time to the
practice of this alphabet before he is able to use it to advan-
tage in show-card writing. Few styles of letters are subject
to modifications in so many points as this. The alphabet
entitled Eccentric Egyptian is so closely allied to this style
that the student is not required to prepare this one as a lesson
to be sent in for correction. The corrections made on the
Eccentric Egyptian plate will also apply, in a general way,
to the errors usually made in this plate by a beginner.
35. Old English. The need is occasionally felt by the
card writer for a style of letter that will serve the purpose
of a heading or give variety to the inscription. The Old
English letter, shown in Fig. 31, is an excellent one for such
purposes, because of its ornamental character, and also on
account of the simplicity of its formation. The letter is com-
posed of crescents, cymas, and straight lines. It is a letter
that may be easily memorized and one that may be made
with great rapidity. The Old English alphabet is capable
of the most beautiful effects in color treatment. The capital
may be highly illuminated by paneling or ornamenting, while
the balance of the line, or the lower-case letters, may be
o .
w o
fc
2 SHOW-CARD DESIGN AND ORNAMENT 21
blended and shaded by a great variety of methods. This,
however, requires time and study, and card writers are gen-
erally satisfied to include this among the list of styles for
occasional use only. In order that the writer may acquire
versatility in inscription designing, we recommend that he
give much practice to this style of letter and prepare him-
self to execute the capitals and lower-case letters by a careful
study of each letter until he finds it unnecessary to refer to
the copy.
It is not necessary to dwell on the great economy in time
gained from a perfect familiarity with the details of the for-
mation of every alphabet used. The letterer should experi-
ence no delay in his practical work by being compelled to
refer to the printed copy. We suggest, however, that this
knowledge cannot be obtained without constant practice.
36. Engrossing:. These alphabets are known as Rund
Schrift (Round Script), or round writing, and are illustrated
by means of Fig. 32. They are especially adapted to the
automatic shading pen. The letters are made up of vertical
strokes, cymas, and crescents. The vertical strokes are cut
off on an angle of 45, showing the natural incline of the
FIG. 33
pen when forming this style of letter. The pen is maintained
in the same uniform position throughout the alphabet. By
referring to the first letter A, the right and left crescent is
seen, also the point where the maximum thickness of the
stroke occurs. The crescent is reduced to a fine line, and
this is approximately on an angle of 45.
The heavy line of the letter, made by the grooved part of
the pen, should always be to the right side of the stroke; the
shade and heavy lines are drawn with one stroke of the pen.
In making this letter, draw all strokes by beginning at the
top and drawing the pen downwards. It requires but little
22 SHOW-CARD DESIGN AND ORNAMENT 8 2
practice with the pen in order to bear on it with a firm, even
pressure that will produce an unbroken stroke. Special
inks, of several colors, are prepared for these shading pens,
and so mixed as to give a transparent shade. Fig. 33 shows
the style of pen used; also, the angle at which the pen
is inclined.
37. Shippers' Box Marking:. While this style of
letter, as shown in Fig. 34, is known as a box-marking style,
it is nevertheless a convenient letter for use in card writing.
This letter may be made with great speed. The stroke,
although shaded, is made with one downward movement
of the brush, especially in the lower-case letters. Some of
the capitals require two strokes of the brush when making
the shaded part. This style of letter inclines about 30 to the
left of the vertical. The right outline of the stroke follows
this incline, while the left outline, beginning at the top with
a fine line, swells into an ogee curve, giving the stroke its
maximum width, one-fourth the height of the letter from the
base line. The chief characteristic of this alphabet lies in
the graceful curves that form the details of the letters.
38. Fi*ench Roman (tiiglit). Included in the drawing
plates is the French Roman, also shown in Fig. 35, the
normal letter of this style, and therefore the prototype of
the light-face letter. This alphabet is an eccentric form of
letter, and like the Antique Egyptian (Light) is especially
used on a black or colored card. The letter when used on
a dark card is usually white, and for this reason an artistic
light-face letter is chosen for the purpose. This letter is
subject to greater modification than is shown in the copy.
The lower-case letters of the normal alphabet are used with
this letter, but should be greatly reduced in the stroke in
order that perfect proportion may exist when they are com-
bined in the form of an inscription. We advise the student
to study this alphabet in connection with the normal, that he
may be better able to compare the details of both styles and
see wherein they differ. When constructing this letter, it is
essential that all spurs be made needle-pointed and that a
rsS
o 3
. s
r>
E
Q\
^^
I
2
SHOW-CARD DESIGN AND ORNAMENT
23
uniform width be given to the stroke; also, that the light
line be made one-third the width of the stroke.
39. Gothic. This style of alphabet, see Fig. 36, was
created during the closing centuries of the Medieval period,
and is associated historically, as well as in its outline, with
the ogival, or pointed arch, which at this time existed in the
Gothic architecture. For illuminated capitals there is no
alphabet that gives so classical a touch to a design as the
Gothic, although Old English is often used for this purpose.
But the elements of construction in this style of letter better
fits it to the panel, in which illuminated capitals are often
placed. Gothic is so seldom used in card writing that it
would be necessary for the letterer always to have the
plate before him for reference when constructing a Gothic
inscription.
INDEXES
40. Method of Construction. Aside from the knowl-
edge of alphabets, nothing is so important in show-card work
as the index hand. For directing the attention to some
6
n
FIG. 37
specialty, or the customer to some department, the index is
indispensable. It is obvious, therefore, that the card writer
should thoroughly understand the principles on which it is
constructed. The rule by which the index is proportioned is
so simple that when once understood the student need never
experience any difficulty in laying out a right or left index
from memory.
24 SHOW-CARD DESIGN AND ORNAMENT 2
In Fig. 37 are shown the points of construction and their
proper location, by which an index of any size may be drawn.
The distance from a, or the end of the forefinger nail, to b,
the center of the knuckle, is equal to that from b to c and
from a to g\ also, to that from i to the top of the coat sleeve.
The distance from d to e is equal to that from j to k, g to
/, c to A, and h to z. To locate these points properly, the
student should draw a horizontal line tangent to b. By
means of this line the points a and c may then be located,
as they are at equal distances below this line and also
equidistant from point b. The points a and c being found,
it is easy to draw the curves of the top of the finger and the
back of the hand. It is necessary to keep in mind the incline
of the line from a to g, which should be at an angle of 25.
The width of the finger at d and the thumb at e are equal,
and one-half of that from inches each.
It is then an easy matter to space the numerals accurately
by proportion.
16. Details of the Letters. The width of the outline
in the lower-case letters is made a trifle less than that of the
capitals. The same brush may be used, however. Note the
following instruction with reference to the details of letters:
1. The middle stroke of letter a, where joined to the ver-
tical line, is on an incline and should not be curved.
'1. The lower portion of the letter g should be a little
wider than the upper part. Do not carry this to either side,
but always place it directly underneath the upper part of the
letter.
3. The letter / is the only letter beveled at the top of
the stroke.
4. The lower extremity of the stroke of the letter y is
carried to the left on an angle of about 45.
5. The middle stroke of the figure 4 is a full stroke below
the center of the figure. That of 3, o, 6, 8 is about one-half
8 LETTER FORMATION 4
stroke above the center line, and that of the ,9 is one-half
stroke below the center.
17. Shading of the Numerals. It is our purpose to
give the student such practice as will not only familiarize
him with the letters, but enable him also to apply the dif-
ferent forms of treatment in lettering, as well as shading.
For that reason, we require him, on completing the outli-
ning, to shade the numerals with what is known as the natural
shade the plainest shade employed. Use the water color
labeled charcoal gray; rub a little of this color in one of the
water-color dishes, being careful to make the shade light
rather than too dark. Use the No. 3 red-sable Columbia,
and with this proceed to shade the figures. Make the shade
one-half the width of the stroke and allow a space between
the shade and outline of the figure of a little more than the
width of the outline. Make the shade from all points on an
angle of 45.
PLATE, TITLE: HEAVY EGYPTIAN
18. Practical Application. No style of letter is
better suited to water-color treatment than the heavy
Egyptian. It is seldom made a solid letter by filling in
with black, but is usually outlined, and the space within the
outlines filled in with transparent water colors. Lower-case
letters or numerals never accompany it, and they should
never be used in connection with it.
19. Spacing the Lines. Construct a rectangle, as
heretofore instructed, 15 inches long by 9 inches wide, leav-
ing equal margins on either side. Beginning at the lower
left-hand corner, measure off on the vertical line the height
of the letters, l inches. Above this point lay off f inch,
the width of space between the lines of letters. Repeat
this operation, making 4 spaces for letters and 3 spaces
between them.
20. Spacing the Letters. The width of the letters
generally is If inches, using the letter H as a basis of
FIG. 2
4 . LETTER FORMATION 9
measurement. The rounded letters, such as O and Q, are
f inch wider than this, and none are narrower. On account
of the eccentric projections that occur in many of the letters,
the student must proportion the width of the letter exclusive
of these, recognizing only the main body of the letter.
There are many exceptions to the general rule governing
the width of letters on account of the extreme width of the
stroke, and any arbitrary rule relative to their width in other
alphabets cannot be given for this. Divide the plate, as
heretofore suggested, into 5 equal spaces of 3 inches each;
also divide the copy into 5 spaces of 2i inches; this will
more readily indicate the proper location of the letters and
the spaces between them.
21. The Brush Work. Waterproof India ink only
should be used on plates that are to be colored with water
colors. Use the No. 5 red-sable brush, and, when out-
lining, note carefully all details of each letter. The spurs
should be needle-pointed. The end of strokes are curved
somewhat, thereby giving the letter a more graceful appear-
ance. Make the vertical lines extend their full length.
Do not make the spur large; the smaller this is, the better
it will suit this style of letter. Make all curves symmetrical;
do not exaggerate them. In many cases they are only
slight ogee curves. Make the strokes of the letters of
uniform width.
22. Coloring the letters. After the plate has been
outlined and all pencil marks erased, color the letters, as
follows: The first and third lines may be colored with crimson
lake, and the second and fourth with new green. This should
be done by using two shades of the color. When necessary
to darken green, add a small quantity of Prussian blue.
Letter G, Fig. 2, shows the manner in which the water colors
may be laid on. First make a light shade of the color, using
but little of the crimson lake. Flow on this color, covering
the entire space within the letter. When this is dry, cover
the lower portion of the letter with a darker shade. Draw a
horizontal line through the center of all letters, thus making
10 LETTER FORMATION 4
the work uniform in character. A broad stripe and fine line
at top and bottom of this, made of a darker shade of the
green, produce a very pleasing effect in water-color treat-
ment. Stripe the second and fourth lines, therefore, as
shown in H of the illustration.
PLATE, TITLE: ECCENTRIC EGYPTIAN
23. Practical Application. The Eccentric Egyp-
tian, which is a light-stroke letter, is much used in show-
card writing, especially for small, neat white letters on a
black card. Where a large amount of matter is contained
on a card, it is necessary that some light-stroke letter be
used. Eccentric ' Egyptian is a style quickly made, and, in
an inscription, presents a very artistic appearance.
24. Spacing the Lines. Construct a rectangle
15 inches long by 9 inches wide, allowing an equal margin
of 2 2- inches on either side. Then, beginning at the left-
hand top corner, point off 1 inch from the top line, which
gives the top of the first line of letters. The capitals are
ll inches high and the space between the lines of letters
i inch. From the bottom line of the capitals to the body
of the lower-case letters is f inch. The lower-case letters
are f inch high and the space between the lines is f inch also.
The long-stroke letters project i inch above and f inch below
the body of the letters.
25. Spacing the Letters. Divide the plate, as well as
the copy, into 5 equal spaces, as recommended in the
instruction accompanying the heavy Egyptian letter. Note
carefully all details of letters and do not project strokes
beyond the limits shown in the copy. The general width of
these letters is li inches, using the width given to the let-
ter H. Attention is called to the unequal spacing of the final
line of lower-case letters. This is due to the letter / and the
tail-stroke of the letter g coming together were the line
spaced strictly according to rule. Therefore, make letters
equally distant from the margin line, which is 3 inches.
11
FIG. 3
26. Uniformity of the Letter*.- i he formation of
the letters of any eccentric alphabet cannot be arbitrary.
The features that change it from a normal to an eccentric
letter may be altered, but, when this is done, the change
should exist in the let-
ters throughout the al-
phabet. For example,
the letters of this plate
having strokes cut off
at an angle, may be car-
ried to a graceful point,
as shown in Fig. 3. The main point to be observed in
making eccentric letters is to make the letter symmetrical
and well balanced. Do not form a letter so that it inclines
to the right or left. One such letter destroys the appear-
ance of an entire line of well-proportioned letters.
27. The Brush Work. With this letter the student
temporarily leaves the work of outlining to execute a plain
block, or solid, letter. He has therefore to observe the
uniform width of the stroke, symmetrical curves, and
perfectly true outline. The width of the stroke made by
the brush need not be con-
sidered so long as the edge
of the letter is accurately
made.
Use the brush previously
used for outlining, the No. 5
red-sable rigger. Draw all
outlines in the order required
when outlining.
The width of the stroke of
capital letters is -? inch; of lower case, i inch. If this
letter be made on a black or dark-colored card, make the
stroke of the capitals i inch and the lower case somewhat
less than this.
In Fig. 4 is shown the effect of the reduced stroke when
this style of letter is used as a white letter on a black
FIG. 4
12 LETTER FORMATION 4
ground. Note also the comparative height of the capitals
with the lower-case letters.
After the student has prepared his specimen sheet to be
sent in for correction, we would recommend that he prepare
the same alphabet, using a black cardboard and show-card
writers' white. Make this as accurately as possible, and in
accordance with size given in Fig. 4. It is not necessary
that this be sent in for correction, as the black-lettered plate
is sufficient.
PLATE, TITLE: FRENCH ROMAN
28. Practical Application. There is no style of let-
ter more generally used or more popular with the show-card
writer than French Roman. It is an alphabet, therefore,
to which the student may profitably devote much extra time,
in practicing every characteristic detail, in order that he may
the sooner memorize the formation of each letter and be
able to execute them with accuracy and speed.
CAPITALS
29. Spacing the Lines for Capital Letters. Con-
struct a rectangle of the usual dimensions, 15 inches by
9 inches, allowing the required margin of 2i inches. Then,
beginning at the lower left-hand corner, measure off on the
vertical line li inches, the height of the letters, and, above
this, f inch, the space between the lines of letters. Repeat
this, making four lines with 3 spaces between them.
30. Spacing the Letters. The width of C, D, and G
is ll inches, and of B, E, and F i inch less; the space
between C and D is one-half their width. The space inclu-
ding the panel for the letter A from the left-hand vertical
line to the stroke of the letter B is 3 inches. The panel for
the letter A extends i inch above and below the line for
letters. The heavy stroke of letter is TO inch and the fine-
line stroke is i inch wide.
31. Width of the Letters. Exceptions to the gen-
eral width of letters exist in this alphabet in a somewhat
4 LETTER FORMATION 13
exaggerated form. The letters M, O, and Q are one stroke
wider than H, which is always chosen as a basis of measure-
ment. The letter W is 1 i times wider than the H. In pro-
portioning the width of letters, the one point to be remem-
bered is, that all letters should be given a comparatively
equal width that will make them appear uniform and sym-
metrical. For this reason arbitrary measurements in regard
to each particular letter are not given; neither is it expected
that a student will study the exact width, but rather be guided
in the measurements by observing their relative width. This
is accomplished by setting the compasses to the width of the
standard letter H and using this width for comparison.
32. The Brush Work. Use the No. 5 red-sable rigger
for cutting in the letter A as well as for outlining the letters.
India ink should be used for outlining this Plate. It is
necessary in this alphabet to mark
out the letters carefully before
beginning on the brush work.
Points to be observed in making
the letters are: Do not curve the
outline that forms the spur, but
make it angular; make all strokes
parallel; in making crescent
strokes, the maximum width of
the stroke is at point a of Fig. 5, FlG - 5
the width gradually diminishing until point b is reached;
always make the space within the letters C, O, and Q elliptical;
make the ends of the spurs needle-pointed; make all strokes
uniform in width, and merge all wide strokes into the nar-
row ones gracefully, being careful to make both outlines
symmetrical.
33. Details of the Letters. In letter A is shown a
modification of the letter sometimes identified with this alpha-
bet. The normal letter is the reverse of the letter V, with a
cross-bar located about one and one-half strokes above the
base line of the letter. The letter C may be finished as in
copy, with the lower stroke corresponding with the upper, or
14 LETTER FORMATION 4
it may be brought to a point above the bottom line. The
point where the strokes in letter M join may be raised or
lowered. The essential point to be observed is that it should
always be located midway between the vertical inner lines.
The tail of the letter Q may also be made as shown in Fig. 5.
LOWER CASE
34. Spacing the lanes for Lower-Case Letters.
The lower-case letters are included in a rectangle the same
size as that required for the capitals. Beginning at the
lower left-hand corner, measure off on the vertical line
\ inch from the bottom line, which gives the base line for
the lower-case letters. These are inch high; IT inch above
this gives the base line for the numerals. The numerals are
li inches in height, and the space between the lines is i inch.
The distance from the top line of numerals to the base of the
first line of lower-case letters is f inch. The height of the
lower-case letters is the same throughout the alphabet.
To design the scroll, draw a vertical line through the center
of the rectangle 7i inches from either end. Measuring from
the base of the first line of lower-case letters, point off on
the vertical line just drawn li inches; 4 inches below this
place another point, which gives the height of the scroll.
The extreme length is 7 inches, or 3i inches to the left and
3f inches to the right of the vertical line. The letters on
the scroll are f inch high. They are located 1 inch from the
top of the scroll and I inch from the bottom.
To describe the curves of the scroll as well as of the let-
ters, find a point 5f inches above the scroll and i inch to the
right of the center vertical line.
35. Details of the Letters. The width of the verti-
cal strokes is i\ inch. The width of the fine-line stroke is
one-half that of the heavy, or vertical, stroke. The outline
of the lower-case letters is somewhat lighter than that of the
capitals or numerals.
In drawing the letters, note carefully that the spurs at the
top of the vertical strokes are rounded in the lower-case
4 LETTER FORMATION 15
letters. These strokes are cut off on an angle of about 45.
The letters of the ornamental scroll are a modification of the
normal, differing in the a and d\ also, the capital D. In
the former the stroke is inclined, which changes the character
of the letter. In the capital D the upper stroke is carried
beyond the vertical, which is a form of treatment often used
in this style of letter. The width of stroke in this letter is
i inch.
36. The Brnsli Work. Use the same brush as that
used in outlining the capital letters. After completing the
outlining, and having erased all pencil marks, the scroll may
be colored and shaded as follows: Use charcoal gray for
shading. Make a tint that will be equal in strength to the
shade on the copy, that is, produced with fine lines. Place
the shade on the left, in the manner shown. After this has
dried, color the scroll with mauve purple. This should be
done with care, in order that a large surface may be covered
evenly and not show streaks. Rub up this color in one of
the small dishes. Keep the shade light at first. Flow on the
color copiously, using a large brush. When this has dried,
another coat may be flowed on if the first coat appears too
light when dry. Shade the letters on the scroll with a darker
shade of the same color. Keep the shade on an angle of
45, leaving a narrow space between the shade and outline.
The width of the shade should be i inch.
PLATE, TITLE: ROMAN
37. Practical Application. As the Roman letter is
one that never changes in character, being a fundamental
alphabet, or prototype, from which many modifications arise,
it is necessary that the student should possess a knowledge
of its formation. Roman letters are used extensively in
show-card writing, especially for headlines, important words,
etc. They are also subject to extensive treatment in color-
ing and shading, and in no style of letter is the skill of the
letterer more apparent than in the graceful and symmetrical
curves of the Roman alphabet.
16
LETTER FORMATION
CAPITALS
38. Spacing? the Lines for Capital Letters. Con-
struct the rectangle the size used on former plates, 9 inches
by 15 inches. Beginning at the bottom line, draw eight
horizontal lines, allowing li inches for each line of letters
and f inch for the space between the lines of letters.
39. Designing the Letters. The letters of the
normal Roman should be equal in height and width,
although the letter may be greatly condensed in width
when it is necessary that they should be so treated. The
width of the vertical stroke is f inch, and the crescent strokes
are somewhat wider than this. The spurs project one-half
the width of the stroke beyond it, and these should be one-
fourth of a circle, as shown in Fig. 6. The pointed stroke
of the letter M may rest on the base line, or may be made
one-half stroke above it. This letter should be one stroke
FIG. 6
FIG. 7
wider than letters generally; the L and N are slightly nar-
rower than the H, although they do not appear to be so.
The tail of letter R should be maintained in a vertical
position and should be a perfect cyma. To construct the
cyma, make the maximum width in the center of the figure
and diminish it gradually in either direction, as shown
in Fig. 7.
Note the following details in drawing the letters: The
middle fine line of the letters B, E, F, and H is one-half
stroke above the center of the letter. The lower portion of
the letter C projects beyond the upper spur. The spur of
the letter G is directly above the center of the vertical
stroke. Curves are necessary to give symmetry to the ball
4 LETTER FORMATION 17
in letter T; also, in the character &. The upper spur of the
letter 5 is about one-half stroke within the limits of the body
of the letter, while the lower spur projects the same distance
beyond it.
40. The Brush Work. Use the same brush thus far
used. Note carefully the order in which the strokes of the
first three letters are drawn. Draw the extreme outlines of
letters in every case, after which the details may be com-
pleted. The spurs may be drawn to a needle point, as
shown in the copy, or they may be finished by leaving the
end of the spur the thickness of the outline.
Draw the vertical lines to which are attached the spurs,
commencing about the width of a stroke from the top line and
leaving off the same distance above the base line. The spurs
may then be drawn and joined to the vertical line.
LOWER CASE AND NUMERALS
41. Spacing Lower-Case Letters. In order to give
the student the advantage of practice in the various forms
of arrangement in drawing the plates, they have been pre-
pared along such lines as will give him practical examples
that may be readily applied in show-card writing. To place
the lower-case letters on parallel ogee lines, draw a rectangle
15 inches by 9 inches, and divide this into 5 equal spaces
horizontally. Beginning at the left, number the four vertical
lines drawn. Then, from the bottom line of the rectangle,
measure off on line 1 the points that will give the position
of the long line of the ornament, the height of the lines of
lower-case letters and numerals; also, the position of the
ogee curves. These points are as follows: i, li, 3f, 3f,
6, 7, and 8f inches. The points at 3f inches and 5i inches
Qfive the height of the numerals; points at 3f inches and
8| inches the top line of ornament. The points on line 2
are t, li, 6i, and 1\ inches; on line 3, IT^-, 2iV 7, and
8 inches; on line 4, Iff, 2f, 5i, 7i, and 8i inches. The
point at oi inches gives the lower line for the ornament;
that of the other ornament rests on the base line of the
18 LETTER FORMATION 4
rectangle. From the points given, first draw the two lines
for the numerals; then draw two symmetrical ogee curves
through the points given. The long strokes project -5- inch
above and below the line. The letter g is f inch below.
It is necessary to draw but one line for the long-stroke
letters the one above the first line of letters. The length
of other long letters may be measured separately.
To space the letters of this plate, note their position in
regard to the vertical lines, and locate them on the specimen
sheet accordingly.
42. Designing the Letters. Do not incline the let-
ters to follow the curve, but make every letter vertical. The
curved finish in the letters a, b, etc. at the base should not
be exaggerated, but made small to correspond with the size
of the spur. In constructing the outline of the character 2,
and in all similar instances, the strokes of greatest length
are made first. In drawing the lower stroke of figure 7, the
right outline should be made first. The cyma stroke of
figure 8 should be one-half stroke above the center. The
lower outline o-f the cyma stroke should be made first.
After the letters and the numerals of the plate have been
finished and the pencil marks erased, draw the freehand lines
that compose the ornament. For this, use the orange ver-
milion water color. The long lines should be drawn first.
These are parallel. They should be brought to a needle
point on the inner end and given added thickness at the
curved end. Having drawn these, the other lines may be
added. The manner in which these should be drawn is
indicated by the arrows in the top ornament.
PIRATE, TITLE: TRANSPARENT COLOR WORK
43. Advantages of Color Work. A knowledge of the
methods of handling colors in show-card writing is invaluable,
and the benefit derived from this is obvious. Show-cards
are made more attractive through coloring, and the writer's
taste is gratified by artistically embellishing a piece of work
by the use of harmonious colors properly applied. The
S4 LETTER FORMATION 19
examples given, therefore, are such as the student will find
most profitable for all practical purposes.
44. Simciiig the Letters. Construct a rectangle
14 inches by 9 inches, or, 1 inch shorter than previous plates.
On this locate the words and single letters as follows: iinch
above the line forming the base of rectangle gives the base line
for the word Charter. The lower-case letters of this word are
li inches high, the capital C is 3 inches. Measuring from
the base line of the rectangle, the ribbon is 3i inches, and
the height of the ribbon is 2i inches. The letters G and J/
are f inch above the ribbon, and are 2A inches high. The
letters W and O are li inches above the ribbon, and are
ITI? inches high. The extreme width of the letters G and M,
exclusive of the spurs, is 2i inches. The letter Wis 3 inches
wide, including the spurs; the letter O, 2i inches. The word
tires on the ribbon is li inches high, or f inch from the top
and bottom edges. The word the is f inch from the base of
the rectangle. The capital letter is If inches high; the
lower-case, i inch. The lower left-hand corner of the ribbon
is 2i inches from the vertical line of the rectangle, and the
upper right-hand corner of the ribbon is the same distance
from the right-hand vertical line.
45. Designing the Letters. Attention is especially
called to the width of strokes in the letters of this plate.
They are made extremely heavy in order that the letter-face
treatment may be better shown. First draw the outlines of
the letter; also the ribbon. The letters C. B. & Co. may be
approximated in regard to height and location. The letters
on the ribbon incline with the edge or fold, while the letters
of the word Charter incline on an angle of about 40.
46. Coloring the Plate. After the plate has been
carefully designed, and before outlining with black, the blend-
ing on the ribbon should be done. For this, use Prussian
blue and chrome yellow. First erase the pencil marks on
the ribbon with the sponge eraser, leaving only faint guide
lines for the letters. Then, before blending, wet the portion
of the ribbon occupied by the letters with clear water, and,
20 LETTER FORMATION 4
before tnis has been entirely absorbed by the paper, cover
the entire space with a light shade of yellow at the top and
blue at the bottom, leaving the center of the letter white.
When this is dry, proceed to letter the plate, beginning with
letter W. Follow the letters of the copy carefully in every
characteristic detail. In cutting in the word tires, be careful
that you do not run the black on the space to be occupied by
letters, or on open spaces at the edge of the ribbon. When
the plate has been outlined and the black brush work entirely
completed, use the sponge eraser and remove all pencil
marks preparatory to coloring the balance of the work.
Now color the edges of the ribbon, using a yellow on the
top edge somewhat stronger than that used on the letter;
likewise, a stronger blue on the lower edge. Fill in the entire
space within the letters C. B. & Co. with a tint made from
crimson lake. Use the same color and make a shade of
medium strength for the lower half of the letters. When
dry, add another still deeper shade at the bottom of the let-
ters. Fill in all letters before beginning with the shading.
The colors used are as follows: For the letter W use a tint
made from burnt sienna; for the darkest shade on the face of
this letter, blue to sienna. The same colors are also used to
fill in the letters of the word Charter. The color on which the
filigree ornament is placed is the same as that used for sha-
ding the word Charter, and is made of orange chrome yellow
and sienna. A little red and sienna are added to this of suf-
ficient strength to make the filigree ornament. New green
is used on the face of the letter G with two darker shades
made of the same color, to which Prussian blue is added for
the diminishing ellipses. The shade farthest from the letter is
called the natural shade, and is made from charcoal gray,
with a little orange chrome added. The two inner shades are
made from burnt umber. The space between the shade and
the letter is filled in with a tint made from orange chrome.
The letter M is filled in with mauve purple, and shaded with
darker shades of this color so as to give the ornamental cen-
ter of the letter a relief effect. The shades of the letter, aside
from the natural shade, are made of burnt sienna. The upper
4 LETTER FORMATION 21
portion of the letter O is the same tint as that used on the let-
ter IT. The lower portion is made from sienna and orange
chrome. The ornament is filled in with an orange-chrome
tint. The shade on this letter, as well as the ribbon and
adjoining letters, is made from charcoal gray; this is called a
double shade. The shade from letters C. B. & Co. is a cast
shadow, being in reality a repetition of the letter on the back-
ground, as shown in Show-Card Writing, Fig. 19. In shading
the letters, make the shading, as well as the space between
the shade and the letter, uniform in width.
PLATE, TITLE: ECCENTRIC ROMAN
47. Practical Application. The Eccentric Roman,
as well as the Heavy Egyptian, is best adapted for water-
color treatment, because the extreme width of stroke gives
sufficient area within the outline of the letter for a variety in
the coloring. When a lower-case letter is required to be used
in connection with this alphabet, the lower case of the Roman
may be used. The stroke of this letter, however, should be
li- times the width of the normal Roman lower case, which
makes it conform to the stroke of this extreme letter.
48. Spacing tlie Lines. This alphabet is also drawn
within a rectangle 9 inches by 15 inches. The letters are
li inches in height and the space between the lines of letters
is f inch.
49. Spacing the Letters. The width of letter D,
which may be taken for a basis of measurement, is ll inches.
The width of the vortical stroke is f inch. Use the method
recommended in previous plates. Divide the specimen copy
into five equal vertical spaces, 3 inches wide, and also the
copy into an equal number of spaces 2i inches wide; then
arrange the letters in the drawing in their relative position
to those on the copy It is necessary in spacing all letters
to have them appear as nearly equal in width as possible,
allowing additional space for letters that are always of
exceptional width; namely, the J/ and W. Aside from this,
it is not essential that a show-card writer should give the
22 LETTER FORMATION 4
subject of the proportion of letters in each alphabet further
consideration.
50. The Brush Work. Use the brush that has thus
far been used in lettering previous plates. The outline
should be iV inch wide, or the stroke that is most suited to
the size of brush a line that may be made without bearing
heavily on the brush. Make every curve graceful and sym-
metrical. When making the outline that forms the inside of
the letter, great care should be exercised to not only form
the stroke properly, but to make the space within the letter
true and regular. The feature shown in the lower stroke of
the letter E is the cutlas of the loth century, which was first
employed as a characteristic in letter formation in the
German Renaissance of that period.
In finishing the plate, after it has been outlined, fill in the
letters and shade them as shown in Fig. 8. To do this, first
fill in the letters with orange chrome, being careful to keep
the color light, as this is one of the strong colors and but
very little is necessary. Moisten up some of the color in
one of the water-color dishes, and test its strength before
applying. When the proper shade has been secured, flow
the color on with the No. 3 short red-sable Columbia.
The cymas that form the ornament on the face of the letter
are made with the same brush, the color used for this being
burnt sienna. Shade the letters with charcoal gray, making
the first shade one-half the width of the stroke. When this
is dry, use a stronger shade of the same color and apply
it on the first shade, evenly dividing the width, thus leaving
a space between the letter and the shade equal to the width
of one shade of the letter.
PLATE, TITLE: OGEE-CURVE STROKE
51. Practical Application. The Ogee-Curve Stroke
serves the same purpose in show-card writing as the eccentric
styles of letters. It is not intended for general utility, but, in
order to give variety to an inscription, it is often used. The
versatility of the letterer is shown as much by his ability to
4 LETTER FORMATION 23
employ that style of letter most fitting to the inscription as
by his knowledge of a large number of different alphabets.
The style of letter under consideration is most graceful,
quickly made, and subject to eccentric treatment, when a
student has become familiar with the normal forms of
the letters.
CAPITALS
52. Spacing the Lines for Capital Letters. The
rectangle enclosing the letters is 9 inches by 15 inches.
The letters are li inches high, and the space between the
lines of letters is f inch. The approximate width of this
letter, using the letter H for the basis of measurement, is
If inches. The compasses may be set at this width, and
the space for the letters pointed off on the base line, or a
line drawn horizontally through the center of the letters.
The width of the stroke is f inch. The letters are inclined
on an angle of 20.
53. The Brush AVork. This letter is made of ogee
curves, and, therefore, before lettering the plate, the student
should practice making this curve until he is able to make
it symmetrical; also, to place several ogee lines side by side
and have them parallel. The curve should not be exagger-
ated, but should be slight, curving the line to the right above
the center of the letter and to the left below it.
The lines in many of the letters are exceptions to the
general feature that characterizes this letter. Some of
these, as in A and H, are straight lines, while others, as in
A, K, M, N, Y, and the character 4, are circular arcs. Use the
No. 5 red-sable brush; make the stroke somewhat lighter than
that of Eccentric Roman. Great care should be exercised in
merging the outlines of the stroke into the fine line, to make
the outline symmetrical and not show an additional thickness
in the outline at this point. There is no spur attached to the
corners of the strokes; the corners should therefore be made
with as sharp an angle as possible.
Observe the details of each letter closely and endeavor to
reproduce them precisely like the copy. In doing this, the
24 LETTER FORMATION 4
following few suggestions will be found profitable: Many of
the strokes in letters of this alphabet extend beyond the
limits of normal letters. It is well, therefore, in order to
reproduce such features in proportion to those of the copy,
to note their length, using the width of the stroke as a basis
of measurement. For example, the lower stroke of the
letter S projects one and one-third strokes to the left of the
upper portion of the heavy stroke, measuring from a line
drawn tangent to this at an angle of 20.
Do not enlarge or exaggerate the double-line thickness on
the end of all fine lines. It is a feature that characterizes
this form of alphabet, and to enlarge on this would entirely
change the general appearance of the letters.
Give to every curved stroke a free-hand graceful curve.
Do not permit this to appear broken or distorted, thereby
throwing the letter out of balance. Shortening or lengthen-
ing a line more than the required length will cause the letter
to incline to the right or left.
LOWER CASE
54. Spacing the Lines for Lowei*-Case Letters.
Construct a rectangle 9 inches by 15 inches. Beginning at
the lower left-hand corner, measure off on the vertical line
2 i inches, which gives the top of 'he bottom line of lower-
case letters. These letters are 1 inch high. Between the
lines of letters there is a space of li inches. The character
$ is 2 inches high, and the character f is If inches. The
long strokes project i inch above the body of lower-case
letters, while the letters that project below the base line are
of various lengths, which should be determined with refer-
ence to their proportion to the height of the body of the
letter, as shown on the copy.
55. Spacing the Letters. The incline of the lower-
case letters is 20, or the same as that of the capitals. The
stroke is i inch wide, while the width of the outline is the
same as that of the capital letters. In spacing the top line
of letters, a space of i inch should be allowed between the
FIG. 8
4 LETTER FORMATION 25
vertical rectangle lines and the first and last letters. At
either end of the lower line 1 inch space should be allowed.
This will permit a uniform space between letters and also
give the proper width to each.
56. The Brush Work. Use the same brush as was used
for the capitals. The ogee line curves either way from the
center of the letter, which is true of the long strokes, such as
b, /,/, etc., as well as the 1-inch letters. Many of the letters of
the lower-case alphabet are identical with the capitals, while
others are characteristically different from all other styles of
lower-case letters, such as the g and y. Note the curves of
these last-mentioned letters, and study to give to them, as
well as to all letters, the same incline and general appearance.
PIRATE, TITLE: SQUARE ENGLISH
57. Practical Application. The Square English
letter is simple in construction, and, when the characteristic
features that exist throughout the alphabet are understood,
this form of alphabet becomes as easy to make as the
simplest letter in the Course. A chisel-shaped brush, such
as a square shader, or the automatic shading pens, may be
used to the best advantage when the letter is to be made
solid. It may thus be made with accuracy and also with
rapidity. Its chief qualifications that recommend its use in
show-card writing are, that a line of letters formed from
this alphabet presents a studied uniformity in appearance;
also, that the letters may be colored and shaded with very
little work, which is an advantage to be considered.
CAPITALS
58. Spacing the lanes for Capital Letters. Con-
struct a rectangle of the usual size, 9 inches by 15 inches.
The base line for the last line of letters rests on the line
enclosing the rectangle. The letters are li inches in height,
and the spaces between the lines of letters are i inch.
26 LETTER FORMATION 4
59. Spacing the Letters. The second and fourth
lines are indented 2f inches from the vertical line of the
rectangle on the left, while the first and third lines finish
about IT inches from the right-hand vertical line. The
letters are If inches wide, and the stroke is -rg- inch. The
letter B is 3 inches from the vertical line. The filigree
ornament extends f inch above the rectangle. A space of
If inches, or equal to the width of the letter Af, should be
left between the letter Z and character &.
60. The Brush Work. First, make the letter A solid,
as shown in the copy; then proceed to ornament it by follow-
ing the longest curved lines, after which the shorter lines
may be made. The outline of the letters should be made
heavy or iV inch wide. The beveled stroke that occurs at
the left of the top, and at the right of the base of the vertical
strokes, should begin at a point opposite the outline of the
stroke and should be carried at an angle of about 40 to a
point almost equal to the width of the stroke. The spur
opposite this angle should be small and sharp-pointed.
61. Coloring the Letters. When the plate has been
outlined and all pencil marks erased, proceed to color and
shade the work. Fill in the letters with a medium shade of
crimson lake water color. After this is dry, fill in the lower
half of the letter with a darker shade of the same color,
cutting off the color on a horizontal line in the center of the
letter. Cover over the entire filigree ornament with a light
shade of chrome yellow, extending this about i inch beyond
the lines of the ornament. Shade the letters, exclusive of
the letter A, with charcoal gray. Make the shade the width
of the open space of the stroke, and leave a space between
the shade and the outline equal to li times the width of the
outline. The bevel at the top of stroke being on an angle
of 40, and the shade on an angle of 45, a slight narrow
shade only should be shown at the bevel. Be careful to
always maintain the 45 angle in shading, as well as to give
the shade, and the space between the shade and the letter, a
uniform width.
4 LETTER FORMATION 27
LOWER CASE
62. Spacing the Louver-Case Letters. The rectangle
enclosing the lower-case letters is also 9 inches by 15 inches.
The long strokes of the letters p, g, and y rest on the line of
this rectangle; -3 inch above this draw the base line for the
last line of letters. The lower-case letters are 1 inch high,
and the .space between the lines of letters is 2 inches. The
panel enclosing the letter 5" is 1 inch from the rectangle line
and f inch from top line of letters-. It is 2i inches wide
between the inner vertical lines, and about 1 inch above and
below the letter. The width of the panel enclosing the
letter M is 2i inches, and the height should correspond with
that of the letter S. The width of the letters is % inch.
The width of the stroke is one-fifth the height of the letters.
Use compasses to divide the height into five equal parts.
63. The Brush Work. Use the brush that has thus far
been used for outlining to make these solid letters. First
outline the letter, being careful to make the outside edge of
the stroke straight, after which the letter may be filled in
with the same, or a larger, brush. Points to be observed
in the details of these letters are: Make corners sharp. Do
not exaggerate the size of spurs where these occur on
corners of strokes. Where horizontal strokes are cut off
on a bevel with the point touching the vertical stroke, be
careful that the extreme point only is made to touch. All
bevels should be maintained on a uniform angle of about
45. In outlining panels for the capitals 6" and M, make the
outline precisely like the copy, as this conforms in a general
way to the outline of the letter.
64. Hints on Coloring. In the practical example
given on this plate, not only is a line of capitals and lower
case from this style of letter employed, but the subject
of illuminating and paneling capitals is also shown. To
accomplish this with the least amount of work and produce
a most pleasing combination of colors, proceed in the follow-
ing manner: First rub up a tint of orange chrome yellow,
28 LETTER FORMATION 4
and fill in the first panel, leaving the letter 5" open. Use
crimson lake cautiously in the same manner, filling in the
panel containing the letter M. Fill in the letter .5" with a
medium shade of crimson lake, and the M with a medium
shade of new green. The lower half of the letter M should
be filled in with a dark shade of green darkened with blue,
cutting across the stroke in a diagonal line. In the same
manner a darker shade of crimson lake should be applied to
the lower half of the letter .5*. To shade the letters S and M,
add a small amount of crimson lake to the yellow first used,
which will give a natural shade for the letter ,5". This shade
should be about three-fourths the width of the stroke in width,
leaving a space one-fourth stroke between the letter and the
shade. In like manner shade the letter Af, using a darker
tint of crimson lake. Now shade the lower-case letters in
the same manner, using charcoal gray for this purpose. The
panels should be shaded with a cast shadow, which is illus-
trated in Fig. 19, Show-Card Writing. In this case the panel
should be duplicated in the shade about i inch wide, and this,
as well as all other shading, should be maintained at an
angle of 45. The panel should also be shaded with char-
coal gray.
PLATE, TITLE: HALF SCRIPT
65. Practical Application. There is no style of
letter that will take the place of Half Sci'ipt for certain
uses in card writing. It is, therefore, one of the most impor-
tant alphabets taught in this Course. It is quickly made
and graceful in appearance, which alone would recommend
it and give it a foremost place in the list of show-card
writers' alphabets. This letter calls for the display of the
writer's ability in making freehand curves. It is known
as Half Script among card writers, because of the resem-
blance of the capitals to Italic Roman and the lower case to
Spencerian Script.
LETTER FORMATION 29
CAPITALS
66. Spacing the Lines for Capitals. After con-
structing the rectangle of usual size, draw the lines that
give the height of the letters li inches apart, leaving a
space between these of f inch. The letters of this alphabet
incline at an angle of about 22^, or one-fourth of a quad-
rant. The width of the vertical stroke is rV inch, while the
rounded or crescent strokes are 4 inch. Allow li inches on
either end of the last line of letters, and fill in the space
between the alphabet and the character with a cyma.
67. The Brush Work. Study carefully the details of
each letter before beginning on the brush work. It is
important that all rounded letters, as well as all straight-
line letters, be inclined at a uniform angle, or the appearance
of the work will be greatly marred. The use of the cyma
in such letters as A, , /% and H is not arbitrary in this
style of letter. A straight line may be used in its place,
with a spur attached to this in the E and f, such as is used
in the Roman alphabet. The spur on these letters is much
smaller than those of the Roman, and in many cases the
letter is carried above or below the line. In the eccentric
form of the letter T, the cross-stroke is carried to the right,
sometimes covering several letters.
LOWER CASE
68. Spacing: the Lines for Lower-Case Letters. A
rectangle 9 inches by 15 inches also encloses the lower-case
letters; f inch above the base line of the rectangle, draw a
line that is the bottom line for the letters. The letters are
f inch high. The space between the last line of letters and
the numerals is 2 inches. The numerals are li inches high,
and the space between the numerals and top line of letters
is H inches. The long-stroke letters project f inch above
the line, while those of the / and g project below the line
somewhat further. The stroke of the lower-case letters
is T%- inch wide; that of the numerals is f inch. The letters
30 LETTER FORMATION 4
should incline at the same angle as the capitals. The
numerals, however, are more symmetrical, and are easily
made on an incline of about 20. In connection with the
capitals and lower case, the numerals appear to be on the
same incline. The cipher of the numerals is not given, for
the reason that it is always identical with the letter O of the
corresponding alphabet. In spacing the letters of this alpha-
bet, do not leave a space between letters that will not permit
of being joined with a fine line at an angle of 45.
69. The Brush Work. The outlining brush may be
used for these letters, although the fine line should be made
much lighter than lines that the student has been accustomed
to in drawing previous plates. The stroke of the lower
case should be made as shown in Fig. 9, beginning at the
FIG. 9 FIG. 10 FIG. 11
top of the left-hand outline, and continuing to the termination
of the line. The right-hand outline begins with the fine
line at the top and terminates at the fine line of stroke 1.
Thus, all strokes are made with two strokes of the brush.
Study the details of each letter carefully and endeavor to
give to the curves of strokes as well as fine lines a graceful
touch and symmetrical finish. Avoid the common error that
is made by many letterers when making this style of letter.
This occurs in the curved stroke where joined to the fine line.
Fig. 10 shows the improper way of forming the stroke, and
Fig. 11 the proper way. By thus comparing them it may be
readily seen that to curve the outline at this point destroys
the artistic appearance of the stroke.
4 LETTER FORMATION 31
PLATE, TITLE: SCRIPT
70. Practical Application. Without a knowledge of
the Script alphabet, the show-card writer's education would
be incomplete. It is true that Script letters are the most
difficult to accomplish; the alphabet has therefore been given
the last place. It is likewise true that the formation of the
letters may be easily learned, and with much practice they
may be most gracefully executed and also made with great
rapidity.
CAPITALS
71. Spacing tlie Lines for Capital Letters. Con-
struct a rectangle 9 inches by 12 inches, leaving an equal
margin at the top and bottom. Beginning from the base of
the rectangle, draw five lines, making 3 spaces for the letters,
2 inches high, with a space between the lines of letters of
1 inch. There are but twenty-one letters on this plate, seven
letters on each line, thus giving abundant space for the
extensive sweep of the fine lines that characterize this style
of letter.
72. Spacing tlie Letters. The width of the shaded
stroke at its maximum should be -fa inch. The fine line
should be made extremely light, for this gives added grace
to this form of letter. Script letters should always incline
at a uniform angle of 40. Draw r the letters, after locating
them in their proper place, with a needle-pointed, hard-lead
pencil. Be careful to make all details correspond with those
of the letters in the copy.
73. The Brush Work. Having drawn the letters with
accuracy, proceed with the brush work by first making the
principal stroke of the letter, which in man} 7 cases is the
stem or the ogee stroke, as in the letter B. The shading of
this stroke should be below the center of the letter. To
incline this stroke at the proper angle, the ogee stroke
should be an equal distance from the 40 line above and
below the center of the letter to the left of the line above
32 LETTER FORMATION 4
and to the right below, as shown in Fig. 12. The crescent
strokes are given the proper incline by making the maximum
distance from the 40 line at the center of the stroke and
crossing the line at equal distances above and below the
center, as seen in Fig. 13. It is essential in script writing
that the use of too many fine lines be avoided. The best
script writers employ very few fine lines. In joining the
FIG. 12 FIG. 13
fine line to the stroke, always merge this into the stroke so
as to join the outline and form a symmetrical and continuous
line, if the stroke were outlined instead of being filled in.
Endeavor as nearly as possible to give to all letters a uni-
form width, making the usual exceptions with the M and IV.
LOWER CASE
74. Spacing Lower-Case Letters. The base line for
the numerals is the bottom line of the 9" X 15" rectangle
enclosing the lettering of the plate. The numerals are
2 inches high; 4i inches above the numerals draw the base
line for the remaining capitals, which are also 2 inches high.
The lines that limit the height of the first six letters of the
lower case are 4f inches and 5f inches from the base of the
rectangle. The lines for the four final letters of the lower
case are 2f inches and 3f inches from the lower line of the
rectangle. In order that the ogee line of letters may be
4 LETTER FORMATION 33
properly located, it is necessary for four vertical lines to be
drawn on the plate, making 5 spaces 3 inches wide. Draw
lines on the copy, also, 2 A- inches apart. These lines will be
of assistance in spacing the letters. Beginning with the
left-hand vertical line of the rectangle, place two points
3i inches and 4i inches from the base line of the rectangle.
On line 2 the two points are 2yi inches and 3| inches; on
line .^, 3-fV inches and 3i inches; on line 4, 3f inches and
4f inches; on line 5, 41% inches and oi 2 ^ inches; on the right-
hand vertical line of the rectangle, 3f inches and 4f inches.
From the points given construct a graceful ogee curve. The
length of the long-stroke letters may be approximated by
observing their position relative to the strokes of other
letters above or below them. To locate the letters on the
ogee curve, draw those first that touch the four vertical lines.
It will then be an easy matter to draw the remaining letters
and give the proper space between them. The width of
the stroke of the lower-case letters is somewhat narrower
than the capitals, or 3% inch.
PLATE, TITLE: OPAQUE WATER-COLOR WORK
75. Practical Application. In order that the student
may understand the difference between transparent and
opaque lettering, it may be well to say that if transparent
colors were used on a black-card surface they would not be
seen; the card would absorb the color, and no trace of it,
except perhaps a slight discoloration on the surface of the
card, would remain. Opaque color, if used on white, would
be liable to appear streaked, or uneven. Even though they
possessed the same advantages in regard to their covering
quality, the transparent colors are more convenient and are
always used in preference to opaque on white cards. The
latter are used on black and all dark-colored cards.
76. Spacing 1 the Lines. Construct a rectangle 15
inches by 9 inches, making the faintest line possible for this,
as well as all pencil marks on this plate. No attempt should
be made to erase or remove them when work is completed,
34 LETTER FORMATION 4
or a marred or ruined plate will be the result. It is pref-
erable, therefore, that the guide lines be made with chalk,
which may be easity removed. To do this, charge a piece
of thread by drawing it over white chalk; hold one end
with the second finger of the left hand and the other end
with the thumb of the right; then, with the thumb and fore-
finger of the left hand, the thread may be snapped on the card,
leaving a line suitable for measurements, and one that can be
dusted off readily when letters are drawn in lead pencil.
Divide the length of the rectangle into 5 spaces 3 inches
wide, and the copy into 5 spaces 2i inches wide. On the
first vertical line, place two points 5i inches and Tre inches
from the base of the rectangle; on the second vertical line,
5i inches and 7f inches; on the third line, 6i inches and
8f inches; and on the fourth line, 61% inches and SyV inches.
By the aid of the eight points given, the ogee curve may be
drawn on which the word champion is placed. The other
measurements are as follows: The word the is drawn on
lines 8i inches, 8i inches, and 8i inches from the bottom line.
The word celebrated is 4i inches from bottom line, and 1% inch
high. The letter B and character & are -fa inch from the
bottom line, and are 3f inches high. The lines that limit the
height of the letter 5* are i inch and 3yV inches. The lines of
the ribbon containing the words trade mark are Ifi inches
and 2^6 inches. The remainder of the work may be located
approximately, using the letters, words, and vertical lines as
guides in placing all lines in their proper position.
77. Spacing the Letters. The letters on the ogee
curve are on an angle of 22i, or one-fourth of a quadrant.
The stroke is -ft inch wide. The stroke of the letter in the
word celebrated is T% inch wide. The space between this word
and the vertical line of the rectangle is 3i inches. The panel
surrounding the letter 5 is 6 inches from right-hand vertical
line and 5i inches from the left, measuring at the point
where the ribbon crosses the panel.
78. The Brush Work. Use show-card white for letter-
ing. This should always be well shaken before it is used.
4 LETTER FORMATION 35
Use the Xo. 5 red-sable brush. Letter the words the, cham-
pion, celebrated, and the letters B. c? Co.; also, outline the
ribbon, but leave the words trade mark until later. If the
white for any reason does not cover well, run over the
letters a second time.
Pour a small amount of the white into one of the water-color
pans. Rub up a small amount of deep chrome yellow; also, a
small amount of orange and vermilion, using a short stocky
brush for this; and, allowing the color to drop into the white,
stir well and apply the shade to the lower half of the first
line of letters. Make a gold color by adding, to the white,
orange-chrome yellow and ocher in the same manner. With
this color make the ornamental panel; also, fill in the letters
B. c~" Co., leaving a uniform white outline. The dark color
at the bottom of these letters, also the ornament within the
letter B, is made by adding sepia and burnt sienna. Outline
the letter 5" with orange chrome and vermilion; also, use this
for the stripe underneath the word celebrated. Fill in the let-
ter 5" with pink made of white, with a little orange and ver-
milion added. A small quantity of white, thinned almost to
the consistency of a transparent color, is used to cover the
ribbon. Flow this on and blend it off into the black as it
approaches the letter 6". Afterwards the words trade mark
may be lettered on the ribbon. Use mauve purple and white
for the ornament above and below the word champion. Use
clear white in highlighting the ornament.
ELEMEN1
25, f898
Printer
Copyright, 190S, by
Entered at
A,
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ELEMENTAL
UUNE 25, /898
Print' fl in t'i
Copyright. 1.905, by Inter
Entwd fit Sfntit,
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CONDENSE]
Copyright, 1905, ?>y //
Entered at .V.
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UOHN SM/TH, CLASS N9 4529.
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(JUNE 25, /898 Copyright. 1903, by Inte
Entered at Stati
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united state* JOHN SM/T/1, CLASS N 4529.
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INDEX
All items in this index refer first to the section number, which is printed on the inside
edges of the headlines and is preceded by the printers' section mark g, and then to the
page number. Thus, Applied design 3 2, means find the paper having 3 on the head-
lines and then find page 2.
A
Sec.
Past
Sec. Page
Acorn leaves
3
9
Block
1 19
Advantages of color work ....
4
18
letters, Modifications of . .
1 57
Air pencil
1
56
shade
1 2 4
Alphabets, Freehand
4
1
Board, Photo-mounting
1 18
Selection of
2
18
Border effects
1 52
Supplementary ....
2
19
Borders, Ribbon
3 19
Antique Egyptian (light)
2
20
Brights
1 14
Apostrophy
1
81
Broad striping
1 42
Application and methods
1
49
Brocade
1 55
of design to show-card
Bronzes
1 55
writing
2
1
Brush, Methods of handling- the .
1 40
Reward of
1
3
work
1 40
Applied design
3
2
" "
4 2
Appropriate ornamenting ....
3
19
Brushes
1 14
Arc, Circular
2
2
Camel's-hair
1 15
Arrangement and classification of
Care of
4 3
the Course ....
1
3
Red-sable
1 14
Display
2
12
Wash
1 17
Freehand
2
15
Bulb, Decorator's relief
1 56
Straight-line ....
2
12
Automatic shading pen
1
56
C
Camel's-hair brushes
1 15
B
Canthus, Inner
2 25
Background
1
19
Outer
2 25
stencils
1
69
Capitals, Condensed Egyptian . .
4 4
Banners, Combination metal and
Illuminated .
1 32
card . . .
1
72
History and
Store
1
71
general use
Wail
1
71
of ....
1 32
Beveled cards
1
is
in card work
1 34
shading
1
L'7
Index
1 35
Beveling
1
63
Paneled
1 35
Fancy . . .
1
64
Card electric signs
1 74
Plain . . .
1
63
hangers
1 77
Black
1
6
stenciling
1 69
" letters
1
M
writer, Chief qualifications
Preparation of
1
11
for becoming a .
1 2
Blending
1
49
How to become an
around designs
1
51
expert
1 2
IX
INDEX
Sec.
Page
Sec.
Paee
Card writers, Cardboard used by
1
17
Colors, water, Use of
1
5 2
colors
1
9
Combination metal and card ban-
white
1
10
ners
1
72
blank ....
1
17
panels
2
6
Cardboard used by card writers .
1
17
Comma
1
79
Cards, Beveled
1
18
Common error
2
16
Colored
1
IS
Component parts of a letter . . .
1
19
Fancy-edge .
3
17
Composition of a design
3
9
Mounting- heavy
1
66
Compound relief
1
56
Panel
3
17
Condensed Egyptian, Brush work
Care of brushes
4
3
with . . .
4
5
Cast shadow
1
25
capitals . .
4
4
Center of circle
2
3
Details of
Centerpiece ornament
3
13
letters in
4
5
Circle
2
3
Details of
Center of
2
3
letters in
4
7
Circumference of
2
3
Lower case
Diameter of
2
4
and numer-
Radius of
2
3
als in . .
4
6
Circles
1
64
Spacing let-
Circular arc
2
2
ters in . .
4
4
Circumference of circle
2
3
Spacing
Cold colors
1
8
lines for
Colon
1
78
capital let-
Color, Flesh
1
9
ters in . .
4
4
work, Advantages of ...
4
18
Condensing
1
20
Designing letters for
4
19
Cone, Pine
3
10
Spacing letters for .
4
19
Construction of indexes
2
23
Colored cards
1
18
Contrast
1
8
letters
1
55
Cornea
2
25
Coloring the eye
2
26
Corner ornament
3
12
plate
4
19
Course, Arrangement and classi-
Colors
1
5
fication of
1
3
Card-writers'
1
9
Purpose of
1
1
Classification of
1
5
Curved lines, Freehand
2
15
" Cold
1
8
Curves and lines
2
2
Dry
1
49
Elementary
1
47
Use of
1
49
Cut-in letters, Uses of
1
28
" Gold
1
9
out designs
3
7
Handling of
1
8
Cutting in letters
1
28
Neutral
1
6
letter stencils
1
68
oil, List of
1
13
Cycas palm branch
3
12
Primary
1
5
Cyma
1
20
Principal necessary ....
1
10
Secondary '. .
1
5
I)
Semineutral
1
6
Shading
1
9
Dash
1
80
Spectrum
1
7
Decorators' relief bulb
1
56
Tertiary
1
6
Design, Applied
3
2
Warm
1
8
Elements of
2
2
Water
1
12
Designing, Illustrative
3
2
List of
1
12
Inscription
2
12
Necessary
1
13
Practical
2
12
Outlining for ....
1
53
Designs, Composition of
3
9
Preparation of ...
1
12
Cut-out
3
7
Shading with . . .
1
53
Elliptical
3
14
INDEX
XI
Src. i
"age
5
F Sec. i
Face 1
Page
19
Novelties in show-card .
Permanent
3
3
20
Fancy beveling 1
edge cards 3
64
17
Trade-mark
2
Figure designs .... 3
5
Various
3
14
Figures in relief .... 3
6
4
Simple . 2
?
Fine line 1
19
1
v]
Flesh color 1
9
Diverse treatment of words ....
17
Flitters . 1
55
1
49
Flowers 3
9
" Use of
1
49
Forms, Ornamental 1
30
Freehand alphabets 4
1
arrangement 2
15
15
Eccentric Egyptian, Brush work in
Practical ap-
plication of
Spacing the
letters for .
4
4
4
11
10
10
French Roman, Brush work in cap-
ital letters in . . 4
Brush work in
lower-case let-
ters in 4
13
15
Spacing the
lines for . .
Uniformity of
letters in .
letters. Limits of ....
Roman, Brush work in
Practical appli-
cation of
4
4
1
4
4
10
11
57
22
21
capital letters . . 4
Details of capital
letters in .... 4
Details of lower-
case letters in . 4
(light) letters . . 2
Lowe r-c a s e let-
ters in . 4
12
13
14
22
14
Spacing the let-
ters for . . .
Spacing the
lines for . .
Egyptian letters. Modifications of
Elementary curves
4
4
1
1
21
21
58
47
Practical applica-
tion of 4
Spacing capital
letters in .... 4
Spacing lines for
capitals in ... 4
12
12
1?
lines
1
4(1
Spacing lines for
Elements of design
2
2
lo wer-case let-
" lettering
1
19
ters in . . 4
14
Ellipse
4
" Width of capital
Methods of describing . .
Ellipses
2
1
4
64
letters in .... 4
Full block letters . . . . 2
12
14
1
20
O
1
56
Gold color ... 1
9
16
Gothic letters . -
"3
Engrossing ... . .
I
21
Grotesque letters 1
31
Error, A common
Examples, Value of
2
3
1
16
1
SO
II
Half block letters 2
19
Exercise I
1
40
script, Brush work in capitals
II
1
41
in . . 4
09
III
1
42
lower-
IV
1
43
case
Extended letters
1
60
letters
Eye
a
24
in . . 4
30
2
26
' Drawing the
Evelets .
2
1
24
77
Practical application
of . 4
28
Xll
INDEX
Half script. Spacing lines for cap-
itals in
Sec.
4
Page
29
Letters, Antique Egyptian (light) .
Black
Sec.
1
Page
20
54
Spacing lines for
Classification of
1
29
lower-case letters in
4
29
Colored . . . .
1
55
Hands Position of, when striping
1
40
Condensing
1
36
Harmony and contrast
1
8
Cutting in
1
28
Heavy Egyptian, Brush work in .
Coloring letters'
4
9
Elongating
Embossed .
1
1
37
56
in
4
9
Exaggerated examples of
Practical appli-
cation of ...
Spacing the let-
4
8
elongating
Examples of condensed .
Extended
1
1
1
37
36
60
ters for . . .
Spacing the
4
8
French Roman (light) . .
Full block
2
22
19
lines for . .
4
8
Gothic
23
highlight
1
27
Grotesque . . .
1
31
Heraldic shield
1
36
Half block
2
19
Highlight
1
28
Imitation relief
?
16
Heavy
1
27
Interlacing
1
39
History of illuminated capitals .
Holly
1
|
32
10
Limits of eccentric . . .
Modifications of
1
1
57
57
Hyphen :
1
81
block
1
57
I
Illuminated capitals
1
32
Egyptian
Old English
Ornamental ....
1
1
58
20
29
History and
Relief
1
6
ornament
1
30
of ...
1
32
Rustic
1
31
in card work .
Illumination of show-cards ....
Illustrative designing . . .
1
1
3
34
52
3
Shippers' box marking .
Spacing of
the
2
1
4
22
20
o
Imitation relief letters
3
16
Telescoping
1
39
Index capitals
1
35
that may be modified
1
58
Indexes
7
23
Treatment of
1
36
Construction of
2
23
Uses of cut-in
1
28
Inner canthus
2
25
White ...
1
54
Inscription, Arrangement of an
2
12
Light, Reflected .
o
11
designing
?
12
Lighting and shading, Effects pro-
Location of
2
16
duced by
1
26
Inscriptions for show-cards . . .
Interior signs
3
1
23
71
Importance
of. ...
1
26
Interlacing letters
Interrogation point . .
1
1
39
80
Letter-face
Limits of eccentric letters ....
1
1
26
57
Iris . . .
<>
25
Line, Fine
1
19
Isinglass
1
55
Lines and curves
2
2
Elementary
1
46
L
Leaves, Acorn and oak . . . .
3
9
Freehand curve
Spacing the
2
4
15
2
Letter, Component parts of a . .
face lighting and shading
formation
I
1
1
19
26
1
Location of inscription
M
2
16
Lettering
1
43
Manifolding
1
66
Elements of
1
19
Manila pattern paper
1
18
Position of hands when
1
43
Materials
1
17
Speed in
1
48
1
68
Letters .
1
54
necessary .
1
3
Mechanical devices in window let-
tering
Mctallics
Methods and application
Modifications of block letters . .
" Egyptian letters
letters
Mounted panels
Mounting
heavy cards
Purposes and methods
of.
Xeutral colors
Novel designs in price tickets . .
Novelties in show-card designs .
O
Oak leaves
Ogee-curve stroke, Brush work in
capital let-
ters of ...
Brush work in
lower-case
letters of . .
lower-case let-
ters
Practical appli-
cation of . .
Spacing lines
for capital
letters of . .
Spacing lower-
case letters
of
Oil colors. List of
Old English letters
Opaque water-color work. Brush
work in
water-color work. Practi-
cal application of ...
water-color work. Spa-
cing letters for . ' . . .
water-color work, Spa-
cing lines for
Origin of the possessive sign . .
Ornament
Centerpiece
Corner
Ornamental forms
letters
Ornamenting, Appropriate ....
Ornaments, Various styles and
application of .
Sfc.
INDEX
Page
xiii
Sec. Page
Outer canthus
2
25
1
76
Outline
1
19
1
56
Outlining: for water colors ....
1
53
1
49
Outside signs
1
73
1
~>7
1
58
P
1
57
Palm
3
11
3
16
branch
3
11
1
65
Cycas
3
12
1
66
Panel cards
3
17
ends
>
6
1
65
Paneled capitals
1
35
Panels
2
6
Combination
2
6
1
6
Mounted
3
16
3
21
" Part
2
8
3
20
Relief-scroll
2
9
Rococo
2
9
Use of, in designing: ....
2
6
3
9
Paper, Manila pattern
1
18
Parenthesis
1
81
Part panels
2
8
4
23
Pen, Automatic shading
1
56
Pencil, Air
1
56
Period
1
78
4
28
Permanent designs
3
2
Photo mounting
1
66
4
L4
board
1
18
Pictorial show-cards
3
15
I
22
Pigments
1
7
Pine cone
3
10
Plain beveling
1
63
4
23
Plate, Coloring the
4
19
Dimensions of
4
1
" Title: Brush-stroke letters .
4
1
4
24
Condensed Egyptian
4
2
1
13
Eccentric Egyptian .
4
10
2
20
Roman .
4
21
Elementary curves .
1
47
4
34
lines . .
1
46
French Roman . . .
4
12
4
33
Half script
4
28
Heavy Egyptian . .
4
8
4
34
Ogee-curve stroke . .
4
22
Opaque water-color
4
33
work
4
33
1
77
Roman
4
15
2
2
Script
4
31
3
13
Square English . . .
4
25
3
13
Transparent color
3
12
work
4
18
1
30
Position of hands when lettering .
1
43
1
29
striping .
1
40
8
19
Possessive sign, Origin of ....
1
77
Practical designing
2
12
s
12
Price tickets
3
21
XIV
INDEX
Sec.
Page
Sec.
Pag-
Primary colors
1
5
Secondary colors
1
b
Printing
1
66
Selection of alphabets
2
18
Punctuation
1
77
Semicircles
2
4
Importance of ....
1
77
Semicircumferences
2
4
Rules for
1
78
Semicolon
1
79
Purpose of the Course
1
1
Semineutral colors
1
6
Sending work to the Schools . . .
4
3
Q
Shade
1
19
Quadrants
2
4
" Block
1
Jl
Qualifications for becoming a
" Relief
1
25
card writer
1
2
Shaders, Square
1
17
Quotation marks
1
81
Shading
1
23
and lighting. Effects pro-
R
duced by
1
X
Radius of circle
?
3
Importance
Rectangle
Red-sable brushes
2
1
6
14
of ....
Angle to be executed
1
26
Reflected light
2
11
1
.,_
Relief bulb. Decorator's
1
56
compound
1
56
Letter-face
1
26
on the left
1
23
ornament letters
1
30
scroll panels
2
9
with water colors ....
1
53
Ribbon borders
Ribbons
3
2
19
10
Shadow, Cast
Sheeting signs
Shield, Heraldic
1
1
1
25
74
36
Forms of
Shading
Riggers
2
2
1
10
10
14
Shippers' box marking
Show-card design and ornament .
2
2
22
1
1
Rococo panels
Roman, Brush work in, capital let-
ters
2
4
9
17
designs, Novelties in .
' Inscriptions for ....
3
3
20
capital letters
4
16
' transparencies ....
1
74
Designing, capital letters
lower-case let-
4
4
16
Application of
design to .
2
1
" lower-case and numerals
Practical application of .
4
4
17
15
Forms used in
cards, Illumination of ...
3
1
2
52
15
Spacing lines for, capital
Signs, Card electric
1
75
letters ....
4
16
Interior
1
71
lower-case let-
Outside
1
73
ters
4
17
1
74
Rustic letters
1
31
Store and window
1
71
White enameled-cloth . . .
1
73
S
Simple figures
2
2
Script, Brush work in, capital let-
Spacing, Correct and incorrect . .
1
20
ters
4
31
Importance of
1
20
capitals
4
31
of letters
1
28
lower-case letters ....
4
32
the letters
4
3
Practical application of .
4
31
" lines
4
2
Spacing capital letters of .
4
31
Spectrum colors
1
7
lines for capital
Speed in lettering
1
48
letters of ....
4
31
Spur
1
19
lower-case letters
Square English, Brush work in
of
4
32
capital letters of
4
26
Sec.
Square English, Brush work in
lower-case let-
ters of .... 4
capitals .... 4
Coloring: capital
letters of ... 4
Hints on color-
ing plate ... 4
INI
Past
2J
25
26
27
)EX
Sec.
Trade-mark designs 3
Transparencies, Show-card ... 1
Window .... 1
U
Underscore 1
XV
Page
2
74
74
81
49
67
52
1
71
17
12
12
13
53
12
53
52
6
17
10
73
54
10
19
71
76
74
17
16
2
3
Use of dry colors 1
stencils 1
Practical appli-
cation of ...
Spacing capital
letters of ...
Spacing lines for
capital letters
of
4
4
4
4
1
1
1
1
1
1
1
1
1
1
1
1
I
1
1
1
3
25
26
25
>-
17
69
69
68
68
67
74
71
12
40
42
41
19
19
41
39
6
21
V
Value of examples 3
W
Wall banners . 1
Wash brushes 1
Water colors . . 1
Spacing lower-
case letters of
shaders
List of 1
necessary 1
Stenciling, Card
Stencils, Background
Outlining for .... 1
Preparation of ... 1
Shading with .... 1
Use of 1
Cutting letter
Materials for
Use of . .
White 1
Store and window signs
banners
blank. Card-writers' ... \
Card-writers' 1
Straight-line arrangement ....
Striping
enameled-cloth signs ... 1
letters 1
Broad
Preparation of 1
Width 1
with the T square ....
Stroke
Window and store signs I
lettering. Mechanical de-
vices in 1
Supplementary alphabets ....
T
T square. Striping with the ....
Telescoping letters
transparencies .... 1
Words, Diverse treatment of ... 2
Emphatic . 2
Tertiary colors
Work, Brush 4
Tickets. Price . .
" How to send, to the Schools 4
OCSB LIBRARY