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+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #51700 (https://www.gutenberg.org/ebooks/51700)
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-The Project Gutenberg EBook of Gift Card Designs, by Pedro J. Lemos
-
-This eBook is for the use of anyone anywhere at no cost and with
-almost no restrictions whatsoever.  You may copy it, give it away or
-re-use it under the terms of the Project Gutenberg License included
-with this eBook or online at www.gutenberg.org/license
-
-
-Title: Gift Card Designs
-
-Author: Pedro J. Lemos
-
-Release Date: April 8, 2016 [EBook #51700]
-
-Language: English
-
-Character set encoding: UTF-8
-
-*** START OF THIS PROJECT GUTENBERG EBOOK GIFT CARD DESIGNS ***
-
-
-
-
-Produced by Charlene Taylor, Chuck Greif and the Online
-Distributed Proofreading Team at http://www.pgdp.net (This
-file was produced from images generously made available
-by The Internet Archive)
-
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-
-
-                       [Illustration: Bookcover:
-
-                               GIFT CARD
-                               DESIGNING
-
-                           by PEDRO J LEMOS
-
-                     THIS CHRISTMAS WREATH FOR YOU
-
-                             PUBLISHED BY
-                       THE SCHOOL ARTS MAGAZINE
-          The Davis Press, 25 Foster Street, Worcester, Mass.
-
-COPYRIGHTED 1922, BY THE DAVIS PRESS, INC., WORCESTER, MASS., U. S. A.
-
-
-
-
-                          Gift Card Designing
-
-                            PEDRO J. LEMOS
-
-
-There is less satisfactory holiday hunting for greeting cards than for
-any other gift. Visit any shop where gift cards are in evidence and you
-will note how prospective purchasers go over and over the display,
-finding one here, discarding it later and at the end possibly making a
-hesitating and unsatisfied selection.
-
-Publishers have stated to me that if there is one symbol of the holiday
-season that should be rejuvenated, it is the custom of sending gift
-cards. We can all recall how dear to our eyes were the lace-edged,
-isinglass, snow-encrusted gift cards, which had to be handled with
-finger tips, and the singing bird sentiments, which were so daintily
-revealed by a surprise opening of a flap. These cards, together with the
-horse-hair sofa and the wax flowers in a glass dome, were part of a
-certain evolution, and, of course, the only place now for such cards is
-way down at the bottom of some memory box.
-
-Previous to the world war, America was flooded with cards of a
-gingerbread tinsel order of decorations turned out by the million in
-foreign countries. These, as well as postcards, were printed in huge
-editions by sweat-shop methods, which, together with certain
-“can’t-be-done-better” slogans, caused our own shops to fall back as
-competitors.
-
-Now we all know that, no matter how perfect the printing may be, the
-design and idea must be the selling factor of the gift card. And again,
-the more the idea and wording meet with the personal or local trend of
-the community in which it is distributed, the better it will be
-accepted.
-
-That possibly is the reason why you and I can’t find what we want when
-we look for a card to express our personal feeling, because it was
-expressed either in Dresden or London or Hoboken or Squashville. What we
-need are cards that are typical community expressions from the parts of
-the country from which they come. It is just as foolish for me to send
-you a card from California with a home-coming sleigh scene having
-snow-burdened roofs for a back-ground, as it would be for you to send a
-decoration unrelated to your environment. Let’s use motifs and scenes
-and wording which create the charm of our home section, and we will find
-that the card will be doubly welcomed by the recipient on that account.
-
-If the American card is to be encouraged in America, the designing and
-appreciation of such must be started right in the art rooms of our
-schools; and the most important part of such a problem is the
-lettering.
-
-Lettering need not be approached with fear and trembling, for it can be
-done with ease and pleasure. I know of students who shunned lettering
-because they thought it mechanical and laborious, but who, after
-discovering its possibilities, had almost to be bribed to do anything
-else.
-
-The old masters and artist-craftsmen recognized that lettering could be
-as artistic as the worker desired and nothing is more beautiful in
-lettering than the illuminated manuscripts and books of those ages.
-
-The easiest way to produce lettering is to use the lettering pens. These
-pens are made with a separate, small brass tip which is placed on the
-pen as a fountain. The fountain is filled from the quill of the drawing
-ink bottle, just as the ink is put into a ruling pen. As the pens come
-in about twelve different stroke-widths, it is well to have a pen holder
-for each size. This will save confusion and time. When the pen is being
-used it should be held so that both sides of the pen-point rest on the
-paper. It is not necessary to press the pen for wide parts, as it will
-almost automatically produce the wide strokes when brought downward and
-the thin strokes when brought upward.
-
-The board on which the drawing is made should be placed at an angle of
-45 degrees to permit the ink to flow well. If too great a slant is used,
-the ink, strange to say, refuses to run up hill, and if the board is
-placed flat, the ink on the pen will be too ambitious to arrive.
-
-Before beginning a card, the idea should be roughly planned, so that the
-general forms may be considered. This is termed the “dummy.” In planning
-the dummy, consider carefully the margins. Good lettering is often
-spoiled by poor spacing. Because you are doing lettering, do not ignore
-design principles. Every design principle you know of can be used in
-lettering, just as it can be in any art application.
-
-To prevent your lettering from being at a slant, or “off its feet,” to
-use the printer’s term, you should rule light vertical plumb lines to
-guide your letter strokes.
-
-When lettering, remember that unity must be thought of continually. If
-the finish of each stroke or “serif” is large on the first letter, it
-must be similar on all other letters. The thin strokes throughout a line
-of lettering should be equal in weight. This rule applies also to the
-thick strokes. The lettering pens take care of this if used properly and
-if no undue pressure is placed on the pen.
-
-A beautiful initial is always a happy beginning to a quotation. With
-color or illumination added, much charm is possible. If the lettering is
-on soft-surfaced paper, it will be found that a leather tool or other
-metal point can be used for tooling the initial from the back as well
-as from the front. Gold or silver water colors, added with proper
-restraint give a sparkle to the card.
-
-If your class wishes to raise funds for some worthy enterprise try
-having a class competition for gift cards. The verses can be a problem
-for the class in English. Selecting the best half-dozen designs, get in
-touch with an engraver, and have the students make working-drawings.
-Right there you will learn something new about drawing for the
-industries. Then after the engravings are received, if your school is
-one of the fortunate ones with a printing department, have your students
-co-operate with the printing students in securing the right colors, etc.
-Plan envelopes, which can be easily made by cutting the paper from
-patterns and then folding and pasting them together.
-
-Beginners in gift card designing should all be encouraged to start with
-simple work, similar to that in Plate 3. Such work results in
-well-designed cards and is encouraging to the originator. The idea of
-using cut paper is always good with amateur artists, as it helps them to
-keep their work simple and makes color harmonies easier. Elaborate
-ideas, such as figures, ornate designs, etc., should be avoided at the
-start.
-
-In selecting colors, the students should be encouraged to use subdued or
-grayed tones, for, by this means, they are much more certain of
-obtaining a rich-looking card. There are too many printed cards already
-on the market which are done in gaudy colors, without adding more. If
-cut paper cards are made, the students can decide on the colors they
-want by laying strips of the colored paper side by side, until the best
-color scheme has been decided upon.
-
-Too much stress cannot be laid upon good placing or arrangement of the
-lettering. In Plate 4, we have a series of cards that are fairly good,
-but that would have been quite a bit improved by better lettering. The
-ideas and general arrangement of these cards make them good suggestions.
-
-Often we find students in classes turning out cards all based upon the
-same general composition. It is easy for students to follow a general
-type of card suggested by the teacher or some progressive young artist.
-In Plate 5, we find a page of ten typical arrangements. Although
-different as to basic composition, they are all good, and can be used as
-a start for original work. Always bear in mind the idea that both
-lettering and decoration should be in complete harmony. Light fantastic
-lettering, for instance, would not be in harmony with heavy, bold
-decorations.
-
-In late years we find many artists and designers, who cannot find
-suitable cards in the book shops, sketching designs of their own and
-having them printed. In this way they can put in an individual touch and
-produce a card that exactly meets their requirements. Although such a
-card is more expensive than a stock card, the plan works out well for
-those who have a fair list of mailing acquaintances. A page of such
-cards is shown in Plate 6.
-
-The use of flat, massive tones, provided the colors are not too heavy,
-always makes a distinctive card. Plate 7 shows a page of such designs. A
-good typical example is the card in the lower right hand corner which
-contains the quotation from Dickens. The use of toned paper often helps.
-At most art stores it is possible to obtain a vegetable parchment paper
-which makes splendid material on which to draw or print the strong,
-decorative type of gift card.
-
-Oftentimes we receive or send holiday cards that are based on a humorous
-trend. Nothing takes so well as a bit of verse with a smile tied onto it
-somewhere, provided it is well done. A cheerful card is generally kept
-and placed where its owner can see it often. Designs for such cards
-should be well-planned, in order to avoid an appearance of the comic
-valentine in their general make-up. A page of work having the
-semi-humorous element is found in Plate 8.
-
-Anyone desiring to reproduce an artistic card with the minimum expense,
-will do well to look into the idea of using cut linoleum. By planning
-motifs that hold well together, and are strong in design, it is possible
-to cut out some very acceptable blocks in heavy linoleum. From these,
-almost any number of gift cards can be printed by hand in varied colors.
-When dry, these cards can be hand colored. Because of the difficulty in
-cutting out the letters, one should use as few words as possible.
-Designs adapted to this work are found in Plate 9.
-
-Occasionally, students having a natural bent or enthusiasm for design
-will be found anxious to produce a card of the style found in Plate 10.
-In cards of this kind, careful attention must be given to the motifs
-used and to the placing of these motifs in the general composition. As
-most of the stress is laid on the design, rather than the lettering, it
-is important that this design be well planned and equally well carried
-out. In case of doubt, it is better to leave out some of the ornament
-rather than have the card overcrowded or ornate.
-
-The holiday motifs shown in Plate 11 are not only adapted to gift cards,
-but also to posters, place cards, and room or tree decorations. It is a
-good problem to allow the students to take such a page of motifs and
-from them to plan their own card, using their own ideas as to size of
-card, proportion, lettering, etc. This is splendid training for the
-artists in the line of what is known to the printers as “make-up.” After
-the preliminary sketches have been made the teacher can call attention
-to mistakes in balance, rhythm, etc., and suggest corrections.
-
-Other useful ornaments, not only for Christmas but also for Easter and
-Hallowe’en, are found in Plates 12 and 13. The test of a student’s
-ability lies in the way he is able to arrange such motifs into a good
-card, or the manner in which he derives ideas from these motifs for
-original work.
-
-Plate 14 gives us some very effective motifs for Washington’s Birthday.
-These figures can be cut in paper, done in opaque wash, or finished in
-pen and ink. Original poems may be written by members of the class and
-added to the card. School programs or invitations can be made a class
-problem for this topic.
-
-Valentines also afford a good opportunity for a class problem. Try to
-encourage in the students the development of new ideas or original
-treatment in the handling of their valentine cards. A card does not need
-to be gaudy, over-elaborate, or grotesque, in order to be attractive. A
-few simple motifs, well placed, and with good coloring, will produce the
-most pleasing kind of a card. Humorous cards, containing good clean fun
-are always acceptable, if well done.
-
-A Valentine containing unique possibilities is shown in Plate 16. The
-same idea can be varied so as to make a number of novel cards. The
-little envelope, which this card features, is easily constructed and
-will hold quite a message, if written carefully. The figure of the
-messenger can be hand colored in buff and vermilion.
-
-The cards and motifs shown on these plates make a series of general
-suggestions. Based on the types shown here, as regards lettering,
-design, and card sizes, gift cards for the various holidays and for
-birthdays can be planned and worked out. Once your students produce such
-cards, they will never again be satisfied with stock cards. Successful
-students can find remuneration as well as much joy in designing gift
-cards for their friends’ needs, and in time may be able to create a
-market in their own locality.
-
-
-Outline for Problems in Gift Card Work
-
-     PROBLEM 1. Have students select or originate a good Christmas
-     sentiment. Next, sketch on an 8 x 10 sheet of pencil paper four
-     different arrangements of this idea.
-
-     PROBLEM 2. After selecting the best composition from sketches in
-     Problem 1, plan a card and envelope arrangement to go with it.
-     Study over suggestions given in Plate 2.
-
-     PROBLEM 3. Using three colors and a tinted paper, complete the idea
-     planned in Problems 1 and 2. Possibly two varied types of cards can
-     be worked up.
-
-     PROBLEM 4. As a variation, design and complete two simple cards in
-     cut paper. Use about four colors, using the background as one of
-     the colors.
-
-     PROBLEM 5. Keeping the flat decorative type of work as a standard
-     study the cards in Plate 7. Next, design a Christmas folder of two
-     or four pages, having a cover design and lettered verse inside.
-
-     PROBLEM 6. Plan a set of four holiday tags or stickers to go with
-     packages. These should not exceed 2 x 3 inches in size and can be
-     of the semi-humorous type.
-
-     PROBLEM 7. Have students copy a good pen alphabet using both the
-     capitals and small letters. This card should be made on a 8 x 10
-     sheet of bristol board.
-
-     PROBLEM 8. Either look up or originate some text that will make a
-     good holiday gift. Block out a wall card that will be about 6 x 9
-     inches in proportion and design the motto to fit this space using
-     the pen letters studied.
-
-     PROBLEM 9. Study the cut paper cards made in Problem 4. Also look
-     at Plate 9. Next, on pencil paper, block out two compositions that
-     will cut well in linoleum. Select the best and work it out
-     carefully in color, planning every part in flat tones.
-
-     PROBLEM 10. From color sketch, trace and cut out the linoleum
-     blocks. Using opaque water colors, print a set of fifteen or twenty
-     good cards. Make envelopes to go with them. Vary color schemes if
-     desired.
-
-     PROBLEM 11. Allow each student to originate a color scheme and
-     table plan for a Christmas dinner. After this has been perfected,
-     have each student make six place cards to go with the decorations.
-
-     PROBLEM 12. Study suggestions in Plate 12 and 13. From these or
-     other material, design one round and one oblong sticker to be
-     placed on a gift package. This may be for any of the holidays or
-     for a birthday.
-
-     PROBLEM 13. Look over Plate 14. Using these suggestions or similar
-     ones, plan a program or an invitation to Washington’s Birthday
-     exercises at the school. Size and color optional.
-
-     PROBLEM 14. Study Plates 15 and 16. Next, design two good
-     Valentines, one being of the greeting type and the other having
-     some novelty added, as the one found in Plate 16. Keep lettering
-     clear and simple.
-
-     PROBLEM 15. Design an artistic Easter Card, using white or cream
-     paper and delicate coloring. Tie with appropriate cord or ribbon.
-
-     PROBLEM 16. Plan invitations to a Fourth of July party. Work for a
-     unique effect without using too many colors.
-
-     PROBLEM 17. Do the same with Hallowe’en, using cut paper instead of
-     colors.
-
-     PROBLEM 18. Design an invitation to a Thanksgiving dinner, using a
-     combination of ink outlines and flat washes of watercolor.
-
-[Illustration: PLATE 1
-
-A GOOD GIFT CARD is always first sketched in lightly and planned from
-the standpoint of good balance and design. In designing a card always
-try several small arrangements or compositions before deciding on the
-one to complete.]
-
-[Illustration: PLATE 2
-
-IN ADDITION to the planning of the lettering, the designer has an
-opportunity for invention as regards the type of card and its envelope
-or container. A novel idea goes a long way toward success.]
-
-[Illustration: PLATE 3
-
-NOTHING pleases the receiver so much as a hand finished card from some
-good friend. Above are some simple designs that any artist could
-produce. These originals were made by children.]
-
-[Illustration: PLATE 4
-
-ANOTHER PAGE containing some simple compositions. By using subdued tones
-of green, red and white on a gray or buff paper, very interesting color
-effects may be obtained. These were made by students in high school
-grades.]
-
-[Illustration: PLATE 5
-
-CHRISTMAS CARDS. Ten typical arrangements. 1. Full panel decorations. 2.
-Initial decoration. 3. Ornamental initial. 4. Text illustrated. 5.
-Lettering only. 6. Lettering and panel ornament. 7. Panel decoration and
-text panel. 8. Pictorial panel and text. 9. Border decoration. 10. Free
-symbol and text. All the originals, several published for general sale,
-others privately printed, were in color. 3, 6, 7, 9, and 10 were hand
-colored. To make an original card, choose the arrangement that seems
-most desirable, and substitute elements having a personal appeal--other
-salutations or quotations and appropriate decorative elements.]
-
-[Illustration: PLATE 6
-
-FOUR VARIED STYLES of design in holiday cards, for more advanced talent.
-Note how each one is based on a foundation of good design. These cards
-were all designed by those sending them out as personal greetings.]
-
-[Illustration: PLATE 7
-
-A PAGE of strong designs made by art school students. Notice how the
-designs have been kept in simple broad masses and the lettering made
-part of the design. The originals in color were even more unified.]
-
-[Illustration: PLATE 8
-
-A PAGE of Christmas Cards in which a semi-humorous element has been
-incorporated. Cards like these often create a pleasant variation from
-the more formal ones. These were designed by high school students.]
-
-[Illustration: PLATE 9
-
-STRONG, WELL MASSED DESIGNS like these are well adapted to work in cut
-linoleum. If printed in a deep gray or brown and hand colored with light
-washes of transparent color they make an unusually rich looking card.]
-
-[Illustration: PLATE 10
-
-CARDS using figures of the poster type. In these the accent has been
-placed on the decorative design quality. If properly done, such a
-problem gives the student fine training in spacing, balance and rhythm,
-and results in a highly artistic card.]
-
-[Illustration: PLATE 11
-
-A SET of holiday motifs that will help in planning Christmas Gift Cards
-or quotations. These are simple enough to be used by beginners.]
-
-[Illustration: PLATE 12
-
-A PAGE of useful holiday designs. These may be used as the basis of
-original cards. Their wide range suggests a variation of techniques.
-Simple line drawings, similar to that of Hallowe’en are best adapted to
-hand coloring.]
-
-[Illustration: PLATE 13
-
-ANOTHER PAGE of good suggestions. The silhouette at the top suggests
-possibilities in cut paper for the little folks. The use of cut out
-motifs in colored paper is an easy way for the younger artists to make
-their cards.]
-
-[Illustration: PLATE 14
-
-SUGGESTIONS for Washington’s Birthday. Silhouettes may be produced in
-cut paper, stencil work, opaque colors or pen and ink. Both Washington’s
-and Lincoln’s Birthday offer good opportunities for art projects.]
-
-[Illustration: PLATE 15
-
-A PAGE of interesting Valentine designs. The use of a light and dark
-color against a medium toned paper is a sure way of obtaining quick and
-effective results. Variations, without figures, can be made by the
-younger artists.]
-
-[Illustration: PLATE 16  A UNIQUE VALENTINE DESIGN. In this one an
-individual message can be written and put in the little envelope.
-Variations, such as a little dog holding a valentine-letter or a bird
-with one in his bill might be worked out similar to this idea.]
-
-
-
-
-
-
-
-
-
-
-End of the Project Gutenberg EBook of Gift Card Designs, by Pedro J. Lemos
-
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-<pre>
-
-The Project Gutenberg EBook of Gift Card Designs, by Pedro J. Lemos
-
-This eBook is for the use of anyone anywhere at no cost and with
-almost no restrictions whatsoever.  You may copy it, give it away or
-re-use it under the terms of the Project Gutenberg License included
-with this eBook or online at www.gutenberg.org/license
-
-
-Title: Gift Card Designs
-
-Author: Pedro J. Lemos
-
-Release Date: April 8, 2016 [EBook #51700]
-
-Language: English
-
-Character set encoding: UTF-8
-
-*** START OF THIS PROJECT GUTENBERG EBOOK GIFT CARD DESIGNS ***
-
-
-
-
-Produced by Charlene Taylor, Chuck Greif and the Online
-Distributed Proofreading Team at http://www.pgdp.net (This
-file was produced from images generously made available
-by The Internet Archive)
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-
-<hr class="full" />
-
-<div class="figcenter">
-<a href="images/cover_lg.jpg">
-<img src="images/cover.jpg" width="348" height="500" alt="Book cover: GIFT CARD
-DESIGNING
-
-by PEDRO J LEMOS
-THIS CHRISTMAS WREATH FOR YOU
-PUBLISHED BY
-THE SCHOOL ARTS MAGAZINE
-The Davis Press, 25 Foster Street, Worcester, Mass.
-COPYRIGHTED 1922, BY THE DAVIS PRESS, INC., WORCESTER, MASS., U. S. A." /></a>
-</div>
-
-<p><a name="page_002" id="page_002"></a>&nbsp; </p>
-
-<p><a name="page_003" id="page_003"></a>&nbsp; </p>
-
-<h1>Gift Card Designing<br /><br />
-<small><span class="smcap">Pedro J. Lemos</span></small></h1>
-<p class="nind"><span class="letra">T</span><b>HERE</b> is less satisfactory holiday hunting for greeting cards than for
-any other gift. Visit any shop where gift cards are in evidence and you
-will note how prospective purchasers go over and over the display,
-finding one here, discarding it later and at the end possibly making a
-hesitating and unsatisfied selection.</p>
-
-<p>Publishers have stated to me that if there is one symbol of the holiday
-season that should be rejuvenated, it is the custom of sending gift
-cards. We can all recall how dear to our eyes were the lace-edged,
-isinglass, snow-encrusted gift cards, which had to be handled with
-finger tips, and the singing bird sentiments, which were so daintily
-revealed by a surprise opening of a flap. These cards, together with the
-horse-hair sofa and the wax flowers in a glass dome, were part of a
-certain evolution, and, of course, the only place now for such cards is
-way down at the bottom of some memory box.</p>
-
-<p>Previous to the world war, America was flooded with cards of a
-gingerbread tinsel order of decorations turned out by the million in
-foreign countries. These, as well as postcards, were printed in huge
-editions by sweat-shop methods, which, together with certain
-“can’t-be-done-better” slogans, caused our own shops to fall back as
-competitors.</p>
-
-<p>Now we all know that, no matter how perfect the printing may be, the
-design and idea must be the selling factor of the gift card. And again,
-the more the idea and wording meet with the personal or local trend of
-the community in which it is distributed, the better it will be
-accepted.</p>
-
-<p>That possibly is the reason why you and I can’t find what we want when
-we look for a card to express our personal feeling, because it was
-expressed either in Dresden or London or Hoboken or Squashville. What we
-need are cards that are typical community expressions from the parts of
-the country from which they come. It is just as foolish for me to send
-you a card from California with a home-coming sleigh scene having
-snow-burdened roofs for a back-ground, as it would be for you to send a
-decoration unrelated to your environment. Let’s use motifs and scenes
-and wording which create the charm of our home section, and we will find
-that the card will be doubly welcomed by the recipient on that account.</p>
-
-<p>If the American card is to be encouraged in America, the designing and
-appreciation of such must be started right in the art rooms of our
-schools; and the most important part of such a problem is the
-lettering.<a name="page_004" id="page_004"></a></p>
-
-<p>Lettering need not be approached with fear and trembling, for it can be
-done with ease and pleasure. I know of students who shunned lettering
-because they thought it mechanical and laborious, but who, after
-discovering its possibilities, had almost to be bribed to do anything
-else.</p>
-
-<p>The old masters and artist-craftsmen recognized that lettering could be
-as artistic as the worker desired and nothing is more beautiful in
-lettering than the illuminated manuscripts and books of those ages.</p>
-
-<p>The easiest way to produce lettering is to use the lettering pens. These
-pens are made with a separate, small brass tip which is placed on the
-pen as a fountain. The fountain is filled from the quill of the drawing
-ink bottle, just as the ink is put into a ruling pen. As the pens come
-in about twelve different stroke-widths, it is well to have a pen holder
-for each size. This will save confusion and time. When the pen is being
-used it should be held so that both sides of the pen-point rest on the
-paper. It is not necessary to press the pen for wide parts, as it will
-almost automatically produce the wide strokes when brought downward and
-the thin strokes when brought upward.</p>
-
-<p>The board on which the drawing is made should be placed at an angle of
-45 degrees to permit the ink to flow well. If too great a slant is used,
-the ink, strange to say, refuses to run up hill, and if the board is
-placed flat, the ink on the pen will be too ambitious to arrive.</p>
-
-<p>Before beginning a card, the idea should be roughly planned, so that the
-general forms may be considered. This is termed the “dummy.” In planning
-the dummy, consider carefully the margins. Good lettering is often
-spoiled by poor spacing. Because you are doing lettering, do not ignore
-design principles. Every design principle you know of can be used in
-lettering, just as it can be in any art application.</p>
-
-<p>To prevent your lettering from being at a slant, or “off its feet,” to
-use the printer’s term, you should rule light vertical plumb lines to
-guide your letter strokes.</p>
-
-<p>When lettering, remember that unity must be thought of continually. If
-the finish of each stroke or “serif” is large on the first letter, it
-must be similar on all other letters. The thin strokes throughout a line
-of lettering should be equal in weight. This rule applies also to the
-thick strokes. The lettering pens take care of this if used properly and
-if no undue pressure is placed on the pen.</p>
-
-<p>A beautiful initial is always a happy beginning to a quotation. With
-color or illumination added, much charm is possible. If the lettering is
-on soft-surfaced paper, it will be found that a leather tool or other
-metal point can be used for tooling the initial from the<a name="page_005" id="page_005"></a> back as well
-as from the front. Gold or silver water colors, added with proper
-restraint give a sparkle to the card.</p>
-
-<p>If your class wishes to raise funds for some worthy enterprise try
-having a class competition for gift cards. The verses can be a problem
-for the class in English. Selecting the best half-dozen designs, get in
-touch with an engraver, and have the students make working-drawings.
-Right there you will learn something new about drawing for the
-industries. Then after the engravings are received, if your school is
-one of the fortunate ones with a printing department, have your students
-co-operate with the printing students in securing the right colors, etc.
-Plan envelopes, which can be easily made by cutting the paper from
-patterns and then folding and pasting them together.</p>
-
-<p>Beginners in gift card designing should all be encouraged to start with
-simple work, similar to that in <a href="#plt_3">Plate 3</a>. Such work results in
-well-designed cards and is encouraging to the originator. The idea of
-using cut paper is always good with amateur artists, as it helps them to
-keep their work simple and makes color harmonies easier. Elaborate
-ideas, such as figures, ornate designs, etc., should be avoided at the
-start.</p>
-
-<p>In selecting colors, the students should be encouraged to use subdued or
-grayed tones, for, by this means, they are much more certain of
-obtaining a rich-looking card. There are too many printed cards already
-on the market which are done in gaudy colors, without adding more. If
-cut paper cards are made, the students can decide on the colors they
-want by laying strips of the colored paper side by side, until the best
-color scheme has been decided upon.</p>
-
-<p>Too much stress cannot be laid upon good placing or arrangement of the
-lettering. In <a href="#plt_4">Plate 4</a>, we have a series of cards that are fairly good,
-but that would have been quite a bit improved by better lettering. The
-ideas and general arrangement of these cards make them good suggestions.</p>
-
-<p>Often we find students in classes turning out cards all based upon the
-same general composition. It is easy for students to follow a general
-type of card suggested by the teacher or some progressive young artist.
-In <a href="#plt_5">Plate 5</a>, we find a page of ten typical arrangements. Although
-different as to basic composition, they are all good, and can be used as
-a start for original work. Always bear in mind the idea that both
-lettering and decoration should be in complete harmony. Light fantastic
-lettering, for instance, would not be in harmony with heavy, bold
-decorations.</p>
-
-<p>In late years we find many artists and designers, who cannot find
-suitable cards in the book shops, sketching designs of their own and
-having them printed. In this way they can put in an individual touch and
-produce a card that exactly meets their<a name="page_006" id="page_006"></a> requirements. Although such a
-card is more expensive than a stock card, the plan works out well for
-those who have a fair list of mailing acquaintances. A page of such
-cards is shown in <a href="#plt_6">Plate 6</a>.</p>
-
-<p>The use of flat, massive tones, provided the colors are not too heavy,
-always makes a distinctive card. <a href="#plt_7">Plate 7</a> shows a page of such designs. A
-good typical example is the card in the lower right hand corner which
-contains the quotation from Dickens. The use of toned paper often helps.
-At most art stores it is possible to obtain a vegetable parchment paper
-which makes splendid material on which to draw or print the strong,
-decorative type of gift card.</p>
-
-<p>Oftentimes we receive or send holiday cards that are based on a humorous
-trend. Nothing takes so well as a bit of verse with a smile tied onto it
-somewhere, provided it is well done. A cheerful card is generally kept
-and placed where its owner can see it often. Designs for such cards
-should be well-planned, in order to avoid an appearance of the comic
-valentine in their general make-up. A page of work having the
-semi-humorous element is found in <a href="#plt_8">Plate 8</a>.</p>
-
-<p>Anyone desiring to reproduce an artistic card with the minimum expense,
-will do well to look into the idea of using cut linoleum. By planning
-motifs that hold well together, and are strong in design, it is possible
-to cut out some very acceptable blocks in heavy linoleum. From these,
-almost any number of gift cards can be printed by hand in varied colors.
-When dry, these cards can be hand colored. Because of the difficulty in
-cutting out the letters, one should use as few words as possible.
-Designs adapted to this work are found in <a href="#plt_9">Plate 9</a>.</p>
-
-<p>Occasionally, students having a natural bent or enthusiasm for design
-will be found anxious to produce a card of the style found in <a href="#plt_10">Plate 10</a>.
-In cards of this kind, careful attention must be given to the motifs
-used and to the placing of these motifs in the general composition. As
-most of the stress is laid on the design, rather than the lettering, it
-is important that this design be well planned and equally well carried
-out. In case of doubt, it is better to leave out some of the ornament
-rather than have the card overcrowded or ornate.</p>
-
-<p>The holiday motifs shown in <a href="#plt_11">Plate 11</a> are not only adapted to gift cards,
-but also to posters, place cards, and room or tree decorations. It is a
-good problem to allow the students to take such a page of motifs and
-from them to plan their own card, using their own ideas as to size of
-card, proportion, lettering, etc. This is splendid training for the
-artists in the line of what is known to the printers as “make-up.” After
-the preliminary sketches have been made the teacher can call attention
-to mistakes in balance, rhythm, etc., and suggest corrections.<a name="page_007" id="page_007"></a></p>
-
-<p>Other useful ornaments, not only for Christmas but also for Easter and
-Hallowe’en, are found in Plates <a href="#plt_12">12</a> and <a href="#plt_13">13</a>. The test of a student’s
-ability lies in the way he is able to arrange such motifs into a good
-card, or the manner in which he derives ideas from these motifs for
-original work.</p>
-
-<p>Plate 14 gives us some very effective motifs for Washington’s Birthday.
-These figures can be cut in paper, done in opaque wash, or finished in
-pen and ink. Original poems may be written by members of the class and
-added to the card. School programs or invitations can be made a class
-problem for this topic.</p>
-
-<p>Valentines also afford a good opportunity for a class problem. Try to
-encourage in the students the development of new ideas or original
-treatment in the handling of their valentine cards. A card does not need
-to be gaudy, over-elaborate, or grotesque, in order to be attractive. A
-few simple motifs, well placed, and with good coloring, will produce the
-most pleasing kind of a card. Humorous cards, containing good clean fun
-are always acceptable, if well done.</p>
-
-<p>A Valentine containing unique possibilities is shown in <a href="#plt_16">Plate 16</a>. The
-same idea can be varied so as to make a number of novel cards. The
-little envelope, which this card features, is easily constructed and
-will hold quite a message, if written carefully. The figure of the
-messenger can be hand colored in buff and vermilion.</p>
-
-<p>The cards and motifs shown on these plates make a series of general
-suggestions. Based on the types shown here, as regards lettering,
-design, and card sizes, gift cards for the various holidays and for
-birthdays can be planned and worked out. Once your students produce such
-cards, they will never again be satisfied with stock cards. Successful
-students can find remuneration as well as much joy in designing gift
-cards for their friends’ needs, and in time may be able to create a
-market in their own locality.</p>
-
-<h2>Outline for Problems in Gift Card Work</h2>
-
-<p><span class="smcap">Problem 1.</span> Have students select or originate a good Christmas
-sentiment. Next, sketch on an 8 x 10 sheet of pencil paper four
-different arrangements of this idea.</p>
-
-<p><span class="smcap">Problem 2.</span> After selecting the best composition from sketches in
-Problem 1, plan a card and envelope arrangement to go with it.
-Study over suggestions given in <a href="#plt_2">Plate 2</a>.</p>
-
-<p><span class="smcap">Problem 3.</span> Using three colors and a tinted paper, complete the idea
-planned in Problems 1 and 2. Possibly two varied types of cards can
-be worked up.</p>
-
-<p><span class="smcap">Problem 4.</span> As a variation, design and complete two simple cards in
-cut paper. Use about four colors, using the background as one of
-the colors.<a name="page_008" id="page_008"></a></p>
-
-<p><span class="smcap">Problem 5.</span> Keeping the flat decorative type of work as a standard
-study the cards in <a href="#plt_7">Plate 7</a>. Next, design a Christmas folder of two
-or four pages, having a cover design and lettered verse inside.</p>
-
-<p><span class="smcap">Problem 6.</span> Plan a set of four holiday tags or stickers to go with
-packages. These should not exceed 2 x 3 inches in size and can be
-of the semi-humorous type.</p>
-
-<p><span class="smcap">Problem 7.</span> Have students copy a good pen alphabet using both the
-capitals and small letters. This card should be made on a 8 x 10
-sheet of bristol board.</p>
-
-<p><span class="smcap">Problem 8.</span> Either look up or originate some text that will make a
-good holiday gift. Block out a wall card that will be about 6 x 9
-inches in proportion and design the motto to fit this space using
-the pen letters studied.</p>
-
-<p><span class="smcap">Problem 9.</span> Study the cut paper cards made in Problem 4. Also look
-at <a href="#plt_9">Plate 9</a>. Next, on pencil paper, block out two compositions that
-will cut well in linoleum. Select the best and work it out
-carefully in color, planning every part in flat tones.</p>
-
-<p><span class="smcap">Problem 10.</span> From color sketch, trace and cut out the linoleum
-blocks. Using opaque water colors, print a set of fifteen or twenty
-good cards. Make envelopes to go with them. Vary color schemes if
-desired.</p>
-
-<p><span class="smcap">Problem 11.</span> Allow each student to originate a color scheme and
-table plan for a Christmas dinner. After this has been perfected,
-have each student make six place cards to go with the decorations.</p>
-
-<p><span class="smcap">Problem 12.</span> Study suggestions in <a href="#plt_12">Plate 12</a> and <a href="#plt_13">13</a>. From these or
-other material, design one round and one oblong sticker to be
-placed on a gift package. This may be for any of the holidays or
-for a birthday.</p>
-
-<p><span class="smcap">Problem 13.</span> Look over <a href="#plt_14">Plate 14</a>. Using these suggestions or similar
-ones, plan a program or an invitation to Washington’s Birthday
-exercises at the school. Size and color optional.</p>
-
-<p><span class="smcap">Problem 14.</span> Study Plates <a href="#plt_15">15</a> and <a href="#plt_16">16</a>. Next, design two good
-Valentines, one being of the greeting type and the other having
-some novelty added, as the one found in <a href="#plt_16">Plate 16</a>. Keep lettering
-clear and simple.</p>
-
-<p><span class="smcap">Problem 15.</span> Design an artistic Easter Card, using white or cream
-paper and delicate coloring. Tie with appropriate cord or ribbon.</p>
-
-<p><span class="smcap">Problem 16.</span> Plan invitations to a Fourth of July party. Work for a
-unique effect without using too many colors.</p>
-
-<p><span class="smcap">Problem 17.</span> Do the same with Hallowe’en, using cut paper instead of
-colors.</p>
-
-<p><span class="smcap">Problem 18.</span> Design an invitation to a Thanksgiving dinner, using a
-combination of ink outlines and flat washes of watercolor. </p>
-
-<p><a name="page_009" id="page_009"></a></p>
-
-<p><a name="plt_1" id="plt_1"></a></p>
-
-<div class="figcenter">
-<a href="images/Plate01_lg.jpg">
-<br />
-<img class="enlargeimage"
-src="images/enlarge-image.jpg"
-alt=""
-width="18"
-height="14" />
-<br />
-<img src="images/Plate01_sml.jpg" width="353" height="500" alt="Plate 1
-
-A Good Gift Card is always first sketched in lightly and planned from
-the standpoint of good balance and design. In designing a card always
-try several small arrangements or compositions before deciding on the
-one to complete." /></a>
-<br />
-<span class="caption"><span class="smcap">Plate</span> 1<br /></span>
-<p><span class="caption2">
-<span class="smcap">A Good</span> Gift Card is always first sketched in lightly and planned from
-the standpoint of good balance and design. In designing a card always
-try several small arrangements or compositions before deciding on the
-one to complete.</span></p>
-</div>
-
-<p><a name="page_010" id="page_010"></a></p>
-
-<p><a name="page_011" id="page_011"></a></p>
-
-<p><a name="plt_2" id="plt_2"></a></p>
-
-<div class="figcenter">
-<a href="images/Plate02_lg.jpg">
-<br />
-<img class="enlargeimage"
-src="images/enlarge-image.jpg"
-alt=""
-width="18"
-height="14" />
-<br />
-<img src="images/Plate02_sml.jpg" width="373" height="500" alt="Plate 2
-
-In Addition to the planning of the lettering, the designer has an
-opportunity for invention as regards the type of card and its envelope
-or container. A novel idea goes a long way toward success." /></a>
-<br />
-<span class="caption"><span class="smcap">Plate</span> 2<br /></span>
-<p><span class="caption2">
-<span class="smcap">In Addition</span> to the planning of the lettering, the designer has an
-opportunity for invention as regards the type of card and its envelope
-or container. A novel idea goes a long way toward success.</span></p>
-</div>
-
-<p><a name="page_012" id="page_012"></a></p>
-
-<p><a name="page_013" id="page_013"></a></p>
-
-<p><a name="plt_3" id="plt_3"></a></p>
-
-<div class="figcenter">
-<a href="images/Plate03_lg.jpg">
-<br />
-<img class="enlargeimage"
-src="images/enlarge-image.jpg"
-alt=""
-width="18"
-height="14" />
-<br />
-<img src="images/Plate03_sml.jpg" width="358" height="500" alt="Plate 3
-
-Nothing pleases the receiver so much as a hand finished card from some
-good friend. Above are some simple designs that any artist could
-produce. These originals were made by children." /></a>
-<br />
-<span class="caption"><span class="smcap">Plate</span> 3<br /></span>
-<p><span class="caption2">
-<span class="smcap">Nothing pleases</span> the receiver so much as a hand finished card from some
-good friend. Above are some simple designs that any artist could
-produce. These originals were made by children.</span></p>
-</div>
-
-<p><a name="page_014" id="page_014"></a></p>
-
-<p><a name="page_015" id="page_015"></a></p>
-
-<p><a name="plt_4" id="plt_4"></a></p>
-
-<div class="figcenter">
-<a href="images/Plate04_lg.jpg">
-<br />
-<img class="enlargeimage"
-src="images/enlarge-image.jpg"
-alt=""
-width="18"
-height="14" />
-<br />
-<img src="images/Plate04_sml.jpg" width="343" height="500" alt="Plate 4
-
-Another Page containing some simple compositions. By using subdued tones
-of green, red and white on a gray or buff paper, very interesting color
-effects may be obtained. These were made by students in high school
-grades." /></a>
-<br />
-<span class="caption"><span class="smcap">Plate</span> 4<br /></span>
-<p><span class="caption2">
-<span class="smcap">Another Page</span> containing some simple compositions. By using subdued tones
-of green, red and white on a gray or buff paper, very interesting color
-effects may be obtained. These were made by students in high school
-grades.</span></p>
-</div>
-
-<p><a name="page_016" id="page_016"></a></p>
-
-<p><a name="page_017" id="page_017"></a></p>
-
-<p><a name="plt_5" id="plt_5"></a></p>
-
-<div class="figcenter">
-<a href="images/Plate05_lg.jpg">
-<br />
-<img class="enlargeimage"
-src="images/enlarge-image.jpg"
-alt=""
-width="18"
-height="14" />
-<br />
-<img src="images/Plate05_sml.jpg" width="379" height="500" alt="Plate 5
-
-Christmas Cards. Ten typical arrangements. 1. Full panel decorations. 2.
-Initial decoration. 3. Ornamental initial. 4. Text illustrated. 5.
-Lettering only. 6. Lettering and panel ornament. 7. Panel decoration and
-text panel. 8. Pictorial panel and text. 9. Border decoration. 10. Free
-symbol and text. All the originals, several published for general sale,
-others privately printed, were in color. 3, 6, 7, 9, and 10 were hand
-colored. To make an original card, choose the arrangement that seems
-most desirable, and substitute elements having a personal appeal&mdash;other
-salutations or quotations and appropriate decorative elements." /></a>
-<br />
-<span class="caption"><span class="smcap">Plate</span> 5<br /></span>
-<p><span class="caption2">
-<span class="smcap">Christmas Cards</span>. Ten typical arrangements. 1. Full panel decorations. 2.
-Initial decoration. 3. Ornamental initial. 4. Text illustrated. 5.
-Lettering only. 6. Lettering and panel ornament. 7. Panel decoration and
-text panel. 8. Pictorial panel and text. 9. Border decoration. 10. Free
-symbol and text. All the originals, several published for general sale,
-others privately printed, were in color. 3, 6, 7, 9, and 10 were hand
-colored. To make an original card, choose the arrangement that seems
-most desirable, and substitute elements having a personal appeal&mdash;other
-salutations or quotations and appropriate decorative elements.</span></p>
-</div>
-
-<p><a name="page_018" id="page_018"></a></p>
-
-<p><a name="page_019" id="page_019"></a></p>
-
-<p><a name="plt_6" id="plt_6"></a></p>
-
-<div class="figcenter">
-<a href="images/Plate06_lg.jpg">
-<br />
-<img class="enlargeimage"
-src="images/enlarge-image.jpg"
-alt=""
-width="18"
-height="14" />
-<br />
-<img src="images/Plate06_sml.jpg" width="367" height="500" alt="Plate 6
-
-Four Varied Styles of design in holiday cards, for more advanced talent.
-Note how each one is based on a foundation of good design. These cards
-were all designed by those sending them out as personal greetings." /></a>
-<br />
-<span class="caption"><span class="smcap">Plate</span> 6<br /></span>
-<p><span class="caption2">
-<span class="smcap">Four Varied</span> Styles of design in holiday cards, for more advanced talent.
-Note how each one is based on a foundation of good design. These cards
-were all designed by those sending them out as personal greetings.</span></p>
-</div>
-
-<p><a name="page_020" id="page_020"></a></p>
-
-<p><a name="page_021" id="page_021"></a></p>
-
-<p><a name="plt_7" id="plt_7"></a></p>
-
-<div class="figcenter">
-<a href="images/Plate07_lg.jpg">
-<br />
-<img class="enlargeimage"
-src="images/enlarge-image.jpg"
-alt=""
-width="18"
-height="14" />
-<br />
-<img src="images/Plate07_sml.jpg" width="402" height="500" alt="Plate 7
-
-A Page of strong designs made by art school students. Notice how the
-designs have been kept in simple broad masses and the lettering made
-part of the design. The originals in color were even more unified." /></a>
-<br />
-<span class="caption"><span class="smcap">Plate</span> 7<br /></span>
-<p><span class="caption2">
-<span class="smcap">A Page</span> of strong designs made by art school students. Notice how the
-designs have been kept in simple broad masses and the lettering made
-part of the design. The originals in color were even more unified.</span></p>
-</div>
-
-<p><a name="page_022" id="page_022"></a></p>
-
-<p><a name="page_023" id="page_023"></a></p>
-
-<p><a name="plt_8" id="plt_8"></a></p>
-
-<div class="figcenter">
-<a href="images/Plate08_lg.jpg">
-<br />
-<img class="enlargeimage"
-src="images/enlarge-image.jpg"
-alt=""
-width="18"
-height="14" />
-<br />
-<img src="images/Plate08_sml.jpg" width="328" height="500" alt="Plate 8
-
-A Page of Christmas Cards in which a semi-humorous element has been
-incorporated. Cards like these often create a pleasant variation from
-the more formal ones. These were designed by high school students." /></a>
-<br />
-<span class="caption"><span class="smcap">Plate</span> 8<br /></span>
-<p><span class="caption2">
-<span class="smcap">A Page</span> of Christmas Cards in which a semi-humorous element has been
-incorporated. Cards like these often create a pleasant variation from
-the more formal ones. These were designed by high school students.</span></p>
-</div>
-
-<p><a name="page_024" id="page_024"></a></p>
-
-<p><a name="page_025" id="page_025"></a></p>
-
-<p><a name="plt_9" id="plt_9"></a></p>
-
-<div class="figcenter">
-<a href="images/Plate09_lg.jpg">
-<br />
-<img class="enlargeimage"
-src="images/enlarge-image.jpg"
-alt=""
-width="18"
-height="14" />
-<br />
-<img src="images/Plate09_sml.jpg" width="324" height="500" alt="Plate 9
-
-Strong, Well Massed Designs like these are well adapted to work in cut
-linoleum. If printed in a deep gray or brown and hand colored with light
-washes of transparent color they make an unusually rich looking card." /></a>
-<br />
-<span class="caption"><span class="smcap">Plate</span> 9<br /></span>
-<p><span class="caption2">
-<span class="smcap">Strong, Well Massed Designs</span> like these are well adapted to work in cut
-linoleum. If printed in a deep gray or brown and hand colored with light
-washes of transparent color they make an unusually rich looking card.</span></p>
-</div>
-
-<p><a name="page_026" id="page_026"></a></p>
-
-<p><a name="page_027" id="page_027"></a></p>
-
-<p><a name="plt_10" id="plt_10"></a></p>
-
-<div class="figcenter">
-<a href="images/Plate10_lg.jpg">
-<br />
-<img class="enlargeimage"
-src="images/enlarge-image.jpg"
-alt=""
-width="18"
-height="14" />
-<br />
-<img src="images/Plate10_sml.jpg" width="358" height="500" alt="Plate 10
-
-Cards using figures of the poster type. In these the accent has been
-placed on the decorative design quality. If properly done, such a
-problem gives the student fine training in spacing, balance and rhythm,
-and results in a highly artistic card." /></a>
-<br />
-<span class="caption"><span class="smcap">Plate</span> 10<br /></span>
-<p><span class="caption2">
-<span class="smcap">Cards using</span> figures of the poster type. In these the accent has been
-placed on the decorative design quality. If properly done, such a
-problem gives the student fine training in spacing, balance and rhythm,
-and results in a highly artistic card.</span></p>
-</div>
-
-<p><a name="page_028" id="page_028"></a></p>
-
-<p><a name="page_029" id="page_029"></a></p>
-
-<p><a name="plt_11" id="plt_11"></a></p>
-
-<div class="figcenter">
-<a href="images/Plate11_lg.jpg">
-<br />
-<img class="enlargeimage"
-src="images/enlarge-image.jpg"
-alt=""
-width="18"
-height="14" />
-<br />
-<img src="images/Plate11_sml.jpg" width="397" height="500" alt="Plate 11
-
-A Set of holiday motifs that will help in planning Christmas Gift Cards
-or quotations. These are simple enough to be used by beginners." /></a>
-<br />
-<span class="caption"><span class="smcap">Plate</span> 11<br /></span>
-<p><span class="caption2">
-<span class="smcap">A Set</span> of holiday motifs that will help in planning Christmas Gift Cards
-or quotations. These are simple enough to be used by beginners.</span></p>
-</div>
-
-<p><a name="page_030" id="page_030"></a></p>
-
-<p><a name="page_031" id="page_031"></a></p>
-
-<p><a name="plt_12" id="plt_12"></a></p>
-
-<div class="figcenter">
-<a href="images/Plate12_lg.jpg">
-<br />
-<img class="enlargeimage"
-src="images/enlarge-image.jpg"
-alt=""
-width="18"
-height="14" />
-<br />
-<img src="images/Plate12_sml.jpg" width="347" height="500" alt="Plate 12
-
-A Page of useful holiday designs. These may be used as the basis of
-original cards. Their wide range suggests a variation of techniques.
-Simple line drawings, similar to that of Hallowe’en are best adapted to
-hand coloring." /></a>
-<br />
-<span class="caption"><span class="smcap">Plate</span> 12<br /></span>
-<p><span class="caption2">
-<span class="smcap">A Page</span> of useful holiday designs. These may be used as the basis of
-original cards. Their wide range suggests a variation of techniques.
-Simple line drawings, similar to that of Hallowe’en are best adapted to
-hand coloring.</span></p>
-</div>
-
-<p><a name="page_032" id="page_032"></a></p>
-
-<p><a name="page_033" id="page_033"></a></p>
-
-<p><a name="plt_13" id="plt_13"></a></p>
-
-<div class="figcenter">
-<a href="images/Plate13_lg.jpg">
-<br />
-<img class="enlargeimage"
-src="images/enlarge-image.jpg"
-alt=""
-width="18"
-height="14" />
-<br />
-<img src="images/Plate13_sml.jpg" width="328" height="500" alt="Plate 13
-
-Another Page of good suggestions. The silhouette at the top suggests
-possibilities in cut paper for the little folks. The use of cut out
-motifs in colored paper is an easy way for the younger artists to make
-their cards." /></a>
-<br />
-<span class="caption"><span class="smcap">Plate</span> 13<br /></span>
-<p><span class="caption2">
-<span class="smcap">Another Page</span> of good suggestions. The silhouette at the top suggests
-possibilities in cut paper for the little folks. The use of cut out
-motifs in colored paper is an easy way for the younger artists to make
-their cards.</span></p>
-</div>
-
-<p><a name="page_034" id="page_034"></a></p>
-
-<p><a name="page_035" id="page_035"></a></p>
-
-<p><a name="plt_14" id="plt_14"></a></p>
-
-<div class="figcenter">
-<a href="images/Plate14_lg.jpg">
-<br />
-<img class="enlargeimage"
-src="images/enlarge-image.jpg"
-alt=""
-width="18"
-height="14" />
-<br />
-<img src="images/Plate14_sml.jpg" width="360" height="500" alt="Plate 14
-
-Suggestions for Washington’s Birthday. Silhouettes may be produced in
-cut paper, stencil work, opaque colors or pen and ink. Both Washington’s
-and Lincoln’s Birthday offer good opportunities for art projects." /></a>
-<br />
-<span class="caption"><span class="smcap">Plate</span> 14<br /></span>
-<p><span class="caption2">
-<span class="smcap">Suggestions for</span> Washington’s Birthday. Silhouettes may be produced in
-cut paper, stencil work, opaque colors or pen and ink. Both Washington’s
-and Lincoln’s Birthday offer good opportunities for art projects.</span></p>
-</div>
-
-<p><a name="page_036" id="page_036"></a></p>
-
-<p><a name="page_037" id="page_037"></a></p>
-
-<p><a name="plt_15" id="plt_15"></a></p>
-
-<div class="figcenter">
-<a href="images/Plate15_lg.jpg">
-<br />
-<img class="enlargeimage"
-src="images/enlarge-image.jpg"
-alt=""
-width="18"
-height="14" />
-<br />
-<img src="images/Plate15_sml.jpg" width="354" height="500" alt="Plate 15
-
-A Page of interesting Valentine designs. The use of a light and dark
-color against a medium toned paper is a sure way of obtaining quick and
-effective results. Variations, without figures, can be made by the
-younger artists." /></a>
-<br />
-<span class="caption"><span class="smcap">Plate</span> 15<br /></span>
-<p><span class="caption2">
-<span class="smcap">A Page</span> of interesting Valentine designs. The use of a light and dark
-color against a medium toned paper is a sure way of obtaining quick and
-effective results. Variations, without figures, can be made by the
-younger artists.</span></p>
-</div>
-
-<p><a name="page_038" id="page_038"></a></p>
-
-<p><a name="page_039" id="page_039"></a></p>
-
-<p><a name="plt_16" id="plt_16"></a></p>
-
-<div class="figcenter">
-<a href="images/Plate16_lg.jpg">
-<br />
-<img class="enlargeimage"
-src="images/enlarge-image.jpg"
-alt=""
-width="18"
-height="14" />
-<br />
-<img src="images/Plate16_sml.jpg" width="375" height="500" alt="Plate 16  A Unique Valentine Design. In this one an
-individual message can be written and put in the little envelope.
-Variations, such as a little dog holding a valentine-letter or a bird
-with one in his bill might be worked out similar to this idea." /></a>
-<br />
-<span class="caption"><span class="smcap">Plate</span> 16<br /></span>
-<p><span class="caption2">
-<span class="smcap">A Unique Valentine Design</span>. In this one an
-individual message can be written and put in the little envelope.
-Variations, such as a little dog holding a valentine-letter or a bird
-with one in his bill might be worked out similar to this idea.</span></p>
-</div>
-
-<hr class="full" />
-
-
-
-
-
-
-
-<pre>
-
-
-
-
-
-End of the Project Gutenberg EBook of Gift Card Designs, by Pedro J. Lemos
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-</body>
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