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diff --git a/old/51700-0.txt b/old/51700-0.txt deleted file mode 100644 index c78dadc..0000000 --- a/old/51700-0.txt +++ /dev/null @@ -1,840 +0,0 @@ -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) - - - - - - - - - - - [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. 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