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diff --git a/old/68778-0.txt b/old/68778-0.txt deleted file mode 100644 index e51e706..0000000 --- a/old/68778-0.txt +++ /dev/null @@ -1,2282 +0,0 @@ -The Project Gutenberg eBook of Elements of show card writing, by John -H. DeWild - -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world 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. If you are not located in the United States, you -will have to check the laws of the country where you are located before -using this eBook. - -Title: Elements of show card writing - A course of instruction on how to make business-building show - cards. - -Author: John H. DeWild - -Release Date: August 17, 2022 [eBook #68778] - -Language: English - -Produced by: Charlene Taylor and the Online Distributed Proofreading - Team at https://www.pgdp.net (This file was produced from - images generously made available by The Internet - Archive/American Libraries.) - -*** START OF THE PROJECT GUTENBERG EBOOK ELEMENTS OF SHOW CARD -WRITING *** - - - - - - - ELEMENTS OF - SHOW CARD WRITING - - A Course of Instruction On How to Make Business-Building Show Cards - - By JOHN H. DeWILD - - [Illustration] - - Prepared for the - EDUCATIONAL DEPARTMENT OF THE - ASSOCIATED ADVERTISING CLUBS OF THE WORLD - New York, N. Y. - - Copyright 1923, by John H. DeWild - - - - -FOREWORD - - -It is with pleasure that we present this text on Show Card Writing by Mr. -John H. DeWild of St. Louis. - -It is designed primarily for the use of the study classes in the -educational work of the Advertising Clubs that comprise this Association. - -It is built out of the practical experience of a class that Mr. DeWild -has conducted with success in the Advertising Club of St. Louis. In fact, -the publication of the book has been somewhat delayed owing to changes -that have been made in the original plan; changes that have greatly added -to its practical value and that have come out of Mr. DeWild’s experience -in his advertising class. - -It should be mentioned that Mr. DeWild is the manager of the Merchants’ -Service Department of the Ely & Walker Dry Goods Co., St. Louis. He has -written books before on this subject. Being a practical merchandise and -advertising man he knows the sales and advertising value of properly made -show cards. He understands the technique of show card writing perhaps as -well as any man in the country. - -This is one of a series of texts prepared for the Educational Committee -of the Associated Advertising Clubs and it is hoped by the Committee that -it may serve an important place in improving the quality of show card -writing and its advertising and sales value throughout the stores of this -country and of Canada and of every country where an Advertising Club is -located. - - EARLE PEARSON, - Educational Director. - - PAUL T. CHERINGTON, Chairman - Educational Committee. - - ASSOCIATED ADVERTISING CLUBS OF THE WORLD. - - - - -INTRODUCTION - - -The ten practical lessons which follow, together with numerous -supplementary alphabets and showcard suggestions, are the result of -careful study, based upon years of experience gained in teaching the -simple fundamentals of showcard writing to various groups of merchants -and employees, demonstrations before Retail Merchants’ Associations, -conventions and in other educational work. - -The lessons were formulated into the course recently inaugurated under -the direction of the Educational Committee of the Advertising Club of St. -Louis. So successful was the course that this book has been prepared with -the idea in mind not only to serve as a text book for instructors, where -it is desired to conduct classes under the auspices of an Advertising -Club, but also for the student or store employee who desires to do -individual practice outside of a classroom. This is the only text book -published which carries the student forward, lesson by lesson—in a -simple, practical manner. (Note the charts for beginners). - -It is easy to acquire, in a very short time, the ability to do -suitable showcard work, provided the student =first of all masters the -fundamentals of lettering=. - -By “fundamentals” is meant the simple strokes that form most of the -letters, and these “strokes” should be mastered to the extent that they -will always be made uniformly. - -In lesson No. 1, these fundamentals are thoroughly explained, and by -using the large charts which are original with the author, the student -will readily grasp the idea of properly forming the letters. With the -first lesson thoroughly mastered, the remaining lessons will be very easy. - -The author is grateful to the Advertising Club of St. Louis for the -inspiration—and the opportunity which led to the demand for a course -in card writing. For many original ideas and suggestions used in the -class-room, and for several alphabets and showcards, a great deal of -credit is due Miss Frances Kaiman and Mr. Charles Jones, both of St. -Louis, who gladly gave their services during the original course, and -also in the preparation of the text itself. - -Experience demonstrates the fact that classes of this kind are made up -of students from all walks of life; many of them without experience, and -the majority of these young men and women come from the smaller stores in -outlying districts. - -For this reason, it is necessary in class work, for the instructor and -assistants to render personal service to the extent that each student is -encouraged along the lines he or she prefers. - -As an illustration: The young man from a drug store is interested in -vastly different styles of showcards than the young man employed in a -grocery store, and after the primary lessons are completed, it is best to -prepare suitable copy and layouts for the students, so that each may work -along practical lines. - -On the pages following the lessons will be found many showcard -suggestions for numerous kinds of business, and various seasons, all -based upon the alphabets shown in the lesson plates. - - - - -MATERIALS FOR BEGINNERS - - -Secure the proper materials right at the start. Improper materials are a -handicap. - -Instructors who undertake the classwork in many of the smaller cities -and towns, as well as individual students, will perhaps experience some -difficulty in securing the right materials. If, after investigation, such -is found to be the case and the suggested materials mentioned on this -page are not procurable in quantities sufficient for individual or class -practice, the Educational Department of the Associated Advertising Clubs -of the World, 383 Madison Ave., New York, will be glad to furnish these -materials at very low cost. - -Proper materials are necessary, and good work can be done only when the -student is provided with the best. - -For the beginner, the following outfit is suggested: - - 1 set of 5 sizes round speedball pens, - - 1 set of model “C” speedball pens or several sizes of broad - pointed pens, - - 1 bottle of black drawing ink, - - 1 No. 10 and 1 No. 12 red sable “rigger” showcard brushes, - - 1 2-oz. bottle black showcard color, - - 1 2-oz. bottle light red showcard color, - - 1 “T” square, - - 1 drawing board at least 22×28 inches, - - A supply of thumb tacks. - -The “T” square may be “homemade,” if necessary, as well as the drawing -board, the only essential in the drawing board being that it be “squared -up” on two sides—the left side and bottom, thus enabling the student to -do rapid, accurate “lining” or ruling. - -With these materials, the student is ready for the first lesson, which -should be practiced with the aid of the large instruction sheets, these -charts being provided by the Associated Advertising Clubs, and two of -each are included with this text book. - -It is also suggested that where the local Advertising Club or other -organization is fostering the class in showcard writing, there should be -provided extra charts for practice, together with sheets of heavy paper, -enameled on one side, size 14×22 inches. This enables the student to do -extra practice in addition to the chart work itself. - -In purchasing showcard stock, students should keep in mind certain sizes -of stock necessary. - -Full sheets of cardboard are 22×28 inches. - -Half sheets are 14×22 inches. - -Quarter sheets are 11×14 inches. - -Eighth sheets are 7×11 inches, and so on. - -The thickness or “weight” of cardboard is usually designated by the term -“ply” which means the number of layers of rough pulp making up the body. - -A good weight for ordinary cards is 6-ply. - -Heavy board, usually used for half and full sheets, is 10-ply, or -thicker. Mat boards and double size cardboard usually come 28×44. Some -mat boards and other fancy boards can be procured, however, in 22×28 -size, thus saving the time in cutting. - -It is suggested that students procure from their printers or wholesale -paper houses, catalogs of samples and sizes of the various cardboards, -etc., and familiarize themselves with the weights, colors, names, etc. - - - - -SUGGESTIONS FOR PRACTICE - - -If the showcard work is to be conducted in classes, it is highly -desirable to procure a suitable room where drawing tables are available; -for instance, the drafting room of a high school or college. If this is -impossible, the next best method is to provide large tables, slightly -lower than thirty inches, and chairs where students may sit at their -ease, in using their drawing boards. - -As the work progresses, the tables should be raised, so that those who -desire may stand up. This will enable the students to do better work, -especially when the brush work is being practiced. - -In fact, it is suggested that after the third lesson students be -permitted to stand as they work, and if in a drawing classroom or -showcard studio where practical work is done, the regular drawing tables -can be used. - -The thorough mastery of the fundamentals is absolutely essential to good -work, and particular care should be taken with the first four or five -lessons that all students master these details. If the student is without -an instructor, he should exert every effort to be painstaking, and never -hurry the work in the early stages of practice. - -Quick, “jerky” strokes, especially with the pen, are decidedly bad form, -and should never be attempted until the student has advanced to the point -where it is possible to gain a little speed and yet be neat and accurate. - -The instructions on the practice charts, as well as on the following -pages, regarding the early lessons are fully explanatory. - -There should be absolute silence in the classroom, and students should be -so arranged that the instructor and assistants may pass rapidly from one -chair to another, watching each student, and making corrections wherever -necessary. The instructor should provide himself with a pen or brush as -necessary, and use a separate sheet of paper in showing the students -the correct method of making certain letters. Students need suggestions -particularly on the formation of the letter “C,” the letter “S,” etc. -Once the “reason why” is mastered, the rest is easy. - -Students should assume an easy, comfortable position. A cramped position -is hard on the muscles and nerves, and ruins the eyes. Keep the head well -over the work and have the work in front of the body—never too far toward -the right. - -Don’t be afraid to “bear down” on the pen—pressure will keep the hand -from “wobbling.” - -Keep the third and fourth fingers “folded in” and permit the hand to rest -comfortably upon the table or drawing board. Use the thumb, first and -second fingers to hold the pen or brush firmly and do as much of the work -as possible with these fingers. In other words, “loosen up” the wrist and -fingers. - - - - -INSTRUCTIONS—LESSON NO. 1 - -_Fundamentals—See Large Chart._ - - -On the adjoining page is shown the plain speedball alphabet, one of the -simplest alphabets that can be formed. The light lines show the direction -in which the pen should move in forming the letters, and the numerals -indicate the order in which the strokes should be made. - -Keep the “foot” of the round speedball pen flat on the surface of the -paper or cardboard and press down with considerable force so that the pen -makes a full, even stroke. - -Do not carry too much ink, as it will run and spoil your work. - -Practice slowly and patiently. - -Learn to form carefully the “lower case” or small letters, “i,” “l,” and -“o.” All of the “lower case” letters containing ovals should be of the -same uniform proportion. - -In this alphabet the “O” has been formed as a perfect circle, thus giving -the student something definite to work from. It will be noticed that -a-b-c-d-e-g-o-p and q contain ovals which must be uniform. Also notice -that the lower case letter “i” is the first stroke in the letters “m” “n” -and “r,” and with a slope, is used in the construction of u-v-w-x and z, -and that the letter “l” is the first stroke in the letters “b-h-k and p”; -thus the formation of an alphabet requires very few strokes. - -It is also well to bear in mind that the experienced showcard writer does -not “work” or think in terms of letters, but his mind works in terms of -“strokes”; thus he knows when forming the lower case letter “b” that the -first stroke will be exactly like or similar to the lower case “l” and -then must be added the oval. - -The capital letters are made up of uniform strokes, and the same with -the numerals. It will also be noticed that wherever there is an oval, -it should be as nearly the form of a circle as possible. The “oval” in -figure “2” if continued would be a circle. The figure “3” is the same as -figure “8” except that in “3” the ovals have openings. The loop of figure -“5” should be almost a complete circle, the same as the loop in “6” and -the lower loop of the numeral “8” should be the same size as the loop in -“9.” - -The ovals of the lower case letters should be of a proportion that will -occupy the space between cross lines “B” and “C” shown on the chart. -After a little practice on the charts, =and in the first lesson omitting -the spurs entirely=, this alphabet will be easily mastered. - -It will be noticed that the ruled lines on the chart are numbered -A-B-C-D. This is for the convenience of the student, with the idea in -mind that the ovals of the long stem letters are two-thirds total height. -That is—the space from line “A” to line “B” should be one-half the space -from “B” to “C” and the space from “A” to “B” should be equal that from -“C” to “D.” - -This is an excellent proportion for practice work, although the student -after he progresses is at liberty to vary these lines as may appeal to -his fancy. (See page of speedball “variations” following lessons). - -By “spurs” is meant the little cross finishing lines as shown on the -chart. Omit these “spurs” during the use of the first two or three charts. - -In lesson No. 1 follow on the chart only the lines indicated on the -following page. - -Then carefully study the layout suggestions—where the “balance” of -display comes—and the various arrangements. - -[Illustration: - - i l [symbol] o a a b c d e f g h i j k l m n o p q r - r s t u v w x y z 1 2 3 4 5 6 7 8 9 0 - A B C D E F G H I J K L M N O P Q - R S T U V W X Y Z Cond Exten - - Display Should be Well Balanced - About This Point—Which is - the Optical Center— - - Actual Center - - - Well Balanced - Layouts— - - Are - Essential - to Neat - Work - - - Special - To-Day— - 8¢ - - - FLUSH - DISPLAY - - When two or more - Lines are “made even” - on one end only— - they are said to be - “Flush”—This is - an example. - - - Centered - DISPLAY - -When- - Side Margins - Are Equal - -Plates used by permission of Ely & Walker Dry Goods Co., St. Louis.] - - - - -INSTRUCTIONS—LESSON NO. 2 - -_Perfected Speed Ball Alphabet—Layouts—See Chart_ - - -This lesson, shown on following page, should not be attempted until -LESSON No. 1 has been thoroughly mastered. - -The student should be familiar with the layout suggestions shown beneath -the alphabet in lesson No. 1 even to the extent of laying out the same -outlines and copying them on sheets of paper about 9×12 inches. - -Lesson No. 2 should be copied by the use of a No. 3 round speedball pen. -Follow the dotted lines on the chart very carefully and observe the -details—especially the “spurs” which are the little finishing touches or -cross lines—these being purposely omitted in the first alphabet. - -When the student has carefully lettered in one or two of these charts the -same alphabet should be copied on a plain piece of paper or cardboard, -forming the letters as nearly perfect as possible. - -Use a pencil for the “ruling in” on practice paper other than the charts. - -Page 7 also shows the condensed and extended variations of the alphabet. -Keep these forms in mind. Condensed lettering is often necessary on -narrow cards, and the extended is often used on very wide or “landscape” -sizes. - -With this lesson thoroughly mastered—the student is advised to practice -the layout work. The first drawing suggests the “copy” for a showcard as -it is often handed to the card writer. - -There is a rule in card writing which demands the elimination of useless -or unnecessary words. Thus the student scratches out the words “this is.” -These words can be eliminated without changing the sense of the card. -Next, take a piece of enameled cardboard, or enameled paper, and make a -penciled layout as shown. - -Keep the balance of display toward the top center. Note that the three -lines are “gathered” in a group—not scattered all over the card. - -With the penciled layout ready—take up a No. 3 pen and letter in the -first line—then use a No. 2 pen for making the next two lines. Use the -smallest pen for forming a rather wavering or “rugged” border about one -inch inside the margin of the card. Note the reproduced finished card -shown. - -This layout should be practiced until it resembles the original. Then the -student should attempt the next card known as the two-price layout, and -then follow with the special arrangement. - -These three layout suggestions will give the student confidence and the -knowledge gained from practicing will make other layout work much easier. - -During the intermission between lessons, possibly covering several days, -the student should lay out and letter in other showcards from original -copy or from copy suggestions secured through observing the showcards in -large stores, or from the advertisements in the newspapers. - -Master the alphabet and practice. - -Success follows persistent trying. - -[Illustration: - - i i i i l l l l o o o a b c d e f g h i j k l m n o - p q r r s t u v w x y z ~ see ~ 1 2 2 3 4 5 6 - 7 8 9 0 $ ¢ A A B C D E F G H I J J K - L M N O P Q R S T U V W X Y Z $12·50 - Condensed—Extended—Regular - - “Copy” Penciled Layout Finished Card - “Two-Price” Layout “Special” Layout - -Plates used by permission of Ely & Walker Dry Goods Co., St. Louis.] - - - - -INSTRUCTIONS—LESSON NO. 3 - -_Broad Point Pen Single Stroke Roman—See Chart for Practice_ - - -This is a very beautiful alphabet when properly made. Students should -note the graceful curves—and practice each letter carefully and -faithfully from the large charts. - -The alphabet reproduced on the opposite page is from the same copy as -that used in making the practice charts, with the exception that in the -book, the practice lines are omitted. - -Any “broad pointed” pen may be used for this alphabet. Some showcard -writers prefer the model “C” Speed Ball pen, others prefer what are known -as “round” writing pens—which are the same style pen as the “Soennecken,” -others may prefer the “Automatic Lettering Pens.” Any style pen that will -fit the practice lines will suffice. The original chart from which the -illustrations were produced, was made with a No. 3 model “C” Speed Ball -pen. - -In beginning the practice work, note on the charts, and also on the -alphabet shown here, that the four guide lines are lettered A-B-C-D, just -the same as in the first and second lessons. The spacing is the same, and -there is a general proportion common to both alphabets. - -Hold the pen firmly, but the hand should guide the pen at a slight angle. -In other words—keep the hand somewhat farther toward the right of the -letter itself—rather than directly over the work as was the case with the -round Speed Ball pens in the first and second lessons. - -Note carefully the sketches shown beneath the alphabet—and endeavor to -hold the pen exactly as shown. Note particularly the angles in which the -pen travels in starting and finishing the various strokes. - -In making the “staff” strokes such as “i”, “l”, etc., the pen should -make a slight upward curve—much the same as though the writer were going -to draw a very thin line upwards at an angle of about 45 degrees. When -this thin line is fairly started and touches the guide line, then make -a graceful curve and come directly downward almost to the base line, -allowing for the slight curve at the bottom of the stroke. - -Try the letter “i”. - -Hold the pen at an angle. Come up slowly, then turn and follow the -practice lines downward. Then try the letter “l”. - -Now take a separate piece of smooth paper. Rule this off into spaces the -same as the practice chart, and continue making the letters “i” and “l” -until the pen feels “natural,” and you can make perfect perpendicular -lines with the graceful curves of “spurs.” - -With the pen “sliding” downward somewhat at a cross angle, the wide -downward strokes will be found easy. - -Then try, on the chart, the curves which enter into the making of the -letter “o.” All such curves are made from the top downward, and this is -an important point. Also remember that there must also be a swing of the -pen from LEFT—DOWNWARD. Then, TOWARD THE RIGHT—AND DOWNWARD. Two strokes -form the letter “o.” The next strokes are simple. - -With the letter “s”, you must use “THREE” strokes. Note the chart. - -Then come the strokes with curves which enter into the construction of -“h”, “m”, “n”, “w” and “y”. - -Bear down on the pen sufficiently to get a wide stroke. - -Use a sweeping motion to get the curves. - -Follow faithfully the outlines on the chart, and you will soon be able to -make a beautiful alphabet. - -The capitals are a series of easy curves, also the numerals. - -[Illustration: - - i l o /\ s [symbol] [symbol] a a b c d e f g h i j k l m n o p - q r r s t u v w x y z $ ¢ 1 2 3 4 5 6 7 8 9 - A A B C D E E F G I J J K L L M - N O P Q R R S T U V W X Y Z $5 - - Single - Stroke - 5¢ - - Price - $8 - - Friday - Bargains - 39¢ - - Today - 5¢ - - Ready - for - Spring - -Plates used by permission of Ely & Walker Dry Goods Co., St. Louis.] - - - - -INSTRUCTIONS—LESSON NO. 4 - -_Single Stroke Brush “Roman”—See Next Page_ - - -The student is now ready for practice work without the aid of charts, -except for the model shown on adjoining page. - -Use either a No. 10 or No. 12 “Rigger” showcard brush. - -Rule the practice paper so that the total height of the letter “l” will -be about 2¼ or 2½ inches. This will leave a space of about 1½ inches for -the ovals. Any size letters, however, may be made providing of course the -brushes will accommodate them. Be very careful in choosing brushes, and -get good brushes. Professional card writers prefer the best red sable -obtainable, and with reasonable care, a good brush will last a lifetime. -Also be sure of the sizes. Brush numbers are confusing, and there is a -series of sizes larger than the “Rigger,” with duplicate numbers. The -term “rigger” means the short handled brush, and this style brush also -has somewhat shorter bristles than the larger models. The price of the -“rigger” is also considerably less than that of the larger brushes. -If there is difficulty in securing brushes, write to the Educational -Department of the Associated Advertising Clubs of the World, as suggested -on page “Materials for Beginners,” and you will be properly supplied at -reasonable cost. - -The student must also use regular showcard color for ink. Don’t use -pen ink for brushes. It will not work, and is too expensive. Procure -some regulation showcard colors in the 2-oz. bottles costing about 25c. -Professionals use the term showcard “colors” to designate the brush water -colors from the inks used for pens. - -With the brush and ink ready—secure a small piece of cardboard for use -as a palette or mixing board, and by dipping the brush into the showcard -color several times, there will be sufficient quantity on the palette to -proceed. Have a small cup of water handy, and into this dip the brush for -moisture. Pour very little water into the show color itself—moisten and -work up the color on the palette. - -In doing the “mixing” also endeavor at the same time to work the bristles -of the brush into a sharp “chisel” or flat edge. This is necessary to do -good work. - -After each letter or two, repeat the chiseling out strokes on the -palette, and always carry sufficient color on the brush to do good and -easy work. Don’t permit the brush to dry out so that the letters are weak -and poorly “covered.” - -Now for the lesson. Hold the brush with the point at an angle—the same -as the pen was held, in forming the alphabet in the previous lesson. The -first stroke is a very short, light one—then, rest the brush, and bear -down slightly until the bristles are well spread. Come down in an even, -straight stroke. This is the first stroke. (See first stroke on next -page). When almost to the base line, stop and go back to the thin spur, -and fill in the open space. (Note the second stroke on next page). Then -resume position as in downward stroke and taper easily and slowly toward -the right, touching the baseline. (This is stroke 3). Next place the -brush a trifle from the bottom and come downward to left. (Making stroke -four). Then across the bottom of the line, completing a very neat spur -with stroke five. - -This is the manner of lettering the lower case “i” and also the lower -case “l.” - -Close observation will show the exact manner of finishing “off” the -capitals. In the practical use of this alphabet, avoid using lines of all -capitals as much as possible—and then, use only the simple capitals. The -fancy letters are for use only as the first letter on a showcard or for -capitals in the main display lines. It is difficult to read lines of all -capitals at a glance, and for this reason they should be used sparingly. - -In doing color work, students will find that regular showcard color, -somewhat “thinned out” with water, and placed in a separate bottle, will -serve admirably in pen work. This is particularly true in lettering with -the pen, on mottled mat board, or other “pulpy” surfaces. - -[Illustration: BRUSH “ROMAN” - - i i i i i l l l l l a a b c d e f g h i j k l - m n o p q r r s t u v w x y z - A A B B C D D E E F F - G H H I J J K L L M M N - O P Q R S S T U V W X - Y Z $ ¢ 1 2 3 4 5 6 7 8 9 0 - -Plates used by permission of Ely & Walker Dry Goods Co., St. Louis.] - - - - -INSTRUCTIONS—LESSON NO. 5 - -_The “Egyptian” Brush Alphabet_ - - -Show card writers give this alphabet the name “Egyptian” when it applies -to the plain lettering as shown on following page. There are many -other names that apply—when the alphabet is “trimmed” up with various -embellishments known to professionals. There is the spurred “Egyptian” -when the lines are finished off with “spurs”—either heavy spurs or hair -line spurs, and a host of other “embellishments” according to the taste -and originality of the card writer. - -The student will do well however to stick to the plain alphabet until the -various letters are thoroughly mastered. - -Among printers, this alphabet is known as “Gothic,” and some showcard men -call it a “block” letter. The term “block” comes from the fact that most -of the letters should occupy the same amount of spacing. - -While not a beautiful alphabet—it comes in very conveniently, and is a -splendid letter for making bold lines. As an illustration—the word “HATS” -is a comparatively weak word on a large show card, unless the lettering -is heavy, or embellished with some shading or outlining. With a broad -brush—if in a hurry—the card writer can dash off such a word very quickly -in “Egyptian”—thus saving time, and yet making a good, bold card. - -The word “HURRAH”—sometimes used to attract attention—is very weak—unless -lettered in bold “Egyptian.” - -Large prices on full sheet cardboard signs and letters on cloth signs are -also often done with this alphabet. - -Don’t be discouraged when first attempting it with a brush—and make it -only with the brush. - -Pick out a brush that has a good even edge. A “ragged” brush is useless -for heavy strokes. And when you find a brush that will work well, leaving -the perpendicular and ends of the vertical lines even and neat, KEEP -SUCH A BRUSH FOR THIS STYLE LETTERING, and use it for nothing else. -In contrast to the “Egyptian”—a brush for the Roman alphabets must be -pliable and of a “texture” to permit of light and heavy lines being made -alternately. - -In forming the “Egyptian” the brush must hold its “chisel” edge, and keep -an even stroke; therefore the necessity of using the right brush. - -First practice the letters that contain the straight strokes, E-F-H-I-L-V -and W. Keep practicing these capitals until they become easy. Then take -up the remainder. For the capitals—draw your cross guide lines about two -and one-half or three inches apart. Regulate your lower case letters -accordingly. - -Learn to twirl the brush between the thumb and second finger, using the -first or index finger as a sort of guide to keep the brush in place. - -Roughen up the polished ferrule of the brush with sand-paper, or a file. -Some showcard writers wrap adhesive tape about the ferrule, others wind -that part of the brush with small rubber bands. All these “tricks” enable -you to hold the brush more firmly and make the “turns” much easier. - -Making the curves is a combined arm, wrist and finger movement and the -student must bear in mind at all times that the hand must drag the brush. -Do not try to push the brush. KEEP THE HAND AHEAD OF THE BRISTLES, and -keep the chisel edge of the brush always at right angles with the width -of stroke. - -Also endeavor to keep the brush somewhat more perpendicular than with the -Roman lettering. Many showcard writers hold the brush so that the handle -is exactly erect or horizontal and a trifle forward of the third joint of -the index finger. - -Keep the head well over the work, almost directly over the work, and you -will find the lettering can be done easier. - -[Illustration: BRUSH “EGYPTIAN” - - i l [symbol] \/ a b c d e f g h i j k l m - n o p q r s t u v w x y z & $ ¢ - A B C D E F G H I J K L M N - O P Q R S T U V W X Y Z - 1 2 3 4 5 6 7 8 9 0 $45·00 - Ext. Cond. FREAKISH! - -Plates used by permission of Ely & Walker Dry Goods Co., St. Louis.] - - - - -INSTRUCTIONS—LESSON NO. 6 - -_Embellishing, Decorating, Etc._ - - -If this work is being done in a class under an instructor, it is -suggested that examples be prepared exactly as described on this page, -and illustrated on the following page. This will enable the students to -gain an exact idea of the work to be done. If the student is practicing -alone, it is suggested that cards duplicating, or at least similar to -those described, be procured, and the various combinations followed out. - -Card No. 1, size 9×13. Mottled mat board with a slight tinge of very -light green. First three lines of lettering were done in bright red, and -then the words “Fancy Stunts” were striped with light yellow. The word -“color” was lettered in dark brown and embellished with light yellow. - -Card No. 2, size 9×13. Light blue mottled mat board. Lettering was -done in blue—the first lines in dark blue, and the numerals “40” in -light blue, outlined with dark blue. The snow effect was accomplished -by coating the top of the card and the letters very heavily with -thick, white showcard color. Before this color dried, fine “imitation -snow”—ground mica—was distributed. The card was then left to dry, after -which the surplus ground mica was brushed off into a receptacle, to be -used again. - -Card No. 3, size 9×13. Pink mottled mat board. Lettering shows two styles -of outlining. The first two lines were light purple outlined closely -with black—the last two lines were dark purple with rugged light green -outline. Note carefully the methods of outlining. - -Card No. 4, size 18×8. Linen finish, cream tinted mat board. Lettering -was done with No. 10 brush, using orange ink. The outlines and -underscoring were done in purple, and the decorative dots over the face -of the letters are white put on with small brush. - -Card No. 5, size 6½×4½ inches. Light tan mottled mat board. Price was -lettered with brush, using dark blue color, shading was done with light -blue. The embellishing across the face of the figures was done with white. - -Card No. 6, size 12×18 inches. Mottled tan mat board, round cornered. -Body of lettering done in dark, reddish brown, then dotted with gold. The -letters were outlined with bright red. - -[Illustration: DECORATIVE SUGGESTIONS - - 1 - - FANCY - STUNTS - IN - COLOR - - 2 - - Christmas - Candies - 40¢ - - 3 - - Close - Outline - - Open - Outline - - 4 - - Gloves - - 5 - - 25¢ - - 6 - - CAFE - -Plates used by permission of Ely & Walker Dry Goods Co., St. Louis.] - - - - -INSTRUCTIONS—LESSON NO. 7 - -_Use of Pantograph, Pictures, Copying Designs, Etc._ - - -Card No. 1. Size 8¼×7 inches. This was a sample from a wholesale paper -house. Body color was a very light green. The border and center panel -were made with olive ink. The figures were light yellow and outlined in -bright red. The picture of a parrot was cut from a magazine and pasted in -the corner of the card as shown. - -Card No. 2. Size 10½×14 inches. Dark cream mottled mat board. Lettering -was done in a dark gray with No. 10 brush. The initial letters “D” and -“F” were shaded with black. The picture which represents a photograph was -a neatly printed half-tone, cut from a trade paper. The border of the -card was gray. - -Card No. 3. Size 10½×13 inches. Plain white cardboard with a picture -pasted on the upper left-hand corner cut from a manufacturer’s showcard. -The lettering on this card was done in black with the round speedball -pen. The border is dark green to match the picture. - -Card No. 4. Size 11½×18½ inches. Plain white cardboard. Lettering was -done with large round speedball pen. The picture shows the use of the -pantograph and the sketch was enlarged from the original at the left. -This was enlarged four times as shown on the card itself. After the -sketch was traced with a pencil, the drawing was filled in with drawing -pen. - -Card No. 5. Size 8×6 inches. Plain white cardboard lettered with No. 10 -brush, using bright green ink, then shading with black. - -The butterfly was a cut-out from a trade paper and pasted to the -card-board. - -In shading the letters on a showcard, or on any piece of sign work, the -student should keep in mind the theory of shading which is as follows: - -Imagine, if possible, that the letters to be shaded are about one inch -in height from the paper and that a light is being held above and to the -right of the letters at an angle of about 45 degrees. If this experiment -is carried out in actual practice it will be found that the shadows fall -to the left and below the letters. This is the rule for proper shading. -The effect can be reversed by imagining the light coming from above and -to the left. This would necessitate the shading on the right side of the -letter and at the bottom. - -Students should study the large cloth signs made by professional sign -men, for splendid examples of shading. - -[Illustration: PRACTICAL EXAMPLES - - 1 - - 15¢ - - 2 - - Dignified - Furniture - Comfortable - Durable - - 3 - - They’re - Here - _Dainty - Durable - Hose_ - Popularly Priced - - 4 - - New Ties - Just Received - $1.25 - - 5 - - _New - Spring - Silks_ - -Plates used by permission of Ely & Walker Dry Goods Co., St. Louis.] - - - - -INSTRUCTIONS—LESSON NO. 8 - -_Air Brushing, “Spatter” Work, Etc._ - - -The first figure, that is the figure to the left on the adjoining page, -shows the stencil, or pattern, as it is cut from regular stencil stock -for use in air brush work or other decorative methods. - -The card in the center shows the design after being copied on the -showcard. The stencil itself was placed on white showcard, size 14×22, -and the air brush color was blown about the margin of the stencil, with -the result as shown. The lettering on this design was done with a large -size model “C” Speed Ball pen. - -The two cards shown to the right are illustrations of how to proceed in -doing “spatter” work. The card at the top shows the panel cut out, and -this was placed over the card shown just below. The spatter was done with -light green color, and the method employed was as follows: - -A brush similar to that used in cleaning typewriters was used with -regular air brush ink, and this brush was moved backward and forward -across the blunt edge of a knife blade. The face of this panel was then -lettered as shown. This lettering was done with a large size model “C” -pen. - -Students who desire to further familiarize themselves with air brush -work, should write to the various manufacturers of air brushes, and get -literature on this interesting subject. Stencils may also be procured -from showcard supply firms or from the manufacturers themselves. Patterns -from stencils may also be copied from wall paper designs, pictures, etc., -and then cut out with a very sharp knife. - -“Air brush” is a name for a finely made tool which has a very delicate -spray, operated by means of air pressure. - -It is necessary, of course, to attach the air brush to some sort of tank -containing air, and for those who use the air brush a great deal, nothing -is more convenient than the carbonic air tank furnished by any carbonic -gas company. - -It is necessary to attach an air regulator to such an air tank. Bear in -mind that an air regulator is a combined regulator and pressure gauge. - -In addition to the air brush, it is necessary to have extra color cups -and about eight feet of rubber hose to attach to the tank. - -Ordinary spatter work may be done in a great many ways, in addition to -the method mentioned here. - -Many showcard men find that an ordinary fine spray atomizer will do very -good work, and some even attach an atomizer to a home made air pressure -tank, which is fed from a hand or foot pump. - -Any method that will add novelty to the appearance of a showcard is very -good, especially at the important seasons of the year. - -In doing air brush work however, or spatter work, it is very necessary to -first procure the regular air brush colors. Ordinary homemade mixtures -will drip and ruin your work. The regular air brush colors have in their -composition a dryer which causes the color to dry immediately, and also a -binder which prevents the color from being rubbed off. Air brush colors -are very reasonably priced, and can be secured in a great range of shades -and colors. - -If the student has difficulty in procuring these materials, he should -write to the Educational Department of the Associated Advertising Clubs -as suggested in previous lessons. - -[Illustration: SPECIMENS—FOR LESSON 8 - - 1923 - Ribbons - _for_ - Easter - - An Example - of - “Spatter” - Work - -Plates used by permission of Ely & Walker Dry Goods Co., St. Louis.] - - - - -INSTRUCTIONS—LESSON NO. 9 - -_Finished Work in Air Brushing, Etc._ - - -This lesson has been designed as a direct follow-up of Lesson 8. - -There is a variety of simple and practical suggestions on the following -page—giving the student much actual practice. - -If work is being done by classes, the instructor should have similar -designs prepared and permit the students to copy from them. - -It would be much more practical if such designs could be shown to the -students before the class closes on Lesson 8. - -These designs are all on white cardboard so that very little extra stock -is necessary. - -Card No. 1. Size 12×11. Plain white card, air-brushed in black around the -oval cut-out. The “turned-down” corner effect was obtained by clipping -off the corner and airbrushing a section to represent the portion that -would be folded over. The lettering was done with No. 3 round Speed Ball -pen, and the figure “4” was outlined in purple. - -Card No. 2. Size 11×14 (quarter sheet). Airbrushing was done over a panel -with purple ink. The pictures were then pasted on and the lettering done -with small size broad point lettering pen. - -Card No. 3. Size 7×7. Air-brushed panel background was obtained by -“spattering” the color through a “jagged” edged cut-out. Lettering was -done with large size round Speed Ball pen. - -Card No. 4. Size 9½×20. Plain white cardboard. Faintly decorated panel -was made by rubbing in colored chalk dust and outlining this with small -pen. Lettering was done with No. 4 round Speed Ball pen. - -Card No. 5. Size 11×16. Plain white cardboard. Silhouette was made by -transferring the outline of a picture by means of carbon paper. This -outline was then filled in with black ink. The border and shading were -done in dark red. The lettering was done with small broad lettering pens: -a No. 4 Model “C” Speed Ball and a No. 5 Model “C” pen. - -[Illustration: SUGGESTIONS FOR PRACTICE - - 1 - - for - Easter - $4 - - 2 - - A Complete - Line of - Toilet - Accessories - _Priced - to Please_ - 4th floor - - 3 - - $1·98 - - 4 - - _CHALK - BACKGROUND - Hand - Polished_ - - 5 - - Taffeta - You’ll Find a Large - Variety of Shades on Our - 2nd Floor - -Plates used by permission of Ely & Walker Dry Goods Co., St. Louis.] - - - - -INSTRUCTIONS—LESSON NO. 10 - -_Finished Practical Work—General Review_ - - -If the work has been conducted by classes, this lesson will serve as a -general review, and students should be asked to duplicate the examples -shown on the next page. - -The general review work should also include work in the simple alphabets -with each student making a card with the round speed ball pen, one card -with the broad pen, and one simple brush card. - -The examples shown on following page should be shown to the class before -the close of the previous class session, in order that the proper -preparation may be made. - -These cards are not difficult, but have been made up with the idea of -giving the student an idea of variety—and individuality. - -If an air brush is not available, an atomizer, or a simple “spatter” -process will serve just as well. - -Card No. 1. Size 9¾×14½ inches. The lettered panel was 5×7½ inches. The -large part of the card was made by covering a piece of wall board with -purple plush and mounting the showcard on it as shown. The showcard -itself was of pebble finish, cream colored mat board, lettered in black -with the price in white. The border as well as the underscore is also -white. - -Card No. 2. Size 14×8 inches. The background was light gray; with the -mounting in light blue mottled mat board. The lettering was done with the -brush, using dark blue ink. The outline was in white. - -Card No. 3. Size 10×15 inches. Stock used was linen finish, cream colored -mat board; lettering was done in black ink with a wide pointed pen. The -border was finished with the air brush, and then striped with white. - -Card No. 4. Size 9½×22 inches. Panel was air-brushed in purple; lettering -was done with large size round Speed Ball pen; first two lines were -underscored in light green. Price was outlined in light green ink. - -Card No. 5. Size 8×11¼ inches. Lettering was done with a round Speed Ball -pen, and the panel effect with the perpendicular lines was done with the -pen, using orange color ink. - -Card No. 6. Size 5×12 inches. Light tan cardboard; lettering done in -reddish brown ink, using wide pointed lettering pen for the large -letters, and the price was done with a No. 10 brush. The border was -bright red, and the small lettering was done in bright red. - -[Illustration: SUGGESTIONS FOR LESSON 10 - - 1 - - Pekin - Morea - _A new spring - Novelty_ - $7.50 doz. - - 2 - - FURS - - 3 - - Holiday suggestions— - 50¢ and up. - - 4 - - _Silk - Hose_ - $3·50 - - 5 - - WHITE - PONGEE - SHIRTS - Collars - to Match - $4 - - 6 - - For - Fall - Just - Received - 60¢ - -Plates used by permission of Ely & Walker Dry Goods Co., St. Louis.] - - - - -SPEED BALL VARIATIONS - - -The chart on the following page shows a number of variations which really -make separate and distinct alphabets based on the Speed Ball pen alphabet -practiced in Lesson 2. From these variations, if studied closely, it will -be noticed that the Lesson No. 2 alphabet is used as the basis, and by -simply changing the spurs, it is possible to make four or five alphabets -from the one model. - -The chart as shown on the opposite page is self explanatory. It is only -necessary to state that the student should study the changes thoroughly, -and when well mastered, they will add much to the attractiveness and -individuality of showcards. - -By varying the height of the body lines, known also as the staff lines, -it is possible to change the entire appearance of this simple alphabet. - -The last alphabet shown is much the same as that in Lesson No. 2 with the -exception that the spurs are square and face generally in one direction. - -It will also be noticed that many of the strokes are left open, at least -there is a bit of white space showing between the staffs and the next -stroke. This adds a touch of individuality to the alphabet, which is -patterned after a popular type face. - -In practicing this alphabet, simply rule off the practice paper as shown -in previous lessons and follow the chart as closely as possible. - -[Illustration: CHART OF VARIATIONS - - This is an Example of the “Sloping” Spur - a b c d e f g h i j k l m n o p q r r s s t u v w x t z ¢ $ - - Below is an example of the “Double Curve” spur - a b c d e f g h i j k l m n o p q r s t u v w x y z—Etc - A B C D E F G H I J J K L M N O P Q R S T U - V W X Y Z—1 2 3 4 5 6 7 8 9 0-$ ¢ $12·50 - - This is a Specimen of the “Heightened” Staff Lines - This Demonstrates the “Heightened” Body Lines—Giving Contrast - - a b c d e f g h h i j k l l m n o p q r s t u v w x y z—Easy—A - A B C D E F G H I J J K L M M N N O P Q R S T T U V W X T Z—1 2 - 3 4 5 6 7 8 9 0. - -Plates used by permission of Ely & Walker Dry Goods Co., St. Louis.] - - - - -“SPECIAL” ALPHABET - - -This alphabet is a Variation of the Roman and Old English combined. -There is always a demand for something neat, and attractive, and not too -difficult or “fancy” to be easily made and easily read. - -The same alphabet used week after week becomes monotonous, and students -will find the “special” alphabet shown on the following page a very -interesting one. - -The capitals are quite easy, and follow somewhat after the style of the -plain, single stroke Roman, for the pen and brush, shown previously. - -Cards to be used in jewelry stores, for millinery, and other high class -lines of merchandise, look “classy” and are very attractive when lettered -in this style. - -When using this alphabet it adds greatly to its attractiveness to procure -tinted cardboard. A faint tint of purple, blue, brown, etc., greatly -enriches the cards. Cream tinted cardboard is also admirably adapted to -this purpose. - -Black cardboard may also be used, or other solid color. By thinning -the regular showcard colors somewhat with water, beautiful work can be -done. Black cardboard with white lettering is decidedly appropriate in -jewelers’ windows but the cards must not be too large. - -At Christmas time this is a very desirable alphabet because it has many -traits of the Old English. - -With a little practice the fundamentals will soon become fixed in -the mind, and the student will have one more alphabet added to his -“vocabulary.” - -Practice the layouts as shown, using black cardboard and white ink for -the second, and light blue ink on white to form the dotted center panel -of the third card. - -[Illustration: FOR BRUSH OR PEN - - a b c d e f g h i j k l m n o p q r s t u - v w x y z—1 2 3 4 5 6 7 8 9 0 - A B C D E F G H I J K L M N - O P Q R S T U V W X Y Z & $ $ ¢ - - Dainty - Dresses - - Silverware - _for_ - Christmas - - Jewelry - -Plates used by permission of Ely & Walker Dry Goods Co., St. Louis.] - - - - -PEN OR BRUSH “ITALIC” - - -The “Italic” is a very necessary alphabet in card writing. - -The name is derived from the slanting appearance of the letters. In using -this style of lettering be careful to have the “slopes” or “slants” -uniform. - -The angle as shown on the chart is the preferred “slant.” In practice -work, to maintain uniformity, students should rule off their cards -or practice sheets as indicated by the broken lines. This compels -uniformity, and many professional card writers use a specially “slanted” -ruling guide or “T” square for making such lines. - -This alphabet is designed for either the broad pointed pen or brush. -The round speedball pens may also be used for a “slanting” alphabet, if -desired. - -Compare the similarity of this with other alphabets and it will be found -easy to make. Take time to analyze this and previous alphabets, and it -will be found very simple. - -Words lettered in “Italic” on a showcard break up the monotony. When -there is considerable reading matter on a card or sign, a few lines in -Italic will relieve the denseness of the lettering and invite reading. - -Italic is also much used for catch lines—the short lines—which often -occur between the important lines on a card. - -The words “the”, “our”, “on” and many others are usually written in -Italic. - -The last line of lettering on the adjoining reproduction shows some -slight variations preferred by showcard writers, in that the spur at the -top of some of the staffs is sharper, and on other letters the bottom -spur of the first stroke is omitted. In working under pressure many -showcard writers omit the spur in all first strokes on the h, k, m and n. - -The “Italic” numerals are simple—and much used for prices on any style -card. In fact, the Italic is much preferred when there is considerable -small lettering to do and the work must be hurried. - -[Illustration: “ITALIC” CHART - - _A B C D E F G H J K L M N O P Q $ - R R S T T U V W X Y Y Z &c. - A B C D E F G H I J K L M N - N O P Q R S T U V W X Y Z &_ - - _abcdefghijklmnopqrrsstuvwxy_ - - _abcdefghijk 1234567890-1923_ - -Plates used by permission of Ely & Walker Dry Goods Co., St. Louis.] - - - - -DIRECTIONS FOR “OLD ENGLISH” - - -While the “Old English” stands out in an unusual way for beauty and -dignity it must at all times be used with the utmost discrimination. It -does not lend itself ordinarily to showcard or poster work and finds its -best purposes in connection with Christmas showcards or monogram effects. -Jewelry, silverware and gift suggestions of the valuable variety express -themselves to the highest advantage in the “Old English” alphabet. - -A point to be remembered in using this alphabet, however, is not to -combine capitals in one word. Capitals can only be used in connection -with the lower case letters. Some of the other alphabets, more -specifically the “Egyptian,” work out very effectively in “solid caps.” -However, this effect can never obtain in the case of the “Old English.” - -The alphabet as shown on the plate is self-explanatory as to combination -of strokes. The letters may be made with the brush held at an angle -square with the stroke, emphasizing the fine lines, or they may be made -with the broad point pen, depending on the size desired. - -This alphabet is the most time-taking of any to make and as it adapts -itself to only limited purposes, should be used very rarely. - -[Illustration: “OLD ENGLISH” CHART - - A B C D E F G H I J K L M - N O P Q R S T U V W X Y Z - 1 2 3 4 5 6 7 8 9 0 & $ &c. - abcdefghijklmnopqrst - uvwxyz.,[symbols] Jewelry = - -Plates used by permission of Ely & Walker Dry Goods Co., St. Louis.] - - - - -DESCRIPTIONS OF PRACTICAL CARDS - - -Card No. 1. Size 8½×17½ inches. Light tan mottled mat board lettered in -dark brown ink. This card demonstrates an important point in showcard -writing, that—if the price is to be displayed in large figures, the -general outline of the space occupied by the numerals should conform to -the proportions of the card. Thus a narrow card demands a condensed price. - -Card No. 2. Size 20×12 inches. Cream tinted linen finish mat board. -Initial capitals in the first line were in bright red, the other -lettering in brown, while the price figures were bright red outlined with -brown. This style card is reproduced for the purpose of showing that -an extended card such as this, which is called the “landscape layout,” -should have an extended price that will be in keeping with the general -proportions of the card. - -Card No. 3. Size 6×12 inches. Light green mottled mat board with -lettering in light blue outlined with dark blue and then decorated with -dots of white and black. This shows a very pretty card for single price, -and in this size also the price figures should conform to the general -outline of the card. - -Cards Nos. 4 and 5 are what is known as “strip” signs. That is, they are -lettered on narrow strips. The originals were about 4½ inches wide. Card -No. 4 was lettered on light maroon cardboard with black ink. Card No. 5 -was white with black lettering. - -If the student enters into practical work and has occasion to make many -narrow strips on paper, such paper can be procured in varying widths and -in rolls from any firm that carries supplies for showcard writers. - -[Illustration: PRACTICAL CARDS - - 1 - - This Style - Card - _Should Have - Condensed - Price_ - 19¢ - - 2 - - This Style Card - _Should Have an - Extended Price_ - 39¢ - - 3 - - 5¢ - - 4 - - _CANDIES_—49¢ - - 5 - - THE BIG SALE IS NOW ON - -Plates used by permission of Ely & Walker Dry Goods Co., St. Louis.] - - - - -DESCRIPTIONS OF CARDS FOR SUMMER - - -Card No. 1. Size 16×22 inches. Gold mat board in fancy “cut-out” pattern. -Large lettering done in white color with air-brushed shading in light -red. Smaller lettering done in black ink. - -Card No. 2. Size 16×22 inches. This card was made of tan mottled mat -board with air-brushed panel as shown in reddish brown. Large lettering -is in white—the small lettering in black. Such cut-out panel effects have -the appearance of two sheets of mat board being used. - -[Illustration: CARDS FOR SUMMER - - 1 - - Summer - Toilet - Necessities - _Pure and - Efficient_ - - 2 - - Novelties - in - _Leather - Goods_ - Just - Received - -Plates used by permission of Ely & Walker Dry Goods Co., St. Louis.] - - - - -DESCRIPTION OF CARDS ON PAGE 39 - - -Card No. 1. Size 16×22 inches. Cardboard is imitation Circassian Walnut -lettered in plain white. In lettering on cardboard of this character the -student should bear in mind that such board is of necessity an oil finish -and that paint with considerable dryer, or printer’s ink mixed with -gasoline are best for lettering. Water colors are very unsatisfactory on -surfaces of this kind. - -This board is a fancy cut-out and may also be procured in the mahogany -finish. - -Card No. 2. Size 16×22 inches. Plain white cardboard with wall paper mat -pasted onto the white board. Space occupied by the lettering was first -air-brushed in light green which shows very faintly in the reproduction -and this was then lettered with white showcard color, using No. 12 brush. - -[Illustration: SUGGESTIONS FOR FURNITURE DEALERS - - 1 - - FURNITURE - -OF- - DISTINCTION - - 2 - - New - Draperies - -Plates used by permission of Ely & Walker Dry Goods Co., St. Louis.] - - - - -DESCRIPTION OF “SPRING” CARDS - - -Card No. 1. Size 16×22 inches. This showcard was made of maroon colored -railroad bristol. The large lettering, in the “Egyptian” style, was -done with yellow color. The clover effect on each of the first letters -in the three words was done by grouping three dots in light red color. -The smaller lettering at the bottom of the card was done in white color -as was also the border, as indicated. This card is attractive in style, -featuring the side panel effect with broken border. - -Card No. 2. Size 16×22 inches. Plain white cardboard mounted with a card -of pale green. The word “Seeds” is lettered in deep yellow, closely -outlined in dark green. The smaller lettering is done in the same shade -of dark green and outlined “raggedly” in bright yellow. The color -combinations are very effective, especially in connection with this -particular kind of “merchandise.” - -[Illustration: CARDS FOR EARLY SPRING - - 1 - - TIME - TO - PAINT - - _We can please you - both in Quality - and Price_ - - 2 - - SEEDS - for - Every - Home - -Plates used by permission of Ely & Walker Dry Goods Co., St. Louis.] - - - - -DESCRIPTION OF EASTER CARDS - - -Card No. 1. Size 16×22 inches. Fancy cut-out, heavy purple mat cardboard. -Card was beveled and makes a very pretty design for Easter. The lettering -was done with the No. 12 brush, using white ink. The word “Hats” was -outlined with lavender. The words “Easter Parade” were cross-striped, -as shown, with gold ink although this appears as almost white in the -reproduction. - -The price cards shown in the reproduction were lettered on purple -cardboard. The first price ticket was white, shaded in light green with -the air brush. The next card was lettered in white and shaded with -lavender. The third card was lettered in lavender and outlined with -white. The border of the card was air-brushed with green ink and then -striped with white. The last card shown was lettered with yellow on -purple cardboard shaded with light red. - -Card No. 2. Size 16×22 inches. The original of this card was very -beautiful. The center panel in the reproduction does not give the clear -detail of the quality of stock used. The background of the original was -heavy purple mat board and the center panel was of grain finished cover -stock tinted with purple. The center panel in the original gave the -appearance of a piece of white kid stretched over the surface of the mat. -The edges of the lettered panel were heavily air-brushed in black ink. -The lettering was done with small size model “C” speed ball pen. - -Such cards add much to the attractiveness of any window display and -students should procure samples of this paper stock from some source and -note its beautiful finish. - -If work is being done in class—such examples should be exhibited to the -students. - -[Illustration: EASTER CARDS - - 1 - - HATS - FOR THE - Easter - Parade - - $5 - $25 - $50 - $60 - - 2 - - A Clever - Expression - of - Individuality - - Styles for - 1·9·2·3· - -Plates used by permission of Ely & Walker Dry Goods Co., St. Louis.] - - - - -DESCRIPTION OF CARDS FOR SUMMER - - -Card No. 1. Size 16×22 inches. Made of white cardboard with air-brushed -panel in light blue and panel is striped with faint white lines. You will -note that the lines are heavier at the top and bottom, apparently “fading -out” toward the center. This produces a very cool, elusive effect, -suggesting water. The lettering is done in white color with slight air -brush shading in light green. For suggested coolness the colors here used -are uniquely effective. - -Card No. 2. Size 16×22 inches. Light tan mottled mat board. Large lines -of lettering in dark gray—first line outlined with black lines, second -with light green. The bottom line of lettering is done in black. The -panel in the ornamentation was done in gray—the flowers are of bright -red outlined with white against circular background of dark blue. The -conventional foliage falling from flowers was done in light green. Card -No. 2 would be very effective in a window display of footwear. - -[Illustration: CARDS FOR SUMMER - - 1 - - Cool - Togs - _for_ - HOT - WEATHER - - 2 - - Summer - Styles - Attractively Priced - -Plates used by permission of Ely & Walker Dry Goods Co., St. Louis.] - - - - -MORE CARDS FOR SUMMER - - -Card No. 1. Size 9½×20 inches. Gold mat board with a cut-out picture -pasted near the top as shown. The checker-board border was made with -bright red. The word “Dresses” was lettered with No. 12 brush using -bright red showcard color. This line of lettering was also shaded and -striped with white showcard color. The small lines of lettering were done -with No. 4 model “C” speed ball pen, using regular ink for pen work. -The numeral “4” was lettered with white and then lightly air-brushed or -shaded with dark red. - -Card No. 2. Size 16×22 inches. Dark brown cardboard with the letter “W” -in light green, outlined with gold. The balance of the first two lines of -lettering was done with No. 12 brush using cream showcard color. The last -three lines were made with a smaller brush using light red showcard color -and mixed with yellow to form a very pale pink. - -Card No. 3. Size 8½×13 inches. Plain white cardboard, round-cornered, -with border outside of the panel air-brushed in light yellow. The -flowers which show faintly in the reproduction were violets made with a -small brush, using purple ink. The vines were done in light green. The -lettering was done with model “C” speed ball pens, using gray ink for -shading the words, “Men’s Shirts.” The numeral “3” was outlined in white. - -Card No. 4. Size 9×5½ inches. Plain white cardboard lettered with No. -12 brush and black showcard color. The border and the figures were then -airbrushed in purple ink and the face of the figures striped with white. - -[Illustration: ATTRACTIVE SUMMER DESIGNS - - 1 - - Dresses - for the - Practical - Women - $4 - - 2 - - WE can - please you - in style - quality - and price - - 3 - - _Men’s - Shirts_ - Cool - Summer - Weaves - $3 - - 4 - - $24·50 - -Plates used by permission of Ely & Walker Dry Goods Co., St. Louis.] - - - - -DESCRIPTION OF FALL CARDS - - -Card No. 1. Size 16×22 inches. Greenish gray mottled mat board, cut out -in attractive easel effect. Panel is of white cardboard with air-brushed -shading in yellow. The words “Fall Opening” are lettered in dark red. The -smaller lettering was done in black ink with the model “C” speed ball pen. - -Card No. 2. Size 16×22 inches. Dark green mottled mat board. Initial -letter in “Footwear” was done in white color against a bright red -background, with border in gold. Balance of letters in word “Footwear” -were done in white. - -The four lines of Italic lettering were done in light cream color. Note -the even slant in the “Italic.” - -[Illustration: CARDS FOR FALL - - 1 - - Fall - Opening - - A perfect exhibition - of newest - autumn modes - - 2 - - Footwear - - _A Complete - Showing - of the Newest - Fall Styles_ - -Plates used by permission of Ely & Walker Dry Goods Co., St. Louis.] - - - - -DESCRIPTION OF LATE AUTUMN CARDS - - -Card No. 1. Size 16×22 inches. The pumpkin design was air-brushed, by -first cutting out a stencil the size necessary and then using orange and -yellow air brush ink with an outline of light green. - -The small line of lettering was done with a No. 3 model “C” Speed Ball -pen. The words “Hallowe’en Dainties” were lettered in “Egyptian” with a -No. 12 brush, and the color was dark red. - -These two lines were air-brush shaded in light green. The last two lines -of lettering were done with a small brush in black ink. - -The “frosting” effect was obtained by using heavy white showcard ink as -indicated, and then ground mica was sprinkled on the ink. This makes a -very attractive showcard for Hallowe’en season. - -Card No. 2. Size 16×22 inches. Thanksgiving design. The drawing of the -Pilgrim was made offhand, first being sketched in with pencil, and then -black ink was used, touched up with white. The showcard stock was of -reddish orange. The word “Thanksgiving” was drawn with the brush in black -and shaded with white. - -The small price cards shown in the center were plain white cardboard. -The first sign shows the method of making a “mask” or “cut-out” for the -lining of a large number of cards, when it is necessary to have them -equally spaced. - -The next card shows a suggested penciled-in sketch, and the remainder, -the actual pen lettering. These cards were then daintily air brushed on -the edges. The square card shown was a small card three inches square, -also lettered with pen. - -[Illustration: CARDS FOR LATE AUTUMN - - 1 - - “When the frost is on the pumpkin” - - Hallowe’en - Dainties - - For the Children - and the “Grown-ups” - - $1·23 - $4·56 - $7·89 - $1·23 - - 2 - - THANKSGIVING - -Plates used by permission of Ely & Walker Dry Goods Co., St. Louis.] - - - - -DESCRIPTION OF CHRISTMAS CARDS - - -Card No. 1. Size 14×22 inches. Deep blue cardboard stock with border line -in white. The words “Toyland is Ready” were done in bright green color. -White color was then applied freely and with careless effect at the top -of the white letters and also in the bottom curves and spurs. While the -white color was quite wet ground glass or “mica” was sprinkled into it, -thus producing the effect of snow. The balance of the lettering was done -with the brush in bright yellow color. - -Price cards shown in the center of the reproduction were made of white -cardboard. Numerals were written in with black ink with model “B” speed -ball pen. Each card features a different colored, flat band border -of dark blue, tangerine, maroon, orange, mauve and bright yellow, -respectively. This border is made by “chiseling” the brush out perfectly -flat and laying it full width, or whatever width may be desired, on the -edge of the card and dragging it steadily down on each edge of the card. -Colored borders on price cards add much to their attractiveness. Try out -the combinations suggested. - -Card No. 2. Size 14×22 inches. Plain white cardboard mounting with panel -of dark green, mottled cover stock. The word “Boys” was lettered in dark -green and closely and somewhat unevenly outlined in bright yellow. The -balance of the lettering was done in very light green, the last line also -underscored in the same color. - -[Illustration: CARDS FOR CHRISTMAS - - 1 - - Toyland - Is Ready— - - in all its - wonder - and - mysteriousness - - $1·50 - $2·75 - $3 - $5·00 - $8 - $10 - - 2 - - BOYS - Will Want - These— - - _Don’t Disappoint Them_ - -Plates used by permission of Ely & Walker Dry Goods Co., St. Louis.] - -*** END OF THE PROJECT GUTENBERG EBOOK ELEMENTS OF SHOW CARD -WRITING *** - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the -United States without permission and without paying copyright -royalties. 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