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DeWild. - </title> - - <link rel="icon" href="images/cover.jpg" type="image/x-cover" /> - - <style> /* <![CDATA[ */ - -a { - text-decoration: none; -} - -body { - margin-left: 10%; - margin-right: 10%; -} - -h1,h2 { - text-align: center; - clear: both; -} - -h2.nobreak { - page-break-before: avoid; -} - -hr.chap { - margin-top: 2em; - margin-bottom: 2em; - clear: both; - width: 65%; - margin-left: 17.5%; - margin-right: 17.5%; -} - -img.w100 { - width: 100%; -} - -div.chapter { - page-break-before: always; -} - -p { - margin-top: 1em; - text-align: justify; - margin-bottom: 0.5em; - text-indent: 1em; -} - -table { - margin: 1em auto 1em auto; - max-width: 40em; -} - -td { - padding: 0.5em; -} - -.caption { - text-align: center; - font-size: 90%; - text-indent: 0em; -} - -.center { - text-align: center; - text-indent: 0em; -} - -.figcenter { - margin: 1em auto; - text-align: center; -} - -.hanging { - padding-left: 3em; - text-indent: -2em; -} - -.pagenum { - position: absolute; - right: 4%; - font-size: smaller; - text-align: right; - font-style: normal; -} - -.smaller { - font-size: 80%; -} - -.smcap { - font-variant: small-caps; - font-style: normal; -} - -.titlepage { - text-align: center; - margin-top: 3em; - text-indent: 0em; -} - -.x-ebookmaker img { - max-width: 100%; - width: auto; - height: auto; -} - -.illowp100 {width: 100%;} -.illowp75 {width: 75%;} -.x-ebookmaker .illowp75 {width: 100%;} - /* ]]> */ </style> - </head> -<body> -<p style='text-align:center; font-size:1.2em; font-weight:bold'>The Project Gutenberg eBook of Elements of show card writing, by John H. DeWild</p> -<div style='display:block; margin:1em 0'> -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 <a href="https://www.gutenberg.org">www.gutenberg.org</a>. 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. -</div> - -<p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em'>Title: Elements of show card writing</p> -<p style='display:block; margin-left:2em; text-indent:0; margin-top:0; margin-bottom:1em;'>A course of instruction on how to make business-building show cards.</p> -<p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em'>Author: John H. DeWild</p> -<p style='display:block; text-indent:0; margin:1em 0'>Release Date: August 17, 2022 [eBook #68778]</p> -<p style='display:block; text-indent:0; margin:1em 0'>Language: English</p> - <p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em; text-align:left'>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.)</p> -<div style='margin-top:2em; margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK ELEMENTS OF SHOW CARD WRITING ***</div> - -<p><span class="pagenum"><a id="Page_1"></a>[1]</span></p> - -<h1>ELEMENTS OF<br /> -SHOW CARD WRITING</h1> - -<p class="titlepage">A Course of Instruction On How to Make Business-Building Show Cards</p> - -<p class="titlepage">By JOHN H. DeWILD</p> - -<div class="figcenter titlepage illowp75" id="truth" style="max-width: 9.375em;"> - <img class="w100" src="images/truth.jpg" alt="" /> -</div> - -<p class="titlepage">Prepared for the<br /> -EDUCATIONAL DEPARTMENT OF THE<br /> -ASSOCIATED ADVERTISING CLUBS OF THE WORLD<br /> -New York, N. Y.</p> - -<p class="titlepage">Copyright 1923, by John H. DeWild</p> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_2"></a>[2]</span></p> - -<h2 class="nobreak">FOREWORD</h2> - -</div> - -<p>It is with pleasure that we present this text on Show Card Writing by Mr. John H. DeWild of -St. Louis.</p> - -<p>It is designed primarily for the use of the study classes in the educational work of the Advertising -Clubs that comprise this Association.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<table> - <tr> - <td><p class="hanging">EARLE PEARSON,<br />Educational Director.</p></td> - <td><p class="hanging">PAUL T. CHERINGTON, Chairman<br />Educational Committee.</p></td> - </tr> -</table> - -<p class="center"><span class="smcap">Associated Advertising Clubs of the World.</span></p> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_3"></a>[3]</span></p> - -<h2 class="nobreak">INTRODUCTION</h2> - -</div> - -<p>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.</p> - -<p>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).</p> - -<p>It is easy to acquire, in a very short time, the -ability to do suitable showcard work, provided the student -<b>first of all masters the fundamentals of lettering</b>.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_4"></a>[4]</span></p> - -<h2 class="nobreak">MATERIALS FOR BEGINNERS</h2> - -</div> - -<p>Secure the proper materials right at the start. Improper -materials are a handicap.</p> - -<p>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.</p> - -<p>Proper materials are necessary, and good work can be -done only when the student is provided with the best.</p> - -<p>For the beginner, the following outfit is suggested:</p> - -<p class="hanging">1 set of 5 sizes round speedball pens,</p> - -<p class="hanging">1 set of model “C” speedball pens or several sizes of -broad pointed pens,</p> - -<p class="hanging">1 bottle of black drawing ink,</p> - -<p class="hanging">1 No. 10 and 1 No. 12 red sable “rigger” showcard -brushes,</p> - -<p class="hanging">1 2-oz. bottle black showcard color,</p> - -<p class="hanging">1 2-oz. bottle light red showcard color,</p> - -<p class="hanging">1 “T” square,</p> - -<p class="hanging">1 drawing board at least 22×28 inches,</p> - -<p class="hanging">A supply of thumb tacks.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>In purchasing showcard stock, students should keep in -mind certain sizes of stock necessary.</p> - -<p>Full sheets of cardboard are 22×28 inches.</p> - -<p>Half sheets are 14×22 inches.</p> - -<p>Quarter sheets are 11×14 inches.</p> - -<p>Eighth sheets are 7×11 inches, and so on.</p> - -<p>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.</p> - -<p>A good weight for ordinary cards is 6-ply.</p> - -<p>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.</p> - -<p>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.</p> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_5"></a>[5]</span></p> - -<h2 class="nobreak">SUGGESTIONS FOR PRACTICE</h2> - -</div> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>The instructions on the practice charts, as well as on -the following pages, regarding the early lessons are fully -explanatory.</p> - -<p>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.</p> - -<p>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.</p> - -<p>Don’t be afraid to “bear down” on the pen—pressure -will keep the hand from “wobbling.”</p> - -<p>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.</p> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_6"></a>[6]</span></p> - -<h2 class="nobreak">INSTRUCTIONS—LESSON NO. 1<br /> -<span class="smaller"><i>Fundamentals—See Large Chart.</i></span></h2> - -</div> - -<p>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.</p> - -<p>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.</p> - -<p>Do not carry too much ink, as it will run and spoil your -work.</p> - -<p>Practice slowly and patiently.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.”</p> - -<p>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, <b>and in the first lesson omitting the spurs entirely</b>, -this alphabet will be easily mastered.</p> - -<p>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.”</p> - -<p>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).</p> - -<p>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.</p> - -<p>In lesson No. 1 follow on the chart only the lines indicated -on the following page.</p> - -<p>Then carefully study the layout suggestions—where -the “balance” of display comes—and the various arrangements.</p> - -<p><span class="pagenum"><a id="Page_7"></a>[7]</span></p> - -<div class="figcenter illowp100" id="illus01" style="max-width: 62.5em;"> - <p class="caption">Fundamentals</p> - <img class="w100" src="images/illus01.jpg" alt="" /> - <p class="caption">Plates used by permission of Ely & Walker Dry Goods Co., St. Louis.</p> -</div> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_8"></a>[8]</span></p> - -<h2 class="nobreak">INSTRUCTIONS—LESSON NO. 2<br /> -<span class="smaller"><i>Perfected Speed Ball Alphabet—Layouts—See Chart</i></span></h2> - -</div> - -<p>This lesson, shown on following page, should not be attempted -until LESSON No. 1 has been thoroughly mastered.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>Use a pencil for the “ruling in” on practice paper other -than the charts.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>These three layout suggestions will give the student -confidence and the knowledge gained from practicing will -make other layout work much easier.</p> - -<p>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.</p> - -<p>Master the alphabet and practice.</p> - -<p>Success follows persistent trying.</p> - -<p><span class="pagenum"><a id="Page_9"></a>[9]</span></p> - -<div class="figcenter illowp100" id="illus02" style="max-width: 62.5em;"> - <p class="caption">Perfected Speed Ball Alphabet—Layouts</p> - <img class="w100" src="images/illus02.jpg" alt="" /> - <p class="caption">Plates used by permission of Ely & Walker Dry Goods Co., St. Louis.</p> -</div> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_10"></a>[10]</span></p> - -<h2 class="nobreak">INSTRUCTIONS—LESSON NO. 3<br /> -<span class="smaller"><i>Broad Point Pen Single Stroke Roman—See Chart for Practice</i></span></h2> - -</div> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>Try the letter “i”.</p> - -<p>Hold the pen at an angle. Come up slowly, then turn -and follow the practice lines downward. Then try the letter -“l”.</p> - -<p>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.”</p> - -<p>With the pen “sliding” downward somewhat at a cross -angle, the wide downward strokes will be found easy.</p> - -<p>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.</p> - -<p>With the letter “s”, you must use “THREE” strokes. -Note the chart.</p> - -<p>Then come the strokes with curves which enter into -the construction of “h”, “m”, “n”, “w” and “y”.</p> - -<p>Bear down on the pen sufficiently to get a wide stroke.</p> - -<p>Use a sweeping motion to get the curves.</p> - -<p>Follow faithfully the outlines on the chart, and you -will soon be able to make a beautiful alphabet.</p> - -<p>The capitals are a series of easy curves, also the numerals.</p> - -<p><span class="pagenum"><a id="Page_11"></a>[11]</span></p> - -<div class="figcenter illowp100" id="illus03" style="max-width: 62.5em;"> - <p class="caption">Broad Point Pen Single Stroke Roman</p> - <img class="w100" src="images/illus03.jpg" alt="" /> - <p class="caption">Plates used by permission of Ely & Walker Dry Goods Co., St. Louis.</p> -</div> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_12"></a>[12]</span></p> - -<h2 class="nobreak">INSTRUCTIONS—LESSON NO. 4<br /> -<span class="smaller"><i>Single Stroke Brush “Roman”—See Next Page</i></span></h2> - -</div> - -<p>The student is now ready for practice work without the -aid of charts, except for the model shown on adjoining page.</p> - -<p>Use either a No. 10 or No. 12 “Rigger” showcard brush.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.”</p> - -<p>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.</p> - -<p>This is the manner of lettering the lower case “i” and -also the lower case “l.”</p> - -<p>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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_13"></a>[13]</span></p> - -<div class="figcenter illowp100" id="illus04" style="max-width: 62.5em;"> - <p class="caption">BRUSH “ROMAN”</p> - <img class="w100" src="images/illus04.jpg" alt="" /> - <p class="caption">Plates used by permission of Ely & Walker Dry Goods Co., St. Louis.</p> -</div> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_14"></a>[14]</span></p> - -<h2 class="nobreak">INSTRUCTIONS—LESSON NO. 5<br /> -<span class="smaller"><i>The “Egyptian” Brush Alphabet</i></span></h2> - -</div> - -<p>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.</p> - -<p>The student will do well however to stick to the plain -alphabet until the various letters are thoroughly mastered.</p> - -<p>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.</p> - -<p>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.</p> - -<p>The word “HURRAH”—sometimes used to attract attention—is -very weak—unless lettered in bold “Egyptian.”</p> - -<p>Large prices on full sheet cardboard signs and letters on -cloth signs are also often done with this alphabet.</p> - -<p>Don’t be discouraged when first attempting it with a -brush—and make it only with the brush.</p> - -<p>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.</p> - -<p>In forming the “Egyptian” the brush must hold its -“chisel” edge, and keep an even stroke; therefore the necessity -of using the right brush.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>Keep the head well over the work, almost directly over -the work, and you will find the lettering can be done easier.</p> - -<p><span class="pagenum"><a id="Page_15"></a>[15]</span></p> - -<div class="figcenter illowp100" id="illus05" style="max-width: 62.5em;"> - <p class="caption">BRUSH “EGYPTIAN”</p> - <img class="w100" src="images/illus05.jpg" alt="" /> - <p class="caption">Plates used by permission of Ely & Walker Dry Goods Co., St. Louis.</p> -</div> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_16"></a>[16]</span></p> - -<h2 class="nobreak">INSTRUCTIONS—LESSON NO. 6<br /> -<span class="smaller"><i>Embellishing, Decorating, Etc.</i></span></h2> - -</div> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_17"></a>[17]</span></p> - -<div class="figcenter illowp100" id="illus06" style="max-width: 62.5em;"> - <p class="caption">DECORATIVE SUGGESTIONS</p> - <img class="w100" src="images/illus06.jpg" alt="" /> - <p class="caption">Plates used by permission of Ely & Walker Dry Goods Co., St. Louis.</p> -</div> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_18"></a>[18]</span></p> - -<h2 class="nobreak">INSTRUCTIONS—LESSON NO. 7<br /> -<span class="smaller"><i>Use of Pantograph, Pictures, Copying Designs, Etc.</i></span></h2> - -</div> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>Card No. 5. Size 8×6 inches. Plain white cardboard -lettered with No. 10 brush, using bright green ink, then -shading with black.</p> - -<p>The butterfly was a cut-out from a trade paper and -pasted to the card-board.</p> - -<p>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:</p> - -<p>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.</p> - -<p>Students should study the large cloth signs made by -professional sign men, for splendid examples of shading.</p> - -<p><span class="pagenum"><a id="Page_19"></a>[19]</span></p> - -<div class="figcenter illowp100" id="illus07" style="max-width: 62.5em;"> - <p class="caption">PRACTICAL EXAMPLES</p> - <img class="w100" src="images/illus07.jpg" alt="" /> - <p class="caption">Plates used by permission of Ely & Walker Dry Goods Co., St. Louis.</p> -</div> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_20"></a>[20]</span></p> - -<h2 class="nobreak">INSTRUCTIONS—LESSON NO. 8<br /> -<span class="smaller"><i>Air Brushing, “Spatter” Work, Etc.</i></span></h2> - -</div> - -<p>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.</p> - -<p>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.</p> - -<p>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:</p> - -<p>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.</p> - -<p>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.</p> - -<p>“Air brush” is a name for a finely made tool which has -a very delicate spray, operated by means of air pressure.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>Ordinary spatter work may be done in a great many -ways, in addition to the method mentioned here.</p> - -<p>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.</p> - -<p>Any method that will add novelty to the appearance of -a showcard is very good, especially at the important seasons -of the year.</p> - -<p>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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_21"></a>[21]</span></p> - -<div class="figcenter illowp100" id="illus08" style="max-width: 62.5em;"> - <p class="caption">SPECIMENS—FOR LESSON 8</p> - <img class="w100" src="images/illus08.jpg" alt="" /> - <p class="caption">Plates used by permission of Ely & Walker Dry Goods Co., St. Louis.</p> -</div> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_22"></a>[22]</span></p> - -<h2 class="nobreak">INSTRUCTIONS—LESSON NO. 9<br /> -<span class="smaller"><i>Finished Work in Air Brushing, Etc.</i></span></h2> - -</div> - -<p>This lesson has been designed as a direct follow-up of -Lesson 8.</p> - -<p>There is a variety of simple and practical suggestions -on the following page—giving the student much actual -practice.</p> - -<p>If work is being done by classes, the instructor should -have similar designs prepared and permit the students to -copy from them.</p> - -<p>It would be much more practical if such designs could -be shown to the students before the class closes on Lesson 8.</p> - -<p>These designs are all on white cardboard so that very -little extra stock is necessary.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_23"></a>[23]</span></p> - -<div class="figcenter illowp100" id="illus09" style="max-width: 62.5em;"> - <p class="caption">SUGGESTIONS FOR PRACTICE</p> - <img class="w100" src="images/illus09.jpg" alt="" /> - <p class="caption">Plates used by permission of Ely & Walker Dry Goods Co., St. Louis.</p> -</div> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_24"></a>[24]</span></p> - -<h2 class="nobreak">INSTRUCTIONS—LESSON NO. 10<br /> -<span class="smaller"><i>Finished Practical Work—General Review</i></span></h2> - -</div> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>These cards are not difficult, but have been made up -with the idea of giving the student an idea of variety—and -individuality.</p> - -<p>If an air brush is not available, an atomizer, or a simple -“spatter” process will serve just as well.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_25"></a>[25]</span></p> - -<div class="figcenter illowp100" id="illus10" style="max-width: 62.5em;"> - <p class="caption">SUGGESTIONS FOR LESSON 10</p> - <img class="w100" src="images/illus10.jpg" alt="" /> - <p class="caption">Plates used by permission of Ely & Walker Dry Goods Co., St. Louis.</p> -</div> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_26"></a>[26]</span></p> - -<h2 class="nobreak">SPEED BALL VARIATIONS</h2> - -</div> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>In practicing this alphabet, simply rule off the practice -paper as shown in previous lessons and follow the chart as -closely as possible.</p> - -<p><span class="pagenum"><a id="Page_27"></a>[27]</span></p> - -<div class="figcenter illowp100" id="illus11" style="max-width: 62.5em;"> - <p class="caption">CHART OF VARIATIONS</p> - <img class="w100" src="images/illus11.jpg" alt="" /> - <p class="caption">Plates used by permission of Ely & Walker Dry Goods Co., St. Louis.</p> -</div> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_28"></a>[28]</span></p> - -<h2 class="nobreak">“SPECIAL” ALPHABET</h2> - -</div> - -<p>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.</p> - -<p>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.</p> - -<p>The capitals are quite easy, and follow somewhat after -the style of the plain, single stroke Roman, for the pen and -brush, shown previously.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>At Christmas time this is a very desirable alphabet because -it has many traits of the Old English.</p> - -<p>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.”</p> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_29"></a>[29]</span></p> - -<div class="figcenter illowp100" id="illus12" style="max-width: 62.5em;"> - <p class="caption">FOR BRUSH OR PEN</p> - <img class="w100" src="images/illus12.jpg" alt="" /> - <p class="caption">Plates used by permission of Ely & Walker Dry Goods Co., St. Louis.</p> -</div> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_30"></a>[30]</span></p> - -<h2 class="nobreak">PEN OR BRUSH “ITALIC”</h2> - -</div> - -<p>The “Italic” is a very necessary alphabet in card writing.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>Italic is also much used for catch lines—the short -lines—which often occur between the important lines on -a card.</p> - -<p>The words “the”, “our”, “on” and many others are -usually written in Italic.</p> - -<p>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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_31"></a>[31]</span></p> - -<div class="figcenter illowp100" id="illus13" style="max-width: 62.5em;"> - <p class="caption">“ITALIC” CHART</p> - <img class="w100" src="images/illus13.jpg" alt="" /> - <p class="caption">Plates used by permission of Ely & Walker Dry Goods Co., St. Louis.</p> -</div> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_32"></a>[32]</span></p> - -<h2 class="nobreak">DIRECTIONS FOR “OLD ENGLISH”</h2> - -</div> - -<p>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.</p> - -<p>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.”</p> - -<p>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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_33"></a>[33]</span></p> - -<div class="figcenter illowp100" id="illus14" style="max-width: 62.5em;"> - <p class="caption">“OLD ENGLISH” CHART</p> - <img class="w100" src="images/illus14.jpg" alt="" /> - <p class="caption">Plates used by permission of Ely & Walker Dry Goods Co., St. Louis.</p> -</div> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_34"></a>[34]</span></p> - -<h2 class="nobreak">DESCRIPTIONS OF PRACTICAL CARDS</h2> - -</div> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_35"></a>[35]</span></p> - -<div class="figcenter illowp100" id="illus15" style="max-width: 62.5em;"> - <p class="caption">PRACTICAL CARDS</p> - <img class="w100" src="images/illus15.jpg" alt="" /> - <p class="caption">Plates used by permission of Ely & Walker Dry Goods Co., St. Louis.</p> -</div> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_36"></a>[36]</span></p> - -<h2 class="nobreak">DESCRIPTIONS OF CARDS FOR SUMMER</h2> - -</div> - -<p>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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_37"></a>[37]</span></p> - -<div class="figcenter illowp100" id="illus16" style="max-width: 62.5em;"> - <p class="caption">CARDS FOR SUMMER</p> - <img class="w100" src="images/illus16.jpg" alt="" /> - <p class="caption">Plates used by permission of Ely & Walker Dry Goods Co., St. Louis.</p> -</div> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_38"></a>[38]</span></p> - -<h2 class="nobreak">DESCRIPTION OF CARDS ON PAGE 39</h2> - -</div> - -<p>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.</p> - -<p>This board is a fancy cut-out and may also be procured -in the mahogany finish.</p> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_39"></a>[39]</span></p> - -<div class="figcenter illowp100" id="illus17" style="max-width: 62.5em;"> - <p class="caption">SUGGESTIONS FOR FURNITURE DEALERS</p> - <img class="w100" src="images/illus17.jpg" alt="" /> - <p class="caption">Plates used by permission of Ely & Walker Dry Goods Co., St. Louis.</p> -</div> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_40"></a>[40]</span></p> - -<h2 class="nobreak">DESCRIPTION OF “SPRING” CARDS</h2> - -</div> - -<p>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.</p> - -<p>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.”</p> - -<p><span class="pagenum"><a id="Page_41"></a>[41]</span></p> - -<div class="figcenter illowp100" id="illus18" style="max-width: 62.5em;"> - <p class="caption">CARDS FOR EARLY SPRING</p> - <img class="w100" src="images/illus18.jpg" alt="" /> - <p class="caption">Plates used by permission of Ely & Walker Dry Goods Co., St. Louis.</p> -</div> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_42"></a>[42]</span></p> - -<h2 class="nobreak">DESCRIPTION OF EASTER CARDS</h2> - -</div> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>If work is being done in class—such examples should -be exhibited to the students.</p> - -<p><span class="pagenum"><a id="Page_43"></a>[43]</span></p> - -<div class="figcenter illowp100" id="illus19" style="max-width: 62.5em;"> - <p class="caption">EASTER CARDS</p> - <img class="w100" src="images/illus19.jpg" alt="" /> - <p class="caption">Plates used by permission of Ely & Walker Dry Goods Co., St. Louis.</p> -</div> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_44"></a>[44]</span></p> - -<h2 class="nobreak">DESCRIPTION OF CARDS FOR SUMMER</h2> - -</div> - -<p>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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_45"></a>[45]</span></p> - -<div class="figcenter illowp100" id="illus20" style="max-width: 62.5em;"> - <p class="caption">CARDS FOR SUMMER</p> - <img class="w100" src="images/illus20.jpg" alt="" /> - <p class="caption">Plates used by permission of Ely & Walker Dry Goods Co., St. Louis.</p> -</div> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_46"></a>[46]</span></p> - -<h2 class="nobreak">MORE CARDS FOR SUMMER</h2> - -</div> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_47"></a>[47]</span></p> - -<div class="figcenter illowp100" id="illus21" style="max-width: 62.5em;"> - <p class="caption">ATTRACTIVE SUMMER DESIGNS</p> - <img class="w100" src="images/illus21.jpg" alt="" /> - <p class="caption">Plates used by permission of Ely & Walker Dry Goods Co., St. Louis.</p> -</div> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_48"></a>[48]</span></p> - -<h2 class="nobreak">DESCRIPTION OF FALL CARDS</h2> - -</div> - -<p>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.</p> - -<p>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.</p> - -<p>The four lines of Italic lettering were done in light -cream color. Note the even slant in the “Italic.”</p> - -<p><span class="pagenum"><a id="Page_49"></a>[49]</span></p> - -<div class="figcenter illowp100" id="illus22" style="max-width: 62.5em;"> - <p class="caption">CARDS FOR FALL</p> - <img class="w100" src="images/illus22.jpg" alt="" /> - <p class="caption">Plates used by permission of Ely & Walker Dry Goods Co., St. Louis.</p> -</div> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_50"></a>[50]</span></p> - -<h2 class="nobreak">DESCRIPTION OF LATE AUTUMN CARDS</h2> - -</div> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_51"></a>[51]</span></p> - -<div class="figcenter illowp100" id="illus23" style="max-width: 62.5em;"> - <p class="caption">CARDS FOR LATE AUTUMN</p> - <img class="w100" src="images/illus23.jpg" alt="" /> - <p class="caption">Plates used by permission of Ely & Walker Dry Goods Co., St. Louis.</p> -</div> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_52"></a>[52]</span></p> - -<h2 class="nobreak">DESCRIPTION OF CHRISTMAS CARDS</h2> - -</div> - -<p>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.</p> - -<p>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.</p> - -<p>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.</p> - -<p><span class="pagenum"><a id="Page_53"></a>[53]</span></p> - -<div class="figcenter illowp100" id="illus24" style="max-width: 62.5em;"> - <p class="caption">CARDS FOR CHRISTMAS</p> - <img class="w100" src="images/illus24.jpg" alt="" /> - <p class="caption">Plates used by permission of Ely & Walker Dry Goods Co., St. Louis.</p> -</div> - -<div style='display:block; margin-top:4em'>*** END OF THE PROJECT GUTENBERG EBOOK ELEMENTS OF SHOW CARD WRITING ***</div> -<div style='text-align:left'> - -<div style='display:block; margin:1em 0'> -Updated editions will replace the previous one—the old editions will -be renamed. -</div> - -<div style='display:block; margin:1em 0'> -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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