Show card writing : for disabled soldiers, sailors and marines to aid them in choosing a vocation

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OPPORTUNITY
MONOGRAPH

m Vocational
Rehabilitation
Series No. 38

Show

Card

Writing

FOR DISABLED SOLDIERS, SAILORS
AND MARINES TO AID THEM
IN CHOOSING A VOCATION

Frepared bv the
FEDERAL BOARD FOR VOCATIONAL EDUCATION

and issued in cooperation ivith the
Office of the Surgeon General, War Department, and
Bureau of Medicine and Surgery, Na<uy Department

MAY, 1919

WASHINGTON : GOVERNMENT PRINTING OFFICE : Kit

Note to the Disabled Soldier, Sailor, or Marine.

As a disabled soldier, sailor, or marine you should remember that
the Office of the Surgeon General, War Department, and all its em-
ployees, the Bureau of Medicine and Surgery, Navy Department,
and all its employees, and the Federal Board for Vocational Education
and all its employees are mutually interested in your welfare solely.
They have arranged a definite plan of cooperation to help you in every
possible way. You can not afford to leave the hospital until the
medical officers have done everything that they can for you to
restore you to physical health and strength. Any other course will
interfere with your vocational success later. Furthermore, you should
by all means take advantage of the educational opportunities which
the hospital has provided for you.

"While you are making up your mind what line of work you want
to follow you should take advantage of the opportunities to try your-
self out in the different lines of activities which are provided at the
hospital. When once you have made up your mind as to the employ-
ment you want to enter or the kind of training you want the Federal
Board to give you after you leave the hospital, you should ask the
vocational officers at the hospital to provide for you the kind of train-
ing which will advance you in the direction of the occupation which
you expect to follow or for which you expect to be trained after you
leave the hospital. You will find the educational officers at the hos-
pital eager to render this service for you, and you should consult them
early in your hospital career.

All disabled soldiers, sailors, and marines in hospitals who want
information about reeducation should ask any instructor of the Hos-
pital Educational Service or the representative of the Federal Board
for Vocational Education.

Men discharged from the military or naval service who want infor-
mation should write to or call at the office of the Federal Board for
Vocational Education, Washington, D. C, or the District Office of
the Federal Board of the district in which they are located. The
district offices of the Board are located at the following points: Boston,
New York City, Philadelphia, Washington, Atlanta, New Orleans,
Dallas, St. Louis, Cincinnati, Chicago. Minneapolis, Denver, San
Francisco, and Seattle. For addresses see p. 3 1.

Acknowledgment.

This monograph was prepared by May II. Pope, under direction of
Charles II. Winslow, Chief of the Research Division of the Federal
Board for Vocational Education. Acknowledgment is due to Dr.
John Cummings, of the Research Division, for editorial assistance.

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SHOW-CARD WRITING.

The purpose of the show card.

A man's attention is attracted through his sense of sight more readily
than in any other way. A word, a phrase, a pithy sentence will catch
his eye and focus his interest, where something requiring more concen-
tration would fail. For this reason window dressing has grown into
an important feature of every merchant's business, and cards point-
ing out the quality and prices of the goods displayed are univer-
sally used. These show cards were formerly made by sign painters,
until some, more farseeing than others, realized the opportunity to
specialize in this line of work, which has now developed into a dis-
tinctive trade.

Different types of cards.

There is a great; variet y of t ypes in show cards. Some are large, others
are small; some are ornamented with designs suitable for the occasion,
or season, or goods

to be featured i n
t he advertisement ;
others are plain nu-
merals or letters giv-
ing the bare detail
of cost. As these
cards are shown in
t he street cars, on
moving-picture an-
nouncements, on
billboards at theater
entrances, as well as
in the stores, t hey
must be so varied as to be appropriate to their surroundings.

A practical feature in writing show cards is the selection of some
special design or slogan with which the article or firm may always be
associated in die mind of the public. In this field a show-card writer
with originality is aide to realize materially upon his ideas.

Future of the trade.

Because the merchant believes that, seeing is very likely to mean
buying lie finds the show-card writer indispensable to his business.
Whether large or small, every store needs these display cards with
their catchy announcements to aid in promoting business. I'resent-
day competition makes it necessary that every known means of attract-
ing attention shall be utilized by the merchant who would keep up in
his line. Progressiveuess in store management has occasioned rapid
growth in the trade of card writing within the last few years, and the
constantly increasing demand lor advertising indicates that the trade
of show-card writing has an assured future.

2?portnnlty
onographs.

As a disabled man
interested in how
you can "carry
on" when you get
back home, you
can not afford to
miss reading the
Opportunity
Monographs pub-
lished by the Fed-
eral Board for Vo-
cational Educa-
tion for your spe-
cial benefit. In
them you will
find, plainly and
simply stated, all
the information
you need about
many, many oc-
cupations in
which you may
be interested. By
reading them jou
will know better
what you would
like to do, and the
representatives of
the Federal
Board, wherever
you may meet
them, in hospital
or office or by cor-
respondence
when necessary,
will be in the po-
sition to help you
make your choice
of what you want
to do, help you
get properly pre-
pared for it, and
put you in the
proper occupation
after you have
been prepared to
stand on your feet
as a worker in it.

11601S°— 19

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Remember this! Equipment.

A handicap is a For the man possessing limited capital the small cost of the necessary
you have one, equipment is an alluring inducement to enter the trade. A few dollars
You Rcan° do^hat wil1 cover the entire cost. Brushes, pens, penholder, with ink retainer,

and no one else ruler, art gum or sponge rubber, thumb tacks, combination compass,
can do it for you. , _ r >

Grit will beat any a pair ot large shears, a T-square, a box of charcoal, soft lead pencils.

won the* war. It and cardboard make up the list of necessary material for the show-card
will beat yours, writer. A good-sized drawing board completes the list. ''The better
Your handicap is the workman the fewer the tools'' has been said. An expert card
unles*>-oudare1CdeD- writer works efficiently with a board, a T-square, and a half dozen
termined to make thumb tacks,
it one. The folks

back home know What men in the trade should know.
that you do not

'endent idle* tor ^ 't>0O(* general education is essential for a show-card writer who

life, and the Gov- expects to be more than merely a mechanical maker of words and

to^help you^re- letters. Those who become expert in the art need a knowledge of

establish ywirself designing and an originality in composing effective phrases, such as

ment as an inde- can not be resisted even by those who read the cards casually.

with every oppor A practical knowledge of the geometric construction of letters is

vancement°r ^"fundamental, for though simple lettering may be largely mechanical

work, skill must not be confined to the utilization of mechanical means
You will not be .
compelled to take alone.

ever^but^vou will ^ knowledge of color is an advantage to those who make sign cards,
be given expert Color combinations and contrasts play an important part in producing
getting such train- attractive cards. As card writers are confronted by all sorts of combi-
you^hoobe't.otake nations of words in inscriptions, it is necessary for them to know letter
it. Your disahil- forms; to understand novelty in designing, arrangement, and artistic
win not be reduced embellishment; and to exercise taste in harmonizing colors, so as to
ti^ng and learn produce cards that will be not only neat and attractive but at the
to work. Your same time legible,
wagas will be ad-

SwcoXTn- What men in the trade d0'

tinuenin%the same Show-card writers make price tickets and all types of trade cards

amount that will used in windows, on special sale sections, on the announcement boards

be paid if you do . ., . . . . ,

not take training, ot theaters, on automobiles, in cafeterias, in street cars, and wherever

and voiiaml1 your <>l8e tne card may S('rve as a proper medium for advertising. The

family will be trade js carried on in different ways. Cards are sometimes made by

ing the period of salesmen who give only part of their time to this work. Other writers

to^-ouf' SUP K*ve a" °^ their time to one firm requiring a large number of cards for

its own use Some card writers work for show-card firms and others

have their own offices and fill special orders.

Opportunities.

The demand for show-card writers is far greater than the supply,
livery small town offers an opening for one or more, who would make
a good living at the trade in that locality.

How men are trained.

Many card writers are trained in the shop. Correspondence courses
afford fair advantages to the man who must save time and money, but
personal supervision is of great advantage, and personal criticism is
essential if a correspondence course is taken. Courses in card writing
are now offered in technical schools and Y. M. C. A. classes and voca-
tional schools all over the country. Among the schools now offering
courses in show-card writing are the following:

Federal School of Commercial Art, Minneapolis, Minn.

Idaho Technical Institute.

Los Angeles Y. M. C. A. schools.

St. Louis Y. M. C. A. schools.

Lowry Sign and Advertising Service, Chicago.

Link's Business College, Boise, Idaho.

State Trade School, Danbury, Conn.

Appleton, Wis., Industrial School.

Kenosha, Wis., Vocational School.

Neenah, Wis., Industrial School.

New York High School.

New York Vocational Schools.

Detroit, Mich., School of Letters.

Augustana College, Bock Island, 111.

College of Commerce, De Baul University, Chicago.

School of Industrial Arts, Trenton, N. J.

Koester School, Chicago.

Semby School, Minneapolis, Minn.
The length of time required for the completion
of courses depends upon the student; one very
good course covers eight weeks. Some students
after the fifth or sixth lesson have done work
sufficiently creditable to bring a money return.
Proper and methodical training is very necessary.
Care and exactness must first bo acquired and
speed will naturally follow.

Courses given in show-card writing cover such
subjects as how to mix and when to use water
colors, inks, and oils; the care of brushes and
pens; the proper kind and color of cardboards to
use; and how to apply bronze and diamond dust.
The formation of pen and brush letters is, of
course, fundamental, and the principles of letter-
ing must be taught in a simple, thorough, and
correct way . Proper instruction, with application, is bound to bring
success.

BRIEF SYNOPSIS OF THE COURSE IN SHOW-CARD WRITING GIVEN AT
THE KOESTER SCHOOL, CHICAGO.

Will yon
Carry on*

If none of tho oc-
cupations out-
lined in this pam-
phlot are possible
ones for you to
learn, the Govern-
ment has pro-
vided hundreds of
courses in other
lines, among
which there is one
precisely suited to
meet your needs —
one in which you
can become 100
per cent efficient,
whatever injury
you may have suf-
fered.

The scheme of
oceu nations for
which training
will be provided
by tho Govern-
ment free of cost
to you includes
more diflerent
sorts of employ-
ments than you
have ever heard
tell of. Tf you
don't find one
that suits you in
this pamphlet, get
another.

After you have
heen trained.
Uncle Sam will
undertake to find
an employer who
needs your help,
or if you prefer to
go it on your own,
you will be pro-
vided with an out-
fit of tools.

If the training
misses fire the first
time and you find
the new occupa-
tion unsuited to
you , you can come
back for another
go in the game,
and try a new
occupation.

Lesson plates Nos. 1 to 6. — Improved method for teaching correct formation and relative
proportions of letters and numerals. — Brush method.

General instructions. — Proper materials, student's worktable, light, how to care for
brushes, show-card paint, how to practice, kind of practice that counts, lesson plates
explained, how to fill the brush, how to bring the brush to working point, how to hold
the brush, position at table, position of paper.

Lesson plates Xos. 7 to 10 — Single stroke rapid roman lettering. — How to begin the
practice, time-saving methods, how to hold (lie brush, various positions of the brush
explained, how to manipulate the brush to produce clean-cut strokes, purpose of single-
stroke vertical and italic roman lettering.

Lesson plates Xos. 11 and 12 — How to shade letters. — Various styles of shading, proper
colors for shading, shading as an embellishment, shading to give emphasis.

Lesson plates .Yos. 13 to Hi — Single strokt cgyptian lettering. — Brushes to use, how to
hold the brush, how to manipulate the brush to produce the proper stroke, how to
practice the elementary lines and curves.

Lesson plates Nos. 17 and IS — Single and demble stroke alphabet and numerals. — Purpose
of this style of letter, brushes to use, method explained, different methods of finishing
the letters.

$25 or $10 a Luton plate Xo. 19— Single-stroke old English alphabet.— Purpose of old English lettering

Weekl now t0 hold the brush, retouching the principal strokes.

What is the dif- Lesson plate Xo. SO— Singh-stroke modified roman pen lettering— Advantages of pen
Terence between lettering for text or descri pt ive mat ter, inks to use , how to practice pen lettering, how to
$2S and $10 a week; hold tne p(.n now t0 manipulate the pen to procure clcan-cu t strokes, how to use an ink
between comfort . ' . .... . . , * , ■

and poverty: be- reservoir to facilitate rapid work.

tween independ- Fifteen practical shou -card layouts.— In the foregoing lessons the student acquires suffi-
ence and the con- cient ability to enable him to make practical use of his knowledge. Thealphabetscovered
pendency! b£ are sufficient for general show-card use. Therefore, at this point, the course presents
tw-een saving for a 15 practical layouts showing how the text should be separated into display lines and
rainy day and liv- dcscriptive groups, also various st yles of letters that may be used in harmony for display
mouth™ The dil and descriptive matter. An appropriate -how-card phrase is used for each layout,
ference is one of Display lines and descriptive groups arc indicated in the exact size and styles of letters
training. It is the t i „ , in ictterine each layout. Specific directions as to color, combinations, and
difference be- , ,„ , " • ,",,.

tween the trained embellishments arc given for each layout.

and the untrained A study in design and layout.— The principles of spacing, importance of show-card
tak" 'trahiinEef0re' ded8mngi b<*t rules for spacing, lessons in spacing, how to center a word or line.

Condensing and extending letters.— now to plan lettering to fit a given space, rules for
condensing, rules for extending, appropriate uses of condensed and extended letters,
practice exercises.

Principles of the balanced layout.— Balanced layout denned, how to plan the balanced
layout, important points to observe, example > of balanced layout , practice exercises in
balanced layouts.

Border lines, underscore, space fillers, and panels.— Brush ruling, how to draw an
ellipse, initial panels, initial letters, a few card kinks.

The group layout.— How to plan the group layout, examples of group layout, practice
exercises in group layout.

Combination layout.— Purpose of the combination layout, how to divide the phrase
into display lines and groups for the combination layout, examples of combination
layouts, exercises in combination layouts.

Price tickets. — Normal style price tickets, bold style price tickets, small price tickets,
fancy price tickets, illustrative price tickets, practice exercises.

Illustrated show cards.— Sources of ideas, tracing from clipped illustrations, how to use
the pantograph for enlarging illustrations, the mirrorscope, examples of appropriate
designs for various purposes, exercises in illustrated show cards.

Principles of col or f— Color contrasts. — II ow to mix water-color paint, color effects;
color combination; mixing standard colors to produce shades, tints, and unusual colors;
lessons in color combinations.

Shoir-card embellishment. — Dry-color blending; spatter work; relief lettering; applying
mctallics, diamond dust, flock, etc.; phrase and picture filing; seasonable embellish-
ments; floral decorations; poster cut-outs; silhouettes; how to paint muslin signs.

Instruction in the use of t lit air brush. — Principles of the air brush; sectional view of an
air brush; illustrating and describing all important parts; air pressure; how to put a
gas outfit together: colors for air-brush use; how to use the air brush: care oft he airbrush;
how to cut stencils; practice exercises to gain control of brush; color blending; exercises
in the u<e of stencil designs.

Lesson plate Xo. */.— Single-stroke alphal>et and numerals for modern speed ballpen
lettering.

Lesson plati Vo. .'.'. — filiform single-stroke alphalx-t and numerals for Payzant pen
lettering.

Li i.toti jilnii Vo. .' '. — Single-stroke I'ayzanl or -peed ball pen alphabet with retouched
spur-.

Ltsson plait .Vo. »4. — Speed ball pen initial capitals, retouched and embellished.
f.rxson plati .Vo. .'.;. -outline roui.ni initial emlH'llished capitals, plain lower-case
letters.

I.' -yon jihitt Xo. 2'!.— Modern roman and fancy alphabets for music pen lettering.
Lismn plait .Vo. ?7.— Old Knglish text |ien, and small speed ball jx'ii alphabets.
Lesson plait Vo :- S|n>cd ball jmti alphabets.

Lesson iihitt Vo ■ Itapid single-stroke1 ant ique roman brush alphaliet.
Lft.-on platt Vo. ti I: ipid -ingle-stroke modified roman brush alphabet.
lit ' ingle- troke antique alphabc t and numerals.

Qualifications.

Anyone who fan learn <o write can learn to draw or paint letters for
.-hew farcin. It is tmt es.-ential to have artistic ability, although this

the reputation of
beina, just a little
ahead of the rest

Samples of show-card writing.

8

Examples to would be an asset in the trade; a steady hand and a correct eye are the
only requirements, and it is well to remember that "the sight that
te/ whose lefUeg insures correct drawing is not that of the eye only, but of the mind. "
was amputea
above the knee on rrnnj:„.,n„
account of injuries nanaicaps.
received in battle

studied machine Good eyesight is essential, but almost no handicap other than blind-
desipning and is ...

now employed by ness, or the loss of both arms, is prohibitive. It is an advantage to have

both hands, but the fact that one-armed men have so clearly demon-

Another soldier strated their ability to write as legibly as others with both hands in-
suflered with , , J ° J. . ,

chronic bronchitis dicates that the difficulty for a man with one hand becoming a snow-

folf ittelwJ card writer can be overcome.

able to return to

UonTsTba?-' Desirability for the disabled man.

tender. He was

trained as a motor The work is not heavy, the hours may be adjusted to the strength of
mechanic and se- •" . J J °

cured an open-air the worker, the prospects for work in the trade are iavorable, and the

Position asc u " pay is good — all of which characterizes the trade as one suitable for

. . disabled men. A chief attraction which show-card writing holds out
A former laborer . ° .

was weakened by for the handicapped man is the freedom allowed in the choice of a
in^he backhand working place. He may be independent, not only in the place of his

abdomen. He was worv ])U(j jn selecting: his own hours for work. This liberty means
given a course in ' ° . . J

mechanical draw- much for a man who is physically below normal. The conditions under

employed ^iif0 a which a writer of show cards works are favorable, both as to time and
drafting room. place

A soldiersuffering

from chronic ne- Remuneration.

phntis, formerly
a farmer, studied
machine -shop Show-card writing is a fascinating art and brings good profits. For

now employed in this reason its appeal will be strong to the wounded soldier,
mot o? comnanv & ^n exact standard of prices has never been possible for card writing,
as so much depends upon the quality of the work and the time required
helper lost the to make the cards. The cost of the material is negligible; but show
fefTerhandUSewas carc^s have an intrinsic value to the merchant, who is usually willing to
retrained 'in a pay for them.

engineering, and Card writers make from $2o to $75 a week. Advertising cards, being
as "a* V sITuonary °* a temporary nature, must be inexpensive. Rapidity is necessary,
engineer in a in order to make it profitable, as the writers are usually paid by piece-
work. The example may be cited of a hunchback who began show-
card writing at S3 a week and by his energy and application rose to a
salary of $40 in a short while.

A lack of application or giving way 1o discouragement over first
attempts may cause failure, but for no other reason should a disabled
man who desires to become a writer of trade cards feel the slightest
fearof the undertaking. Begin the course with a determination to
succeed, and remember that lack of confidence is not conducive to
success in any trade. Learn the principle strokes with great care,
practice diligently until dexterity is acquired, work without hesita-
tion, boldly and with enthusiasm, and in a short time there will be
acquired expert nesa in a trade which is interesting, agreeable, and
lucrative.

UC SOUTHERN REGIONAL LIBRARY FACILITY

A A 000 068 254 2

Samples of show-card writing.

FEDERAL BOARD FOR VOCATIONAL EDUCATION.

MEMBERS.

David F. Houston, Chairman. James P. Munroe, Vice Chairman,

Secretary of Agriculture. Manufacture and Commerce.

William C. Redfield, Calvin F. McIntosh,

Secretary of Commerce. Agriculture.

William B. Wilson, Arthur E. Holder,

Secretary of Labor. Labor.

P. P. Claxton,

Commissioner of Education.

EXECUTIVE STAFF.

C. A. Prosser. Director.

Layton S. Hawkins, Chief Vocational Education Division.
Charles H. Winslow, Chief Research Division.
II. L. Smith, Chief Rehabilitation Division.

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DISTRICT VOCATIONAL OFFICES OF THE FEDERAL BOARD FOR
VOCATIONAL EDUCATION.

All disabled soldiers, sailors, and marines, whether in or out of the hospital, should address their
communications either to the Federal Board for Vocational Education, Washington, D. C, or to
the district office of the Federal Board of the district in which they are located. The district offices
of the Board are located at the following points, respectively:

District No. 1, — Maine, New Hampshire, Vermont, Massachusetts, and Rhode Island. Office:
Room 1201 Little Building, 80 Boylston Street, Boston, Mass. Branch office : Rooms 324-326 Masonic
Building, Portland, Me.

District No. 2.— Connecticut, New York, and New Jersey. Office: 469 Fifth Avenue, New York,
N. Y.

District No. 3.— Pennsylvania and Delaware. Office: 1211 Chestnut Street, Philadelphia, Pa.
Branch office: Room 491 Union Arcade Building, Pittsburgh, Pa.

District No. 4. — District of Columbia, Maryland, Virginia, and West Virginia. Office: 606 F Street
NW., Washington, D. C. Branch offices: Room 400 Flat Iron Building, Norfolk, Va.; Room 411
Park Bank Building, 104 West Lexington Street, Baltimore, Md.

District No. 5. — North Carolina, South Carolina, Georgia, Florida, and Tennessee. Office: Room
823 Forsyth Building, Atlanta, Ga.

District No. 6.— Alabama, Mississippi, and Louisiana. Office: Rooms 412-432 Maison Blanche
Annex, New Orleans, La.

District No. 7. — Ohio, Indiana, and Kentucky. Office : Rooms 1212-1214 Mercantile Library Build-
ing, Cincinnati, Ohio. Branch office: Home Service Section, American Red Cross, Park Building,
Cleveland, Ohio.

Ditrict No. 8. — Michigan, Illinois, and Wisconsin. Office: Room 1600 The Westminster, 110 South
Dearborn Street, Chicago, 111. Branch office: Room 807 Owen Building, Detroit Mich.

District No. 9. — Iowa, Nebraska, Kansas, and Missouri. Office : Rooms 815-824 Chemical Building,
St. Louis, Mo. Branch office: Room 413 Massachusetts Building, Kansas City, Mo.

District No. 10. — Minnesota, North Dakota, and South Dakota. Office: Room 712 Metropolitan
Bank Building, Minneapolis, Minn.

District No. 11. — Wyoming, Colorado, New Mexico, and Utah. Office: Room 400 Mercantile
Bnilding, Denver, Colo.

District No. 12. — California, Nevada, and Arizona. Office: Room 997 Monadnock Building, San
Francisco, Calif.

District No. 13. — Montana, Idaho, Oregon, and Washington. Office: Room 539 Central Building,
Seattle, Wash.

District No. 14. — Arkansas, Oklahoma, and Texas. Office: Room 810 Western Indemnity Building,
1000 Main Street, Dallas, Tex.

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