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A  COMPLETE  SYSTEM 

AND  SET  OF  LESSONS 

FOR  BEGINNERS 


THE  PULLMAN  SCHOOL  OF  LETTERING 
CHICAGO,  ILL. 


iqi\  laiMer 


A  COMPLETE  SYSTEM 

AND  SET  OF  LESSONS 

FOR  BEGINNERS 


THE  PULLMAN  SCHOOL  OF  LETTERING 
CHICAGO,  ILL. 


TT360 


MAR  16  1916 


/^'  (^77/ 


riv 


THE  BEST  WAYS 

TO  LEARN 
SIGN  PAINTING 


A  Complete  System  And  Set 
Of  Lessons  For  Beginners 


Copyright  1916    by 
A.R.Hussey. 


The  Pullman  School 

of  Lettering, 

Pullman  Station,    Chicag,o" 


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CONTENTS 


Acid    21 

Aluininuiii    (leal'   ami    l)ionze)  .  .  .  .  29 

Alphabets    (names   of) 6 

Amount   of    Lettering 27 

Awiiiny    Lettering    33 

Backing   Up   Letters 14 

Barber   I'oles    21) 

Backs  for  Glass  Signs 3G 

lioai  d   Signs    33 

Bi  ass  Signs 33 

Bronze  Signs    (or  Tablets) 33 

Burnishing    (gold   leaf) 12 

Care  of  Brushes 38 

Curved   Betters    31 

Ciicies     21 

Chipped   Glass   Signs 4a-46-4( 

Chalk  Bine    30 

Coating    Signs    40 

Coioi  s    (how    to   mix) •>■* 

Cutting-    in    Color 32 

Cutting-  Letters 5 

Corner   I'ieces *1 

Cleaning-    L'p  Gold   Job 15 

Cleaning    Glass    32 

Damp   Brushes 3tj 

Designs     *> 

Diiliing-  Holes  in  Glass 31 

Kmbossed  Gold    20 

ii^tching    (gold   on  glass) 24 

Etching-   (brass  signs) 4  i  -48-4!) 

Btching    (glass    signs) ■13 

l-irst    Principles    4 

first  Gilding    11 

I'lat   Coating    21 

flitters   4  0 

Mock     24 

l-'rames    (muslin   and    oil-cloth).,  .yj 

l-'iosting  on   (jlass 2o 

(jalvanized    Iron    Letters 3!i 

liaivaiiizcd  lion   (how   to  paint)..  37 

Gilding    (outside)    21) 

( rildei  s  Tip    2(i 

Gilding    Raised    Letteis 2i 

Gilding   (surface  or  Hat  letters)..  3ti 

Glass  Signs S-4  3 

Glass  Cleaning    s^ 

Glass  Gilding !^ 

Gold   Stipple    (on   boaids) 21 

Gold    Leaf    3!) 

Indelible  Layouts   37 

Instiuctions    13 

Introductory    5 

Japanned   Tin   Signs 32 

Klean    Kups    2S 

Kit    (the)    50 

Lacfjuer    (on    tin    signs,    etc.) 30 


Laundry  Signs 22 

Jjayouts 7    and    22 

Lemon  (iold  Leaf 23 

i^etters    (names  of) 6 

Lettering   Brushes    37 

Letters    6 

Lines    (chalk)     30 

Lines   (thread)    30 

Li((uids   (conmionl\-   used) 29 

Muslin 38 

Muslin   Signs    22 

-Moulding    (for  glass  signs) 31 

oilcloth   Signs    32 

Oilcloth     28 

Outlining    and    Shading If) 

I'atterns    7-16-40 

Batching    (gold   jobs) 12 

I'ounce   Bag    8 

Bounce   Pattern 16 

Piir.iing  Coat  (for  boards) 24 

Putty    (all    kinds) 31 

Quick   Size 28 

Questions    50-51-52 

liaised   Letter-   Signs 41 

liaised  Letters   (on  boards) 28 

Raised   Letters   (on  wire) 27 

lieal   Estate   Signs 30 

Screen    Signs    20 

Second    ('oating     40 

Second    (Hiding    11 

Shading    16 

Shellac    27 

Shop   Equipment    36 

Silvei  ing  (ilass 41    and  42 

Silver  Leaf    28 

Size   (slow)    42 

Skewing  Box    29 

Smalting    Signs    16 

Siiacing    Letters    32 

Special    Letters    6 

SLenciling    43 

Thread  Lines 30 

Tricks   of  the   Trade 52-53-54 

Tracing   Patterns    28 

Ti-ansparency    26 

Varnish   Grounds    38 

Varr-iishing   Gold    Work 16 

Wall   Signs    37 

Wagon   Lettei'ing    25 

Water   Size    9 

Washing  Gold    13 

White   Frosted  (51ass 26 

Wii-e   Signs    25 

Window   Signs    26 

Window    Shade   Lettering 41 

Zinc  Etched  Stencils 26 


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FIRST  PRINCIPLES 

The  instructions  in  this  set  of  lessons  are  intended  for 
the  exclusive  use  of  the  student  whose  name  is  on  file  in 
the  office  of  The  Pullman  School  of  Lettering,  Pullman 
Station,  Chicago,  Illinois.  The  student  should  l)ear  in 
mind  that  he  is  entitled  to  personal  assistance  to  over- 
come obstacles,  for  which  there  will  he  no  extra  charge, 
and  such  assistance  will  he  rendered  free  for  one  year 
from  date  of  enrollment.  I  strongly  reconmiend  that 
advantage  he  taken  of  this  privilege  as  often  as  neces- 
sary. Do  not  hesitate  to  write  for  information,  fearing 
that  you  will  annoy  us.  We  want  you  to  meet  with 
success,  and  the  more  help  we  can  give  you  the  easier  it 
will  he  for  you  to  succeed. 

Always  inclose  postage  and  self-addressed  envelope 
asking  for  advice  and  further  instruction.  We  are  here 
to  help  you;  that  is  what  you  have  paid  us  for.  and  we 
will  do  our  part.  We  are  just  as  much  interested  in  you 
now  as  we  were  before  you  sent  your  a])plication,  and  it 
will  not  be  necessary  for  you  to  i)ay  any  more  fees  for 
advice  and  help.  Remember  always  that  the  man  who 
becomes  easily  discouraged  rarely  succeeds. 

With  best  wishes  for  yoiu^  success,  we  are. 
Yours  faithfully. 

The  Pullman  School  of  Lettering, 


Pullman  Station,  Chicago,  111. 


"iiiiiiiiiilttiiiliililiilliiliillllliiiiiiiriii 


PULLMAN    SCHOOL   OF    LETTERING 


INTRODUCTORY 

The  system  aiul  working 
rules  for  learning  sign  painting 
given  in  this  set  of  instructions 
are  intended  for  men  and  boys 
everywhere  who  wish  to  bet- 
ter their  condition  by  entering 
-the  sign  i)ainting  business,  that 
promises  big  cash  results  for 
those  who  have  energy  and 
pluck.  These  instructions  are 
based  on  my  own  actual  expe- 
rience, and  the  experience  u\ 
some  of  the  best  sign  -painters 
in  this  country.  Remember 
there  is  noway  for  you  to  suc- 
ceed unless  you  jiieet  success 
half  way.'  If  '■••ou  wish  to  suc- 
cecvl  in  the  sign  painting  busi- 
ness it  will  bq  quite  necessary 
for  vou  to  '^^^■'^  sj;rict  attention 
to  tht  sy»;tem  and  rules  lai»'  be- 
fore you.  which  you  will  find 
correct  in  every  detail.  If  ymi 
find  something  wrong  with  the 
working  of  any  part  of  these, 
don't  hesitate,  and  be  di-^- 
couraii'ed  ;  sit  down  anrl  ask  u^^ 
and  we  will  gladly  make  clear 
anv  nart  that  goes  wrong.  The 
more  careful  you  are,  and  :he 
hardvr  vou  study  the  svstem. 
the  more  quickly  you  will  suc- 
ceed and  I'ventuallv  be  able  to 
sail  into  it  and  make  good. 

You  Can  Go  to  Work  at  Once 

The  instructions  in  this  sys- 
tem arc  ])rinted  in  book  form 
for  the  com  enience  of  the  be- 
ginner<  It  is  customary  for 
some  -chooTs  to  Issue  lessons  in 
leaflets,  one  lesson  on  a  leaflet, 
and  send  vou  one  lesson  a  week. 


We  have  found  the  book  form 
much  better,  being  more  con- 
\  enient  to  keep  all  the  lessons 
before  you  all  the  time.  When 
^ou  want  to  know  anything 
about  a  particular  sign,  or  how 
to  mix  a  particular  color,  you 
don't  have  to  wait  a  week  to 
pet  your  next  lesson  sheet,  be- 
sides losing  valuable  time. 

You  can  carry  the  entire  sign 
painting  business  in  your  pock- 
et and  refer  to  it  at  any  time. 

Ask  All  the  Questions 
You  Like 

Don't  be  afraid  to  ask  ques- 
tions, fearing  they  might  seem 
foolish  or  iiliotic  to  an  experir; 
enced  sign  painter. 

We  have  lots  of  time  and  pa- 
tience for  the  man  who  is  will- 
ing to  try  to  help  himself. 

You  will  find  the  lessons  con- 
tained in  this  book  the  most 
simple  and  easy  to  understand 
of  any  heretofore  Dublished, 
and  l)ased  on  practical  expe- 
rience, not  guess  work. 

LESSON  I 

How  to  Prepare  Your  Letters 
Ready  for  Use 

The  letters  sent  you  in  this 
course  are  the  very  latest  sign 
jKiinters'  styles  and  used  by 
every  first-class  sign  painter. 

These  letters  are  printed  on 
specially  prepared  paper,  ready 
for  you  to  cut  out  and  use. 

Cutting  Letters 

To  cut  out  letters,  first  pro- 


PULLMAN  SCHOOL  OF  LETTERING 


cure  a  soft  pine  board  (or  plate 
ii^lass)  and  a  sharp  pocket  knife. 
Slant  knife  a  little  and  cut  away 
all  black  around  each  letter, 
being  very  careful  to  follow  the 
black  edge  perfectly. 

Now  your  letter  is  ready  for 
u.se. 

Names  and  Sizes  of  the  Differ- 
ent Styles  of  Letters  Carried 
in  Stock 

ABCDEFGHIJKL 

MNOPO 
RSTUVWXYZ& 

abcdefghijklmnopqrs 

tUVWXYZ 

No  1.     Plain  Egyptian   (reg- 
ular). 

ABCDEFG 
HIiJKL^MNr 
OPQRSTU 

VXYZ& 
1S34567890 

No.  5.     I' nil  Block  (regular). 

ABCDEFGH 

IJKLMNO 

PORSTUVW 

XYZ& 

abcdefghijklmnop 
qrstuvwxyz 

1234567890 

ROMAN 


ABCDEF 

GHUKLM 

NOPQRS 


BULLETIN 
No.  2.     Plain  Egyptian  (con- 
densed). 

No.  3.  Spurred  Egyptian 
(  rt'i^ular). 

No.  4.  Spurred  Egyi)tian 
( ciiidcnsed). 

No.  6.  Half  Block  (con- 
densed). 

1  he  above  alphabets  are  car- 
ried in  stock  (including  num- 
erals) and  run  from  two  inches 
to  six  inches  high. 

Any  si/.e  made  to  order  on 
ihorl   notice. 

LETTERS 

Tlu-  ]tre]>nred  loUcrs  arc  car- 
ried ill  stock  by  us  only,  "reg- 
ular" meaning  as  wide  as  high, 
"condensed"  meaning  one  hall 
.IS  wide  a.s  high,  these  sizes  be- 
ing apjiroximate  and  are  to  be 
r -td  in  our  course  in  painting 
signs. 

Special  Letters  and  Layouts 

We  will  make  your  special 
letters  and  lay  out  (or  design) 
any  jt>b  you  have,  pattern  ready 
for  you  to  perforate  and  letters 
ready  for  you  to  cut  out.  and 
charge  you  for  time  and  mate- 
rial only. 

The  above  charges  are  made 
for  the  lazy  fell«)w's  benefit. 
Instead  of  taking  the  size  of  the 


PULLMAN  SCHOOL  OF  LETTERING 


siti^n  and  making  a  pattern  with 
his  own  letters,  he  w^ould  rather 
^it  down  and  let  the  other  fel- 
low do  the  work,  if  he  wouldn't 
charge  for  it. 

Drawing,  or  placing  the  let- 
ters in  position  on  the  sign  you 
are  to  paint,  is  called  "Layout*^ 
(or  design),  and  you  will  tind 
that  the  more  particular  and 
painstaking  you  are,  the  better 
job  you  will  have. 

All  tirst-class  sign  ])ainters 
make  a  pattern  (or  layout)  for 
the  smallest  job.  it  being  more 
accurate  and  quickly  done  than 
drawing  it  on  the  window  or 
sign,  and  the  pattern  may  be 
used  on  both  face  and  back  of 
glass  after  gold  leaf  is  on,  and 
is  perfect  and  easy  to  handle. 
You  can't  go  wrong  and  your 


r<tuiii-e  imttcrii  iiiitl  "lay- 


iiori/.ontal  lines  are  level. 

The  pattern  sent  you.  with 
the  word  signs  on,  after  being 
perforated  is  called  a  "Pounce 
Pattern,"  and  the  letter  "L"- at- 
tached shows  how  to  perforate 


around  the  edges  of  letters, 
also  showing  a  line  drawn  |)er- 
pendicular  through  the  center 
of  the  pattern,  called  a  guide 
line,  and  is  used  only  when  pat- 
tern does  not  fit  the  sign,  it  not 
l)eing  necessary  to  make  yo.:r 
])attern  as  large  as  your  entire 
window,  unless  it  is  a  ^nlall 
Vv'i'iKJow.  as  you  can  readily  see 
what  a  big  jattern  a  window 
8x10  feet  would  re(|uire.  Bj- 
s'dcs,  \\m  \\n)u'.(ln't  ha\e  a  wall 
(  r  drawing  board  large  enough 
to  lay  your  paper  on,  and  a  pat- 
tern that  large  would  have  to 
be  made  in  sections,  making  it 
too  large  to  handle  conxenient- 
ly,  and  uncalled  for. 

How  to  Make  Your  Patterns 

To  make  a  "pounce  pattern," 
lay  the  glass  sign  to  be  lettered 
down  on  top  of  any  good  tough 
drawing  paper  and  cut  around 
glass  with  a  sharp  pocket  knife. 
Then  you  will  have  no  guess 
work  and  the  pattern  will  be 
exact  size  and  fit  the  glass. 

LAYOUTS 

Now  you  are  ready  to  "lay 
out"  your  sign  (or  draw  vour 
letter.s). 

St'e    Ki«.   4'J   on    piiut'   7. 

If  yt!ur  sign  is  to  read: 

Frank  L.  Smith 

Fancy 

CROCERIES 

and  your  glass  is  18  inches  by 
36  inches,  you  should  make 
your  pattern  as  follows:  Al- 
ways remember  height  of  sign 
is  called  "upright"  and  width 
of  sign  is  called  "landscapes," 
and  on  your  order  always  ni'uk 
it.  to  a\t>i(l  all  jxissible  error  in 
letterinir- 


PULLMAN  SCHOOL  OF  LETTERING 


Now  take  your  prepared  let- 
ters and  lay  out  the  size  you 
think  will  fit  best  in  the  space 
vou  have. 

See  figs.  26,  27,  28  and  29  on 
page  10 

shows  sign  to  be  lettered  18 
inches  by  36  inches ;  also  shows 
.^pace  and  size  of  letters,  thus : 

2  inch  space,  3  inch  letter ;  2 
inch  space,  2  inch  letter ;  2  inch 
space,  5  inch  letter  and  2  inch 
space. 

shows  size  of  space  and  let- 
ters that  are  best  suited  for  this 
size  sign. 

Larger  or  smaller  letters 
may  be  used  and  must  be  gov- 
erned by  the  sign  painter's 
taste  entirely.  You  will  find 
there  are  some  people  who 
can't  get  the  letters  large 
enough  and  others  can't  get 
them  small  enough. 

Lines  to  Place  Letters  On 

Now  with  a  perfectly  straight 
yard  stick  draw  your  lines 
across  naper  and  lay  your  3 
inch    letters    between    the    two 

3  inch  lines  (Frank  L.  Smith). 

Sec  Fi'^s.  2<!,  27  ami  '2S  on  iinK'e  !••• 

When  in  j)lace  and  properly 
spaced  to  suit,  mark  around 
letters  v/ith  a  sharp  lead  pencil 
and  take  them  dut  of  your  way. 
and  ]n-oceed  with  the  2  and  5 
inch  letters  in  the  same  man- 
ner. This  will  show  you  how 
to  make  your  pattern. 

When  you  have  laid  out  and 
perforated  your  pattern,  then  it 
is  ready  to  place  on  the  window 
or  sign  you  are  to  paint. 

Pounce  Bag 

Next  make  a  "pounce  bag." 
Fill    a    Durham    tobacco    sack 


two-thirds  full  of  clean,  dry 
whiting,  tie  it  up  securely  and 
place  your  pattern  on  the  glass 
(or  window)  to  be  lettered,  and 
hold  pattern  securely,  being 
careful  not  to  let  it  slip.  Make 
fast  with  gummed  labels  (se- 
cured at  your  druggist),  then 
rub  "pounce  bag"  over  the  per- 
forated lines  and  you  will  have 
an  exact  duplicate  of  the  let- 
ters (or  layout). 

.See  Fijs.  !)9  on  itnK'e  17. 

If  pattern  is  to  be  used  on 
white  background  (see  board 
signs),  you  will  make  a  dark 
"pounce  bag,"  using  dry  ulta- 
marine  blue  or  dry  lamp  black, 
and  proceed  as  above,  using 
less  "pounce,"  as  dark  colors 
show  stronger  on  white  sur- 
faces. 

You  will  then  trace  around 
your  white  lines  with  a  "grease 
pencil"  (on  gold  glass  work 
only),  as  it  enables  you  to  see 
vour  "layout"  better  and  to 
patch  broken  places  in  the  gold 
leaf;  remembering  always  that 
tools  mentioned  in  this  course 
can  be  secured  of  the  Pullman 
School  of  Lettering. 

See  price  list  of  tools  and 
material  ;  send  oostoffice  money 
order  with  your  order  for  sup- 
t~ilies  and  they  will  be  sent  same 
day. 

GLASS  GILDING 

This  is  one  of  the  most  sim- 
ple methods  ever  published, 
one  that  really  teaches  you 
how  to  lay  gold  leaf  on  glass 
and  other  surfaces. 

Glass  Cleaning 

Clean  your  glass  thoroughly 
with  a  wet  sponge  (or  rag) 
(lil)])ed   in   whiting.     After  you 


PULLMAN    SCHOOL    OF    LETTERING 


have  rubbed  over  the  entire 
surface  (usiiiQf  a  safety  razor 
blade  for  takiii"-  ofi  all  paint 
rubbinw  the  surface  with  news- 
|)a])er,  making  sure  every  par- 
ticle of  whitinp-  is  wiped  off, 
leaving  your  glass  clean  and 
free  from  grease. 

After  this  operation  you  will 
proceed  to  put  your  pattern  on 
the  outside  of  the  glass  (or  the 
side  you  read  from).  As  the 
gold  leaf  is  put  on  the  inside 
(or  back  of  glass),  place  your 
I)attern  on  perfectly  even,  with 
face  out,  then  wipe  white 
"pounce  bag"  over  it  and  you 
have  transferred  your  letters  to 
the  glass  (same  as  instructions 
under  "layouts"). 

Now  set  ^^our  glass  upright 
on  easle  (fig.  22  below  '^  with 
"layout"  (or  pattern  side)  turn- 
<  (1  in,  and  you  are  ready  for 
gilding. 


l-'i;;.  -li.  I'oillK'O  pjiU«Tii  |>lilf<'(l 
on  tsi«'«'  of  K'la.ss  shows,  word  siu'iis 
i«ii4l\  to  traro  with  Kronso  lUMioil 
I    ;;il<i. 

We  are  sending  you  a 
"pounce  pattern"  of  the  word 
"Signs,"  with  letters  tcj  match. 


that  you  may  more  fully  under- 
stand our  system  and  start  sign 
'  ainting  at  once.  The  "pounce 
pattern"  must  be  perforated  by 
means  of  a  tracine  wheel  (see 
printed  directions  on  pattern) 
and  the  pattern  cut  and  made 
ready  for  use,  to  show  you  ex- 
actly how  you  are  to  ])roceed 
and  make  your  own  patterns. 

The  "pounce  pattern"'  should 
be  made  in  your  shop  or  at 
home,  and  not  on  the  job,  as 
this  is  a  secret  method  and  one 
you  should  protect  for  your 
own  good,  being  nobody's 
business  how  you  form  your 
letters. 

After  cuttinp-  the  letters  fur- 
nished you  in  this  set  of  in- 
structions, you  are  then  pre- 
T\ired  to  make  your  own  pat- 
terns and  shape  your  own  let- 
ters by  following  our  instruc- 
tions. 

\Vhen  you  have  carefully 
studied  every  word  of  the  above 
instructions  and  know  it  almost 
"by  heart"  then  you  are  ready 
for  gilding. 

READY  FOR  GILDING 

Now  you  ha\-e  your  glass  on 
the  easle,  and  your  letters 
"pounced"  on,  and  the  glass 
cleaned  and  free  from  grease ; 
then  you  will  proceed  to  make 
the  size  for  sticking  the  gold 
leaf  to  the  glass. 

"Water  Size"  for  Gilding 
on  Glass 

To  one-half  pint  of  distilled 
water  add  one  No.  1  empty  ca])- 
sul  and  bring  to  boil  in  a  clean 
granite  cu]).  After  same  has 
l)oiled,  stir  briskly  with  a  ])er- 
fectly  clean  stick,  and  size  is 
ready  for  use. 

If  impossible  to  get  distilled 


PULLMAN  SCHOOL  OF  LETTERING 


water,  filtered  rainwater  is 
practically  as  good  and  will  an- 
sVver  the  purpose.  (Note — 
Never  use  alkali  water.) 

When  "size"  has  cooled 
proceed  to  gild. 

See  Pi«-.  40  on  itsiK'e  1^5. 

The  "size  brush"  sent  you  is 
used  to  put  on  the  above  de- 
scribed "size."  With  this 
brush  you  will  coat  one  or  two 
letters,  depending  on  size  of 
letters,  beginning  at  top  left- 
hand  corner,  and  gild  the  entire 
toj)  line  of  letters.  When  top 
line  is  gilded,  begin  in  same 
corner  on  the  next  line,  and  so 
on  until  entire  job  is  finished. 

See  Fiji-.  40  on  pnue  '-t- 

(jilding  in  this  manner  will 
prevent     'size"    from     running 


/vgr  sjS; 


HId)  .'\|\!i|v/  I!    /PiyJ  (iVi^u 


'"  m\k\m^ 


down  over  your  wet  gold  leaf 
and  streaking  it,  which  is  al- 
most impossible  to  get  out. 

Putting  on  the  Water  Size 

See  Fitt'.  40  on  |»:iK'e  i:{. 

You  will  next  lay  on  your 
gold  leaf  (or  start  to  gild). 

See  FiK.  41  ou  pa^e  t2. 

Place  the  book  of  gold  sent 
you  in  your  left  hand,  then  you 
are  ready  to  use  the  "water 
size"  for  sticking  the  gold  leaf 
to  the  glass.  Place  your  "size" 
on  a  box  or  chair  at  your  right 
hand ;  dip  "size  brush"  into 
"size"  and  coat  one  or  two  let- 
ters as  described  above ;  then 
turn  back  the  cover  of  gold 
book  until  you  come  to  the  gold 
leaf,  keeping  the  gold  book  in 
left  hand.     You  will  then  turn 


\-m. 

lie 

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I 

c 

("A 

NliY' 

1 

1 

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■)u. 

^N/?li)' 

^S 

^^ 

^^M 

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FRANKLSMITH 

■FANCY- 

GROCERIES 


r,^Z8. 


SI'AU'I'     I'O    FINISH     in    "I.X^IN*;    Ol'l"    a    sinn. 


PULLMAN  SCHOOL  OF  LETTERING 


back  the  leaf  of  the  book  until 
you  have  a  strip  of  gold  large 
enough  to  cover  the  stem  of 
letter  you  are  gilding,  using  the 
thumb  of  left  hand  as  a  stop,  or 
guide. 


Fi^'.  4'A.    i'uttiuK  ili^  K'oliI   leaf  with 

First   Gilding 

and  proceed  to  co\er  the  entire 
letter  at  first  gilding.  "First 
gilding"  is  a  term  used  by  sign 
painters,  and  the  more  careful 
you  are  in  the  first  gilding  the 
less  patching  you  will  ha\e  to 
do  in  the  "second  gilding." 
"Second  gild"  (or  ])atching  up) 
is  also  a  term  used  by  sign 
]:)ainters,  and  care  must  be 
taken  in  tlic  "first  gild,"  makinii^ 
sure  y>  u  !i-i\e  er.oiigh  gold  on 
to  cover  the  letter.  The  space 
between  letters  do  noi  re- 
quire gilding,  but  on  'Uiall  let- 
ters, un  to  3  indies  liigh.  may 
be  glided  "solid,"  always  re- 
nvcmbcrin;..^  that  it  is  impossible 
to  gild  on  glass,  unless  you  flow 
on  plenty  of  "size."  And 
should  your  gold  leaf  slide  and 
run  out  of  i)lace,  by  t(!uching 
ed<re  of  the  leaf  with  your 
"gilders'  tip"  you  wilj  readily 
see  the  results.  "Sliding"  is 
caused  l)y  api)]ying  the  Icnf  be- 
fore   "si.-e"    has    ^-topped     run- 


ning, and  can  be  prevented  in 
two  ways.  First  is :  put  on 
your  "size"  and  by  the  time  you 
ha\e  oj)ened  the  gold  leaf  book 
and  cut  your  leaf  to  lit,  it  will 
be  through  running;  then  ap- 
ply your  leaf  and  it  will  seldom 
slide.  Second:  By  touching 
Q(\gc  of  leaf  with  vour  "gilder's 
tip." 

"Laying  Gold  With  a  Tip" 

The  "gilder's  tip"  sent  yon  is 
for  laying  gold  leaf  on  glass 
and  difficult  raised  letters  (see 
raised  letter  signs),  and  sht)uld 
be  slightly  oiled  by  wiping  it 
through  yt)ur  hair  each  time  be- 
fore laying  it  on  the  gold  leaf. 


FiU'.  4^.  Str«»kinfi-  linir  with  uil- 
<l<>rs  tip.  Iift'ore  lii.viiiu  tip  on  k<>I<I 
leaf. 

When  you  ha\  e  stroked  "gild- 
er's tip"  through  your  hair  it  is 
then  ready  to  i)ick  up  the  si^olfl 
and  apply  to  the  glass.  This 
yon  must  do  each  time,  and 
your  "tip"  will  never  fail  to 
])ick  up  the  gold  leaf.  After 
you  have  "first  gilded"  your 
letters,  you  will  then  wait  until 
gold  is  perfectly  dry  before 
l)nrnishing:  by  watching  the 
outside,  or  o])posite  side  of 
glass,  you  will  see  that  it  has 
started  to  dry.  taking  on  a  high 
burnish  or  bright  spots,  and  the 


11 


PULLMAN  SCHOOL  OF  LETTERING 


gold  must  appear  bright  before 
you  can  burnish  it.  Any  dull 
])laces  (called  damp  or  wet 
places)  must  not  be  touched 
until  they  disappear.  In  cold, 
damp  weather  gold  dries  slow- 
er and  may  be  hurried  along  by 
fanning  it,  or  carefully  blotting 
with  soft,  clean  blotters.  Great 
care  must  be  exercised  in  lay- 
ing on  blotters  that  they  do  not 
slip  and  mark  the  gold.  When 
gold  is  thoroughly  dry  you 
will  then  proceed  to  burnish 
and  "patch  up."  "Patching  up" 
is  also  a  term  used  by  sign 
painters,  and  is  very  essential, 
unless  job  is  on  windows  abo\e 
the  second  floor,  where  a  small 
broken  place  (or  crack)  in  the 
"first  gild"  will  not  show  from 
the  street,  and  patching  is  un- 
necessary. 

Patching  Gold  Jobs  on  Glass 

Great  care  should  be  exer- 
cised in  "patching"  your  gold 
jobs,  for  the  fellow  who  is  care- 
less is  not  in  demand,  and 
nothing  looks  worse  than  a 
poor  gild,  and  by  following  this 
course  to  the  letter  you  can't 
SH)  wrong. 

Burnishing   the   Job 

When  you  are  sure  the  gold 
is  dry.  the  next  ste])  is  to  bur- 
nish ofif  the  superfluous  gold 
(or  ragged  parts)  wMth  a  nice 
clean  piece  of  medicated  cotton 
(that  you  can  secure  at  the 
drug  store  for  five  cents  a  pack- 
age). 

You  will  wipe  away  all  loose 
particles  into  a  deep  cigar  box 
that  has  previously  been  cov- 
ered with  a  piece  of  common 
wire  screen,  and  is  called  a 
"skewing  box,"  or  a  box  to  save 
your  scraps  of  gold  leaf  in. 


Piu.    41.       I^ayiiiK    on    the    leaf. 

After  this  is  done  smooth 
your  piece  of  cotton  out.  form- 
ing a  nice,  smooth  surface  that 
w^ill  rub  over  the  gold  leaf 
without  scratching,  rubbing 
first  up  and  down,  then  the 
other  way,  making  sure  you 
have  rubbed  it  enough,  and  is 
almost  free  from  wrinkles  and 
rough  places,  being  careful  not 
to  rub  through.  By  looking 
through  to  the  light,  you  can 
see  every  move  you  have  made 
with  your  cotton  in  burnishing. 

After  you  have  burnished 
your  gold  (as  described  above) 
you  will  then  "patch"  up  the 
holes  and  broken  places,  that 
can  be  easily  seen  by  looking 
through  to  the  light.  Start  in 
the  left  hand  corner  of  the  job, 
same  as  "first  gild,"  taking  a 
few  letters  in  top  line,  and  flow 
another  coat  of  "size"  on  them. 
being  ready  always  with  your 
gold  and  "gilder's  tip,"  and 
proceed  as  beft^re.  onlv  using 
small  pieces  of  gold  leaf  instead 
of  larger  ones  in  "first  gilding." 

Smaller  pieces  of  gold  for 
patching  are  made  by  opening 
book  until  about  half  inch  of 
gold  shows,  cutting  it  ofif  from 
left  to  right  with  the  front  fin- 
ger nail,  then  cutting  it  cross- 


12 


PULLMAN    SCHOOL    OF    LETTERING 


ways,  making  any  size  pieces 
desired,  and  that  will  fit  the 
places  intended  ior,  making 
sure  that  you  have  "patched" 
every  place  you  think  will 
show  or  be  seen  from  the  out- 
side (or  reading  side)  of  the 
sign. 

When  dry.  as  explained  in 
first  gilding,  you  will  burnish 
patches  with  cotton  as  before 
(in  "first  gilding." 

Sot'  I'^i^i.  -4:?  on   |tii;if   I  1. 

Washing  Gold 

Washing  your  gold  (or  giUl- 
ing)  is  a  \ery  simple  process, 
but  jiroduces  a  wonderful  ef- 
fect, and  no  job  is  thoroughly 
(U)ne  w  i  t  h  o  u  t  "washing  ;" 
neither  can  you  |)roduce  a  per- 
fect guild. 

The  "washing"  simply  brings 
out  the  l)urnish  on  the  gold 
that  no  other  process  will  do. 
and  vou  will  be  surpri-ed  at  the 
wonderful  elTect 

After  you  have  burnished  the 
patches  with  cotton,  you  will 
"wash"  entire  job  with  boiling 
h(  t  water,  flowing  it  on  with 
your  "size"  brush,  same  as  ap- 
])lying  "water  size"  in  first 
gilding  and  patching,  l)eing 
careful  not  to  go  over  same 
places  twice.  (As  water  l)ein; 
I-.  (jrdy  .icnnd  that  wili  cK-an 
off  the  gold,  it  being  soaked  u]-. 
on  the  first  a])plication  ot 
water,  it  must  not  be  touched 
again  until  dry.) 

When  you  become  more  fa- 
miliar with  gilding,  and  know^ 
the  exact  action  of  the  sizing, 
gilding  and  washing,  you  will 
then  be  able  to  do- the  w(jrk 
with  ease,  and  no  guessing. 

I  therefore  advise  you  to  get 
a  piece  of  glass  the  size  of  the 
jjatterns  sent  you.  "pounce"  on 
the   ivittern.   gild   and  patch   it 


Kiu.  10.  I'uMiii;^  on  Hie  ">iiz«-"  lor 
KiltliiiK   on    kIxk.s. 

Up  as  often  as  necessary  ;  or  un- 
til you  are  sure  you  thoroughly 
understand  the  process,  which. 
if  interested,  will  absorb  about 
nne  hour's  time. 

W  hen  vou  thorough' v  under- 
stand gilding  on  glass,  and  have 
the  gold  "patched"  and  thor- 
oughly washed,  you  are  then 
ready  to  put  the  lettering  on. 


£■  iv.  I.~.  How  <Iit'  li'ttor.s  sent  .>»;!> 
J". CO   to   lie   ii.sejl    c.ii    ^<>l;l    le:if   si;tii.s. 

Follow  Instructions 

^'ou  will  lind  the  two  pat- 
terns sent  you  are  easy  to  han- 
dle while  practicing,  and  the 
letters  being  connected  and 
properly  sj)aced.  you  will  ha\e 
noihinu  1(1  di>  but  to  follow  my 
inctructicns,  the  gilding  being 
(!('■>■  ;is  al)o\e. 

The  "cut  out"  pattern  is  now 
1)lac(  (1  on   the  g.ass   (with   side 


13 


PULLMAN  SCHOOL  OF  LETTERING 


marked  face)  laid  carefully 
against  the  gold  (or  gilded  sur- 
face), being  careful  not  to  let 
it  slip  and  mar  or  scratch  the 
gold  leaf. 

You  will  then  clean  away  the 
superfluous  gold  between  let- 
ters with  the  round  brush  sent 
you,  by  slightly  moistening  the 
end  of  brush  with  your  tongue 
(or  damp  sponge)  and  rubbing 
the  brush  over  the  space  be- 
tween letters  in  a  circular  mo- 
tion. 

See  Fijjf.  4.'>  on  page  13. 

When  you  have  cleaned 
away  all  gold  leaf  from  between 
letters,  remove  the  cut  out  pat- 
tern and  you  have  the  word 
Signs  in  gold  letters  ready  to 
clean  and  back  up. 

To  clean  up  letters  ready  for 
"backing  up"  and  finishing  jol). 
first  secure  a  piece  of  cigar  box 
lid  about  5  inches  long,  }'s  inch 
thick  and  %  inch  wide.  With 
a  sharp  knife  trim  ofif  the  paper 
and  make  it  perfectly  square 
on  the  end  (or  ^x^  inch  in 
size).  Then  lay  your  yard 
stick  down  carefully  on  top 
edge  of  letters,  and  with  the 
]?iccc  of  cigar  l)ox  lid  clean 
;  way  tlie  <j-old  that  does  not  be- 
lonp-  there,  called  ties. 

.See  Fi^i'.  -Hi  mill   4H  on  psiK'e  14. 


Fi'i.   -((i.      ClcMiin-    f.:i)   :  :..i    bottom 


How    the    .semi-circle    i.h 


W^hen  top  and  bottom  of  let- 
ters are  cleaned  ofT  thoroughly 
you  will  look  on  the  other  side, 
to  make  sure  that  every  par- 
ticle of  gold  leaf  that  does  not 
go  to  make  up  the  letter  has 
l)een  cleaned  away  thoroughly. 

If  edges  of  letters  appear 
ragged,  it  is  your  fault,  and 
next  time  you  will  remember 
this  point  and  be  more  careful, 
as  it  can  be  done  cleaner  and 
more  perfect  with  our  process 
than  by  hand,  and  much 
quicker. 

rhis  being  finished,  you  will 
now  proceed  to  "back  up"  the 
letters. 

BACKING  UP  LETTERS 

Into  one  of  our  famous 
"Klean  Kup"  boxes  sent  you. 
put  one  tablespoon  full  of  our 
celebrated  "backing  up"  var- 
nish, which  is  prepared  by  us, 
and  ready  for  immediate  use. 

With  the  camel's  hair  brush 
sent  you.  you  will  then  coat 
the  entire  back  of  letters 
(which  is  called  "backing  up") 
running  over  on  the  glass  }i  of 
an  inch  or  less,  if  possible. 
T.ook  over  each  letter  carefully 
to  make  sure  you  have  covered 
every  particle  of  gold  leaf.  If 
not  covered  in  cleaning  off  the 


14 


PULLMAN  SCHOOL  OF  LETTERING 


superfluous  gold  (or  washing 
entire  glass)  you  will  soon  dis- 
cover the  places  you  have  miss- 
ed, and  your  gold  will  wash  ofl', 
leaving  the  bare  glass  where 
gold  should  be. 

When  this  o])eration  has 
been  thoroughly  taken  care  of. 
you  will  let  the  backing  varnish 
dry  for  four  hours  or  over 
night,  before  cleaning  oft 
ragged  ])laces,  or  su])erfluous 
gold. 

This,  however,  can  be  done 
in  nmch  less  time  with  our 
celcl)rated  "backing  up"  var- 
nish, but  for  your  first  few 
t-.mcs  wotdd  advise  letting  it 
dry  thoroughly  before  cleaning 
oft.  If  nt)t  dry  enough,  the 
varnish  may  let  go  of  gold  in 
]daces,  causing  ragged  edges. 

Cleaning  Up  Gold  Jobs 

The  tools  most  essential  in 
cleaning  up  gold  jobs  are  the 
damp  chamois  skin,  damp 
sponge  and  a  "wad"  of  medi- 
cated cotton. 

When  "backing  up"  varnish 
is  thoroughly  dry,  you  will  pass 
the  damp  sponge  over  the  glass 
and  letters  carefully,  following 
this  up  with  a  "wad"  of  cotton, 
rubbing  over  the  surface  until 
glass  is  perfectly  clean,  watch- 
ing the  face  of  sign  to  make 
sure  e\ery  ]>article  of  gold  leaf 
is  cleaned  ofY.  N(nv  ])roceed 
with  your  damp  chamois  skin 
to  finish  cleaning. 

After  glass  is  thoroughly 
cleaned,  you  are  ready  for  out- 
lining, or  shading. 

OUTLINING  and  SHADING 

The  Prussian  Blue  sent  you 
is  mixed  and  tested  ready  for 
use,  and  can  be  made  darker  or 
lighter  as  desired,  by  adding 
ni(.re  blue    (if   drirkcr   shade   is 


wanted),  and  varnish  (if  light- 
Pour  out  small  amount  of 
blue  in  paper  box  at  a  time  (as 
it  dries  quickly)  and  soon  be- 
comes fat  (or  thick)  and  impos- 
sible to  work  hi  lettering  brush. 
Place  your  sign  on  the  easel 
and  you  are  ready  for  btisiness. 
W  ith  the  brush  sent  you 
(called  outliner)  you  will  "out- 
line," or  edge,  and  coat  entire 
back  of  each  letter,  beginning 
at  your  left  and  working  to 
your  right,  being  carelul  to  till 
your  brush  about  half  fttll  of 
color,  smoothing  it  out  straight 
and  square  like  a  chisel,  never 
allowing  brush  to  become 
twisted  or  pointed,  but  must  be 
kei)t  flat. 

This  is  done  by  working  the 
brush  back  and  forth  on  your 
palette  or  piece  of  glass. 

Hold  your  brush  firmly  but 
lightly  between  front  finger 
and  thumb,  similar  to  holding 
a  pen  or  pencil,  not  too  stifi, 
but  so  as  to  allow  brush  to  turn 
or  roll  when  necessary,  as  in 
outlining  round  letters. 

Keep  your  brush  well  filled 
with  color  to  axoid  ragged 
edges. 

Color  should  be  proper  con- 
sistency, not  too  thick  or  too 
thin,  but  just  right,  and  you 
will  have  very  little  trouble 
making  a  perfect  "edging,"  or 
"outline." 

!<'ins.  I.  I-  jmi  IN  slio^v  proiM-r 
Mti'okfN  ill  t'oriiiiiiu  letterM  iiiul  oiit- 
liiiiiiu. 

Always  remember  to  fill  your 
brush  full  and  work  it  out  even- 
ly t)n  your  palette  or  glass,  and 
when  this  is  done  several  times 
draw  the  brush  towards  yoti, 
keeping  it  flat  to  the  ])alette. 
and  apply  the  palette  side  of 
brush  to  the  sign,  using  the 
point  of  brush,  pressing  lightly. 

Never  press  hard  on  the  heel 


\5 


PULLMAN  SCHOOL  OF  LETTERING 


of  your  brush ;  it's  the  wrong 
end  to  paint  with. 

Varnishing   Gold   Work 

After  your  outlining  is  thor- 
oughly dry,  wipe  over  lettering 
with  a  damp  chamois  skin  and 
varnish  the  job,  by  pouring 
into  a  paper  cup  a  small  amount 
of  the  varnish  sent  you,  and 
proceed  to  "outline"  the  letters 
with  varnish,  same  as  described 
in  outlining,  only  using  a  clean 
(or  new)  brush  and  varnish, 
instead  of  the  blue  paint,  being 
sure  to  cover  entire  back  of  let- 
ters and  extending  over  the 
blue  outline  onto  the  glass  }i 
inch  or  more,  being  careful  to 
make  a  nice,  clean,  uniform  job. 

Using  Patterns 

By  using  the  patterns  sent 
you,  it  will  be  very  easy  to 
understand  our  method  and  be 
able  to  make  your  own  "pounce 
patterns"  and  lay  on  the  letters. 

It  not  being  necessary  to 
make  a  cut  out  pattern  for 
every  job,  neither  do  we  recom- 
mend it,  as  you  can  place  each 
letter  in  exact  position  after 
you  have  made  the  "pounce 
l)attern." 

Pounce  Pattern 

The  "pounce  pattern"  is  call- 
ed "layout,"  and  should  be 
made  in  the  shop  or  at  home, 
and  on  arrivel  at  the  job 
"pounce"  the  pattern  on  the 
outside  of  the  glass;  do  your 
gilding;  reverse  the  pattern 
and  use  it  on  the  inside  of  glass, 
on  top  of  the  gold,  and  you  have 
an  exact  outline  of  your  letter- 
ing. 

Then  you  are  ready  to  use 
your  separate  letters  (or  the 
ones  sent  you)  by  laying  let- 
ters on  the  perforated  marks  of 


"pounce  pattern"  and  cleaning 
away  the  surplus  gold  with  the 
round  brush,  previously  de- 
scribed, and  proceed  with 
backing  up,  outlining  or  shad- 
ing and  varnishing. 

See   FIjt'.   45   on    pnee    Hi. 

SHADING 

Shading  is  for  the  sole  pur- 
pose of  causing  letters  to  stand 
out,  or  have  a  raised  appear- 
ance, which  is  very  pleasing  to 
the  eye. 

All  shading  must  be  on  left 

As  in  Fi;;'s.  Hi,  24  nnil  lit  on  paK'e 
IS,  and  FiK'K.  '2ii  and  21  on  pa^e   17. 

and  bottom  of  letters,  except  in 
script  lettering,  which  must  be 
shaded  on  opposite  side  and 
bottom.  See  fi^,  23  on  Pa^e  17 
When  lettering  is  dry,  then 
you  are  ready  for  shading. 
This  is  done  by  sliding  the  let- 
ter or  pattern  to  the  left  and 
down,  the  same  width  as  stem 
of  letters,  marking  edge  of  let- 
ters where  shade  is  wanted 
with  a  lead  pencil. 

FIks.  14  and  Hi  shows  letters 
shaded  with  your  "cut  out"  letters 
and  connected  to  letter  by  dotted 
lines,  as  described  in  "Shading." 

This  method  of  shading 
holds  good  in  letters,  scrolls 
and  all  shaded  work  in  sign 
painting. 

Practice  long  "master 
strokes"  in  using  lettering 
brush ;  it  looks  professional, 
and  is  usually  more  perfect 
than  the  short  ones,  as  a  line 
or  stroke  can  be  drawn  better 
fast  than  slow.  Pay  strict  at- 
tention to  the  finished,  or  out- 
side of  the  stroke,  letting  inner 
side  take  care  of  itself. 

SMALTING  SIGNS 

Where  smalt  background  is 
wanted,  cut  in  around  letters 
with  nice,  clean  "cutting  in" 
black  (see  "cutting  in"  color). 
When  all  letters  have  been  "cut 


16 


PULLMAN  SCHOOL  OF  LETTERING 


in."  "fill  in"  (or  j)aint)  remain- 
der of  baekground  and  smalt 
immediately.  Lay  a  smalt 
cloth  on  the  floor  and  ])lace 
trestles  crossways  over  it 
(smalt  cloth  shouhT  he  3x30 
feet,  made  of  strong-  calico  or 
an  old  muslin  sign)  ;  lay  sign  to 
he  smalted  on  trestles  and  sift 
smalt  over  entire  board  and  let- 
ters (using  a  strainer  of  any 
kind     that     s  a  n  d     will     r  u  n 


Ki^'.    -O    .shows    split    .sliiule    on    left 
<i<lo   liiiil    soiiil    sli:i;i(*  on    ri;;lit   si<l<>. 


KiK- '■^^    I  'itterii    |ioiinf<-<l    on    uc>l<l 
losjf.    iilttT    ;iil<liiiu,    is    <irj. 


:i.     >lnslin    siikI   oilcloHi    sliii(t«> 


V'xVi.    'IW.       i'ro|MT    siil«'    lo    .sli:i<l«-    nil 
script    lottiTs. 


17 


PULLMAN   SCHOOL   OF   LETTERING 


Vits.  -4.    Split  mill  xtoii  .slimlf  ri'iiit> 
for  lileiiit  Nliaile  ns  in  Fijj;'.  IT. 


/'/f/^ 


V\k.    i:{.     <  a.Ht    siitiiir. 


IS 


PULLMAN    SCHOOL    OF    LETTERING 


^—^ 


Pie.    4    mIiown    ^vlint    is    cnlletl    the 
STK^l   or   IIODV    of   lettiTN. 


/^^/■s? 


Pie.    UK   iust  .slisiile. 


Fijf.   12.   &  18  Proper    stroken   to    form  round  letters. 


V    "<  ut    In"   H"«l    linrtlj    lllletl    In   hIkii. 


10 


PULLMAN  SCHOOL  OF  LETTERING 


through)  covering  sign  to  a 
depth  of  ys  inch  or  more.  Look 
carefully  over  the  entire  job 
(looking  toward  the  light),  see 
if  every  place  is  thoroughly 
covered.  If  all  bare  places 
(called  shiners)  are  covered, 
you  will  turn  board  edgeways 
on  trestle,  allowing  smalt  to  be 
dumped  off  into  smalt  cloth. 
You  will  then  trim  (or  l)lack 
off)  edges  and  ends  of  sign, 
with  "flat  back"  (lamp  black 
turpentine)  when  edges  are 
dry.  set  sign  against  wall  or  on 
uprights  (se  uprights  in  shop 
equipment). 

SCREEN  SIGNS 

Screen  signs  are  made  to  fit 
on  inside  at  bottom  of  win- 
dows, and  do  not  permit  the 
])eople  "gazing  in,"  which  adds 
privacy  to  the  office  and  will 
not  exclude  the  light,  also  al- 
lowing you  to  look  out  of  win- 
dows as  readily  as  though  they 
were  not  there. 

They  may  be  lettered  with 
any  inscription,  using  round  or 
flat  face  raised  wood  letters. 
First  make  frames  of  wood  to 
match  interior  finish  or  fixtures 
in  building,  finish  and  \arnish 
to  suit,  then  stretch  60  mesh 
bronze  screen  on  the  frame, 
keeping  it  perfectly  even  and 
tight. 

Lay  on  raised  letters  (that 
have  previously  been  gilded)  to 
suit  space,  when  satisfied  with 
"laycjut"  you  are  ready  to  fas- 
ten them  on.  Remove  them 
from  the  screen  and  set  frame 
up  edgeways ;  you  will  then 
tack  cheap  yardsticks  on  face 
of  screen,  at  bottom,  or  base 
line  of  letters,  full  length  of 
wording  on  each  line.  Then 
you  will  lav  screen   and   frani',' 


down  (face  up)  and  place  let- 
ters in  position  on  top  of  yard- 
stick. 

Remove  letters  and  stand 
screen  and  frame  on  edge  again. 
This  entire  operation  requires 
a  helper  to  hold  frame  on  edge 
and  drive  the  tacks  (or  tack  on 
letters). 

Hold  your  letters  in  place  by 
means  of  a  2x4,  about  2  feet 
long,  covered  on  one  end  with 
two  thicknesses '  of  chamois 
skin.  This  you  will  dampen 
and  hold  securely  against  face 
of  letters,  while  your  helper 
drives  the  tacks  through  the 
screen  into  back  of  letters. 
Make  no  mistakes  in  spelling 
or  placing  tacks,  as  screen  is 
very  expensive  and  holes  and 
soiled  places  cannot  be  re- 
paired.     (See  price  list). 

EMBOSSED  GOLD 

To  emboss  gold  letters  on 
glass,  gild  and  outline  in  usual 
manner.  Coat  one  letter  at  a 
time  with  thick  Demar  varnish. 
When  letter  is  coated,  dabble 
the  end  of  a  half-inch  bristle 
fitch  (that  has  previously  been 
cut  t)ft')  into  the  varnish.  This  is 
called  embossing  (or  stip- 
pling). When  thoroughly  dry 
(say  over  night)  size  and  gild 
as  in  glass  gilding.  This  is 
used  on  inside  of  letters  that 
have  previously  been  outlined 
in  burnished  gold,  and  for 
backgrounds  that  have  been 
lettered  in  any  dark  color.  For 
embossing  backgrounds,  letter 
panel  in  black  or  any  dark 
color,  and  shade  with  asphal- 
tum  to  which  has  been  added 
a  little  quick  rubbing  varnish. 
Coat  over  all  with  Demar  \ar- 
nish,    ami    :--t:]^|)lc    a-^    di '^' 


PULLMAN  SCHOOL  OF  LETTERING 


1)rush.  and  giUl  with  lemon  or 
deep  gold,  using  water  size. 

FLAT  COATING 

Most  all  coating  in  the  sign 
shop  should  be  flat  or  semi- 
flat.  This  is  imi)ortant  and 
very  essential.  In  laying  out 
and  smalting,  smalt  will  stick- 
to  glossy  surfaces,  causing  all 
kinds  of  trouble.  Marking 
with  chalk  or  pencil  on  glossy 
surfaces  will  dig  into  the  soft 
glossy  film  and  almost  spoil  the 
job.  Semi-fiat  coats  are  sel- 
dom used  unless  same  is  to  be 
varnished  over.  All  colors 
(ground  in  japan  and  thinned 
with  turpentine)  will  dry  per- 
fectly flat  and  free  from  gloss. 
White  lead  (ground  in  oil. 
thinned  with  turpentine)  will 
also  dry  flat.  If  gloss  or  semi- 
gloss  is  recjuired,  add  rubbing 
varnish  to  the  Japan  colors  and 
oil  to  the  white  lead.  To  draw 
oil  out  of  white  lead,  break  u]) 
a  small  keg  of  lead  in  tur])cn- 
tine  and  let  stand  over  night. 
Dip  off  the  oil  and  repeat  as 
often  as  necessary.  This  can 
be  mixed  with  Demar  varnish 
or  any  light-colored  varnish, 
and  is  mostly  done  in  this  man- 
ner for  wagon  work,  when  i)er- 
fcctly  wdiite  job  is  wanted. 

ACID 

Nitric  acid  may  be  kept  in 
glass  bottles  or  earthen  jugs, 
and  is  used  for  etching  on 
brass.  Hydrofluoric  acid  must 
be  kept  in  either  paraffine.  gut- 
ta  percha  or  lead  bottles  or 
jugs,  and  never  in  glass  recep- 
ticles.  and  is  used  for  etching 
on  glass. 

GOLD   STIPPLE  ON 
BOARD  SIGNS 


To  Stipple  background  on 
board  signs  in  gold  leaf,  pro- 
ceed to  cut  in  and  smalt,  same 
as  in  smalting  board  signs.  To 
cutting  in  color  add  a  trifle 
more  japan  and  allow  to  dry 
longer.  \\^hen  dry,  paint  with 
a  thin  coat  of  flat  white,  using 
])lenty  of  japan  dryer.  Be  very 
careful  in  this  coat,  and  do  not 
rub  out  the  paint,  as  it  will 
loosen  the  smalt,  making  let- 
ters rough.  And  should  smalt 
get  in  letters  on  this  coating, 
go  over  each  letter  with  yotir 
fingers  which  wall  knock  every 
particle  of  smalt  off.  \\'hen 
second  coat  is  dry,  thin  shellac 
entire  surface  and  size  in  "sIoav 
size."  W^hen  readv,  gild  on  out 
f>f  book  as  in  Gilding  ( Surface 
or  flat  letters).  Before  burnish- 
ing, press  down  entire  gilded 
surface  with  a  piece  of  cotton 
or  pbish.  This  will  force  gold 
in  all  hollow  places.  Lettering 
mav  be  done  in  black  or  anv 
dark  color  that  w^ill  look  good 
with  a  gold  backjrround.  Do 
iwt  fill  in  letters  with  black  en- 
tirely, but  leave  %  inch  of  flat 
gold  around  letters. 

CIRCLES 

Circles  mav  be  made  on  an\- 
surface  excc|)t  gla^^s  by  placing 
a  tack  in  exact  middle  of  wdiere 
circle  is  wanted  and  making 
one  end  of  thread  (or  any  good 
string  that  will  not  stretch) 
fast  to  the  tack  and  with  loop 
at  the  other  end,  place  lead- 
jiencil  in  loop  and  mark  circle 
the  size  wanted,  or  mav  be 
drawn  by  means  of  carpenter's 
compasses.  To  make  a  gold 
leaf  circle  on  glass,  gild  where 
circle  is  w\anted,  and  by  cutting 
the  exact  size  of  circle  out  of 


21 


PULLMAN  SCHOOL  OF  LETTERING 


cardboard,  place  on  back  of 
gold  and  clean  gold  away  with 
square  end  of  a  damp  stick.  If 
half  inch  stripe  is  wanted  in 
circle  on  the  glass,  two  card- 
boards may  be  necessary.  A 
large  one  the  size  of  outside  of 
circle,  and  one  a  half  inch 
smaller.  Back  up  with  rub- 
bing varnish  as  in  (Gold  AVork 
on  Glass). 

LAUNDRY  SIGNS 

The  most  practical  and  use- 
ful laundry  signs  made  are  the 
Sidewalk     sign,     Double-faced 
Board  sign,  and  Glass  Hanging 
sign.       The    sidewalk    sign     is 
made  of  white  pine  boards,  12 
inches     wide,     tongue     and 
grooved    and    glued    together. 
When    dry,    plane    off    smooth 
and  with  No.  1^  sandpaper  on 
a   block,   rvib   across   the   grain 
until    plane    marks    disappear. 
Before    planing    and    sanding, 
nail  a  1x2  inch  strip  on  top  and 
bottom.      This   w\\\   keep    sign 
from  warping,  prime  and  coat 
(as  in  priming  and  second  coat- 
ing).      Letter    in    black,     dark 
blue,    dark    red    or    any    dark 
color,  and  shade  with  tints  (as 
i  n      oilcloth      signs).      T  h  e 
"Double-faced"    Board    sign    is 
rsually  12  inches  by  18  inches 
;ind     lettered     on     both     sides, 
cleated  on  ends,  coated  and  let- 
tered   (as    in    sidewalk   signs)  ; 
are    fastened  '  to    building    bv 
means  of  a   1x3  inch   cleat,.  18 
in.ches  lonsr,  nailed  on  edge  of 
ove  end.    This  strip  will  extend 
3  inches  over  at  top  and  bot- 
tom,    and     can     be     nailed     or 
screwed   to   building   and    sign 
will  extend  out,  making  a  very 
attractive      doul)le-faced      sign 
and     inex])ensi\e    in    lots    of    a 


dozen  or  more.  The  Glass 
Hanging  sign  also  makes  an  at- 
tractive sign  for  hanging  in 
windows,  etc.,  and  should  be 
double  thick  glass,  12x18  in. 
or  larger,  suspended  by  brass 
chain.  Chain  should  be  fas- 
tened to  sign  by  means  of  drill- 
ing holes  in  the  two  upper  cor- 
ners and  brass  cleats  bolted 
into  each  hole  or  by  using  the 
ladle  chain  placed  around  en- 
tire sign.  This  may  be  sup- 
ported by  two  pieces  of  jack 
chain,  desired  length.  This 
sign  may  be  lettered  in  gold 
leaf  or  any  dark  color  of  let- 
ters and  shaded  to  suit,  but 
should  have  either  a  frosted 
background  (see  white  frosted 
glass)  or  a  Flitter  background 
(see  Flitter),  making  a  beauti- 
ful transparency.  Background 
may  also  be  of  any  opaque 
co^.or,  leaving  thS  letters  to  be 
frosted,  which  will  make  a 
beautiful  sign.  ^lake  pounce 
pattern  and  layout  sign  as  pre- 
viously mentioned  in  "pounce 
patterns"  and  "cutting  in" 
color. 

LAYOUTS 

Laying  out  signs  ("called 
layout")  is  very  interesting  and 
requires  no  small  amount  of 
taste,  but  by  looking  at  other 
signs  and  layouts  you  will  see 
that  there  are  many  different 
ways  to  arrange  them,  and  it 
would  be  impossible  for  us  to 
attempt  anything  further  than 
snap])ing  lines,  drawing  semi- 
circles, letters,  etc. 

See  FiKN.  E  ami     A      on    vn-j:v   -Jli. 

MUSLIN  SIGNS 

Muslin  signs  are  one  of  the 
most  i)opular  temporary  signs 
made,  and <i4-e -used  across  store 


22 


PULLMAN  SCHOOL  OF  LETTERING 


fronts  for  special  announce- 
ments, removal  sales,  openings, 
etc.  Also  used  for  signs  on 
frames  large  enough  to  cover 
entire  huiUlings. 

Muslin  signs  are  lettered  in 
o'\\  colors,  thinned  with  ben- 
zine. Add  very  little  jajjan 
drier,  and  make  color  very 
ih.'n. 

I'h'.ce  letters  on  as  in  oil  cloth- 
signs,  and  mark  around  with 
iharp  lead  j;encil.  Letter  with 
regular  sign  ]iainter's  muslin 
brush ers  and  shade  as  directed 
(in     "oil    cloth    signs")     using 


Kiu.  1'^.  Sliowiii;^  l>r*i|>«T  iiietli:><l 
iiiitl  iiii;;l<'  <«»  |»l!if»'  l»'<t«Ts  oil  :i  .seiiii- 
firolt- — \<)'I'K  tlie  liiu-  in  eYiiot  cen- 
ter ttt  eaeli  letter. 


Fiu'.  "A."  iO\net  itu.sitioii  t«t  hold 
lettering  iM-iK-il  iinil  tinu«TN  in  <lr:i\\- 
iii;;    top   :iii<l    liaittoni    line. 


tints.  Shadhig  must  be  kei)t 
away  from  letters.  Large 
sale  signs  can  be  "cut  in"  with 
water  color,  sometimes  called 
"distemper  color."  For  this 
you  will  use  prepared  calci- 
mine, called  "muresco,"  which 
is  })re])ared  with  glue,  etc., 
ready  to  mix  and  thin  witli 
iM^iling  water. 

First  mix  in  boiling  water 
into  thick  paste,  then  thin  to 
l-rnDcr  wordcing  c  -i^istencv 
vv-i<h  hot  wat'^r.  (This  you 
'\-i11  try  out  on  a  scrap  of  mus- 
lin.) "Cut  ill"  arc~)und  letters, 
lerning  the  clear  white  musTn. 
which  mnkes  a  very  a<-trnctive 
sign,  by  using  red  or  blue  back- 
ground. 

In  "cut  in"  work,  letters  may 
be  spaced  closer  than  "letter- 
ing on ;"  in  fact,  letters  may 
almost  touch  each  other  and 
still  look  good,  if  spacing  is 
uniform.  After  lettering  one 
or  two  signs  you  will  see  vour 
little  blunders,  and  be  able  to 
straighten  out  defects. 

These  signs  may  be  lettered 
with  "cut  out  letters,"  or  by 
marking  around  letters,  "rut- 
ting in"  with  "fitch"  or  "bristle 
brush." 

The  above  descr'b':'d  si""n 
can  be  done  in  oil  co^or.  and  is 
sometimes  preferable. 

LEMON  GOLD  LEAF 

Lemon  gold  leaf  should 
never  be  used  on  outside,  or  ex- 
posed to  the  weather,  unless 
thoroughly  varnished,  as  it  will 
tarnish  in  a  very  short  time. 
However,  it  may  be  used  in 
gilding  on  glass  and  wagon  let- 
terimr  (same  as  deep  gold  leaf) 
and  will  wear  equally  as  well  if 
\arnished  over. 

It    is  also  used   fi)r  inside  of 


23 


PULLMAN  SCHOOL  OF  LETTERING 


letters  and  is  called  "mat  gold." 
For  this  purpose  you  will  gild 
and  "patch  up"  job  (as  in  glass 
gilding).  When  job  is  gilded 
and  "patched  up,"  you  will  then 
outline  the  letters  with  the  fol- 
lowing "backing  up  color :" 
"To  lamp  black"  (ground  in 
japan)  add  rubbing  varnish, 
and  thin  with  turpentine  to 
proper  working  consistency. 
After  pouncing  on  the  letters 
(as  described  in  using  "pounce 
pattern")  you  will  follow  the 
"pounce"  lines,  making  an 
even  outline  on  the  letters. 

When  dry,  clean  ofif  surplus 
gold  with  damp  cotton  and  fin- 
ish cleaning  with  damp  cham- 
ois skin ;  and  "size"  (or  coat) 
inside  of  letters  with  clear, 
"quick  size."  When  dry,  "gild 
on"  out  of  book ;  this  will  give 
you  a  burnished  outline,  and 
"mat  gold"  center,  and  is  called 
"double  gold  lettering"  or  "em- 
bossed gold  lettering." 

ETCHING  GOLD  (On  Glass) 

To  etch  pictures  or  designs 
on  gold  leaf,  make  pounce  pat- 
tern of  picture  or  design  and 
place  on  outside  of  glass  and 
pounce,  then  trace  over  pounce 
marks  with  a  grease  pencil, 
then  gild  in  the  usual  manner. 
Avoid  patching  and  overlap- 
ping as  much  as  possible. 
When  patching  and  washing  is 
done  (as  in  glass  gilding)  you 
will  reverse  the  pattern  and  use 
it  on  inside  of  glass  and  pounce 
the  design  on  the  gilded  sur- 
face. Now  coat  over  design  on 
outside  with  water  color  black. 
You  will  then  scratch  or  draw 
the  outline  of  your  picture  or 
design  with  a  sharp  stick 
through  the  gold,  the  water- 
color     (on     the    outside)     will 


24 


show  through  and  aid  you  in 
shading.  To  shade  the  picture 
(or  etching  as  most  commonly 
known)  you  will  cut  ofif  a  ^-in. 
bristle  fitch,  34-iiich  from 
the  ferrule.  This  will  leave  the 
bristles  stifif  enough  to  cut 
through  the  gold  leaf  and  do 
your  shading  (or  etching). 
When  picture  or  design  is 
etched,  clean  the  black  off  of 
outside  and  back  up  design 
with  japan  black  on  the  inside. 
For  backing  up  use  lamp  black 
(ground  in  japan)  to  which  is 
added  quick  rubbing  varnish 
and  thinned  to  a  proper  work- 
ing consistency  with  turpen- 
tine. One  coat  will  be  sufficient 
and  may  be  varnished  in  about 
two  hours. 

PRIMING  COAT  FOR 
BOARDS 

The  priming  or  first  coat  on 
new  boards  should  be  very  thin, 
mixing  the  white  lead  with 
about  one-third  oil  and  two- 
thirds  turpentine,  adding  a 
small  amount  of  dryer  to  aid  in 
drying  hard,  so  it  can  be  sand 
])apered  smooth. 

First,     coat     all     knots     and 
pithy  nlaces  with  thin  shellac, 
let   stand   30  minutes   or   until 
dry.  then  coat  (or  prime), 
putty     all     cracks     and     holes. 

Rub  the  priming  coat  into 
the  wood  thoroughly  by  cross- 
ing and  recrossing  with  the 
brush  several  times. 

When  this  coat  is  thorough- 
ly dry  or  hard,  sand  paper  and 
You  are  then  ready  for  a  second 
coat.     (See  second  coating.) 

FLOCK 

Flock  is  used  for  back- 
grounds on  oilcloth  and  makes 
a  beautiful  inside  sign. 

Oilcldth       strcchcd       on       ;i 


PULLMAN  SCHOOL  OF  LETTERING 


frame,  size  in  lettering  with 
quick  size,  and  rub  on  gold 
bronze,  "cut  in"  and  sprinkle  on 
flock  (same  as  in  smalting 
signs). 

Cut  in  with  oil  color  about 
same  shade  as  flock.  Flock 
may  be  had  in  most  any  color 
desired. 

FROSTING  ON  GLASS 

The  two  most  used  frostings. 
in  the  sign  business,  is  the  one 
as  described  in  "white  frosted 
glass"  and  the  one  herewith  de- 
scribed. 

Tie  up  a  large  piece  of  com- 
mon house  painters'  putty  (size 
of  fist),  in  a  piece  of  cheese 
cloth,  leaving  enough  of  the 
latter  to  hold  as  a  handle.  With 
this,  dabble  over  glass  where 
frosting  is  wanted  (using  putty 
very  soft),  making  perfectly 
even,  when  dry  this  may  be 
varnished. 

WAGON  LETTERING 

Wagon  letiering  may  be 
done,  on  the  "flat  coat"  or,  after 
the  rubbing  varnish  has  been 
;UM)lied.  and  thoroughly  dried. 
The  rubbing  varnish  should  be 
rubbed  with  ])ulvcrisc(l  pumice 
stone,  or  curled  hair,  which  re- 
moves the  gloss  and  i)rcvents 
the  proi(l  from  sticking. 

However,  it  is  l)est  U)  b; 
wjyrc  "sure  than  sorry"  and 
thoroughly  "pounce"  the  sur- 
face to  be  lettered  with  your 
white  "pounce  bag";  this  will 
usually  ])rcvcnt  g"ld  from 
sticking. 

Should  the  surface  not  be 
thoroughly  hard  (or' dry)  it  is 
better  to  wait  a  few  days,  or 
trv  the  following,  which  is  a 
sure  preventive  and  is  used  only 
ill  extreme  cases  : 


Coat  surface  (to  be  lettered) 
with  white  of  egg  diluted  with 
water ;  if  any  gold  sticks  to  this 
it  can  be  easily  washed  or 
wiped  ofl^,  with  moist  chamois 
skin. 

Now  make  "Pounce  Pattern" 
and  proceed  in  the  usual  man- 
ner to  "layout"  job.  Size  let- 
ters carefully  and  evenly  with 
our  celebrated  quick  size,  and 
lay  it  on  smoothly  and  not  too 
runs  and  leaves  wrinkles  in  the 
gilding. 

Begin  to  lay  on  size  from  left 
to  right,  as  in  glass  sizing  and 
gilding. 

When  size  is  thoroutjhly  dry 
(or  to  the  desired  "tack"),  gild 
and  burnish  with  cotton  as  in 
glass  gilding,  then  shade  and 
outline.     (See  shading.) 

Sof    I<'i'.i-»i.  -<>   :iii!l   '21    on   iia^e   17. 

WIRE  SIGNS 

Scmietimes  called  "Sky 
Signs,"  are  made  of  No.  9  gal- 
\  anized  wire,  woxen  in  dia- 
mond shape  (or  "Mesh"),  any 
size  "mesh"  up  to  3  inches,  and 
is  either  set  in  channel,  or 
round  iron  frame.  "Channel 
iron  frame"  being  more  expen- 
si\e,  round  iron  frame  Is 
cheaper  and  must  be  set  in  an 
extra  gas  i)ii)e  frame,  in  order 
to  hold  sign  securely,  and  is 
u:  ed  on  roofs  of  buildings  only, 
and  is  called  "Sky  Sign." 

Flat  galvanized  iron  letters 
is  the  f)nly  style  recommended 
for  "Sky  Signs.  The  letters 
may  be  cut  out  of  28-gauge  gal- 
\  anized  iron,  painted  black  and 
fastened  to  *'\\'ire  Mesh"  with 
ct)i)per  wire  or  copper  rixets. 
wire  being  most  ]iractical,  black 
letters  being  the  only  co'or  that 
will  contrast  with  a  li'^-ht  blue 
sky.  m'd<es  a  \e-y  (lur;il)]>-  aii'! 
lecfible  siuii. 


2t> 


PULLMAN  SCHOOL  OF  LETTERING 


The  "Wire  Mesh"  with 
"Channel  Iron"  frame  is  vised 
on  store  fronts,  and  "double 
face"  swinging  signs,  and  may 
be  painted  any  color  to  match 
front,  or  plain  black,  using 
raised  wood  letters — gilded. 
For  store  front  signs  and  rib- 
bons, made  of  galvanized  iron, 
painted  and  lettered  in  gold 
leaf  and  smalted  any  color. 

See   V«>.  11   on  itaue  27. 

WINDOW  SIGNS 

Make  "Pounce  Pattern"  of 
lettering  desired  and  place  on 
outside  of  window  as  previous- 
ly explained,  g:o  over  pattern 
v.M>h  "Pounce  Bag." 

Size  in  the  letters  with  our 
"celebrated  quick  size"  allow- 
ing same  to  dry  about  f^  of  an 
hour,  or  until  ])roper  "Tack"  is 
felt. 

Place  back  of  finger  to  size 
and  if  it  appears  dry  and  hard, 
it  will  be  ready  for  gilding.  If 
gilded  when  too  wet,  you  will 
drown  the  gold  ;  hence,  a  poor 
gild,  and  gold  cannot  be  prop- 
erly burnished  unless  size  is 
the  proper  "tack." 

After  becoming  accustomed 
to  gilding  and  feeling  the  size, 
vou  will  encounter  no  difficulty. 
(See  quick  and  slow  size.) 

Use  the  same  "Size"  for  Gold 
and  Aluminum  Bronze. 

GILDERS'  TIP 

The  gilders'  tip  is  made  of 
camel's  hair,  in  different 
lengths,  from  1  inch  to  3  inches, 
and  must  be  thoroughly  wiped 
through  the  hair  (or  side  of 
face)  before  lifting  the  gold  leaf 
from  the  book  to  surface  to  be 
gilded. 

Tip  used  for  laying  silver 
leaf,  is  much  stronger,  and 
made    of    badger    hair.       The 


camel's  hair  tip  is  used  only 
for  laying  gold  leaf  on  glass, 
and  gilding  dil^cult  places  on 
scrolls  and  raised  letters. 

WHITE    FROSTED    GLASS 

Mix  white  lead  and  boiled 
oil  to  the  consistency  of  thick 
cream,  and  coat  glass  to  be 
frosted. 

Then  fill  a  Durham  tobacco 
bag  with  cotton,  turn  glass  to 
the  light,  and  tap  the  paint 
gently  until  it  appears  evenly. 
(This  is  called  stippling.) 

ZINC    ETCHED    STENCILS 

On  No.  4  sheet  zinc,  place 
your  design  (or  layout)  and 
paint  around  the  lettering  with 
best  turpentine  asphaltum,  be- 
ing careful  to  cover  every  spot 
except  the  lettering.  Coat  back 
of  zinc  with  melted  parafifine 
&  pour  muriatic  acid  on  side  to 
be  etched  ;  wipe  over  lettering 
gently  with  a  piece  of  cotton 
while  etching.  A\'hen  acid  has 
eaten  its  way  completely 
through,  rinse  in  clear  water 
and  remove  asphaltum  with 
coal  oil.  Now  warm  the  zinc 
plate  until  parafifine  begins  to 
melt,  and  wipe  ofif  with  soft 
cloth. 

To  make  temporary  etching 
tub,  use  a  piece  of  oilcloth, 
fastened  in  a  frame  made  of 
lx2-inch  wood  strips,  large 
enough  for  your  zinc  plate, 
keep  tub  in  motion  while  plate 
is  etching. 

TRANSPARENCIES 

Make  "pounce  pattern"  and 
"layout"  your  glass,  same  as  in 
window  and  glass  work.  Using 
the  "pounce  ])attern"  on  inside 
of  glass,  going  over  same 
slightly     with     white     "pounce 


26 


PULLMAN  SCHOOL  OF  LETTERING 


"Cut  in"  around  lettering" 
with  oil  black,  (.r  an\-  color, 
ground  in  oil.  being  first 
thinned  to  proper  working  con- 
sistency with  boiled  oil,  and  add 
small  anioiuit  of  japan  dryer. 

When  black  is  dry ;  frost. 
( See  white  frosted  glass. )  For 
quick  work. 


"Cut  in"  with  lamp  black, 
ground  in  japan,  and  a  little 
let  stand  until  dissolved.  Shake 
quick  rubbing  varnish  added ; 
thin  to  proper  consistency  with 
turpentine. 

This  you  will  fnid  the  cpiick- 
est,  and  best  way.  recpiiring 
but  ( me  coat  of  black. 


RAISED   LETTERS   ON 
WIRE 

To  fasten  raised  wood  let- 
ters on  wire  mesh  signs,  gild 
letters  in  usual  way  and  coat 
back  of  letters,  with  one  coat 
of  golden  ochre  (ground  in 
japan),  thin  with  turpentine  to 
consistency  of  thick  cream. 

When  this  is  thoroughly  dry 
fasten  on  wire  mesh  by  means 
of  ea'\ani/.ed  iron  staples. 

Great  care  must  be  exercised 
in  splitting  letters  when  driv- 
ing in  sta])les.  Use  2x4  co\- 
crcd  on  end  with  two  thick- 
nesses of  d.aniT)  chamo'S  ^k'u. 
hold  against  face  of  letters  (as 
in  Screen  Signs). 

GILDING  RAISED 
LETTERS 

Proceed  to  gild  raised  letters 
out  of  book  same  as  jn  gilding 
surface  or  flat  letters,  except 
when  letters  are  \^ery  small,  or 
as  in  case  of  script,  or  difficult 
letters,  then  gilder's  tip  may  be 
used  as  in  gilding  on  glass. 
(See  glass  gilding.) 


27 


■tt«Ts     on      ^vir«'si;;ii. 

AMOUNT  OF  LETTERING 

•  Vn  excessive  amount  of  let- 
tering must  be  charged  extra. 

You  should,  both,  for  the 
customer's  benefit  and  yours. 
!(^id  d()\\'ii  tlie  amount  of  let- 
tering as  far  as  possible.  Too 
mtich  spoils  the  appearance 
and  legibility  of  a  sign,  besi  les 
"brevity  is  the  soul  of  adver- 
tising." 

SHELLAC 

Shellac  is  used  for  coating 
over  knots  and  sap])y  places 
before  painting. 

.\lso  used  in  quick  work, 
over  priming  coats,  or  second 
coats,  and  before  laying  on 
"size"  for  gilding,  for  the  lat- 
ter, you  will  find  very  benefi- 
cial, as  it  stops  all  suction  and 
prevents  "size"  from  striking 
in. 

Putty  in  nail  holes,  and 
cracks.  will  always  show 
throuph  the  "size"  unless  coat- 
ed   with    shellac   before   sizing. 

Shellac  is  made  by  dis.solv- 
ing    gum  shellac,  one  pound  in 


BUILDING  SUGGESTING  VARIOUS  SI 
The  above  picture  shows  the  different  I 
making  it  easier  for  both  the  salesman  and  c 
look  best  and  be  most  serviceable. 

The  above  buildings  are  printed  one-thi 
ience.     For  sale  by  The  Pullman  School  of 


;$  OF  SIGNS  AND  MANNER  OF  PLACING  THEM 

ds  of  signs  and  the  different  places  for  signs, 

tomer  to  understand  what  kind  of  a  sign  will 


larger  and  made  in  tablets  for  your  conven- 
ettering.    Write  for  price. 


PULLMAN  SCHOOL  OF  LETTERING 


one  quart  of  grain  alcohol,  and 
occasionally  and  thin  with  alco- 
hol to  suit. 

Avoid  trouble,  by  using  shel- 
lac very  thin. 

Flow  on  quickly,  and  avoid 
p-oing  over  more  than  once, 
with  brush. 

SILVER   LEAF 

Silver  leaf  should  never  be 
used  on  outside  work,  or  left 
exposed  to  the  air  and  light, 
causing  it  to  tarnish. 

It  may  be  used  in  gilding  on 
glass  work,  same  as  gold  leaf, 
by  using  size  a  trifle  stronger. 

Proceed  same  as  in  (gilding 
on  glass). 

RAISED   LETTERS   ON 
BOARDS 

A  cheap  and  quick  way  to 
fasten  raised  letters  on  board 
signs,  is  to  smalt  and  black  the 
edges  of  boards  first,  when 
thoroughly  dry,  place  a  heavy 
clean  fish  line  on  board,  where 
letters  are  to  be  ^laced.  by  aid 
of  bradawl,  at  one  end.  make 
fast,  and  draw  line  tight  and  in 
place.  Lay  letters  in  place  and 
i^roperly  snaced.  put  one  brad 
in  each  letter  to  hold  them  tem- 
iM^rarily.  This  will  keep  them 
from  iarring  out  of  place  until 
nailed  on  securelv  putting'  in 
ribont  four  brads  to  each  six- 
inch  hotter,  more  or  Ic^s,  as  '"e- 
quircd  according  to  size.  Re- 
move fish  line  and  sign  is 
completed. 

OILCLOTH 

C  )iU-loth  can  be  had  in  either 
(lull  or  glossv  finish.  36,  45  and 
54  inches  wide. 

The  dull  finish  being  prefer- 
able and  does  not  reouire  the 
benzine  rub.  as  described  in  oil- 


cloth signs. 

TRACING  PATTERNS 

Tracing  patterns  are  done 
after  letters  are  placed  in  posi- 
tion and  carefully  marked 
around  with  a  lead  pencil. 

For  tracing,  use  dressmaker's 
tracing  wheel,  place  pattern  on 
a  soft  pine  board,  and  carefully 
trace  each  letter.  When  fin- 
ished, turn  over  and  sand  paper 
the  marks  caused  by  tracing 
wheel,  then  pattern  is  ready  for 
use. 

See  the  letter  "I^"  attached 
to  pattern  sent  you. 

QUICK  SIZE 

"Quick  size"  is  used  for  sur- 
face lettering  on  board  signs, 
wagon  lettering,  and  for  gold 
and  aluminum  bronze,  on  win- 
dow work.  In  using  "quick 
size."  you  must  be  very  care- 
ful to  lay  on  even,  avoiding 
runs. 

When  dried  to  the  desired 
"tack"  for  gilding  (as  explained 
in  window  si<^ms),  lay  gold  leaf 
on  out  of  book,  this  is  called 
"gilding  from  the  book."  A 
drop  or  two  of  boiled  oil  will 
be  of  great  helj:)  in  sizing  in  a 
large  job,  where  there  is  lots 
of  readirg  matter.  The  oil  will 
slow  it  down,  and  give  vou  a 
chance  to  "size  in"  several  let- 
ters  before   starting   to   gild. 

Watch  "size"  closely,  that  it 
(Iocs  not  dry  to  quickly  (or  "get 
away")  and  become  so  hard 
that  there  is  no  "tack"  left,  and 
gold  will  not  adhere  to  the 
"size."  In  "slow  size"  you  will 
seldom  experience  such  diffi- 
culty. 

"KLEAN  KUPS" 

To  have  clean  cups  at  all 
times.  }-ou  should  provide  your- 


28 


PULLMAN  SCHOOL  OF  LETTERING 


self  with  a  lye  tub.  A  5-gallon 
stone  jar  is  best  for  this  pur- 
pose. To  one  can  of  Lewis' 
Concentrated  Lye,  put  3  gal- 
lons of  water.  Place  in  stone 
jar  and  keep  tin  cups  in  over 
iiifj-ht,  or  longer,  until  paint  will 
wash  off  in  clear  water,  or,  send 
for  a  hundred  of  our  famous 
Liquid-Proof  "Klean  Kups", 
knocked  down,  ready  for  vou 
to  fold,  as  the  one  sent  you. 
(See  price  list.) 

BARBER  POLES 

To  repaint  Barber  Poles, 
trace  all  stripes,  scrolls,  etc.. 
with  indelible  lead  pencil,  ana 
paint  the  entire  barber  pole 
with  a  thin  coat  of  flat  white, 
and  continue  to  coat  until  per- 
fectly white.  Size  and  gild  the 
ball  and  other  places  to  be  gild- 
ed with  "slow"  size,  but  do  not 
varnish  over  the  gold.  Then 
stri])e  with  red  and  blue,  and 
when  dry,  finish  by  varnishing 
with   Deniar  \irnish. 

ALUMINUM 
(Leaf  and  Bronze) 

Aluminum  Leaf  and  Alum- 
inum Bronze  must  1)e  applied 
to  "quick  size"  only.  Do  not 
attem])t  glass-gihling  with 
Aluminum  Leaf.  It  will  not 
work.  A  hi  milium  Leaf  is  used 
principally  for  raised  and  sur- 
face letters  on  inside  work  only. 
Aluminum  Bronze  for  outside 
window  lettering  and  edges  of 
board  signs  in  the  shop.  For 
--irii)inu-  and  outlining,  use  "lin- 
ing aluminum  bronze"  mixed 
thick  in  rnbl)iiig  varnish  and 
ihiniu-d  with  turi)entine.  'I'o 
do  a  while  job  of  lettering  on 
dark  surface,  add  a  little  "lin- 
ing aluminum  bronze"  to  the 
wliite.  It  will  cover  b.'ttcr  and 
von    can    often    <>,et    awav    witli 


one  coat  of  paint  on  your  let- 
ters. 

SKEWING  BOX 

A  small  box  used  for  the  sole 
purpose  of  cleaning  skewings 
from  gilding  is  made  as  fol- 
lows :  Take  an  ordinary  cigar 
box,  remove  lid,  and  cover  with 
common  wire  screen.  When 
skewing  box  is  full,  empty  and 
sell  to  the  buyer  of  gold  waste. 
We  urge  the  saving  of  all  cot- 
ton used  for  burnishing  and 
cleaning  gold  (on  glass),  or 
(surface  gildinp-'i,  also  all  old 
letters  which  have  been  gilded 
and  are  beyond  repair.  Burn 
them  in  the  stove  and  save  the 
ashes. 

LIQUIDS 

(Used  in   Sign   Painting   Busi- 
ness) 

Demar  varnish. 

(Juick  rnl)1)ing  varnish. 

S])ar  \arnish. 

Coach  varnish. 

Asphaltum. 

White  shellac. 

( )range  shellac. 

( irain  alcohol. 

Wood  alcohol. 

'I\iri)entine. 

Japan. 

Nonpareil,  gold  size. 

I'^it  oil. 

Boiled  linseed  oil. 

Le  Page's  glue. 

GILDING    (Outside) 

"Slow  size"  should  be  used 
for  outside  gilding,  as  it  wears 
longer  and  no  danger  of  drying 
too  fast.  When  gilding  store 
fronts,  "quick  size"  should  be 
used.  Ixcmembcr  that  gold 
will  adhere  to  any  sticky  sur- 
face, so  (lit  not  forget  the 
"pounce  bag."     Patent  leaf  (or 


2<) 


PULLMAN  SCHOOL  OF  LETTERING 


outside  gold)  should  be  used  on 
all  outside  gilding.  To  make, 
rub  one  side  of  leaves  in  gold 
book  with  common  beeswax. 
In  closing  book,  your  gold  will 
adhere  to  the  waxed  leaves. 
Then  cut  out  one  leaf  at  a  time 
as  needed,  and  by  pressing  to 
sized  portions  with  thumb,  the 
and  stick  to  the  "size."  This  is 
used  in  windy  weather  with 
great  success,  when  ordinary 
gold  would  blow  away. 

LACQUER 
(For  Tin  Signs,  Etc.) 

A  very  beautiful  imitation  of 
brass  signs  may  be  made  by 
lacquering  new  sheet  tin,  and 
lettering  in  black  or"cutting  in" 
with  black,  or  any  dark  color, 
leaving  the  brass  letters,  but  is 
not  recommended  for  outside 
use.  To  very  thin  baking  var- 
nish, add  enough  Tumeric  to 
color  as  desired,  and  bake  in 
slow  oven ;  or, 

Seed  lac,  3  ounces ;  Tumeric, 
1  ounce ;  Dragon's  blood,  34 
ounce  ;  Alcohol,  1  pint.  Digest 
one  week.  Shake  frequently, 
but  do  not  bake. 

CHALK  LINE 

The  chalk  line  is  another  al- 
most indispensal)le  tool,  in  the 
sign  shop.  A  thin  fish  line  mak- 
ing the  best  and  strongest  line 
for  almost  all  purposes.  Make 
marks  at  one  end  of  sign  for 
space  and  letters,  and  duplicate 
these  marks  on  the  other  end, 
by  marking  on  yard  stick  and 
measuring  them  ofif  where 
wanted.  By  means  of  a  small 
fish  hook  with  (barb  filed  ofY) 
tied  to  one  end  of  line,  and 
hooked  into  cloth,  or  board, 
von    are    ready    to    "snaj/'    the 


line.  To  "snap"  line,  draw 
tight  and  lift  with  thumb  and 
finger,  letting  loose  and  repeat 
as  often  as  lines  are  wanted. 
Use  charcoal,  blue  chalk,  or 
common  school  crayon,  for 
chalking  lines. 

THREAD    LINES 

For  short  lines,  wrap  black 
cotton  thread  around  end  of  lit- 
tle finger,  on  left  hand.  Chalk 
the  thread  with  common  school 
crayon,  place  little  finger  with 
thread  wrapped  around,  at 
starting  point  where  line  is 
wanted,  take  hold  of  thread 
with  fore-finger  and  thumb  of 
left  hand,  then  pull  tight  with 
right  hand,  and  snap  by  letting 
go  with  thumb  and  finger  of 
left  hand.  This  you  will  find 
to  be  one  of  the  most  useful 
ways  ever  discovered,  with 
which  to  make  chalk  line  on 
signs  and  glass.  Lines  can  be 
made  at  any  angle  by  adjusting 
and  raising  and  hiwering  the 
hands. 


Kitt. 


Siiiipiiinu'  tlirend   line. 


REAL    ESTATE    SIGNS 

Real  Estate  signs  are  usu- 
ally made  of  white  ])ine  in  the 
following  sizes:  1x2  feet.  2x.S 
feet.  .^x4  feet.  4x.^  feet,  4x6  feet. 


M) 


PULLMAN  SCHOOL  OF  LETTERING 


6x(S  feet.  7x9  feet.  The  larger 
sizes  can  be  made  of  galvanized 
iron  with  a  wood  frame,  cost 
being  practicallv  the  same  as 
wood.  2x3  feet,  3x4  feet,  4x5 
feet,  4x6  feet  boards,  should  be 
made  of  wide  kiln-dried  lum- 
ber, tongue  and  grooved,  and 
clamped  together  until  glue  is 
thoroughly  dry.  First  shellac 
all  knots  and  satM-iv  places,  then 
prime  with  white  lead  and  oil. 
Second  coat  should  be  white 
lead  thinned  with  benzine, 
putty  all  holes  and  cracks  with 
white  lead  putty  before  second 
coating.  (See  Putty — How  to 
Make.) 

CARVED  LETTERS 

Carved  letters  are  made  of 
.)4-inch  kiln  dried  white  pine, 
and  are  commonly  called  raised 
letters,  and  should  be  painted 
three  coats,  sized  and  gilded  in 
the  usual  manner.  They  are  to 
be  used  on  all  raised  letter  jobs. 
Send  to  Spanjer  Brothers,  Chi- 
cago, for  ])rice  list  and  catalog, 
or,  send  inscription  and  size  of 
board  letters  are  wanted  for. 
and  we  will  give  prices  and  size 
(if  letters  you  should  have  to  fit 
gold  will  let  loose  of  the  leaves 
tlie  board. 

DRILLING   HOLES    IN 
GLASS 

Lay  glass  on  a  solid  le\  el 
table'  Cut  an  X  (with  "red 
devil"  glass  cutter)  where  holes 
are  wanted,  and  with  a  three- 
cornered  file,  fastened  in  a  car- 
penter's brace,  proceed  to  drill 
until  halfway  through.  M'urn 
o\  er  and  mark  another  X  an  1 
jinish  drilling.  To  make  drill, 
get  smallest  three-cornered  fde 
l^ossible,  and  with  i)inchers. 
break     off     end,     until     ragged 


enough  to  cut  good.  When 
drilling,  keep  hole  full  as  pos- 
sible of  turpentine.  Drills  for 
sale  by  the  Pullman  School  of 
Lettering.     (See  price  list.) 

PUTTY 

Dry  white  lead  putty  is  the 
most  popular  i)utty  in  the  sign 
shop,  and  is  used  for  filling 
holes  and  cracks  in  new  and  old 
board  signs.  New  boards 
should  always  be  primed  (or 
lirst    coated)    before  -puttying. 

To  make  the  abo\  e  i)Utty  (com- 
monly called  lead  putty)  put 
out  on  a  board  or  any  solid 
[)lace,  two  i)ounds  of  dry  white 
lead,  add  equal  parts  cjf  quick 
rulibing  \  arnish  and  turpentine 
until   mixed  into  a  thick  mass. 

I  hen  pound  with  a  hammer 
until  lumps  disappear,  (ireat 
care  should  be  exercised  in  mix- 
ing this  putty  thick  (or  dry), 
keej)  in  water  when  through 
using.  The  writer  prefers  ct)m- 
mon  glazier's  putty  for  nail 
holes  in  raised  letters,  where 
they  are  to  be  sheliaced  and 
sized  for  gilding.  The  lead 
])Utty  should  be  squeezed  into 
cracks  and  holes  with  a  stiff 
putty  knife,  allow^ed  to  dry 
hard,  then  sand  pai)ered 
smooth.  By  mixing  too  much 
rubbing  varnish  into  lead  putty, 
it  will  be  impossible  to  sand 
paper,  causing  the  putty  to  dry 
too  hard,  and  great  care  should 
be  taken  in  preparing  it.  Hot 
glue  and  whiting  makes  an  ex- 
cellent putty  for  knot  holes  and 
large  cracks. 

MOULDING 
(For  Glass  Signs) 

.Ml  glass  signs,  except  inside 
hanging  signs,  should  ha\e 
either  oxidized  copper   (.r  pol- 


.31 


PULLMAN  SCHOOL  OF  LETTERING 


ished  bronze  border.  The  oxi- 
dized copper  border  is  the  most 
commonly  used  and  looks  best 
with  most  any  color  of  back- 
ground.    Send  to  us  for  prices. 

OIL  CLOTH  SIGNS 

To  prepare  oil  cloth  for  let- 
tering, stretch  out  on  wall  the 
size  wanted,  and  go  over  en- 
tire surface  with  a  big  piece  of 
cotton,  first  dipped  in  benzine, 
then  in  whiting,  being  very 
careful  to  touch  every  particle 
of  surface ;  this  will  prevent 
your  color  from  "creeping." 
Then  "snap"  or  ("draw")  your 
lines  where  letters  are  to  be 
placed,  and  proceed  with  lay- 
out, letter  in  any  color,  and 
shade,  or  outline,  to  suit.  Let- 
tering may  be  done  in  Oil 
Black  or  Japan  Colors,  shading 
in  light  colors,  such  as,  light 
green,  light  yellow,  drab  or 
ivlnk ;  in  fact,  most  any  light 
tint.  Oil  cloth  is  very  often 
smalted,  and  when  stretched  on 
a  frame  and  lettered  has  the 
exact  appearance  of  a  board 
sign,  and  wears  for  one  year  or 
more,  if  put  flat  on  building 
where  wind  cannot  get  at  it. 
Black  or  blue  smalts  being  pre- 
fc  rable,  with  white  or  light  yel- 
low letters.  Proceed  with 
"cutting  in"  as  in  (Board 
Signs). 

JAPANNED    TIN    SIGNS 

Simply  wrap  in  pattern  paper 
a  japanned  tin  the  exact  size 
wanted  for  the  sign,  and  lay 
cut  as  for  pounce  pattern,  then 
unwrai)  and  rub  white  pounce 
bag  over  paper  and  place  tin 
face  down  on  white,  and  trace 
letters  with  a  lead  pencil,  this 
will  give  an  exact  impression. 
Letter  with  quick  size,  to  which 
has  been  added  a  small  amount 


of     medium     chrome     yellow 
(ground  in  oil). 

Letter  with  a  pencil  brush  or 
use  cut-out  letters  and  plush 
roller.  Gild  in  the  usual  man- 
ner and  wash  over  letters  with 
cotton  and  water,  then  chamois 
dry.  Japanned  tin  is  made  in 
black  only,  prepared  and  ready 
to  letter.  Can  be  had  in  most 
any  size. 

CLEANING  GLASS 

To  clean  old  signs  off  of  win- 
dow's, use  a  "Gem"  safety  razor 
blade,  using  a  jeweler's  hand 
\ice  for  a  handle.  This  you 
will  find  one  of  the  most  useful 
articles  for  this  purpose,  and  is 
also  used  for  trimming  edges 
of  letters,  such  as  round  letter, 
etc.  Wash  glass  with  whiting 
and  water,  sponge  off,  and  dry 
with  a  chamois  skin.  Then  pol- 
ish with  common  newspaper, 
and  you  are  ready  for  gilding. 

SPACING  LETTERS 

There  being  no  set  rule  for 
.'pacing  letters,  the  space  be- 
tween them  should  be  meas- 
ured by  the  eye  entirel}'.  All 
:  'aces  ]:)etv^'een  letters  must  a])- 
rear  the  same.  Letters  are 
never  the  ^ame  size,  but  they 
appear  to  be. 

Some  letters  occupy  more 
space  than  others  and  when 
this  happens  in  a  line  of  letter- 
ing, you  must  make  the  space 
between  the  others  in  that  line, 
to  look  as  near  the  same  as  pos- 
sible. 

The  most  essential  part  is  a 
pleasing  effect. 

CUTTING  IN  COLOR 

Cutting  in  color  should  always 
be  made  up  with  plenty  of  oil, 
and  just  enough  japan  to  dry 
over  nieht.  ."Cutting  in  black" 


PULLMAN  SCHOOL  OF  LETTERING 


for  snialting.  shouUl  he  made  of 
lani])  l)lack  ( iyrouiul  in  oil).  To 
this  you  will  add  a  small  lumh 
(>\  white  lead  ahout  the  size  of 
an  e.ug",  and  enoug^h  japan  to 
make  it  dry.  say  a  tahlespoonful 
to  each  pint  of  color.  Do  not 
use  japan  color  for  smalting 
backgrounds,  as  it  drys  too  fast 
v\m\  will  not  hold  smalt  and 
should  ne\er  be  used  for  that 
purpose.  However,  it  may  he 
used  with  fine  result  in  "cuttinc: 
in"  on  o^lass  signs.  Use  Prus- 
sian blue  in  oil  (for  blue 
■^malts).  and  for  other  colors  of 
-^malt,  use  paint  as  near  the 
^ame  color  as  possible,  lea\-rng- 
out  the  wdiite  lead. 

AWNING    LETTERING 

Use  dry  lamp  black  mixed  in 
cheap  furniture  varnish,  thick 
like  mush,  and  thin  with  ben- 
zine; or,  to  as])haltum,  add  dry 
lamp  black,  and  thin  with  ben- 
zine. "Cut  out"  letters  and  use 
bristle  brush  to  apply  the  black, 
usine  semi-drv  l)rush. 


/=/^/o  . 


BRONZE  SIGNS 
(Or  Tablets) 

P.nni/.e    tablets    sell    so    little 
outside  of  the  larger  litirs,  tliat 


we  would  ad\ise  you  to  not 
bother  with  them  at  present. 
The  prices  run  from  $20  per  sq. 
ft.  up,  ow'ing  to  the  amount  of 
work.  The  most  elaborate 
carving  is  often  done  on  pat- 
terns, which  of  course,  makes 
price  run  up  accordingly.  You 
can  give  price  wdien  requested 
but  will  make  more  money  pay- 
ing attention  to  other  work. 

S»>e   Ki«'.  !►  oil   |i:iK'C  .'{.">. 

BRASS  SIGNS 

Brass  signs  may  be  used  for 
sill  signs,  corner  signs,  drum 
signs,  etc.,  in  fact,  for  most  any 
high-class  business  firm  that 
can  afford  to  ha\e  them  pol- 
ished often  enough  to  keep  in 
good  sha])e,  as  they  are  far 
from  being  a  lazy  man's  sign, 
and  are  being  re])laced  by  the 
chipped  and  etched  glass  sign, 
and  wn"ndow  lettering.  They 
are  used  with  any  sized  bevel, 
or,  without  bevel,  and  make  a 
beautiful  sign  if  kept  clean, 
h'tch  and  Fnamel,  either  letters 
or  background.  h""or  particu- 
lars see  hatching  Brass  Signs. 

.See  Fi;>'.  7  on   itiiKc  :?.">. 
.See  Vi^.  2  (ill   |i3i.:xe  -47. 

BOARD  SIGNS 

I'oard  signs  are  made  in  most 
all  shapes  and  sizes  and  are 
used  for  overhead  swinging 
signs,  sill  signs,  panel  signs, 
long  board  signs,  etc.  Over- 
head and  long  board  and  panel 
signs,  should  be  smalted,  being 
best  for  durability  and  beauty, 
h.owexer;  they  may  be  finished 
in  varnished  groind,  lettered  in 
flat  surface  gold  i^r  raised  let- 
ters. Smalted  backgrounds 
should  not  be  i)lace{l  within 
reach  (if  the  i)asser-by,  on  ac- 
count i'^i  the  sandy  finish,  which 
m;  ke^  an  excellent  place  for 
<cratchiii<.>   matches. 


PULLMAN    SCHOOL   OF   LETTERING 


DitVerent     It  ACKS     I'or    nI^aiim    jiiiiI     h     irw     Nii;:.^«>Kti<>iis     :in     to     \^  Iktc    .si;iii> 
iii:i.>     (;(>    iiiHtle    for. 


,^4 


PULLMAN    SCHOOL    OF    LETTERING 


HE 


1 


LOAN&TRUST 

COMPANY 

(ESTABUSHED  188? 


F/tf.Z 


/^« 


MINNEAPOLIS 
TRUST  COMR^NY 


^/<r,S. 


P/^./o 


F/(r,  // 


I'iKN.   !•  mill    lO   Itratii/.f    I'lililfts. 
l-'i^.N.   N   mill    S--    Doiiblr    Kiu'i'    Si;iiiH. 
KiK.    I  I    Sky    Siuii. 


35 


PULLMAN  SCHOOL  OF  LETTERING 


SHOP  EQUIPMENT 

The  Sign  Shop  shouUl  be  pro- 
vided with  2  pairs  of  trestles, 
called  horses,  about  2  ft.  6  in. 
high  and  3  ft.  6  in.  long;  1  large 
easel  made  of  1x4  white  pine 
strips,  about  3  ft.  wide  and  6 
ft.  high,  also  holes  for  pegs  in 
uprights  5  in.  apart ;  6  2x4's  for 
uprights,  3  or  4  inches  longer 
than  ceiling  is  high,  with  peg- 
holes  4  or  5  inches  apart.  Pegs 
should  be  made  of  old  worn-out 
broom-handles,  about  7  inches 
long  ;  being  of  hardwood,  it  will 
be  impossible  to  break  them. 
Spike  a  2x4  on  the  center  of 
ceiling,  full  length  of  the  shop, 
and  place  one  end  of  upright 
against  the  2x4  on  ceiling,  and 
kick  bottom  end  (on  floor)  in 
tight.  This  will  hold  a  number 
of  board  signs  and  will  keep 
them  up  end  out  of  the  way, 
also;  shorter  uprights  may  be 
used  on  the  walls  of  the  shop 
for  the  same  purpose. 

BACKS  FOR  GLASS  SIGNS 

Back  boards  for  glass  signs 

r-a4:€-made  so  that  wh©n-glass-is~ 

:  laid    in    frame,    and    moulding 

j  screwed  on,  the  glass  will  rest 

■  on    its    outer    edge.      Backs    of 

!  flass  signs  should  be  made  so 

t^that   glass   will   touch   only   on 

i'buter     edge     (where     oxidized 

copper  border  is  used),  and  do 

not  allow  glass  to  rest  on  any 

part,  except  ou-ter  edge.   Should 

this     occur,     sign     will     catch 

water  and   dust,  causing  it   to 

reel  in  a  very  short  time. 


GILDING 

(Surface  or  Flat  Letters) 

Lay  lettering  to  be  gilded  on 
trestles,  or  set  upright  on  the 
easel  and  gild  out  of  book. 
Start  to  gild  bottom  line  of  let- 
ters to  prevent  small  particles 
of  gold  leaf  falling  down  into 
size,  causing  rough  places  in 
gold  when  l)urnished.  When 
sign  is  laying  down  on  trestles, 
this  precaution  is  not  necessary. 
Place  gold  book  in  left  hand, 
opening  and  turning  leaves 
back  wdth  front  finger  of  right 
hand.  Press  end  of  book 
fartherest  from  vou  gently  to 
the  board  and  directly  under 
the  letter.  Allow  book  to  roll 
towards  top  of  letter,  pressing 
gently  to  stick  gold  to  size. 
(See  above  cuts  on  sizing  let- 
ters upright  on  easel).  When 
pold  is  layed  on  all  sized  por- 
tions proceed  with  burnishing. 
\\'ith  a  wad  of  medicated  cot- 
ton, the  size  of  your  fist,  go 
over  it  in  circular  motion,  tak- 
ing ofif  the  loose  gold  leaf ;  this 
you  will  rub  over  the  screen  in 
--your,  "skewing  box"  and  save. 
When  full  you  can  sell  all  waste 
cotton  and  "skewings"  to  your 
gold  dealer.  Finish  burnishing 
by  rubbing  over  each  letter  in 
different  directions  to  remove 
all  wrinkles,  and  rough  places, 
being  careful  not  to  scratch  the 
gold  leaf. 

DAMP  BRUSHES 

Never    allow    your    lettering 
brushes  to  come  in  contact  with 


.36 


PULLMAN  SCHOOL  OF  LETTERING 


water  or  cl-amp  chamois  skin, 
as  brushes  will  lose  their  shape, 
and  it  renders  them  useless, 
inxariably  causing  them  to  be- 
come pointed  —  when  they 
should  be  flat  like  a  chisel.  If 
one  should  be  crowded  and 
twisted  out  of  shape,  pull  be- 
tween the  thumb  and  hot  putty 
knife,  or  stove-pipe,  being  care- 
ful that  you  do  not  scorch  or 
to  straighten  it  out  properly. 
Ilien  lay  away  in  a  flat  posi- 
burn  the  hair,  but  warm  enough 
tion. 

WALL  SIGNS 

Xew  brick,  or  raw  wall, 
should  be  first  primed  with  a 
thin  coat  of  lead  and  oil,  mostly 
oil.  Measure  size  of  wall  to 
be  lettered  and  make  sketch, 
drawn  to  scale,  one  inch  to  the 
foot.  Paint  each  letter  on  with 
best  white  lead,  thinned  with 
benzine,  nothing  else.  Cut  in 
;is  soon  as  you  like  with  dry 
l.'inip  l)l-'ck.  mixed  to  a  mush  in 
boiled    linseed    oil    and    small 


GALVANIZED  IRON 
(How  To  Paint) 

It  is  very  essential  that  care 
be  taken  in  coating  all  galvan- 
ized iron,  as  it  will  soon  peel  off 
unless  proi)erly  treated.  Coat 
with  same  mixture,  and  in  same 
way,  as  Galvanized  Iron  Let- 
ters. 

INDELIBLE  LAYOUTS 

^^'hen  priming  coat  is  thor- 
oughly dry,  go  over  with  No. 
Ij4  sand])aper.  cutting  until 
smooth.  Lay  on  letters  and 
mark  around  them  with  intlel- 
ible  lead  pencil.  Putty  all  holes 
and  cracks,  then  coat  until  per- 
fectly white.  You  will  find  the 
indelible  marks  will  show 
through  sufficiently  to  "cut  in" 
or  trace  with  lettering  brush, 
or  use  the  letters  sent  you  and 
a  i)lush  roller.  (See  Cutting  ^n 
Letters.) 

LETTERING  BRUSHES 

Lettering  brushes  are  made 
in  all  sizes,  and  of  all  kinds  of 


r.mount  of  japan ;  then  thin 
v.ith  b.Mizine  to  proper  work- 
ing consistency.  Cutting  let- 
;  rs  must  be  done  with  a  bristle 
fitch  or  bristle  cutter  and  fdled 
in    with   a   large   bristle   brush. 


material,  and  furnished  by  us 
for  any  kind,  or  size  of  sign 
you  wish  to  paint.  You  should 
iiaxe  brushes  that  are  best  suit- 
ed for  the  different  signs  to  be 
painted,  and  by  ordering  of  us 


llrifk    WnU    Simi    In    forojrroiiiul    niitl    rniNiMl    letter    wire    sIkii    in    baek- 
;;  roil  11)1. 

37 


PULLMAN  SCHOOL  OF  LETTERING 


and  stating  what  your  needs 
are,  we  will  gladly  send  yon 
suggestions  and  prices  at  once. 

We  want  you  to  succeed,  bnt 
will  not  guarantee  succc-s,  i'^ 
you  use  inferior  material  and 
tools,  or  suggestions,  from 
others. 

After  you  are  through  usir"; 
the  lettering  Inrushes,  wash 
them  thoroughly  in  tur])cntinc. 
pulling  hetween  thumh  and  fir- 
ger  and  dip])ing  in  and  out  of 
tur])entine  until  perfectly  clean, 
then  with  a  soft  cloth  \vi])e 
them  dry  and  di|)  into  pure  lard 
oil,  till  they  are  full  of  <^~c'\^^-'\ 
and  wipe  again,  then  smooth 
them  out  into  chisel  shri])C,  lay 
away  in  j^encil  b'^x  and  keer  in 
dry  place.  Before  usino-  a-T'iin 
wash  out  grease  in  turpentin.e. 
Brushes  kept  in  this  manner 
will  last  for  years. 

CARE   OF   BRUSHES 

Lettering  brushes  must  be 
thoroughly  washed  in  turpen- 
tine after  using.  ("See  lettering 
brushes.")  Fitches  and  larger 
bristle  brushes  mu^t  Iv 
wrapped  in  paper.  To  wran. 
lay  paper  down  and  iV'-^--  ■ 
brushes  on  to])  cf  it.  \\'r-i'> 
paper  around  brush  securely 
and  fold  in  at  end  of  bristle^. 
This  will  keep  brush  straight 
and  ready  for  use.  Set  briv di- 
es in  pail  of  benzine,  deep 
enough  to  cover  bristles  of 
brush.  Never  keep  them  in 
water.  Red  sable,  or  any  w^ater 
color  brushes  must  be  washed 
in  clean  water.  Pull  water  out 
of  brush  gentlv  with  thumb  and 
finger,  and  lay  away  in  a 
straight  position,  d'ake  care  of 
your  brushes  and  thev  will  last 
a  long  time,  and  obey  you  to 
the  letter. 


.■^s 


MUSLIN 

Sign  painters'  muslin  is  pre- 
l^arcd  and  ready  for  use,  put  up 
in  rolls,  and  is  24,  36  and  42 
inches  wide,  and  may  be 
stretched  on  frames,  or  lettered, 
and  fastened  to  building  with- 
out frame,  is  cliea])  and  makes 
the  best  looking  temporary  sign 
in  the  business. 

Letter  on  finished  side  of 
muslin,  which  you  will  find  to 
be  smooth  and  completely 
filled  with  starch.  The  muslin, 
described  herewith,  is  the  very 
best  made,  and  can  be  furnished 
by  us  in  rolls  of  60  yards  each, 
or  more,  (vn  receipt  of  order. 

VARNISH  (Grounds) 

X'a.rnished  (irounds  may  be 
used  for  backgrounds  on  any 
board  signs  for  either  raised  or 
surface  gold  lettering.  Prime 
and  thoroughly  coat,  sand- 
l'ai>ering  each  coat  perfectly 
:^mo(-th.  being  very  careful  to 
work  out  all  brush  marks,  putty 
everv  hole  and  crack.  If  back- 
ground is  wanted,  coat  board 
three  thin  coats  of  dark  lead 
('olor  nnd.  thr(H'  coats  of  dr<")p 
l)1ack  (g-ound  in  japan).  Mix 
l^'a'^k  ^vith  ciuick  rubbing  var- 
nish, and  thin  wdth  turjientine. 
\\  hen  dry  hair  ofif  each  coat 
of  black,  with  upholster's 
cnrl'^d  hair  until  smooth  and 
free  from  little  particles.  L^se 
\erv  little  rublnng  varnish  in 
the  b'ack.  above  mentioned, 
and  a]ii)ly  with  camel's  hair 
brush  ;  when  dry,  coat  over  the 
])lack  with  one  coat  of  color 
\  arnish,  made  of  quick  rubbing 
\arnish  and  colored  slightly 
with  clean  drop  black  (gnnmd 
in  ia])an).  Wdien  this  coat  is 
drv  and  hard,  hair  off  with 
rnrled  hair,  jioinice  thoroughly 


PULLMAN  SCHOOL  OF  LETTERING 


with  white  pounce  bag  to  pre- 
vent gold  from  sticking  to  the 
black,  and  proceed  with  surface 
lettering  and  shading  (or  out- 
lining), as  you  choose.  Then 
tinish  with  one  coat  of  best  out- 
side coach  varnish.  For  red 
background,  use  salmon  color 
for  first  three  coats,  using  japan 
red,  same  as  black  (in  black 
liackground),  also  color  var- 
nish and  finish  as  in  black 
background.  Raised  letters 
])reviously  gilded,  may  be 
tacked  on  after  finishing  coat 
of  varnish  has  thoroughly 
dried  by  stretching  a  tight, 
clean  fish-line  at  base  or  bot- 
tom line  where  letters  are  to 
set.  Then  proceed  to  layout 
and  tack  letters  on  (as  in 
Raised  Letters  on  Boards). 

GALVANIZED  IRON 
LETTERS. 

(ialvani/ed  iron  letters  are 
cut  out  with  snips,  ])ainte(l  and 
fastened  on  wire  signs,  some- 
times called  sky-signs.  Prime 
(or  first  coat),  with  dry  red 
lead,  first  mixed  thick  like 
nuish.  and  add  small  quantity 
of  japan  and  thin  with  turpen- 
tine. I'^irst,  you  will  clean  let- 
ters with  strong  cider  vinegar, 
when  dry,  coat  with  the  above 
red  lead,  rubbing  out  very  dry, 
then  ]>aint  letters  black  and 
fasten  them  on  wire  as  direct- 
ed in  (  Wire  Signs). 

GOLD  LEAF 

Ciold  Leaf  is  put  uj)  in  books, 
.V4  inches  square.  Tiold  is 
hanmiered  by  hand  and  is  ver\- 
thin,  about  23  carats  fine,  it  is 
'old  by  the  pack,  20  books  to 
the  i)ack.  and  25  leaves  to  each 
book.  One  book  will  cover  aj)- 
proximately  216  scpiare  inches, 
or,   Wj   scpiare   feet.     This   will 


allow  enough  to  over-lap  a  lit- 
tle in  gilding,  as  should  be  done 
in  all  surface  gilding  to  insure 
a  good  job.  You  may  think 
you  are  wasting  gold  by  lib- 
eral gilding,  but  by  so  doing 
you  will  save  time,  which  is 
sometimes  more  valuable. 

FRAMES 

(Muslin  and  Oilcloth  Signs) 
Muslin  and  oilcloth  frames 
are  usually  made  of  lx2-inch 
strips  (for  illustration),  to 
make  a  frame  3x12  feet,  cut  2 
side  strips,  12  feet  long,  and 
5  cross  strips,  3  feet  long.  Lay 
two  3-foot  strips  on  the  floor 
12  feet  apart  and  nail  the  12- 
foot  pieces  on  top  at  each  cor- 
ner, putting  one  nail  in  each 
corner  until  ready  to  square. 
Place  the  remaining  three 
strips  under  the  12-foot  strips, 
about  3  feet  apart,  also  putting 
one  nail  at  each  end  to  hold 
in  place  until  four  corners  of 
frame  is  squared.  You  will 
now  square  the  four  corners 
(one  at  a  time),  putting  in  three 
more  4-penny  nails.  Proceed 
in  like  manner  until  four  cor- 
ners are  perfectly  squnre  and 
sufficiently  nailed  to  hold  in 
place.  Then  finish  nailing  the 
three  remaining  cross  cleats. 
If  corners  do  not  come  out  per- 
fectly square,  there  is  just  two 
things  wrong;  either  your 
square,  or  you  have  not  cut  the 
strips  exactly  the  same  length, 
which  is  absolutely  necessary, 
and  would  ad\'isc  putting 
strips  together  when  cutting  to 
length.  ^^'hen  the  abo\e  is 
completed,  fill  in  at  each  end 
with  strips. 

SECOND  COATING 

Second     and     third     coating 
niav     be     done     either     Hat     or 


PULLMAN  SCHOOL  OF  LETTERING 


glossy,  and  depends  entirely 
where,  and  how,  signs  are  to 
be  used. 

In  second  and  finishing  coats, 
we  recommend  turpentine  in- 
stead of  oil,  especially  in  sign 
painting.  Too  much  oil  will 
cause  the  white  to  turn  yellow 
in  a  few  hours,  while  turpen- 
tine, or  benzine,  will  evaporate 
and  leave  the  coating  perfectly 
white.  A  small  piece  of  Prus- 
sian blue,  or  black,  the  size  of 
a  pea  will  color  about  two  gal- 
lons of  paint  sufficiently  to 
make  it  perfectly  white,  and 
will  cause  it  to  bleach  out 
whiter  with  age. 

Always  add  a  few  spoonsful 
of  our  celebrated  "quick  size" 
in  your  coating  color.  Where 
boards  are  being  coated  for 
smalted  backgrounds,  the  ])aint 


'■r  ^sr-  ■ 


should   be   perfectly   flat    (with 
no  gloss  or  shine),  (ilossy  color 


will  often  cause  the  smalt  to 
stick  (which  should  not),  spoil- 
ing the  sign  or  causing  lots  of 
trouble,  and  is  prevented  by 
mixing  color  in  turpentine. 
This  is  called  "Flat  Color."  Too 
many  painters  imagine  that  oil 
is  the  most  essential  thinner  for 
white  lead.  This  may  be  the 
case  in  house  i)ainting,  but 
never  in  sign  painting,  except 
in  priming  coat  on  new  work. 
Coating  board  signs  proper- 
ly (ready  to  letter),  is  no  small 
item,  and  should  be  done  with 
great  care.  Lay  color  on  even- 
ly, smooth  out  well,  and  avoid 
brush  marks  by  crossing  and 
recrossing  until  they  disappear. 
Lay  boards  flat  on  horses  (or 
trestles)  while  sandpapering, 
puttying  and  coating.  Allow 
boards  to  lav  in  this  position 
until  partially  dry,  then  set  up- 
right on  easel,  or  against  wall. 

PATTERNS 

A  pattern  should  be  made  for 
all  glass,  board  and  window 
signs,  also,  any  small  signs 
where  it  is  practical. 

Tf  the  sign  is  broken  or  de- 
stroyed in  any  way,  you  have 
the  exact  size  of  letters,  glass, 
etc.,  also  preference  in  getting 
the  job  again. 

Aifter  each  job  is  completed 
roll  pattern  up  carefully  and 
mark  it  so  you  know  exactly 
what  job  it  is,  and  date  when 
completed. 

FLITTERS 

Flitters  are  very  small 
metalics  cut  in  diamond  shape 
and  can  be  had  in  most  all 
colors,  and  are  used  for  sprink- 
ling on  letters,  and  for  back- 
i-Tounds  on  gflass  signs. 


■'<': 


40 


PULLMAN  SCHOOL  OF  LETTERING 


Cut  around  letters  on  glass 
using  thick  black,  that  will 
cover  good.  W  hen  dry,  var- 
nish with  clear,  "(juick  size"  or 
"quick  rubl)ing  varnish."  Be- 
fore varnish  is  dry  s])rinkle  on 
flitters  wliich  make  a  very  ])ret- 
ty  sign. 

Flitters  are  sometimes  used 
for  entire  backgrounds.  Do  let- 
teiing  in  black,  and  varnish  en- 
tiro  back  of  glass  with  '  r  .:b- 
bing  varnish."  When  varnish 
is  nearly  dry,  sprinkle  with  thl- 
ter,  after  standing  a  few  min- 
utes, dump  off  surplus  flitters. 

RAISED   LETTER  SIGNS 

This  is  a  very  pojiular  sign, 
and  is  not  very  expensive,  and 
makes  a  good  appearing,  dressy 
sign,  where  a  large  size  can  be 
used. 

They  can  be  made  for  a'mo^  t 

any  place,  across  the  front   oi 

buildings,  suspended  o\er  sivlc- 

'.valks,   ])anels   under   win(U)Ws, 

winiJ"  signs,  etc. 

They  are  made  of  high-grale 
uiln  and  air-dried  white  pine, 
securely  glued  together,  ap- 
I  earing  as  one  ])iece. 

To  paint  (see  coating  sign  ) 
p:actically  any  color  may  be 
Msed  in  smalted  or  varnished 
I)ackgrounds,  dark  colors  b.^!n"; 
l)referable  and  shows  off  tlie 
'did  to  the  best  advantage. 


WINDOW    SHADE 
LETTERING 

Make  pounce  pattern  of  lay- 
out. Pounce  on  lettering  in  the 
usual  manner,  size  in  lettering 
with  our  celebrated  quick  size, 
and  gild  in  about  one  hour  with 
gold  leaf,  aluminum  leaf,  or 
gold  bronze,  or  aluminum 
bronze. 

Shade  or  outline,  with  colors 
to  suit.  Black  being  preferable 
on  dark  colors,  double  shading 
on  light  colors,  using  asphal- 
tum  glaze,  split  and  outlined 
with  black.  See  cut  of  Split 
Shade. 

S«M'  Kiji.  'iU  oil  piiK'e  1~. 

CORNER  PIECES 

Corner  pieces  are  used  on 
both  wood  and  glass  panel 
signs,  and  help  to  make  a  beau- 
tiful layout.  The  corners  and 
end  pieces  shown  (on  page  4C-) 
are  carried  in  stock  ready  to  be 
])erforated,  same  as  the  pounce 
pattern  sent  vou.  (See  price 
list.) 

KIkx.  7.'  ami  "<>  sliow  enil  .sitoIIn 
iiikI    oonier    iiit'oe.s.    vjirriecl    in    .Ht«M-k. 

SILVERING  GLASS 

Solution  No.  1 

Tut     IS    ounces    of    distilled 

water  in  a  clean  granite  ves  cl 

and   add    1^    grams   of   nit-nte 

of  silver,  and  1>^  grams  of  Ro- 


AHUFACTURERS   NATIONAL  BANK, 


PULLMAN  SCHOOL  OF  LETTERING 


chelle  salts,  and  boil  5  minutes. 
Then  form  a  funnel  of  filter- 
paper,  closing  ends  firmly,  and 
placing  in  a  glass  funnel,  pour 
the  boiled  solution  into  this 
and  when  filtered,  put  solution 
in  a  bottle  that  has  been  paint- 
ed black  on  the  outside  to  ex- 
clude the  light. 

Solution  No.   2 

Put  18  ounces  of  distilled 
water  into  a  granite  cup,  pour 
out  4  ounces  (4  ounces  into  a 
glass).  Into  this  put  2  grams 
of  nitrate  of  silver  and  cau- 
tiously drop  in  liquid  ammonia 
until  it  becomes  dark  and  con- 
tinue dropping  until  it  becomes 
clear.  Add  2  grams  nitrate  of 
silver,  thoroughly,  dissolved, 
and  add  to  the  water  in  granite 
cup.  and  filter  as  before.  Clean 
glass  with  felt  and  jeweler's 
rouge,  then  Avash  with  w^hiting 
and  water.  In  a  glass  pitcher 
pour  equal  parts  of  the  2  solu- 
tions. Mix  well  and  pour  over 
Hass  and  allow  to  stand  about 
30  minutes.  Pour  ofif  the  sur- 
plus solution  and  allow  glass 
to  dry.  When  thoroughly  dry. 
rnb  well  with  a  clean  chamois- 
skin  and  coat  back  with  orange 
shellac.  Hlien.  with  a  flat  coat 
of  grey  paint  and  finish  with 
one  coat  of  asphaltum.  If  let- 
tering is  to  be  done  on  the  sil- 
vered side,  it  should  be  backed 
with  a  coat  of  hard  drvinj?  var- 
nish, and  allowed  to  dry  thor- 
oughly before  silvering.  All 
vessels  used  in  the  above  sil- 
vering solution  must  be  relig- 
iously clean. 

ANOTHER  SILVERING 

PROCESS 

Hot  Solution 

Put   1  pint  of  distilled  water 


into  a  flask  and  place  on  stove 
until  it  boils.  Then  add  24 
grams  of  Rochelle  salts  and 
boil  7  minutes.  Take  ofif,  let 
cool,  and  filter,  as  first  silver  so- 
lution mentioned  above.  When 
placing  flask  on  stove  to  boil 
this  solution,  flask  must  be 
placed  in  sand,  in  a  pie  pan.  or 
some  such  utensil. 

Cold  Solution 

One  pint  distilled  water. 
Pour  half  of  glass  into  a  pint 
tumbler.  Put  in  tumbler  38 
prams  nitrate  of  silver,  drop  in 
liquid  ammonia  and  stir  until 
clear.  Then  add  32  grams  ni- 
trate of  islver. 

Either  one  of  the  above- 
mentioned  silvering  solutions 
may  be  used  for  silvering 
chipped  elass.  and  etched  glass 
signs.  Clean  the  glass  thor- 
oughly before  pouring  on  solu- 
tion. When  solution  is  dry. 
i^'p  your  patterns  (as  in 
Chijipcfj  (ilass  Signs). 

SLOW  SIZE 

"Slow  size,"  sometimes  call- 
ed "fat  oil  size."  is  used  for 
gilding,  raised  and  surface  let- 
tering and  most  all  exterior 
work,  and  should  ne\er  be  var- 
nished. "Fat  oil"  is  made  by 
first  breaking  up  2  lbs.  of  dry 
red  lead  in  boiled  (^il,  thick  like 
mrsli  ;  to  thi'^  you  will  add  one 
gaUon  of  boiled  oil.  mix  thor- 
oughly and  put  away  in  a  tin 
pail.  Cover  pail  with  two 
thicknesses  of  cheese  cloth  and 
allow  to  stand  in  the  sun  from 
three  to  six  months.  The 
longer  it  stands  the  better  it  is. 

"Fat  oil"  is  very  expensive, 
and  by  making  it  up  as  directed 
above  you  will  have  enough  for 
manv  vears. 


42 


PULLMAN  SCHOOL  OF  LETTERING 


"Fat  oil"  and  "fat  oil  size" 
are  indispensible  in  the  sign 
sho])  and  is  the  most  reliable 
when  allowed  to  stand  twelve 
hours  or  more. 

Be  sure  to  ha\e  surface  to  he 
"sized"  well  coated  and  free 
from  suction  and  perfectly 
smooth  l)el\)re  laying-  on  size. 

In  cold  climates  "sizing" 
must  be  d<^ne  in  a  moderately 
warm  room.  Should  the  room 
l)ecome  cold  while  size  is  dry- 
ing, this  will  cause  the  size  to 
lose  "tack,"  but  on  warming 
the  room  "tack"  will  soon  ap- 
pear and  you  are  ready  for  gild- 

"Slow  size"  or  "fat  oil  size" 
is  made  by  mixing  together 
cciual  ])arts  of  "fat  oil"  and  our 
celebrated  "quick  size."  To 
this  add  e  n  o  u  g  h  medium 
chrome  yellow  (in  oil)  to  color 
it  surticicntly  to  show  on  the 
background  (or  surface)  you 
are  "sizing"  in. 

When  taking  "fat  oil"  out  of 
tin  pail  that  has  stood  the  re- 
(|uired  length  of  time,  break  the 
lilm  on  the  oil  and  pour  out 
carefully.  Do  not  stir  or  mix 
the  red  lead  into  the  oil.  This 
will  allow  all  sediment  to  go  to 
the  bottom  of  the  pail,  leaving 
the  "fat  oil"  perfectly  clean  and 
red  lead  on  the  bottom. 

STENCILING 

To  make  a  stencil  for  (|u;m- 
titv  work,  always  make  "male" 
and  "female." 

h^irst  make  "i)ounce"  pattern 
;ind  jjerforate. 

I'ounce  this  on  i)re])ared 
stencil  paper  and  cut  out  half  of 
each  letter.  This  is  called  the 
"male  stencil." 

Now  i)lace  this  stencil  on  an- 
other i)iece  of  stencil  pai)er  and 
make    impression    of    same    by 


going  over  half  cut  letters  with 
your  dark  "pounce  bag." 

Then  place  your  "pounce" 
pattern  or  "layout"  on  this  to 
get  the  other  half  of  letters  and 
cut.  This  is  called  the  "female 
stencil." 

Cover  a  2  inch  paper  hanger 
roller  with  heavy  plush,  and 
roll  your  color  instead  of  using 
a  stencil  brush. 

Use  color  heavy  and  not  too 
much  on  the  roller.  By  work- 
ing the  roller  semi-dry,  you  will 
find  your  letters  will  be  per- 
fectly clean  when  finished. 
When  done  with  roller  and 
stencils,  wash  thoroughly  in 
turpentine  and  hang  stencils  on 
a  nail,  which  will  keep  them 
perfectly  straight. 

With  this  treatment  they  will 
last  for  years. 

Make  stencil  color  of  lamp 
black,  ground  in  oil,  and  add  a 
little  fat  oil  to  make  color  good 
and  stiflf. 

For  background  stencils  see 
"cut  in"  letters. 

.See  Kiu'.  tiTi  oil   itiiiie   MK 

ETCHING  (Glass  Signs) 

Ftching  glass  signs  is  a  very 
simple  process,  and  when  prop- 
erly executed  makes  a  beauti- 
ful sign  for  either  outside  or 
inside  work.  Coat  glass  to  be 
etched  with  best  "turpentine 
asphaltum,"  thinned  with  tur- 
pentine (about  two  parts  as- 
phaltum and  one  part  turpen- 
tine), and  when  dried  to  proper 
tack  (not  too  dry)  roll  on  lead 
foil,  smoothing  out  all  wrinkles 
carefully  with  thumb  and  fin- 
ger. Now  coat  with  a  thin 
wash  of  whiting,  with  a  \  ery 
little  Le  Page's  Glue  (enougli 
to  bind)  thinned  with  water. 
This  may  be  aj^plied  with  a 
"wad"  of  cottoti.     Now  pounce 


4.^^ 


PULLMAN  SCHOOL  OF  LETTERING 


on  your  "layout"  and  go  over 
lines,  correcting  the  letters. 
This  will  prevent  rubbing  off 
"layout"  with  your  sleeve  or 
while  working  on  the  job.  Cut 
out  letters  with  a  needle  and 
|.Mck  out  foil  where  glass  is  to 
be  etched.  Then  wash  care- 
fully with  benzine  or  turpen- 
tine (turpentine  preferred), 
bank  (or  putty)  edges  of  glass 
with  thick  putty  made  of  bees- 
wax  and   a   very   little   asphal- 


tum,  which  should  be  heated  a 
trifle.  If  too  thin,  add  enough 
whiting  to  make  thick  like 
putty,  using  the  thumb  to  bank 
or  putty  edges,  which  should 
be  j^2  to  ^  of  an  inch  deep  or 
high  on  edge.  Now  coat  the 
letters  with  thin  Le  Page's 
(due.  and  sprinkle  them  with 
flake  graphite.  To  one  part  of 
hydrofluoric  acid  add  three 
parts  water  and  pour  on  glass 
until    letters    and    background 


IK 


/PfL£ 


BANK 


l':oj»or   v.siy  to  flit  .h<«'IU-:Is  <-ii!I«mI   "^I  \I,I-;    AM)   KIOM  \l, 
ill   «|ii:!ii(it.v   work   or  :iii.v   Ni;;ii    itjiiiitiiiu. 


44 


.*'   mill   iiro   iiNcil 


PULLMAN  SCHOOL  OF  LETTERING 


are  covered.  This  you  will  al- 
low to  etch  about  20  minutes. 
'!  hen  throw  off  into  a  pan  that 
has  i)re\-iously  been  coated 
with  pararime  and  rinse  off 
g"]ass  in  clean  water  and  hold  to 
light  to  see  if  etched  to  suit. 

This  will  give  the  etched 
parts  a  beautiful  eml)osscd  ef- 
fect, and  when  gilded  and 
treated  (as  in  chipped  glass 
signs)  you  will  have  an  em- 
bossed letter  with  a  burnished 
gold  outline.  ( See  Chij)])ed 
(ilass  Signs.) 

CHIPPED  GLASS  SIGNS 

Chipping  glass  signs  have 
remained  a  secret  for  many 
years,  although  several  have 
described  the  process  but  have 
nex'er  gone  into  detail  suffi- 
cient!}' far  that  one  could  really 
master  tlie  art  or  become  ])roR- 
cient  and  use  it  to  any  advan- 
tage financially.  We  have  or- 
ganized The  Pullrr.an  School 
of  Lettering  for  the  })urposc  of 


iiSTATE 

ll.  A    I    I  IV 


I    \1   1  I 

N(;jRTH  FIELD 


STATE  , 

bank\ 

NORTHFIELD 


PULLMAN  SCHOOL  OF  LETTERING 


helping  its  students  instead  of 
taking    their    money,    and    the 
more   you    want   to   know    the 
better    we    like    it.       Chipped 
glass  signs  should  be  made  on 
plate    glass    only.      With    the 
letters  sent  you,  make  a  pounce 
pattern   of   what   you   want   to 
say  on  the  sign  and  perforate. 
Clean  your  glass  and  paste  on 
a  piece  of  heavy  manila  paper 
that  has  been  prepared  as  fol- 
lows :   To  a  half  pound  of  gran- 
ulated    glue     (that     has     been 
soaked    in    water    four    hours) 
shave    a    half    bar    of    laundry 
soap ;  to  this  you  will  add  a  half 
pint  of  glycerine  and  heat  in  a 
double  boiler  until  thoroughly 
cooked.     While  this  mixture  is 
hot.  coat  a  larp^e  sheet  of  manila 
])aper  and  let  stand  over  night 
(or  until  dry),  then  wet  glued 
side  with  a  damp  sponge  and 
apply   to  the  glass,  smoothing 
out  all  wrinkles  with  a  piece  of 
cigar    box    lid    that    has    been 
rounded    on    edge    with    sand- 
paper.    When  paper  is  dry,  lay 
on    your    pounce    pattern    face 
down  and  pounce  letters  with  a 
dark     "pounce     bag."       Then, 
with  a  lead  pencil  and  T  square, 
g. '  o\er  top  and  bottom  lines  of 
lettering.   This  will  make  them 
level  and  sharp.     Lay  "cut  out" 
letters  sent  you  on  perforated 
lines    of    pounce    pattern    and 
mark    each    one    with    a    sharp 
lead     pencil.       Now     you     are 
ready  to  cut,  and  with  a  sharp 
stencil  knife  (or  pocket  knife) 
cut  out  letters  as  follows :     In 
cutting     letters,      keep      away 
from  the  lead  pencil  marks  y^ 
inch  (in  ordinary  size  letters). 
You  will  find,  when  gilded  and 
ready  to  clean  off  between  and 


around  letters,  your  "cut  out" 
letters  are  ^i  inch  larger  than 
the  space  or  letters  you  have 
just  cut,  and  when  letters  are 
sandblasted,  chipped  and  gild- 
ed,   and    the    surplus    gold    is 
cleaned    away,    you    will    then 
have  a  chipped  gold  letter,  with 
a    burnished    gold    outline    J^ 
inch   wide  around   each   letter. 
You    will   then    back   them   up 
(as    described    in    Backing   Up 
Letters),  and  when  the  "back- 
ing up  varnish"  is  dry  you  are 
then  ready  for  the  background, 
which  should  be  black  (or  any 
dark   color,   such   as   dark   red, 
dark    blue,    dark    green,    etc.) 
When  you  have  cut  the  letters 
out,  you  are  then  ready  to  have 
them  sandblasted.     If  there  is 
a    sandblast    machine    in    your 
town,     or     neighboring     town, 
have  glass  sandblasted  and  you 
are  ready  for  chipping,  or  send 
us    size   of   glass   and   wording 
wanted    for   sign    and    we   will 
furnish  the  glass,  cut  all  neces- 
sary   patterns,    etc.,    sandblast 
and  chu)  the  letters  ready  for 
you  to  gild   and  put  on   back- 
ground,   border,    etc.     All    you 
will  have  to  do  is  gild  the  let- 
ters and  lay  on  the  "cut  out" 
pattern  we  send  you  and  clean 
away  surplus  gold  with  brush 
(as  per  printed  instructions  at- 
tached   to    the    word    "Signs" 
sent  you).     This  is  a  very  sim- 
ple process  that  any  one  with 
ordinary  intellip^ence,  good  eyes 
and  two  hands  can  do  as  well 
as  we,  and  the  only  reason  for 
above    suggestions    is    on    ac- 
count of  so  few  towns  having  a 
sandblast   machine.     We    wish 
to    impress    upon    your    mind 
again,  we  are  here  to  help  you 
instead  of  taking  vour  monev  ; 


46 


PULLMAN  SCHOOL  OF  LETTERING 


only  you  ask  the  questions  and 
we  will  be  only  too  glad  to  an- 
swer them.  In  this  way  you 
will  be  able  to  make  any  kind 
of  sign  wanted,  and  be  in  a 
class  by  yourself  and  in  big  de- 
mand. To  chip  letters  or  back- 
ground on  a  sign  24x36  inches, 
soak  one  pound  of  best  cabinet 
glue  in  water  over  night.  In 
the  morning  pour  off  water  and 
melt  in  a  double  boiler  or  car- 
penter's glue  pot.  When  hot. 
ai)i)ly  with  a  clean  3  inch  bristle 
brush  quickly,  one  line  of  let- 
ters at  a  time,  covering  over 
])aper  letters  and  all,  being 
careful  to  touch  every  place 
that  is  to  be  chipped.  When 
the  glue  has  set  or  dried  a  few 
minutes  (or  sufficiently  dry  to 
cut  around  letters  with  a  small 
knife  blade)  you  will  proceed 
t<i  cut  around  each  letter  care- 
fully, and  do  not  miss  or  skip 
one  place  to  be  cut.  The  cut- 
ting prevents  glue  from  stick- 
ing to  edges  of  letters,  and  un- 
less this  is  done  edge  of  letters 
when  chi])ped  will  be  ragged. 
When  this  is  finislied  pull  ofif  the 
j):i])er  artnmd  the  parts  to  be 
chipped.  Some  j^refer  a  needle 
in  ])lace  of  a  knife  blade  for  cut- 
ting around  letters.  Now  sign 
is  ready  to  set  away  in  a  warm, 
dry  room,  and  it  will  chip  itself 
Do  not  pick  the  chips  unless 
they  do  not  come  ofif  after 
standing  ten  hours  or  so.  If 
good  blue  is  used  this  should 
not  happen,  and  will  chip  per- 
fectly in  about  eight  to  ten 
hours,  or  sooner.  When  the 
chipping  process  is-  finished 
soak  the  glass  with  water  until 
pa])er  and  particles  of  glue 
wash  off  easily.  Then  rinse 
thoroutrhlv    with    clean    water 


and  you  are  ready  for  gilding. 


See  Fin".  41  «>ii  itiiK'e  111. 


I^M;;.  H.      HrjisN  et«-lieil,  Mliowiii^'  full 
l(e\el   mill    roNette.s. 

ETCHED  BRASS  SIGNS 

Brass  signs  are  usually  made 
of  16  gauge  patent  leveled  etch- 
ing brass.  Cut  plate  to  size 
and  have  same  Imffed  to  a  per- 
fect surface.  Lay  out  and 
make  pounce  i)attern  with  let- 
ters sent  you.  Before  laying 
out  pounce  pattern  clean  entire 
j)late  with  turpentine  and  whit- 
ing, being  careful  not  to  scratch 
the  i)late.  When  thoroughly 
clean,  pounce  on  the  layout 
with  while  jxnmce  bag.  and 
with  lead  pencil  in  one  side  of 
compasses  trace  top  and  bot- 
tom lines  of  lettering,  and  with 
T  square  go  over  pounce  lines, 
squaring  and  correcting  each 
letter  perfectly.  While  cut- 
ting around  letters  with  the 
acid  resist  keep  your  fingers 
from  coming  in  contact  with 
polished  surface,  as  this  will 
leave  a  greasy  mark  and  acid 
will  refuse  to  etch.  To  j^revent 
this  make  what  is  called  a 
bridi/e.   bv   nailinij-   a   2x2   inch 


47 


PULLMAN  SCHOOL  OF  LETTERING 


of  a  1x2  inch  pine  strip,  30 
inches  long.  Rest  your  left 
hand  on  bridge,  steadying  the 
right  hand,  or  brush  hand, 
while  "cutting  in"  letters.  Cut 
around  each  letter  carefully 
with  the  following  acid  resist:" 

"Acid  Resist" 

To  8  ounces  of  paraffine  add 
8  ounces  white  beeswax  and  Yz 
ounce  of  Burgundy  pitch.  Melt 
wax  and  paraffine  together,  and 
before  adding  the  pitch  pulver- 
ize to  insure  immediate  coali- 
tion. To  the  above  you  will 
add  one  and  one-half  times  as 
much  best  turpentine  asphal- 
tum  and  heat  o\er  slow  fire  and 
stir  thoroughly.  Remove  from 
fire,  and  to  the  above  add  one- 
half  pint  of  best  turpentine. 
This  you  will  return  to  the  fire 
and  cook  carefully  for  ten  min- 
utes. There  are  other  "acid 
resists"  mentioned  below,  more 
simple  to  make  and  easier  to 
work,  but  we  are  unable  to 
recommend  them  to  our 
students. 

Soc   KiK.  7  on    iciye  '.\Tt. 

Caution 

Great  care  should  be  exer- 
cised in  making  the  abo\e 
formula,  or  "acid  resist,"  as 
both  turpentine  and  asphaltum 
are  high  explosives,  and  great 
care  must  be  taken  not  to  over- 
heat while  cooking.  T  h  e 
above  "acid  resist"  must  be 
worked  on  warm  brass  and  in 
a  warm  room,  heated  to  about 
80  degrees.  When  cutting  i>n 
around  letters  with  this  mix- 
ture, use  a  long  camel's  hair 
outlining  brush.  Dij)  brush  in 
tur])entine,     then     in     mixture. 


working  the  two  together  on  a 
warm  piece  of  glass  to  shape 
your  brush  before  applying  to 
brass  or  "cutting  in"  letters. 
After  letters  are  "cut  in"  and 
background  around  letters  fill- 
ed in,  allow  to  dry  over  night. 
When  dry,  place  plate  in  a 
warm  oven,  watching  it  until 
"resist"  begins  to  melt  and  set- 
tle (or  flow).  Then  remove 
and  touch  up  all  pin  holes  and 
bare  places,  including  ends  and 
liack  of  plate,  with  hot  paraf- 
fine, and  the  plate  is  ready  for 
etching.  For  small  etching 
tub,  make  a  frame  of  1x4  inch 
wood  strips,  nailing  together  at 
four  corners.  Tack  oilcloth  on 
edges,  allowing  enough  slack  in 
oilcloth  so  that  tub  will  l)e 
about  four  inches  deep  when 
completed.  You  will  also 
paraffine  entire  inside  of  tub  as 
on  back  of  brass  plate  (men- 
tioned ab(n-e).  To  one  part  of 
C.  P.  (chemically  ])ure)  nitric 
acid,  add  two  parts  of  cold 
water.  Make  enough  to  cover 
entire  l)ottom  of  tub  to  a  de])th 
of  about  1  inch  or  m  i^'c.  Pl-'.ce 
T  'nte  in  the  soluti;  :i.  face  uj), 
and  acid  will  act  on  exposerl 
hra'S  or  letters  and  etch  to 
•--r^'^rr  dn^th  in  a  few  hours. 
.•\p"itate  often  v\u\  wn'rh  c''"'^- 
fuUy  to  prevent  acid  from  etch- 
ing too  rai)idly  or  overheating. 
When  the  plate  is  etched  to 
proper  depth  (which  is  about 
1-32  inch)  you  will  remove 
plate  from  acid  and  rinse  in 
water  thoroughly.  Then  clean 
resist  off  with  benzine  or  coal- 
oil  and  place  in  oven  to  warm 
slightly,  and  remove  paraffine 
by  wiping  plate  briskly  with  a 
soft  cloth.  Now  wash  with 
benzine  and    return   ]>late   to  a 


48 


PULLMAN  SCHOOL  OF  LETTERING 


hot  oven  and  burn  oft  any  par- 
ticles that  may  stick  in  corners 
or  edges  of  letters.  To  remove 
hot  plates  from  oven  place  a 
thin  board  under  same,  using 
board  as  a  handle,  and  allow  to 
cool.  When  cool,  brush  over 
plate  with  fine  sawdust.  This 
will  remove  any  possible  trace 
of  grease  t)r  oil  from  the  paraf- 
hne  or  "acid  resist."  After  you 
have  dusted  off  every  particle 
of  sawdust,  you  are  ready  for 
enamel,  and  with  "Premier 
Black  Backing  Japan"  you  will 
fiow  a  coat  over  entire  back- 
ground and  letters,  using  a 
bear  hair  (or  fitch-hair)  brush; 
then  place  in  the  oven  and  bake 
at  about  200  degrees  heat  two 
hours,  or  until  dry  (not  hard 
and  brittle).  This  you  will  re- 
peat until  lour  coats  ha\  e  been 
applied  and  baked.  When 
fovirth  coat  is  baked  and  cooletl. 
you  will  shave  enamel  «3ff 
around  letters  with  a  stiff 
putty  knife  that  has  been  shar- 
pened on  end,  same  as  a  car- 
'  enter's  wood  chisle.  and  is  free 
from  knicks  (or  rough  places). 
l)t)  not  let  shavings  of  enamel 
fall  into  letters.  When  all 
enamel  is  shaved  off  carefully 
(  where  it  is  not  wanted)  return 
to  oven  and  bake  in  500  degrees 
heat  four  to  six  hours.  W'hen 
cool,  polish  with  any  good 
metal  polish  until  perfectly 
clean.  This  will  leave  a  beau- 
tiful black  letter  with  a  brass 
background,  or  vica  versa,  and 
may  be  ])olished  as  often  as 
necessary  by  usin*i^  a  piece  of 
plush  tacked  on  a  block  (3x4 
inches.  1  inch  thick)..  If  the 
polish  dulls  the  letters  in  the 
first  cleaning,  you  have  n<it 
baked  lluni  sulVicientlv  hard  or 


at  the  proper  heat.  You  may 
thin  the  first  coats  of  enamel 
to  a  nice  flowing  consistency. 
Finish  coat  should  be  a  trifle 
heavier  or  thicker,  being  care- 
ful that  surroundings  and  table 
you  do  your  coating  on  are  free 
from  dust.  This  is  quite  neces- 
sary in  doing  a  perfectly  clean 
job.  For  beveling  brass  signs 
you  should  have  a  set  of  our 
beveling  tools,  which  are  made 
by  us  for  beveling  brass  and 
copper  signs,  with  full  instruc- 
tions how  to  use,  etc.  (See 
price  list.) 

Another  "Acid  Resist" 

(For  Etching  Brass) 

Beeswax,  resin  and  asphal- 
tum  (e(|ual  parts)  heated  to  in- 
sure coalition. 

And  Still  Another  ''Acid 
Resist" 

To  1  pint  turpentine  asphal- 
tum,  add  1  ounce  beeswax. 
Heat  until  melted;  when  cool 
thin  with  turpentine  and  coat 
entire  surface  oi  brass  to  be 
etched,  and  before  resist  is  dry 
(or  when  j)ro])er  tack  is  reach- 
ed) roll  oil  lead  foil,  smoothing 
out  all  wrinkles  which  may  ap- 
pear ;  then  go  over  foil  with  a 
very  thin  whiting  and  glue  mix- 
ture. This  will  show  the  pen- 
cil marks  around  letters  which 
you  have  previously  marked. 
Then  cut  out  letters  with  a 
sharp  pocket  knife  (or  needle) 
and  lift  out  foil  in  places  to  be 
etched  ;  wash  with  coal  oil  or 
1)en/.ine.  \\'hen  thoroughly 
cleaned  lay  plate  flat  on  a  level 
table  and  "bank"  edges  with 
stiff  putty  made  of  beeswax,  to 
whicli  has  been  added  a  small 


49 


PULLMAN  SCHOOL  OF  LETTERING 


quantity  of  asphaltum.  (See 
Etching-  Brass  Signs.)  Now 
pour  on  plate  about  a  quarter 
of  an  inch  of  the  following  so- 
lution :  One  part  nitric  acid 
and  three  parts  water.  Leave 
stand  until  etched  -to  desired 
depth. 

THE  KIT 


' 

m 

'        js-.^-.^B 

1 

■  ^««-%^ 

i 

^K 

FlK.  "D."  The  Kit  (or  Tool  Box  > 
loaded  ready  for  any  job.  Write  for 
l»artleiilarH  and  price. 

The  sign  painter's  kit  (or 
tool  box)  should  be  composed 
of  the  following  tools  and 
materials : 

1  complete  set  of  muslin 
brushes. 

3  each  of  the  different  camel's 
hair  lettering  brushes, 

3  sword  striping  brushes 
(different  sizes). 

1,  y2  inch  fitch. 

1,  1  inch  fitch. 

1  gilder's  tip  (camel's  hair). 

1  gilder's  tip  (badger  hair). 

1  tracing  wheel. 

1  grease  pencil. 

Gold  leaf  (deep  and  lemon). 

Gold  lining  bronze. 


Turpentine. 

Aluminum  bronze  (lining 
and  regular). 

Half  dozen  "Gem"  safety 
razor  blades,  and  handle. 

One  hundred  No.  1  empty 
capsuls  for  water  size. 

School  crayon  (chalk). 

4  thumb  tacks. 

1  spool  of  No:.  8  black  cotton 
thread. 

1  alcohol  lamp. 

1  small  bottle  of  wood  alco- 
hol. 

1  small  bottle  of  chloroform. 

1  putty  knife. 

1  small  screw  driver. 

10  cent  package  of  medicated 
cotton. 

1  big--mouthed  bottle  of  lamp 
black  (ground  in  japan). 

^  pound  of  English  vermil- 
lion  (dry). 

6  screw-top  cans  for  the  fol- 
lowing: 

Quick  size. 
Rubbing-  varnish. 
Spar  varnish. 
Lard  oil. 
Demar  varnish. 
1  big  mouthed  bottle  of  tur- 
pentine, for  rinsing-  brushes. 
Pounce  bag  (white). 
^2  dozen  sticks  of  charcoal. 
Chamois  skin. 
Sponge. 

QUESTIONS 

Study  every  question  thor- 
oughly before  you  attempt  to 
paint  your  first  sign  job.  Be 
sure  you  are  right  before  going 
ahead.  The  following  ques- 
tions are  very  important  and 
vou   should  be  able  to  answer 


50 


PULLMAN  SCHOOL  OF  LETTERING 


each    and    every    one    of    them 
practically. 

No.  1.     What  is  flat  coating? 

No.  2.  Give  different  meth- 
ods of  snapping  lines. 

No.  3.  How  are  damp  i)en- 
cils  cared  for? 

No.  4.     What  is^  cutting  in? 

No.  5.  How  is  hacking  up 
color  made?    . 

No.  6  How  do  you  straight- 
en a  warped  pencil? 

No.  7.  Name  all  liquids  used 
in  sign  i>ainting. 

No.  8.     \Vhat  is  flock? 

No.  9.     What  is  smalt? 

No.  10.  What  use  have  we 
for  Le  Page's  Glue? 

No.  11.  How  do  we  care  for 
hristle  brushes? 

No.  12.  How  do  we  layout 
japan  tin? 

No.  13.  What  is  a  hack- 
ground  stencil? 

No.  14.  What  is  a  surface 
letter  stencil? 

No.  15.  What  is  meant  by 
landscape? 

No.  16.  What  is  meant  by 
upright? 

No.  17.  ^^'hat  is  meant  by 
the  term  condensed? 

No.  18.  What  is  meant  by 
the  term  regular? 

No.  19.  How  is  gold  and 
silver  applied  to  glass  ? 

No.  20.  What  is  the  best 
method  used  in  frosting  glass? 

No.  21.  What  is  the  process 
of  burnishing  gold  and  silver 
on  glass? 

No.  22.  How  do  yoii  prepare 
a  sign  for  varnish  background? 

No.  23.  How  is  flitter  ap- 
plied to  letters? 


No.  24.  For  what  other  pur- 
pose is  flitter  used? 

No.  25.  Why  do  you  add 
quick  rubbing  varnish  to  as- 
phaltum  ? 

No  26.  How  do  you  make 
water  size? 

No.  27.  Which  side  of  a  let- 
ter should  be  shaded? 

No.  28.  How  do  you  remo\  e 
old  lettering  (tr  old  ])aint 
from  glass? 

N(».  29.  What  is  ilu-  fir^t 
precaution  in  window  letter- 
ing? 

No.  30.  What  brushes  arc 
most  used  for  muslin  and  oil- 
cloth signs? 

No.  31.  Describe  a  back- 
ground stencil. 

No.  32.  How  d(^  we  make  a 
zinc-etched  stencil  ? 

No.  ^^.  How  do  you  emboss 
gold  on  glass? 

No.  34.  HoAv-  do-we  yirepare- 
galvanized  iron. for  coating? 

^^.     What 'do  we  use' fat 
oil  for? 

No.  36.     What  is  fat  oil? 

No.  37.  How  do  we  prepare 
to  letter  on  a  finished  wagon? 

No.  38.  Why  do  we  use 
stale  beer  in  "laying  out"  on 
glass? 

No.  39.  How  do  we  prevent 
gold  from  sticking  to  varnished 
ground  ? 

No.  40.  What  is  shellac  used 
for? 

No.  41.  What  use  have  we 
for  an  alcohol  lamp? 

No.  42.  What  liquids  are 
used  for  drilling  holes  in  glass? 

No.  43.  What  is  meant  by 
cutting  in  ? 


51 


PULLMAN  SCHOOL  OF  LETTERING 


No.  44.  What  is  surface  let- 
ter? 

No.  45.  How  do  we  smalt  a 
board  sign? 

No.  46.  What  use  is  made 
of  an  indelible  lead  pencil? 

No.  47.  What  use  is  made 
of  nitric  acid? 

No.  48.  What  use  is  made 
of  hydrofluoric  acid  in  the  sign 
business? 

No.  49.  ^^'hat  is  a  skewing 
box? 

No.  50.  What  kind  of  gold 
leaf  is  best  for  outside  work  ? 

No.  51.  How  is  the  surplus 
gold  removed  when  the  back- 
ing up  is  dry? 

No.  52.  For  what  purpose  is 
lemon  gold  leaf  used  ? 

No.  53.  Which  of  the  two 
requires  the  stronger  water 
size,  gold  or  silver  leaf? 

No.  54.  How  do  we  cut  gold 
leaf? 

No.  55.  What  is  meant  by 
washing  gold  leaf? 

No.  56.  What  kind  of  a 
brush  is  used  for  applying  gold 
leaf  to  the  glass? 

Nfi.  ?7 .  How  is  gilder's  tip 
j>rc]~»ared  to  lift  the  gold  leaf? 

No.  58.  What  is  meant  by 
patching  gold  jobs? 

No.  59.  \Miat  is  meant  by 
backing  up  ? 

No.  60.  What  kind  of  var- 
nish is  used  for  stippling? 

No.  61.  How  should  colors 
be  mixed   for  outlining? 

TRICKS  OF  THE  TRADE 

Liberal  gilding  may  waste 
gold  Init  it  will  save  time, 
which  is  often  more  valuable. 

Outlining  gold  letter  with 
color   on    glass    is    most    casih' 


done  wMth  semi-transparent 
colors,  such  as  drop  black, 
Prussian  Blue  or  reds,  mixed 
with  "quick  size"  and  turpen- 
tine. 

Pure  white  lead  is  mostly 
used  in  coating  boards,  etc.,  for 
outside  work,  being  very  dur- 
able. 

Lamp  black  is  the  most  dur- 
able of  all  pigments. 

Drop  black  is  deeper  in  tone 
and  more  transparent. 

Sign  writers'  black  (in  oil) 
is  best  for  ordinary  board  signs 
or  black  lettering  on  glass. 

Swedish  black  is  best  for 
water  color,  mixed  in  thick 
paste  form  with  Le  Page's  glue 
thinned  with  water. 

Wash  lettering  brushes  im- 
mediately after  using.  If  used 
in  water  color  wash  in  water. 
If  used  in  oil  or  Japan  color 
wash  in  turpentine,  grease  with 
lard  oil ;  wash  again  with  tur- 
pentine before  using. 

Never  use  skinny  or  dirty 
colors ;  strain  them  through 
cheese  cloth. 

Never  use  a  worn-out  or  poor 
brush.  Save  time  by  using 
good  tools  and  taking  good 
care  of  them. 

Never  allow  wall  brush  to 
stand  in  water ;  wash  them  out 
and  wrap  them,  and  keep  them 
in  benzine. 

Have  two  sets  of  lettering 
brushes,  one  set  for  water 
colors  and  another  for  oil 
colors.  Don't  allow  water 
colors  to  come  in  contact  with 
oil  of  any  kind. 

Sable  hair  brushes  are  best 
for  water  colors  and  heavy  lead 
colors. 

All    surfaces    to    be    lettered 


.S2 


PULLMAN    SCHOOL   OF    LETTERING 


should  be  thoroughly  cleaned. 
You  will  save  by  adopting  this 
plan. 

Measurements  should  be 
taken  accurately. 

Always  keep  top  of  can 
colors  smooth  and  covered 
with  turpentine. 

Quick  size  may  be  slowed  by 
adding  a  few  drops  of  good  var- 
nish. 

Use  rule,  snap  line  and  com- 
passes for  making  lines  and 
curves. 

Don't  depend  too  much  on 
your  eye. 

Shellac  should  not  be  used 
between  coats  of  paint.  It 
may  cause  trouble. 

Never  promise  a  jol)  sooner 
than  you  can  do  it. 

Never  use  quick  size  for  out- 
side gilding.  Use  slow  size  or 
fat  oil  size,  which  must  stand 
over  night  before  the  proper 
tack  is  reached  for  gilding. 

To  make  layout  or  pounce 
pattern,  make  layout  just  as 
wanted,  then  ])erforate  lines 
and  letters  with  tracing  wheel, 
lay  pattern  on  face  of  signs  and 
run  o\'er  layout  with  ])ounce 
bag  with  dry  whiting  and  re- 
move ]:)attern.  anrl  your  layout 
will  appear. 

Flock  produces  a  tine  vel- 
vety gromid  for  signs  and  may 
be  used  instead  of  and  in  same 
manner  as  smalt. 

Cheap  closing  out  t^r  sjiecial 
sale  signs  may  be  made  on 
glass  fronts  by  coating  outside 
of  gla-s  with  calciniine.  Let- 
ter with  jajian  color  t  same  as 
in  oilcloth  and  muslin  signs). 

I)(i  not  take  e\  erybody's  ad- 
\  ice.  Study  carefully,  using 
L-tiod    indunient    in    e\ervthing 


you  do.  To  be  successful  in 
the  sign  business  use  good 
materials.  Get  good  prices 
and  collect  promjitly. 

If  chalk  will  not  write  on 
glass,  rub  over  with  stale  beer 
or  cider  vinegar  and  the  chalk 
will  mark  extra  fine. 

No  sign  painter's  kit  is  cotn- 
j)lete  without  that  most  valu- 
able article,  the  chamois  skin, 
for  wiping  and  drying  glass 
and  other  surfaces. 

A  small  alcohol  lamp  is  gen- 
erally carried  in  the  kit  for 
boiling  and  making  water  size. 

A  soft  sponge  is  another  very 
essential  thing  in  the  kit  and  is 
used  for  washing  glass  signs 
and  on  window  work. 

Dainp  windows  in  cold, 
changeable  weather  should  be 
kept  dry  with  an  electrical  fan. 

Sign  rods  for  swinging  signs 
should  be  made  of  gaspipe, 
supported  by  chain  or  wire 
cable,  using  small  turnbuckle 
to  tighten  and  level  signs. 

Ne\er  add  oil  to  asphaltum 
It  will  retard  the  drying.     Add 
rubbing   \arnish   or   quick   size 
to  insure  hardness. 

Asphaltum  is  used  for  glass. 
o\  er  color  and  gold,  and  sliould 
be  ajiplied  thin. 

Never  buy  your  staple  colors 
in  one  pound  cans,  if  it  is  pos- 
sible to  get  them  in  five  pound 
press  cans.  This  will  avoid 
waste  and  is  much  more  con- 
\enient,  it  being  best  to  get 
most  any  color  in  japan  or  oil 
put  up  in  five  pound  press  cans. 

Don't  use  cutting  in  color 
that  has  been  standing  for  sev- 
eral days.  It  should  be  made 
up  fre^h  for  most  every  job. 
and  will  avoid  trouble,  as  it  be- 
comes fat  and  li.ard  to  wnrk. 


5.3 


PULLMAN  SCHOOL  OF  LETTERING 


Don't  let  smalt  run  (or  slide) 
off  board  signs,  as  it  will  spoil 
edge  of  letters.  Dump  it  off 
quickly. 

When  varnishing,  flow  on 
freely. 

Pounce  all  surfaces  (except 
glass)  where  leaf  or  rubbing- 
bronzes  are  used  before  sizing 
in  letters.  Use  the  pounce 
bag  or  whiting  and  soft  cloth. 

^  COLORS 

(How  to   Mix) 

Tn  this  table  the  hrst  color 
named  in  each  item  is  the  base 
and  should  be  used  in  the 
greatest  quantity.  The  other 
colors  should  be  added  until 
desired  shade  or  tone  is 
reached : 

White  and  red  produce  pink. 

Red  and  black  produce  ma- 
roon. 

Yellow,  blue  and  red  produce 
bronze  green. 

White,  black  and  red  pro- 
duce lavender. 

Red.  yellow  and  blue  produce 
citron. 

Yellow  and  blue  produce 
green. 

White  and  yellow  produce 
cream. 

Yellow  and  red  produce 
orancfe. 


Blue  and  red  produce  violet. 
Yellow    and    black    produce 
olive. 

Red  and  blue  produce  purple. 

Yellow,  black  and  red  pro- 
duce brown. 

Red,  yellow  and  black  pro- 
duce russet. 

WHiite  and  blue  produce 
light  blue. 

White,  black  and  red  pro- 
duce lavender. 

Red,  yellow  and  blue  produce 
citron. 

Yellow  and  blue  produce 
green. 

W'^hite  and  yellow  produce 
cream. 

Yellow  and  red  produce 
orange. 

Blue  and  red  produce  violet. 

White  and  black  produce 
gray. 

White,  yellow  and  red  pro- 
duce flesh. 

Yellow  and  black  prodtice 
olive. 

Red  and  blue  produce  purple. 

Yellow,  black  and  red  pro- 
duce brown. 

Red,  yellow  and  black  pro- 
duce russet. 


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