Sign and show card writing

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Class i~l2^ifl
Book .'B ^

COPYRIGHT DEPOSIT.

Sign £f

Show Card

Writing

A Series of . . .

LESSONS,

Prepared by

J

Chas . F. Butterworth,

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^^' ' Chicago Dry Goods Reporter. ' '

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DRY GOODS REPORTER CO.

Publishers,

CHICAGO,

233 Fifth Avenue.

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Illustrated.

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MAY i 5 1899

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PREFACE.

The following series of lessons is a concise and complete
treatise on show card and sign writing, fvilly illustrated and
explained, so that it will be of practical use to every merchant
who desires to make his place of business attractive or to call
attention to various offerings, which would otherwise be
unnoticed.

Any person of ordinary ability, who will read carefully
these lessons and follow their instructions, will be able to get
up show cards, price tickets and fence signs that will bring
business to the establishment with which he is connected.

INDEX.

Lesson. Page.

I Preliminary and Materials 5

II Points for the Beginner 8

III Alphabets 11

IV Arrangement and Shading 14

V Studies 17

VI Posters 20

VII Scrolls 23

VIII Tints for Backgrounds 26

IX Ornamental Shapes 29

X Pen Work 32

XI Script 35

XII Price Tickets 38

XIII Easy Illustrations 41

XIV Cards for Weekly Changes ". 44

XV Show Cards on Muslin 47

XVI Show Cards on Oil Cloth 50

XVII Fence Signs 53

XVIII Mile Post Signs 56

XIX Window Lettering 59

XX Final Hints 62

LESSON I.

PRELIMINARY AND MATERIALS.

CAN be readily noted that the crude
methods of window advertising formerly
employed have steadily given way to more
advanced ideas, until we now have the at-
tractive show cards and posters, many of
which are works of art. The object of
se lessons is to give instruction in the art of
card writing, in simple and concise form, avoid-
ing complexity, and laying a broad and accurate
foundation upon which to study and reflect. In
the study of show cards it will be observed that
there are three distinct kinds — plain, ordinary and fancy.
The first are made quickly and in an off-hand way, while the
second, or ordinary, display considerable tast'e in arrangement
and the style of making. The third embrace all cards where
a great deal of work and colors are added to bring out special
designs. The ordinary card is the one that should be mastered
first, as it is the best field for the amateur. The off-hand styles
require practice and confidence.

CARD BOARD AND COLORS.

The essential articles necessary to make an artistic card are
good cards, pure colors and good brushes, and, what is neces-
sary for success in any art or trade — patience. The first thing
to procure is cardboard. It can be obtained in all colors; the
best card for white is a medium weight coated board. The
dark colors — black, green, blue, red and so on — can be ob-
tained from any dealer or printer. The dark colors are coated
on one side only. Care should be taken in handling the cards
that they do not rub together, as by so doing they become
shiny in places, and the beauty of the show card marred.

The student will find that he can make many varieties of
simple cards. There are fundamentally only two colors to be
considered, light cards to be lettered in dark colors, and dark
cards to be lettered in light colors. Tickets and small cards

6 SIGN AND SHOW CARD WRITING.

for window displays are usually made on plain cards and let-
tered in some color that will contrast well with the goods on
which they are to be placed. Avoid iising cards with a body
color; they will detract from the goods. For instance, don't
place a pink card on a light green piece of goods. When in
doubt, use white cards. They are always neat and attractive
and harmonize with any color of background. Here is where the
opportunity presents itself to exercise taste. Most of the colors
mustbe obtained in dry form, in order to be pure, or they can be
obtained from concerns that make a specialty of manufactur-
ing and preparing paints expressly for this work. The colors
are put up in small jars, and with them comes a small package
of binders. When getting the colors in dry form, soak them
over night in water, then, to prepare for use, add a small
amount of glue (liquid glue or a good strong mucilage). Dif-
ferent colors require more or less binders, according to the
density of the pigment. The student mil do well, when select-
ing his colors, to provide enough so as to have a variety. Fol-
lowing is a list of good colors, suitable for all classes of work —
zinc white, ultramarine blue, ivory black, chrome yellow, Ver-
million and carmine.

BRUSHES.

The next thing to consider is brushes. The amateur must
provide himself, first, vv^ith a good set of brushes. It is im-

possible to do any class of work with poor tools. The better
brushes are made from red sable, but as they are quite expen-
sive, a good substitute can be had in ox hair. The beginner
can procure a few that will be suitable for all kinds of work.
The better sizes are Nos. 1 and 2 in small, and Nos. 3 and 4 in
a fairly large brush.

These brushes, or pencils, as they are properly called, are
made in a great many styles, the smaller ones generally being
made with a quill ferrule, while the larger sometimes have a
brass or nickel ferrule. The hair in the smaller brushes should
be about three-quarters of an inch in length, while the larger
should be about three-quarters to one inch. In the larger brush
there is a large variety to select from, but these will be taken

SIGN AND SHOW CAED WRITING. 7

up in later lessons. All brushes above No. 2 should be as
near square on the end as possible. This applies after the
brush has been put in color, (See illustration.) After ob-
taining brushes suitable for the work, they ' must be taken
care of properly. The person who uses them will in time
learn to guard them jealously, for good brushes are like good
wine, they improve with age. They must be carefully washed
after using and laid flat so that the hair will remain straight.
Keep these brushes for the exclusive use of the card writer.
It seems to be instinctive with many persons to pick up a
brush and commence to daub. This should be strictly for-
bidden. In a store there ought to be one person to do the
card writing, and he should be held responsible for the proper
care of the brushes and all materials.

SOMETHING TO WORK TOWARDS.

LESSON IL

POINTS FOR THE BEGINNER.

OF the very best card
writers never had any
special training. They
have a natural talent for
lettering and card writ-
ing, just as some peo-
ple have for music. There are those who
can make a good letter off-hand and ap-
parently obtain the same results as those who have studied and
practiced diligently for that purpose. Beginners are likely to
be too eager to do their work mechanically, blocking out their
letters with a rule, and feeling as though they must be abso-
lutely true and square. All this is a mistake. Even a crude

attempt at lettering, if it ^ ^

shows a freeness from the
straight and harsh lines,
looks better than those
that are drawn mechani-
cally and then filled in.
Do not be disappointed if
the first attempts fall
short of what was intended.
Only by experience can a
satisfactory result be obtained. It will take quite a long time
to get up to the standard of the cards shown in these examples.
Presuming that the student has procured the necessary ma-
terials designated in the first lesson, it will be well to start on
something simple, like the second example shown here.

LETTERING.

Take a white cardboard — about 14x22 is a good size —
mark very lightly, what will be the top and bottom of each
line of letters, and then space off for the reading. Do not draw
the letters, but mark lightly, so they will all be about uni-
form in size, and will^fit in the space designated by the line.
Care must be takeiKfiot to 'mark too heavy, as heavy lead

25 /oDiscounf ot^
TRIMMED HATS

During August

L

Plain Window Card.

SIGN AND SHOW CARD WRITING. 9

pencil marks show very nearly as plain as the letters them-
selves. Now take a little ivory black, that has been previously
ground in water, and add a small quantity of liquid glue. The
quantity of binders will have to be determined by experience.
There should be just enough to bind the color, so it will not

ExAMPi,E OF Roman Letters.

rub off on the fingers when dry. Too much makes the color
tough to work, and liable to crack when drying. This applies
to all colors.

Get your small pencil or brush — No. 2 is best — dip in the
color and try on a piece of cardboard. If the color is thick
or tough add a little water. The mixture should be about as
thick as a good rich cream. Keep a stick in your dish for
stirring, as most all the colors are heavy and liable to settle
to the bottom.

Now, having everything in readiness, start in with dash
and confidence. Outline the letters with the small brush (see
the second example), doing it with a quick, swinging motion.
The pencil should be held in a vertical position, thus giving
good control over the work. Starting with the first letter, which
is an M, make the outside lines first, then the diagonal lines,
and finish by putting the spurs on all strokes. Never mind if
the lines are crooked. It is to be expected when you are only
beginning. Now follow out the rest of the reading, or use
other wording if more desirable. It may be better to try
something that will be of some use.

Having finished this card, it is well to do the same thing
over again, as it will give the student practice, besides showing
where an improvement can be made. After outlining all the
letters it is customary to lay aside to dry before filling in the
inside. This can be done with the black, or any good color
that will contrast and harmonize with the black outline. Car-
mine or Vermillion is very good.

STYLE OF LETTER.

The style of letters that should be mastered is that
known as the Eoman. While these are without excep-

10

SKIN AND SHOW CAltD WRITING.

tion the most handsome and graceful letters in use to-day,
they .will not answer for all purposes, as they require a
great deal of space, to give them a. good shape and char-
acter. But when the student has mastered them he will
have no trouble in making any of the other styles. Many good
ones can be procured from any publication. It is impossible
for any two persons to follow exactly the same style, and it

Examples of Window Posters and Price Tickets.

will soon be found that the student will develop a peculiar
hand of his own, the same as in writing. If your style is con-
sidered good, it is better to cultivate it than to change.

While the cuts shown give an idea how the work will
look, it must be remembered they are made from drawings
many times larger. When possible it is well to get a good
card and use it as a guide to work by instead of drawing al-
together upon your powers of imagination.

LESSON III.

ALPHABETS.

card writer, after
mastering the subject of
the preceding lesson, will
find it comparatively easy to take
np any style letter. While it is
impossible to show all the letters that can be used, it will be
endeavored to make the student familiar with a number of
alphabets. Then, by combining parts of one letter with those
of another, some very clever designs may be worked out.
There are certain styles and shapes in letters that are espe-
cially adapted for use on cards, where space is limited.

It is well first. to consider the wording to be used, then de-
cide what particular letter will be the most effective. The

J&FsinieF^

Example of Fancy Roman.

principal feature of the card should be the word that desig-
nates the article, or the price. When the space on the card is
ample it is preferable to use the Roman letter, as that always
looks well, and conforms with any other type that may be
used.

PRINCIPAL STYLES.

There is a comparatively new letter in vogue now, which
is a variation of the antique type. This is easily adapted to
any reading matter, as it is possible to extend or condense it,
and besides it is an easy style to learn. Do not try to copy

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12 SIGN AND SHOW CARD WRITING.

exactly, but work out your own idea from it. In that way
you will derive the most benefit.

When making cards which require more than two lines of
letters, it is best to have a different type for each line, as it

Roman s^'^ Gothic

Example of Roman and Gothic.

not only gives practice in making but presents a much better
specimen of work. The numbers always look better when
made of the Eoman type. They are easily made, and have so
much character in themselves, that they are always pleasing
to the eye. They can readily be changed by making the body
stroke heavier, and by so doing the display is made stronger.
Another letter much in favor is known as the Devinne.
It is a combination of the Eoman and Egyptian, making an
effective letter, but one seldom used when it is necessary to put
quite an amount of reading on a card, as it requires consider-
able time in execution. Then there is that good and well-tried
letter called the Gothic. It is beautiful in its simplicity, being
composed of straight lines and curves, and is always pleasing
to any artist. There is probably no letter in the English
alphabet that is so susceptible to variations. It can be made
plain or, by putting a little point on the corner, another neat
letter is the result. It is customary on all off-hand work to use
the Gothic letter. ,

HOW TO LETTER.

Now, if you have a good No. 4 pencil (brush), see that
the end is perfectly square, dip it in some well mixed, easy

Example of Antique

flowing color and, taking a card, start a letter with the flat side
of the pencil toward you. Make a quick, steady stroke. By
holding the brush flat you will find the corners are easily made.
Be sure to use the same amount of pressure on your brush for

SIGN AND SHOW CARD WRITING. 13

the whole stroke, otherwise there will he a wavy edge, which
spoils the effect.

Next try a round letter like a D. After making a nice,
clean stroke for the straight line, hold the pencil in an easy
position between the thumb and the first and second fingers
and, with a rolling motion, make the curve. Practice alone
can bring your work to that stage where they will appear
artistic and properly balanced. Do not acquire the habit of
grasping your pencil hard; it should be held lightly, yet firmly.
There are many styles of letters for off-hand work which can

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Example qf Koman Numekals.

be studied and used when the card writer desires a change, but
do not confuse yourself with too many. It is far better to have
a few styles and make them well than to try something new
each time.

SPECIMENS.

This lesson will show a number of specimens of correct
styles and combinations that should be practiced diligently.

This line of work — the plain alphabet — should be dwelt
upon until the student feels competent to branch out more
extensively, which can be done by trying a few ornamental
letters like example. It will be noted that the principal
features of these letters are of the Eoman character, with a
few dashes and lines added in places that give them an easy,
sweeping effect, beside balancing the card. The letter G; for
instance, you perceive, comes directly in the center of the card,
thus answering a double purpose in being ornamental, and
also making a graceful scroll which helps to fill in the blank
space.

LESSON IV.

ARRANGEMENT AND SHADING.

all times, when making show
,„„^eards, one of the most im-
\r//i portant points to be studied
is the arrangement. The con-
struction of the letters may be
correct, but unless they are so
arranged as to produce a good
and catchy effect the essential
part is spoiled. All card work
should be done with the ob-
ject in view of making each
word speak for itself .
By taking the different styles of letters shown in a previous
lesson some good results can be obtained. For instance, make
the head lines of one style, and in any bright color; then
bring out the descriptive matter in a more subdued color and
type. It is well in the work to ascertain the best colors for
each particular card. By using a white card, displaying the
head lines in a carmine and bringing up the next important
reading matter either in ultramarine blue or black, you will
make an exceedingly attractive card. Dark cards, while they
make a very neat style to be used on the interior, are not ef-
fective in the window, unless the surroundings are in light
colors, AVhen it is necessary to use a dark card, the choice
would be a silk green or black.

The lettering colors for the dark cards are few in number,
white being by far the most effective. A light yellow or straw
color does well on some backgrounds. After lettering one of
these dark cards in a clean white, it is generally sufficient and
will admit of very few embeUishments. The contrast is clear
and sharp, and it produces a splendid effect by its simplicity.
It is possible at times to shade the lettering in vermilion or

14

SIGN AND SHOW CARD WRITING.

15

carmine, but a few clean-cut lines and scrolls will do more to
relieve the studied look.

SHADING.

Do not conclude from this that it is never wise to indulge
in shading. Many times it is quite advantageous to shade the
princi|>fll line. Shading is very simple. If a letter were to be
cut from some solid material, it would be found, upon holding
it in a position where the light would strike it at an angle, that
the edge of the material would throw a shadow, and the more
acute the angle the wider the
shadow. (See illustration.) It is
customary to shade the left side
of a letter, as it appears be-
fore the observer. The straight
side of a letter is generally on the
left, and, supposing the light to
come from the upper right-hand
corner, this would throw the
shading on the left-hand side.
There are no fixed rules to be
guided by. Letters shaded on
the left show, to an experi-
enced person, that they are the work of one versed in the
usages of sign writing. Straight lines take the shading better
than curves and slants. The sharper the angle on the corner
of a letter the darker the shade should be. The line from the
corner cuts through at m angle of 45 degrees, which is the
universal pitch of all shades. On the bottom the shading
should be darker than on the sides, as this part falls in the
deepest shadow. It is not necessary to block the shadow un-
less the student desires to exhibit his talent in that direction
and produce an extra fine effect. It must be remembered that
all this work should be done as off-hand as possible, otherwise
it will look rigid and stiff.

All work should have a small space between the edge of the
letter and the shade, showing a narrow line around the body
color. Use a color slightly darker than the background of
the card. This applies to any shading. Sometimes red or car-
mine can be used, but only with great care.

These rules can be deduced from the foregoing: Alwavs

16

SIGN AND SHOW CARD WlilTING.

shade on the left, alwa3^s use a color much lighter than the
lettering color and slightly darker than the body color of the
card. (This is given for light-colored cards. The reverse ap-
plies in dark cards.) Never try to imitate a sign writer's
shading on cards. That is a distinct branch by itself, and

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Examples of Up-To-))ate miow Gauds.

what would apply to one would not be correct for another. Be
careful, in arranging your work, to select the proper lines of
reading matter to shade. Many card writers get their best
effects from what, in their vocabulary, is called their "lay
out," by which they bring out the most striking features with
a little extra color.

LESSON V.

STUDIES.

ALL times the card writer
should plan his work in
advance. Not only the
wording but the style and
character of the letters,
as well as the general lay-
out of the card, should
be decided upon before the work is begun. There is a ten-
dency on the part of amateurs to work hurriedly and to fol-
low some set style, at which they are most adept, in all their
cards, with the result that there is a monotonous sameness
to them. To avoid thi? the

student should have a collec-
tion of sample letters or com-
binations of letters for fre-
quent reference. After the
usefulness of cards is seem-
ingly ended, do not destroy
them, but save them, and
later they will be of value
as copies or studies, and in
suggesting new ideas. It is
also a good plan whenever
any card or catchy display of
any kind impresses you, to
take your pencil or brush and
mark it down. You will then soon have plenty of material to
refer to.

IDEAS FROM BOOKS.

A great many good ideas can be obtained from any book
or printed matter, such as initial letters or display type.
Having gained a number of useful studies, do not try to put
them all in use at once, for instance, trying to introduce
five or six initial letters all on one card. An artist of some repu-
tation in this work once suggested to a beginner that he use
a few initial letters on a card upon which he was working. The

Suggestion for Interior
Card.

18

SIGN AND SHOW CARD WRITING.

Suggestion for Interior
Card.

boy immediately started in mak-
ing fancy initials, and when the
card was finished nobody but
himself could read it, he having
made every letter in fancy type,
and even tried to make the num-
bers to match. This only goes
to show that where one fancy
letter on a card looks well many
of them spoil it. There are
many ways of executing initial
letters, the simplest is to adopt
some good type of fancy let-
ter, the old English or Ger-
man text being well suited for
it, and then at the beainning
of each line of display matter introduce one of the fancy
capitals, in a different color than the rest of the lettering.
An exceedingly attractive
card can be made by using
a nice, neat black letter
and making an initial let-
ter in carmine red.

Should it be found u])on
completion that the red
letter looks too gaudy, it
can be toned down by in-
laying the letter with some I
darker color. To do this
all that is necessary is to
fill the letter in with the
darker color, leaving a
small, narrow margin of the original color around the edge.
Do not try to fill in the small hair lines, but only the body or
up and down strokes. All that can be given in this limited
space is simply the idea of the work, leaving the rest to the
student to work out.

USE OF STUDIES.

By studies is meant subjects from whicli ideas can be
taken. There are several illustrations in the preceding chap-

GoOD Pattenn for Fancy Card.

SIGN AND SHOW CARD WRITING. 19

ters which will serve as studies to those who have good per-
ceptive faculties. Do not try to copy too closely the ideas
of others. If something is shown that pleases, make use of
it, but try and introduce something else with it. As a rule,
if one artist brings out a new expression or class of work, there
are many that hasten to copy it instead of attempting original
work. On account of this, ideas soon grow old and the field
enlarges slowly.

There is danger, when working out new designs in letters,
of making them too elaborate or complicated. To be of use for
practical work, the simple designs are the most effective, par-
ticularly when used in windows where they must attract atten-
tion as the readers pass hastily by. On interior work, elaborate
designs are more permissible. Some of the best efforts in
cards and posters should be made for interior display, to
be placed on show cases along the counters or on the walls
of a store. They can be made in a great variety of shapes
and patterns. One of the oldest and most suitable designs
for an interior is the banner shape. Shields, circles, ovals
and other artistic patterns also look well. To make these
designs, it is best to mark the outline on the back of the
card, and then, after cutting, it can be reversed and used as
a pattern for the other side. A good banner for inside display
can be made from a silk green card, lettered in white, with
shading or' line work in gold. This gold paint is made in
the same way as ordinary colors. Take any good quality of
gold bronze powder and mix very thick with liquid glue or
mucilage; then thin with a little water. It will require fre-
quent stirring, as it settles very quickly. The artist should
take care that it is of proper thickness, or he will be compelled
to o-o over the entire work again.

LESSON VI.

POSTERS.

the student has become
proficient in making the
simpler cards he will have
an inclination to exercise
his talents upon something
elaborate. There are
many methods that may be
studied in this branch
of the art, conspicuous
among these are posters or
display cards, which are
made in many kinds and
styles. By noting the fol-
lowing principles and using good taste a person without any
knowledge of writing whatever may produce very creditable
display cards.

The essential things for poster work are some good pic-
tures, as they are the main feature of the card. Opportunities
will present themselves when one may obtain some litho-
graphs, the more striking the picture the more attractive the
poster. Next to lithographs come show bills or picture books.
Every week there are papers or magazines published that give
an unlimited amount of material to draw from. After procur-
ing some real good pictures, take a pen knife or pair of scissors,
and trim very carefully around the outside margin of the
figure, using the utmost caution to prevent cutting into the
designs, as that spoils the soft edge which you will find on
nearly all lithographs. After successfully cutting out your
picture, select a nice colored card that will contrast with the
coloring of the 'picture. Place this on the card until you de-'
cide in just what position it will look best, then mark very
lightly a few points, so that the picture may be replaced in the
exact position.

Lay the picture face down on a clean piece of paper, then
with some liquid glue, thinned down to the consistency of rich

SIGN AND SHOW CARD WRITING. 21

cream, wet the back very quickly. Caution should be used
to have a clean brush, the larger the better. Pick up carefully
and replace so the picture will lie in exactly the same place
where your pencil marks indicate. Eub lightly with a soft
cloth, and do not let the glue get on the card or picture, as
it is almost impossible to remove soiled spots. After placing
the picture on the card it is well to set something heavy on it
to prevent the card from curling.

COLORS FOR POSTERS.

When selecting the colors for the lettering choose contrast
colors. If the card is dark, use white for the principal color,
and if the card is white, use dark colors. A poster will admit
of considerable fancy work, such as shading and lining. A few
scrolls may be used. After finishing the white lettering, and
allowing it to dry, it is many times desirable to tint the let-
ters a little. Experiment will develop some very pretty tints.
By using white as the body color, and adding a trifle of red,
a beautiful pink is obtained, and if a little blue is added to
white the result is a delicate blue tint. So on with any of
the other colors. The two mentioned and a yellow tint, are
about all that are required for ordinary decorating.

In tinting take your pink and halve the upper line of
letters — by halving means going over the upper part of the

Shaped Poster.

letter with the tint colors, showing clear white on the lower
part. The other lines of letters may be treated in the same
manner, only using different tints for each line of letters.

With an initial letter and a little shading the student may
obtain flattering results, which will be very encouraging to

22 SKiN AND SHOW CAKD WKITINCJ.

him. It is not well to use this class of work to any great ex-
tent in windows, as it is liable to become tiresome to the eye.
One full size card to each window is sufficient. Pictures
may be used on small cards for price tickets or other displays,
grading the picture according to the size of the card.

POSTER PAPER.

There is considerably more to poster work than the average
person realizes. Quite recently there has been a paper made
for this special work. It is known as poster paper. By using
this, far more beautiful cards can be made. There are only
a few places where this paper can be obtained, but it is well
worth the trouble to get a few sheets for special work. There
are about six colors made, but the best one by far is the rich

color called poster green. It is a peculiar shade that will har-
monize with any color with which it may come in contact.
The surface of this paper is rough like felt, and must be treat-
ed carefully. If the student desires to make cards of this
material, it will be necessary to mount the paper on a heavy
cardboard. Strawboard, or the ordinary card will do. After
this paper is mounted on one side, the card should be reversed
and some good quality of heavy paper applied on the back, so
the strain from drying will be equal on both sides. These
cards can be procured already mounted, and where time is
limited it is preferable to obtain them in this form. The
lettering is done in the same manner as the plain poster card,
except that the color is used much thinner. In the examples
of posters shown in previous lessons most of the tine detail
work is lost in the reproduction, as the cards are reduced many
times, and the fancy shades show only as black or white.

LESSON VII.

SCROLLS.

of the most effective as well as
essential decorations for card
work is the scroll. The word in
itself has many meanings, but as the sub-
ject in hand relates to the making of show cards,
the scrolls dealt with here will be confined to that
particular class of work. Scrolls may be used for a
number of purposes, as the outside shape for a
fancy card, or a decoration to relieve its plainness

Simple Line scroll.

— different classes of work requiring different shapes
and styles. There are only a few real parts to a scroll. It is
the grouping and forming of these parts which make the
graceful design, that may be seen in all classes of work, in-
cluding card making and illustrating.

TWO KINDS OF SCROLLS.

There are two particular kinds of scrolls that will be of
great use to the card writer. These are known as line scrolls
and shaded scrolls. The simpler of the two is the line scroll,
which is probably much more used than any other in this
work. It consists of a few curves and straight lines in-
tertwining each other. The nature of the work must,
of course, be governed by the space there is for it.
Line scrolls are senerallv used in between set lines of reading

23

24 SIGN AND SHOW CAKD WRITING.

matter, where the background shows too strong, or there is too
much open space. The illustrations of simple line scrolls
given on this page will show the rudimental parts and give
the student subjects to draw upon in doing this work for
ornamental purposes. Utmost care should be used to have
them present a graceful appearance. Otherwise they will be
a detriment rather than an advantage to the work.

BOTH SIDES OF SCROLL ALIKE.

It can be observed by the illustrations that both sides of a
scroll are alike, which idea should be kept in mind when at
work upon them. If the design were to be divided it would be
found there were two distinct parts, though it is quite feasible
to use one-half for a decoration where the space does not
permit of the whole design. While there are many methods of
forming designs, the easiest is to make one-half entire and then
copy this for the reverse side.

SHADED SCROLLS.

There are only a few ways that the other style or shaded
scroll may be used, as it is too heavy for decorations. It is
very valuable, when one desires to make something in a
fancy shaped card. By looking at the initial illustration used
at the beginning of this lesson, it is seen how it may be used
as the border for a card, by designing a few patterns as
fancy shapes. It will be noticed that there are many combi-
nations which may be made from fancy scrolls, though they
have but few parts, as will be readily seen, if they are sepa-
rated. By taking the larger section and using it as a body, the
smaller section may be laid over or under it in such a manner
as to produce some very clever designs. If the student will
take a full sheet of cardboard, and draw a design similar 1o
one of those shown herewith (a light tinted card, such as pale
green or yellow, will do for the experiment), then carefully
trim the card to the outside edge of the design, which gives
a good shape to start with. If your card is light, put the let-
tering on in some good substantial color, like red, blue or
black. It should be ascertained that the colors are dry before
attempting any fancy work, as the arm must have plenty
of room to swing, and would rub the lettering if it were not
dry. Then take some white, or if the card is too light to

SIGN AND SHOW CARD WRITIN(4. 25

show that to good advantage, use a color darker than the
hody of the card, and follow very carefully the design you
have marked on the card. When this is completed, by taking
the same color and adding some darker tint with it, just
enough for a nice clear contrast, you will get a shadow color.
This must be put on sparingly, the idea being to represent
carving, and the darker tint should be placed where it is de-
sired to show the carving as cut deeper than at the other
points. The raised parts of the scroll work should be the
lightest in color, the whole effect being to imitate some style
of frame work.

EXAMPLES FOR PRACTICE.

The student will find many examples to work upon, by
observing the rehef work shown in the illustrations of modern
printing. Many times it is necessary to make a number of
cards or decorations of the same kind, and, in order to save
time and the labor that would be required to draft each one,
we have what is known as the pounce or pattern. It would
be an advantage for the student to make a few of the more
common scrolls in this form, and then he would have a
pattern always at his disposal. To make a pounce, it will be
necessary first to procure a sheet of good Manila paper, not too
heavy, then carefully design the scroll or reading matter in
lead pencil. Go over the hnes with a tracing wheel or needle
and perforate all the lines so that, when held up to the light,
the pattern will show the whole design marked out in the
perforations. A pounce bag is made by taking a thin piece
of mushn, with a small quantity of powdered chalk or charcoal
in it, and tying it up in sack form. When this is done, lay the
pattern on a dark card and rub it gently with the light colored
pounce bag, and the design will appear in perfect form ready
to be copied in color. The powder afterward can be brushed
from the card, and in case the design is not clear this process
can be repeated. The pattern should be reserved for future
use.

'^V- LESSON VIIL

TINTS FOR BACKGROUNDS.

are numerous ways of producing
desirable effects in show cards
through the use of the proper
backgrounds. There are none
that are so easily made or show up so
well as the blended tints or rainbow effects.
The method of doing this is very simple
and requires so little time that it readily
appeals to the student as worthy of adoption.
The necessary material for this branch of the work is an
assortment of colored crayons, or chalk. There are two kinds,
the soft and the hard, but as a rule it is better to select the
former, though either of these is obtainable at any school
supply store. The first step in this work, after reducing the
crayon to powder form, is to select a few pieces of cloth about
five or six inches square, common muslin preferable,
place the powder on them, each color on a separate piece, and
tie each up in the form of a bag. Two sticks of chalk or
crayon to each bag are sufficient.

When these are in readiness, the next thing is a piece of
cardboard. If you use the white coated cardboard, reverse it
and work on the back, as the front or coated side will not
answer the purpose on account of its smooth surf nee. The
card must have a grain, otherwise the powder will not adhere
to the surface.

TINTING THE CARD.

Supposing the following colors to have been made, it
will be well to start in the middle of the card with a red or
Vermillion tint. Take the sack or bag of the color mentioned,
rub briskly across the card diagonally and it will leave a pink
tint; then take another color, yellow or light green, and follow
the same method next to the center tint, and so on until the
card shows color enough. If these directions are carefully
followed, the body of the card will show a beautiful rainbow

26

SIGN AND SHOW CARD WRITING. 27

effect. These colors should be applied to the card until they
show quite decidedly, for when the lettering is put over the
tints there will be a decided change in the appearance. If
bright colors are used for lettering, the tints will scarcely
show, unless they are quite heavily applied to the card.

nk^

Many novel effects can be produced with the color bags.
One most commonly used is to cut fancy shapes, such as stars,
from a heavy paper, and when ready to tint put one of the
patterns or shapes on the card and rub the color over it. The
result will be that under the pattern or star there will be no
coloring, and it will show forth a pure white with the fancy
colors surrounding it. These tints may be rubbed on the
card in circular form, or on each end. A little experimenting
on the part of the operator will serve to develop many original
ideas, which will not be dwelt on here, for it is only the pur-
pose in these lessons to give the plain instruction and allow
the card writer to follow his own devices. Novelty is the point
to be aimed at, as far as possible. There are other ways of
producing Effective backgrounds, but the foregoing is by far
the simplest, quickest and cheapest.

WATER COLORS.

Water colors can be used very successfully in this class
of work, but they must be used in a masterly manner or the

28 SIGN AND SHOW CARD WRITING.

effect will be far from satisfactory. If it is desirous to use the
water colors, it must be understood that the work must be on
something better than that on which the ordinary card is
written, and it will be necessary to procure some cardboard
that is adapted to the use of water colors. The ordinary cards
will not answer,- as they must be of a harder nature and have
a decided grain, for on smooth board the work will blurr.

Water colors are decidedly attractive for putting the
finishing touches, such as a few flowers or suggestions on a
show card. Many little conceits may be applied in this man-
ner that will help to develop the work in hand. In doing
this class of work, the student will find innumerable sugges-
tions for fancy sketches, such as pretty pieces of dress goods
or wall paper. Those having a natural talent for this line
will be able to work out unique designs without any of these
objects for patterns.

EASY ILLUSTRATIONS.

Another way to make cards of this nature is to letter them
for whatever purpose it is desired, and if they are to represent
a spring opening, some artificial flowers may be glued to the
card in place of painted ones. For fall use autumn leaves,
sprigs of wheat or any natural product that is an indication of
fall, will add attraction to the card; holiday cards could have
holly, mistletoe, etc. It has become quite a popular idea to
represent the seasons in this manner.

There is one other style in this line that can be easily made.
Select a dark colored card and letter with white, confining the
lettering to the center of the card. Then take a sheet of
heavy paper, with a rough surface, the same size as the card,
and tint in the same manner as has been explained, using
colors quite heavy. Then tear a hole in the center of the
paper, the more uneven the better, curl the edge back -in roll
form, and lay upon the dark card in such a manner that the
lettering will show through the torn part; attach these to-
gether with a little glue, and the result will be very pleasing,
as illustrated in the figure shown herewith.

LESSON IX.

ORNAMENTAL SHAPES.

^ENAMENTAL shapes in card work may
be carried to any extent desired.
To the profession the term ornamen-
tal applies to most every style outside
of the regular square card. To the
mind of the ordinary person this term
applies to subjects such as seen in
the illustrations on this page,
though in this, as other styles of the
work, there are many ways of carrying out the idea.

INDEX FINGERS

Those most in demand are what are known as "Index
Fingers," or fancy panels, with a hand pointing in the direc-
tion to which the attention of the observer is particularly di-
rected. A striking effect may be made by using this style of
card in fancy shape with the wording "Look." Care should be
taken to give the hand a natural look, as the effect is thus
made striking.

The manner in which the hand shown on this page is
held gives the most attractive shape, as the fore finger and

thumb make the principal
^ — -— _iii& ■) feature, besides properly

I^O O i^----^CC balancing the design. The

better way for the card
writer to do is to make a
number of these shapes in different sizes, and when necessary
to use them in the reverse shape, it can be done by inverting
the pattern.

In making index fingers, a design which no card writer can
do without, care must be used to make them strong, though
it is not necessary to paint them in colors such as an artist
would use in making a portrait, a few good strong lines do
equally as well. The subjects here shown make excellent

29

30

SIGN AND SHOW CARD WKITING.

copies to work by, or a correct model can be readily obtained
by holding: the hand in that position and copying it.

RIBBON WORK.

The ribbon or panel work must be designed according to
subject. Cards of this nature are much prettier when cut to
shape. Ribbon work can be used in many way? in connection

i^UliVKU UlliBKN yUJN.

(The price to be (luoted Ijeiieath.)

with indexes. The idea to convey is that of a flowing banner
or ribbon with lettering upon it, interwoven and flowing in
a graceful manner. These decorations are very pretty for in-
terior and for windows, the amount of coloring that can be
used making them very attractive. In planning work of this
kind the design must be made in such a manner as to show
each fold or wave as it would turn, if it were a real ribbon.
The portion coming next to the flat face or surface would show
a darker color, as it must be in the shadow. The idea most
desired in making ribbons is to represent on one side a dif-
ferent color than on the other; for instance, the body or face
red and the back blue, thus making the folds in the ribbon
show two colors, which add much to the beauty.

A plain and comprehensive way to study these effects is
to take a strip of paper and paint one side red and the other
white, and bend in similar shape to the design upon which
you are working. By noticing closely the effect of the paper,
it will be observed that the lights and shadows come out very
strono-. whicli should be remembered when finishing the shad-

SIGN AND SHOW CARD WKITIN(i.

31

ing. When a red card is used for the body the heavy shadows
should be in a color slightly darker than the body color.

TRANSPARENCY SIGN.

Many of the novelties and new designs originate from the
ribbon effects. The principal new one is the transparency or
night sign, which for general effectiveness has few superiors.
The design for the shape is cut from one or more cards, and
the lettering is carefully marked out in lead pencil, but instead
of being put in color as usual, the letters are completely cut

\

RLEANS

Plain Ribbon Sign.

from the card. After this has been accomplished, take some
thin tissue paper, colored being better than plain white, and
paste carefully over the back of the card. The inner part of
some of the letters such as the center of the "0" will be loose
after cutting, but these can be placed in position and fastened
to the tissue paper. By placing a card like this before light the
effect is striking, and the decorating can be done in such a
manner as to look well in daylight also.

LESSON X.

PEN WORK.

ingenuity of the pen
£ manufacturers has
■ recently been turned
- to the making of
large sized pens, es-
pecially adapted to
the use of card writ-
ers. While pen work
at first seems quite difficult, the student, after he has become
familiar with its use, will find it a good medium for quick
work, for maldng a clean cut letter, and for certain styles of
execution where a brush or pencil would hardly answer.
• These pens are made in many styles, but it is the intention

Pens for Card Writing.

in this lesson to describe only the more common kinds, as
most of the others are extremely difficult, even for a profes-
sional, to handle. They are the shading pen, the large
stub pen and the ruling pen. These will, if properly used, pro-
duce most of the styles that the average card writer will care to
attempt.

AUTOMATIC SHADING PEN.

The automatic shading pen is composed of two parallel
strips of metal, set in a holder in such a manner as to retain
the ink or color so that' a continuous flow is created. The
ends on one side being grooved, cause the color to flow
heavier, which forms a shade. The pen can be
used with a heavy ink, or, if a solid color letter is desired,
the use of the plain colors will produce it, black being the
preferable.

32

SIGN AND SHOW CARD WRITING. 33

The colors for this work should be used very thin, with
plenty of binders added, to give an easy flow.

The styles of letters best adapted to this work are the
antique, and what is known as the overhand script. If the

Sample of Antique Letteu.

pen is used with the flat side toward the operator, it will pro-
duce a heavy line, while the other side or narrow portion will
produce a fine hair line. Any width may be made by holding:
it in an angular position to the upper and lower margins of the
working lines for the letters.

Many clever pieces of work can be made by the use of
these pens. By constant practice on the few suggestions here
given the operator may become quite proficient in the use of
this pen. With the lesson will be found specimens of the or-
dinary kind of pen work, which will give the student plenty of
ideas to work from.. It might be advisable in cases where a
card is intended for outdoor use, or where it is exposed to
dampness, to use what is known as waterproof drawing ink, as
it is not affected by moisture. This is also used when it is de-
sired to go over the lettering with some other water colors, as
the plain colors will not withstand the moisture caused by
going over them the second time.

DRAWING PENS.

The other style pen is the wide steel drawing pen. This
is made similar to the ordinary Avriting pen, but, as it has a
very wide nib, the use of it produces an extra heavy body
stroke. This gives plenty of opportunity to make bold curves
or sweeps. These pens are made in different sizes, which en-
ables the card writer to select one that will be especially
adapted to the particular style of letter which may be chosen
for the work. The pen is handled in the same manner as the
automatic shading pen, but is designed for use where smaller
letters are required.

To execute work nicely with pens, the first thing to learn
is the proper way to hold them. It is impossible to use them
as one would the ordinary writing pen, for they will not per-

34 SIGN AND SHOW CARD WRITING.

rait of any up strokes. The work must be done on the down
or side stroke, and the pen should be held so the entire width

^tye^iimend Of
'pen XOork^

^^eCapd Writer

Sample Combination for Card.

of the nibs lie perfectly flat on the paper. In making all
curves or rounding portions of letters, the hand should be
able to move freely and in a circular direction.

It is possible to make with these pens other styles of
letters beside those mentioned, for example the block letters,
and one which is a combination of Roman and Gothic.

RULING PEN.

There is still another pen that might be of assistance in
all ruling work; it is known as the ruling pen. It may be
obtained at any stationery store, and any form will do. After
a card has been lettered it may be greatly improved by striping
a. narrow line around the margin of the card. Next rule a fine
line about one-quarter of an inch from the striping around
the inside of the card. There are also other ways in which the
ruling pen may be used to advantage.

LESSON XL

SCRIPT.

lettering, as used
in the modem
card writing, dif-
fers materially
from what is used
in the text books
of the schools. It
will be found when looking up on this style of lettering that,
while it is an adaptation from the ordinary script, it is differ-
ent, first in that it must be converted in such a manner as
to become of commercial use. In doing this it changes the
character of the original to suit the -purpose of the writer.

If it were possible to use a pen large enough to make a
three or four inch letter, there could be made a perfect fac
simile of the old Spencerian, but as it is, it must be made with
the brush, which admits of none of the flourishing that may
be executed with a pen. The Spencerian script, as used in this
work, is more like the Roman letters shown in other lessons,
and is capable of any amount of embellishment. It will be
noticed in the illustration shown that there is much character
to this style.

aye/zis

SampliE of Italics.

The secret of good work in lines depends principally on the
tools employed. It is necessary to have a brush with a nice
clean point — if without such, one may be made from the
larger size brushes by carefully cutting away the outer hair
and reducing the size of the brush till it is a good substitute
of the fine pointed pencil.

MAKING LINES.

The work of making lines should be practiced upon at some
length before attempting to make cards. There are a few

35

36 SIGN AND SHOW CARD WRITING.

illustrations shown giving an idea to start upon. The first
letter of the example, "Facts not," is an "F." This letter, it
will be observed, has quite a few flourishes, though it is easily
simplified if it is desired to do so. For making script lettering,
the student must develop what is known as the swinging mo-
tion; that it, to be able to make a quick circular movement by
allowing the brush to make a clear cut line. Another notice-
able feature in this class of work is the very few straight lines.
When commencing upon the script work, take an extra hard
lead pencil and mark the letters carefully, then try to follow
closely. If by chance the brush should vary from original
marking, do not try to change it, as it will make a clumsy
line. Instead try and conform your letter to the line as you
have it made. This style does not need to be as accurate as
the regular letter, since the peculiar form allows considerable
deviation.

In outlining the letters, make the body or heavy part of the
letters first, then the fine lines connecting each individual
letter after, as in example here given. This work can be
studied best with a little experimenting.

DIFFERENT STYLES OF SCRIPT,

As in all other lines, there are many styles to choose from,
though the one in most frequent use is what is generally called

Flourished Initial Letter.

the "Koman text." No matter what style may be followed,
the principle always remains the same, and should be exe-
cuted in the same manner.

Another pretty style for quick work is known as the italics.
This is part .-cri|)t and part Roman, each letter to be detached
but still having the running ett'ect shown in script. This
style is easily made with a pen. the large stub being preferred.

The last, but not the least, is the signature script. This

SIGN AND SHOW CAKD WKITING.

87

can be used in many ways that will help to bring out the
strength of the card. The letters should be made bold and
regardless of the ordinary style of script. It is generally con-
ceded, of the many ways for designing these headings or dis-
plays, the best way is to take a broad nib stub pen and write
the word very quickly and heavily on a piece of paper, then
enlarge to the proper size on the card. It can be used to great

COMBINATION DESIGN.

advantage as a heading for a card when special attention is
desired to that particular article. After the lettering has been
finished, the heavier parts of the letter can be filled in with
some other color, which will strengthen the design very much.
It should be remembered that while a few lines of script help
beautify a card, it must not be done indiscriminately, as a
card entirely made of script is confusing. Another caution
would be never to use two kinds of script on one card.

LESSON XIL

PRICE TICKETS.

is probably no branch of the card
writing art requiring more patience
and ingenuity than the making of
price tickets, so extensively used at
the present day. They must not
only be attractive, but easily made.
The particular part of the subject
taken up in this lesson is the small ticket used now almost
everywhere, since competition is so keen that all goods must
have the price attached in order to draw the attention of the
purchaser.

The primitive form of tickets, with the prices marked in
lead pencil, or with an old marking pot, must now be laid

Sample Price Tickets.

aside and attention given to the more modern methods.
There is nothing that detracts more from the general appear-
ance of a window than a poorly made price card, while a neat

38

SIGN AND SHOW CARD WRITING. 39

and attractive card will be noticed, even though the window
trimming be crude.

HOW TO MAKE THEM.

The simpler way of making price tickets is to cut the
cards the required size, then letter carefully in some catchy
color. Care must be used to have all the cards in one window
look alike, though the reading matter be different.

When it becomes evident that the plain cards will not
answer for the display upon which they are to be used, the
card writer must look for new ideas, the neater and more
novel the better. The easiest way to get a good line of fancy
cards is to call on the printer and look over his stock of ad-
vertising cards. Select a good assortment that has a place
suitable for the lettering. They can be purchased very cheap-
ly, costing but little more than the plain cardboard.

Another good card for this class of work is the mount
the photographers use. They generally comprise a very large
hne, some have beveled edges, plain or gilded, while others are
fancily embossed and printed with neat borders. If there is
no supply store near, the photographer will order them.
These cards look much neater when lettered in plain colors.

ATTRACTIVE DESIGNS.

In many lines of business it is essential that something at-
tractive be used in order to call especial attention to an
article. Here is where pictures can be used to great advantage.
Any good picture will do, but if possible use those which have
plenty of color in them. Other good tickets may be made by
pasting on cards the fancy gummed labels obtainable at
all stationers. If it is impossible to obtain them
ready made, fancy shapes may be cut from plain paper and
pasted on. Autumn leaves are very pleasing, while stars,
shields, flags, or in fact any artistic design, adds richness and
character to the ticket. These fancy shapes may also be cut
from the heavy cardboard itself and used advantageously. If
the card writer has the time, he can make some effective
tickets by covering fancy shaped cards with colored paper or
embossed tinfoil, then lettering in carmine or some equally
brilliant color. Cards of this nature will do much toward re-
lieving a window trimmed with dark goods.

40 SIGN AND SHOW CARD WRITING.

HOW TO SAVE LABOR.

When there are many cards to be gotten out, it will be
found a great help to make a pattern for laying out the work.
A simple method of doing this is to mark the top and bottom

Sample Price Tickets.

margin of each line of reading matter on a piece of card the
same size as the ticket, and carefully cut a slit large enough to
follow with a hard lead pencil. By laying out the work in
this manner, all the cards will have a uniform appearance when
finished. In many cases rubber stamps will be found useful
when a larger quantity of cards are desired. If the card writer
has a set he will find by stamping a letter, then rubbing gold
or silver bronze over the fresh ink, it will adhere and show a
clean cut letter. Then, if inlaid with some bright color,
the result will be a ticket that looks well, though the product
of but little time and labor.

LESSON XIII.

EASY ILLUSTRATIONS.

is now understood that show cards and
price tickets may be made in a great
number of combinations. Many card
writers, while able to letter fairly well,
seem incapable of arranging their work
in a consistent form. It is the intention
in this lesson to show some of the easiest
ways to obtain results that otherwise
would require a great deal of patience
and work. It will be observed by the
literary public that a current publica-
tion has been drawn upon to help the
subject. The illustrations are nearly all adapted from Puck,
while not used in their original form they still bear a very
close resemblance. The idea being to show how readily such
pictures may be used to
make effective and catchy
show cards and price tick-
ets. The publication men-
tioned is only one of a
great number that may be
obtained anywhere at a
very small cost. If possi-
ble, obtain the old issues,
as they are preferable.

JExtra }!

Rll Rbouio^^

Suggestion for Window card.
ADAPTING READING TO PICTURES.

The illustrations printed in these papers make excellent
pictures for price tickets. The original joke or reading mat-
ter can be left out and another substituted, providing it con-
tains a witty remark in reference to the article upon which it
is placed.

The reading matter on the cards shown on these pages has
been made to suit the pictures selected. In many lines of

42

SIGN AND SHOW CARD WRITING.

business such
cards or tickets
could not be
used, but other
similar pictures
may be used
which are suita-
ble.

Fashion plates
of the different

Good for Motto Card. branches of trade

have many helpful drawings that can be used to excellent ad-
vantage. This class of pictures, when used on a show card,
should invariably have a white background, in order not to
show that the subject has been pasted on. If a little care is
used in this work, the card writer will be surprised what a
great number of new and original ideas he will be able to ex-
hibit each week.

CHANGE STYLES OFTEN.

Progressive merchants must be continually on the alert
for something new and catchy, but when a new method is
found that appears to catch the great majority, judgment
must be used not to
carry it too far.
When cards like
these are used for a
few weeks they
should be laid
aside and some new
idea brought for-
ward, then later on
the first idea may
be used again. In this way it is possible to keep the public
continually on the watch for the new things.

There are other easy illustrations that are helpful, such
as show bills. Many good pictures may be obtained in this
way. Probably the most attractive line of cards now shown
owe their success to the show bills. The great feature is to
bring out the show card at the same time the play appears.

Suitable for Price Ticket.

SIGN AND SHOW CARD WRITING.

43

and make some catchy remark in regard to the play and the
article advertised.

These cards have had an almost inconceivable sale in the
larger cities, some firms devoting their entire time to their
manufacture. All work of this kind does much toward bring-

SUQQESTION FOR POSTER.

ing the merchant who uses them to the front, both for his
business energy and for his originality.

The card writer who has the firm's interest at heart will
always be on the lookout for some new ideas and suggestions
that will be trade winners. It is always well when a new
subject is taken in hand to bring it out with such force that
competitors will not venture to copy for fear of the ridicule
it would cause.

LESSON XIV.

CARDS FOR WEEKLY CHANGES.

LARGER stores are now adopting
a system of display cards that for
neatness can hardly be surpassed.
The idea being not to fill the win-
dow with a quantity of flashy or
gaudy cards, but to confine all the
energy in one. This is encased in a holder or frame in such
a manner as to be easily changed, while producing the eft'ect
of something elaborate and new each week. The expenditure
is all at the first when the frames and cards are purchased.
The effect of these display cards are well worth the small
outlay, for the artistic beauty and finish they add to a win-
dow can hardly be excelled by any other method.

THE FRAMES.

The holders or frames are the most important part. They
must be made so a new announcement card can be substituted
each week, and should be so neatly made as to always bear the
finished appearance of the window itself. It is the intention
of this lesson to treat more especially on the holders than on
the cards, and to show in a simple and concise way how these
holders or frames may be made by the amateur with as small
an outlay as possible.

A simple yet effective design will be treated of here. The
illustration shown will give the reader an idea of the finished
appearance of these holders. It can be readily observed that
they are made with two compartments, one for reading mat-
ter and the other for a suitable picture suggestive of the line
of goods displayed. These frames can be used to advantage
in the dry goods and clothing departments, though they are
readily adapted to all lines.

MATERIALS NEEDED.

The materials necessary are easily procured. The first arti-
cle is a piece of heavy cardboard, or, better still; the pulp

SIGN AND SHOW CARD WRITING.

45

board used in making mats for picture frames. Select a piece
about 20x28 inches, and marlc the design similar to the illus-
trations. Sharpen your knife until the point has a razor like
edge, and carefully cut around the margin of the inside panels.
Great care must be used to make a clean cut edge, otherwise

the effect will be spoiled. If the card writer has not sufficient
confidence in his own ability, it would be well to take this
part to a frame maker. After the panels have been cut out,
the whole mat should be covered with poster paper. In case
this is not obtainable, a good ingrain wall paper will answer.
Dark colors are much richer than the lighter shades.

HOW TO MAKE THE FRAMES.

After covering the whole surface, miter the corners, when
the panels have been cut away, and carefully press the paper
around the edges, after pasting it down with flour paste. It is
well to allow this to dry under a press to prevent warping.
The next essential thing is to prepare the frame work for the
back, which should be made from pine strips about one inch
wide and one-half inch thick, securely nailed at the corners
and glued to the cardboard. Strips should then be fastened
around the panel to hold the cards in place. Many devices
may be arranged for this purpose, but the simplest way is
to cut two strips of wood to fit the space where the cards
belono- and fasten them with small nails.

46 SIGN AND SHOW CARD WRITING.

The face of the mat may now be decorated in any manner
pleasing to the artist. A few gold lines and scrolls generally
are sufficient, after lettering the firm name on either the
top or bottom of the frame.

When all this work is completed it is well to take the outside
measurements to a frame maker and have a one-half inch gilt
frame made with a glass to cover the whole mat, as it is in-
tended for continual use, and if not protected will soon become
soiled. All that remains now is to make the announcement

Suggestion for Corner Scroll.

cards to tit the panels. The one with the reading matter
should be plain white, with a neat black letter. The other
space is intended for a picture, preferably a fashion plate.
These cards and pictures should be changed each week, and
:he reading matter should be appropriate to the goods dis-
played.

Simpler or more elaborate designs may be worked out at
the option of the card writer, but the one here shown re-
quires very little work, and makes an excellent addition to
the display. It is well in all cases to have one for each win-
dow, and all of a uniform size. The card writer can, by con-
sulting the window trimmer beforehand, find the nature of his
next trim, and have the cards ready so that the new cards
nay be put in the frame when the trim is changed.

LESSON XV.

SHOW CARDS ON MUSLIN.

KIND of work is not, as a
general rule, classed under
the heading of show cards,
but the nature of the work
is such that it may readily
be adapted by the card
writer. The professional
man would indicate them
as muslin signs. As mus-
lin signs are intended only
for use during some special
sale or announcement it
can be readily noted that the work must be very showy and
bold. It is not the intention to take the student through all
the branches of the modern sign writer's art, but simply to
select that which will be of service to him, when it is desired to
do economical advertising.

For many reasons, it is well to have the ability to make
muslin signs.

HOW TO MAKE THEM.

The more common and useful signs of this nature are
made on frames covered with a good quality of bleached mus-
lin, and lettered in showy colors.

A frame for this work should be made of strips of wood
two inches wide, securely nailed together at the corners and
braced, with cross sticks, about every three feet. These
braces may be nailed across the back, but it is essential that
the joints be put together in such a manner as to insure a
smooth surface on the face, otherwise it will show up badly
when the muslin is stretched over the frame.

Covering with the cloth is a simple operation, after tack-
ing it alons one edge of the frame, it should be turned com-
pletely over and the process repeated, commencing to tack in

47

48 SIGN AND SHOW CARD WRITING.

the middle and working toward the end. This method will
overcome any liability to wrinkle. When the covering has
been completed the frame should be set in an upright position.

DRY GOODS

NOTIONS, &c.

This class of work is much better executed when placed in
this manner, as it allows the operator to see all the work before
him.

LETTERING ON MUSLIN.

The lines for laying out the lettering can readily be made
with a snap line, previously charged with charcoal or colored
chalk. Spaces for the letters should be made with char-
coal, as this is very easily flicked off after the work is finished.

The next important feature is mixing the points for the
lettering. It must be remembered that water colors are not
adapted to this class of work. There are many ways to mix
paints for muslin signs, but by far the best success is obtainable
in the following manner. After selecting the color desired,
procure it in dry form. Get some cheap furniture varnish, the
cheaper the better, as it mixes easier and dries quicker. Mix
the dry color with the varnish, until a thick paste is obtained,
then thin down with turpentine or on large work benzine will
answer admirably as a thinning property. The paint should
now assume the consistency of thick cream.

After finishing the work of preparing the colors, select
a good size lettering pencil and commence the lettering.
Working in similar manner as in making show cards, outlining
first, then filling in. This work does not need the careful exe-
cution that the show card does. Flat artist bristle or varnish
brushes are easy to handle and obtain good results. If the
student will practice on an old board or piece of cloth before

SIGN AND SHOW CAKD WRITING.

49

attempting to letter the sign, he will in a surprisingly short
time acquire all the confidence that is needed. As this class
of work is not intended for close inspection, more attention

HARDWARE

must be given to the contour of the letters than to the perfec-
tion of the lesser details. Care must be exercised not to allow
the color to drop on the cloth, as the spots can not be taken
out.

BOLD WORK NECESSARY,

In all classes of muslin work it must be remembered that
quick, bold work shows to great advantage, while puttering or
niggardness spoils it. This work allows the amateur to bring
forward those bright colors he admired early in these lessons.
When constructing muslin signs that are to be large, it is
well to make them in sections, about three feet wide and 18 or
30 feet long, and when lettered they can all be placed in posi-
tion as one sign. This plan will greatly reduce the labor in
constructing and hanging, without danger of collapse at the
last moment.

LESSON XVI.

SHOW CARDS ON OIL CLOTH.

AKING show cards on oil
cloth is much the same
process as making them on
muslin, but as they are in-
intended to see more serv-
ice it is essential that
greater care be taken in
their construction. It is
possible to do some elab-
orate work on this material.
The surface is smooth and
takes the colors fully as well as signs made on board. The
frame work is made the- same as those intended for muslin. In
covering with oil cloth it is necessary that it be stretched
tightly over the frame, that it may insure a good working sur-
face and be entirely free from wrinkles. The lettering is done
practically the same as that on muslin, though the colors are
mixed in a different way. The most important feature is to
give a brilliant, glossy effect to the lettering. To do this all
the paints must be mixed with oil. The colors ordinarily used
can be procured at any paint store ground in oil. They are
ready for use with the exception of thinning with a little tur-
pentine or boiled linseed oil, and a small quantity of dryers.
"The adding of the dryers must be regulated according to the
time in which the paint is desired to be dry and hard. A
table spoonful is sufficient for a small cup of paint. When
it is necessary to dry the paint very fast more may be added,
although it should be remembered that the more dryers added
the harder it will be to make the colors work nicely.

LETTERING.

Before laying out the work for lettering, if the cloth is
rubbed over with benzine or a mixture of whitening and water,
it will be quite easy to mark upon, besides obviating any ten-
dencv of the colors creeping. The top and bottom of each

SIGN AND SHOW CARD WRITING. 51

line of lettering should be put on with a snap line, and the
lay out of the letters is best accomplished with a lead pencil.
The most extensive use for oil cloth signs is for interior dis-
plays. It is only possible to give a few of the methods of
utilizing this valuable material. Any reader, who has visited
the large city stores, has probably been impressed with the
large quantity of showy signs on the walls, made with a rich
maroon background and lettered in gold.

USE OF FLOCK.

This class of signs is easily made and gives an impressive
display for an interior. The essential materials needed are
good gold bronze powder, and what is known as "flock." To
make this class of work it will be well to start with the sign
which has been previously covered with oil cloth. After the
lettering has been laid out carefully, procure some quick
drying varnish, (rubbing varnish preferred), and add a

small quantity of yellow, mix thoroughly until both are well
incorporated. The lettering should now be made with this
mixture. It is not necessary to be exact, as the work must be
gone over again. Watch the letters closely, and when they
have what is known as a "tack," that is, sticky, but not soft,
rub carefully with a piece of chamois previously, dipped in the

52 SIGN AND SHOW CAKD WRITING.

bronze powder. Keep plenty of the powder on the chamois
skin in order to cover the varnish thoroughly. After the
whole sign has been bronzed carefully brush away the surplus
powder. While using bronze powders great care should be
taken to avoid inhaling it, as it is made of metal and is in
consequence injurious to the lungs.

After the letters are finished the next step is to paint the
background. If maroon flock is used the paint should be In-
dian red previously ground in oil, with a very small quantity of
dryers added. Select a large size lettering pencil and care-
fully paint around the gold leters, filling in the body of the
sign at the same time. This will make all the paint dry at once.
Next the floor should be covered with a large cloth or paper
and the sign laid down with the face up and apply the flock,
(which is a pulverized wool), by sifting through a fine woven
wire flour sifter, directly on the fresh paint as soon as the sur-
face is covered. Gently raise one side of the sign and shake off
the surplus. When the sign is completely dry, which should
be about 2i hours, any flock that adheres to the gold may be
brushed off with a soft feather duster. The effect of this sign
will be a rich gold letter on a beautiful velvet background.
Work of this kind should not have much handling after com-
pletion for fear of marring its delicate surface.

Signs may be made and look well by following the same
method and using the paints only for a background. When
made in this manner care must be exercised to apply the paint
so it will not show the brush marks.

Gold lettering may be done on colored oil cloth in a like
manner, except that care should be taken not to have the edges
of the letters rough, unless it is the intention to follow around
with some good contrasting color. This style of letter may
be shaded to good advantage. The colors should all be- bright
and not too much of any one kind. Silver lettering can be
done the same way, using aluminum bronze instead of the sil-
ver, which tarnishes easily.

LESSON XVII.

FENCE SIGNS.

THE benefit of the mer-
chant who appreciates the
importance of fence adver-
tising and desires to take
advantage of the dull sea-
son, this lesson is intend-
ed. The essential feature
is the making of small
advertising boards, which
are so much used by the retailers in country towns. There can
be no doubt that they are one of the best means of keeping
constantly before the people the firm name and the character
of goods carried.

Good fence signs are as easily made as poor ones, if the in-
structions here given are followed. ^ It should be remembered
that all this work is done with a 'stencil, which method al-
lows a great many to be made with a small percentage of
work on each. The general size for this class of sign is
6x24 inches, and 12x24 inches.

BOARDS FOR FENCE SIGNS.

The boards are readily obtained from any planing mill
or lumber yard. One half inch in thickness is sufficient, as
they are always strengthened when nailed up either on fences,
trees or posts. After a suitable quantity has been obtained
they should receive a coat of heavy paint, white or very light
tints are more preferable. When the paint is thoroughly
dry, the work of lettering can commence.

The first essential is to make the stencil. Select a piece of
extra heavy Manila paper, such as is used for making heavy
patterns. Cut it the exact size of the board, and mark the
reading matter carefully.

It must be remembered when making the stencil that such
letter? as 0 and R, that have an interior piece, must be cut
with a stay or strip to hold them in place. (See example.)

53

54

SIGN AND SHOW CARD WRITING.

It is best when laying out the letters to mark the stays to avoid
accidentally cutting them, and thus spoiling the whole stencil.
When all the letters are cut, another stencil must be made to
fill in the spaces made by these stays. This will be readily
understood by observing the accompanying illustrations.
All the cutting on the stencils must be clean and sharp.

I'm Bound For

clONE'S

Big store.

Suggestion for Fence Sign.

A well-ground knife held in a firm hand, and a piece of glass
to cut on, will produce excellent results. Having made the
two stencils, they should be thoroughly soaked in boiled lin-
seed oil and allowed to dry. The best way to make the filling-

N o I

No . 2.

R

Stencils that leave no Blanks.

in or second stencil is to mark out the first one on an extra
piece of paper, with a pounce bag, then cut away the remain-
ing pieces. When both stencils are finished, they should be
carefully fitted together and keys cut. Periods will answer for
this purpose. Cut these in both stencils, and when the first
one is applied the second stencil is easily registered by hav-
ing both periods cover exactly the same spot.

SIGN AND SHOW CARD WRITING. 55

MATERIALS NEEDED.

The next step will be to prepare the stenciling medium. A
short hair stencil brush will answer, but cleaner and quicker
work can be done with a plush roller. Take an ordinary small
hand roller and cover with a piece of plush, having a long
nap — the common upholstering plush is best.

The paint is next prepared. Any good heavy oil color will
answer. This should be carefully worked into the plush by
rolling it on a piece of glass until the plush is thoroughly sat-
urated. Having all the materials prepared, it is best to com^
mence with stencil number one.

A few tacks in the corners will hold it in place. The
stenciling is then accomplished by going over carefully with
the roller.

After the stencil is removed, it is well to observe the
back of it, and if any paint has worked under it, it must be
carefully wiped off with a soft piece of cloth. The board
should now be laid aside to dry before the second stenciling
is begun. The filling in, or second stencil can be used the
next day. Different colors may be applied in the same way,
except there must be a separate pair of stencils for each color.

There are many advantages to a paper stencil that those of
metal do not possess. They are more flexible, consequently
adhere to the surface of the board better. A pair of paper
stencils can, if used with care, make between 300 and 500
signs. After each day's work this pattern should be carefully
washed with benzine or turpentine and laid away to dry. The
roller will also have a tendency to harden, so should be placed
in water when not in use, and covered with new plush occa-
sionally.

LESSON XVIII.

MILE POST SIGNS.

0 S T advertising signs,
when placed along the
principal roads leading to
a city or town attract at-
tention, and it is safe to
say that none leave the
lasting impression on the
mind that the mile post
does. While the expense
of each sign may be more than the ordinary fence sign, it
must be remembered that comparatively few are needed. They
are made in a manner similar to the ordinary fence signs.
Most of the work can be done with stencil.

Mile posts should be made of material that will stand the
weather for years. The board for the sign is about 18, inches
by 36 inches, and should not be less than one inch in thick-
ness. An allowance of 18 inches should be made on the length
of the post, that it may be securely planted in the earth. All
the lettering should be plain black on a good white surface.
It is best to give the sign three heavy coats of paint to insure
against the action of the weather. "When the posts are let-
tered or stenciled as explained in the preceding lesson they
should be placed on all the principal roads leading to the city
or village. The number to be placed on each road is governed
entirely by the judgment of the merchant, though it should
be borne in mind that it is difficult to get too many. The dis-
tance can be measured in many ways. The simplest is to use
an ordinary wagon with a cyclometer adjusted to one wheel,
so each mile will be registered as completed. Another method
is to go by section lines. *

STYLES OF SIGNS.

The illustrations here shown embody the more elaborate
styles of posts. The one with the index finger answers the
purpose admirably. It is planted on a post about five feet from

SIGN Ax\D SHOW CARD WRITING.

57

the ground, and points the way to be taken. This style of sign
may be made in plain white, and the shape can be readily
obtained by taking two 12 inch boards and sawing them by a
pattern. The advantage obtained by this sign is that it catches
the eye so readily. Another form of work is shown in the
other illustration. It consists of a figure of a man painted
beside the reading matter. This work is rather more ex-

pensive than the other, but is accordingly more effective.
The figure work on these signs can be executed by the ama-
teur, with a little patience, by first making a pounce pattern
with the exact shape worked in as few lines as possible. After
the signs have had the necessary coats of paint, this pattern
should be pounced on and painted in outline, with a good

58

SIGN AND kSHOW CARD WRITING.

quality of oil black. When dry, the face and hands should
be painted in a flesh color, and the coat and trousers in bright
colors, such as yellow and red.

All the lettering is done with the regular paper stencil,

though the figures indicating the number of miles should
be made separately, so they can be changed according to the
distance.

SELECTING LOCATIONS.

The merchant who desires to use this class of advertising
would do well to figure out in advance just what roads to use
and how many signs for each one, and, if it be advisable, locate
each spot where a post is to be placed by driving a peg. Thus
when the signs are placed there will be no difficulty in get-
ting them the exact distances indicated. By thus planning
ahead, money may be saved by finding convenient barns,
posts or trees which allow a board about 18 inches by 24
inches to be nailed on, and the post thus rendered unnecessary.
In this class of advertising much depends on the accuracy and
uniformity with which it is carried out. A mile post, unless
accurately placed, is a source of great annoyance to the trav-
eler, and to that extent a detriment to the advertiser.

LESSON XIX.

WINDOW

LETTERING.

URING the season of special sales
merchants must spend considerable
money on newspaper advertising,
and purchasers who desire to obtain
the articles advertised must bring
the ad with them to remember what
the articles were, and to keep in
mind the special prices. Many peo-
ple will not bother with clipping
the ads, and when they arrive at
the store are disappointed to find
that the bargains they read of are not given prominence.
Many purchasers could be brought into the store by having
the ads pasted in a conspicuous place. The large plate glass
windows are well adapted for this use, and when placed there
with some special announcement, they are sure to attract

attention.

This part of the work belongs to the sign and card writer
of the store. The work is easily executed, and adds much to
the appearance of the windows.

When special sales are in progress and. not advertised in the
paper, great benefit may be derived from this lettering. To do
this class of work it is essential that a good assortment of colors
be obtained, also some flat camel's hair brushes, varying in
size from one-half inch to one and one-fourth inch. The
colors are obtained in dry form and first allowed to soften in
water. When ready for the lettering, a small amount of glue
should be boiled and thinned with hot water, and the color
added while still hot. The advantage of this is that when
hot the color can be used much thicker, hence it covers the
smooth surface of the glass better. When the colors are ready
some delicate tints of green, pink and yellow should be made.

59

60

SIGN AND SHOW CARD WRITING.

LETTERING.

All the lettering should be done off hand with the wide
flat brushes. When the intention is to use the printed ad, it
should be pasted on the window first, using flour paste, as glue
is too harsh and liable to spoil the glass. When this part of
the work is finished and the lettering added, neat scrolls, sprigs
of flowers, grasses or any fancy ornamentation may be added.

SUOGESTION FOK AN ALL PAINTED SiGN.

The main point to be considered is to have it look bright and
catchy. A few lines around the pasted ad make it more at-
tractive than though it were simply pasted on. The best
effects are produced by lettering the announcement in bright
Vermillion and putting the small vines and ornaments on with
light tints of yellow and green.

BOLD WORK NECESSARY.

It must be remembered that all this work is done with a
quick motion, and no attempt should be made to bring out any
of the small details. It is the dash and color that adds much
to its beauty. The colors used in this work will, when first ap-
plied, have a very thin and washy effect. This should not be
a source of worry, as they will dry with a solid body, providing
they are used while quite warm. After the sale is over it will
all wash off with a copious use of water.

All work, when put on the show windows, should be
above the ordinary height of a person's head, for thus it will
not obstruct the display on the interior of the window. These
same colors can be used on the interior show cases to good
advantage. When it is intended for use in this way, the glue
or binders should not be added, unless there is danger of its
being rubbed off by people standing near it.

For the benefit of merchants who do not care to mix their
colors, it would be advisable to obtain some of the prepared

SIGN AND SHOW CARD WRITING.

61

kalsomine in dry form, then, by adding water, it is ready for
use. Many desirable tints and colors can be obtained; but,
as they are more expensive, it is advisable to mix them as
previously mentioned. Enough to last the season can be
prepared at one time and the glue added when it is desired to

Basement Items

Men's & Youths'

$15, $18 & $20 Suits
reduced to $12.

Suggestion for Painted Sign and Newspaper Ad.

use it. In no case must the colors be kept long after the
binders are added, as it decomposes rapidly and emits a dis-
agreeable odor.

USE OF PICTURES.

When specially attractive windows are desired, paste up
a bright colored lithograph or show bill picture, and ornament
it with a generous use of bright colors. If the lettering is
carried out to match the picture, the effect is striking. The
bright colors can be used in the work without making the
front look cheap or gaudy. Where a store has many windows
and it is the intention to decorate them all, it would be much
better to make a pounce patterii. By the use of the pounce
a uniformity can be carried out which otherwise would be im-
possible. This work is easily accomplished, and is a decided
help when a special sale is in progress.

LESSON XX.

FINAL HINTS.

HEN the subjects
given in the pre-
ceding lessons
have been mas-
tered, the card
writer should be
well versed in show
card and sign
writing, and be
able to undertake
any style or form
of card to which
he might take a
fancy. But it is not reasonable to expect that these lessons
•will make a good card writer, unless the student holds him-
self to hard practice. It is the hand that needs the cultiva-
tion more than the mind, for good patterns can generally be
secured from printed matter, while the hand must be edu-
cated by practice, in order to execute that which the mind
directs.

While these lessons have given all the rudimentary ideas
and principles, there is much that may be worked out by the
student himself.

These final suggestions are given that the card writer may
have material and ideas to draw upon for later study. There
is a great fund of information that will help to further the
art and bring out new ideas, but it is possible here to mention
but a few of the more important items, and explain them in
brief.

THE USE OF FLITTERS.

Tlicre is a material called flitters, which is simply small
metallic squares, made from metal foil, in gold,
silver, copper, green, red, etc. It is very useful for
card work, being bright, and, as its name signifies, it flitters

63

SIGN AND SHOW CARD WRITING.

f3

and flashes. There are several ways it may be used, but th^
best is for inlay work after a card has been lettered. By
filling in the letters with liquid glue, instead of color, and
sprinkling on the flitter while the glue is still wet, and shak-

Fancy Corner Scroll.
ing the card gently, it will be noticed the flitters adhere only
to the glued portion of the letter, and create a striking ap-
pearance. These flitters can be obtained in any artist or paint-
ers' supply store. •

There is an article made of crushed glass that is a good
material to use on white, as it gives the letters a beautiful
crystal effect.

Asphaltum is another one of the valuable adjuncts to the
card writer's studio. This is an article much like black varnish.

64

SIGN AND SHOW CARD WRITING.

It is cheap, and should always be kept on hand. When mak-
ing a card with a black letter, after the outlining has been
finished, instead of filling in the letters with the ordinary
black, try some of this asphaltum, and the result will be a
glossy letter with a dead or dull black edge. As it dries
quickly, it can be used thick. Should it be too thick in the
natural state, it may be thinned with turpentine. Since this is
an oil color, the water color brushes should not be used in it.
Keep a separate brush for this purpose, and wash it out thor-
oughly in turpentine after using.

A very pretty conceit can be made after filling in a letter
or scroll with asphaltum by setting some small pieces of
mother of pearl in the black, and pressing it down very gently
so it will adhere. Any other small objects, such as tin stars,
or little figures, made of tin foil, will do as well.

A pretty effect may be made by the use of fancy paper, or,

better still, some new design in silkalines or light texture

fabrics. This can be cemented to a card and lettered in the

usual way. The colors for this work should have but little

binders in them.

CONCLUSION.

In conclusion, would add, for the benefit of all who have tried

to become proficient through the study of these lessons, that

elaboration of detail and studied technique are not the essential

points to good card work. It is the broad effect that should

be sought after, and when the card writer has become efficient

in this line he has attained to that which is most sought after

in commercial work.

%

/

T|4E END

4

%r

SHOW

wi^iTiiNe.

Published by

Dry Goods Reporter Company
Chicago

Show Card Materials

In order that you may get the proper materials for
making show cards, we have prepared to furnish
you the following assortments:

$3.50

$5.00

S 10.00

Assortment.

Assortment.

Assortment.

«-v^

€-?<-»

•-V.-9

20 Cards, assorted col-
ors, 22x28 inches.

40 Cards, assorted col-
ors, 22x28 inches.

80 Cards, assorted col-
ors, 22x28 inches.

5 Lettering Brushes.
4: pound jars of Assorted
colors.

8 Lettering Brushes.
5 pound jars of Assorted
Colors.

12 Lettering Brushes.
8 large jars Assorted
Colors.

1 jar Binders.

1 doz. Colored Crayons.

1 jar Binders.

1 doz. Colored Crayons.

20 sheets Poster Paper,
20x30, assorted cols.
2 doz. Assorts Crayons.
1 set Lettering Pens.

We will pack these goods and deliver them to the
freight or express office here for the amount mentioned.

The good assortment of colors in the cardboards is
quite a feature.

Please send money with order.

Dry Goods Reporter Co.

233 Fifth Ave, CHICAGO.

LBJeXlA

LIBRARY OF CONGRESS

939 922 fl*

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