Sign and show card writing

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 attractive 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, avoiding 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 necessary 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 obtained 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 for window displays are usually made on plain cards and lettered 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 manufacturing 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). Different colors require more or less binders, according to the density of the pigment. The student mil do well, when selecting his colors, to provide enough so as to have a variety. Following is a list of good colors, suitable for all classes of work — zinc white, ultramarine blue, ivory black, chrome yellow, Vermillion 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 impossible to do any class of work with poor tools. The better brushes are made from red sable, but as they are quite expensive, 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 obtaining 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 forbidden. 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 writing, just as some people have for music. There are those who can make a good letter off-hand and apparently 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 absolutely 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 mechanically 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 materials 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 uniform in size, and will^fit in the space designated by the line. Care must be takeiKfiot to 'mark too heavy, as heavy lead

During August

L

Plain Window Card.

pencil marks show very nearly as plain as the letters themselves. 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. Carmine 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-

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 character. 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 considered 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 altogether 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 especially adapted for use on cards, where space is limited.

It is well first. to consider the wording to be used, then decide 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 designates 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

n 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 considerable 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 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 construction 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 object 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 effective 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

SIGN AND SHOW CARD WRITING.

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 before 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 experienced 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 unless 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 carmine can be used, but only with great care.

These rules can be deduced from the foregoing: Alwavs

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 applies in dark cards.) Never try to imitate a sign writer's shading on cards. That is a distinct branch by itself, and fe >Sh I. C<. '-- ^ ft

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 layout of the card, should be decided upon before the work is begun. There is a tendency on the part of amateurs to work hurriedly and to follow 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 collection of sample letters or combinations of letters for frequent reference. After the usefulness of cards is seemingly 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 reputation 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.

SIGN AND SHOW CARD WRITING.

Suggestion for Interior Card.

boy immediately started in making 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 numbers 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 letter, the old English or German 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 letter in carmine red.

Should it be found u])on completion that the red letter looks too gaudy, it can be toned down by inlaying 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.

ters which will serve as studies to those who have good perceptive 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, particularly when used in windows where they must attract attention 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 frequent 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 following 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 pictures, as they are the main feature of the card. Opportunities will present themselves when one may obtain some lithographs, 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 procuring 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 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 letters 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 extent 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 harmonize with any color with which it may come in contact. The surface of this paper is rough like felt, and must be treated 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.