-^^S 
 
 Class i~l2^ifl 
 Book .'B ^ 
 
 COPYRIGHT DEPOSIT. 
 
Sign £f 
 
 Show Card 
 
 Writing 
 
 A Series of . . . 
 
 LESSONS, 
 
 Prepared by 
 
 J 
 
 Chas . F. Butterworth, 
 
 ^or the 
 ^^' ' Chicago Dry Goods Reporter. ' ' 
 
 i8gg 
 DRY GOODS REPORTER CO. 
 
 Publishers, 
 
 CHICAGO, 
 
 233 Fifth Avenue. 
 
 /o'i 
 
 S3 
 
 Illustrated. 
 
 m # ¥ 
 
 C- 
 

 Hm^^' 
 
 -■33 
 
 38229 
 
 Copy r Iff Aied t/j/ 
 
 *Dri/ Soods Reporter Compani/ 
 /S99. 
 
 
 •office j,^^"-" 
 MAY i 5 1899 
 
 X 
 
 ^\ 
 
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 
 
 n 
 
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 
 
 1234567890 
 
 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 
 
 . Sh()N\ ( .(1 ids. 
 
 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 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 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. 
 
 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 
 
 Base ment 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 Report er 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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