Davids' p r^cticalIetterer INSTfti TIONf IN CO f'ERCIAL LEVERING WITH BRUSH « D PEN, COMPLETE DE"5A!LS OF SHOW CRD WORK, PHOTO-ENGRAVING HINTS P U JSHEO THADDEL DAVIDS CO. til ESTABLISHED 1825 127 WILLIAM ST. KEW-YORK Class _ Book_ '" • ■ Copyright N ^ COPYKIGHT DEPOStT. Davids' Practical Letterer INSTRUCTIONS IN COMMERCIAL LETTERING WITH BRUSH OR PEN. COMPLETE DETAILS OF SHOW-CARD WORK. PRACTICAL HINTS ON PHOTO-ENGRAVING AND DESIGNING COPYRIGHT, MARCH, 1903 TIIADDEUS DAVIDS COMPANY 127 WILLIAM ST., NEW YORK COMPn,ED BY SIDNEY HACKES DESIGNS BY ARNOLD BINGER Rhimenberg Press, 214-218 William Street, New York. THE LIBRARY OF CONGRESS, Two Co jjea Received 1 APR 2!! 1903 Copy igM Entry CLASS -il 4 C*, XXo. No. COPY V <0 'N PREFACE THE publishers of this book have during the last decade received hundreds of requests from all parts of the world to supply a concise treatise on practical lettering, such as is in everyday use among card-writers. At great expense they have succeeded in presenting to the public information which is invaluable to any person desirous of learning the art of lettering with brush or pen. Lettering colleges charge from $5 to $25 for a somewhat limited and theoretical course of lessons by mail. This book, which is offered at the modest price of $1, contains more practical information than can be gleaned from any other source, besides giving details of every branch of show-card work. All of the designs are from the pen and brush of Arnold Binger, the most cele- brated card-writer of to-day. The text is furnished by Sidney Hackes, publisher, who during twenty -five years has made a special study of this art. The bcok is issued by Thaddeus Davids Company, with no thought of profit, but for the purpose Ot instructing the thousands of consumers of Letterine, which this company manufactures, in the correct use of it, besides imparting much needed information about other colors used for show-card work. The hints relating to photo-engraving and electrotyping will prove valuable to those who require illustrations for advertising. / \% TABLE OF CONTENTS. NSTRUCTIONS. Tage Atomizers 74 Beveling 82 Brush Script :>S and 41 Brush Strokes G Cardboard 14 Centering 22 Circles 28 Cut-nuts 6G Cutting Chalk 20 Cutting Dies.... 84 Drawing Tens. .'. 3G Duplicating Cards by Engraving 70 Duplicating Scrolls 78 Edge lines on Tickets 48 Electrotyping 90 Embossed Ornaments SO Erasures IS Fancy Show Cards 70 First Lesson 8 Flat Stroke Letters 30 Flitter 80 Fli ick D8 Floral Cards OS Glue 84 Grease Spots — How to Remove 28 Half-tone Engraving 90 Initials 88 Laying Out 24 Lettering Mirrors with Soap 48 Lettering on Glass 70 Block Capitals 19 and 21 Block Letters Shaded 51 Block Numbers 31 Brush Pen-work 73 Brush Script, Capitals 49 and 50 Brush Script, Lower Case 45 and 46 Brush Script, Numbers 47 Brush Script, Shaded 53 Cut-out 65 and 07 Embossed Cards 04 Flat Stroke, Brush and Pen Numbers 37 Flat Stroke, Brush Numbers 37 Page Mat ( utting >. Mounting I ardboard l> I >il I loth Signs 95 Painting on Satin 9? Paper Edging 24 Paste 34 Penwork 32 to 30 Photo Engraving SS Photo I i : ivinfi Objects 91 Photographing Colors Black vi Preface 2 Preparing for Practice 7 Price Tickets 54 Proportion 20 Rapidity 7 Reduction Glass 92 Reduction in Engraving 91 Ribbonettes 70 Rococo Panels S4 Ruling Across Cards 30 Ruling Edge-lines Sample Letters 86 Second Lesson L0 Shading 18 Shading Pens 30 Show Card Talk 58 Smalt 98 Spacing 22 Spatterwork 70 Stencils 08 ILLUSTRATIONS. Flat Stroke, Capitals 33 Flat Stroke, Lower Case 35 Flat Stroke. Numbers 17 Holiday Cards 71 and 72 How to Hold Brush or Pen insert pages Initialing Chart 9 Panels 75 and 85 Penwork, Slant, Capitals 40 Penwork, Slant, Lower Case 30 Penwork, Slant, Numbers 41 Penwork. Upright, Capitals 43 Penwork, Upright, Lower Case 42 Page Stumpwork 12 Subji cl Cards 58 l mt. Paper 95 Transparencies, Cardboard 80 'I ransparencies, Indoor 97 Transparencies, Outdoor Cloth 9G VJtensils 4 Wash Drawings 94 Wrong Slant 26 PAINTS. Black Paint 98 Bronze so Color Mi hi . 99 1 listemper Color 5 Dry Paint 5 Lettering 6 < Hi Cloth Paint 96 White Paint 14 SCROLLS. Centre 80 Corner 82 Script Brush 80 Scrolls ,78 Side SO Panels 74 Penwork, Upright, Numbers 41 Price Tickets 55 to 63 Ribbonettes 77 Scrolls 71», 83 and S3 Scroll Brush .Script 87 Scroll Initials. 89 Single Stroke Capitals 13 Single Stroke Numbers 17 Stencil 67 Stumpwork, Lower Case 15 Western Capitals 23 and 25 Western Lower Case 27 and 29 DA]' IDS' PRACTICAL LETTERER. DAVIDS' PRACTICAL LETTERER. Many persons with a desire to learn the art of letter- ing never make the attempt, because they are deficient in penmanship and think it useless to try. Most card writers, who with a brush create ideal script letters, write so imperfectly with an ordinary pen that few can decipher it. "Practice makes perfect." A careful pe- rusal of this book and frequent trials of the sugges- tions here given will soon bring results that will prove encouraging to the most untalented. UTENSILS. The best artisans use the fewest tools. I advise the beginner to buy only what is absolutely essential, and advocate the purchase of the best tools. Fointed sable lettering brushes are the kind to buy. With proper care they outlast any three of the cheap kinds, and the work you can do with them will be perfect and clean- edged. Buy one each of No. 5, No. 7 and No. 11. Although they are all pointed, they can be manipulated to do all kinds of flat lettering. The handle should not be longer than six inches. Cut ofr the surplus length, using a penknife. This set of brushes, once used for water colors, should never be used for oil colors. A palette knife or a stick is the only tool needed for mix- ing colors, and lettering brushes should never be used for mixing. Some brushes with proper care will last two years, so it is worth while getting the best grades. Brushes should always be washed out thoroughly in water after using. All surplus moisture should then be squeezed from the brush by gentle pressure, sliding the thumb and forefinger toward the brush point. This will make your brush outlast any three of those handled carelessly. Never allow color to dry on the brush ; always wash it out in water. Do this each time you are disturbed, and never allow the brush to stand upright leaning against the hairs, but be sure to rinse it and lay it flat on your table. When using colors that require mixing, the palette knife, which is made of very elastic steel, should be moved quickly from side to side, alternating at times by giving it a rotating mo- tion, all the while giving it a fairly gentle pressure against the flat glass, marble slab or plate on which the color is being mixed, and occasionally using the edges of the knife for scraping and gathering the paint, until it is thoroughly ground and mixed. A palette knife should be almost the size of an ordinary table knife, though smaller ones can be used. The trowel-shaped kind is preferable. A flat cork is often used for this purpose. Two glasses or cups for water should be provided, one for washing out the color as much as possible and the other for giving the brush its DAVIDS' PRACTICAL LETTERER. second clean wash. Now we want at least two each of the flat Nos. i, 2, 3 and 4 stub pens. The life of a pen when in constant use is one or two days, al- though two or even three are sometimes necessary for one day's work. Two music pens should also be pro- vided. Music pens have three points, but look exactly like any other pen until one presses down the point, which has two slits instead of one. These pens are used for small script letters, especially when white paint is used, and for "truing" or finishing of? vari- ous kinds of irregularities or incompleted angles .on letters that are written partly with the flat pens or brush. A soft pencil, two ordinary penholders, a few pieces of white chalk, a long ruler, a piece of very soft rubber called sponge rubber, four thumb-tacks, some mucilage, besides any kind of color that may be de- cided upon by the learner, and a rag for wiping the palette knife and pens, and another for wiping cards and to use for pasting, as explained later, will com- plete your entire outfit. SHOW-CARD PAINTS— DRY PAINT. Drv paints that are mixed with water and mucilage are used for show-cards. There are many kinds, but the learner should at first use only black, though any color may be used. Dry paint can be bought in any paint supply store in small quantities. To prepare it for lettering take a quantity and soak it with alcohol; this "cuts" the paint (loosens it). Now take enough mucilage to thoroughly mix it, by using a palette knife or cork, into a thick mass, gradually adding more mu- cilage until the paint is as thick as heavy syrup. Then from a water bottle, having a cork with a quill through it or the kind used on a catsup bottle, add a little water at a time, so that the paint does not become too thin. For pen-work, described elsewhere, the ink must be only one-third as thick as for brush-work. An ordi- nary ball of wash bluing, carefully mixed and thinned as described, will answer the purpose for practice. DISTEMPER COLORS. Another paint that is all prepared excepting that it has no "sizing" (i. e., mucilage or glue), and which is also used by fresco painters, is called "distemper." It is sold in glass jars, with tin covers, and is already mixed with water, so about one-quarter inch of water should always cover the upper surface, to keep it from becoming hard or lumpy. Fresco painters add dis- solved glue (for sizing) to these distemper colors to keep them from rubbing 1 iff. You can take some paint from the jar and add only mucilage, mixing it thor- oughlv and use it on show-cards. DAVIDS' PRACTICAL LETTERER. LETTERINE. The third and positively best show-card paint for learners as well as professionals is Letterine. It is al- ways ready for use, needs only a little water when too thick, and dries rapidly with a gloss. Professional show-card painters and lettering colleges use black Letterine. All the lettering designs for this book were made with Letterine, and, while I frankly admit that hundreds of other mixtures may be used, nothing can equal it for convenience or effectiveness. Letterine can be had in white and all colors, and can readily be mixed to form many shades and tints. For outlining and for pen-work use two parts Let- terine mixed with one part water. After the outline is dry fill in with pure Letterine. Two ordinary glass inkstands, with covers, will answer best for this pur- pose. In green, red, blue and purple, Letterine is of unusual brilliancy, affording an opportunity for color display not readily obtained by the use of ordinary pigments, besides drying more rapidly. properly distributed, and that the centre hairs shall be charged with as much color as the outside. After you dip your brush into the liquid, take a piece of smooth paper or cardboard, then wriggle the brush sidewise. gently drawing it toward you, on one side ; do the same on the other side ; now relieve the brush of any sur- plus color (according to the work you wish to do) by one or two gliding rotating strokes against the pa- per, and you are ready to write your line any thickness you please. There are no soiled dishes to wash when yoar work is finished, and if you are using Letterine you will save much waste by observing this rule. All rules are violated, but the writer can vouch for the desirability of following this method, as it not only gives the best results for controlling the shaping of the brush but prolongs its durability. The brush should be charged with color frequently in the manner de- scribed. Do not wait until all the color is freed from the brush. In this way your edge lines will always be even and your brush strokes continuous, making your letters appear more symmetrical and artistic. TO FILL THE BRUSH. BRUSH STROKES. Students should remember that merely to dip a brush into color is not all that is required before using it for lettering. It is necessary that the color should be Always make your brush strokes continuous. Never make short, choppy strokes. Gliding the brush on its point, with a uniform gentle pressure in one stroke DAVIDS' PRACTICAL LETTERER. downward, crosswise, slanting either from right to left or left to right, is the proper movement for outline work or script. Expert writers of script, or complex scroll-work, make most letters not disjointed in their composition in continuous strokes. The most diffi- cult branches of card writing are script letters and scrolls. These should never be used until the rudi- ments of lettering are thoroughly mastered. An expert scroll writer does his work so rapidly that it is barely possible to realize that he is performing the delicate and intricate task of designing beautiful curves. When outlining it is best to make light lines, as er- rors can be more readily noticed and corrected. For filling in from one-quarter to two-thirds of the brush surface is used. For rapid one-stroke letters the brush is well rilled with color, which should flow freely from its extreme point. For flat brush-work the strokes are more varied, first using the extreme flat edge of the brush in an almost upright position, and then from one-quarter to one-half of its length. No matter how thin the stroke may be, the entire flat width of the brush must always touch the paper. RAPIDITY. In order that you acquire confidence in yourself and to aid your future efforts it is advisable to exe- cute work rapidly. Do not be over-careful. Start in boldly. It will be somewhat discouraging for you in the beginning to see that your lines are crooked, of va- ried thickness, and seem almost impossible for you to control the brush. Try often, follow the instructions carefully ; watch the original copy and guide lines each time you make an attempt to copy a letter, and you will soon be rewarded for your diligence. Practice makes perfect. Do not expect to master any part of the instructions without careful and honest effort. PREPARING FOR PRACTICE. The first plate of engravings illustrates the funda- mental principles of lettering. Whoever masters these brush strokes, executing them quickly and in a manner approaching the precision here indicated, will be able within a few weeks to write show-cards of more than commonplace merit. The learner should provide one sheet of ten-ply cardboard, size 22 x 28 inches, and ten sheets (size 12 x 18 inches) of any kind of paper; or- dinary manila wrapping paper of any thickness will do. The card should be fastened to a board or to a table at each corner by using four ordinary carpet tacks or four thumb-tacks. One sheet of paper should then be fastened in the same manner on the card with thumb-tacks, and ruled into squares of i^ inches. The DAI IDS' PRACTICAL LETTERER. original designs from which these engravings are made are drawn in this size, which is desirable for practice. It will be readily noticed that not one of the designs is perfect, either in the spacing or in the thickness of the lines. All of the characters on the first plate were made within ten minutes as a test for rapidity. Show- card work is not usually executed with the same exact- ness as lettering on sign-work, which is intended to be permanent, requiring greater care and comparatively much more time for completion. THE FIRST LESSON. Holding your No. 5 brush in the position indicated on the first engraving, allow its point to touch the pa- per as lightly as you can, beginning at the top line of No. 1, Fig. A. Allow your two lower fingers and the lower side of your hand to rest on the table, first plac- ing a piece of loose paper under your hand to keep the sheet clean and free from perspiration. Keep them in that position without changing until Fig. A is com- pleted. Now extend your thumb and other two fingers (the second engraving shows the appearance of the other side of the hand) and make the downward stroke, so that by the time you reach the bottom of the square your brush will be almost perpendicular. Then make stroke No. 5. then No. 3 (to get to the centre of the square), and then strokes Nos. 2 and 4. Do not mark anything with pencil. We intend to train our eyes to measure space. For Fig. B the brush is held in the same manner, almost perpendicular all the time. None of the fingers are moved, the hand being moved Fig. 1. by movement of the forearm, gliding it gently on the paper from left to right for each line. Make lines 1-7-4; 2 and 3, 5 and 6. Figs. A and B should now be tried by making the lines in rotation. Then make Figs. C and D, lines in rotation. THE INITIATING CHART. i 3 4 3 3 9 1 S * C ^ r^n /c C 3 © DA]' IDS' PRACTICAL LETTERER. In Fig. E the lines are made from right to left downward, keeping the hand in the same fixed posi- tion on the table. In Fig. F the lines are made from left to right downward. After you have made these lines as numbered, make them all by beginning at No. 4 and then Nos. 3, 2 and 1. Fig. In Fig. G make the lines in the order indicated and in the directions noted by the arrows, but do not move the forearm, making only finger and wrist movements. Figs. H, I, J, K and L are to be made likewise. THE SECOND LESSON. Eleven letters in the alphabet have curved lines — B, C, D, G, O, P, Q, R, S, U, &. To write these let- ters properly one must be able to make a fairly good circle free hand. To lessen the difficulties of acquiring this knack, first take a lead pencil, with a long sharp point, and hold it exactly as you would a brush in Fig. 3, allow- ing the point to rest very lightly on your card. Now, with a gentle pressure on the outside first joint of your little finger, rotate your arm at the elbow from right to left, going over the same lines constantly, forming a circle about i| inches in diameter. Repeat this move- ment ten times without stopping, trying to keep your circles within a quarter inch width. Then begin another circle, trying as nearly as possible to keep your lines closely together. Now repeat the same motion from left to right. After you have made ten each of such circles to the right and left take your brush and make the first curved line from right to left, then from left to right. Now make the circle on the chart. Stroke 1, A to B, but you should allow your brush to glide past B upward, gradually away from the card when you reach the point B, and should continue the circular mo- tion with the uplifted brush as though you were form- ing the complete circle without lifting it. The quicker 10 DAVIDS' PRACTICAL LETTERER. you perform this motion the more perfect will be your circle or semicircle. The same semicircle and continuous motions must then be made from left to right, Stroke 2, A to B, then raising the brush and completing the circle in the air to A. Fig. 3. You will now be fully prepared to make a fairly proportioned circle in two strokes, varying the practice by alternating the strokes. Each time you make a new circle, remembering that the more perpendicularly you hold your brush the more readily and perfect you can make the circle. The next figure of interlocked circles is to occupy one and a half of two squares on your paper. Make the strokes as indicated by the directions of the arrows and numbers, then reverse the movements as before. The figure adjoining represents two horizontal ellipses, the movements of the brush being the same as for circles. The next strokes are readily made, and when joined make the letter S. After practicing several times, make the letter in one continuous stroke. The next figure represents the top of the number 2, or of an in- terrogation mark. Beginning at the inner left loop, swing your brush around toward the right, making one continuous stroke. By repeating this stroke and adding the lower stroke to the right, we have the fig- ure 2. The ellipses should now be practiced, making strokes from A to the left to B, and from A to the right to B ; then reversing the strokes. The two lines should always interlock bv continuing the strokes after passing the intersections at A and B, and gradually raising the brush from the paper. Now practice the figure 6, beginning at the top, and make one continuous stroke to the left, and finish it. In the figure 9 the stroke is reversed, beginning at the lower inner side of the loop ; swing the brush down to the left, then around upward and down to the right. Practice these two figures several times and then try the 11 DAVIDS' PRACTICAL LETTERER. last two spirals in continuous strokes ; the first one to the left, the last one to the right. After you have practiced all of the movements on the first chart, at least ten times each, with a No. 5 brush, try them all with a No. 7 brush, but rule your paper into 2 inch squares. You will now probably be able to make any letter in the following brush stroke alphabets with perfect ease, except the script capitals, which require much practice. Make your strokes ac- cording to the directions of the arrows, and when you have become thoroughly acquainted with the shapes of the letters you may change the order of strokes to suit your special talent, even though these directing arrows indicate the method of the acknowledged cleverest card-writer. There is no positive rule for lettering. SINGLE STROKE STUMP-WORK. The alphabet on the opposite page was lettered in five and one-half minutes with a No. 7 brush in i\ inch squares. This class of single stroke lettering is much used by dry goods stores in large cities, where cards are not only changed each day, but also often during the day. Consequently rapidity is very essentia!. Your paint should be somewhat heavy for this work; therefore if you use Letterine do not mix it with water. When vou make the letter H slant the side lines a trifle outward at the bottom. This hides many imperfections which in the square H are instantly noticeable. After using the No. 7 brush make the entire lesson with a No. 5 brush in 1 inch spaces, always keep- ing your brush filled with thick paint. Now with the No. 1 1 brush write the letters in 2 inch spaces, then 3 inches high. This practice will make all of the fol- lowing brush-work comparatively easy. LOWER CASE STUMP-WORK, The lower case letters require much more time and care on account of the finish of the ends of the letters. This finish is accomplished as shown in the letter 1 (see the end illustrations on the lower case plate, page 15). Learn also to make these with your vari- ous sized brushes. The single stroke numbers on page 16 are so simple that they require no explana- tion. The dollar sign in all the various alphabets may be made from one-half to two-thirds as tall as the numerals. The old-time theory that it must be ex- actly as tall as the numerals, because type fonts among printers are proportioned that way, was fif- teen years ago disputed by the author, and during the last ten years most card-writers have adopted his method. In setting advertisements printers also do it. 12 SINGLE STROKE CAPITALS. m B C D P G ttl J K 1 MN P © fit ¥ W X Y T li tot. ? ! 13 BAUDS' PRACTICAL LETTERER. To facilitate the completion of page 17 we have placed flat brush numbers before the corresponding alphabets. The student is requested to practice the alphabets before writing the numerals. WHITE PAINT. The most difficult of all paints to mix and apply properly is white. Next to black, white is most fre- quently used. After many years of experimenting I can assure you that the best white to use is Cremnitz white. It is a species of white lead and is a finer grade of flake white, which is almost as desirable and less expensive than the former. You can buy these paints either in distemper or dry. The best sizing to mix with it to obtain a pure white is mucilage made from gum arabic, instead of the common mu- cilage in ordinary use, although the latter may be used to good advantage for sizing all other colors. The dry white must be thoroughly mixed with the gum arabic and carefully thinned with a little water. The best way to use it is to prepare it as stated and to pour it into a small receptacle. When writing pour a little of it on a slab of glass or marble, frequently working it over with your palette knife. The next best white is dry zinc. If you buy this ask for zinc C. P. (chemically pure). It is also a poison, being made from the white fumes of the oxide of zinc. It is not as opaque as the other two whites, but can be used with good effect when the others are not available. White Letterine can also be used to good advan- tage, providing the fluid part is drained off and used instead of water for thinning the thick sediment in the bottle. I have used it entirely for two years for making designs on black backgrounds, both for brush and pen work, and thereby avoided much of the trouble encountered in mixing whites. CARDBOARD. The regular size of what is called a "full sheet" of cardboard, such as is used by show-card writers, is 22 x 28 inches. If the writing is to be across its widest dimension, the card is called "landscape"; when the writing is up and down the narrow width, it is termed "upright." Half sheets are 11 x 28 inches. Quarter sheets measure 11 x 14 inches. Eighth sheets are cut 7x11 inches. When quantities of smaller sizes than halves, quarters or eighths are wanted, the exact sizes should be stated, and firms that sell cardboard will cut it any size required, at trifling additional cost. It is not advisable to cut sheets by hand, as the edges are never as smooth as when cut with the card-cutter's <« 14 LOWER CASE STUMP-WORK. *■ aabbccddce f f j jk k I lmmnntopp q q rr sst tuuyyw wxxvvzz &c. ?!il 15 DAVIDS' PRACTICAL LETTERER. knife. Cardboard used by the professional card-writer is generally "eight or ten ply" in thickness, which is thick enough for most purposes. Board can be ob- tained in various colors, usually colored on one side and natural white on the other side. Many cards are coated white on one side, others are coated white on both sides; others are natural pulp color, grayish white without any coating on either side. Cardboard in dark red, dark green, blue, maroon and light or dark gray and black can usually be found in ten ply, and with the exception of blue and maroon is the most often used. Tinted cardboard, used in connection with a colored mat which serves as a frame around it, is generally the same color on both sides, and can be had in various thicknesses — four, six and eight ply. The tinted eight ply card is mostly used by show-card writers, as thinner card is undesirable. It can be bought in about twenty different tints. The colors most in use are yellow, buff, azure, pearl, pea green, nile green, heliotrope, pink and salmon. The size of these sheets is always 22 x 28 inches, and they are termed "full sheets." "Double fulls" can be had of some dealers in ten ply white card, in size 28 x 44 inches. This size is desirable for large signs, which should have no seams or joints. For larger card signs, several full sheets are joined by gluing strips of card across the seams on the reverse side. The front seams should meet evenly. What is used mostly as matboard for show-cards is an eight or ten ply card in gray, brown, dull green (called new green) and red. These, having unglazed surfaces, form an excellent contrast with the glazed surface of the inner cards. They can be had in full sheets, 22 x 28 inches. The mats are first cut and then glued on to the card and then the outer edge is beveled, showing a beautiful white slanted edge. Details of this will be found under "Mat Cutting." A cream white card for mat purposes is 'much in use, and is called "eggshell mat." Its outer surface is uneven, having the exact appearance of the outer surface of an ostrich's egg. This mat can be procured in sheets, 28 x 44 inches. It can be bought only in few places, although it is always available. Black, waterproof and photographer's cardboard, usually very dark brown, is generally ten ply, and the same color and finish on both sides. This card is much used for signs in cigar and shoe stores, or where per- manency is desired. It has a glossy, hard surface, and white pen-work is easily accomplished on it. Such cards, with gold bevels, are neat and attractive. Another form of matboard which has been much in use until recently was twelve ply or fourteen ply in thickness, and its surface of green, red or brown was of coarse, uneven fibre. Heavy mats are now seldom used, being replaced by the ten ply card. 16 SINGLE STROKE AND FLAT STROKE NUMBERS. ~^1 X 2 3 4 5 6 7 » $ * 50 | 12 3 4 5 6 7 8 9 O $ t 17 DAVIDS' PRACTICAL LETTERER. MOUNTING CARDBOARD ON FRAMES. Show-cards in half or whole sheets; to appear per- fectly flat and even and to stand wear, should be mounted on wooden frames called "strainers.'' For half sheets the frames are usually made of pine wood, \ x I inch. For whole sheets the wood is 2 inches wide and 1 inch thick. The frames should be neatly mitred at the corners, and fastened with a solid round wire nail. One side of the frame should be smeared with glue, which should be left exposed at least five minutes. Now run a thin layer of glue about one-half or one inch around the card, leaving it ex- posed to the air about five minutes ; then place it on the frame. The glue will have become tacky, and the card will readily stick. Take a clean rag and spread the card smoothly on the frame. The cardboard should first be moistened on the side which is to be glued down. Take a sponge or rag ; wet it so that it is thoroughly soaked ; gently squeeze out all the super- fluous water and moisten the entire back surface of the card. Ten to twenty frames can be piled one on top of the other in this way. Some heavy strips of iron, marble slabs, or boards on which any heavy ob- ject may be placed, may be put on the top frame, and should be left standing at least fifteen hours. The next day the cards will be found thoroughly glued on the frames, and their surfaces taut and smooth, but pos- sibly damp. To make them thoroughly dry, separate them and stand on edge, leaning them against the wall for a few hours. Of course this leaves the wooden edges of the frames exposed. Most show-card makers paint a narrow edge-line of color about half an inch from the edge of the card, and then paint the exposed wooden sides of the frame with any color, either in contrast with the outer card surface or to match it. The high class card artist, however, would not do this. He binds the edges with some kind of paper. (See the article entitled "Edging.") The card should be written and completed before the edging is glued on, as handling either soils or tears the edges. Soiled edging can be covered frequently, thus giving an old card the appearance of newness. ERASURES. If an error be made in spelling, and the card is white, take a steel ink eraser and carefully scrape off the lettering, removing a little at a time and keeping above the surface of the card. When all the color is removed, rub smooth with a piece of very fine sand- paper, then burnish the spot with your thumb-nail and write the word correctly. If the error is made on a tinted card, such as green, heliotrope, etc., the surface 18 BLOCK CAPITALS. Ji 3' — f-» —4-* ABCDEFG H I JKLMN 19 DAVIDS' PRACTICAL LETTERER. that has been erased must first be painted over with water color to match it as closely as possible — then re- letter. If the card has a glazed surface, waterproof, like black or maroon, it is only necessary to wet the let- tering and wipe it off with a damp rag. This may oc- cupy some time if the paint is dry, but the surface of the card will be ready to receive the correction. If an alteration is to be made on a black card with a dull surface, the lettering should be carefully scraped off and the card painted black where scraped, and relet- tered when thoroughly dry. It must be remembered that corrections on cards are more easily noticed than when made on paper, and should therefore be avoided. For removing pencil marks and dirt dip your sponge rubber into powdered pumice stone, using a slight quantity and considerable pressure while rubbing, ex- cept when gliding over the lettering. A rag or feather duster should then be used to free the card from dust. BLOCK LETTERS, "CAPITALS." Block letters should always be carefully outlined, so that after they are filled in the edges will be as nearly even as possible. I have purposely refrained from making a single correction of any imperfections in these designs, and the engravings show every stroke of the artist's brush without allowing the engraver to embellish any part of the work. Wherever there are coarse black lines the artist repeated his strokes. The blotches in the centre of letters, like A, B, D, E, L, U and V, were made to free the brush from surplus paint. The finished filled in letters underneath those out- lined offer an opportunity for comparison, which will prove valuable to the student. With a soft pencil first outline the letters, not making the marks too heavy. Make the lines according to the arrows and numbers. Leave the same i^ inch space between each letter on all sides. This will give you an opportunity to clearly see the comparative difference in their widths, and in this manner you will gradually know how wide to make them without taking any measurements. The untrained eye is very apt to be deceived. Look at the letter A in this alphabet. ' Would you have known, without measuring, that its widest part is wider than any portion of the letter R ? Certainly not ! I have for many years disputed the necessity of making the centre line of the H and the bottom of the letter L as long as is the present custom with nine out of ten card-writers. Must we therefore adhere to old set rules? PROPORTION. As a matter of fact, only a few letters in the alpha- bet are proportioned exactly alike, and it is difficult 20 BLOCK CAPITALS. d't «G^> OPQRSTU 6 7 W W Tk f f - V WX YZ&c?! 25 IKiriDS' PRACTICAL LETTERER. When the strips are cut, place about ten on top of each other on a sheet of newspaper. Have the side of the strips which are to receive the glue facing upward. Fill your glue brush thoroughly, removing surplus glue by stroking it against a sheet of paper as though you were painting a board. Now cover the back of the first strip evenly with glue and. beginning near the centre of any top edge of the frame (which must pro- ject over the edge of your work table), place one end of your strip on top of the card, the desired distance from the outer edge, holding the extreme end of the strip in the left-hand thumb and forefinger. The right- hand thumb must be stroked back and forth on the top of the strip. When firmly attached to the top, press the side of the right hand gently against the strip to the side of the frame, and the part of the strip that projects you must turn over to the back part of the frame, finally taking a dry rag and rubbing the edging smoothly on to the sides of the frame. When you reach the corner of the frame, hold the paper strip firmly to the side of the frame with the left hand, allowing it to project over the top without attempting to fasten it to the top of the card as you did in the beginning, until you first, with your right-hand thumb, make a diagonal crease at the corner of the frame ; then proceed to glue down the top and the sides as before. Edging may be of a contrasting- color or match the card. CUTTING CHALK. Cut the narrow end of the chalk into a sharp wedge shape. Dip about one-quarter inch of the point into water and withdraw it quickly. You will find that it will rule neat lines, which can be effaced readily by wiping with a rag and your sponge rubber after the let- tering is dry. The cardboard will not be injured. WRONG SLANT. If you find that your letters have the tendency to slant perversely from right to left when you wish them to appear upright, begin all your work by slanting the letters from left to right. Do this in all of your prac- tice work for three or four weeks. You will then find that your lettering will be almost perpendicular, as it should be, whenever you try to make it so. The re- verse method should be practiced when the letters have a tendency to slant from right to left. GREASE SPOTS. At times cardboard becomes greasy from the per- spiration of the writer's hand, or otherwise. Water color will not "catch on" at such spots, but will be streaky. Several methods are employed to overcome 26 WESTERN LOWER CASE. kA '- J- a b c d e f ^ I isi -it o i h i j k 1 m n 27 this. Mix a thimbleful of bicarbonate of soda in a tablespoonful of water, wipe some of this over the greasy surface, then repaint. Others use soap water for mixing the color. One or two drops of ox gall mixed into the color is another preventive. The last method is somewhat objectionable, as the ox gall has what is considered a decidedly offensive odor. CIRCLES. The professional card-writer has a large wooden compass that can outline a circle 2 feet in circumfer- ence. Amateurs can use various sized plates, glasses, butter dishes and coins, and then follow the pencil marks with a brush, making the lines with fine or coarse brush, but going over once only. For small circles a compass having a drawing pen on one side is used. For large circles I always use a large pin or wire nail, piercing the card and fastening it to table, then loosen the card so that it will revolve readily on the pin. Then fasten a piece of fine twine or thread on the pin, and make a slip knot at the other end, pass- ing your brush handle through it. Now dip the brush into your color, and, while holding the twine taut, twirl your card from right to left and hold your brush al- most upright in one position, while resting as much of its point, according to the width of the line required. DAT IDS' PRACTICAL LETTERER. RULING EDGE-LINES. Our illustration is an exact representation of the position of the right hand while ruling edge-lines with Fig. a brush. Holding the brush slightly forward in an almost perpendicular position, rest the ball of the first joint of the little finger against the side of the cardboard, so that the ball of the second finger rests on the top edge of the card, the third finger setting 28 w> WESTERN LOWER CASE. W >\ 9 M> *W1m o p q r 3 t y *^ 7' V W X u z. 29 DAVIDS' PRACTICAL LETTERER. tightly against the second. The thumb and index finger grasp the brush in the position indicated, so that the handle of the brush is at right angles with the upper end of the second joint of the index finger. Raising the upper end of the card with the left hand at an angle of about 45 degrees, and resting the lower end on your table, draw your brush rapidly along the edge of the card at any distance required from its ex- treme outer edge. This process is repeated on all four sides. When no paper edging is used on a card which is mounted on a frame, a broad end line is often ruled on the edge with a wide brush, or a thin line ruled and the space to the outer edge filled in. RULING ACROSS CARDS. To rule lines on a card, to underline certain words, or to draw one or two lines across the top, bottom and sides of 'a word, requires some practice before it can be properly executed. Taking an ordinary straightedge or wooden ruler, rest its right lower end firmly on your card, placing the two fingers of your left hand under its left end, grasping the ruler firmly with the thumb, holding it in such a position that the entire inner upper end is completely raised from the table. Proceed to rule lines in the same manner as explained above, excepting that the ball of the second finger rests firmly against the side of the ruler and the ball of the third finger rests flat on the top of it. When the panels to be drawn are small, use a draw- ing pen. It is usually desirable to make the inner line heavy and the outer line lighter. With a brush this requires more pressure in the first instance, and a lighter touch for the finer line. For a drawing pen the width of a line can be gauged by tightening or loosening the small set screw affixed to the side of each pen. These are mostly used on small cards. FLAT STROKE LETTERS. Before making the letters on page 33, I would urge you to take one of your No. 1 stub pens, placed in an ordinary penholder, holding it exactly as you would if you were about to write back-handed in the same posi- tion as shown in Fig. 5. "flat stroke pose." Hold the dry pen over the copy in this book. Try the let- ter C first, allowing every part of your pen point to touch the paper with each stroke, no matter how thjn or broad the line may be. The strokes must follow in the order of the numbers on the copy and be writ- ten according to the position of the arrows. Now try letters O, I, E, L and all the others. Use no pressure on the pen whatever. You are merely doing this to learn how to hold the brush for flat-stroke work and 30 >i^3* BLOCK NUMBERS. J i > -^^ a/*- 12 3 4 5 6 7 .-"< - 1^* V0fr Wi* •*C?pf>' d* S 9 O $ $ 31 DAVIDS' PRACTICAL LETTERER. to become acquainted with the formation of the let- ters; then you will have gained enough practice to make the brush-work a simple matter. After you make the capitals write the lower case letters. In the beginning, until you are thoroughly accustomed to Fig. 5. use the brush, I would advise you to stroke and flat- ten it on your color mixing paper after every second stroke, working the color into your brush and re- moving the surplus by stroking it several times on each side as you draw it toward you. This flat stroke letter is a simplified form of the Old English and modern Bradley series of type so much in vogue in recent years; You should make all of the letters, both upper and lower case, with a No. 7 and also No. 1 1 brush, and then procure a flat brush from three-eighths to one-half inch wide and write the alphabets with it. You will be greatly astonished and pleased when you see how quickly and beauti- fully vou can write the large letters and what a time saver the flat brush is. On page 37 you will see the flat brush numbers, which you can now make with ease. The two lower lines are numbers made by first using a flat brush and then finishing with a music pen. Strokes Nos. 2, 3, 4, 5 and 6 on the No. 1. the pointed last stroke on the No. 2, the dots on No. 3, the fine lines on No. 4. the dots on Nos. 5, 6 and 9, the fine lines on Nos. 7 and 8, and the dollar sign show how the brush and pen jointly make a neatly finished numeral. Much time is often saved by making letters in this manner. PEN-WORK. Stub pens can be obtained in many sizes, as shown on the following page. Before using the pen for show- card work a trifle of its hardness must be removed, and though the process is very simple it must be care- 32 o M iX FLAT STROKE CAPITALS. 3 •? 3 W X M « «? ft w 33 fully done or the pen will become too soft. Place your pen'in the holder, light an ordinary match, allow it to burn with a large flame, hold the front half of your pen into the flame three seconds and then quickly clip it into water; after this into your color. For show-card pen-work no mixture can give you the same satisfactory results as Letterine. It DAVIDS' PRACTICAL LETTERER. SLANT PEN-WORK. \J costs one-fifth as much as the costly inks sold in 25 cent bottles and it dries in one-third the time, be- sides drying with a gloss. The India ink and water- proof colors are excellent for the purpose for which they are intended and cannot be replaced by Let- terine on architectural or mechanical drawings or maps, because such lettering should be waterproof, besides wear-resisting in folding and rolling up. Prepare your Letterine as instructed on page 6 and begin practice on the lower case slant letters on page Fig. 6. 39. After each large stroke dip your pen into the fluid, gently shaking off the surplus color, and then proceed to write exactly as for flat brush work, hold- ing the pen in the same way as illustrated. You must use considerable pressure when you make the 34 FLAT STROKE LOWER CASE. ity o i 1 k J «j «* i ■a # w V w M it sr A & Si. lit c T* * 35 DAVIDS' PRACTICAL LETTERER. broad lines. You will soon learn how to graduate the pressure just as you do on any ordinary pen, ex- cept that, there being less elasticity in these stub pens, you must bear down on them more forcibly. Occa- sionally dip your pen into water and wipe off with a rag to keep it from becoming clogged. Now write the capitals, which you will readily learn with a little practice. The numerals on page 41 will quickly be mastered. UPRIGHT LOWER CASE AND CAPITAL PEN-WORK. These letters are the plainest, the most beautiful and the most difficult of all pen letters. When assembled in words and perfectly written they present a refined and attractive card. The learner should first write them by finishing all the angles with a music pen, as much difficulty will be experienced in the beginning in doing this with the stub pen. In the capitals it will be noticed that the letters H and M are wider at the base than at the top. The last two strokes on the stump- work chart (page 15) and the last stroke on page 47 show the manner of constructing the little angles. If you do not use a music pen you will be obliged to use only one end of your flat pen while making the points on the lower left of the capi- tal A, upper left of K. N, T : V, W and Y. For prac- ticing the capital letters try a 1 inch space with a No 1 stub pen. For lower case use half inch spaces. SHADING PENS. Justice demands that I mention shadir.^ pens, which, however, in the East are now entirely dis- carded by card-writers. These pens range in width from one-eighth to one inch. They have two sides, which form the point. The ink is put in the space formed by the sides, just as you do in filling a draw- ing pen. Letterine is the best ink to use. DRAWING PENS. There are several styles of drawing pens in use. Some come in sets requiring a different pen for each size line. ( Hhers hold a considerable quantity of paint or fluid and are intended more for heavy line work, and for general use. Drawing pens can be purchased for 25 cents each, and employed simply for producing lines of different widths. The thickness of the line is regulated by a thumbscrew at the side of the pen. Thev are also made so as to fit into a compass for drawing circles. The ticket writer should have one. as it will be useful in drawing border lines on small cards and for other purposes. Most amateurs make 36 FLAT STROKE AND BRUSH AND PEN NUMBERS. J 7 w 3^ {J? ft 11^2 33 1415667 7S898C0s#cc^ 37 DAVIDS' PRACTICAL LETTEKER. the mistake of dipping these pens into the paint. This should never be done. Fill about one-quarter of the inner space of the pen by using your paint brush. Do not overload the pen, as it will overflow and ruin your line. Any kind of paint, including bronze, may be used. Always wash out the pen thoroughly when finished and dry it with a rag. The side screw should be removed and dried; otherwise it will rust. The screw should be loosened when the pen is laid away. When using white paint or Letterine the pen is apt to become clogged. It should occasionally be rinsed in water or wiped with a damp sponge and refilled. The white paint should be thinned and carefully mixed before using in a drawing pen. BRUSH SCRIPT. Brush script letters are mostly used on show-cards when they are larger than any letters that can be made with the stub pens. Very few card-writers can do this work with any degree of perfection until they have had much practice; but, this art once acquired, these letters in combination with script scrolls as illus- trated on page 87, present a work of beauty. On page 5 1 will be found excellent examples of brush-script. The rapidity with which they were formed in no man- ner mars their beauty nor the symmetry of the slant. BRUSH SCRIPT LOWER CASE. The lower case letters are. comparatively easy to write. The brush should be held exactly as in Fig. 3, page 11, the little finger resting very lightly on the paper. A glance at the outlines on the lower case let- ters, pages 45 and 46, will reveal the delicacy and ra- pidity of the brifsh strokes. The curved strokes on the s, g and y can only be written properly if done rapidly. BRUSH SCRIPT CAPITALS. The more simple forms of script, when writing cap- itals with a brush, look too primitive on a show-card, and those with curved lines, as shown on pages 49 and 50, are needed to form a suitable contrast with the lower case letters. The larger you practice these let- ters the more readily you can write them. Make 3 inch squares for your first practice, and write the letters at first with a lead pencil, being sure to write them entire- ly free hand, and resting on your pencil point so lightly that the pencil marks can scarcely be seen after you have made the letter. Now take your No. 5 brush and practice outlining the letter F. Stroke 1, from A to B, gives you the stem-stroke for many other letters. Stroke 3, from C to D, teaches you an- other important sweep of the brush which is also part 38 '/ nf. k fp b c d SLANT LOWER CASE, PEN-WORK. fW 1 J & • o p q r s t y V W X U ZMMA UPRIGHT CAPITALS, PEN-WORK. ABC D^fG H I J K L iH N 09 Qft ST U VW X Y Z&c.iSi 43 DAVIDS' PRACTICAL LETTERER. of many of the other letters. Arm and finger move- ments, with the lightest possible touch of your fingers on the paper and on your brush point, are what you must practice. When you can do this — and it will take you some time — then make every letter entirely free- hand. Do the same with vour No. and No. n brush. When using the latter, make your letters 6 inches high. To properly guide you in writing the more intricate letters, we will mention the order of the strokes : Letter A — i, from A down and around to B. Now stroke 2 to shade it. Stroke 3 (not numbered) from A to C. Stroke 4 down and around to D. Stroke 5, to complete the letter, should be made in one stroke, with pressure on the brush at the thick part. This stroke should be practiced separately. It resembles the first stroke on letter N. Letter B — Begin at A, stroke 1 down and around to B. Stroke 2, from A to C. Stroke 3, beginning at D, with slightly intensified pressure at the start, then light- ly down and around the top, making your loop, swing- ing down and around. Strokes 4 and 5. to shade the two loops, and stroke 6 from A to the right, and then the inner lower loop (not marked on copy) of stroke 1. Letter C — From A down and around to I!. Stroke 2 From A to the right to C. Stroke 3 to finish of stroke 2. Stroke 4 from E down. Stroke 5. A to D. Letter D — Stroke 1, from A down to the right, form- ing the loop to the left, around to the right upward, then forming the curve to the top left to B. Stroke 2, from A to C. Stroke 3, from A to the right. Stroke 4 (not noted) to fill the right hand curve from A down. The central heavy strokes showing in the letters B and D were left as the artist made them, but they were made in error, making the central stroke too thin at first. Letter E — Begin at A, follow the outside stroke 1, to B. Stroke 2, from B to the inner loop, then strokes 3, 4, 5, 6 and 7 where indicated. The upper E loop requires much practice. The small ring loop on the top of the letter (i can then be more readily learned. The first stroke of letters H, I, J, K, V and \Y is practically the same. The loop on the letter K begins at E, stroke 5 down and around the loop, down again and around to F. Letter P begins at A, stroke 1 down and around, making the loop to B. Stroke 2 from C down, around, passing A to D. Letter begins at A, to the left down and around to E. Letter S, stroke 1 from A to B in its centre. Stroke 2 (not noted 1. complete the centre dot by a down stroke. Letter Y begins at A. continuing the curve to the right, then down and up to B : stroke 2 shades the curve. Stroke 3, from B to the left in one quick sweep, then curve to 44 M MU k 6 ~*> m BRUSH SCRIPT, LOWER CASE. ' -'z ms- abed &Qf(Q# i Wwut/ 9>r^r- I J k t nv rv 45 BRUSH SCRIPT, LOWER CASE. M f& r aM *(&^? >»L a. j ' " * V W X w .s o c^ 46 BRUSH SCRIPT, NUMBERS. 4.1 ..A >C I 2 3 4 5 6 7 .A - - .-,'/». ^ # 4fflh ^ '^' r i 8 9 T O & 47 DAVIDS' PRACTICAL LETTEKER. C. Stroke 4 from B down to D. Letter Z, stroke 1, from A to B; stroke 2, from B down and forming the little loop at the left, then clown and around with a snappy, quick curve to C. The & is begun at A, stroke I, up, passing C and down to B; stroke 2, C to D; then shade upper loop, stroke 3; stroke 4, from E down and up to F. Practice thoroughly. SHADING. Examples of shaded letters are beautifully illus- trated on pages 51, 52 and 53. This work is all done with rial brush strokes. It should be accomplished quickly. The various letters offer excellent examples for practice, and the student is requested to study them ali carefully. When you shade letters have your paint easv flowing. If you use white paint do not feel uneasy because it looks faint when you shade at first, because it will dry out much whiter and should be used very thin on tinted cards. If you shade in gold be careful to constantly mix it and do not apply too thick with your brush. Shading in two colors is sometimes desirable, but the use of several colors is only in practice among grocers and tea stores, but I would not sanction it. Very narrow letters, if shaded with a half-inch wide brush, often present a highly attractive appearance. Slant letters can be shaded to good advantage. Letters that are crooked or poorlv written do not show their imperfections if the imperfect lines are not shaded exactly parallel. The shading may appear on the right arid upper ends if desired. Other methods, seldom used, make letters appear as though falling forward or backward. LETTERING MIRRORS WITH SOAP. Cut a strip of fresh common brown soap about 2\ inches by 1 inch. Cut it from two opposite sides into a wedge-shaped point, leaving the edge one-eighth inch thick. Your mirror should be perfectly clean. You can use the soap exactly as you would a flat brush, but of course must use more pressure. EDGE-LINES ON TICKETS. If you wish to place edge-lines one-sixteenth to one- quarter inch thick on small price tickets, running them to the extreme edge, proceed as follows: Hold your card in the left hand, placing its edge flat on a piece of smooth card, or. better still, a piece of glass. Put a liberal quantity of color or bronze on your brush. Now glide your brush quickly along the glass, re^tini; it also against the surface of the card. Your lines will be smooth and of uniform width with a little practice. 48 BRUSH SCRIPT, CAPITALS. &L.°k '??; ••^r, tf J1R m f* ■■ c Tw9C& qr V_ &~ ? / SHADED S( Kir I /' /> }9!iii WJL *Mm ^Mi?\ li c(ii c < s n / &l OJJ M &Et§ 7 l «~it 'M (JILL r '/'EL * JLIJiJti W 51 SHADED BLOCK LETTERS. 52 SHADED ROM AX. A B C D E F G HIJKLMN O P Q R S T U V WX Y Z & * 53 DAVIDS' PRACTICAL LETTEKER. PRICE TICKETS. The numerous illustrations of price tickets, begin- ning on page 71, offer to the student ample oppor- tunity for studying designs of tickets as well as pen and brush lettering. The colors of the designs from which these photo- engravings were made are mentioned in detail. These may, of course, be changed to suit the fancy of the maker. The actual sizes are just double the dimensions illustrated. Xo. 204. white with beveled edges; 205 and 216, white with gold bevel, and gold double edge-line ; 206, white circle on fancy blue card with bevel edge; 207, gold edge, white card; 217, gold edge, black card, raised embossed gold centre: 208, dark gray mat on light gray card, beveled edges; 209, 218 and 246, plain white with gold bevel; 210, egg- shell mat, with fancy gold bevel edge, embossed gold ornaments, green centre; 21 1 and 229, white and black- hat tickets, with embossed gold circles; 212. pink shield, glued on green shield; 213, shoe ticket, white mat, fancy gold edge, gold ornaments, black centre; 214, olive green suit ticket; 219, gray card, with col- ored painted floral spray; 220, heliotrope shoe ticket; 237, 238, 239, 255, 256, 257, 258 and 259 have shaded backgrounds made by using an air brush. This de- vice costs at least $30. A similar but coarser effect can be obtained by using an atomizer. First cut out from a light piece of card the shape to be left blank. Place this pattern flat on the cardboard, putting a weight oil the pattern. Spray the card all over, then remove the pattern. The card will soon be dry, and it may then be lettered. ( hi Xos. 238 and 255 the dark lines are gold ; 257 has a gold embossed eagle glued on centre; 239 has a colored floral spray; 240 has a fancy edge, colored in red in the centres and blue on the ends; 241 has a glazed white surface and deep gold bevel edge; 242, brown linen; 243, light oak on dark oak panel, having wide bevel; 249, green linen on dark green panel, with white bevel; 244, blue star; 247, hat or shoe ticket; 248, oval cut-out; 250, fancy gold bevel shoe ticket; 251, white glazed, with gold bevel and gold arrow. The 10 on the arrow is painted black, and when dry receives a painted white edge-line. Xo. 221 is a light green eggshell mat, with fancy gold edge and embossed gold ornaments, mat glued on purple beveled card; 222, heliotrope shoe ticket, with gold embossed frame; 223, imitation light oak card, with bevel edge; 224, imitation burlap gray; 245. blue, with bevel edges; 225 and 227. black waterproof, with bevel edges; 226, white mat, with fancy gold edge and embossed gold ornaments, glued on a white beveled gray card having a white paper cen- 54 PRICE TICKETS. 55 PRICE TICKETS. 5fi PRICE TICKETS. D.ir/DS' PRACTICAL LETTERER. tre; 228, white mat, with fancy gold edge, mounted on imitation light oak panel; 230, white card, gold bevel, rococo gold scrolls; 231, green hat ticket; 232 and 2 35- gold embossed hat tickets; 233 and 234, shoe tickets; 236, green linen, with white bevel. These hat tickets have very thin strips of card glued on the centre of the back. The glue is only put on one end. so that the strip can readily be slipped into the hatband and the ticket project in front of the band. 252 and 253 are linen panels, with heavy white panels and new art designs. The flowers and stems are first painted, then outlined in black. No. 254 is a dark gray- card, having a miniature wooden hatchet glued on. The top of the hatchet is painted red and silver. Figs. 200 and 201, on page 83, are embossed card designs, having scroll-work and escutcheons in silver, the centre background in black or colors and the let- tering in white or gold. Fig. 202 is a dark green, white beveled panel. Fig. 203 can be made in any size, but requires a knowledge of figure painting. your card, and then in as few words as possible write your "catch word" underneath it in bold letters, and the rest of your reading, without using too many- words in smaller letters. I will give a few examples, which are simple and I believe original. Take a piece of chalk. Under it write: "Chalk it Down — cur prices are the lowest." A screw — under it write "A Good Many Turns in this business have taught us how to please you." A large nail — write under it "We Xail the Prices Low in this store. ( hie price to all." A small doll — write under it "For the Little Ones we are showing new styles. See them." Under a penny tin whistle write "There's Harmony in our qualities and prices." Under a stick of wood write "Stick to Us — and you will never get stuck." A toy rooster: "Be the Cock of the Walk — wear our stylish (mention the brand) liat." A Row of Pins — "We Can Give You Pointers in fashions and low prices." SHOW-CARD TALK. SUBJECT CARDS. Window cards that always attract attention are those known as subject cards. They can be made with or without mats, to please your own fancy. Take any small object and by means of wire or glue attach it to The most desirable style of card suitable for any line of business is white with black lettering. Ample white space around the lettering, proper spacing of the words and correct display with neat execution make this a card of excellence. The display lines shaded in gold, gray, drab or pearl are the next step 53 PRICE TICKETS. 59 PRICE TICKETS. 60 PRICE TICKETS. 61 PRICE TICKETS. 62 PRICE TICKETS. BlNGER. N.y. 63 EMBOSSED CARDS. 64 A CUT-OUT. DAVIDS' PRACTICAL LETTERER. from simplicity and still within refinement. With the exception of vermillion or turkey red. white and the colors mentioned, there is no reason for using any other colors on show-cards unless you write what may be termed a monotone card, using only one color, like green, brown, yellow, etc., for lettering the entire card on white. The color effects should be created by the use of various colored cards, but the paint need be only white or black or combined. Plain gold letters on white cards are very pretty. It you make a block letter in gold and shade it with drab or black you have a neat combination of color. Painting a narrow edge-line around letters enhances their beauty, but takes time. An odd but pretty card is a drab background with a turkey red initial edge-lined white and the letters all white. Dark green lettered white and gold; light green lettered black, shaded white; gray lettered white, shaded gold; blue (seldom used) lettered white, shaded black; red lettered white, shaded gold; and red lettered black, shaded white, are good combinations. CUT-OUTS. When a quantity of cards is to be written, whether small price tickets or full sheets, the card-writer makes a cut-out. This method is illustrated in Figs. G and H on page 05. The sample card H being written, another card of the same size is taken, and lines are ruled on tissue or transfer paper to represent the exact posi- tion of the words on the original card H and pasted on it. The spaces showing the position of words or let- ters are then cut out with a sharp knife. By placing the cut-out over the other cards to be written, and using a soft pencil, the spaces cut out are traced read- ily and quickly, and the card-writer is certain that all of the words will appear in the same position on all of the cards, besides being also the same height. The lead pencil marks are erased with a sponge rubber after the card that has been written is dry. These lead pencil marks are purposely left on our designs in order to guide the learner. Under the cut-out (G) there is pasted a dark background to more clearly em- phasize the spaces cut in the card. On page 67, Fig. A, is another cut-out for a trouser card. Three pens of different size were used to write the card. The num- ber 5 was made with a brush. Fig. C is a cut-out for a small price ticket D. On page 67 Fig'. A shows another method of prepar- ing a cut-out for the trousers ticket Fig. B ; a card( Fig. A) is first centred, then crudely written in lead pencil, having all the characters shown on Fig. B. The words are then all cut out as shown on Fig. A. The cards to be written are then, one at a time, placed un- 66 CUT-OUTS AND STENCIL. 67 DAVIDS' PRACTICAL LETTERER. der the cut-out Fig. A and the lead pencil lines, which can be seen on our photo-engraving Fig. B, are traced. The writer then finds no difficulty in having his words all uniform on the duplicates. Three sizes of pens were used to write Fig. B. The 5 was made with a brush. Cut-out Fig. C was made in the same manner, for the price ticket Fig. D. STENCILS. When large quantities of hand-painted cards are de- sired, the larger letters and designs are usually sten- ciled and then filled in by hand. Stencils are made as follows : The sample card being first made, some trac- ing paper is laid over it and the letters desired are traced. This paper is then pasted on a sheet of strong manila paper. Then, with a very sharp knife-point, the letters are partly cut out, as shown in Fig. E. page 65. This can be best done by laying the paper on a sheet of cardboard and cutting clean through the paper slightly into the card, thereby avoiding burr edges, which are sure to appear if the knife be dull or the surface under the stencil paper be uneven. The entire stencil should receive a thin coat of shellac, not for- getting the inner edges where the cut-out has been made. This will make it durable, preventing the color from soaking into the paper and the stencil brush from injuring the surface, which otherwise would, after some use, absorb much color and cause blurred lines. A wide round brush, with short bristles, is usually the kind required fur this work. When a paper stencil is used the color is spread only on the outer surface of the brush by rubbing it perpendicularly across some smooth surface, then holding the stencil firmly in posi- tion with thumb-tacks, or with weights if it be large, or with the left hand when small. The brush is tapped gently up and down against the stencil, and its work is done. It leaves a neat faint or dark impression, ac- cording to the amount and tint of the color applied ; besides this, it places the design or letters in the exact position on all of the cards. Fig. F shows a card made with stencil E. After the stencil brush is used all the letters are outlined with a small brush, then filled in. When large stencils are cut and there are many narrow spaces uncut, like those in the top of the A, C, T, and bottom of C and L, it is advisable to cut nar- rower strips of paper and to strengthen these weak parts by fastening on these strips with glue or shellac. FLORAL CARDS. Artificial flowers, especially violets, are highly dec- orative, and can be used to good advantage in making 68 DAVIDS' PRACTICAL LETTERER. ARNOLD BINGER, The World Renowned Snow-Card artist. Proprietor of THE LARGEST SHOW- CARD ESTABLISHMENT IN THE UNITED STATES. 70.1 and 705 Broadway, New York. 69 DAVIDS' PRACTICAL' LETTERER. price tickets or window cards. Glueing one violet without a steam in each corner is in itself a pretty deco- ration. Two or three violets with stems and one leaf, fastened in one corner of the card by piercing two holes and fastening the stems and leaf stem with a thin wire, make an agreeable appearance. FANCY SHOW-CARDS. The horseshoe design on page 71 is easily con- structed. On a full sheet of tinted cardboard mark the shape of the horseshoe and cut it out. Letter it in black, shade in white, allowing both to dry thor- oughly. With some thinly diluted glue trace the out- lines where indicated, and apply at once a liberal quantity of "flitter." The bunches of violets, which can be bought at a trifling cost, are attached by making two holes through the cardboard and fastening with thin wire by twisting the ends on the back. To pre- vent the card from sagging a frame of wood is glued across its back before the card is lettered, one piece running across the top and one piece along each side. The Satisfaction card on page 73 is illustrated for the purpose of showing the method employed in "cen- tering" and assembling pen-work. This card is in- tended to be placed at the cashier's desk, to be read by the customer while waiting for change. I believe that cards with much wording are generally undesir- able. This card is lettered in black on a white ground, having a double-lined golden border and brass embossed cornerpieces. You will at once notice the irregularity of the words "earnestly requested." This is to illustrate the marring effect of careless let- tering and poor spacing. The Santa Claus sign on page 71 has a dark green background with Santa Claus painted in glowing hues. The lettering is in white shaded in gold (which the camera here reproduced in black), and the scroll- work, which is faintly discernible, is carried out in silver "flitter." The panel enclosing the lettering is very simple in design but decidedly effective. The Holly sign on page 71 shows a spray of holly which can be attached by using an artificial spray, or can be designed in colors. The lettering is in gold on a green tinted background. The scroll-work is in green "flitter." The letters are excellent examples of perfect brush-work. The large Christmas sign on page 72 has a dark- red background with a green linen centre panel, let- tered in black and white and ornamented with gold "flitter." The elliptical panel is dark green, having in its centre a dark red panel ornamented with silver "flitter" which also extends to the sides of the lower card. The edge-line is of white paper. 70 HOLIDAY CARDS. . Here are Acceptable Presents I or G e i> I I c inoiA ! wmmaaemt 71 HOLIDAY CARDS. 72 BRUSH AND PEN-WORK. <■»->•» < v Jt»- -**< -nn>-» e*^>r— 73 Satisfaction is a ejood t/u/iq and worth aoina a qrrem ' tvqt/ for. Satisfaction is cjettisig avhat t/ou want;- 5^ the I a/'tictcs i/<>tt have purrh.ased do not proue cuiv/'eti/ Sau'sfaeiori/ as represented a c/ia/ice to //urA-c it r/<.//it is eamesttj/ /Ocnicsitoct