Part 1

ELEMENTS OF SHOW CARD WRITING

A Course of Instruction On How to Make Business-Building Show Cards

By JOHN H. DeWILD

Prepared for the EDUCATIONAL DEPARTMENT OF THE ASSOCIATED ADVERTISING CLUBS OF THE WORLD New York, N. Y.

Copyright 1923, by John H. DeWild

FOREWORD

It is with pleasure that we present this text on Show Card Writing by Mr. John H. DeWild of St. Louis.

It is designed primarily for the use of the study classes in the educational work of the Advertising Clubs that comprise this Association.

It is built out of the practical experience of a class that Mr. DeWild has conducted with success in the Advertising Club of St. Louis. In fact, the publication of the book has been somewhat delayed owing to changes that have been made in the original plan; changes that have greatly added to its practical value and that have come out of Mr. DeWild’s experience in his advertising class.

It should be mentioned that Mr. DeWild is the manager of the Merchants’ Service Department of the Ely & Walker Dry Goods Co., St. Louis. He has written books before on this subject. Being a practical merchandise and advertising man he knows the sales and advertising value of properly made show cards. He understands the technique of show card writing perhaps as well as any man in the country.

This is one of a series of texts prepared for the Educational Committee of the Associated Advertising Clubs and it is hoped by the Committee that it may serve an important place in improving the quality of show card writing and its advertising and sales value throughout the stores of this country and of Canada and of every country where an Advertising Club is located.

EARLE PEARSON, Educational Director.

PAUL T. CHERINGTON, Chairman Educational Committee.

ASSOCIATED ADVERTISING CLUBS OF THE WORLD.

INTRODUCTION

The ten practical lessons which follow, together with numerous supplementary alphabets and showcard suggestions, are the result of careful study, based upon years of experience gained in teaching the simple fundamentals of showcard writing to various groups of merchants and employees, demonstrations before Retail Merchants’ Associations, conventions and in other educational work.

The lessons were formulated into the course recently inaugurated under the direction of the Educational Committee of the Advertising Club of St. Louis. So successful was the course that this book has been prepared with the idea in mind not only to serve as a text book for instructors, where it is desired to conduct classes under the auspices of an Advertising Club, but also for the student or store employee who desires to do individual practice outside of a classroom. This is the only text book published which carries the student forward, lesson by lesson—in a simple, practical manner. (Note the charts for beginners).

It is easy to acquire, in a very short time, the ability to do suitable showcard work, provided the student =first of all masters the fundamentals of lettering=.

By “fundamentals” is meant the simple strokes that form most of the letters, and these “strokes” should be mastered to the extent that they will always be made uniformly.

In lesson No. 1, these fundamentals are thoroughly explained, and by using the large charts which are original with the author, the student will readily grasp the idea of properly forming the letters. With the first lesson thoroughly mastered, the remaining lessons will be very easy.

The author is grateful to the Advertising Club of St. Louis for the inspiration—and the opportunity which led to the demand for a course in card writing. For many original ideas and suggestions used in the class-room, and for several alphabets and showcards, a great deal of credit is due Miss Frances Kaiman and Mr. Charles Jones, both of St. Louis, who gladly gave their services during the original course, and also in the preparation of the text itself.

Experience demonstrates the fact that classes of this kind are made up of students from all walks of life; many of them without experience, and the majority of these young men and women come from the smaller stores in outlying districts.

For this reason, it is necessary in class work, for the instructor and assistants to render personal service to the extent that each student is encouraged along the lines he or she prefers.

As an illustration: The young man from a drug store is interested in vastly different styles of showcards than the young man employed in a grocery store, and after the primary lessons are completed, it is best to prepare suitable copy and layouts for the students, so that each may work along practical lines.

On the pages following the lessons will be found many showcard suggestions for numerous kinds of business, and various seasons, all based upon the alphabets shown in the lesson plates.

MATERIALS FOR BEGINNERS

Secure the proper materials right at the start. Improper materials are a handicap.

Instructors who undertake the classwork in many of the smaller cities and towns, as well as individual students, will perhaps experience some difficulty in securing the right materials. If, after investigation, such is found to be the case and the suggested materials mentioned on this page are not procurable in quantities sufficient for individual or class practice, the Educational Department of the Associated Advertising Clubs of the World, 383 Madison Ave., New York, will be glad to furnish these materials at very low cost.

Proper materials are necessary, and good work can be done only when the student is provided with the best.

For the beginner, the following outfit is suggested:

1 set of 5 sizes round speedball pens,

1 set of model “C” speedball pens or several sizes of broad pointed pens,

1 bottle of black drawing ink,

1 No. 10 and 1 No. 12 red sable “rigger” showcard brushes,

1 2-oz. bottle black showcard color,

1 2-oz. bottle light red showcard color,

1 “T” square,

1 drawing board at least 22×28 inches,

A supply of thumb tacks.

The “T” square may be “homemade,” if necessary, as well as the drawing board, the only essential in the drawing board being that it be “squared up” on two sides—the left side and bottom, thus enabling the student to do rapid, accurate “lining” or ruling.

With these materials, the student is ready for the first lesson, which should be practiced with the aid of the large instruction sheets, these charts being provided by the Associated Advertising Clubs, and two of each are included with this text book.

It is also suggested that where the local Advertising Club or other organization is fostering the class in showcard writing, there should be provided extra charts for practice, together with sheets of heavy paper, enameled on one side, size 14×22 inches. This enables the student to do extra practice in addition to the chart work itself.

In purchasing showcard stock, students should keep in mind certain sizes of stock necessary.

Full sheets of cardboard are 22×28 inches.

Half sheets are 14×22 inches.

Quarter sheets are 11×14 inches.

Eighth sheets are 7×11 inches, and so on.

The thickness or “weight” of cardboard is usually designated by the term “ply” which means the number of layers of rough pulp making up the body.

A good weight for ordinary cards is 6-ply.

Heavy board, usually used for half and full sheets, is 10-ply, or thicker. Mat boards and double size cardboard usually come 28×44. Some mat boards and other fancy boards can be procured, however, in 22×28 size, thus saving the time in cutting.

It is suggested that students procure from their printers or wholesale paper houses, catalogs of samples and sizes of the various cardboards, etc., and familiarize themselves with the weights, colors, names, etc.

SUGGESTIONS FOR PRACTICE

If the showcard work is to be conducted in classes, it is highly desirable to procure a suitable room where drawing tables are available; for instance, the drafting room of a high school or college. If this is impossible, the next best method is to provide large tables, slightly lower than thirty inches, and chairs where students may sit at their ease, in using their drawing boards.

As the work progresses, the tables should be raised, so that those who desire may stand up. This will enable the students to do better work, especially when the brush work is being practiced.

In fact, it is suggested that after the third lesson students be permitted to stand as they work, and if in a drawing classroom or showcard studio where practical work is done, the regular drawing tables can be used.

The thorough mastery of the fundamentals is absolutely essential to good work, and particular care should be taken with the first four or five lessons that all students master these details. If the student is without an instructor, he should exert every effort to be painstaking, and never hurry the work in the early stages of practice.

Quick, “jerky” strokes, especially with the pen, are decidedly bad form, and should never be attempted until the student has advanced to the point where it is possible to gain a little speed and yet be neat and accurate.

The instructions on the practice charts, as well as on the following pages, regarding the early lessons are fully explanatory.

There should be absolute silence in the classroom, and students should be so arranged that the instructor and assistants may pass rapidly from one chair to another, watching each student, and making corrections wherever necessary. The instructor should provide himself with a pen or brush as necessary, and use a separate sheet of paper in showing the students the correct method of making certain letters. Students need suggestions particularly on the formation of the letter “C,” the letter “S,” etc. Once the “reason why” is mastered, the rest is easy.

Students should assume an easy, comfortable position. A cramped position is hard on the muscles and nerves, and ruins the eyes. Keep the head well over the work and have the work in front of the body—never too far toward the right.

Don’t be afraid to “bear down” on the pen—pressure will keep the hand from “wobbling.”

Keep the third and fourth fingers “folded in” and permit the hand to rest comfortably upon the table or drawing board. Use the thumb, first and second fingers to hold the pen or brush firmly and do as much of the work as possible with these fingers. In other words, “loosen up” the wrist and fingers.

INSTRUCTIONS—LESSON NO. 1

_Fundamentals—See Large Chart._

On the adjoining page is shown the plain speedball alphabet, one of the simplest alphabets that can be formed. The light lines show the direction in which the pen should move in forming the letters, and the numerals indicate the order in which the strokes should be made.

Keep the “foot” of the round speedball pen flat on the surface of the paper or cardboard and press down with considerable force so that the pen makes a full, even stroke.

Do not carry too much ink, as it will run and spoil your work.

Practice slowly and patiently.

Learn to form carefully the “lower case” or small letters, “i,” “l,” and “o.” All of the “lower case” letters containing ovals should be of the same uniform proportion.

In this alphabet the “O” has been formed as a perfect circle, thus giving the student something definite to work from. It will be noticed that a-b-c-d-e-g-o-p and q contain ovals which must be uniform. Also notice that the lower case letter “i” is the first stroke in the letters “m” “n” and “r,” and with a slope, is used in the construction of u-v-w-x and z, and that the letter “l” is the first stroke in the letters “b-h-k and p”; thus the formation of an alphabet requires very few strokes.

It is also well to bear in mind that the experienced showcard writer does not “work” or think in terms of letters, but his mind works in terms of “strokes”; thus he knows when forming the lower case letter “b” that the first stroke will be exactly like or similar to the lower case “l” and then must be added the oval.

The capital letters are made up of uniform strokes, and the same with the numerals. It will also be noticed that wherever there is an oval, it should be as nearly the form of a circle as possible. The “oval” in figure “2” if continued would be a circle. The figure “3” is the same as figure “8” except that in “3” the ovals have openings. The loop of figure “5” should be almost a complete circle, the same as the loop in “6” and the lower loop of the numeral “8” should be the same size as the loop in “9.”

The ovals of the lower case letters should be of a proportion that will occupy the space between cross lines “B” and “C” shown on the chart. After a little practice on the charts, =and in the first lesson omitting the spurs entirely=, this alphabet will be easily mastered.

It will be noticed that the ruled lines on the chart are numbered A-B-C-D. This is for the convenience of the student, with the idea in mind that the ovals of the long stem letters are two-thirds total height. That is—the space from line “A” to line “B” should be one-half the space from “B” to “C” and the space from “A” to “B” should be equal that from “C” to “D.”

This is an excellent proportion for practice work, although the student after he progresses is at liberty to vary these lines as may appeal to his fancy. (See page of speedball “variations” following lessons).

By “spurs” is meant the little cross finishing lines as shown on the chart. Omit these “spurs” during the use of the first two or three charts.

In lesson No. 1 follow on the chart only the lines indicated on the following page.

Then carefully study the layout suggestions—where the “balance” of display comes—and the various arrangements.

INSTRUCTIONS—LESSON NO. 2

_Perfected Speed Ball Alphabet—Layouts—See Chart_

This lesson, shown on following page, should not be attempted until LESSON No. 1 has been thoroughly mastered.

The student should be familiar with the layout suggestions shown beneath the alphabet in lesson No. 1 even to the extent of laying out the same outlines and copying them on sheets of paper about 9×12 inches.

Lesson No. 2 should be copied by the use of a No. 3 round speedball pen. Follow the dotted lines on the chart very carefully and observe the details—especially the “spurs” which are the little finishing touches or cross lines—these being purposely omitted in the first alphabet.

When the student has carefully lettered in one or two of these charts the same alphabet should be copied on a plain piece of paper or cardboard, forming the letters as nearly perfect as possible.

Use a pencil for the “ruling in” on practice paper other than the charts.

Page 7 also shows the condensed and extended variations of the alphabet. Keep these forms in mind. Condensed lettering is often necessary on narrow cards, and the extended is often used on very wide or “landscape” sizes.

With this lesson thoroughly mastered—the student is advised to practice the layout work. The first drawing suggests the “copy” for a showcard as it is often handed to the card writer.

There is a rule in card writing which demands the elimination of useless or unnecessary words. Thus the student scratches out the words “this is.” These words can be eliminated without changing the sense of the card. Next, take a piece of enameled cardboard, or enameled paper, and make a penciled layout as shown.

Keep the balance of display toward the top center. Note that the three lines are “gathered” in a group—not scattered all over the card.

With the penciled layout ready—take up a No. 3 pen and letter in the first line—then use a No. 2 pen for making the next two lines. Use the smallest pen for forming a rather wavering or “rugged” border about one inch inside the margin of the card. Note the reproduced finished card shown.

This layout should be practiced until it resembles the original. Then the student should attempt the next card known as the two-price layout, and then follow with the special arrangement.

These three layout suggestions will give the student confidence and the knowledge gained from practicing will make other layout work much easier.

During the intermission between lessons, possibly covering several days, the student should lay out and letter in other showcards from original copy or from copy suggestions secured through observing the showcards in large stores, or from the advertisements in the newspapers.

Master the alphabet and practice.

Success follows persistent trying.

INSTRUCTIONS—LESSON NO. 3

_Broad Point Pen Single Stroke Roman—See Chart for Practice_

This is a very beautiful alphabet when properly made. Students should note the graceful curves—and practice each letter carefully and faithfully from the large charts.

The alphabet reproduced on the opposite page is from the same copy as that used in making the practice charts, with the exception that in the book, the practice lines are omitted.

Any “broad pointed” pen may be used for this alphabet. Some showcard writers prefer the model “C” Speed Ball pen, others prefer what are known as “round” writing pens—which are the same style pen as the “Soennecken,” others may prefer the “Automatic Lettering Pens.” Any style pen that will fit the practice lines will suffice. The original chart from which the illustrations were produced, was made with a No. 3 model “C” Speed Ball pen.

In beginning the practice work, note on the charts, and also on the alphabet shown here, that the four guide lines are lettered A-B-C-D, just the same as in the first and second lessons. The spacing is the same, and there is a general proportion common to both alphabets.

Hold the pen firmly, but the hand should guide the pen at a slight angle. In other words—keep the hand somewhat farther toward the right of the letter itself—rather than directly over the work as was the case with the round Speed Ball pens in the first and second lessons.

Note carefully the sketches shown beneath the alphabet—and endeavor to hold the pen exactly as shown. Note particularly the angles in which the pen travels in starting and finishing the various strokes.

In making the “staff” strokes such as “i”, “l”, etc., the pen should make a slight upward curve—much the same as though the writer were going to draw a very thin line upwards at an angle of about 45 degrees. When this thin line is fairly started and touches the guide line, then make a graceful curve and come directly downward almost to the base line, allowing for the slight curve at the bottom of the stroke.

Try the letter “i”.

Hold the pen at an angle. Come up slowly, then turn and follow the practice lines downward. Then try the letter “l”.

Now take a separate piece of smooth paper. Rule this off into spaces the same as the practice chart, and continue making the letters “i” and “l” until the pen feels “natural,” and you can make perfect perpendicular lines with the graceful curves of “spurs.”

With the pen “sliding” downward somewhat at a cross angle, the wide downward strokes will be found easy.

Then try, on the chart, the curves which enter into the making of the letter “o.” All such curves are made from the top downward, and this is an important point. Also remember that there must also be a swing of the pen from LEFT—DOWNWARD. Then, TOWARD THE RIGHT—AND DOWNWARD. Two strokes form the letter “o.” The next strokes are simple.

With the letter “s”, you must use “THREE” strokes. Note the chart.

Then come the strokes with curves which enter into the construction of “h”, “m”, “n”, “w” and “y”.

Bear down on the pen sufficiently to get a wide stroke.

Use a sweeping motion to get the curves.

Follow faithfully the outlines on the chart, and you will soon be able to make a beautiful alphabet.

The capitals are a series of easy curves, also the numerals.

INSTRUCTIONS—LESSON NO. 4

_Single Stroke Brush “Roman”—See Next Page_

The student is now ready for practice work without the aid of charts, except for the model shown on adjoining page.

Use either a No. 10 or No. 12 “Rigger” showcard brush.

Rule the practice paper so that the total height of the letter “l” will be about 2¼ or 2½ inches. This will leave a space of about 1½ inches for the ovals. Any size letters, however, may be made providing of course the brushes will accommodate them. Be very careful in choosing brushes, and get good brushes. Professional card writers prefer the best red sable obtainable, and with reasonable care, a good brush will last a lifetime. Also be sure of the sizes. Brush numbers are confusing, and there is a series of sizes larger than the “Rigger,” with duplicate numbers. The term “rigger” means the short handled brush, and this style brush also has somewhat shorter bristles than the larger models. The price of the “rigger” is also considerably less than that of the larger brushes. If there is difficulty in securing brushes, write to the Educational Department of the Associated Advertising Clubs of the World, as suggested on page “Materials for Beginners,” and you will be properly supplied at reasonable cost.

The student must also use regular showcard color for ink. Don’t use pen ink for brushes. It will not work, and is too expensive. Procure some regulation showcard colors in the 2-oz. bottles costing about 25c. Professionals use the term showcard “colors” to designate the brush water colors from the inks used for pens.

With the brush and ink ready—secure a small piece of cardboard for use as a palette or mixing board, and by dipping the brush into the showcard color several times, there will be sufficient quantity on the palette to proceed. Have a small cup of water handy, and into this dip the brush for moisture. Pour very little water into the show color itself—moisten and work up the color on the palette.

In doing the “mixing” also endeavor at the same time to work the bristles of the brush into a sharp “chisel” or flat edge. This is necessary to do good work.

After each letter or two, repeat the chiseling out strokes on the palette, and always carry sufficient color on the brush to do good and easy work. Don’t permit the brush to dry out so that the letters are weak and poorly “covered.”