Part 2

Now for the lesson. Hold the brush with the point at an angle—the same as the pen was held, in forming the alphabet in the previous lesson. The first stroke is a very short, light one—then, rest the brush, and bear down slightly until the bristles are well spread. Come down in an even, straight stroke. This is the first stroke. (See first stroke on next page). When almost to the base line, stop and go back to the thin spur, and fill in the open space. (Note the second stroke on next page). Then resume position as in downward stroke and taper easily and slowly toward the right, touching the baseline. (This is stroke 3). Next place the brush a trifle from the bottom and come downward to left. (Making stroke four). Then across the bottom of the line, completing a very neat spur with stroke five.

This is the manner of lettering the lower case “i” and also the lower case “l.”

Close observation will show the exact manner of finishing “off” the capitals. In the practical use of this alphabet, avoid using lines of all capitals as much as possible—and then, use only the simple capitals. The fancy letters are for use only as the first letter on a showcard or for capitals in the main display lines. It is difficult to read lines of all capitals at a glance, and for this reason they should be used sparingly.

In doing color work, students will find that regular showcard color, somewhat “thinned out” with water, and placed in a separate bottle, will serve admirably in pen work. This is particularly true in lettering with the pen, on mottled mat board, or other “pulpy” surfaces.

INSTRUCTIONS—LESSON NO. 5

_The “Egyptian” Brush Alphabet_

Show card writers give this alphabet the name “Egyptian” when it applies to the plain lettering as shown on following page. There are many other names that apply—when the alphabet is “trimmed” up with various embellishments known to professionals. There is the spurred “Egyptian” when the lines are finished off with “spurs”—either heavy spurs or hair line spurs, and a host of other “embellishments” according to the taste and originality of the card writer.

The student will do well however to stick to the plain alphabet until the various letters are thoroughly mastered.

Among printers, this alphabet is known as “Gothic,” and some showcard men call it a “block” letter. The term “block” comes from the fact that most of the letters should occupy the same amount of spacing.

While not a beautiful alphabet—it comes in very conveniently, and is a splendid letter for making bold lines. As an illustration—the word “HATS” is a comparatively weak word on a large show card, unless the lettering is heavy, or embellished with some shading or outlining. With a broad brush—if in a hurry—the card writer can dash off such a word very quickly in “Egyptian”—thus saving time, and yet making a good, bold card.

The word “HURRAH”—sometimes used to attract attention—is very weak—unless lettered in bold “Egyptian.”

Large prices on full sheet cardboard signs and letters on cloth signs are also often done with this alphabet.

Don’t be discouraged when first attempting it with a brush—and make it only with the brush.

Pick out a brush that has a good even edge. A “ragged” brush is useless for heavy strokes. And when you find a brush that will work well, leaving the perpendicular and ends of the vertical lines even and neat, KEEP SUCH A BRUSH FOR THIS STYLE LETTERING, and use it for nothing else. In contrast to the “Egyptian”—a brush for the Roman alphabets must be pliable and of a “texture” to permit of light and heavy lines being made alternately.

In forming the “Egyptian” the brush must hold its “chisel” edge, and keep an even stroke; therefore the necessity of using the right brush.

First practice the letters that contain the straight strokes, E-F-H-I-L-V and W. Keep practicing these capitals until they become easy. Then take up the remainder. For the capitals—draw your cross guide lines about two and one-half or three inches apart. Regulate your lower case letters accordingly.

Learn to twirl the brush between the thumb and second finger, using the first or index finger as a sort of guide to keep the brush in place.

Roughen up the polished ferrule of the brush with sand-paper, or a file. Some showcard writers wrap adhesive tape about the ferrule, others wind that part of the brush with small rubber bands. All these “tricks” enable you to hold the brush more firmly and make the “turns” much easier.

Making the curves is a combined arm, wrist and finger movement and the student must bear in mind at all times that the hand must drag the brush. Do not try to push the brush. KEEP THE HAND AHEAD OF THE BRISTLES, and keep the chisel edge of the brush always at right angles with the width of stroke.

Also endeavor to keep the brush somewhat more perpendicular than with the Roman lettering. Many showcard writers hold the brush so that the handle is exactly erect or horizontal and a trifle forward of the third joint of the index finger.

Keep the head well over the work, almost directly over the work, and you will find the lettering can be done easier.

INSTRUCTIONS—LESSON NO. 6

_Embellishing, Decorating, Etc._

If this work is being done in a class under an instructor, it is suggested that examples be prepared exactly as described on this page, and illustrated on the following page. This will enable the students to gain an exact idea of the work to be done. If the student is practicing alone, it is suggested that cards duplicating, or at least similar to those described, be procured, and the various combinations followed out.

Card No. 1, size 9×13. Mottled mat board with a slight tinge of very light green. First three lines of lettering were done in bright red, and then the words “Fancy Stunts” were striped with light yellow. The word “color” was lettered in dark brown and embellished with light yellow.

Card No. 2, size 9×13. Light blue mottled mat board. Lettering was done in blue—the first lines in dark blue, and the numerals “40” in light blue, outlined with dark blue. The snow effect was accomplished by coating the top of the card and the letters very heavily with thick, white showcard color. Before this color dried, fine “imitation snow”—ground mica—was distributed. The card was then left to dry, after which the surplus ground mica was brushed off into a receptacle, to be used again.

Card No. 3, size 9×13. Pink mottled mat board. Lettering shows two styles of outlining. The first two lines were light purple outlined closely with black—the last two lines were dark purple with rugged light green outline. Note carefully the methods of outlining.

Card No. 4, size 18×8. Linen finish, cream tinted mat board. Lettering was done with No. 10 brush, using orange ink. The outlines and underscoring were done in purple, and the decorative dots over the face of the letters are white put on with small brush.

Card No. 5, size 6½×4½ inches. Light tan mottled mat board. Price was lettered with brush, using dark blue color, shading was done with light blue. The embellishing across the face of the figures was done with white.

Card No. 6, size 12×18 inches. Mottled tan mat board, round cornered. Body of lettering done in dark, reddish brown, then dotted with gold. The letters were outlined with bright red.

INSTRUCTIONS—LESSON NO. 7

_Use of Pantograph, Pictures, Copying Designs, Etc._

Card No. 1. Size 8¼×7 inches. This was a sample from a wholesale paper house. Body color was a very light green. The border and center panel were made with olive ink. The figures were light yellow and outlined in bright red. The picture of a parrot was cut from a magazine and pasted in the corner of the card as shown.

Card No. 2. Size 10½×14 inches. Dark cream mottled mat board. Lettering was done in a dark gray with No. 10 brush. The initial letters “D” and “F” were shaded with black. The picture which represents a photograph was a neatly printed half-tone, cut from a trade paper. The border of the card was gray.

Card No. 3. Size 10½×13 inches. Plain white cardboard with a picture pasted on the upper left-hand corner cut from a manufacturer’s showcard. The lettering on this card was done in black with the round speedball pen. The border is dark green to match the picture.

Card No. 4. Size 11½×18½ inches. Plain white cardboard. Lettering was done with large round speedball pen. The picture shows the use of the pantograph and the sketch was enlarged from the original at the left. This was enlarged four times as shown on the card itself. After the sketch was traced with a pencil, the drawing was filled in with drawing pen.

Card No. 5. Size 8×6 inches. Plain white cardboard lettered with No. 10 brush, using bright green ink, then shading with black.

The butterfly was a cut-out from a trade paper and pasted to the card-board.

In shading the letters on a showcard, or on any piece of sign work, the student should keep in mind the theory of shading which is as follows:

Imagine, if possible, that the letters to be shaded are about one inch in height from the paper and that a light is being held above and to the right of the letters at an angle of about 45 degrees. If this experiment is carried out in actual practice it will be found that the shadows fall to the left and below the letters. This is the rule for proper shading. The effect can be reversed by imagining the light coming from above and to the left. This would necessitate the shading on the right side of the letter and at the bottom.

Students should study the large cloth signs made by professional sign men, for splendid examples of shading.

INSTRUCTIONS—LESSON NO. 8

_Air Brushing, “Spatter” Work, Etc._

The first figure, that is the figure to the left on the adjoining page, shows the stencil, or pattern, as it is cut from regular stencil stock for use in air brush work or other decorative methods.

The card in the center shows the design after being copied on the showcard. The stencil itself was placed on white showcard, size 14×22, and the air brush color was blown about the margin of the stencil, with the result as shown. The lettering on this design was done with a large size model “C” Speed Ball pen.

The two cards shown to the right are illustrations of how to proceed in doing “spatter” work. The card at the top shows the panel cut out, and this was placed over the card shown just below. The spatter was done with light green color, and the method employed was as follows:

A brush similar to that used in cleaning typewriters was used with regular air brush ink, and this brush was moved backward and forward across the blunt edge of a knife blade. The face of this panel was then lettered as shown. This lettering was done with a large size model “C” pen.

Students who desire to further familiarize themselves with air brush work, should write to the various manufacturers of air brushes, and get literature on this interesting subject. Stencils may also be procured from showcard supply firms or from the manufacturers themselves. Patterns from stencils may also be copied from wall paper designs, pictures, etc., and then cut out with a very sharp knife.

“Air brush” is a name for a finely made tool which has a very delicate spray, operated by means of air pressure.

It is necessary, of course, to attach the air brush to some sort of tank containing air, and for those who use the air brush a great deal, nothing is more convenient than the carbonic air tank furnished by any carbonic gas company.

It is necessary to attach an air regulator to such an air tank. Bear in mind that an air regulator is a combined regulator and pressure gauge.

In addition to the air brush, it is necessary to have extra color cups and about eight feet of rubber hose to attach to the tank.

Ordinary spatter work may be done in a great many ways, in addition to the method mentioned here.

Many showcard men find that an ordinary fine spray atomizer will do very good work, and some even attach an atomizer to a home made air pressure tank, which is fed from a hand or foot pump.

Any method that will add novelty to the appearance of a showcard is very good, especially at the important seasons of the year.

In doing air brush work however, or spatter work, it is very necessary to first procure the regular air brush colors. Ordinary homemade mixtures will drip and ruin your work. The regular air brush colors have in their composition a dryer which causes the color to dry immediately, and also a binder which prevents the color from being rubbed off. Air brush colors are very reasonably priced, and can be secured in a great range of shades and colors.

If the student has difficulty in procuring these materials, he should write to the Educational Department of the Associated Advertising Clubs as suggested in previous lessons.

INSTRUCTIONS—LESSON NO. 9

_Finished Work in Air Brushing, Etc._

This lesson has been designed as a direct follow-up of Lesson 8.

There is a variety of simple and practical suggestions on the following page—giving the student much actual practice.

If work is being done by classes, the instructor should have similar designs prepared and permit the students to copy from them.

It would be much more practical if such designs could be shown to the students before the class closes on Lesson 8.

These designs are all on white cardboard so that very little extra stock is necessary.

Card No. 1. Size 12×11. Plain white card, air-brushed in black around the oval cut-out. The “turned-down” corner effect was obtained by clipping off the corner and airbrushing a section to represent the portion that would be folded over. The lettering was done with No. 3 round Speed Ball pen, and the figure “4” was outlined in purple.

Card No. 2. Size 11×14 (quarter sheet). Airbrushing was done over a panel with purple ink. The pictures were then pasted on and the lettering done with small size broad point lettering pen.

Card No. 3. Size 7×7. Air-brushed panel background was obtained by “spattering” the color through a “jagged” edged cut-out. Lettering was done with large size round Speed Ball pen.

Card No. 4. Size 9½×20. Plain white cardboard. Faintly decorated panel was made by rubbing in colored chalk dust and outlining this with small pen. Lettering was done with No. 4 round Speed Ball pen.

Card No. 5. Size 11×16. Plain white cardboard. Silhouette was made by transferring the outline of a picture by means of carbon paper. This outline was then filled in with black ink. The border and shading were done in dark red. The lettering was done with small broad lettering pens: a No. 4 Model “C” Speed Ball and a No. 5 Model “C” pen.

INSTRUCTIONS—LESSON NO. 10

_Finished Practical Work—General Review_

If the work has been conducted by classes, this lesson will serve as a general review, and students should be asked to duplicate the examples shown on the next page.

The general review work should also include work in the simple alphabets with each student making a card with the round speed ball pen, one card with the broad pen, and one simple brush card.

The examples shown on following page should be shown to the class before the close of the previous class session, in order that the proper preparation may be made.

These cards are not difficult, but have been made up with the idea of giving the student an idea of variety—and individuality.

If an air brush is not available, an atomizer, or a simple “spatter” process will serve just as well.

Card No. 1. Size 9¾×14½ inches. The lettered panel was 5×7½ inches. The large part of the card was made by covering a piece of wall board with purple plush and mounting the showcard on it as shown. The showcard itself was of pebble finish, cream colored mat board, lettered in black with the price in white. The border as well as the underscore is also white.

Card No. 2. Size 14×8 inches. The background was light gray; with the mounting in light blue mottled mat board. The lettering was done with the brush, using dark blue ink. The outline was in white.

Card No. 3. Size 10×15 inches. Stock used was linen finish, cream colored mat board; lettering was done in black ink with a wide pointed pen. The border was finished with the air brush, and then striped with white.

Card No. 4. Size 9½×22 inches. Panel was air-brushed in purple; lettering was done with large size round Speed Ball pen; first two lines were underscored in light green. Price was outlined in light green ink.

Card No. 5. Size 8×11¼ inches. Lettering was done with a round Speed Ball pen, and the panel effect with the perpendicular lines was done with the pen, using orange color ink.

Card No. 6. Size 5×12 inches. Light tan cardboard; lettering done in reddish brown ink, using wide pointed lettering pen for the large letters, and the price was done with a No. 10 brush. The border was bright red, and the small lettering was done in bright red.

SPEED BALL VARIATIONS

The chart on the following page shows a number of variations which really make separate and distinct alphabets based on the Speed Ball pen alphabet practiced in Lesson 2. From these variations, if studied closely, it will be noticed that the Lesson No. 2 alphabet is used as the basis, and by simply changing the spurs, it is possible to make four or five alphabets from the one model.

The chart as shown on the opposite page is self explanatory. It is only necessary to state that the student should study the changes thoroughly, and when well mastered, they will add much to the attractiveness and individuality of showcards.

By varying the height of the body lines, known also as the staff lines, it is possible to change the entire appearance of this simple alphabet.

The last alphabet shown is much the same as that in Lesson No. 2 with the exception that the spurs are square and face generally in one direction.

It will also be noticed that many of the strokes are left open, at least there is a bit of white space showing between the staffs and the next stroke. This adds a touch of individuality to the alphabet, which is patterned after a popular type face.

In practicing this alphabet, simply rule off the practice paper as shown in previous lessons and follow the chart as closely as possible.

“SPECIAL” ALPHABET

This alphabet is a Variation of the Roman and Old English combined. There is always a demand for something neat, and attractive, and not too difficult or “fancy” to be easily made and easily read.

The same alphabet used week after week becomes monotonous, and students will find the “special” alphabet shown on the following page a very interesting one.

The capitals are quite easy, and follow somewhat after the style of the plain, single stroke Roman, for the pen and brush, shown previously.

Cards to be used in jewelry stores, for millinery, and other high class lines of merchandise, look “classy” and are very attractive when lettered in this style.

When using this alphabet it adds greatly to its attractiveness to procure tinted cardboard. A faint tint of purple, blue, brown, etc., greatly enriches the cards. Cream tinted cardboard is also admirably adapted to this purpose.

Black cardboard may also be used, or other solid color. By thinning the regular showcard colors somewhat with water, beautiful work can be done. Black cardboard with white lettering is decidedly appropriate in jewelers’ windows but the cards must not be too large.

At Christmas time this is a very desirable alphabet because it has many traits of the Old English.

With a little practice the fundamentals will soon become fixed in the mind, and the student will have one more alphabet added to his “vocabulary.”

Practice the layouts as shown, using black cardboard and white ink for the second, and light blue ink on white to form the dotted center panel of the third card.

PEN OR BRUSH “ITALIC”

The “Italic” is a very necessary alphabet in card writing.

The name is derived from the slanting appearance of the letters. In using this style of lettering be careful to have the “slopes” or “slants” uniform.

The angle as shown on the chart is the preferred “slant.” In practice work, to maintain uniformity, students should rule off their cards or practice sheets as indicated by the broken lines. This compels uniformity, and many professional card writers use a specially “slanted” ruling guide or “T” square for making such lines.

This alphabet is designed for either the broad pointed pen or brush. The round speedball pens may also be used for a “slanting” alphabet, if desired.

Compare the similarity of this with other alphabets and it will be found easy to make. Take time to analyze this and previous alphabets, and it will be found very simple.