Elements of show card writing: A course of instruction on how to make business-building show cards.

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Title: Elements of show card writing: A course of instruction on how to make business-building show cards.
Author: DeWild, John H.
Language: English
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WRITING ***

ELEMENTS OF
SHOW CARD WRITING

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

By JOHN H. DeWILD

[Illustration]

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

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.

[Illustration:

i l [symbol] o a a b c d e f g h i j k l m n o p q r
r s t u v w x y z 1 2 3 4 5 6 7 8 9 0
A B C D E F G H I J K L M N O P Q
R S T U V W X Y Z Cond Exten

Display Should be Well Balanced
About This Point—Which is
the Optical Center—

Actual Center

Well Balanced
Layouts—

Are
Essential
to Neat
Work

Special
To-Day—
8¢

FLUSH
DISPLAY

When two or more
Lines are “made even”
on one end only—
they are said to be
“Flush”—This is
an example.

Centered
DISPLAY
-When-
Side Margins
Are Equal

Plates used by permission of Ely & Walker Dry Goods Co., St. Louis.]

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.

[Illustration:

i i i i l l l l o o o a b c d e f g h i j k l m n o
p q r r s t u v w x y z ~ see ~ 1 2 2 3 4 5 6
7 8 9 0 $ ¢ A A B C D E F G H I J J K
L M N O P Q R S T U V W X Y Z $12·50
Condensed—Extended—Regular

“Copy” Penciled Layout Finished Card
“Two-Price” Layout “Special” Layout

Plates used by permission of Ely & Walker Dry Goods Co., St. Louis.]

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.

[Illustration:

i l o /\ s [symbol] [symbol] a a b c d e f g h i j k l m n o p
q r r s t u v w x y z $ ¢ 1 2 3 4 5 6 7 8 9
A A B C D E E F G I J J K L L M
N O P Q R R S T U V W X Y Z $5

Single
Stroke
5¢

Price
$8

Friday
Bargains
39¢

Today
5¢

Ready
for
Spring

Plates used by permission of Ely & Walker Dry Goods Co., St. Louis.]

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.”

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.

[Illustration: BRUSH “ROMAN”

i i i i i l l l l l a a b c d e f g h i j k l
m n o p q r r s t u v w x y z
A A B B C D D E E F F
G H H I J J K L L M M N
O P Q R S S T U V W X
Y Z $ ¢ 1 2 3 4 5 6 7 8 9 0

Plates used by permission of Ely & Walker Dry Goods Co., St. Louis.]

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.

[Illustration: BRUSH “EGYPTIAN”

i l [symbol] \/ a b c d e f g h i j k l m
n o p q r s t u v w x y z & $ ¢
A B C D E F G H I J K L M N
O P Q R S T U V W X Y Z
1 2 3 4 5 6 7 8 9 0 $45·00
Ext. Cond. FREAKISH!

Plates used by permission of Ely & Walker Dry Goods Co., St. Louis.]

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.

[Illustration: DECORATIVE SUGGESTIONS

FANCY
STUNTS
IN
COLOR

Christmas
Candies
40¢

Close
Outline

Open
Outline

Gloves

25¢

CAFE

Plates used by permission of Ely & Walker Dry Goods Co., St. Louis.]

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.

[Illustration: PRACTICAL EXAMPLES

15¢

Dignified
Furniture
Comfortable
Durable

They’re
Here
_Dainty
Durable
Hose_
Popularly Priced

New Ties
Just Received
$1.25

_New
Spring
Silks_

Plates used by permission of Ely & Walker Dry Goods Co., St. Louis.]

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.

[Illustration: SPECIMENS—FOR LESSON 8

1923
Ribbons
_for_
Easter

An Example
of
“Spatter”
Work

Plates used by permission of Ely & Walker Dry Goods Co., St. Louis.]

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.

[Illustration: SUGGESTIONS FOR PRACTICE

for
Easter
$4

A Complete
Line of
Toilet
Accessories
_Priced
to Please_
4th floor

$1·98

_CHALK
BACKGROUND
Hand
Polished_

Taffeta
You’ll Find a Large
Variety of Shades on Our
2nd Floor

Plates used by permission of Ely & Walker Dry Goods Co., St. Louis.]

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.

[Illustration: SUGGESTIONS FOR LESSON 10

Pekin
Morea
_A new spring
Novelty_
$7.50 doz.

FURS

Holiday suggestions—
50¢ and up.

_Silk
Hose_
$3·50

WHITE
PONGEE
SHIRTS
Collars
to Match
$4

For
Fall
Just
Received
60¢

Plates used by permission of Ely & Walker Dry Goods Co., St. Louis.]

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.

[Illustration: CHART OF VARIATIONS

This is an Example of the “Sloping” Spur
a b c d e f g h i j k l m n o p q r r s s t u v w x t z ¢ $

Below is an example of the “Double Curve” spur
a b c d e f g h i j k l m n o p q r s t u v w x y z—Etc
A B C D E F G H I J J K L M N O P Q R S T U
V W X Y Z—1 2 3 4 5 6 7 8 9 0-$ ¢ $12·50

This is a Specimen of the “Heightened” Staff Lines
This Demonstrates the “Heightened” Body Lines—Giving Contrast

a b c d e f g h h i j k l l m n o p q r s t u v w x y z—Easy—A
A B C D E F G H I J J K L M M N N O P Q R S T T U V W X T Z—1 2
3 4 5 6 7 8 9 0.

Plates used by permission of Ely & Walker Dry Goods Co., St. Louis.]

“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.

[Illustration: FOR BRUSH OR PEN

a b c d e f g h i j k l m n o p q r s t u
v w x y z—1 2 3 4 5 6 7 8 9 0
A B C D E F G H I J K L M N
O P Q R S T U V W X Y Z & $ $ ¢

Dainty
Dresses

Silverware
_for_
Christmas

Jewelry

Plates used by permission of Ely & Walker Dry Goods Co., St. Louis.]

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.

Words lettered in “Italic” on a showcard break up the monotony. When
there is considerable reading matter on a card or sign, a few lines in
Italic will relieve the denseness of the lettering and invite reading.

Italic is also much used for catch lines—the short lines—which often
occur between the important lines on a card.

The words “the”, “our”, “on” and many others are usually written in
Italic.

The last line of lettering on the adjoining reproduction shows some
slight variations preferred by showcard writers, in that the spur at the
top of some of the staffs is sharper, and on other letters the bottom
spur of the first stroke is omitted. In working under pressure many
showcard writers omit the spur in all first strokes on the h, k, m and n.

The “Italic” numerals are simple—and much used for prices on any style
card. In fact, the Italic is much preferred when there is considerable
small lettering to do and the work must be hurried.

[Illustration: “ITALIC” CHART

_A B C D E F G H J K L M N O P Q $
R R S T T U V W X Y Y Z &c.
A B C D E F G H I J K L M N
N O P Q R S T U V W X Y Z &_

_abcdefghijklmnopqrrsstuvwxy_

_abcdefghijk 1234567890-1923_

Plates used by permission of Ely & Walker Dry Goods Co., St. Louis.]

DIRECTIONS FOR “OLD ENGLISH”

While the “Old English” stands out in an unusual way for beauty and
dignity it must at all times be used with the utmost discrimination. It
does not lend itself ordinarily to showcard or poster work and finds its
best purposes in connection with Christmas showcards or monogram effects.
Jewelry, silverware and gift suggestions of the valuable variety express
themselves to the highest advantage in the “Old English” alphabet.

A point to be remembered in using this alphabet, however, is not to
combine capitals in one word. Capitals can only be used in connection
with the lower case letters. Some of the other alphabets, more
specifically the “Egyptian,” work out very effectively in “solid caps.”
However, this effect can never obtain in the case of the “Old English.”

The alphabet as shown on the plate is self-explanatory as to combination
of strokes. The letters may be made with the brush held at an angle
square with the stroke, emphasizing the fine lines, or they may be made
with the broad point pen, depending on the size desired.

This alphabet is the most time-taking of any to make and as it adapts
itself to only limited purposes, should be used very rarely.

[Illustration: “OLD ENGLISH” CHART

A B C D E F G H I J K L M
N O P Q R S T U V W X Y Z
1 2 3 4 5 6 7 8 9 0 & $ &c.
abcdefghijklmnopqrst
uvwxyz.,[symbols] Jewelry =

Plates used by permission of Ely & Walker Dry Goods Co., St. Louis.]

DESCRIPTIONS OF PRACTICAL CARDS

Card No. 1. Size 8½×17½ inches. Light tan mottled mat board lettered in
dark brown ink. This card demonstrates an important point in showcard
writing, that—if the price is to be displayed in large figures, the
general outline of the space occupied by the numerals should conform to
the proportions of the card. Thus a narrow card demands a condensed price.

Card No. 2. Size 20×12 inches. Cream tinted linen finish mat board.
Initial capitals in the first line were in bright red, the other
lettering in brown, while the price figures were bright red outlined with
brown. This style card is reproduced for the purpose of showing that
an extended card such as this, which is called the “landscape layout,”
should have an extended price that will be in keeping with the general
proportions of the card.

Card No. 3. Size 6×12 inches. Light green mottled mat board with
lettering in light blue outlined with dark blue and then decorated with
dots of white and black. This shows a very pretty card for single price,
and in this size also the price figures should conform to the general
outline of the card.

Cards Nos. 4 and 5 are what is known as “strip” signs. That is, they are
lettered on narrow strips. The originals were about 4½ inches wide. Card
No. 4 was lettered on light maroon cardboard with black ink. Card No. 5
was white with black lettering.

If the student enters into practical work and has occasion to make many
narrow strips on paper, such paper can be procured in varying widths and
in rolls from any firm that carries supplies for showcard writers.

[Illustration: PRACTICAL CARDS

This Style
Card
_Should Have
Condensed
Price_
19¢

This Style Card
_Should Have an
Extended Price_
39¢

5¢

_CANDIES_—49¢

THE BIG SALE IS NOW ON

Plates used by permission of Ely & Walker Dry Goods Co., St. Louis.]

DESCRIPTIONS OF CARDS FOR SUMMER

Card No. 1. Size 16×22 inches. Gold mat board in fancy “cut-out” pattern.
Large lettering done in white color with air-brushed shading in light
red. Smaller lettering done in black ink.

Card No. 2. Size 16×22 inches. This card was made of tan mottled mat
board with air-brushed panel as shown in reddish brown. Large lettering
is in white—the small lettering in black. Such cut-out panel effects have
the appearance of two sheets of mat board being used.

[Illustration: CARDS FOR SUMMER

Summer
Toilet
Necessities
_Pure and
Efficient_

Novelties
in
_Leather
Goods_
Just
Received

Plates used by permission of Ely & Walker Dry Goods Co., St. Louis.]

DESCRIPTION OF CARDS ON PAGE 39

Card No. 1. Size 16×22 inches. Cardboard is imitation Circassian Walnut
lettered in plain white. In lettering on cardboard of this character the
student should bear in mind that such board is of necessity an oil finish
and that paint with considerable dryer, or printer’s ink mixed with
gasoline are best for lettering. Water colors are very unsatisfactory on
surfaces of this kind.

This board is a fancy cut-out and may also be procured in the mahogany
finish.

Card No. 2. Size 16×22 inches. Plain white cardboard with wall paper mat
pasted onto the white board. Space occupied by the lettering was first
air-brushed in light green which shows very faintly in the reproduction
and this was then lettered with white showcard color, using No. 12 brush.

[Illustration: SUGGESTIONS FOR FURNITURE DEALERS

FURNITURE
-OF-
DISTINCTION

New
Draperies

Plates used by permission of Ely & Walker Dry Goods Co., St. Louis.]

DESCRIPTION OF “SPRING” CARDS

Card No. 1. Size 16×22 inches. This showcard was made of maroon colored
railroad bristol. The large lettering, in the “Egyptian” style, was
done with yellow color. The clover effect on each of the first letters
in the three words was done by grouping three dots in light red color.
The smaller lettering at the bottom of the card was done in white color
as was also the border, as indicated. This card is attractive in style,
featuring the side panel effect with broken border.

Card No. 2. Size 16×22 inches. Plain white cardboard mounted with a card
of pale green. The word “Seeds” is lettered in deep yellow, closely
outlined in dark green. The smaller lettering is done in the same shade
of dark green and outlined “raggedly” in bright yellow. The color
combinations are very effective, especially in connection with this
particular kind of “merchandise.”

[Illustration: CARDS FOR EARLY SPRING

TIME
TO
PAINT

_We can please you
both in Quality
and Price_

SEEDS
for
Every
Home

Plates used by permission of Ely & Walker Dry Goods Co., St. Louis.]

DESCRIPTION OF EASTER CARDS

Card No. 1. Size 16×22 inches. Fancy cut-out, heavy purple mat cardboard.
Card was beveled and makes a very pretty design for Easter. The lettering
was done with the No. 12 brush, using white ink. The word “Hats” was
outlined with lavender. The words “Easter Parade” were cross-striped,
as shown, with gold ink although this appears as almost white in the
reproduction.

The price cards shown in the reproduction were lettered on purple
cardboard. The first price ticket was white, shaded in light green with
the air brush. The next card was lettered in white and shaded with
lavender. The third card was lettered in lavender and outlined with
white. The border of the card was air-brushed with green ink and then
striped with white. The last card shown was lettered with yellow on
purple cardboard shaded with light red.

Card No. 2. Size 16×22 inches. The original of this card was very
beautiful. The center panel in the reproduction does not give the clear
detail of the quality of stock used. The background of the original was
heavy purple mat board and the center panel was of grain finished cover
stock tinted with purple. The center panel in the original gave the
appearance of a piece of white kid stretched over the surface of the mat.
The edges of the lettered panel were heavily air-brushed in black ink.
The lettering was done with small size model “C” speed ball pen.

Such cards add much to the attractiveness of any window display and
students should procure samples of this paper stock from some source and
note its beautiful finish.

If work is being done in class—such examples should be exhibited to the
students.

[Illustration: EASTER CARDS

HATS
FOR THE
Easter
Parade

$5
$25
$50
$60

A Clever
Expression
of
Individuality

Styles for
1·9·2·3·

Plates used by permission of Ely & Walker Dry Goods Co., St. Louis.]

DESCRIPTION OF CARDS FOR SUMMER

Card No. 1. Size 16×22 inches. Made of white cardboard with air-brushed
panel in light blue and panel is striped with faint white lines. You will
note that the lines are heavier at the top and bottom, apparently “fading
out” toward the center. This produces a very cool, elusive effect,
suggesting water. The lettering is done in white color with slight air
brush shading in light green. For suggested coolness the colors here used
are uniquely effective.

Card No. 2. Size 16×22 inches. Light tan mottled mat board. Large lines
of lettering in dark gray—first line outlined with black lines, second
with light green. The bottom line of lettering is done in black. The
panel in the ornamentation was done in gray—the flowers are of bright
red outlined with white against circular background of dark blue. The
conventional foliage falling from flowers was done in light green. Card
No. 2 would be very effective in a window display of footwear.

[Illustration: CARDS FOR SUMMER

Cool
Togs
_for_
HOT
WEATHER

Summer
Styles
Attractively Priced

Plates used by permission of Ely & Walker Dry Goods Co., St. Louis.]

MORE CARDS FOR SUMMER

Card No. 1. Size 9½×20 inches. Gold mat board with a cut-out picture
pasted near the top as shown. The checker-board border was made with
bright red. The word “Dresses” was lettered with No. 12 brush using
bright red showcard color. This line of lettering was also shaded and
striped with white showcard color. The small lines of lettering were done
with No. 4 model “C” speed ball pen, using regular ink for pen work.
The numeral “4” was lettered with white and then lightly air-brushed or
shaded with dark red.

Card No. 2. Size 16×22 inches. Dark brown cardboard with the letter “W”
in light green, outlined with gold. The balance of the first two lines of
lettering was done with No. 12 brush using cream showcard color. The last
three lines were made with a smaller brush using light red showcard color
and mixed with yellow to form a very pale pink.

Card No. 3. Size 8½×13 inches. Plain white cardboard, round-cornered,
with border outside of the panel air-brushed in light yellow. The
flowers which show faintly in the reproduction were violets made with a
small brush, using purple ink. The vines were done in light green. The
lettering was done with model “C” speed ball pens, using gray ink for
shading the words, “Men’s Shirts.” The numeral “3” was outlined in white.

Card No. 4. Size 9×5½ inches. Plain white cardboard lettered with No.
12 brush and black showcard color. The border and the figures were then
airbrushed in purple ink and the face of the figures striped with white.

[Illustration: ATTRACTIVE SUMMER DESIGNS

Dresses
for the
Practical
Women
$4

WE can
please you
in style
quality
and price

_Men’s
Shirts_
Cool
Summer
Weaves
$3

$24·50

Plates used by permission of Ely & Walker Dry Goods Co., St. Louis.]

DESCRIPTION OF FALL CARDS

Card No. 1. Size 16×22 inches. Greenish gray mottled mat board, cut out
in attractive easel effect. Panel is of white cardboard with air-brushed
shading in yellow. The words “Fall Opening” are lettered in dark red. The
smaller lettering was done in black ink with the model “C” speed ball pen.

Card No. 2. Size 16×22 inches. Dark green mottled mat board. Initial
letter in “Footwear” was done in white color against a bright red
background, with border in gold. Balance of letters in word “Footwear”
were done in white.

The four lines of Italic lettering were done in light cream color. Note
the even slant in the “Italic.”

[Illustration: CARDS FOR FALL

Fall
Opening

A perfect exhibition
of newest
autumn modes

Footwear

_A Complete
Showing
of the Newest
Fall Styles_

Plates used by permission of Ely & Walker Dry Goods Co., St. Louis.]

DESCRIPTION OF LATE AUTUMN CARDS

Card No. 1. Size 16×22 inches. The pumpkin design was air-brushed, by
first cutting out a stencil the size necessary and then using orange and
yellow air brush ink with an outline of light green.

The small line of lettering was done with a No. 3 model “C” Speed Ball
pen. The words “Hallowe’en Dainties” were lettered in “Egyptian” with a
No. 12 brush, and the color was dark red.

These two lines were air-brush shaded in light green. The last two lines
of lettering were done with a small brush in black ink.

The “frosting” effect was obtained by using heavy white showcard ink as
indicated, and then ground mica was sprinkled on the ink. This makes a
very attractive showcard for Hallowe’en season.

Card No. 2. Size 16×22 inches. Thanksgiving design. The drawing of the
Pilgrim was made offhand, first being sketched in with pencil, and then
black ink was used, touched up with white. The showcard stock was of
reddish orange. The word “Thanksgiving” was drawn with the brush in black
and shaded with white.

The small price cards shown in the center were plain white cardboard.
The first sign shows the method of making a “mask” or “cut-out” for the
lining of a large number of cards, when it is necessary to have them
equally spaced.

The next card shows a suggested penciled-in sketch, and the remainder,
the actual pen lettering. These cards were then daintily air brushed on
the edges. The square card shown was a small card three inches square,
also lettered with pen.

[Illustration: CARDS FOR LATE AUTUMN

“When the frost is on the pumpkin”

Hallowe’en
Dainties

For the Children
and the “Grown-ups”

$1·23
$4·56
$7·89
$1·23

THANKSGIVING

Plates used by permission of Ely & Walker Dry Goods Co., St. Louis.]

DESCRIPTION OF CHRISTMAS CARDS

Card No. 1. Size 14×22 inches. Deep blue cardboard stock with border line
in white. The words “Toyland is Ready” were done in bright green color.
White color was then applied freely and with careless effect at the top
of the white letters and also in the bottom curves and spurs. While the
white color was quite wet ground glass or “mica” was sprinkled into it,
thus producing the effect of snow. The balance of the lettering was done
with the brush in bright yellow color.

Price cards shown in the center of the reproduction were made of white
cardboard. Numerals were written in with black ink with model “B” speed
ball pen. Each card features a different colored, flat band border
of dark blue, tangerine, maroon, orange, mauve and bright yellow,
respectively. This border is made by “chiseling” the brush out perfectly
flat and laying it full width, or whatever width may be desired, on the
edge of the card and dragging it steadily down on each edge of the card.
Colored borders on price cards add much to their attractiveness. Try out
the combinations suggested.

Card No. 2. Size 14×22 inches. Plain white cardboard mounting with panel
of dark green, mottled cover stock. The word “Boys” was lettered in dark
green and closely and somewhat unevenly outlined in bright yellow. The
balance of the lettering was done in very light green, the last line also
underscored in the same color.

[Illustration: CARDS FOR CHRISTMAS

Toyland
Is Ready—

in all its
wonder
and
mysteriousness

$1·50
$2·75
$3
$5·00
$8
$10

BOYS
Will Want
These—

_Don’t Disappoint Them_

Plates used by permission of Ely & Walker Dry Goods Co., St. Louis.]

*** End of this LibraryBlog Digital Book "Elements of show card writing: A course of instruction on how to make business-building show cards." ***

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