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.
BRUSH “EGYPTIAN”
Plates used by permission of Ely & Walker Dry Goods Co., St. Louis.