Elements of show card writing

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.