The art of decorating dry goods windows and interiors

INTRODUCTION.

Show cards, to a business man, are a necessity. Everything depends upon the way he advertises, and he cannot advertise judiciously without the aid of signs. Some one must make his signs. If his business is on a small scale, and he cannot afford a regular sign writer, perhaps he would like to do it himself; or, if he hasn’t sufficient time, why not employ a window trimmer who can do both?

A window trimmer who can make his own tickets increases his value to his employer and can demand more money than one who does not; at any rate, sign writing, as a side issue, will do no one any harm, and very often it can be used to great advantage.

The art of show card making can be acquired by any one with very little teaching, a reasonable amount of patience, and plenty of practice.

Do not become discouraged at your first attempt. Your card will look badly, of course, but that is to be expected. You cannot do good work at the first attempt—it is impossible. Improvements will be gradual. Each card will prove better than the last, and with a little practice you will be surprised at the results.

Were it not for the interesting variations and numerous opportunities to display artistic ability, card-writing would be very monotonous; as it is, a person with the least bit of artistic taste will find it a pleasant occupation as well as a convenient and profitable one.

A sign maker must find where the sign is to be used and the sizes of his lettering must be varied according to the distance it is to be placed from the eye of the public.

Don’t attempt over originality in signs. The majority are not familiar with signs. They have seen only a few designs. That which may be conventional to you, because you study signs, will be original to the majority of people.

Inaugurate a system of uniformity in your card-writing, by which all your work (styles of lettering, etc.), have a certain amount of similarity.

If at any time you wish to change your styles of cards or lettering, let the new styles appear all over the store at the same time. It does not look well to use a mixture of types or color; it has a tendency to confuse the public—whereas, a system will teach them to know your particular style of work at a glance, and it will not only be more readable, but will establish for you a personality.

THE WORK ROOM.

The first requirement is a place to work; then you must be equipped. It is impossible to do justice to your work unless you are properly fitted out. Walk around the store until you find a suitable window, and anchor there, provided you will be allowed, for you will find sunlight much better than artificial light, both for the eyes and coloring.

Next get a table. Tilt it forward slightly, as in this position you will find that work can be done better than if a level surface were used.

For those who will go to the small expense of building a table, I show it in Figure 2.

You can use a Tee Square much more rapidly and accurately than an ordinary rule. The inches can be marked off on your tee in order to center the card.

FOR LINING.

Soft charcoal is the best on coated cardboard. Should your cardboard be a little rough, a delicate lead pencil mark will be better. Charcoal marks on coated boards can be easily erased with a soft piece of cloth; or, better still, a piece of chamois.

MIXING.

Use a palette knife with a flexible blade, about ½ × 3½ inches. Find a square piece of glass, or, not having a square piece, use any shape you have handy. I will explain later to what use the glass is to be put.

PAINTS.

Mixing forms an important part of sign work, which, however, is considerably lessened of late, by reason of several manufacturers having placed on the market prepared colors which meet the requirements satisfactorily. I would advise their use if it is possible to obtain them.

One very important thing is, do not use oil paint on cardboard. It does not work well and will cause much trouble. No experienced marker uses oil paints, unless it is black asphaltum to fill in and outline letters; such as several large department stores are using at the present time. The glossy effect of this class of work is considered by many to be very attractive.

The drawback to this method is, the cards require a double handling and consequently the work is very slow.

Drop black, in distemper, is the cleanest and most handy preparation for card work. It is sold in most cities in jars containing one pound. All that is required for making it ready is a little dissolved gum arabic and water.

Take your palette knife and mix these thoroughly on the piece of glass, to about the consistency of a thick paste; it will then be ready for use.

All colors can be purchased in this form. To those who would prefer to mix their own paint here are given a few hints on mixing.

BLACK PAINT.

Lamp-black, ground thoroughly with water and gum arabic, a few drops of alcohol added, will make a fairly good black. All dry colors can be mixed in this way.

WHITE PAINT.

Fill a tin cup about ¼ full of whiting, thin it with water, add ½ ounce of pulverized glue—boil slowly, continually stirring until the glue is thoroughly dissolved; this, when cool, will make an excellent paint for dark boards.

At another using, should you find it has become stiff, a little heating will thin it to the proper consistency.

COMPOUND COLORS.

The following tints can be formed by mixing the colors as below. The shades can be made to suit any taste by the exercise of a little judgment in proportioning the colors.

Cream—White, yellow and red.

Drab—White, Prussian blue and vermillion.

Flesh—Lake, white and vermillion.

Fawn—White, stone ochre and vermillion.

Grey—White, Prussian blue, and very little black.

Light green—White, mixed with verdigris.

Grass green—Yellow, pink, mixed with verdigris.

Pea green—White and Paris green.

Dark green—Black and chrome green.

Olive green—Prussian blue and yellow.

Jonquil—Yellow, pink and white.

Lead—Prussian blue and white.

Olive—Red, green, or black and yellow.

Pearl—Dark red mixed with violet.

Purple—White, Prussian blue and vermillion.

Stone—White with a little spruce ochre.

Straw—White and yellow.

Snuff—Yellow, sienna and red.

Slate—White, black, red and blue.

Steel—Cerise, Prussian blue and vermillion.

Salmon—White, yellow and red.

Light yellow—French yellow and white.

Dark yellow—French yellow and red.

Lemon yellow—Yellow pink, with Naples yellow.

BRUSHES.

Nine-tenths of the inexperienced markers are using camels’ hair brushes, which do not have the required elasticity for good work.

Much depends upon your brush. A good sign writer cannot turn out a respectable sign with a poor brush; therefore, a beginner cannot expect to acquire efficiency unless he uses the proper kinds of tools.

The proper kinds of brushes can be obtained of any brush dealer. For ordinary work, a ¾ long No. 5 brush will answer, the cost being about 20 cents. Purchase a set of about six assorted sizes, which will answer for all work.

Use great care in selecting your brushes. See that the hairs are of an equal length and that the ends are even when the brush is flattened.

Train your brushes flat by always using the same two sides. Rinse them in a glass of clean water after each using, and give them a thorough cleansing—with soap and water about twice a week. This will keep them in good condition.

Figure 3 shows the exact sizes of a set of brushes, which will answer for all purposes.

CARDBOARD.

Your own judgment should be sufficient to know good cardboard. The more you pay the better goods you get, that is, if you deal with a reputable house.

Use a pure white, heavy coated board from 6 to 10 ply, according to the size of the sign you are making. See that your board is of sufficient thickness to prevent warping. If you use frames, of course your board need not be so heavy.

Colored card-boards are well enough, occasionally, but as a rule use plain white; people do not tire of it so easily.

LAYOUT.

The laying out of a sign requires almost as much study as the making. It is impossible to make a good sign if your layout is bad. Always allow plenty of margin to your card and do not crowd or spread your wording.

Measure off an equal distance all around your card from the margin, and keep your lettering within these lines.

HOW TO HANDLE THE BRUSH.

The following illustrations show two views of how to hold the brush. It is held very similar to the ordinary position of holding a pen or pencil, except that the brush must be held more upright.

After the brush is well rubbed in paint (on your glass) practice holding it as shown in the illustration. Rest your hand on your little finger. The flat side of the brush should be horizontal to the line. In making the Devinne series of lettering, your horizontal lines are always fine, while the down strokes are heavy. To make this letter it is unnecessary to move the brush in your fingers, hold it firmly, and as you become accustomed to handling it you will find that a very little pressure while making the heavy line will produce the desired effect.

In making solid letters of the same thickness throughout, a little practice will enable you to revolve the brush in your fingers (as in making an O) so that you can produce the curved portion of a letter the thickness of your brush without removing it from your card. To do this requires considerable practice and “if at first you don’t succeed” try several times; don’t give it up—you may do it correctly the next attempt.

In making the rapid brush letters, hold the flat side of the brush at the same angle as your letter; the down strokes must be fine, the upper and lower ones heavy. To a beginner this style will come very easy.

SPACING.

Treats of the arrangement of letters and words at the proper distances. Good taste requires that the letters and words should look about the same distance apart; the space on the line which the words occupies should be evenly filled. If this is neglected the lettering will look “patchy”—crowded in one place, scattered in another.

If, in making your sign, you find that you have “run out,” do not attempt to crowd the word or words into a limited space, but separate them, and begin a new line. Have all your wordings to begin and end so that perpendicular marks can be drawn through the first and last letters of each line. This will give your sign a symmetrical appearance and add greatly to the neatness of the layout.

SHADING.

To look well, and to add to the beauty of your work, shading must be carefully executed in both lining and coloring.

Do not use a dark color for shading, as it will give the letter an appearance of bulkiness.

Always use a delicate tint for shade lines, such as light grey, which gives a very pretty tone to a sign. This shade can be made by mixing black, white and Prussian blue.

Shade on two sides only; the left side of your perpendicular stroke and underneath the horizontal one; or, vice versa.

Do not crowd the shade lines into your letter. Leave a space between them about the thickness of the line in the letter itself.

A NEW WINDOW CARD.

The panel cards, as shown above, can be made very artistic and appropriate for any article you may wish to show.

For the illustration, should you possess the ability to execute a water color or pen drawing of sufficient merit to place before the public, well and good; otherwise, do not attempt it; a poor drawing will not improve your card.

Among the monthly trade journals can be found any number of very artistic designs, which may be cut out, pasted on a card and placed in position back of the small opening. If this is done with proper care, it will be almost impossible to detect the deception through the window, and the drawing will have the appearance of being made expressly for that card.

In the larger opening, place your wording in small, neat letters.

The panels can be made any desired size—the ones shown here are 12 × 15 outside, the large opening is 6 × 8 inches, the small one 4 × 8 inches.

LETTERING.

Before going further into technical instructions, it may be well to explain the various styles of letters, and the uses for which they are required. It is always best to use one general style of lettering for all your cards, as the cards thus become identified with your establishment and form a sort of trade mark which people quickly recognize. What style of letter you adopt depends much upon your own taste and the skill and facility you acquire in making any certain letters. While each of the styles shown in this article has its special use, any one of them may be adapted for your work.

The letters and sample cards have all been drawn by William Lee Jukes, who is acknowledged one of the leading card writers of America. He has given us every useful style of letter known to the craft.

But bear in mind that a plain, stylish, characteristic letter is the best—something that people will read without noting the letter itself, that will enable them to understand what the card says, without stopping to realize whether the letter itself is well or poorly executed. That is the acme of perfection in card writing. An illegible card loses all its intended effect. A poorly executed card makes people notice that it is not well done. A fancy card calls attention to the card itself and induces the reader to forget what the card says. You don’t want to show what a fancy card you are able to execute—at least the business firm that employs you doesn’t care a rap for your skill. But you do want to impress a fact concerning your goods upon the minds of a possible customer. Therefore, strive to make a neat card, a modest card, and at the same time one attractive enough to arrest the attention and induce people to read what it says.

This may appear a hard task to the novice, but by exercising good judgment and experimenting in various styles of lettering you will be able to get very close to the ideal you are seeking.

The requisites of a good card are simply these:

1. It must be sufficiently attractive to be noticed, to draw the eye of the prospective customer.

2. It must be worded briefly and concisely, so that every word counts, and you do not say too little or too much.

3. It must be so neatly and modestly lettered that the words are impressed upon the mind of the reader without his realizing just how the letters are formed.

Having impressed this upon you I will now describe the different styles of lettering.

De Vinne letters are shown on the preceding page. This style of letter makes a very neat and stylish card, and is used extensively by department stores as a fixed style. Although it has the appearance of simplicity it is a very difficult letter to make correctly, and I would advise beginners to use a more simple style.

The capitals and small letters of a rapid brush lettering are also illustrated in the engraving upon this page. It it is a very neat letter, easily made, and much used where rapid work is necessary.

Modern Roman is a comparatively new face, and has lately been extensively used for out-door advertising. The unfinished, outlined letters will give an idea as to the manner in which this style of letter is made. It is well to draw the outlines first and fill the letter in solid afterwards.

Modern Egyptian—A bold letter is naturally a useful letter. The one here shown is easily made and easily read. I recommend it as especially suitable for show cards announcing a sale, or for like purposes. The letters must be made a trifle irregular in order to be fully effective.

Script—This is one of many familiar styles of script. While this class of lettering is fast losing its popularity, it is still preferred by many for show cards. One who is a good penman may become very efficient in this style of lettering with very little practice.

Unique Letters—The novice will, at first glance, consider this a very difficult letter to make, but, on the contrary, it will be found very easy of execution. The vertical lines must be heavy; the perpendicular ones light. This face has no established regularity. The ribbons can be run through the letters promiscuously to suit the taste of the writer. The centers may be filled in, as in the word “cards,” or the letters outlined and shaded, as in the word “signs.”

If you will practice on these letters you will acquire more or less of proficiency in their use.

Block Letter—The block letter is scarcely appropriate for show cards, although there are some occasions when you may use it. A large window ticket or interior sign may be made with this letter, which is so severe and regular that it will show distinctly a long distance. It is the most popular of all letters for outside sign work. By spacing off a number of squares, according to the size of the sign you wish to make (using a lead pencil so that the lines may be afterwards erased), and following out the idea as shown in our illustration, you will be surprised to find how easily block letters may be made.

Old English Text—This style of letter is always popular, and always has been and always will be. It is especially suitable for writing testimonials, diplomas, charts, etc., or for initials or monograms—in fact, it is useful for a hundred and one purposes. Most people know the letter and read it easily, thus giving it a decided advantage over many complex fancy letters.

MEDIAEVAL LETTERS.

The mediaeval style of lettering, of which I show an illustration, is a new face with an old-style appearance. You will find it a very neat letter for show cards, and often used in connection with cards bearing illustration. Its chief merit lies in the fact that it is black and legible, while at the same time it presents an antique, stylish appearance. I shall show next month some illustrations of fancy show card work in which this face is used to advantage.

The Speech Makers—These silhouette forms are now very popular and are appropriate for show cards with suggestive headings, such as “Behold our Fall Garments!” or “Allow me to introduce you to ——,” or “Here they are!” and similar catch phrases. It does not require an artist to draw them. A little practice will enable you to copy the outlines and then they are simply filled in with the brush.

FIGURES.

In the illustration of figures shown, I have presented five distinct faces, which may be used in connection with any style of lettering. The top row of figures is Roman; the second Roman outlined; and here attention should be paid to the method of shading, that the figures may stand out boldly. The third line of figures is Egyptian, the fourth antique Roman and the fifth De Vinne. This last is the best all-round figure you can adopt, as the De Vinne is the best all-round letter. It is not an easy face to make, but once mastered will prove of inestimable benefit to the card writer.

INDEX INITIALS.

These indexes, which may be used in connection with any style letter, will be found valuable. The hand should be outlined before the letter is made. There is a general similarity in all the letters, and once you have mastered drawing the hand you can easily apply it to any shaped letter. It is intended to be used as an initial letter, an example being its connection with the words, “We point with pride,” etc., at the end of the series. In the same illustration is an example of a simply made but very attractive border.

RIGHT AND LEFT INDEXES.

In this cut may be seen plain index fingers, pointing to right and left. Also several small ornaments that will be useful for decorations and are not too difficult for the beginner to master.

The making of a fancy card is not as difficult as one would think.

The difficulty lies in the layout. If you can lay out and color a card artistically, the lettering (no matter how poorly executed) will be offset by the artistic arrangement. On the contrary, if these good and bad qualities should be reversed, the good effect would be entirely lost. You will note a reproduction of the card reading, “Early Spring Blossoms,” from which a fair copy can be made. Of course in print the card loses half its artistic value, from the fact that the colors cannot be shown. Spring puts one in mind of dainty blossoms, consequently let your colorings be in harmony, and the wording breezy and new.

The illustration represents a card 14 × 18 inches (a good window size). The body is lilac, on which is pasted a sheet of cream water color paper, torn around the edge, leaving a margin of two inches. After tearing the paper so as to leave a raw edge, touch the edge lightly with gold; then lay out your work with light lead pencil marks. Copy the layout shown in the illustration as closely as possible, changing the wording to suit. Next make a series of graceful scrolls, taking care not to get them stiff, using a pale lilac. Next daub on a cluster of blossoms, using several shades of purple; that is, mix white with the purple, until it becomes very delicate. The wreath is of a delicate lilac. Make letters and figures purple, shaded with lilac.

Paste paper on card, leaving space on same so that the right hand upper corner may be slightly curled. Tip letters slightly on top with gold, and you will have an artistic card.

The card reading “Japanese Garden,” will be seen ornamented entirely with Japanese characters. It is a point to be remembered that the decorations of a fancy card should always be in harmony with the wording. It is a bad art and bad policy to have your ornaments foreign to the tone of the card. Another illustration, “Signs,” shows an example of an artistic layout. The same design may be used for other purposes, such as to advertise jewelry, laces, wall paper or any decorative goods. But you will see at a glance it would be inappropriate for teas, soaps or flatirons.

The alphabet illustrated is called an antique Roman face. It is an excellent show card style, rather irregular, neat and easily made.

You will notice that I illustrate some examples of artistic layouts. These will form the basis for fancy show cards, and serve to attract attention. When designs of so elaborate a character are used the letters themselves should be especially plain and distinct.

A “sign shop” is an important requisite of a department store, and to establish one in the proper way requires no little skill and judgment. Difficulties and disputes are continually arising between the painter and the heads of departments, which render it necessary to run the sign shop on a strictly systematic basis, in order that the signwriter may do justice to his work.

THE DEPARTMENT STORE SIGN SHOP.

Mr. Jukes writes as follows concerning department store sign shops:

“I will point out a few of the difficulties I have found, and the way they may be overcome. For instance, one morning I arrived at the store during the busy season and found, to my surprise, no less than six individuals (from cash boys up), each of whom possessed a scrap of paper, which they forthwith fluttered in my face. I will not attempt to write the orders, instructions, threats, etc., that I underwent. Suffice to say, that each one insisted on his signs being made immediately, and all had been instructed to wait for them.”

SOME NOVELTIES IN PRICE TICKETS.

“Now, roughly figuring on the six orders, I found that it would take at least four hours to get the work out. This is but one example of the many little worries which tend to make up the everyday troubles of a department store sign writer. I therefore believe that it is absolutely necessary to run the shop under rules, an outline of which follows.”

Write up an order form and have printed and tableted, as our illustration shows.

Scraps of paper are very easily mislaid or lost, and you will find an order blank of the below description a very necessary acquisition to your shop. Charging the cards to their respective departments will teach your customers to be caretaking, hence your work will be considerably lessened. The cause is obvious.

It is well to make it a standing rule that no one should wait while signs are being made. This rule may be easily enforced by a promise of their prompt delivery when completed.

Signs should be made according to the order in which they are received; that is, every one should wait his or her turn. This rule need not apply to window tickets.

Make a sign for your shop to be read as below and after having signed by some one in authority, hang it in a conspicuous place and conform rigidly to its rules.

RULE I.

All orders must be written on the order blank provided for that purpose and approved by the head of the department.

RULE II.

Sale sign orders must be in the sign shop at least four hours in advance of sale.

RULE III.

No one allowed to wait for signs or loaf in sign shop.

RULE IV.

All work must be done in the order in which it is received. This rule does not apply to window tickets.

PEN WRITING.

The up-to-date card writer has adopted the pen to do a great deal of his work, and, indeed, it is often used to excellent advantage. A card written with the pen is decidedly neat and novel, and is very effective. Perhaps it is not so bold in appearance as a card written with a brush, but for a change (and to be up-to-date) it may serve you to give the pen a trial.

It requires but little practice to obtain the mastery of this style of show card writing. Buy a bottle of Sanford’s gloss black ink, and a few of Soennecke’s round-writing pens, which may be procured from any stationer, and see what you can accomplish. You will find it easy and pleasant work, and soon be able to do very effective lettering. Learn to make the simple strokes first, and then follow the style of lettering shown you in the illustrations, as this letter lends itself easily and gracefully to pen formation. Embellishments may be added to the letters to suit the fancy of the artist.

MARKING OUTFIT.

Fig. 1 is a section of a color mining stone bowl, which can be purchased at paint goods stores. Fig. 2 is a piece of smooth marble, eight by ten inches in size, on which to mix colors. The color mixing knife is also shown. Fig. 3 includes a set of camel’s hair brushes, assorted sizes. Fine brush A, is for outlines; broad ones, B and C, for filling in. The color pots, 4, should be provided with brush supports, D, so as to keep the brushes from the paint when not in use. A triangle, 5, a square, 6, flat rule, 7, and a compass, 8, are also required.

THE USE OF STENCILS IN WINDOW TRIMMING.

As accessories to window trimming, stencils have come to perform a useful part in that art of decoration. Where a number of show cards are to be lettered in the same manner, no more effective or expeditious way of getting them out is to be found than by stenciling the same, unless it is to have the cards printed, a much more expensive process. Furthermore, aside from the mere lettering on the card, the trimmer may add and reproduce any ornament or device he choose, and there again avoid the expense of having a cut engraved. The experienced window trimmer finds many uses for his stenciling, and this process is especially valuable in decorating the background of a trim, where plain white papers, colored cartridge papers, cheap white cloth, burlaps and numerous other materials may be patterned or lettered at very little expense and in such a manner as to add to the attractiveness of the trim.

To begin with, the window trimmer needs but few things for cutting and applying his stencils: a very sharp knife, any kind of extra thick paper (this must be coated with shellac varnish or oiled to prevent the paint from soaking into it), some paint brushes, oil and water color paints of the desired colors, and a bottle of turpentine. After the pattern or lettering chosen or designed is traced or drawn upon the paper, care being taken that the design introduces cross strips to hold all together, it is cut away. Then the varnish is applied. When dry it is taken up and the edges of the stencil carefully cut here and there where the varnish may have run over, as it is necessary to keep them clear and sharp. Next the desired colors are gotten out; a large plate will serve for a palette, though separate saucers for each color are preferable. The colors, if oil, are mixed with a great deal of turpentine, but water colors should be applied “stiff.” Next the stencil is held firmly against the fabric to be lettered or decorated, and quickly but neatly painted over, care being taken that the stencil pattern does not slip and rub the design, and that part of the fabric appearing through the stencil each time is thus stamped. The design can be repeated on the fabric at will and in any arrangement the window trimmer sees fit. On cards and thin papers it is better to use thickly mixed water colors in place of oil colors, as these latter are liable to spread. In the cities one can get stencils already cut, but there is no reason why the window trimmer should not design and cut his own, as very little practice in this art makes perfect, and one’s own designs are, for many purposes, generally more applicable. Stencil, alphabets of various sizes can be bought, costing all the way from fifty cents to $1.50 a set, according to their size. These the window trimmer will find very valuable aids in lettering his show and price cards.

An exceedingly pretty effect was noticed in a down town New York shoe dealer’s window, gotten by giving the trim for a background a screen of light olive burlaps, upon which the monogram of the firm was placed in stenciled pattern in metallic colors. A little ingenuity along this line cannot fail to produce equally valuable effects. If the spaces left by a stenciled letter are objected to, these spaces may be easily filled in with a brush, as is shown in the letter “R” in the illustration. By the use of stencils many pretty backgrounds may be made. Paper the sides and back of your window with common white print paper, and then stencil a pretty border around them, with ornaments to suit your fancy. Stenciled ornaments may also be used to decorate your card work. If you have a neat monogram of the firm’s initials cut, you can use it in the corner of all your show cards.