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This style was popular around the late 's. LHF Versatile is the long-awaited stacking font set from Charles Borges that stands out with its warm and natural feel. Mystery Font is part Art Nouveau, part Fantasy. Artist Spotlight. With a supplement consisting of eight alphabets by J.

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Traditional Sign Painting Course by E.C. Matthews. Addeddate: ​ Identifier: ECMatthewsSignPaintingCourse. Identifier-ark. Author: Matthews, E. C. (Eric Christian), Title: Sign Painting Course (​). E. C. Matthews Sign Painting Course Pages count: RECENT FILES. แบบเรียน ก.ไก่ อนุบาล · Manual derecho sucesiones dedicado · Yusung Um (Paul)​. Practical Sign Shop Operation, Bob Fitzgerald · Sign Painting Course, E.C. Matthews · Sign Painting Techniques, Ralph Gregory · Signwork, Bill Stewart · Workshop. from Frank Atkinson's book "Sign Painting" available in pdf format @ easycars24.pl​stream/ Traditional Sign Painting Course by E.C. Matthews. lee · signs.

Ec matthews sign painting course pdf. OSHA requires employers to provide training to workers who face hazards on the job.

How to paint signs and sho' cards: Matthews, E. C. (Eric Christian), Free Download, Borrow, and Streaming: Internet Archive. How to paint signs. The sign painter; a complete system and set of lessons for beginners (Chicago, Ill., The Pullman school of lettering, [c]), by Chicago Pullman school of. Sign Painting Course [Matthews, E. C] on easycars24.pl *FREE* shipping on qualifying offers. Sign Painting Course. The Art of Lettering and Sign Painter's Manual Charles Paxton Zaner, Lessons in Ornamental Penmanship, Revised Ed., Columbus, OH, (1st Ed., Matthews, E. C. Decorative Writing and Arrangement of Lettering [PDF]. Sample Sign Layouts ~ How to paint signs and sho' cards, E.C. Matthews, Sign Painting Course by E. Hand Lettering Alphabet, Calligraphy Letters.

ECMatthews Sign Painting Course : Free Download, Borrow, and Streaming : Internet Archive

The Art Of Lettering and Sign Painter's Manual () by AP Boyce, a general Signs and Showcards () by EC Matthews. Sign Painting Course. This is a LARGE file at nearly 5 GB including individual PDF's, so be aware that Imelli's Alphabets \u Layouts - Al Imelli - Instruction Course in Show Card Writing How to Paint Signs and Sho' Cards - E.C. Matthews - Ec matthews sign painting course pdf Traditional Sign Painting Course by E.C. Matthews fazer hand lettering de uma maneira descomplicada, com apostilas pdf de brush lettering, hand lettering. ECMatthews Sign Painting Course: Free Download, Borrow, and Streaming: Internet Archive. Traditional Sign Painting Course by E.C. Matthews. Lettering by Al MackYou can find Sign painting and more on our website. Lettering by Al Mack - Free download as PDF File .pdf) or read online for free. Borrow, and Streaming is part of - Traditional Sign Painting Course by E C Matthews. Traditional Sign Painting Course by E.C. Matthews high-resolution ( dpi) digital image in JPEG and AI PDF (vector editable in Adobe Illustrator) formats. Veteran sign painter Jeff Marshall has been hand-lettering this script for This unusual Art Deco style is inspired by legendary sign painter E.C. Matthews. Learn more about our upcoming courses at Northwest Institute of Type & Design.

Ec matthews sign painting course pdf.

Customers also viewed these products Paint signs and sho cards a complete course of self instruction containing improve and modernize his techniques -- Sign Painting Course by E.C. Matthews​. dee online pdf ebook epub library alphabets and designs how to paint signs and. pool, golf course, gardens, private radio station, airport, and both greyhound and horse racetracks (Figure 81 e.g., Goodwin, ; E.C. Matthews, How to Paint Signs and Sho' Cards services/industry/pdf/easycars24.pl

Buy E C Matthews Sign Painting Course [Hardcover] by Anonymous (ISBN: ) from Amazon's Book Store. Everyday low prices and free. E. C. Matthews, Sign Painting Course, p. © Nelson—Hall Co., Chicago. Formatt (Graphics Products Corporation), c, see type faces # entitled.   Ec matthews sign painting course pdf Sign Painting Course by E.C. Matthews, Madeline Tompkins · lettering lovelies · Di Fate 'The Chaos Weapon' Image from The Science Fiction Art of. Sign Painting Course by E.C. Matthews, This Portable Document Format (PDF) collage features a mix of 12 international travel labels from Asia (Japan. Art bbs 180 chan modern calligraphy alphabet pdf · Modern Calligraphy AlphabetHand and Streaming: Internet Archive. Traditional Sign Painting Course by E.C. Matthews. John Matthews (), The Art of Childhood and Adolescence: The Construction of Meaning. the brightly-coloured dribbles of paint as they run down the paper on the easel, or the sensation of CM: Of course I would. marks outside than in the classroom – it may be that they need to make a sign for a den that they have.

Ec matthews sign painting course pdf

In the course of research for this catalogue some paintings which were previously out as a house, ship and sign painter, according to advertisements placed in the Herald & Free Press of nearby Norristown, spoke of Francis' "ec- centricity," his William T. Mathews was born in Bristol, England on May 7, , and. The sign writer and glass embosser - Plate xiv: Block letters with bulbous serifs Traditional Sign Painting Course by E.C. Matthews imagens e copiar individualmente ou descarregar um pdf que vem preparado para que possa preencher e.  Ec matthews sign painting course pdf

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Ec matthews sign painting course pdf

Finally, always allow the alcohol to evaporate from rags or tissue before disposing of it, especially when the weather or room is hot. It is possible for these to spontaneously ignite if placed straight in the bin. Better Letters About Contact. About Contact. Workshops Our Work Magazine Shop. Resources A collection of resources and contacts developed for those that have taken part in a Better Letters workshop. Films Films Online are curated on both Vimeo and YouTube, with a variety of demonstrations, documentaries and other lettering titbits.

Books The following are some recommended books. Try 1-Shot Enamel or Handover Enamel for a slower-drying, gloss finish for outdoor sign work. One tin of neatsfoot oil ml. Engine grease, vaseline and other petroleum-based products can also be used. Mary Shelley. Jane Austen. See all free Kindle reading apps.

Tell the Publisher! What's On My Bookshelf. Customer reviews. How are ratings calculated? Instead, our system considers things like how recent a review is and if the reviewer bought the item on Amazon. It also analyses reviews to verify trustworthiness.

Top reviews Most recent Top reviews. Top reviews from United Kingdom. New releases. Explore popular titles in every genre and find something you love. See more. Customer reviews. How are ratings calculated? Instead, our system considers things like how recent a review is and if the reviewer bought the item on Amazon.

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Classic text in excellent condition. See all reviews. Back to top. Catchwords 1. Included free with any Charles Borges font. A stylized version of gas-pipe lettering, Tallington is bold and commanding. Stunt Roman. Classic and understated from John Studden , Stunt Roman's elegant and graceful strokes make it the perfect typeface for designs requiring classical sophistication. Esoteric 3. This latest incarnation of Esoteric features 3 fonts: Regular, Spurs, and Fancy.

A retro inspired half-script from logo guru Mike Erickson. Great for friendly designs. See more An easy-to-read Blackletter style from Dave Correll. LHF Divine has a hand-lettered personality that keeps it from being too stiff. A beautiful Roman style that never seems to go out of style. The thin strokes and curves are pleasing to the eye, making it perfect for signs.

Handy for logos, signs, and poster work. Direct from the hand of Chuck Davis , this completely updated version features all new letters and includes bonus swashes and balloons designed to compliment the letters. English Rose. Vintage Victorian from Dave Smith.

Perfect for achieving a quick formal look. This rustic Western style set from Denise Bayers was inspired by the opening credits and title of the version of to Yuma. In addition to 4 fonts, you get 5 bonus words and scrolls. The original ground-breaking prismatic style comprised of 4 separate sides that give you a realistic 3D effect.

Watch the short tutorial and see how easy it is to use. Wade Grotesque. This type of lettering was used for headlines on showcards and posters from the twenties onwards. Hand-lettered script created with a calligraphic nib. This Chuck Davis original has a rough and loose appearance which helps retain its personal feel. Anna Banana 2. The original Anna Banana font has been completely redrawn and re-kerned from scratch by Dave Corell.

Use this fun sign painter's casual for anything from signs to cereal boxes! A sophisticated and serious style from John Davis. The narrow letters make it perfect for book and movie titles. Becker No. Includes regular, shadow, and spurs versions. Delicate strokes and rounded serifs set this Art Deco font apart from the rest.

Includes many useful alternates and ornaments. This beauty from Dave Smith gives any design an old fashioned look without overpowering the design or hindering readability. Includes lowercase alternates. John Studden created this vintage Western style to look rustic, while being easy to read. Includes alternates. Easy to read letters makes it a nice substitute for fancier scripts. Use where you need a casual yet elegant script. Coffee Shop. Dave Correll's bouncy bold letters attract attention when paired with a thinner font.

Includes a Fancy version. Comes with free bonus decorative panels and scrolls. Cincinnati Poster. Timeless poster one-stroke, variations have been seen since the invention of the poster-brush up to the present. This one was developed from a plate in an old "Signs of the Times" magazine. Essendine 2. A traditional Roman typeface done brush style. Inspired by the legendary Trajan's Column.

Comes with a bonus Extras font featuring over 50 decorations. Set includes 3 fonts: Flat, Round, and Sharp. The geometrical angles give Conclave its masculine appearance. Bergling Panels. An assortment of 42 expertly drawn decorative vector panels in the form of a single font.

Download the panel above for free. John Studden found a book featuring old photos of fairs and circuses in England and was inspired to recreate some of the lettering seen on the signs. Features 2 versions: Regular and Shadow. A revision of the Outlaw font with cleaned up points, character alterations, new kerning and extras.

The thick strokes of the letters make this font stand out from other Roman styled text. Includes Regular and Bold, both with capital and lower-case letters for any occasion. Iron Knight. Bold, commanding Gothic style with Celtic influences. Perfect for Medieval style games and logos. Pair with some of our Old English fonts for an authentic Renaissance-era look. Flamingo Script. Dave Correll's retro style font is perfect for adding an 80's flair to your designs. With unlimited uses and a large selection of alternates, this casual script is sure to become one of your favorites.

Francis Lestingi's Verdi is a Calligraphic yet bold style that strays from the norm of most thinner Calligraphic fonts. Thicker strokes allow for more opportunity within the letters to be creative. Big Dog is a multi-part prismatic convex font. Users type with the base fonts and apply the convex fonts on top. This results in a crisp vector based bevel effect that is easy to manipulate independently of the letters themselves.

This 50's style font from Arthur Vanson is suitable for retro projects. Set includes 2 fonts, Regular and the "Extras" font which includes designs and swashes. John Studden's Western style font was inspired by the opening credits of the original classic film " to Yuma. Cameo is a perfect substitute for the overused "Copperplate" font and works well where an extended classic typeface is required.

Cool Blue 2. A complete revamp of the original Cool Blue font set released in Features all new styling and improved kerning.

Cool Blue 2 projects a friendly, yet professional image making it perfect for logos. This typeface is the solution for creating old fashioned designs where a hint of sophistication is required. Fits perfectly in vertical areas. Original uses for this typeface included stock certificates and bills. Includes 2 versions, full punctuation and accents. Chesham Sans. Classic hand-lettered typeface. Often however misnamed referred to as "signpainter's Gothic. A refreshing alternative to the over-used Helvetica styles.

A utilitarian typeface with a twist. Created by graphic designer Mike Erickson. Inspired by an antique theater poster from the early 's, Novela is a one of a kind style that's perfect for designs that need to project class and sophistication. Nearly a year in production, Confection is a truly inspired and masterful work.

Set includes 4 different versions designed to be used together. Each font includes bonus alternates. Sheridan Script. Retro-inspired font set from sign artist David Parr. Includes 6 different versions with 15 bonus alternates on seldom used punctuation keys. No doubt you'll find many uses for these eye-catching scripts. Fun to use, casual style from Dave Correll. Package includes both Regular and Bold styles.

Perfect for logos and posters. Features small serifs for streamlined readability. Main Street Panels. Classic and understated. Beautifully balanced letters fit together masterfully to create a very serious and stately mood. Your clients will appreciate the authentic vintage appearance it gives their designs, without being too Western or over-the-top. A terrific collection of 6 authentic Old English typefaces from Arthur Vanson. Hamilton Nailhead. Cosmic Cursive. Inspired by a 's "Century" record.

This fun to use font from Tom Kennedy is great for anything. Sanborn Thin. Opening Night. Arthur Vanson brings us this unusual style with lots of personality. Especially well-suited for showcards and banners. But with it's distinct hand-lettered appearance, Opening Night can be used for a variety of projects. Cartoon Cowboy. Fun to use casual Western style from Chuck Davis.

Letters are staggered some are higher than others for a loose hand-lettered look. King Edward. Inspired from an early 's certifcate, King Edward includes 4 different fonts for one price. State Fair. Mike Jackson's bold State Fair is reminiscent of lettering used on old stock certificates and letterhead from the late 's.

With its extra wide letters and ornate features, State Fair commands attention. Download the complete 3 font set and receive the State Fair Panels font free. Fat Daddy. Art Deco style, inspired by 's era sign painter Alf Becker. Includes 7 fonts.

Mike's Block. Pickle Barrel. Veteran sign painter Dave Correll brings us this eye-catching font. Curved serifs on each of the letters make it highly unique, giving the font a rugged, western feel. A Gothic style typeface with a lot of personality.

A nice alternative to the commonly over-used Gothic fonts. Hick Sticks. Chuck Davis taps into his hillbilly roots to bring you this fun distressed casual set. Includes two fonts with special patent pending "Ho-down" technology: alternating upper and lowercase letters by TyPiNg LiKe ThIs will juggle the letters up and down.

Hastings Gold. Small caps are designed to appear raised like the original logo. Cafe Corina. Enjoy this one of a kind custom creation from Chuck Davis. Beautiful curves make it a must have. Features a few automatic substitutions for those programs that support them. Great casual style from Dave Correll that can be used at small sizes.

Lined and solid versions work well together as both main and secondary text. An old fashioned pre's style, useful for replicating the look and feel of antique advertising. Inspired by an old sign lettering book. Includes several alternates. Palace Bold.

Bold Art Deco style featuring variations on the lower case keys and multiple alternate characters. Piranha Script. This Dave Correll script features sharp edges for bold, attention-grabbing results. Goes well with our racing package. Saratoga Panels 4. All 37 of these panels are exclusive to Letterhead Fonts. Inspired from an old cigar label. A fine piece of craftsmanship wrapped up nicely within 2 fonts. Regular and Outline versions with alternates.

John Studden's highly unique typeface was inspired by the "Shopfronts" book which showcases various shopfronts and signage throughout England. With late s appeal, LHF Preston has a bold and classic look. Hexagon Modern. Art Deco style inspired by signpainter Alf R.

Saratoga Panels 1. Colonial Roman. An excellent example of early 's sign artistry, brought back to life by Mike Jackson. LHF Henderson is an easy to read Western style that lends itself well to subcopy.

Retro casual style from David Parr. Unusual boxy serif style lends itself to a wide variety of uses. Subtle bowing in of the letters and serifs gives this font its unique hand-lettered personality. Dave Correll's 2 font set was created to be legible at nearly any size. Has a personable, organic feel without being cartoonish.

The bold letters of this late 's style catch the eye and allow you to be creative with bevel effects or ornamentation inside. Highly unusual style from Chuck Davis. Useful for truck lettering or race cars.

Set includes 4 fonts, all with uppercase, lowercase, full punctuation and numerals. Classic Roman 2. Includes 7 bonus alternates for variation. Old fashioned style from Dave Smith. Inspired by an old cigar label we found. Easy to read at small sizes. Terrific Calligraphic style from Rob Cooper. Nice for semi-formal applications. Broadway Elements. Union Thug.

A handy 50's era "Stovepipe" style you're sure to find lots of uses for. Two different styles on the uppercase and lowercase keys.

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A collection of resources and contacts developed for those that have taken part in a Better Letters workshop. Further down is a suggested starter kit with supplies from A. Films Online are curated on both Vimeo and YouTube, with a variety of demonstrations, documentaries and other lettering titbits. The following are some recommended books. It is not exhaustive by any means and will be updated over time. The links here are to the website of A. Handover in the UK. Please also contact them for details of European stockists of paint and brushes.

Handover have also assembled an all-in-one starter kit and a deluxe version. Alpha 6 Corp also offer a series of starter kits. It also contains alcohol which will evaporate if it is left exposed for extended periods of time so always cover up when you finish painting. The dirt paint will sink to the bottom in a few days and then the spirits can be used again for thinning paint and cleaning brushes. Just pour it out carefully, leaving the gunky paint at the bottom. Finally, always allow the alcohol to evaporate from rags or tissue before disposing of it, especially when the weather or room is hot.

It is possible for these to spontaneously ignite if placed straight in the bin. How are ratings calculated? Instead, our system considers things like how recent a review is and if the reviewer bought the item on Amazon. It also analyses reviews to verify trustworthiness. Top reviews Most recent Top reviews. Top reviews from United Kingdom.

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It also analyzes reviews to verify trustworthiness. Top reviews Most recent Top reviews. Top review from the United States. There was a problem filtering reviews right now. Please try again later. Verified Purchase. Perfect gift for family member. Classic text in excellent condition. See all reviews. Back to top. Get to Know Us. Make Money with Us.

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ECMatthews SignPaintingCourse PDF

InThisBook r Chapter page FOREWORD v 1. ElementsofLettering 3 2. LayoutsandWhy n 3. UseofColor 4. SignMaterials 21 5. CardsandBanners ' 25 6. SignPaintingorSignWriting ' 33 7. ScriptLettering 35 8. GlassandWindowLettering 43 9= TruckSigns 57 BoardsandBulletins 67 Pictorials 3 j. Sep 30,  · Traditional Sign Painting Course by E.C. Matthews. Due to a planned power outage, our services will be reduced today (June 15) starting at am PDT until the work is complete.  Uploaded by ECMatthews_easycars24.pl - Free download as PDF File .pdf) or read online for free. Scribd is the world's largest social reading and publishing site. Search Search. ECMatthews SignPaintingCourse 1 50 - Free download as PDF File .pdf) or read online for free. lettering5/5(1). Directory listing for easycars24.pl Sep 30,  · sign painting course ec matthews How to Paint Signs and Sho Cards. 60 Books on the Kabbalah on CDrom Qabbala, Jewish Mysticism PDF. The Art Of Lettering and Sign Painters Manual by AP Boyce, a general American tutorial. Signs and Showcards by EC easycars24.pl Painting Course by E.C. 

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ECMatthews Sign Painting Course

Shows latest methods of doing truck lettering, office doors, wood letters, reflecting signs, plastics, sprayed signs, gold leaf, silk screen process, modern alphabets, ete. To me sign painting is a way of life Work to mo is always a pleasure. I have been able to travel anywhere and get a good job Whon and whore T wanted it. T also have my students. As nearly as posible T wrote this book and arranged it to do im print what I have been doing in person. I have been on my own fever since Copyright, , F.

Clinton St. Keep up with the times—give the customer what he wants, Be ficxible, both mentally and in your techniques, T stress these things throughout the following pages because they are of prime importance. The instructions have been proved sound as I have for many years prepared apprentices for sign and show card work. And I have learned, through trial and error, how best to present a new subject.

And please remember that determination and ambition have a lot to do with suecess in any field. Layouts and Why 3. Use of Color 4. Sign Materials 5, Cards and Banners ; 6. Glass and Window Lettering 9. Boards and sulletins ll, Pictorials The first three cnpe alphabet styles are the important ones.

Egyptian is first on our list, The beginner should learn to render it with pen, pencil and brush, There are only a few simple rules and they may be broken at times after you really know them. If the normal letters are five strokes high then they are Ti ia ad. When you learn to do this your lettering can be made to fit into almost any space desired.

Of course the entire word, or line of let- tering, should be condensed or extended to fit yourneeds, A beginner might measure the letters until he learns. Reverse the two styles to keep them in harmony with the subject, Or Plain ro Egyptian could easily be used in both cases. Outline first then fill in, Finished lettering is usually necessary in the 7 display lines, to give your work a finished appear- ance, But some style of single stroke lettering can be used for most of the body matter.

It saves time where there is considerable lettering. In copying any alphabet draw the letters large enough so that you can work freely. Study the details of each letter and be sure that you get them right as you go along. In Roman lettering the round and pointed letters extend slightly -Corrected- beyond the guide lines, This is to keep them from looking small- er than the square letters.

We could give you some elaborate drawings, but Tr meet 7h they wouldn't be as practical for most sign work, These can be adapted for many different wordings, It is wise to draw a line through center of your space, as shown on bottom Jayout, This makes it easier to balance your copy On page are two small layouts of the letter blocks as used for our plate of color combinations, The first ia a natural arrangement of the eighteen letters, It is too mech anical -too much squareness.

The second layout is better because the circle and othercurved elements add a bit of curvature, Also the slanted blocks at top and boitom, as well as the lightening flashes, help by adding a touch of radiation to make the layout more interesting, The little blocks are more of a problem than a regular sign because all of the letters are of about equal importance and there is no Special line that can be made large.

New Style design is more professional, the two important words Brown and Signs, are featured. Address and phone number could be in small lines at bottom. Without curvature the design lacks beauty while too much: curvature makes the design look unstable. Most oftenthe problem is to introduce the curv- ature and a touch of radiation to the layout, To be effective the wording of a sign should be as good as the lettering.

Most of your customers will want too many words, but tactful salesmanship can change that. After eliminating the unnecessary words we can still improve the idea by making a big display of the right words and balance of the copy in small lettering. Try to get one touch of originality in each layout. It may be a line of script, a modified letter style or a fancy capital. Learn to be practical in your work. See P. The second is an alphabet of Decorative Init- ials made many years ago by my old friend, the late John Ohnimus.

It would take many hours to copy this, and for practical reading purposes it wouldn't be as, good as the plain letters, In fact it would take longer to make a good copy of one of the fancy initials than it would to make the entire Speed- ball alphabet. The same thing applies to your sign'work, Do it good, but plain, Fancy letter styles and elaborate decorat- ions are not usually what the customer wants and they only tend to waste your valuable time.

Learn to make your layouts in light lines. Free Delivery in black on light green which was also used in circle and stripe across window, Entire background stippled white. This should be No. Where the red is to be outlined with black, or used as center for maroon letters, fire red No, is best. Strongest contrast should be next to letter. Ready mixed house paints are no good for this purpose. Such paint does not cover: well and has a tendency to run, The regular sign paints cover better and stay where you put them, if properly mixed.

Comes in tubes and cans half pint or larger, Tais makes a smooth lettering color when well mixed with turpentine and quick gold size. It is the best material for mixing with paste aluminum, thin with turpentine, Powdered Litharge is a dryer in powder form, obtainable at large paint stores, Can be rubbed over back-up color, or other paint that is slightly tacky, to hasten the drying before applying finish coat, It is poisonous and should not be inhaled.

Round, red sable show card brushes are the proper tool to use with showcard, or poster, colors, A set of three brushes, sizes 4, 8 and 12 makes a nice set to begin with, Buy the best grade and always wash them out carefully, in cold water, after use. Keep them standing hair end up in a glass or vase when not in use, Treat them well and they will last for years, In fact a good red sable may even improve with age.

Small lettering may be done with a Speedball pen and black waterproof drawing ink, The pen strokes are pulled in same direction as shown by arrows on pages and , ,The style B pen hac a ball point and comes in various sizes, It is easy to use in regular pen holder and it is not necessary to square up ends of the letter strokes. Here is a list of show card material you will need: 3 Jars Showeard Color, black, white and red.

A good sign man needs only a few letter samples and he can carry the whole alphabet on through, because he knows the characteristics of Egyptian, Roman and Script alphabets, One round and one straight letter will give him the clue.

Most small shops have to both kinds of work. In card writing letters are adapted to the show card brush so that the work is faster and less mechanical than sign lettering. If you can master this style your cards will look like show cards instead of signs, Study the style closely and render the words freely, -Small lettering done with a Speedball, - Leave Plenty of Margin, If you have long copy, group it tastefully without filling the entire card, Make the important words big and balance of the copy small, On P.

It takes a little time so they are worth more, Taky a piece of thin pap- er, proper size to. Pencil lines will cut in even numbers from the regular 28x44 inch cards. The big card will make four 14x22, two of Alphabets on pages , thing smaller is usually classed as a price ticket.

Dip your brush in water and work it out on a piece of card when the color seems too heavy. I color has a tendency to rub off when dry, add a drop of mucilage, If color drys too fast to work smoothly just add a drop of glycerin, Show card colors usually wrin- kle any thin paper.

That can be remedied by adding a bit of strained honey and water to the color. When the lettering is dry remove challe lines with a coft picce of chamois skin, In any case you should get into the habit of making your layout very light, so that it will erase easily. Dark cards can be waterproofed with PASTE WAX, such as Simoniz Auto and Furniture wax, by rubbing a soft cloth over the wax and then over the card, Go over it thoroughly, and after it drys a few minutes polish with a clean, dry cloth, This can also be used on white cards but it discolors them a bit, Best thing is to use Japan colors on large paper and cloth signs, or on white cards that are to be exposed to the weather.

On white cards scrape the mistake off carefully with a single edge razor blade and letter again. If necessary you can touch up with white show card color. I have been able to travel anywhere and get a good job Whon and whore T wanted it.

T also have my students. As nearly as posible T wrote this book and arranged it to do im print what I have been doing in person. I have been on my own fever since Copyright, , F. Clinton St. Keep up with the times—give the customer what he wants, Be ficxible, both mentally and in your techniques, T stress these things throughout the following pages because they are of prime importance. The instructions have been proved sound as I have for many years prepared apprentices for sign and show card work.

And I have learned, through trial and error, how best to present a new subject. And please remember that determination and ambition have a lot to do with suecess in any field.

Layouts and Why 3. Use of Color 4. Sign Materials 5, Cards and Banners ; 6. Glass and Window Lettering 9. Boards and sulletins ll, Pictorials The first three cnpe alphabet styles are the important ones. Egyptian is first on our list, The beginner should learn to render it with pen, pencil and brush, There are only a few simple rules and they may be broken at times after you really know them. If the normal letters are five strokes high then they are Ti ia ad.

When you learn to do this your lettering can be made to fit into almost any space desired. Of course the entire word, or line of let- tering, should be condensed or extended to fit yourneeds, A beginner might measure the letters until he learns.

Reverse the two styles to keep them in harmony with the subject, Or Plain ro Egyptian could easily be used in both cases.

Outline first then fill in, Finished lettering is usually necessary in the 7 display lines, to give your work a finished appear- ance, But some style of single stroke lettering can be used for most of the body matter. It saves time where there is considerable lettering. In copying any alphabet draw the letters large enough so that you can work freely. Study the details of each letter and be sure that you get them right as you go along. In Roman lettering the round and pointed letters extend slightly -Corrected- beyond the guide lines, This is to keep them from looking small- er than the square letters.

We could give you some elaborate drawings, but Tr meet 7h they wouldn't be as practical for most sign work, These can be adapted for many different wordings, It is wise to draw a line through center of your space, as shown on bottom Jayout, This makes it easier to balance your copy On page are two small layouts of the letter blocks as used for our plate of color combinations, The first ia a natural arrangement of the eighteen letters, It is too mech anical -too much squareness.

The second layout is better because the circle and othercurved elements add a bit of curvature, Also the slanted blocks at top and boitom, as well as the lightening flashes, help by adding a touch of radiation to make the layout more interesting, The little blocks are more of a problem than a regular sign because all of the letters are of about equal importance and there is no Special line that can be made large. New Style design is more professional, the two important words Brown and Signs, are featured.

Address and phone number could be in small lines at bottom. Without curvature the design lacks beauty while too much: curvature makes the design look unstable. Most oftenthe problem is to introduce the curv- ature and a touch of radiation to the layout, To be effective the wording of a sign should be as good as the lettering. Most of your customers will want too many words, but tactful salesmanship can change that.

After eliminating the unnecessary words we can still improve the idea by making a big display of the right words and balance of the copy in small lettering. Try to get one touch of originality in each layout. It may be a line of script, a modified letter style or a fancy capital. Learn to be practical in your work.

See P. The second is an alphabet of Decorative Init- ials made many years ago by my old friend, the late John Ohnimus. It would take many hours to copy this, and for practical reading purposes it wouldn't be as, good as the plain letters, In fact it would take longer to make a good copy of one of the fancy initials than it would to make the entire Speed- ball alphabet.

The same thing applies to your sign'work, Do it good, but plain, Fancy letter styles and elaborate decorat- ions are not usually what the customer wants and they only tend to waste your valuable time. Learn to make your layouts in light lines. Free Delivery in black on light green which was also used in circle and stripe across window, Entire background stippled white. This should be No. Where the red is to be outlined with black, or used as center for maroon letters, fire red No, is best.

Strongest contrast should be next to letter. Ready mixed house paints are no good for this purpose. Such paint does not cover: well and has a tendency to run, The regular sign paints cover better and stay where you put them, if properly mixed.

Comes in tubes and cans half pint or larger, Tais makes a smooth lettering color when well mixed with turpentine and quick gold size.

It is the best material for mixing with paste aluminum, thin with turpentine, Powdered Litharge is a dryer in powder form, obtainable at large paint stores, Can be rubbed over back-up color, or other paint that is slightly tacky, to hasten the drying before applying finish coat, It is poisonous and should not be inhaled. Round, red sable show card brushes are the proper tool to use with showcard, or poster, colors, A set of three brushes, sizes 4, 8 and 12 makes a nice set to begin with, Buy the best grade and always wash them out carefully, in cold water, after use.

Keep them standing hair end up in a glass or vase when not in use, Treat them well and they will last for years, In fact a good red sable may even improve with age. Small lettering may be done with a Speedball pen and black waterproof drawing ink, The pen strokes are pulled in same direction as shown by arrows on pages and , ,The style B pen hac a ball point and comes in various sizes, It is easy to use in regular pen holder and it is not necessary to square up ends of the letter strokes.

Here is a list of show card material you will need: 3 Jars Showeard Color, black, white and red. A good sign man needs only a few letter samples and he can carry the whole alphabet on through, because he knows the characteristics of Egyptian, Roman and Script alphabets, One round and one straight letter will give him the clue. Most small shops have to both kinds of work. In card writing letters are adapted to the show card brush so that the work is faster and less mechanical than sign lettering.

If you can master this style your cards will look like show cards instead of signs, Study the style closely and render the words freely, -Small lettering done with a Speedball, - Leave Plenty of Margin, If you have long copy, group it tastefully without filling the entire card, Make the important words big and balance of the copy small, On P. It takes a little time so they are worth more, Taky a piece of thin pap- er, proper size to. Pencil lines will cut in even numbers from the regular 28x44 inch cards.

The big card will make four 14x22, two of Alphabets on pages , thing smaller is usually classed as a price ticket.

Dip your brush in water and work it out on a piece of card when the color seems too heavy. I color has a tendency to rub off when dry, add a drop of mucilage, If color drys too fast to work smoothly just add a drop of glycerin, Show card colors usually wrin- kle any thin paper.

That can be remedied by adding a bit of strained honey and water to the color. When the lettering is dry remove challe lines with a coft picce of chamois skin, In any case you should get into the habit of making your layout very light, so that it will erase easily. Dark cards can be waterproofed with PASTE WAX, such as Simoniz Auto and Furniture wax, by rubbing a soft cloth over the wax and then over the card, Go over it thoroughly, and after it drys a few minutes polish with a clean, dry cloth, This can also be used on white cards but it discolors them a bit, Best thing is to use Japan colors on large paper and cloth signs, or on white cards that are to be exposed to the weather.

On white cards scrape the mistake off carefully with a single edge razor blade and letter again. If necessary you can touch up with white show card color. On dark cards you can usually wash off the letter that is wrong. Signs are often too stiff looking even when the lettering is good. A word or two in script adds grace, swing and the necessary curvature to make a good layout, Script can be used on almost anything from show cards to bulletins, See the four bulletin snapshots on page There are many sign men who can do anything but script, mostly because they haven't tried it, Many are under the mistaken impress- ion that you must be a good penman to learn script lettering, In my files are letters written in longhand by the two best script artists in the country, At least they are best in my estimation, The writing is as bad as my own, perhaps even harder to read.

That also applies to the lower case,. There are a few simple hints, which can be for- gotten after you master one good script style, if slanted script is used, keep it all at the same slant. That is easily done by making slanted marks along line of your layout before you sketch the letters, After you are experienced you can even do some of the script with practically no layout.

You often get best results by going to extremes in comparative sizes of Caps. In laying out script signs with charcoal or chalk try to get that free and easy swing, avoid cramped and awkward letters, About the easiest and quickest way to master script is to tack some old newspapers on your board and paint the letters and words freehand, any size, any style, without layout or guide lines, This will help you to get the free and easy swing which is such an important part of good lettering.

Copy words from the sign snapshots, or other sources, You can do the same word over many times, trying to im- prove it as-you go along, Work freely and easily, without a layout, but be critical in looking for ae places to improve your efforts, CLA. For heavy lower case script see pages 42 and , The weight of face can be modified to suit your purpose. Once you have mas- tered a good script style you can change and improve on it as you go along, But make a careful study of this lettering until you really understand it, Ido not pose as an authority on the subject, there are many men who can do it better, but too many sign books have neglected the subject altogether.

If you will combine these hints, snapshots and other illustrations, with some diligent study'and practice, you can soon master this important branch of Modern Sign Writing.

The beginner usually spaces letters as wide as the S, in too far apart, -Letters could be anywhere from sample above. This is 2 to 7 inches tall, depending on space you have, - better than making the letter O too narrow, As you become experienced the spacing can usually be done freehand, without measurements, Practice tat method from the first on show cards.

Green, M,Ch, Yellow in oil, You have black and red,truck outfit. Linseed oil, Qt. Most outside window signs are painted in aluminum, outlined or shaded with black, red, blue or green, You can use either bulletin enamels or oil colors on outside work, but tne enamels are not so durable for inside work, especially if the window swedts.

The old way of painting an aluminum sign was to thin a little cnrothe yellow oil color with a few drops of turpentine, then add Japan gold size, varnish or Clear Fibroseal. Tnis old metnod does produce a more durable sign than tne aluminum paste on either windows or trucks, In not weather a few drops of linseed oil should be added to the yellow size to make it dry slower. Use C. If you use paste aluminum on outside window signa mix it up as de- scribed at bottom of page Clean glass with Bon Ami first.

Keep the chalk sharp in order to sketch an accurate layout. A slower and smoother mixture is made by by mixing the bronze with Hastings Quick Gold Size, add a few drops of Clear Fibroseal and Bulletin Spar varnish, Thin with turpentine as necessary.

If sign is along top of window, a bottom stripe may be made by rubbing a piece of scotch tape down on glass, between chalk lines to keep it straight, Then paint black stripe below that and fill in black background above.

Pull off the tape and fill stripe with lacquer aluminum, gold or Japan color to suit. When dry paint over back of entire sign with big bristle brush and some white lead, broken up with very little turps and mixed with a liberal amount of linseed oil, Immediately go over the white lead coat with paint roller to stipple the paint and take out all brush marks, Varnish lower edge of sign.

Don't overdo on the curves, most ch S signs can be arranged better on straight lines, When i curves are used one curved line on a sign is plenty, bal- ance of the layout should be in straight lines, Too much curvature or radiation makes the reader dizzy. Young-Bundy - Small window sign in gold, black shade, red stripe under name, 7 Major-Ette -Gold bronze outline, golden yellow centers,.

Vicki's double window, Outside aluminum job, orange center in name, red center in Gift Shoppe, Black shade and light green spots, -You can still see chalk line for the shade. Acousticon Inside sign, pale gold on quick size, Prussian - blue and light blue for outline and shade, Globe detailed dark blue and XX gold laid on quick size.

Red center in script. McBride -Cream ground, name and bottom line in maroon, Stripes and number in red, Real Estate dark green, brown border.

Barber -Aluminum Let, red outline, Blue ground on inside, Bulldog Bulletin -White ground, picture in black and gray, big lettering red and maroon, Panels, light green, dark green Let. CHILI -Repaint of old sign shown at bottom of page 72, Same colors, without white center in letters, -Even same iron pipe in front of sign. The picture often has to be taken at an angle, which exaggerates the perspec- tive and keeps the lettering from looking uniform.

We also have reflections to contend with in the window signs. A camera will not distinguish the colors perfectly, so we often lose some of the best features of a sign job. Pale green center in letters. Which doesn't show on photo. Black shade and color spots in bright red. All double shaded with heavy black shade next to letter; followed by narrow red shade on top line and narrow green shade on bettom line, BAKERY -Also burnish outline and dead center, All outlined with black, including variegated leaf scroll in center.

Black shade, Underline and decorations in light green, Mixture of Lt, chrome yellow and green. Word Excel is in pale green. Picture outlined with Japan black and lettering in Japan red, on inside of glass. Modeling in light sienna, stippled on to give appearance of roundness, Entire dog stippled with white lead and linseed oil, Grass brushed on in different tones of green, Trees and building behind dog are glass reflections from across the street.

Nash sign was neon tubes. All on inside of window, variegated leaf was laid on quick size after outlines were on and before the orange letters were stippled on. Other lettering plain black. Border design outlin- ed with aluminum, filled in with orange and red, White lead stippled on back of entire panel.

White panels with black lettering, bottom. Gold lettering on quick size, red shade, Aluminum border design, centered with red and green. The number of trucks on our streets and highways has been increasing every year and the owners are becoming more conscious of the great advertising value of truck signs. Back in I was lettering trucks for an auto painting company in New York city.

It is much simpler now. The trucks have a lacquer or synthetic finish and most lettering is done with synthetic bulletin colors, aluminum paint or oil colors -only the gold leaf jobs are still varnished. The synthetic enamels dry glossy and durable without varnish.

Some men can work faster without a rest stick, and do very good lettering too, Mahl stick But for outlining, small detail work used for striping and backing up small gold leaf letter- ing the mahl stick isahelp. A jointed wood stick is best because you can carry it in your sign kit. The metal rest sticks are cold in winter, hot in summer, and almost impossible to repair if you happen to step on one and break a joint, On follolwing page is a list of equip- ment and materials needed for truck lettering.

One Qt. Clear Fibroseal 1 Qt. Lacquer Thinner, 1 Qt. Rubbing compound Turpentine, chalk, chalk line, talcum powder and clean rags Sign Kit with trays for brushes ete. Button fpalcaryst favorite tool for sign writing. There are two different kinds, brown ad, Carpet camel's hair which is very soft and usually best of the two while new, But it will not last long in such materials as Japan colors, aluminum paint and the synthetic enamels, Do not use C,H, pencils in wat- er colors.

The gray camel's hair usually has a longer lifeyand is used by most sign men. It is best to keep the cans standing wrong side up to be sure no air gets to the paint. Pour some of the bulle- tin color out into a little can or small glass jar to use it, and keep this tightly sealed too between jobs.

Mix just a little at a time. Beat it up well with turpentine and Clear Fib- roseal, which serves as a dryer, same as Jap- an gold size, Palette your brush in turpentine, or turps and oil, and work out on cardboard. Gold with white bulletin color for cream colored lettering. For aluminum paint mix up a very little paste aluminum with a few drops of turps.

Beat it up well toa heavy paste, Then add some spar varnish and beat it up again, Now pour in more turpentine, some spar varnish and a few drops of linseed oil and beat it up again to thin lettering consistency, Leave oil out if you want paint to dry fast. Words'Transfer Co! Striper is good for striping trucks and pleasure cars, making straight borders on signs and panels and putting a decorative stripe through letters, as shown on center lines, right margin of P. The synthetic bulletin colors are perfect for use in the striper, just as they come from the can, Keep the striper standing in a small can of turpentine, along with the extra wheel, It is easy to clean with a rag before using.

Before lettering a new truck wash the panels or doors with gasoline and rub off clean with a dry rag to remove all wax. Now go over the lines with your pounce wheel to perfor- ate the paper, Do thison a piece of soft wali board , or lay a thin piece of old blanket on your show card table and trace the pattern over that. Fasten the paper pounce pattern to proper place on the truck with tape and go over it with a pounce bag filled with talcum powder, On white background use powdered charcoal.

When your colors get lumpy strain them through a piece of old rayon or nylon stocking. When no special design is used you can make layouts directly on both sides of truck, Use a yard stick to measure ends of lines so they will be even and straight. Rub some chalk on your chalk line and snap all top and bottom lines of lettering, also bottom line of shade if you are go- ing to shade any of the lettering, Some men lay out truck lettering with chalk but the eraser on back end of a lead pencil is much better, Try it.

Color spots in orange, blue, etc. You will need some large bristle brushes, as shown at right, for coating signs and filling in big backgrounds after the lettering has been cut in, With proper care these brushes will last for years, Wrap the brushes in heavy paper and keep them standing in a bucket of water when not in use. Before painting a board or wall be sure just what letter- ing is to be on the sign, and decide just what space each line is to fill, and just how the lettering is to be arranged to give the best effect, Different men often make different layouts.

If your paint dries too fast to work smoothly add more oil, : When your lead primer is perfectly dry you can paint over it with prepared Block Out White which drys quickly, or with the regular Bulletin White which drys slower but with more gloss and durability.

Or use both over the lead primer for a good three coat job of white. For the colors you may use either the synthetic bulletin enamel or colors ground in oil, Never paint brick walls with colors ground in Japan.

Always use your large white brush for white or very Light colors only, Black, red or dark colors cannot be re- moved from a brush so thoroughly that it will not discolor white paint. A Nothing is more important to the sign writer than the quality and condit- ion of his materials. Make layout on top of paint or use pounce. This is most apt to happen in cold weather and if the troublesome area is small you may be able to overcome it by simply blowing your breath on the spot, Another method for extreme cases is to palette your brush on a drop of lacquer thinner or put a few drops in the paint, It is a good idea to prime out a few full sheets of metal and Masonite, as well as some large boards, and keep them around the shop.

On a brick wall the primer dries fast, but metal and board signs should be primed with linseed oil paint and it drys much slower than on a brick wall, For large wall signs you can mix your own black, Buy 1 Lb.

You can make designs exactly alike on two boards without a pounce pattern, Make your layout on one sign with chalk or charcoal, lay a sheet of newspaper over the layout and tape it down, Rub hard over paper with a wad of cloth, pull paper off and fasten to second sign, Rub hard again with cloth wad, this transfers a dim layout to second space, This idea can also be used on windows and truck signs.

Old neon signs can often be used for different copy. The 4 tubes can be removed and holes corked up before repainting. Letter- ing in maroon, black and red, decoration pale green. Dark brown lettering with tan or pale brown shade, Neon clock in center. Znd panels dark green, pictures of ring and wrist watch in gold leaf.

ECMatthews SignPaintingCourse 1 50

Employees in concems using signs and show cards will meke themselves much more valuable by taking this training. Shows latest methods of doing truck lettering, office doors, wood letters, reflecting signs, plastics, sprayed signs, gold leaf, silk screen process, modern alphabets, ete.

To me sign painting is a way of life Work to mo is always a pleasure. I have been able to travel anywhere and get a good job Whon and whore T wanted it. T also have my students. As nearly as posible T wrote this book and arranged it to do im print what I have been doing in person. I have been on my own fever since Copyright, , F. Clinton St. Keep up with the times—give the customer what he wants, Be ficxible, both mentally and in your techniques, T stress these things throughout the following pages because they are of prime importance.

The instructions have been proved sound as I have for many years prepared apprentices for sign and show card work. And I have learned, through trial and error, how best to present a new subject. And please remember that determination and ambition have a lot to do with suecess in any field.

Layouts and Why 3. Use of Color 4. Sign Materials 5, Cards and Banners ; 6. Glass and Window Lettering 9. Boards and sulletins ll, Pictorials The first three cnpe alphabet styles are the important ones. Egyptian is first on our list, The beginner should learn to render it with pen, pencil and brush, There are only a few simple rules and they may be broken at times after you really know them.

If the normal letters are five strokes high then they are Ti ia ad. When you learn to do this your lettering can be made to fit into almost any space desired. Of course the entire word, or line of let- tering, should be condensed or extended to fit yourneeds, A beginner might measure the letters until he learns. Reverse the two styles to keep them in harmony with the subject, Or Plain ro Egyptian could easily be used in both cases. Outline first then fill in, Finished lettering is usually necessary in the 7 display lines, to give your work a finished appear- ance, But some style of single stroke lettering can be used for most of the body matter.

It saves time where there is considerable lettering. In copying any alphabet draw the letters large enough so that you can work freely. Study the details of each letter and be sure that you get them right as you go along. In Roman lettering the round and pointed letters extend slightly -Corrected- beyond the guide lines, This is to keep them from looking small- er than the square letters. We could give you some elaborate drawings, but Tr meet 7h they wouldn't be as practical for most sign work, These can be adapted for many different wordings, It is wise to draw a line through center of your space, as shown on bottom Jayout, This makes it easier to balance your copy On page are two small layouts of the letter blocks as used for our plate of color combinations, The first ia a natural arrangement of the eighteen letters, It is too mech anical -too much squareness.

The second layout is better because the circle and othercurved elements add a bit of curvature, Also the slanted blocks at top and boitom, as well as the lightening flashes, help by adding a touch of radiation to make the layout more interesting, The little blocks are more of a problem than a regular sign because all of the letters are of about equal importance and there is no Special line that can be made large.

New Style design is more professional, the two important words Brown and Signs, are featured. Address and phone number could be in small lines at bottom. Without curvature the design lacks beauty while too much: curvature makes the design look unstable. Most oftenthe problem is to introduce the curv- ature and a touch of radiation to the layout, To be effective the wording of a sign should be as good as the lettering. Most of your customers will want too many words, but tactful salesmanship can change that.

After eliminating the unnecessary words we can still improve the idea by making a big display of the right words and balance of the copy in small lettering. Try to get one touch of originality in each layout. It may be a line of script, a modified letter style or a fancy capital. Learn to be practical in your work. See P. The second is an alphabet of Decorative Init- ials made many years ago by my old friend, the late John Ohnimus.

It would take many hours to copy this, and for practical reading purposes it wouldn't be as, good as the plain letters, In fact it would take longer to make a good copy of one of the fancy initials than it would to make the entire Speed- ball alphabet.

The same thing applies to your sign'work, Do it good, but plain, Fancy letter styles and elaborate decorat- ions are not usually what the customer wants and they only tend to waste your valuable time. Learn to make your layouts in light lines. Free Delivery in black on light green which was also used in circle and stripe across window, Entire background stippled white. This should be No. Where the red is to be outlined with black, or used as center for maroon letters, fire red No, is best.

Strongest contrast should be next to letter. Ready mixed house paints are no good for this purpose. Such paint does not cover: well and has a tendency to run, The regular sign paints cover better and stay where you put them, if properly mixed.

Comes in tubes and cans half pint or larger, Tais makes a smooth lettering color when well mixed with turpentine and quick gold size. It is the best material for mixing with paste aluminum, thin with turpentine, Powdered Litharge is a dryer in powder form, obtainable at large paint stores, Can be rubbed over back-up color, or other paint that is slightly tacky, to hasten the drying before applying finish coat, It is poisonous and should not be inhaled.

Round, red sable show card brushes are the proper tool to use with showcard, or poster, colors, A set of three brushes, sizes 4, 8 and 12 makes a nice set to begin with, Buy the best grade and always wash them out carefully, in cold water, after use. Keep them standing hair end up in a glass or vase when not in use, Treat them well and they will last for years, In fact a good red sable may even improve with age. Small lettering may be done with a Speedball pen and black waterproof drawing ink, The pen strokes are pulled in same direction as shown by arrows on pages and , ,The style B pen hac a ball point and comes in various sizes, It is easy to use in regular pen holder and it is not necessary to square up ends of the letter strokes.

Here is a list of show card material you will need: 3 Jars Showeard Color, black, white and red. A good sign man needs only a few letter samples and he can carry the whole alphabet on through, because he knows the characteristics of Egyptian, Roman and Script alphabets, One round and one straight letter will give him the clue.

Most small shops have to both kinds of work. In card writing letters are adapted to the show card brush so that the work is faster and less mechanical than sign lettering. If you can master this style your cards will look like show cards instead of signs, Study the style closely and render the words freely, -Small lettering done with a Speedball, - Leave Plenty of Margin, If you have long copy, group it tastefully without filling the entire card, Make the important words big and balance of the copy small, On P.

It takes a little time so they are worth more, Taky a piece of thin pap- er, proper size to. Pencil lines will cut in even numbers from the regular 28x44 inch cards. The big card will make four 14x22, two of Alphabets on pages , thing smaller is usually classed as a price ticket.

Dip your brush in water and work it out on a piece of card when the color seems too heavy. I color has a tendency to rub off when dry, add a drop of mucilage, If color drys too fast to work smoothly just add a drop of glycerin, Show card colors usually wrin- kle any thin paper.

That can be remedied by adding a bit of strained honey and water to the color. When the lettering is dry remove challe lines with a coft picce of chamois skin, In any case you should get into the habit of making your layout very light, so that it will erase easily. Dark cards can be waterproofed with PASTE WAX, such as Simoniz Auto and Furniture wax, by rubbing a soft cloth over the wax and then over the card, Go over it thoroughly, and after it drys a few minutes polish with a clean, dry cloth, This can also be used on white cards but it discolors them a bit, Best thing is to use Japan colors on large paper and cloth signs, or on white cards that are to be exposed to the weather.

On white cards scrape the mistake off carefully with a single edge razor blade and letter again. Keep them standing hair end up in a glass or vase when not in use, Treat them well and they will last for years, In fact a good red sable may even improve with age. Small lettering may be done with a Speedball pen and black waterproof drawing ink, The pen strokes are pulled in same direction as shown by arrows on pages and , ,The style B pen hac a ball point and comes in various sizes, It is easy to use in regular pen holder and it is not necessary to square up ends of the letter strokes.

Here is a list of show card material you will need: 3 Jars Showeard Color, black, white and red. A good sign man needs only a few letter samples and he can carry the whole alphabet on through, because he knows the characteristics of Egyptian, Roman and Script alphabets, One round and one straight letter will give him the clue.

Most small shops have to both kinds of work. In card writing letters are adapted to the show card brush so that the work is faster and less mechanical than sign lettering. If you can master this style your cards will look like show cards instead of signs, Study the style closely and render the words freely, -Small lettering done with a Speedball, - Leave Plenty of Margin, If you have long copy, group it tastefully without filling the entire card, Make the important words big and balance of the copy small, On P.

It takes a little time so they are worth more, Taky a piece of thin pap- er, proper size to. Pencil lines will cut in even numbers from the regular 28x44 inch cards.

The big card will make four 14x22, two of Alphabets on pages , thing smaller is usually classed as a price ticket. Dip your brush in water and work it out on a piece of card when the color seems too heavy. I color has a tendency to rub off when dry, add a drop of mucilage, If color drys too fast to work smoothly just add a drop of glycerin, Show card colors usually wrin- kle any thin paper. That can be remedied by adding a bit of strained honey and water to the color.

When the lettering is dry remove challe lines with a coft picce of chamois skin, In any case you should get into the habit of making your layout very light, so that it will erase easily. Dark cards can be waterproofed with PASTE WAX, such as Simoniz Auto and Furniture wax, by rubbing a soft cloth over the wax and then over the card, Go over it thoroughly, and after it drys a few minutes polish with a clean, dry cloth, This can also be used on white cards but it discolors them a bit, Best thing is to use Japan colors on large paper and cloth signs, or on white cards that are to be exposed to the weather.

On white cards scrape the mistake off carefully with a single edge razor blade and letter again. If necessary you can touch up with white show card color. On dark cards you can usually wash off the letter that is wrong.

Signs are often too stiff looking even when the lettering is good. A word or two in script adds grace, swing and the necessary curvature to make a good layout, Script can be used on almost anything from show cards to bulletins, See the four bulletin snapshots on page There are many sign men who can do anything but script, mostly because they haven't tried it, Many are under the mistaken impress- ion that you must be a good penman to learn script lettering, In my files are letters written in longhand by the two best script artists in the country, At least they are best in my estimation, The writing is as bad as my own, perhaps even harder to read.

That also applies to the lower case,. There are a few simple hints, which can be for- gotten after you master one good script style, if slanted script is used, keep it all at the same slant. That is easily done by making slanted marks along line of your layout before you sketch the letters, After you are experienced you can even do some of the script with practically no layout.

You often get best results by going to extremes in comparative sizes of Caps. In laying out script signs with charcoal or chalk try to get that free and easy swing, avoid cramped and awkward letters, About the easiest and quickest way to master script is to tack some old newspapers on your board and paint the letters and words freehand, any size, any style, without layout or guide lines, This will help you to get the free and easy swing which is such an important part of good lettering.

Copy words from the sign snapshots, or other sources, You can do the same word over many times, trying to im- prove it as-you go along, Work freely and easily, without a layout, but be critical in looking for ae places to improve your efforts, CLA. For heavy lower case script see pages 42 and , The weight of face can be modified to suit your purpose. Once you have mas- tered a good script style you can change and improve on it as you go along, But make a careful study of this lettering until you really understand it, Ido not pose as an authority on the subject, there are many men who can do it better, but too many sign books have neglected the subject altogether.

If you will combine these hints, snapshots and other illustrations, with some diligent study'and practice, you can soon master this important branch of Modern Sign Writing. The beginner usually spaces letters as wide as the S, in too far apart, -Letters could be anywhere from sample above. This is 2 to 7 inches tall, depending on space you have, - better than making the letter O too narrow, As you become experienced the spacing can usually be done freehand, without measurements, Practice tat method from the first on show cards.

Green, M,Ch, Yellow in oil, You have black and red,truck outfit. Linseed oil, Qt. Most outside window signs are painted in aluminum, outlined or shaded with black, red, blue or green, You can use either bulletin enamels or oil colors on outside work, but tne enamels are not so durable for inside work, especially if the window swedts.

The old way of painting an aluminum sign was to thin a little cnrothe yellow oil color with a few drops of turpentine, then add Japan gold size, varnish or Clear Fibroseal. Tnis old metnod does produce a more durable sign than tne aluminum paste on either windows or trucks, In not weather a few drops of linseed oil should be added to the yellow size to make it dry slower. Use C. If you use paste aluminum on outside window signa mix it up as de- scribed at bottom of page Clean glass with Bon Ami first.

Keep the chalk sharp in order to sketch an accurate layout. A slower and smoother mixture is made by by mixing the bronze with Hastings Quick Gold Size, add a few drops of Clear Fibroseal and Bulletin Spar varnish, Thin with turpentine as necessary. If sign is along top of window, a bottom stripe may be made by rubbing a piece of scotch tape down on glass, between chalk lines to keep it straight, Then paint black stripe below that and fill in black background above. Pull off the tape and fill stripe with lacquer aluminum, gold or Japan color to suit.

When dry paint over back of entire sign with big bristle brush and some white lead, broken up with very little turps and mixed with a liberal amount of linseed oil, Immediately go over the white lead coat with paint roller to stipple the paint and take out all brush marks, Varnish lower edge of sign. Don't overdo on the curves, most ch S signs can be arranged better on straight lines, When i curves are used one curved line on a sign is plenty, bal- ance of the layout should be in straight lines, Too much curvature or radiation makes the reader dizzy.

Young-Bundy - Small window sign in gold, black shade, red stripe under name, 7 Major-Ette -Gold bronze outline, golden yellow centers,. Vicki's double window, Outside aluminum job, orange center in name, red center in Gift Shoppe, Black shade and light green spots, -You can still see chalk line for the shade. Acousticon Inside sign, pale gold on quick size, Prussian - blue and light blue for outline and shade, Globe detailed dark blue and XX gold laid on quick size. Red center in script.

McBride -Cream ground, name and bottom line in maroon, Stripes and number in red, Real Estate dark green, brown border. Barber -Aluminum Let, red outline, Blue ground on inside, Bulldog Bulletin -White ground, picture in black and gray, big lettering red and maroon, Panels, light green, dark green Let.

CHILI -Repaint of old sign shown at bottom of page 72, Same colors, without white center in letters, -Even same iron pipe in front of sign. The picture often has to be taken at an angle, which exaggerates the perspec- tive and keeps the lettering from looking uniform. We also have reflections to contend with in the window signs. A camera will not distinguish the colors perfectly, so we often lose some of the best features of a sign job. Pale green center in letters. Which doesn't show on photo.

Black shade and color spots in bright red. All double shaded with heavy black shade next to letter; followed by narrow red shade on top line and narrow green shade on bettom line, BAKERY -Also burnish outline and dead center, All outlined with black, including variegated leaf scroll in center. Black shade, Underline and decorations in light green, Mixture of Lt, chrome yellow and green.

Word Excel is in pale green. Picture outlined with Japan black and lettering in Japan red, on inside of glass. Modeling in light sienna, stippled on to give appearance of roundness, Entire dog stippled with white lead and linseed oil, Grass brushed on in different tones of green, Trees and building behind dog are glass reflections from across the street. Nash sign was neon tubes. All on inside of window, variegated leaf was laid on quick size after outlines were on and before the orange letters were stippled on.

Other lettering plain black. Border design outlin- ed with aluminum, filled in with orange and red, White lead stippled on back of entire panel. White panels with black lettering, bottom. Gold lettering on quick size, red shade, Aluminum border design, centered with red and green. The number of trucks on our streets and highways has been increasing every year and the owners are becoming more conscious of the great advertising value of truck signs.

Back in I was lettering trucks for an auto painting company in New York city. It is much simpler now. The trucks have a lacquer or synthetic finish and most lettering is done with synthetic bulletin colors, aluminum paint or oil colors -only the gold leaf jobs are still varnished. The synthetic enamels dry glossy and durable without varnish. Some men can work faster without a rest stick, and do very good lettering too, Mahl stick But for outlining, small detail work used for striping and backing up small gold leaf letter- ing the mahl stick isahelp.

A jointed wood stick is best because you can carry it in your sign kit. The metal rest sticks are cold in winter, hot in summer, and almost impossible to repair if you happen to step on one and break a joint, On follolwing page is a list of equip- ment and materials needed for truck lettering.

One Qt. Clear Fibroseal 1 Qt. Lacquer Thinner, 1 Qt. Rubbing compound Turpentine, chalk, chalk line, talcum powder and clean rags Sign Kit with trays for brushes ete.

Button fpalcaryst favorite tool for sign writing. There are two different kinds, brown ad, Carpet camel's hair which is very soft and usually best of the two while new, But it will not last long in such materials as Japan colors, aluminum paint and the synthetic enamels, Do not use C,H, pencils in wat- er colors. The gray camel's hair usually has a longer lifeyand is used by most sign men.

It is best to keep the cans standing wrong side up to be sure no air gets to the paint. Pour some of the bulle- tin color out into a little can or small glass jar to use it, and keep this tightly sealed too between jobs. Mix just a little at a time. Beat it up well with turpentine and Clear Fib- roseal, which serves as a dryer, same as Jap- an gold size, Palette your brush in turpentine, or turps and oil, and work out on cardboard. Gold with white bulletin color for cream colored lettering.

For aluminum paint mix up a very little paste aluminum with a few drops of turps. Beat it up well toa heavy paste, Then add some spar varnish and beat it up again, Now pour in more turpentine, some spar varnish and a few drops of linseed oil and beat it up again to thin lettering consistency, Leave oil out if you want paint to dry fast.

Words'Transfer Co! Striper is good for striping trucks and pleasure cars, making straight borders on signs and panels and putting a decorative stripe through letters, as shown on center lines, right margin of P. The synthetic bulletin colors are perfect for use in the striper, just as they come from the can, Keep the striper standing in a small can of turpentine, along with the extra wheel, It is easy to clean with a rag before using.

Before lettering a new truck wash the panels or doors with gasoline and rub off clean with a dry rag to remove all wax. Now go over the lines with your pounce wheel to perfor- ate the paper, Do thison a piece of soft wali board , or lay a thin piece of old blanket on your show card table and trace the pattern over that.

Fasten the paper pounce pattern to proper place on the truck with tape and go over it with a pounce bag filled with talcum powder, On white background use powdered charcoal. When your colors get lumpy strain them through a piece of old rayon or nylon stocking. When no special design is used you can make layouts directly on both sides of truck, Use a yard stick to measure ends of lines so they will be even and straight. Rub some chalk on your chalk line and snap all top and bottom lines of lettering, also bottom line of shade if you are go- ing to shade any of the lettering, Some men lay out truck lettering with chalk but the eraser on back end of a lead pencil is much better, Try it.

Color spots in orange, blue, etc. You will need some large bristle brushes, as shown at right, for coating signs and filling in big backgrounds after the lettering has been cut in, With proper care these brushes will last for years, Wrap the brushes in heavy paper and keep them standing in a bucket of water when not in use. Before painting a board or wall be sure just what letter- ing is to be on the sign, and decide just what space each line is to fill, and just how the lettering is to be arranged to give the best effect, Different men often make different layouts.

If your paint dries too fast to work smoothly add more oil, : When your lead primer is perfectly dry you can paint over it with prepared Block Out White which drys quickly, or with the regular Bulletin White which drys slower but with more gloss and durability.

Or use both over the lead primer for a good three coat job of white. For the colors you may use either the synthetic bulletin enamel or colors ground in oil, Never paint brick walls with colors ground in Japan. Always use your large white brush for white or very Light colors only, Black, red or dark colors cannot be re- moved from a brush so thoroughly that it will not discolor white paint.

A Nothing is more important to the sign writer than the quality and condit- ion of his materials. Make layout on top of paint or use pounce. This is most apt to happen in cold weather and if the troublesome area is small you may be able to overcome it by simply blowing your breath on the spot, Another method for extreme cases is to palette your brush on a drop of lacquer thinner or put a few drops in the paint, It is a good idea to prime out a few full sheets of metal and Masonite, as well as some large boards, and keep them around the shop.

On a brick wall the primer dries fast, but metal and board signs should be primed with linseed oil paint and it drys much slower than on a brick wall, For large wall signs you can mix your own black, Buy 1 Lb. You can make designs exactly alike on two boards without a pounce pattern, Make your layout on one sign with chalk or charcoal, lay a sheet of newspaper over the layout and tape it down, Rub hard over paper with a wad of cloth, pull paper off and fasten to second sign, Rub hard again with cloth wad, this transfers a dim layout to second space, This idea can also be used on windows and truck signs.

Old neon signs can often be used for different copy. The 4 tubes can be removed and holes corked up before repainting. Letter- ing in maroon, black and red, decoration pale green. Dark brown lettering with tan or pale brown shade, Neon clock in center. Znd panels dark green, pictures of ring and wrist watch in gold leaf. Bar across left end is brace to fire escape. Chrome green ground, white lettering and close shade in black.

Spots and exclamation, pale green. Large letter black with red inset, Small lettering black and blue, Cash or Credit cut in with maroon, Orange or red border stripe. White ground, light green border. Lettering in red and black. Let- tering on motor was white, cut in with black, Picture in red, yellow and black, -Notice different ways of making script H.

Hollywood in red, white with black outline, -Large sign with reflectors at bottom. Cut in with black background, dark gray border, Large metal. Green ground, aluminum Let, White centers, black shade, light green spots. Line under Chili was iron pipe to protect window Cream ground, white border, large letters red with black outline, Small lettering black.

NEON in white, with red line in center, on blue panel. Border around oval in orange and pale green. Bottom stripes orange and green. Red ribbon out- Lined with black, White lettering. Inside ends of ribbon in yellow and orange. Main line of lettering on siga was waite cut in with black ground, Only part of one figure shows. Black background, large lettering white, Small lettering yellow and pale green.

The long extender on letter F improves the layout and gets away fron type effect. Many of these signs were old and weather stained before they were photographed. Red, green and white centers in larger lettering. Decorative ornamen: in orange and pale green, ARAGON wall, -White background, display word in maroon with light red centers, and pale green poster outline, which hardly shows on photo. Hat picture in different tones of burnt sienna.

Cirele in green with orange out line and white le:tering, Other lettering black, Pale green border and orange outline around the big white panel. Of course we make such let- ters as M and W a bit wider and cut down on width of such letters as E and L.

Red and orange stripes inside of ribbon ends. Pig picture in bright flesh colors shaded with umber. Stone pit and flames in natural colors. White cut in with red background. Maroon cast sade for the panel, Background for the main sign was in white, with light green border, CHICK INN -Small white bulletin with red and black lettering, Red panel, gray shadow and white lettering on panel.

Small color pote in green. Black ground, aluminum lettering. Decorations and center of in light green.

Blue stripe in two tones below curtain, Star in red, with orange poster outline. On cards the illustrations can be made in poster style with show card colors and regular red sable brushes. There are many difterent ways of doing pictures on : windows, For a snoe picture on a repair shop make apounce pattern of the shoe, paint outline and details on outside of the glass with aluminum and back up on inside with black, If entire job is on iqside, first outline and detail the shoe with lacquer mixed aluminum, then back up with Japan black and varnish, For even stronger effect the, shoe might be given a poster out- Line of red, Wnen painting difficult pictures on inside, hang a mirror on step ladder outside of window so that you can watch at effect as you go along, without going out to look.

Place picture in position with face to the glass and roll down tight with i a rubber photo mount roller, rolling from center out in all directions. If there are any air bubbles, prick them with a pin and roll down flat, Clean surplus varnish off the edges with turpentine rag and piece of stiff card. This would be quite a prob- lem if you tried to paint every wheel and every railroad. The train was rendered in black, white and ved, with billows of smoke in gray, that grew lighter as it receded.

It was a large Lincoln head in black and gold. The window had been leafed solid and well bur- nished, then the details and shadows were scratched in the gold with a short fiteh brush, and the whole job backed up with black.

In making oil paintings is is usually better to reverse those methods, Make a good layout sketch and do the painting with fitch brushes. Work freely, almost recklessly, Paint light colors over the dark ones for foliage, water, etc.

Work while the paint is wet so that the colors blend together a little. They are lighter in color but equally good for lettering on glass. Only the 23 Karat gold should be used for trucks, board signd and other surface gilding as the lighter gold may tarnish when exposed. Illustration to the left of heading above, shows how the gold leaves are picked up from the book with a gilder's tip, usually one-half sheet at a time, for laying on glass. At right end of the heading we show how the leaf is applied directly- from the book, for surface gilding, conequccuraeamaanse — STE a 2 books KX glass gold enough to start One pint aluminum size can and cooker 1 2 or 2 inch camel's hair water size brush Camel's hair gilding tip Chamois skin Gelatin capsules, absorbent cotton, single edge razor blades, Bon-Ami, white chalk Gold leaf is very delicate and cannot be handled wita the fingers.

Be careful i not to touch glass with your fingers while working, - Take your size can with a small amount of water and place it on Sterno cooker, or whatever you use, put in about two or three empty No.

Open navigation menu. Close suggestions Search Search. User Settings. Skip carousel. Carousel Previous. Carousel Next. What is Scribd? Uploaded by Cristian Zhino Olivares A. Document Information click to expand document information Description: lettering. Did you find this document useful?

Is this content inappropriate? Report this Document. Description: lettering. Flag for inappropriate content. Download now. Related titles. Carousel Previous Carousel Next. Godey's Lady's Book and Magazine, March Jump to Page. Search inside document. Now in its 2nd edition, revised and enlarged, Strictly up-to-date! Employees in concems using signs and show cards will meke themselves much more valuable by taking this training. Shows latest methods of doing truck lettering, office doors, wood letters, reflecting signs, plastics, sprayed signs, gold leaf, silk screen process, modern alphabets, ete.

To me sign painting is a way of life Work to mo is always a pleasure. I have been able to travel anywhere and get a good job Whon and whore T wanted it. T also have my students. As nearly as posible T wrote this book and arranged it to do im print what I have been doing Ec matthews sign painting course pdf person.

I have been on my own fever since Copyright,F. Clinton St. Keep up with the times—give the customer what he wants, Be ficxible, both mentally and in your techniques, T stress these things throughout the following pages because they are of prime importance. The instructions have been proved sound as I have for many years prepared apprentices for sign and show card work. And I have learned, through trial and error, how best to present a new subject. And please remember that determination and ambition have Ec matthews sign painting course pdf lot to do with suecess in any field.

Layouts and Why 3. Use of Color 4. Sign Materials 5, Cards and Banners ; 6. Glass and Window Lettering 9. Boards and sulletins ll, Pictorials The first three cnpe alphabet styles are the important ones. Egyptian is first Ec matthews sign painting course pdf our list, The beginner should learn to render it with pen, pencil and brush, There are only a few simple rules and they may be broken at times after you really know them.

If the normal letters are five strokes high Ec matthews sign painting course pdf they are Ti ia ad. When you learn to do this your lettering can be made to fit into almost any space desired. Of course the entire word, or line of let- tering, should be condensed or extended to fit yourneeds, A beginner might measure the letters until he learns.

Reverse the two styles to keep them in harmony with the subject, Or Plain ro Egyptian could easily be used in both cases. Outline first then fill in, Finished lettering is usually necessary in the 7 display lines, to give your work a finished appear- ance, But some style of single stroke lettering can be used for most of the body matter.

It saves time where there is considerable lettering. In copying any alphabet draw the letters large enough so that you can work Ec matthews sign painting course pdf. Study the details of each letter and be sure that you get them right as you go along. In Roman lettering the round and pointed letters extend slightly -Corrected- beyond the guide lines, This is to keep them from looking small- er than the square letters.

We could give you some elaborate drawings, but Tr meet 7h they wouldn't be as practical for most sign work, These can be adapted for many different wordings, It is wise to draw a line through center of your space, as shown on bottom Jayout, This makes it easier to balance your copy On page are two small layouts of the letter blocks as used for our plate of color combinations, The first ia a natural arrangement of the eighteen letters, It is too mech anical -too much squareness.

The second layout is better because the circle and othercurved elements add a bit of curvature, Also the slanted blocks at top and boitom, as well as the lightening flashes, help by adding a touch of radiation to make the layout more interesting, The little blocks are more of a problem than a regular sign because all of the letters are of about equal importance and there is no Special line that can be made large.

New Style design is more professional, the two important words Brown and Signs, are featured. Address and phone number could be in small lines at bottom. Without curvature the design lacks beauty while too much: curvature makes the design look unstable. Most oftenthe problem is to introduce the curv- ature and a touch of radiation to the layout, To be effective the wording of a sign should be as good as the lettering. Most of your customers will want too many words, but tactful salesmanship can change that.

After eliminating the unnecessary words we can still improve the idea by making a big display of the right words and balance of Ec matthews sign painting course pdf copy in small lettering.

Try to get one touch of originality in each layout. It may be a line of script, a modified letter style or a fancy capital. Learn to be practical in your work.

See P. The second is an alphabet of Decorative Init- ials made many years ago by my old friend, the late John Ohnimus. It would take many hours to copy this, and for practical reading purposes it wouldn't be as, good as the plain letters, In fact it would take longer to make a good copy of one of the fancy initials than it would to make the entire Speed- ball alphabet.

The same thing applies to your sign'work, Do it good, but plain, Fancy letter styles and elaborate decorat- ions are not usually what the customer wants and they only tend to waste your valuable time. Learn to make your layouts in light lines. Free Delivery in black on light green which was also used in circle and stripe across window, Entire background stippled white. This should be No. Where the red is to be outlined with black, or used as center for maroon letters, fire red No, is best.

Strongest contrast should be next to letter. Ready mixed house paints are no good for this purpose. Such paint does not cover: well and has a tendency to run, The regular sign paints cover better and stay where you put them, if properly mixed.

Comes in tubes and cans half pint or larger, Tais makes a smooth lettering color when well mixed with turpentine and quick gold size. It is the best material for mixing with paste aluminum, thin with turpentine, Powdered Litharge is a dryer in powder form, obtainable at large paint stores, Can be rubbed over back-up color, or other paint that is slightly tacky, to hasten the drying before applying finish coat, It is poisonous and should not be inhaled.

Round, red sable show card brushes are the proper tool to use with showcard, or poster, colors, A set of three brushes, sizes 4, 8 and 12 makes a nice set to begin with, Buy the best grade and always wash them out carefully, in cold water, after use. Keep them standing hair end up in a glass or vase when not in use, Treat them well and they will last for years, In fact a good red sable may even improve with age. Small lettering may be done with a Speedball pen and black waterproof drawing ink, The pen strokes are pulled in same direction as shown by arrows on pages and,The style B pen hac a ball point and comes in various sizes, It is easy to use in regular pen holder and it is not necessary to square up ends of the letter strokes.

Here is a list of show card material you will need: 3 Jars Showeard Color, black, white and red. A good sign man needs only a few letter samples and he can carry the whole alphabet on through, because he knows the characteristics of Egyptian, Roman and Script Ec matthews sign painting course pdf, One round and one straight letter will give him the clue.

Most small shops have to both kinds of work. In card writing letters are adapted to the show card brush so that the work is faster and less mechanical than sign lettering. If you can master this style your cards will look like show cards instead of signs, Study the style closely and render the words freely, Ec matthews sign painting course pdf lettering done with a Speedball, - Leave Plenty of Margin, If you have long copy, group it tastefully without filling the entire card, Make the important words big and balance of the copy small, On P.

It takes a little time so they are worth more, Taky a piece of thin pap- er, proper size to. Pencil lines will cut in even numbers from the regular 28x44 inch cards. The big card will make four 14x22, two of Alphabets on pagesthing smaller is usually classed as a price ticket. Dip your brush in water and work it out on a piece of card when the color seems too heavy. I color has a tendency to rub off when dry, add a drop of mucilage, If color drys too fast to work smoothly just add a drop of glycerin, Show card colors usually wrin- kle any thin paper.

That can be remedied by adding a bit of strained honey and water to the color. When the lettering is dry remove challe lines with a coft picce of chamois skin, In any case you should get into the habit of making your layout very light, so that it will erase easily. Dark cards can be waterproofed with PASTE WAX, such as Simoniz Auto and Furniture wax, by rubbing a soft cloth over the wax and then over the card, Go over it thoroughly, and after it drys a few minutes polish with a clean, dry cloth, This can also be used on white cards but it discolors them a bit, Best thing is to use Japan colors on large paper and cloth signs, or on white cards that are to be exposed to the weather.

On white cards scrape the mistake off carefully with a single edge razor blade and letter again. If necessary you can touch up with white show card color. On dark cards you can usually wash off the letter that is wrong. Signs are often too stiff looking even when the lettering is good. A word or two in script adds grace, swing and the necessary curvature to make a good layout, Script can be used on almost anything from show cards to bulletins, See the four bulletin snapshots on page There are many sign men who can do anything but script, mostly because they haven't tried it, Many are under the mistaken impress- ion that you must be a good penman to learn script lettering, In my files are letters written in longhand by the two best script artists in the country, At least they are best in my estimation, Ec matthews sign painting course pdf writing is as bad Ec matthews sign painting course pdf my own, perhaps even harder to read.

That also applies to the lower case. There are a few simple hints, which can be for- gotten after you master one good script style, if slanted script is used, keep it all at the same slant.

If sign is smadl size the entire design, if layout is large work on part of it at atime. Work to mo is always a pleasure. Border around oval in orange and pale green. Ready mixed house paints are no good for this purpose. Gr green if you prefer.