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55 Chisdoczment is presented freely by David Grimes (masgrimes.com) in an ongoing archiving
effort to preserve and celebrate penmanship history.
Although this work is in the public domain, I simply ask that you enjoy it for personal and educational use and
chat these images not be reproduced commercially.
I hope you will join me in appreciating it for its merits and using it as Motivation in your practice so that future
generations may come to know this noble art.
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CREDIT IS HEREBY CHEERFULLY AND GRATEFULLY GIVEN TO \ THE FOLLOWING ARTISTS WHOSE YR LSS WORK APPEARS IN THIS VOL- GOSS], UMN OF PEN ART anp LETTERING
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C. P. ZANER, F. W. MARTIN, E. A. LUPFER, CLINTON SKILLMAN, E. L. BROWN, A. M. GROVE, 3 P. W. COSTELLO, O. E. Hovis, Mo W. A. BAIRD, F. W. TAMBLYN, NA C. V. HowE STUDIO H. C. RICE, Bai WM. MILNES, . D: HOLT, SE O AMES & ROLLINSON Co. H. W. STRICKLAND, Na C. W. NORDER, C. L. Cook, N W. H. ANDERSON, NORMAN TOWER, | 5 THE KINSLEY STUDIO, HARRIS STUDIO, oul E. C. MARLATT, W. E. DENNIS STUDIO, D. W. HOFF, H. G. BURTNER.
THE ZANER-BLOSER COMPANY,
M Publishers, - COLUMBUS, OHIO Cal?
PREFACE
This work was first published as “Zanerian Alphabets” in 1895. Since that, edition after edition has been pub- lished and sold, indicating a steady demand for a work of this character.
The authors and compilers are instructors in engrossing in the Zanerian College of Penmanship, Columbus, Ohio, and in addition conduct an engrossing studio in which many pieces of engrossing are executed. They are also publishers of THE BUSINESS EDUCATOR, a monthly journal presenting many specimens of engrossing from the best artists in this country. They are, therefore, in a position to improve each edition by presenting the latest and
best in modern engrossing from the leading artists in the profession.
The object of the work is to properly instruct the beginner, assist the amateur, and furnish inspiring and help- ful material which the professional can use in his daily work.
The amount of engrossing done in this country today runs into hundreds of thousands of dollars annually, and
it is rapidly increasing year by year.
skilled engrossers to secure it.
A large amount of additional work could be secured if there were more
All whose talents incline toward engrossing will surely make no mistake in mastering this interesting and
fascinating profession, for there is much profitable work to be done.
A young man with business and engrossing
ability can establish a studio of his own in any large city and make more than he possibly could on a salary. It is no uncommon thing for skilled engrossers to receive upward of $5.00 an hour for their efforts. The purchasers are pleased to get the work at the price for the reason there are so few who can execute work of the high standard
that is in demand.
Persons who make the proper use of this book will find it a money maker.
THE PUBLISHERS.
LESSONS IN ROUNDHAND OR EN GROSSERS' SCRIPT
By E. A. LUPFER, Principal Zanerian College of Penmanship
No other style of script (except- ing business writing for business purposes) is as practical and beau- tiful as roundhand. It has been used with only slight changes for three or four hundred years and the demand for it is increasing. It is appropriate for many occasions. Persons desiring anything written usually select roundhand for its beauty, reading gualities and ap- propriateness.
It will pay you financially to learn to write roundhand and you will find it very interesting work. It will give teachers a higher stand- ing in the eyes of pupils, and a higher appreciation of the pen- man's art. You will become more interested in penmanship generally
Pen poinis In same direchon as-shade
Instructions
The first point which we shall try to learn is to cut the top and bot- tom strokes off straight with one stroke of the pen. No. 1 shows the form which we wish to make. No. 2 shows the starting point at the up-
Columbus, Ohio
and no doubt put more enthusiasm into your penmanship classes.
Any teacher or person interested in penmanship can master round- hand by giving it careful study and practice. We have tried to make the work so simple, plain and in- teresting that any one can learn. The object has been to reveal the method of writing.
Supplies You Will Need
Zanerian 6 lb. paper, Zanerian India Ink or Arnold's Japan Ink. Zanerian Fine Writer and Gil- lotts 303 Pens. Zanerian Expert
or Excelsior Obiligue Penholder ad- justed for roundhand. A brass edged ruler and a sharp hard pen- cil. Without good material you
Gale pen quickly .
per right hand corner. No. 3 shows
how the pen is spread apart on the head line by pressure. The right nib of the pen remains sta- tionary while the left nib glides. over in a straight line to the left side. After the pen is spread apart we then draw the stroke downward toward the center of the body, aim- ing to keep the same thickness as
2
cannot expect the best results.
Position Position for roundhand is similar to that taught for business writing. Sit well back from the desk, lean- ing forward from the hips with both elbows evenly on or off the edge of the desk. Shoulders up. The hand may turn over on the side more than in ordinary writing. By having it over on the side you get a firm foundation for the hand, which is necessary in slow writing such as roundhand. Hold the pen in such a position that it slants in the same direction as the shade which you are making. See below
in illustration No. 5.
in 4 and 5. No. 5 shows the posi- tion of the pen when you reach the
base line. No. 6 shows that the left nib remains stationary and that the right nib slides along the base line until it meets the left nib. This is exactly opposite the opera- tion illustrated in No. 2 and No. 3. You may now develop skill by making a page or more of the
straight line exercise until you are able to make sguare tops and bot- toms without retouching.
The next step is to master the bottom turn. As you near the base line guickly release the pressure, pulling the pen towards the right and raising it while in motion. The success of this stroke depends up- on a slow deliberate motion on the straight line and a quick elastic motion on the turn. Study the copy carefully and learn to correct your own work.
No. 9 is the reverse of No. 8 in form. Use a slow deliberate mo- tion. As soon as you have made the turn you should have the nibs sprung apart the full width of the stroke, which pressure should be continued to the base line. End as
ur Curve evenly. ` arse pen at base line.
MAM
Cel to lop and Bora (urns even
No. 1. This form is used in .many letters. When you work on this under turn exercise you are really working on a number of let- ters. Work on the following points one at a time;
a. Cut tops off sguare at head
line.
b. Hit head and base line each time.
c. Pull shades towards center
body.
d. Get an even pressure on shades.
e. Sie turns even and grace- ul.
No. 2 is smaller and lighter than No. 1. It will require more care and patience. Work on one thing at a time.
a. Slant up strokes same as down
strokes.
b. Get uniform slant and spacing.
WVER end the same-
1 "7 L ight skade
No. 1. The w begins like the u and finishes with a blind loop on the main slant and a hair-line end- ing upward. Study the shape and
,
S ir Wins —
illustrated in No. 6. Avoid wedge shaped, irregular shaded strokes.
No. 10 is a combination of No. 8 and No. 9. See how well you can make it. Turn your paper upside-
down and look at it.
No. 11 was made with a rule. Study it and see where the full width of the shade begins and ends.
Master these simple strokes and the more difficult ones will be easy. Even though your efforts at present may be crude, there is ab- solutely no doubt but that you can acguire considerable skill by fol-
lowing these lessons. . You must do
much intelligently- directed work and become enthusiastic about it. Halfheartedness and thoughtless practice is waste of time.
Cet shades even in thickness and close together. Work for uniform slantand spacing:
— evenly &
5 slightly
c. Raise pen at base line quickly.
No. 3. The top turn is the same in form as No. 1 except reverse. Turn your paper upside down and compare your upper and lower turns. Some things to avoid are:
a. Tapering, wedge-shape shades.
b. Too much connective slant.
c. Sharp ungraceful turns.
No. 4. Large work improves percept, and strength and boldness of line. One thing at a time as fol- lows:
a. Light smooth hair-lines.
b. Uniform shades. Not too
heavy.
c. Get sguare effect at base line.
No. 5. This is a beautiful and skillful stroke. It is a combination of Nos. 1 and 3. Work on it sys- tematically.
a. Study it before practicing.
b. Top and bottom turns are
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position of the finish before prac- ticing. a. Get dot on w as heavy as shades.
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CMD TU TUTE
VV acıng between do wi strokes ıs equal exce
Use a slow deliberate movement with hand resting on the side more than in free light-line writing. The pen should be raised often—every time at base line. Use paper ruled 15 in. Always rule head and base ines.
System is necessary for success in any work. Let us be as Sys- tematic in our practice as possible. Repeat a simple stroke so many times that you can make it in any word with ease. Visualize a form before practicing it. When prac- ticing a form have some particular part in mind you wish to improve and work on one point at a time. Compare your work point by point with the copy.
BC YOUN. San ig
equal. c. Watch the slant.
No. 6 is a repetition of No. 5. a. Study shape of hair-lines.
b. Space evenly.
c. Think of what you are en
Nos. 7 and 8.
a. Make pages of n; then m.
b. Turns are important.
c. Compare your work with copy. d. Finish with a graceful curve. e. Make eight n’s to the line.
No. 9. I£ you have mastered the preceding exercises the letters will be easy. Avoid haphazard practice.
a. Get your work to look regular.
b. Draw slant lines to see where
your letters are off slant.
c. Hit head and base line each
time.
d. Make eleven n’s on line.
All in loop as you ZN Tor rapid work. | Make ee then 5 FR» 2 (or act work.
Hrn. Ak ends
17 TT. A WT Z
‚Run hair lines up along SRAAES, nol (rough
/ 8 a
b. Get spacing eaual, not. too wide.
c. Round out turns gracefully.
No. 2. The v is the same as the
last down stroke of n and the finish of w. Be systematic in practice. a. Notice the width. b. Watch slant of blind loop. c. Finish carefully.
No. 3. The r begins like n and ends same as v and w. Study the dotted lines before practicing.
a. Do not slant last part away
from first part.
b. Get uniform shades.
c. Hit ruled head and base lines.
No. 4. The new part for you in x is the crossing which should be made downward. Notice the dainty shades.
No. 1. From the oval a great many letters are made. It is the foundation for the letters above,
No. 2. You can see a similarity between the oval and under turns by studying the dotted lines.
No. 3. Practice upon this exer- cise after you have a mental pic- ture of No. 1 and No. 2. At first you can make them a half inch high, then make them a quarter of an inch high. Begin the shade with a hair-line and do not put on full pressure until below the center. Pick the pen up with a quick mo- tion at the base line.
a. Make a line of this exercise, watching the location on the shade. Get graceful bottoms.
No. 4. Study this illustration. The o is much like the w. The turn at the bottom and the finish are practically the same.
No.5. You should study this let- ter very carefully before trying to practice it. You should then work systematically.
a. See that sides curve evenly.
b. Get top and bottom even.
c. See that shade is not too high.
Nos. 6-7-8-9. The c and e are practically the same with the ex- ception of the top. Care must be
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, Ion
a. See that crossing is in the cen- ter.
b. Get light shades.
c. Compare x with v and n.
No. 5. You should not leave a letter until you have practiced it in words. Try the ones in the copy and other simple ones. Think of one thing at a time.
a. Slant. d. Turns. b. Spacing. e. Endings. / c. Height. f. Raise pen often.
g. Compare your work with copy. Make sure that your ink, paper, pens, etc., are in good shape. You should get light hair-lines and
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eu, part Of shade 15 below center.
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used to make a distinct dot and not to let it come down too far. The top of the c and the top of the e are made downward. See that you get a dainty light shade at the top of the e.
Nos. 10-11. No. 10 shows you the difference between the first part of a and the o. The upward stroke of the a is made rather straight to fit along the side of the straight second downward stroke. Make a line of a's watching one thing, and then make another line trying to improve some other point.
a. Watch inside space of oval.
b. Get turns even.
c. Get shades even in heft.
Nos. 12-13. The shade on ther is the same as c and e and other cireular letters.
a. Be particular with the dot.
b. Get the top straight.
c. Do not curve downward stroke
too much.
Nos. 14-15-16. The s is made from the right side of an oval. It should make a good inverted c. Study the white space on the in- side of the letter. It should be about as wide at the top as it is at the bottom. After making one line compare it with the copy to
Spee ofais strarghter thay or
black uniform shades. Change pens as soon as one does not work well.
The more carefully you study the copy the more quickly you will learn to write. Study each letter in detail before working upon it. Make page after page of each let- ter. Work to improve one thing at a time.
Remember the movement used in Roundhand is slow and careful, not like the free hand type of writing. Make the hair-line upward strokes as careful as you make the shades. Too much speed destroys accuracy. In the beginning we want accuracy.
yd
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iy traigh he
see if there is a part which you could improve. a. Curve up stroke gracefully. b. Watch shape of shade. c. Make dot carefully.
No. 17. After you have succeed- ed in making good letters one-half inch high try them one-fourth inch high. Make line after line of a single letter. Haphazard practice will not benefit your writing. It is concentrating on one thing at a time that brings the best results in the quickest possible time. The idea which was kept in mind in preparing these lessons was to make the student observe, to form good ideals of letters, and practice systematically.
Mastering Roundhand may mean many dollars to you. Surely it will mean much pleasure. It would not be so interesting if anyone could master it without considerable in- telligent and systematic practice and not meet with discouragement. A few poor looking letters which you are bound to make should not be sufficient to give up in discour- a Have confidence in your- self.
/ CL a
4 ,
. R
Kn S
MAMAU DW A Zac
E a E er) Es "Ai: SE EI DR I x Zi
s pp
VVV
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No. 1. The t is an extended i, not guite two spaces high. Unsys- tematic practice will not win.
a. Study shape and proportion.
b. Get uniform width of shades.
c. Make beginning and edging same length.
Nos. 2-3. The d is a combination of a and t.
a. Make both shades same thick- ness.
b. Get uniform up strokes.
Nos. 4-5. Then and p are simi- lar. Do not make the mistake of shading the long straight stroke heavier than the short compound
curve. Take one point at a time and concentrate upon it.
Nos. 6-7. Before working on these copies be sure that you have the correct forms in mind. One letter mastered is better than six half mastered.
Nos. 8-9-10-11. The i is the foundation of l. See that both sides curve evenly and that the top is as rounding as the bottom. Two methods of making loops are used by engrossers. Some make them in sections as shown in Nos. 9 and 10, while others make them like No. 11. Try both ways.
S SE E E
AML DT UM AYO TMT 1 C
Nos. 19-20. Study the curve in the back. Notice the direction of the finish.
No. 21. After making good in- dividual letters combine them in words. Be sure your ink makes a fine hair-line. The pen point should
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This plate is based upon the capital stem. The object is to show you how the capital stem stroke is the foundation of the majority of the capital letters. This plate has been made with the idea of en- couraging you to study form. See the relation of the capital stem to the various letters and the similari- ty of various letters. The average roundhand student does not do enough careful analyzing of form. Study the work of good roundhand writers and compare your work with theirs.
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Ze 42 H LI HHS ES Mf AA
be sharp. Change pens when the lines become thick.
Nos. 22 to 31. The bottom loops should be the same in size and pro- portion as the upper loops. Study the similarity of letters. Only a few comparisons have been made
PK
No. 1 is a compound curve stroke made from two ovals. Start with a hair-line and gradually add pres- sure until the full width of the shade is secured; then begin to diminish into a hair-line.
No. 2. Practice the compound curve exercise getting a little fine, graceful bulged shade, curving gracefully and evenly at both ends. Keep your upper strokes all on the same slant and parallel.
No. 3. Notice the application and slight modification of the com- pound curved stroke in the various
5
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Nos. 12-13. The b is a combina- tion of land v. The loops are usu- ally made nearly three spaces high. Watch the dot, the width, the heft of shade and the turns.
Nos. 14-15-16. All loops should be the same in form and size. Com- pare the h in form with other let- ters. Be careful and thorough.
Nos. 17-18. Notice the similarity of h and k in No. 16. They should appear the same in width but in actual measurement k is not as wide as h. Let the second part touch the first. The little loop points downward.
to get you to think and study for yourself.
The hair lines in lower loops like in the upper loops can be made up- ward or downward. Go slowly and be sure you know exactly what you are trying to make.
& & „„ Mr 222
letters. For instance, it is the same in the first and the second part of the K with the exception of the slant, and the last one is slightly more curved than the first.
No. 4. So many letters finish with a dot above the base line that it is advisable to give it special at- tention. Study the enlarged copy carefully. You will'see that it is circular and tapers out gradually into a hair-line. The dot is up off the base line but be careful not to twist it too much.
No. 5. Take up the individual letters one at a time. Study the arrows and as nearly as possible get your ideals in mind perfect be- fore trying to make them with pen.
In work where the price paid necessitates speed and not the highest type of skill the first stroke of A, N, M should be made upward. In the most accurate work writers make it downward. Try it both ways.
The first stroke of A should slant considerably. The second stroke begins with a hair-line and gradually widens into a full shade. Study the shape and slant. The finish stroke should be a well bal- anced, full loop, dividing the first
Some of the letters may be made a little differently. For instance, the second part of the H may be made upward in one stroke, but in the beginning it is well for you to take
hair-line stroke in the middle. Study the slant and shape of it. The more you study detail the bet- ter results you will secure.
The N begins much like A. The light lines are parallel, and on same slant as up strokes. The shade begins and ends with a hair- line and has a beautiful bulged shade, Notice the slant of this stroke and the slant of the entire letter. You may shift the elbow slightly to the right in making the shade. Make the dots carefully
it in sections. See how graceful and beautiful you can make these capitals.
and up off the base line.
The M should not have too much curve in shaded strokes. The let- ter should be pointed at the top. Study the space between light lines and shades, the slant of each stroke and shape of shades. The turns at the base should be narrow. It is important to learn to make good capitals.
After mastering the letters work on the words in the copy and simi- lar words.
HHH HA HHH Hana 5 IIIIIIITI Ip
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Geh
ELLIS ff functor frau fo
The beginning stroke of V is similar to the last part of n. Keep it up near the head line. Never get it very low. Be sure to start and end the main stroke with a hair- line. Get a clear-cut gradual swell shade, and curve gracefully. Fin- ish up at head line with a nice curve. Keep above rather than be- low the head line with the finish.
See how graceful you can make the W. Study the parallelism and the width between shades. If you have mastered the V, you can easily make the W.
The first part of H is about the same as in W, but swings around
to the left ending slightly above the base line with a dot. Get the dot circular and properly placed. The second part should be higher than the first. Get a graceful, com- pound curve. The last part re- sembles l.
Get first part of K and H the same. Study the compound curves, slant and size of loop. The I is a very simple letter. Get plenty of curve in the stem which is made first. The oval part is made last and should be shaded lighter than the stem. Before making the J, study it. Unless you get a good compound curve, it will look stiff.
6
Make the J in two sections. The I
and J begin alike. Place a small.
shade on left side of loop.
Give much attention to the words. Study spacing, slant, and regularity of shades.
There is possibly no style of writing which is more beautiful than roundhand, nor is there a style which can be used appro- priately in as many places.
Do not try to write with too much speed. Roundhand is written slowly and carefully. As a rule enough money is paid to justify writing it very carefully.
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The Z may be started like the H and K. However, a beginning loop gives it more width. The loop should extend 1% spaces below the head line and should swing over, making a shade the same as the last part of the small n, which should not be made too large. It should be only about 1 space tall. Draw some slant lines. The body stroke of the Z should come down on a 60° slant. See how gracefully you can curve this stroke, begin- ning and ending with a hair-line. Study the direction of the small loop on the base line, and the oval in the loop below the line. It ex- pee two spaces below the base ine.
The stem of the P is the same as the stem of the I. The new and difficult part is the oval or top
part. Before attempting to make any letters, study the copy care- fully. The stem is made first. No- tice that the loop in the top part comes down about 2/3 of the way, and if continued would make a run- ning scattered oval exercise. No- tice that the shade on the first downward stroke of the oval should be parallel to the second downward stroke which loops over the stem, and be the same proportion. It is a good plan to try the oval part first without any shade to get the form; then try it with a shade.
The B is similar to the P with the exception of the last upright oval, Give special attention to the compound curved stroke, the dot, the final oval and the top. Measure some of yours and the copy. Put them in squares. That will show
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you about the proportion and other things which you may have over- looked.
The beginning loop on the P, B and R at the top should be the same size and shape. The R is the same as the B with the exception of the last part. Do not get it too short nor too long. Point the little loop on the R and B downward.
Do not attempt words before you have practiced the individual let- ters. Make the capital letters with a slow careful motion. This is not free-hand writing, and even if you do get a few shaky lines at first, you will be able in time to produce fairly smooth, graceful lines. Prac- tice the words faithfully, giving special attention to spacing, uni- formity, shades, etc.
we be we I en e. =: DE Cs we
dU LU U UU Bi tw
The T and F are the same with the exception of the crossing. Get a beautiful, compound curve grace- fully bulged in the center. Swing the dot up off the base line a little —not too high. The loop in the capital T begins similar to the loop in other letters in the copy. slight shade at the end of the top stroke gives it strength. Notice the direction of the loop and the compound curve, Let the cap ex- tend well over the stem.
The first part of the X is part of an oval. If completed it would
make a good oval. The finishing stroke starts at the head line and swings down with a graceful curve, touching the first stroke and mak- ing a nice turn on the base line. This turn should not be too round- ing in order that it may harmonize with the turn of small letters fol- lowing it.
The O begins the same as the X but finishes like the L, getting a long; narrow loop. Give special at- tention to the compound curve. Go slowly but carefully. A slight shade on top of the lower loop
7
Z HE, 2
strengthens it.
The loop on the X, Q and U should be the same size and pro- portion. The new part in the U is a compound curve and the finish. Do not drag the shade too far around the turn. The turns at the bottom should be uniform. The second part does not start quite as high as the first.
The Y is a combination of the U and the compound curve. The first part should not come down to the base line. Study the copy critically.
—
The three capital letters in this copy are guite generally considered a little more difficult than most of the preceding letters. Be sure that you have good material such as pens, ink and paper, and that your holder has been adjusted especially for roundhand.
The letter S is made with one stroke without raising the pen. Be- fore attempting to practice on the letter, look at the copy carefully. Analyze it and be sure that you un- derstand definitely the form of the letter. The beginning oval is not
Start the letter O at the head- line; that is, three times as high as the small letter. Swing gracefully down to the base line, getting the thickest part of the shade at half the height of letter. Be sure that you begin with a hair-line, and taper into a hair-line before you hit the base line. Swing gracefully around on the base line and up, usually without raising the pen. Do not go up to the head line. After you come down the second time make a light shade. Put the top part on last, picking up the line skillfully and swinging to the right. Get the top part no more rounding than the bottom, and the shade on the downward stroke of the top part should only be a suggestion of a shade. You will not find this let- ter so difficult if you study it care-
g, ZZ LL er A ZZ Lo Last or y ug ee 7
Be I
GG Won Georgia Gordons
quite horizontal. It slants up at a slight angle. Study the compound curve in the downward stroke. No- tice the dot is up off the base line. There is a lot of grace in this let- ter when properly made. Be sure that you get the beginning oval shaped correctly.
The letter L is the same as the S with the exception of the loop and finish. Notice the delicate little shade at the top of the lower loop. Put it on last. The shade on the beginning oval is also retouched and built up in real careful work.
Y
fully.
The letter C begins like the S. The shade in the C is about the same as in the O. Get the begin- ning oval nice and clear-cut with a snappy graceful shade, and the oval slanting down slightly. Do not get the top loop of the C too wide. The bottom of the C is the same in roundness as the O. The fin- ished oval should come slightly above the minimum letters. The shade on the bottom oval of the C was put on last. Notice the slant of the loop and the ovals.
In beginning the E start the loop slightly below the head line and swing up to the head line, making a parallel effect. Make the top part smaller than the bottom. The little loop in the center should point
7227267420
The beginning oval and loop of the G are about the same as on the S and L. Notice the direction of the beginning oval. Notice also the slant and slight curve of the shade in the loop. A common tendency is to eurve the shade in the loop too much. Get a snappy, graceful compound curve resting on the base line.
Keep on practicing and studying roundhand, for when you become skillful you can readily sell your work.
EE eerst, 2 9 (gaer G Font Chin
E GU ER land Oaslom
CH , ,, Wi PAHAA
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slightly upward. A little shade may be placed at the end of this loop for strength. The shade on the last part of the E is put on last.
The letter D is not so difficult when one understands the shape of it. Start the compound curve slightly under the head line. Swing down to the base line and get a flat horizontal loop. In swinging back along the base line be sure not to get too much of an instep or com- pound curve. The final part of the D makes an oval. The top part of the D is about the same in shape as in the O. A suggestion of a shade on the top part of the hori- zontal loop strengthens the letter. These letters cannot be made very speedily.
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——— The Market Exchange Bank | — Columbus, Ohio — Dr. Samuel B.Hartman — due at T2 L FYD MU fanuath ‘oth 10h ZZ
—— Resolued
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— The Market Exchange Bank Company ——
—— aE
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This masterful page was prepared by Lester L. Fields while a student of Engrossing in the Zanerian College of Penmanship, after working from the preceding lessons as they were presented in the Busi- ness Educator. Mr. Fields began the study of Engrossers' Script less than a year before writing the above specimen. His accomplishment should be an encouragement to all beginners.
Mr. Fields was a very painstaking, critical student, and a persistent worker. He realized that he could reach the highest skill only by thoroughly mastering details.
The most skillful penmen of today had to study and work for hours and months to acguire their skill.
If you desire to succeed you must work intelligently and faithfully. It is worth trying.
10
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IF YOO WOULD HAVE 17 RETURN THE HALL. One of the many fine specimens from C. P. Zaner's pen which appeared in the Business Educator. 13 |
| This remarkable specimen of engrossing script is from the pen of W. A. Baird, who writes quite freely—much faster than the accuracy of the product would indicate. The spacing is wonderfully rhythmical and pleasing.
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The above alphabet was written it engraved.
by C. P. Zaner for a pupil in the Zanerian with no thought of having
19
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In writing large, free, graceful roundhand, C. P. Zaner was regarded as one of the finest. Probably no
one ever excelled him in this style of work.
By W. A. Baird. One of the finest we have ever seen.
E GBUTLER, (OF N. Y. UNIV. CS. PRIN. /37 LEMARCHANT RD.
— PPFLIABLE OFFICE HELP FURNISHED IREE — — —
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ST JOHNS ,
The above letter-head is from the pen of Lupfer. detail, then inked in with a fine pointed pen.
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NEWFOUNDLAND.
The script and scroll were first carefully penciled in The scroll does not conceal enough of any one letter to
make it illegible. The lettering was done free hand. Rule vertical guide lines for lettering in scroll.
21
ITALIC ROUNDHAND
This alphabet is a compromise between Roman and script. It is intensely legible, yet on account of its curves and light and heavy lines, it is quite artistic. It requires no small amount of skill to execute. Use an obligue holder and a fine, flexible pen. Make the forms first much like the second small a and then retouch the ends and add the corners with a fine pen and straight holder. Do this after the ink has dried from the first writing. Two or more styles of most forms are given. Use the ones you prefer. Study relationship of styles. For instance: the second a does not belong with first b nor with the sec- ond f. The first b does not belong with the third style of B, nor with the second or third C... The last Z properly goes with the last R, the last H, and the third G. Unless you learn to observe these things your work will necessarily lack that unity and taste so necessary in excellence.
Some one has very wisely said “Trifles make perfection, but perfection is no trifle.” Little things in lettering are as important, if not more important, than in anything else. Much care must be exercised in retouching this kind of lettering and unless you have more than average skill, you should not expect too much from your first attempts.
Spacing in and between letters must be carefully considered. General effect is desired rather than that the letters be just so far apart. All minimum letters must hit the head and base lines to secure a uniform effect. Try to get the compound curve strokes the same heft as other strokes.
alic RoundNtand.
aabbcddSIGENNUSE AUMMINOppggqTestlu UVIVWWULILIYYZIZILD EI Pain PAM Rapid. , eee
22
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E -e g e . LLMMMNNAN OOPPP?POORR RSS STIVE
YWWWAAL YZ ZL
-— Modern Latics ——
ABCDEFGHIJK ,, . VWXYZ awedddl ul MNOPYTISIUVUXY dr
PRACTICAL MARKING ALPHABET
This is an old favorite style of lettering or “Marking Text” used by penmen who are skilled in the use of a us flexible pen such as the Zanerian Fine Writer or Gillott’s No. 1.
It is rapid, effective, and comparatively easy. Its strokes are very similar in construction, uniform in slant, most are compound curves, and all are shaded near the center.
The paper should be held straight with the desk and the holder pointing above the elbow.
Practice upon the principles at the bottom of the plate first, then upon the small letters, next upon the capitals, and last upon the figures, as they are the most difficult.
Use a steady, sure, combined finger and arm movement, letting the hand rest and slide upon the side.
Practice the compound curve until you can curve it symmetrically and shade it artistically with the heaviest part in center. Increase and diminish the shades gradually. H
Be patient, ambitious, observant, persevering, careful, and critical and you will learn to letter beautifully as well | as practically.
SINGLE-STROKE LETTERING
This alphabet, in variously modified forms, has long been used by architects and mechanical draftsmen. It is a modification of script and Italic and is easier than either, and therefore well suited to many people and many uses. Use fine, faint pencil head and base lines as shown in the copy to secure uniform height of short (minimum) and tall (extended) letters. For practice upon writing paper, divide the space between the blue ns into three equal spaces, and rule pencil lines as suggested by the dotted lines. — Use a coarse, smooth-pointed pen so as to secure uniformly heavy up and down strokes. Watch slant to keep it uni- i form. Endeavor to secure regular spacing between strokes and between letters. Practice the capitals first. As a rule, make the left side and bottom strokes, then the top and right side strokes. Many of the small letters may be made without raising the pen, on the order of script forms. Raise the pen whenever it seems best to do so. Use a slow, sure motion, letting the hand rest on the side. The paper may be held much as in writing. | Repeat one letter over and over until you can show improvement and do it well. Then practice small simple words. And then try to use the lettering in some of your other lesson work for titles, headings, etc.
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24
LESSON IN TEXT LETTERING By E. A. Lupfer
Any good ink will do for practice, but it will not answer for actual engrossing. You need an ink with enough body to produce a deep black or brilliant letter, but not glossy. Arnold’s Japan will do. India ink is better—in fact there is nothing as good. Zanerian brand leads.
Use Broad pointed lettering pens; usually No. I for practice. Keep it moist to the neck, but do not dip much ink at a time. New pens do not act well until the oil is worked off. Press both nibs of the pen on the paper evenly and firmly, but not heavily enough to cause them to spread much. Wiggle or work the pen slightly as you place it on the paper preparatory to starting a stroke, in order to secure uniform flow of ink from the start. Pens, if used well, will last a long time.
Success in making clear, smooth lines depends upon the ability to dip ink sparingly and uniformly. An ink retainer will help you to do more lettering in a day. Keep a wet sponge at hand with which to clean your pen and retainer. It should not fit on the pen too tight and should be away from the top of the pen far enough to enable you to run a fine pen under it to clean out any dry ink which may col- lect under the retainer.
Good, firm, smooth-surfaced, white paper is desirable. Well trained, obedient muscles and keen, critical, perceiving eyes are indispensable. A blotter should be kept beneath the hands. An open ink- well should be kept near, so that ink-dipping is in sight.
Hold the pen as illustrated. Use combined movement. Roll hand to right and rest on little finger and palm on side of hand. Work deliberately until you can work well and rapidly. Use a text-letter- ing straight pen holder, and hold same at an angle of about 60° as shown in illustration to right. It may point outward from the elbow, so that the nibs are both evenly on the paper. Hold the paper about straight with the desk; it may be turned slightly as in writing. Keep the point of the pen at an angle of 45° or less as shown in illustration at the left. Hold pen at same angle for nearly all strokes. The right point of the pen is a little shorter than the left, which necessitates throwing holder from the usual shoulder position. Be sure you understand about position before going ahead.
The movement should be firm and delib- erate and come chiefly from the forearm. The fingers and hand must serve as the = chief mediums of control. Cultivate sure- = ness rather than speed—the latter will de- velop as rapidly as you familiarize yourself with the work, and as you become confident. Remember that the hand will learn with but little difficulty to do whatever the eye perceives and the mind dictates. If you can see letters clearly in all of their details and general proportions, the hand will soon learn to express what has been perceived and invented.
Use head and base lines in the beginning. Engrossers use them for their very best work. You will have much to watch besides the head line. When you can letter good with head lines you are ready to learn to work without them for rough work, such as cheap diplomas, ete. At that stage you will have mastered many of the little things which at first took your attention. You can therefore concentrate UN alignment. Get the work uniform at the head line and be careful not to run through the base ine.
A few vertical guide lines are permissable if you have trouble to maintain uniform slant.
BROAD PEN BLOCK
This Broad-Pen Block is an excellent one to practice to train the eye to precision in concept and the hand to mechanical exactness. _
The spaces should be the same between the strokes in the letters as between the letters.
Great care must be exercised to keep the angle of the point of the pen at forty-five degrees at all times or the vertical and horizontal strokes will not be the same in width. And unless all vertical and horizontal strokes are the same in thickness, the effect will not be pleasing.
The beveled corners in some of the capitals are made by going over them a third time, but it is not necessary to twist or change the angle of the pen in so doing.
The left and lower strokes or sides of the letters are usually made first, and then the top and right sides are made.
It will take considerable practice to train the eye to perceive and the hand to exactness in the execu- tion of straight lines, regularly spaced, uniformly vertical, and well proportioned.
Sharp, sguare-cut beginnings and endings are desirable, therefore exactness in detail is necessary.
Pencil head and base lines for both capitals and small letters may be used, and if much difficulty is experienced in securing uniform slant and spacing, vertical pencil space lines may also be used to school both eye and hand to accuracy.
India ink, Soennecken pens, firm paper are necessary for the best work.
Much care, patience, firmness, sureness, and skill are necessary to execute this alphabet, but its mastery makes all other text alphabets easy.
Little or no retouching with a common pen is necessary.
25
obedefghijkimno JS FLLLLLIH LZ
BEDEFGHIJKLIM
NOPQROTUULWXYZ
ECLECTIC TEXT
This is a complete alphabet, having been made up of the principles of a number of standard forms. Study carefully the proportion and shape of letters, as well as the spaces in and between letters.
Use a broad-pointed pen, and hold it more nearly vertical than in writing. Keep the edge of the point at an angle of forty-five degrees throughout the work. |
Dip ink sparingly, carefully and frequently. Watch spacing. Use a head and base line for the small letters which may be erased after lettering is complete. Make the left side of letters first and then the right side. Study carefully the turns at the top and bottom of letters.
bed SU d
Use a slow, firm, sure, combined movement in executing this kind of lettering. Speed is not so essential as accuracy. The little finger and right side of palm of hand should rest firmly upon the paper.
Uniformity in height, width, spacing and thickness of stroke is essential.
Be patient, observant and careful and you will win.
RAPID OLD ENGLISH
This alphabet is used in filling diplomas, etc., and should not be retouched with a fine pen except where you make a serious mistake. Speed and pleasing appearance are very necessary.
Use a No. 1 Soennecken on %” ruled paper or a No. 1% pen on %” ruled paper. By working on top of the line as in the Eclectic Text you will have a guide line for every stroke.
Study the joinings, corners and parts of letters. See how often certain various strokes are re- peated in the different letters. The first stroke in the first c is repeated in d, e, g, o, d and s. The second stroke of a is repeated in slightly modified form in b, g, h, i, j, m, n, o, p, q, u, vy w and y. The “spurs” in Old English should be neither too small nor too large. Let them extend out about half the width of the pen, or one nib on the small letters. The spurs in the center of the capitals should be rather large and circular with sharp hair-line beginnings. The head and base strokes should slant in the same direction. ‘Lettering should be solid and not scattered. Get no more space between letters than
Rapid Old English abedefghiiklmnopgrstuuwauyz ABCDDEFCHIIKIAT.
AOPORSTUVWAVUZ 5 Profitable. 1234567890] Lettering
RETOUCHED OLD ENGLISH
Make this alphabet the same as the unretouched alphabet only allowing more space for hair-lines which should be put in with a fine pen. Turn the paper so that the right side is next to your body and rule up edges of straight strokes with a Gillotts 303 pen. Smooth out all strokes, correct all inac- curacies and sharpen the corners and spurs with a fine pen. Use Zanerian India Ink. Study the arch effect at top and bottom of letters. Keep the spurs neat and small. It is best to master this standard style before attempting individuality. (See page 28).
PENCILED OLD ENGLISH TEXT
Old English Text is used to such an extent that it will pay you to become skillful in its execution. One of the best ways to get a correct mental picture is to pencil the letters large enough to see the de- tails clearly. We therefore present a carefully penciled alphabet on the following page. (Also see | alphabets on page 32).
Use tough cardboard about 12x18”. Make small letters one inch high and loops and capitals 114” high. Rule two head and two base lines about 4%” apart to help in getting even thickness of beginning and ending strokes, also to give an exact place at which to begin and end each stroke.
Use a drawing board, T square and triangle. Make horizontal lines with T square and vertical lines with triangle by resting triangle on T sguare. Draw each letter carefully with hard lead pencil, erasing and redrawing until you get a smooth, clear-cut, accurate outline. Make down strokes all even in heft, about 5/32 of an inch thick. Get top strokes same thickness as bottom strokes and on the same slant. The angle of the end of the top strokes should be the same as the angle of the bottom strokes, less than 45 degrees. Regularity of spacing in and between letters is important. Rely on the eye rather than mechanical measurement.
This work is excellent for training the eye and hand. The more you study lettering the more beauty you see in it.
27
After you have the letters all penciled as carefully as you can get them, outline them with a Gil- lott's 303 pen, using ruler on straight lines. The inside of the letters may be filled in with brush or broad pen. After you have inked in the alphabet, go over it with a fine pen and build up strokes which are too thin and improve everything you can.
Study carefully the tinting of the heading and letters on the last line. They are presented to sug- gest a few of the many ways of treating or finishing letters. Uniformity of tinting is desired rather than fineness of lines. Unless the tinting and shading are carefully done you will spoil the entire
touched Old Eng 11
| Eria —
abedefghifklmnapgratunuxuz ABMEFGHKIIKIT MNO PORKS TUL WAVZXHKA undgui 25456789075 mmm
—
PFE Fe
ahrdetghifklmmapgrstumwauz
ABCHEFCHIIKEN XOPORSTUVWAVZ
28
The Ohta State Pa GE
AMERICAN ALPHABET
This alphabet is the outgrowth of a demand for something that people not trained in lettering can read without much effort. The forms are plain, clear-cut and graceful. This alphabet is used guite ex- tensively in lettering diplomas, resolutions, etc. It is especially suited to body work. The capitals are sometimes made more ornamental, as the judgment or taste of the engrosser dictates. There are times when a simple letter does not look as well as one more elaborate. Rule head and base lines for short letters one-half inch apart, and for capitals about seven-eighths inch apart, using a No. 1 pen. Keep the spaces in letters the same as between letters. Use the eye to judge spacing. Keep the letters fairly close together so that the lettering looks solid and stands out more than the background. Give special attention to curved strokes. Unless you can make them clear-cut and graceful, your work will look weak. Keep the small letters N, m, and n open at the bottom and small u, v, w and y open at the top for legibility. The top and bottom strokes should be on the same slant. Get sharp, clear be- ginning and ending strokes. Too much ink on your pen will not produce sharp, smooth lines. Dip often and use waterproof ink. Do not merely copy the forms, but commit them to memory so that you will | have a good mental picture of them. | Do not patch this alphabet with a fine pen, but finish it is as you go with the broad pen. You will find it a very speedy and beautiful alphabet. After learning to make the alphabet well with a No. 1 pen, use a smaller pen.
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| Wm UA AAA AA, eK American Alphabet abedefgbisklmnopgrstuvwxgz ABEDEFOHIIKLMNOPQ 12345 RSTUVWXYZ 67890
EA.LUPFER
SAAN YR Ac
29
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GERMAN TEXT
22969965505 Sy IL MVOTUD YF VORRRSD]I UVVYWWAKY YY YZE5 § aabbedefagg hijikinnoppqqqrsstuuy vowwu 1223354455 66T7S99O NY YEE
' DOUBLE-LINE OLD ENGLISH
The alphabet herewith was developed to meet the demand for a rapid, effective, double line Old English. It is about the same in form as the retouched alphabet.
Double line lettering is very pretty and practical. It can be tinted effectively in many ways as suggested by the heading. On work not for engraving we use diluted ink or inky water in place of the line tinting. The ink or wash should be put on with a broad pen or brush. The wash which can be any color gives it a soft, artistic tone.
If you will study the word “Unretouched,” you will be able to see how to proceed. Use a No. 10 double pointed pen for the body or foundation. Retouch and close the ends with a 303 Gillott’s pen. Be careful to get the main down strokes vertical and straight. Spacing proportion, etc., are the same as in the “Retouched Old English.” Your ink can be diluted some for ordinary work.
arbe opges funny?
AB niin EAAN On ORS WAVEA R 12445 Anretau (hud - 61890
The two alphabets below prepared by W. A. Baird are extensively used by engrossers for the body of resolutions. These styles of letters are plain, very readable, and more rapid than Old English Text. You will do well to study these alphabets very critically. In practicing them first use a large pen. Use smaller sizes of pens as soon as you become able to handle them. Much of this work is done with a No. 4 Soennecken Pen. Always rule head and base lines for both small letters and capitals.
Many of the high priced resolutions today are prepared in lettering. You will therefore make no mistake in thoroughly mastering these two alphabets.
Study the alphabets by Mr. Baird on page 33. These are very practical alphabets and should be mastered by every student of engrossing.
abdefaghiikinnopgrstaavvowwwrexvyyz5 c WHOS
QAQRKRRSSSSFUVWXYYYZ | Round Hand + Engrossing Texte Medieval
abeddeftgghijklmnopqrstuvwxpsʒ ABEDEFGBIHKIONDY
OPORSOCCUOGIAANZy abedefghijklmnopgrstuvvwxvz33xz
No student of engrossing or professional penman can afford not to study these alphabets by Mr. Baird as they represent the latest in styles and the highest in skill.
31
Old English is the engrosser's most useful style and we would advise that the correct form of each letter be memorized. While a standard form is observed, no two penmen will make these letters exactly alike. Their lettering, like their writing, is bound to show certain markings of character and taste.
This alphabet will make a good one for study and reference, as it was gotten up with guite careful attention to details of form and finish. Beginners will find it an excellent plan to draw these letters in pencil, with great care and critical study—continuing to change the form here and there until accuracy is finally acguired. Take up each letter in this manner and you will be surprised how thoroughly the form of each letter will in this way become fixed in the mind.
The copy was first written with a No. 1 lettering pen. The edges were afterwards ruled. All the strokes were connected, corners pointed and inaccuracies corrected with a common pen.
Remember that spacing is of the utmost importance and it must receive as much attention as the form of the letters. A great deal of our work is for reproduction by the various engraving processes, hence, coarseness or blackness of line is necessary for printable plates. However, much of our work is on memorial resolutions for framing or in book form, and this class of work is finer, more delicate, and more pleasing. Brush and color effects, and pale India ink script give a mellowness and an artistic guality very much desired.
The line “Old English” shows an effective treatment for the sake of variety. The letters were first carefully drawn in pencil, and then outlined. The tinting was done free hand and the flourished strokes were added with a guick offhand movement. See that the strokes are well balanced and the shading harmoniously arranged.
HEI EEN hliip OPORSTUUD Tab luet duh iklanmpgrshanpsusarın
Fer ö
ACT EFGL IKLMX
—
OPOR: NSN NZN
ubrdefg üklmnopgrstupwspz WXYZ
A Produce of Clinton Skillman.
32
nn. oF: —— | |
abcdefehijklmnopgrstuvwxyz ABCDEFGHIJKLMMN OPP ORSTUVWWWAYZ ATIUZ
. Broad Pen Roman e a~
This practical alphabet was made by W. A. Baird.
ABCDERGH ISBLODODO RSOUUWXVZ
A carefully prepared, usable alphabet by W. A. Baird should be carefully studied and imitated.
a N N
ND SÉ Q EE ei A, (Ne â
—
By E. L. Brown
DIPLOMA FILLING STYLES
Herewith are given a number of styles suitable for filling in diplomas. The style should be suited to the diploma and to the amount the purchaser desires to pay. If the price is rather low (about twenty-five cents), the plain lettering with little or no flourishing, can be given. To do good, careful, artistic, well-spaced work reguires time, skill and patience, and deserves liberal reward. The American and Old English styles look well without flourishing. Rarely ever use Soc OF BLOTTER flourishes (unless called for) for most diplomas do not have sufficient room for proper embellishment. The common fault is too many lines and too much filigree. Light line shading as in the last line is good. Diluted ink with a broad pen is frequently used.
If one will do enough lettering and study spacing, he can in time become fairly accurate in judging how much space a name or word will occupy.
Beginners will find it a good plan to rule a light, sharp pencil head line, then indicate lightly with pencil, between the head and base lines, where the letters are to be placd. In time the head lines should be omittd in the cheaper work.
Another plan is to put the pencil marks suggesting the spacing on the blotter and not on the di- ploma. The name on the blotter can be centered and placed up to the line upon which you intend to work. In this way you can see how much space will be reguired and avoid getting pencil marks on the paper. This saves erasing and insures good spacing. The pencil marks do not have to be put in care- fully, except for space values. As soon as you can, do away with all head lines, except on parchment.
It will be well to rub a pencil eraser, powdered pumice stone, or stale bread over the space to be lettered to remove the oil on parchment which prevents the ink from flowing freely.
The style and size of lettering and roundhand used in filling the name and date should be in har- mony with the rest of the diploma. When the name is short, make your lettering wide and low, as in the second line; and where the name is real long, make the lettering high and compact.
Speed should be developed after you have thoroughly memorized the styles of letters, but not before. E i are able to fill from 100 to 300 or more diplomas a day according to the amount and guality of work.
PENCIL AHEAD LINE
BASE LINA
Benjamin K. Frankenberg B. R. Frankenberg Benjamin K.Irankenberg Geen Seen Benjamin R. Frankenberg
34
MEDIEVAL AND CHURCH TEXTS
The forms herewith given are of the old style. They are made to conform to the possibilities of the broad pen. They are not given as faithful representations of sixteenth century forms, but as ŴR century forms, retaining the characteristics of the former. We have enedavored to eliminate the poo aualities and to retain the good ones. We do not believe in the slavery of opinions of the past.
The ability to letter legibly, rapidly, and artistically is worth considerable. Ta h worth a living, to some it means a fortune. It is worth your while to acquire the art, as there is work of thi nature to 9 1 in all localities. Filling the name in diplomas or making them, engrossing Se ree testi- monials and memorials and marking artistic show cards has grown to such an extent that many find it profitable to do nothing else.
Modernized Broad Pen Wedieval. D dabedetabijklwnopqrstuuvwxy3, 3 ABBCDEFGHIIALINDMOPQKSA SCCUDWONDYS.- Church degt Ap abcdefghijklmnopqrstunwxys ABC? DEFGAUKE KEMOPORSTUDNDSS
—
| H Be: ‘ | e | $ | — 9 | ~ U | a | o | 0 | $ | o | a | e | e
Wwowao Vonne Con Lidkkees. Ode o yw oy pas Ywo”ox^AyA2o*56tL9900 OB OW VEGI DAUM DOR Ce. SANDY,
Use a No. 10 Soennecken Double-pointed Pen for This Alphabet.
38
PT
Plain, Slanting Letters. aboöefghjklmnopgtsfuvintyz QBCOLTGHIJHUMNOPQER ST UVIWIYZ& 1234567890. 1904. rounding sienderand ne.
ENGROSSING TEXTS
1 8 forms herewith are general favorites w AL engrossers. y nt and c its char Thes 5 1 8 ee A ing a narrow p and by u 18 Po ar 1 ie en ery dai and en ing.
While thes ee bets are YF even tal, and Ge ing to the eye, they are not diffic 85 to read, and ~ ti dee the ey a un ns The ey are pretty, rapid and easy > ead; thre
valuable qua E s to
In the Ee BEE the ERS ust be sem cure faint, fine up-strokes
0 rms closely and e 121 ore SE? Be u kno SC ae a to produce. Be certain you Laos the shape 01 the letters we SE om pec vale a nd of t ssary to . give a distinctive character to each alphabet
~Ddugrossas Sexts—
abdetghialmrnoparstuowxyy5i23 256159, ABCD Ou A IAN LANE MOVQRSTUVWANS ea.“ deo HDM. EC HEEC AW DW ZO WO) WYDZ. Diplomas, Co EN.
FRENCH ROUND WRITING By C. W. Norder.
These letters partake largely of the ordinary freehand shaded seript. While it looks guite speedy, it is, in reality, but little swifter in execution than the usual style of lettering. The small letters have comparatively short turns, while the capitals are guite the reverse. One thing, the alphabet is very legible, and on account of its light-line connective gualities, it is guite pleasing.
The ruling should be about three-eighths inch in height for a No. 1 pen, and the loops should be double the height of the short letters. The up strokes should be on a uniform slant.
The spacing in this style is usually wide, but it can be regulated by the adjustment of the angle of the pen. If wide spacing is desired, hold the point of the pen at an angle of 45°; if narrow spacing is wanted, hold it at an angle of 60°.
The loops must not be made with one stroke, as might be inferred from the copy. Instead, make all shaded strokes downward and all light lines upward. Raise the pen as often as it seems necessary, oftener than you would think from looking at the forms given. The tendency is to make the forms too high and the capitals not rounding and full enough.
The usual styles of ornament can be used in connection with these letters. If you have some natural ability and a little originality you will soon learn to modify these forms to suit the circumstances for which you are intending them. They will admit of many modifications, both in construction and finish. In fact, there is no limit to invention and to improvement in these lines. But it is not all to be original. Original work should be good just as well as if it were old. Because it is original does not signify that it is egual or superior to the old.
9111111100000 mms &
ARBEODEFSHIIHKELINEO SNS IH NYS &. 7 W a backward slant
Practical Kettering Many teachers secure lettering fo do outside of school hours and thus
increase their income many hundreds of Dollars. Our course is very
practical, interesting and easy. It can be mastered by any one. Prepare. By E. A. Lupfer. |
A
37
UP-TO-DATE ITALIC BROAD-PEN ROMAN
Unmistakably plain in reading gualities and simple, easy and rapid in execution are the character- istics of the alphabet herewith given. It has no special history with which to court favor, nor does it aspire to an enviable place in the fine arts as a “thing of beauty and a joy forever.” Instead, it comes as a thing of service in the busy world of commerce. Its mission is to serve those who are unskilled in exe- cution as well as in reading text alphabets. It may be used to no small extent in plain engrossing, in diplomas and in certificates, policies, records, etc. Its chief function is for label marking, package ad- dressing, and window announcements. As such it will prove fitting and practical.
The slant may be more or less, as individuals may prefer. The size may be varied by the employ- ment of large or small pens. The 'proportion may be varied A making the letters tall and slender (nar- row), or by making them low and extended (wide and round).
The paper may be held much as in writing, as may also the pen; the latter may, however, be held more nearly vertical. The pen or paper need not be changed in making any letter except in such strokes as Z, L, etc.
aabedefghijhlmno
UVSTUVWAYZACSF 26 /390./IB CDEFG JUIALMfOPQRS ZAC TI ZE ANA £ancríian 2 o-dale.
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ABCD SFG 905 SKEMN
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Oo TMUVWHKY ZE abedefghiikl Rfirnopgrstav eg
r Practical Alphabet by Clinton Skillman 38
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N A N BR ki er
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IR (Hrn. MA GE AE i WNZ AZ 4 Eo WNO A N Me “iN. / W pa Sg * 2
Who noble ends bya noble means obtains-
Or failing, Smiles in exile or in ckams, Sike goo: good? Marelius lot kim reign,or bleed
Dike Soorales, tkaf max is gr eat Indeed.
39
ZA K . a Ge * í í
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Krlinqfton Wills orporation oF Mow York Or by ké X e - iplomas and Engressing ~ Reasona bloDrices.
The outfit for the above work may consist of a few medium fine writing pens and broad pointed pens nee 2% and 5, a bottle of waterproof ink, a medium soft pencil and paper or cardboard with a good surface.
In pen drawing the values are obtained by thick and thin lines and stipple, similar to exercises given. Exercise number one shows the straight line which should be uniform in spacing and thickness. No. 2 shaded vertical lines. No. 4 should be made with the arm movement, exactly like writing. Cross- hatched lines are shown in No. 5 and stippling in No. 11. Graduation of tone is obtained by thickening the lines and increasing size of dots.
Practice on the exercises in the order given, using a finger movement on all excepting No. 4. The little sketch shows the application of lines and stipple to produce color values. “Technic” is a term referring to manner of using brush or pen in producing tone value.
A pen drawing is first drawn in pencil in order to obtain correct shape, good proportion and balance. Color value may also be suggested. Note deep shadow under the boulder, indicated by shaded parallel lines an of solid black, also the high light on top of boulder. The distant trees must be simply suggested.
This is a very useful letter for engrossers, being most suitable for body of resolutions and diploma filling. Use a No. 212 pen and practice on the exercises until some skill is acquired, then follow with the alphabet. Study the form and proportions of each letter with critical care. Rule lines to govern height of letters as follows: One-half of an inch apart for capitals, and one-quarter for small letters. The correct form must be thoroughly impressed upon the mind, therefore critical study and careful practice must go along hand in hand. o
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RAPID PRACTICAL LETTERS
Herewith is some practical lettering for show cards, price cards, etc. Study character of letters critically. First rule lines to govern height, then pencil each letter for spacing only. Use a No. 8 lettering pen and India ink. Never use common inks for lettering. Connect the strokes and correct inac- curacies with a fine pointed pen. The lower case letters follow the word “Success” and were written with a No. 5 pen.
The initial “R” and spray of roses and leaves shows a strong and rather effective line treatment of values. It will be observed that the color values are treated in short, parallel lines varied in thickness for the light and dark tones. No cross-hatched lines in this specimen. The roses are in a lighter tone than the leaves, obtained by very fine lines thickened where the edges of the leaves are turned. Make leaves directly under the roses very dark in tone for contrast and relief. This spray of roses may be effectively treated in wash, and would make a very nice design for word “Resolved” on engrossed resolution.
Remember that the greatest success comes to those who remain students
through life; those who are willing to brush aside pecuniary gain to make way for artistic excellence.
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1 such knowledge dors not produre great wealth, but great wealtic dors not add one jot forantenf— ment. Respectable orrupation is the best most
Z wholesome and satishying thing aman can have
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Pen technic is far more difficult than brush or pencil, but it can be mastered by critical study and practice. The blossoms and leaves in design for this lesson are an excellent study in color values, and the spray with slight changes can be adapted for many purposes. The same design can also be finished very effectively in brush and color. eer
The original drawing measures 11x15 inches. soms omitting detail entirely. This is the way to obtain balance and good action.
should follow with color values suggested.
Always use India ink for all kinds of pen drawing. V the ink with water for the most delicate tones, but we do no lines will not reproduce satisfactorily.
Nearly all the lining was done with a Gillott No. 170 pen. The darkest tones, however, were ob- tained with a No. 5 lettering pen. Note the lines used for the different tones and aim for close imita- tion. Shaded lines and spots of solid black should be used wherever darkest shadows occur. When you add the darkest tones your design will take on strength and character.
LETTERING— This is a very practical broad pen letter for general marking—a style of letter that is easy to master and one that is easy to read.
Rule lines to regulate height only. Use a No. No retouching necessary. The heading, “Decorative Drawmg und Lettering”
letter finished with a fine pen.
First make a very rapid sketch of the spray of blos- A detail drawing
ery pleasing effects are obtained by thinning t recommend this method, as weak, brownish
5 broad pen, and aim for regular size and spacing. shows-the same style of
45
203 Broadway ; New York, Nov. Il, loll. Messrs. Zaner & U3 foser, | Cokımbus, Ohio. Gentlemen :— Just a line to let you know that J have received no Business Educator | for November. Very truly yours, | Io Ames & Rollinson Willis AL Baird
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A fine example of present-day lettering by W. A. Baird.
E st S y | CH vu nt Virtue are un hunaur ta their Country,
Ey, a glory ta Humanity, happy in themselves,
ALZ. amt benefactors to the whole warld.
This quotation was lettered by A. M. Grove.
48
EGYPTIAN
Rule head and base lines and sketch the letters in free hand with hard-pointed pencil. Space and slant lines, and horizontal sub-head and base lines may be used, but it is better to deny one's self those aids at first, if not for all time. Nothing is so good as a well trained eye, and the rule robs one of this training. ‘Use India ink, good pens, drawing board and T square. The latter to rule head and base lines guickly and parallel.
The Egyptian, Gothic, or Block letters serve as a type or foundation for about one-third of the let- tering we see. The characteristics are simplicity, strength, plainness and boldness. The strokes or parts of letters are egually heavy and it is this guality of eguality of width of stroke that makes these letters substantial, firm and uniform.
The letters in alphabetic order are about the standard proportion in height, width and breadth of stroke. The word Egyptian presents a condensed or contracted modification, while the word Block illus- trates an extended or widened modification of the same letter. These letters are modified not only by making them taller or narrower and wider or lower, but also by making the strokes more slender or wider. |
The B, C, D, etc., may be made with bevel or round corners and the finish may be made to suit the purpose of the individual. A good illustration as to adaptability is shown in the Snow-capped, or Frigid alphabet following, which is, as regards history or character, as much Egyptian as the first al- phabet herewith given. It could be made to represent heat as well as cold, hard or soft, rough or smooth, light or heavy substances as well as snow and ice. To do this reguires ability along the line of drawing and representing natural forms. The first alphabet suggests many ways of ornamenting or finishing the letters, there are no limits to variation.
After considering the proportionate height and width of letters, spacing between letters comes next in importance. The base of A and B need to be closer together than B and C. I and the lower part of J need to come nearer than J and K. Study these things. Suit letters to their purposes and fit them to the spaces they are intended to fill. See 59.
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49
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ROMAN
This alphabet embodies to a greater degree than any other the gualities of perfect legibility, delicacy, strength, and beauty. It is all of these because of its contrasting light and heavy, straight and curved lines. It is because of these qualities that it is universally used in printing. It is difficult and slow in execution or it would be used instead of script in writing.
“It’s as old as the hills,” yet as new and fresh and attractive as ever. There are many modifications of it—as many as there are artists who make it—but it is always easily recognized as the “Old Reliable”—the “Noblest Roman of them all.”
Study the proportion and shape of letters as well as the spacing between them. There are no rules that you can employ in spacing except that the letters appear neither too close nor too wide. A well trained eye is the best guide. Some portions of letters nearly touch, as in A B, while B C do not come so near together at any one place, yet the relative space between the two is about the same.
Sketch the letters with pencil, using head and base pencil lines, then outline them with pen, and fill in with pen or brush. Learn to do it well without rule or straight-edge. Sometimes it is best and guickest to use rule, but you must be able to do it both ways.
This alphabet may be made tall and narrow or low and wide. The secret of successful lettering is to suit the size and proportion of the letters to the space they are intended to occupy.
You may ornament the letters to suit yourself. The letters are the most difficult part. They are difficult to perceive as well as to execute.
Make sure that you shade the right strokes in A, M, N, U, V, W, X, and Y. The lower case (small) letters are more difficult and tedious than the upper case (capitals) and are not shaded guite as heavy.
ABCDEFGHIJRL! MNOPORSIUV W, XYZ&abcdefghijkl! ImnopgrstUuVWXVZ.12 31567890.Roman Al
phabet. SENDER vv CET
The forms herewith come midway between the Roman and Egyptian alphabets; hence the name mediäl. These let- ters are not so solid as the Egyptian letters, nor as delicate as the Roman characters, but they are not devoid of merit. They are better suited to general designing than either of the others because they combine the elments of strength and beauty and admit of greater modification.
Use head and base pencil lines and sketch the letters freely off-hand. Depend more and more upon the eye for seeing and the hand for doing, and upon the rule less. The eye and hand can learn to draw and space letters unaided by the rule far better than by it. Mechanics need rules, artists seldom need them.
Observation will disclose that the light lines are about one-third as wide as the heavy ones; that the inside of the curve is less curving than the outside; and that the letters are taller than wide. The short small letters are about two- thirds as tall as the tallest, which are the same in height as the capitals, but not quite as heavy. The small letters and figures will reguire close scrutiny and care in their construction.
Spacing between letters must be considered with great care. General effect is what is desired rather than, that the letters shall be just so far apart. Note in the word Standard how the top of the T extends over the S and A, and how much wider the space is between the letters N and D than between D and A.
The words Standard Medial illustrate one of the innumerable methods of finishing these letters.
50
€
NOPORSTUVWXY ZA STANDARD MEDIAL abcdefghykimnopaqr stuvwxyZ 1234567890!
i Ar Wersen.
MEDIEVAL
These medieval forms are modern interpretations of those used about the tenth century. They are in many re- spects, Roman in character, though in many ways they differ widely from that letter. These forms are graceful to an unusual degree and serve splendidly where beauty and old-time conditions are desired.
There is no one way of ornamenting these forms. The letters instead of the background could be tinted, or they could be made black faced and shaded, or merely outlined. Note the breadth and rotundity, and how well the letters balance. Symmetry is one of the chief characteristics.
In putting in a tint, such as in the accompanying alphabet, think more of uniform spacing than of straight- ness of stroke, or preciseness of joinings. It is the gray tone that is desired rather than precise lines. If you think of straightness and joinings you are apt to neglect spacing. Generality in tone is the thing desired. For such tinting, use a firm pen (303 Gillott or Crow Quill) and use an obligue holder, drawing the lines toward you.
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PATRIOTIC ALPHABET
Variety is not only the spice of life, but of lettering as well. Appropriateness is very essential in this as in all things. When dealing wıth something purely American, especially relating to Uncle Sam’s affairs, the alpha- bet herewith given, with its numerous modifications, fills a niche heretofore unoccupied.
The shield, which is the emblem of protection for human liberty, as employed by the United States, is used as a foundation for these letters. In dealing, therefore, with subjects of a patriotie nature, this alphabet is appro- priate and refreshing.
It is an alphabet that can be used to advantage only in the way of headings and initials, and for the latter, it
is excellent. 3
To make them, outline the letter carefully and completely, suggesting the stars and stripes, with pencil. Then proceed to inking with undiluted ink. Use common straight holders and pens of good quality—fine or coarse as desired.
The forms of the letters may be varied as well as the treatment, so that there is no end to variety in this alpha- bet as in all others.
While it is attractive and effective as herewith given, it is doubly effective when produced in red, white and
blue, with brush or pen.
52
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l A d Ip i Je 55 o
]
d R
aly 1 yf em nr T ee Ga ei Got A i
EN ER Geh = EF En; “= Ei ta“ EA : th E ` 3 = of? meet. of ` BAR TE i» sz ©
em SE i Bor, gen SC ZE 5 Ze EN i d ee m Y e. Vo ral i N yN i "y NW | r. re Ki: IL i 0 de 1 | i's nn N 441 m TN o WM di
54
BLOCK
Here you have the mechanical, the substantial, the elaborate in lettering. If you want to represent the solid, the permanent, the plain, or the elaborate, use this alphabet. See how regular, how uniform its parts are. How easily it could be constructed of little sguares or cubes fastened together. How appropriate, therefore, the name.
The ruling can be done as suggested by dotted lines. It is very easy to sketch the forms by the aid of these sguares. Spacing can be regulated more mechanically in this alphabet than in any form. Of course this ruling is not best for learning—for training the eye, but it is the guickest way to get perfect forms; perfect in length, width, and spacing.
See how elaborate that U appears. How much larger it seems than the others, yet it was no larger before the ornament was added. The & was first outlined; then irregular pebble outlines were drawn within and blacked be- tween them; then they were tinted and shaded to produce the proper relief. This style could be outlined and shaded as in S.
The word Block was outlined as in the first line. Then shadowed with a black line to represent a beveled or raised edge. Then tinted, and shadowed with a coarse pen. The word Ornament was first outlined with pencil; then the black shade was drawn; next the dark, narrow shade; and then the wide shade. The stripes were added last. The pencil lines were then erased.
As will be seen, the outline is suggested by the end stripes. By counting you will find twelve different styles of letters on this page, and these styles represent but a few of what are possible. Can you not invent others equally as good or better? Try as hard as the author did on the ones herewith and perhaps you can beat them.
je) HERE Slate
Ih
| N \ mi ` 00 u
EEE SC
D TH — * 7 : J 2 dÉ 2 ee í Lo iy. 2
AESTHETIC
How opposite this alphabet is from the preceding one! Here we have the opposite of the mechanical, the free and unrestrained. At first glance there appears to be nothing but disorder, chance and craziness, but in reality there is order, system, study, harmony, and uniformity expressed. As the name suggests, it appeals to one’s higher nature, a nature not measured by rule nor tested by mathematics. It requires a well trained eye to regulate the spacing and curve the lines in such manner as to add to its neighbors. It requires but little ability to copy these forms, but it does take study to arrange them into words where the relationship of letters is changed. The same forms will not do then. As will be seen, the 4 in the word at the bottom of the plate is vastly different (especially the E) from the ones in the alphabet. So, also, are the small letters different. It is this peculiar relationship of letters under different conditions that makes this alphabet particularly difficult. And unless you are somewhat original it will be well not to attempt this style of lettering. If you are persevering, painstaking and studious, there is much to learn right here. No other style of lettering calls into play the use of the eye and the reasoning and originating faculties as much as this. Not only must the letters be properly spaced and the lines properly curved and harmonized, but the shades must be placed where they will produce the most pleasing effect. Under almost any other circumstances the K, L and M, would have to be modified considerably; also the R and S. The same would be true of O, P and Q, and U, V, W and X.
Do you wonder now where the order, the originality, and the study comes in?
al
My | gl 1 0 ` Im, N N Gm il i
|
OU
IN
| | | me | I ah fill ill N
Ru
MN |
UR
|
Or (or)
SINGLE-LINE CENTER, OR SICKLES ALPHABET
This alphabet is used very extensively wherever comvactness and display are desired. It is quite plain though not as plain as the Roman, Egyptian and Medial letters. It occupies the maximum space possible, covering as it does, almost the entire surface of the paper where the letters occur.
The spacing is about as mechanical as spacing can be, the strokes in all the letters being the same in width and nearly all are perpendicular.
It is easily and guickly made because of the fewness and sameness of the strokes, and because it is generally used in outline form with a
broad, simple shadow beneath. It is capable of infinite variation and admits of no small amount of ornament and decoration. It usually presents a massivê, compact, simple appearance, and shows to best advantage when placed upon a graceful compound curve.
It is used extensively by engrossers because it enables them with pen and brush combined to secure the maxi- mus effect with the minimum labor and time. Study the fine example on the following page.
hel fal wyn RH TIR HI] NEM
5
j
| HT i M || | a “al |
HEAVY BODY
We have here, the novel, grotesque and extreme. When we first saw such letters as this on posters, we thought them quite crazy. But time, has eradicated the first impressions. They now look amusing rather than grotesgue, restful rather than shocking.
Usually there is less regularity than we have deemed best to produce, but as models, we thought it better to have some system. The first alphabet has but one heavy stroke in each letter, whereas in the second there are
usually two. There is no limit to variety in this class of letters. Each succeeding year the show bills contain new letters, a number of which owe their existence to these forms. You may not recognize the inheritance, but it is usually there.
Where the letters are blacked in solid they need a shadow, as in the last line, to break their force and strength. The H and I in the next to the last line are good examples of finish, neither flat nor violent in construction and contrast. The Z's in the first alphabet offer good hints for ornament and development.
For commercial advertising and novelties, these letters can be utilized. They are not serious in their tone, nor artistic, therefore, are not suited to memorial engrossing nor elegant illustrating. On the principle that it takes all kinds of people to make a world, so does it take all sorts of character to complete an outfit of letters.
hay Wx yz laps LD ABCDERGHIGKEE Ram WT
l rh wn (ul ; A N a u Ze seg d
OPQRSTUVW XYVED
ORNATE MEDIAL
This alphabet offers a lesson in drawing as well as in lettering. To be able to grade the tinting from black to white without making abrupt changes requires clear perception and skillful execution. It is the diagonal divid- ing line that requires careful handling. As will be seen, the lines are not very smooth nor straight. The reason is this: If we had thought of smoothness and straightness of line it is likely that we would have failed in uniform and gradual graduation from black to white and white to black. On the other hand, if graduation was the chief reguisite (and it was), to secure it we found it necessary to use the voluntary force of mind to secure such result, and to allow reflex action to attend to the execution of detail strokes. And not having mind especially upon guality of line, they were accordingly somewhat rough.
But it is that slight roughness which reveals guickness and ease in execution and clearness in perception. The longer you work at this line of art, the more fully you will realize that effect is worth more than fineness, proportion more than detail and symmetry more than smoothness.
Sketch these letters plainly at first, then add the ornaments. Do not outline the forms in ink; simply use the pencil outline to guide you in the tinting. This alphabet can be outlined, shaded, and shadowed on the same plan that nearly all others have been. This peculiar tinting is given to illustrate how nearly all the forms could be executed, and all the other styles of finish and construction are given to show this Ornate Medial could be worked.
Thus you see that no one finish belongs to any one alphabet, nor no one style of letter to any one style of orna- ment.
D
N TWN i E i HB SE i! d UM) 1 Il wk in d allt, AN
A 17;
Im AN PN WEE d
aT
fius A
TO ig d WI Ai
CS
S EZ AR FNN 3 5 A TEN RAR E dis), À BS = = = — 110 010 pr | | I SÉ dl SE jn EN) 0 “ 9 == ame == > SE S = == = — = = We as = Ŷ AGHIR 3 E BAU
Newyn.” 7 = = Ss UE ² w.. ̃˙ ö!!!
| À WN ; . — S N SI
All * Wäi Ke |]: = . = > SAN R 3 N
4 17 MR NS 5 J- SS = ` — ; En H 7
P u
Tritt in
H
| Ss HNN: IHR i ti Wu HUH WoW MH
Q = I 25 f N — = = = = — ——ı ROCKLAND, Y
Wn
| LL | | U
Gi
H
| FAA N
bess
La
b HN y ad 2 Ss a Mere 1 aid, A du 1000 d i 10 IV a | ES ` WI" WP Me™ AL lll“ rey /
= = = = = = = = = = = = =
SHADING
The first line represents what is generally termed shading. It represents the side and bottom of a letter as well as the face. It is simple if you once get the principle clearly in mind. Draw pencil guide lines from the corners of the let- ters at an angle of 45°. Then outline with pencil the shape of the shade, keeping the general contour of the shade the same as the outline of the letter next the shade. The space between the letter and the shade should be wide where the shade is wide and narrow where the shade is narrow. Vertical and horizontal lines cast the same width shade, while those running in the direction of the left side of an A cast the widest, and those running in the opposite direction the narrowest shade.
Line two illustrates the principles of what we term a flat shadow. A little study reveals that this shadow is an exact counterpart of the letter and a little removed to the right and below the letter.
Line three illustrates a shadow in perspective and is the most difficult. Some dotted diagrams are given to show the mechanical construction of shadows, but as a rule they are sketched freehand, and can thus usually be made accurate enough for artistic and practical purposes.
The last line reveals how “easy” it is to make letters by merely suggesting their shadow edges. To get the sugges- tion correct, sketch in pencil the whole letter, and outline in ink only the right and lower sides.
Study, measure, test, draw, and experiment and you will soon see the secret of shading, shadowing or blocking let- ters. Then you will wonder why others, also, cannot see it plainly.
For ordinary guick engrossing, shading is usually done with diluted ink or water color with a broad pen or brush. To do this, turn the left side of the paper towards the body and start shading on the right side of the paper, on the last letter, working towards the left side. The pen should be held in same position as in broad-pen lettering. You must understand the principles of shading before you can shade in this free hand manner. (See pages 123 and 126 for good examples of diluted ink shading.)
AT
S \ NES FIRST,— THEN OUTLINE THE SHADE OR
— x
THEN TINT OR BLACK THE SAME. DOTS REPRESENT PENCIL LINES. THE OBLIQUE LINES
———
[om mene nnn eee wee D
N
Z A
—
Schoal fur Secretaries Stnrkfon, California
The above heading by E. A. Lupfer is a good example of shaded Old English. Study it carefully. Draw 45° lines to the right and bottom of letters, then outline the shape of the shade with pencil accurately before putting in ink lines.
61
| | | 1 |
WASH DRAWING BY E. L. BROWN
Provide yourself with brushes, trays for mixing color, 2 or 3-ply cardboard, waterproof ink, coarse and fine pens, ordinary or parallel rul- er, and you will be ready to make a beginning. The cardboard should havc a dull finish to take the color well. Whatman's papers are excellent When it comes to brushes we say that a poor brush is mighty mean. Thc variety and grades of brushes is large, and prices range from 35c up Winsor & Newton's brown water color sable brushes are guite satisfac tory, No. 3 size costs 5bc each. For practice purposes use Payne's gray and lamp black. There is a knack in handling color that can only be acguired by practice. It is our endeavor to start the beginner with the simplest designs and lead him step by step to the most elaborate en- grossing.
One of the faults of the beginner is to use too little color in the brush, and his work has muddy, spotted appearance. He is “afraid of the color,” as artists say, and his painting lacks breadth and transparency. After mixing the color with the brush well filled with color proceed to wash the surface of the sguare, beginning at the top and working downward as shown by Fig. 1. Tilt the drawing just a little and the color will have a tendency to run downward. Keep a puddle of color on the edge and carry same along over the space. The result should be like that shown in Fig. 2. In Fig. 3, the clouded effect is obtained by placing some color in the sguare and blending same off with another brush filled with pure water. Fig. 4 shows three separate washes. Begin with tone marked one and wash over entire space, and when this wash is perfectly dry wash in No. 2 and 3 in the same manner. Fig. 5 is made up of simple washes. Study it carefully, and keep your washes clean and transpartne. Use a free brush, so called, in other words a brush well filled with color.
Persistent efforts after repeated failures will win success. Remember the word, go on—what others have done you can do.
DES
Make your copy of this lesson at least twice as large as the cut, and be sure to pencil the form and proportions with care. The battle is more than half won when a good drawing is obtained. Next mix your color, two guantities, one with a little more body than the other, and with some of the pale color in a clean pen, outline the leaves and roses. When this is done erase all pencil lines and proceed with the washes. Keep your tones clean and transparent, especially in the shadows. Leave the white paper for the highest lights as far as possible. Chinese white is also used for high lights. Figure 1 shows the effect after the first washes, and Figure 2 the complete design. For similar designs turn to pages 78, 80, 94, 95 and 100.
62
— —
The drawing and development of the vase is presented for your attention. The most important thing in the development of a design after the drawing in outline is obtained, is the halftones. These should be clean and trans-
parent and of the proper depth of color, in other words not too dark.
Figure No. 1 shows the effect of the first wash, and Figures 2 and 3 the final washes. Use strong color in the darkest values and blend off to the lighter tones with a brush slightly moistened with clean water. Don't be afraid of your color, fill brush well with color and work guickly toward the lighter parts of the design, then let the
washed surface dry completely before applying other washes.
FIC. a PT. 2.
This copy shows a good arrangement of color values. First make a pencil outline of the lettering, then trace in waterproof ink. Make your copy at least twice as large as the cut. After the ink is added erase all pencil lines with a soft rubber. Outline the shading with a hard pencil. The white bevel on the left and top of letters should be uniform in width. Beginners should use guide lines whenever the tones must be uniform in width, as such lines lessen the problems to content with in obtaining clean, uniform and transparent values. In adding the background put color on where darkest values occur and blend off to the white paper.
Always see that your brush is well filled with color, and work guickly to attain the best results. Turn to page
114 for further instruction.
eor elaborate in Las taste, rir or
aston demand -—-
65
RESOLUTIONS
The engrossing of resolutions, memorials and testimonials, has become such a voluminous business that special attention should be given to it by all penmen who wish to make the most financially from their pen. A resolution intended for an office, lodge room, or any public place should be prepared for framing but where it is to be pre- sented to an individual it is proper to prepare it in album form.
Stock, flexible album covers are more convenient to use than a special cover made by a book binder, and are less
expensive. The leaves are held together by a small ribbon, but in more expensive ones made by book binders they are bound like a book. The pen work appears on the right hand side of each page only, as the back is left blank.
After determining the number of pages the work is to occupy, it is well to make a dummy and number each page before starting the pen work to avoid mistakes. Lay out each page the same as you would any piece of work. In a first-class resolution the entire resolution is carefully outlined in pencil to secure proper spacing, arrange- ment, etc., and is proof-read before the work is started in ink. This prevents mistakes in spelling which otherwise are likely to be made. Practical experience alone will teach you the quickest and most profitable way of outlining work. A high priced resolution must be more carefully outlined than a cheap one. Keep all pages uniform in size and harmonious in style, design, etc.
It is advisable to employ some one style of letter in one album and some other style in the next album. It is not so easy to make each one distinct when many styles of lettering are used in each. In architecture, in house decoration and furnishings, in clothing, etc., the best always consists of some dominent idea, style or tone.
Simplicity lasts longer than elaborateness. It is always safest, therefore, to avoid mixture of styles, such as Gothic and Roman or Old English and German Texts or Roundhand and Spencerian. Few engrossers do this but the tendency is in that direction and the coming engrossing product will be less conglomerate but more in accordance with enduring taste than in the past.
The style, ornament and elaborateness of a resolution depends to a great extent upon the price a customer desires to pay. Always give full value, but when the amount paid is small it would be foolish to give an elaborate piece of work.
Prices vary greatly in diffirent localities and with different engrossers. The great majority of resolutions are gotten out for from $25.00 to $50.00, using lettering for headings and script for the body. Where higher prices are paid, more ornament is used, such as initial letters, borders, etc., as well as illumination. Some find a cheap class of resolutions nets them a good income, for a resolution can be gotten out in a few hours by using unretouched lettering and script which is not so exact in detail but good in general appearance.
The wise engrosser will work to keep prices up which will enable him to give better work. Use business ability in getting business and in handling it, and you are sure to succeed.
A photograph of an album. No work ever appears on the left hand side of the page. Some albums cost as much as $1,000.
66
— Whereas, — BER 2 —
—
Y Ce E
2E
E
Ip
zer
Yale _ der deeg eegend SS nate tle ee, Aeon ly fect , U e, ones „„
, ß —
These pages were taken frcm
67
Ara Special Meeting ` op Amt en,
Buhre
different simple albums.
By W. A. Baird.
By H. W. Strickland.
68
By E. A. Lupfer.
—
H. G. Burtner.
The Madarasz Memorial Album herewith presented is well worth studying and imitating. Notice how cleverly Madarasz’s profession has been suggested on the second and third pages by the guills and pen. The ability to draw and illustrate can be used to good advantage in engrossing. The wash work and colors lend a soft- ness and beauty to the lettering which is quite pleasing. Resolutions of this guality bring from one hundred dol- lars up.
This album was prepared by W. E. Dennis.
69
PLANNING A RESOLUTION
After deciding upon the size of paper you wish to use, get the center and outside margin lines or limit border for the pen work. Next write or letter a line of the body on scrap paper the same size and length as you intend to make the work on the resolution. By so doing you can determine how many lines of script or lettering the ma- terial you intend to engross will make. The heading should come next. If compound curved heading is desired proceed as illustrated in the lay-out on the next page. j
With a string (which will not stretch) or a compass, make the center curve of the heading (in which General Assembly is lettered), then draw the two long horizontal straight lines just below the center curve, letting the top straight line touch the bottom curved line. These straight lines (which are the same distance apart as the curved lines) serve as guide lines for sketching in free hand the short ending curves of the arched curve. (See following page.)
Always rule vertical guide lines for lettering on curves as shown by dotted vertical lines in the lay-out. Let- tering on curves in resolutions should never be slanted toward the center of the design, as printers are compelled to do. Sometimes lettering on simple curves is slanted forward to advantage.
After getting the heading outlined, and knowing how many lines and subheadings will be needed, you can easily plan the body. The lines in the last paragraph can be put closer together or wider as desired to make the resolution fill the space. The space left for signatures and subheadings can be widened or narrowed as desired. Subheadings can be put in the center on a line by themselves or to the left, followed by body material. In this way space can be saved or covered as desired.
After you have lettered in headings and written or lettered the body, retouch and add shading, flourishing, underscores, and ornament to help out the design where needed. A $20.00 piece of work can frequently be made to look like a $30.00 one, by adding a little embellishment.
Where a word is misspelled it can easily be corrected by erasing with an ordinary pencil eraser. Seldom use a sand eraser on good work for it leaves the surface rough and is dangerous to work over it without spoiling the job. The rough places can be smoothed somewhat by scraping off the fuzz with a sharp knife and rubbing the surface of the paper with the handle. Unless you learn to be resourceful, you will have to do many pieces of work over. Use art gum in cleaning lines and finger prints from your work.
70
IL
MARGIN LINE
` ` * H F LUA LEA
CENTER Pol
E OPC URVE
|
>
Sp
jen Sen d A OF cack Gamer S, VD
„%%%
—
Bees The Senate has learned with profound nr of the ee illness and recent en $ the~
a
onora onorab! m e Tharle⸗ es Tomnsend oÊ—
„„ a , che, He, „„ e,, Lane „ LECT. Dr LEP IE BE d Gee be il Resolved, „ ,, ef Gao Hoe CZ GER II fe eee, ue fake aul, gere, E 2 . ,, e, Ehe 200 % EU d e re ZH erth and liven lh IE CED UE CUD LE e e, EL (and COWL eegen ep , a and A e. , of db Die LU FA Pe de Le Catani deel cor Va lyr f Mas rn A 55 , ee. , 2 Ge tee, ê Mad FFR GU MOEL sada Pl by CE MAILING WG (UO eh tha Z hao denal Ahr. 22 ALl „ ee.
2 2
l.
EE he Ko
JS CO
e as „% au — 2 „*
: : SS E .
=
A beautiful page by C. L. Cook.
74
This album page and the three on the following pages by P. W. Costello are good studies in
75
wash work.
77
|
A good study in ornament and arrangement by P. W. Costello. |
79 |
„%% 8 © gular b
VV
berg
EE LESE Fer 5
s may Sur
nn
s
ír malen oo os op
US. and foyal subs
LAS
Cripple reek, EE
80
| L—! |g
This excellent specimen of engrossing is from the head and hand of Mr. P. W. Costello, Scranton, Pa. The original is in colors and therefore much more attractive than here.
83
The originals of many of the resolutions presented in this book were in colors and therefore = more attractive. This resolution was engrossed by P. W. Costello.
85
yocacy Ras sion its fo S Slows might not accord material factor in the p
he
There is much on this page for the student to study ideas of treating headings to give them solidity. Pick them to your own work. The above is from Costello.
88
and imitate. The heading contains excellent up ideas here and there so that you can apply
to
one eart a fies are broken
— eu
Dust man this world ofrcare
DÉI bevond this world of sorrow, |
J .
de b shall Hi 78 Ted our missing loved ones
Letz mansion farr.
w brighton 8
Shore,
90
— — —
| JOHN BURROUGHS
Four pages of a beautiful album prepared by the Harris Studio, Chicago. worth careful study.
92
The lettering and scroll work are well
spent in behalf of xample he has set ol a chosen work w ong life nobly lived; and be it furthe Ghat we present to him intoken
of American s
= 4
bly wisers
Executed in the Ames & Rollinson Studio, New York City, one of the oldest and largest studios in the country.
93
,
Occasions like the visit of Lloyd George to America as well as the death of prominent individuals call for resolutions to be engrossed. A high class, well known engrosser has no trouble in securing work to do.
94
— í-———'A ee ——O es e ————
This masterpiece by W. A. Baird hangs on the walls of the Zanerian College, Columbus, O., and is an inspiration to hundreds of persons studying penmanship and engrossing. Like much of the work presented in this book, it cannot be fully appreciated without seeing the original. You are urged to visit the Zanerian and see this as well as other masterpieces.
95
Anyone who learns to do excellent work like the above by C. L. Cook of the Harris Engrossing Studio of Chicago can easily develop a very profitable engrossing business.
96
— í
—
A very fine piece of work from the Dennis Studio, Brooklyn, N. Y.
97
À a möoeting of oft the
BOARD Dor DIRECTORS:
ps held at the office oftl je Logan Adams oni? Plymouth Streets Brookl yn New (oe 1 August tenth, 1903, the fol foll wem. Resolutions were unanimously adopted
HE BOARD or or DIRECTORS | of he H. G. Buss COMPANY
Puma N UO” demise ut uf
SS Di departed this life on the 2st day of Zul (MO 18 45 SE Brool Han. City dange | not only bom in this bereavement beneath a personal X An ta thongelurs ad ta al whose pribilen e it was to habe been associated with him in the many years ofhis active Resouvestul and MARVELOUSLY SUCCESSEN `.
REER, culminating in eh ER MEMORY and ERROBLIDG IAN which will eternally ‚recognize in the loss of their PRESIDENT, the pass-
enoure: but also, in this their offi ital AU ing of the Founder of this Great Industrial Enterprise to whom, as Counselor, EE ant
aM ader, and ta whose versatile talents in ae cert of effort, this corporation, 1 largest ible men eur must attribute the lofty standard of effieienep and integrity for which the nam ote -BLISS has BECOME a SYNG fof INTERNATIONAL REPUTATION: Ke
P en ' ESOLVED), othatte all who asen ated thin the gpl that beara
his name tue express, as the embodiment ofour highest ambition, the an Od and devolo m peto is institution to which me pledge our Auswerving Fidel ity inthe €/ emulation ok his 1 example that the same may endive as an Hague Spotless and Inve NAU Monument to his lemorp and in I hope that as we in turn sha a fo relinguish its guidance future generations may kino dur work well wruught aug d must, conserved i in al its ee en mU be it u hor
| AE UE, that BLIS au to l her famil ly, 1 55 us ir jep w within the shadow | his great sorrow, we tender this, our espergin of sympathy and condolence, 1 rejoice with them that in ches her! 1 there is pet the illuminating and comkortiug mentary aud in ion ofa life radiant with nobility of purpose and achienement, u the tinurastal) thy, vetitude, ete and integrity; aud beit ae on | |
that this minute be spread in full upon the records of this corporation SE oreol be present | y Da lies an Ò her kamilp with the asaut Me hare ag et bund Gig.
te
WOA DDAN
O of Serantan, feld Marck. 2219. 1904 Ze) et following tribute. fo the memory of the. Î INS
EUER
än ima Mandel
J was ordered placed on dee A 8 ad € e Board of Directors of the Fkird Nalionalꝰ / X TE tey morable deleng Monnd, a leading tizon,
tw JProsidont of this ingtitution for twenty-nine years D a business’ associate of exceptional sagacity and foresight, u
a personal riond of exeopfional loyaltya®kiiöliusg. D
DF leis participation in-the larger life.of the. community. IA © his’ publie service, his generosity, fis responsiveness fo any
and every legitimate call, other organizations will make record, but this” Le board ee place in permanent form their recognition of the debt that is due
te
—
him, for lo He counsel and influence must be attributedmuch of the success that is evidenced by the single act that under kis’administration as (XCC, President the accumulated surplus ofthe bank rose from 35 thousand „(
ST Ip one million dollars. SOSSE he loss of So strong a personality will be widely felt in the com- munity and deeply felt by thasewhd were his associafesin his various
ndertakings. To his family the directors’of the Third NationalBank extend oe tech deep $ SÉ and their own feeling ER O
PERSONAL LOSS.
To the left is presented the outline of the resolution to the right before any brush work was added. It was done mainly with a broad lettering pen. This gives a splendid idea how carefully the scroll work must be worked out in detail before applying color. Unless the foundation scroll work and lettering is carefully done the final result will be a disappoint- ment.
Color lines should be broad and massive rather than narrow, slender or weak. Study the graceful, har- monious curves and egual distribution of lines and values.
The background of the initial let- ters are in gold and ought to be put in first before any color is laid on.
The gold may be inserted in either of two ways: Gold leaf or brick gold which is brushed on evenly with a brush similar to laying on color. For the beginner the latter method is the easiest. A small brick of gold costs in the neighborhood of $1.50. A little gum arabic dissolved in the water will insure its sticking to the material on which the work is done, either a smooth or satin finished bristol board, (Reynolds preferred) parchment or vellum. After laying on the gold and when same is dry it is necessary to cover it with a piece of glazed paper and rub over same very briskly with a burnishing tool. This presses the small particles of gold ink into a flat even surface, which may be left in that shape with a dull finish or bur- nished by the use of the same tool after removing the paper covering.
The supple effects in some of the background is made with an agate point made for that purpose. They may be put in very carefully as to lo- cation of the dots or they may be of the hit or miss variety. The capital letters in line “Board of Directors” and “Third National Bank” are in gold. The small letters in the latter line are in two shades of purple put- ting on the lighter shade first.
The small letter of the line Hon. Wm. Connell are in two shades of green, the capitals W. & C. in two shades of red using a mixture of ver- milion and Chinese white.
The large “T” at the top in three shades of red and the “H” beneath it
in two shades of red. The remaining
two large initials in two shades of green obtained by mixing Emerald green and Chinese white. The mixing of Chinese white with any other color which in itselÊ may be transparent gives a solid opague color. If these heavy colors are put on first, where they are used in connection with gold background it is utterly impossible to properly burnish the gold.
The large initials might be alter- nated in red and green if the en- grosser sees fit and probably might look better that way. The ornament in this particular job is put in in trans- parent washes of light purple, greens, blues and reds of two shades of each color, and a reproduction can give no idea of what pretty effects may be produced in color. Let the student use his own judgment as to the arrange- ment of the colors mentioned.
The shading of the different display lines in the Hon. William Connell res- olutions are put on in light washes of alternate green and purple The green is Hookers and a little lamp- black and the purple a combination of crimson lake and Persian blue.
The little circles scattered through- out the work are filled with burnished gold. The white does in the initial let- ters are Chinese white.
One thing is absolutely certain, that illuminating is the most fascinating of the various styles used in the en- grossing business.
101
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The two masterpieces above show the wonderful skill and versatility of W. E. Dennis, who was considered the dean of engrossers. Study the simplicity and elegance of the honor roll, and the skillful, unique way in which the photos were decorated.
Two excellent pieces by P. W. Costello.
501
Engrossers are called upon to execute various things in various ways.
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Another elegantly prepared specimen of engrossing from the studio of W. E. Dennis, who was one of America’s finest engrossing artists.
The air brush can be used to good advantage by engrossers as shown by this specimen by E. C. Marlatt.
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— —
Costello's fountain of ideas seems inexhaustible. Each specimen has something different, something worth special attention.
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A beautifully illuminated poem by A. M. Grove, who is one of America's finest engrossers.
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As the above indicates, an engrosser can use any amount of art ability. You can make no mistake by studying art in connection with engrossing.
801
By E. C. Marlatt. From the Dennis Studio.
60T
H. C. Rice, who engrossed the prayer above, is one of the most careful,
painstaking men in the profession. ; An attractive advertisement prepared by C. W. Norder, Pittsburgh.
SPLATTER WORK
First, design and draw in pencil outline the shield, including strips, on cardboard. Second, cut it out carefully with a sharp, pointed knife. Cut out only the blue field and red stripes. Preserve the large pattern.
Third, use the pattern to secure an outline the same size and shape on another sheet of paper. Fourth, out- line in pencil head and base lines for all wording. Fifth, letter the heading, including the words Senate Chamber, write Columbus, O., letter or write the lines following until the whole has been engrossed. Sixth, erase pencil lines and clean the whole. Seventh, shade the lettering with a broad pen, using watered ink or inky water, turning the paper part way round from the position it occupied while lettering it. Eighth, flourish about the letters. Ninth, lay the pattern over the engrossing, and with a tooth brush saturated with diluted ink (from sponge cup may do) brush it rapidly back and forth over a window screen held horizontally a few inches above the design. This will cause ink to fall in a gentle mist, creating a soft, gray tint, more beautiful than it appears after it has been en- graved. Remove the pattern and you will have white stripes and margin, the pattern having protected those parts.
The original of the accompanying design was 15x20 inches, allowing 5 inches margin. The shield alone being 10x15 inches. Stars may be created by cutting them out of bits of paper and laying them about over the upper part of the design—above and below the heading.
110
GRAY CARDBOARD
This design was made with brush and pen, principally the former, and black (India) and white (Chinese) ink on gray cardboard. The design was first drawn with pencil on a sheet of white paper and then transferred with tracing paper to the gray sheet. The two sides being the same shape, but one was drawn originally and then re- versed. The lettering was done first with a broad pen in the usual manner. Then the shadows and dark tones in the design were put on with a brush. Then the white lines were put beneath the lettering, and the initial T was decorated. Then the sharp white edges (the high lights), which counterbalance the darks, were put on with a small pointed brush, the same as the darks (No. 1 Sable hair.) The white coating, which gives it a marble-like effect, was laid on last with a larger brush. This coating was rather thin. You can successfully go over black with white, but not over white ink with black ink. The black ink was simply India ink thinned with water.
This brush work at first appears difficult, but when one is once accustomed to handling the brush in water colors, it is simple, guick and effective.
Knowledge of, and skill in drawing, is the secret of success in this class of engrossing. Learn to draw. Observe lights and shades. Study contrast. Investigate the laws of harmony, grace symmetry, etc. Be a student of the beautiful in nature and in art.
111
The accompanying illustration was first designed daintily with pencil on a sheet of white cardboard. The black shadow line between and below the letters of the heading was put in with a pen, as was also the shadow edge of is as old as history. Then the script was written. Then the shadow of the heading was laid on with a brush, first the heavy and then the light shade, with different solutions of water and India ink. The various tones of color are produced by having as many little dishes as different tones are desired. In one there may be water, in
another ink, in another a drop or two of ink and a spoonful of water, and in another more ink and less water.
With two or three small and medium sable hair brushes the liguid is applied to the design with considerable care until you are familiar with the management of the brush and water.
The scrolls and.brick must be suggested with pencil, then the light tone of color applied to the light por- tions and the dark to the darker portions. Put the dark on top of the light but not until the first is dry. Build up the darks gradually and be patient. Do not work over the lights with the expectation of going over them with
‚white ink.
Put in the bricks last. Suggest them wherever there are open places in the script. Put in the mortar lines first with a small, pointed brush, using dark color. Then wash in each brick with a broad, flat brush, bristle will do, leaving narrow space at the top and left of each brick so as to illustrate a beveled effect.
The original of this illustration was about three times as long and three times as wide as here given.
112
HIGH GRADE TITLE PAGE BY SAMUEL D. HOLT
To create the title page for an engrossed album presented herewith, first make a light pencil sketch of the entire design. Too many—especially beginners—place insufficient value upon the pencil sketch. It should be complete and very carefully done. If there is any one thing that should be impressed upon the learner of this course it is this, that the original draft should be perfect, so far as execution is concerned. After a letter is once inked in it is a difficult matter to make a change, but with a pencil line it is different, and freguently, after a design is completed, the importance of changes is noted. This would not be the case if the penciling process be correctly done.
After the pencil work has been accomplished, the next step will be to put in the background, washing it in with Prussian blue and lamp black, mixed in water. For the initial T two shades of black were used—vermilion shaded with crimson lake. The background of the initial side of the circle can be made of gold or aluminum. If gold be used it will be necessary to buy a brick, and put it on with the brush. Many who wish to raise the gold, giving it the impression of being thick, put a little Chinese white on first, and then cover that with the gold. In lettering the words, care must be taken in putting in the shadow. Of course there are many who cannot letter well and until one has practiced spacing and securing desired effects his work will not be pleasing to the eye.
In practicing this design it might be well for the beginner, especially, to make his work about twice as large as shown here. There is a growing field for penmen who wish to be something more than “Capital Connecters,” and the field lies in this line of work. Every city with a population of 3,000 or over should have its Engrossing Artist.
113
A very appropriate design for a Christmas card.
The design was first carefully drawn with pencil from a rough preliminary sketch. Size over all about 10 x14 Panel enclosing scroll three inches wide and that of initial “C” 2%x4. Letters in word Christmas 212 inches high. Use water-proof India ink on all drawing and lettering to be finished in color.
Color Scheme—Shades of green and red. Mix Hooker's green No. 2 with a little Payne's gray, and Chinese white. With a thin wash of this mixture cover background of panel also face of scroll. When this wash is thoroughly dry, put in background with a deeper tone of same mixture. However, do not cover scroll work with this wash. Work around edges carefully leaving face of scroll in the lighter tone for contrast. Aim for even- ness of tone in all the different washes. Next outline scroll work with a No. 4 lettering pen and India ink (waterproof). Rule lines enclosing initial “C” and scroll work. Initial “C” should be in red with ornaments in a light green tone. Complete the lettering next in order, giving the form, character and spacing of letters the most careful attention. Initials “A,” “H,” “O,” and “R” in red outlined in black. Shade letters in green using a “free brush,” that is a brush well filled with color, and this will give your washes clearness and transparency. The mask of Santa Claus gives the design an appropriate flavor, and should be drawn in the simplest and most direct manner for effective results. Use Chinese white for lines and dots, and for washes wherever a tone should be lightened for contrast and effect.
Color Outfit—For the benefit of those who never attempted color work, we would suggest the following out- fit: 2 Brown Sable No. 7 brushes, best guality. Don't try to use cheap brushes. A few colors will be sufficient for simple pieces of illumination, named as follows: Hooker’s green, No. 2, Ivory black, New Blue, Prussian blue, Yellow ochre, Crimson lake, Vermillion and Chinese white. Payne's gray in a beautiful shade and one that the engrosser can use freguently. A few pans for mixing colors will be necessary. This is a simple inexpensive outfit and should not cost over three dollars.
114
b —— — — —-—
Lay off design in usual manner giving special attention to the form and action of the scroll work which is made the principle part of the design. Make your pencil drawing complete in detail before inking. Block in text very roughly for spacing only. Apply color first. The ground back of the scroll is reddish brown, obtained by a mixture of Vermilion, Crimson Lake and Prussian Blue and Chinese White to give opagueness or a velvet-like ap- pearance. Use color quite thick. When background is finished, outline scroll with a No. 5 pen and water-proof ink and your work will now appear strong and snappy when before it appeared weak and indistinct.
Mix a bluish green composed of Hooker's Green No. 2 and Payne's Gray, making a thin wash for scroll work. After applying this wash, add the color a little thicker for the shaded parts. The very delicate color outlining part of border can be obtained by a mixture of light red and cobalt. Lastly add Chinese White in a common pen for tracing and dots on background and initial “R”.
Care in mixture and application of colors is of the utmost importance for success, and no one should become discouraged by failure to obtain the desired effects on the start.
115
116
We give herewith a design for title or first page, which is full of ideas for students in decorative drawing.
Size of an average album is about 7x10. Leather covers cost from $3.50 up- wards. Sheepskin can also be used for covers tied with narrow ribbon. Cut paper so each sheet folded will make four pages.
First make a rough sketch of design, aiming only for general effect and bal- ance of the design. Next follow with a detail drawing, giving critical attention to initials “T,” “A,” and “R,” and scroll work. The scroll work will demand much study before a pleasing, graceful style can be mastered. Aim for bold, graceful curves, and proper arrangement of masses. Use a 4-H hard pencil on your detail drawing.
Mix Prussian blue, Payne's gray and
Chinese white with considerable body and of sufficient guantity to complete the
principal washes. The light tones were obtained by thin washes of the same color. Wash in border using a thin wash of gray, aiming for evenness in the tone. Carry this wash over scroll work leaving panel for initial “T.” After this wash is thoroughly dry, add the background which must be uniform in tone. Note carefully the treatment of light and shade in scroll work. Aim to combine delicacy and strength in these washes. A delicate hue was obtained by a few touches of Crimson Lake and Chinese white. Be sure to use a generous guan- tity of white in all washes, as proper tone guality cannot be obtained by trans- parent color.
Initials “T” and “A” in shades of red with gold background. “R” in shades of gray on gold ground, and J in red. Use Vermilion, Crimson Lake and White for red. When color becomes thoroughly dry outline initials and scroll work with a No. 5 broad pen and waterproof ink, to give your color work strength and character.
Underscore lines with red, and add little touches here and there according to your best taste and judgment. Always be Sure, however, that these little touches enhance the artistic effect of your work.
The other pages of the album should be similar in design but less elaborate.
The shield and decoration must first be drawn in pencil and care should be used to preserve the swing of the design. Out- line the pencil drawing in water-proof ink and make a careful study of the color values before adding the wash. You may make many attempts before you ob- tain a satisfactory drawing but don't get discouraged. Well directed effort wins success. Similar designs can be used for many purposes, including covers, head- ings, etc. Students should cultivate their ingenuity in adopting designs to various purposes, and while their work may not be entirely original it will certainly bear the characteristics of the artist.
This illuminated album page was ex- ecuted on pages cut to sixe 9x12 inches of Reynolds 3-ply bristol board. The following is a brief description of the color scheme employed for this particu- lar page and used also for the balance of the work.
The initial “W” was rendered in two shades of red, with gold background and outlined in black.
The gold background should be sup- plied first whenever the same is to be burnished to avoid scratching of the color in the event of it being the first to be laid on.
The red is a mixture of vermilion and Chinese white. The vermilion is in it- self an opague color and the addition of the Chinese white furnishes the lighter of the two shades.
The bar in the border is done in dark red and French blue in alternating sec- tions, and is flanked on either side by burnished gold.
The trailing or twisting ornament in the border is in dark red, French blue and green, each color mixed with Chi- nese white,
The sprays of flowers are in washes of blue, purple and crimson lake and the leaves in green.
The dots in the border are Chinese white and burnished gold, and the stripes in Chinese white and Naples yellow, the latter being used in the green portion of the ornament.
The shading of the letters in the text is done with a purple wash obtained by the mixture of crimson lake and Prussian blue. The initials of the name, James R. Nicholson, are in red and dots in the small letters in burnished gold.
e meat and we rau rl mm be tanket |
By A. M. Grove
217
W
This piece of work by P. W. Costello will serve to show the student of engross- ing one more of the various kinds of work the engrosser of the present day is called upon to turn out in his profession. The engrossed guotation was taken from a patriotic address. It was therefore deemed appropriate that the flag itself be made the central and most conspicuous part of the design. If the general lay out of a piece of work be inappropriate, it matters not how skillfully the work may be executed, the result in all prob- ability will be far from satisfactory to a discerning customer.
The original of this piece of work was executed on a sheet of three-ply kid fin- ish bristol board 15x20 inches in size. The initial letters of the words “Star Spangled Banner” were done in vermil- ion mixed with Chinese white and the flag in its natural colors of red, white and blue. The bars of the flag were washed in with varying tints of crimson lake. Lay in the lighter wash first and when guite dry add more color to the wash for the darker tints. The back- ground of the starry field may be done in Prussian blue and the white stars painted on top of it with Chinese white.
The clouded background of the flag and the large initial “T” was rendered in a wash of blue and the shading on the letters in crimson lake. The initial is in purple obtained by mixing crimson lake with Prussian blue, the background of gold and the ornament in crimson lake. The lettering outside of that already de- scribed was executed in waterproof black ink and the white striping in Winsor & Newton’s permanent white, using a fine steel pen.
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The original of the copy shown in this page was wrought in green with red for background of initial “N” and is quite effective and altogether pleas- ing. A good specimen of practical en- grossing of today.
Pencil initial and scroll work in de- tail, aiming for symmetry in the curves and accuracy of form. Trace in ink when you feel sure that the peneil drawing is correct in all re- spects. It pays to be particular. Next lay off the lettering giving arrange- ment and spacing close attention. Write the text with a No. 3 broad pen. The text is a modification of the en- grossing hand and is full of grace and dash.
Color. The green was obtained by mixing Payne’s Gray with Hooker’s Green No. 2. For the red, Vermilion, Crimson Lake with a few touches each of Chinese White and Ivory Black. In adding the washes be sure that your brush is well filled with color. The flat uniform tone border will test your skill in handling color.
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119
COW ENEE.
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Trisk you an Abs Dance o kappmoss and prosperi *
joy and contentment Be with yo now and ever”
The scroll work is complex yet every stroke has a meaning. Harmony is the key note of every pleasing de- sign, of every beautiful picture. Remember this fact, and aim to avoid discordant lines and false color notes in all of your work.
Size of original 1312x712 inches. The border must be penciled very carefully.
The line, “Season’s Greetings to You,” may be penciled for character and spacing of lettering. The smaller lettering may be spaced only, and then written with a No. 3 broad pen. Outline scroll work with a No. 4 broad pen. Small dots quite regularly spaced for background. The thickness of stroke outlining border and scroll work should: be uniform. The stippled initials are in pleasing contrast to the solid back text letters.
This design was gotten up for a card to be printed in full color. We would suggest that you buy some cards in color as you will find them a great help in these lessons. It is difficult indeed to write instructions of suf- ficient clearness to enable the student to produce harmonious color work from a design printed in black. How- ever, form is of the utmost importance and color can be mastered by close study of good specimens. But unless you erect your structure of art knowledge on a foundation of good drawing it will surely fall.
120
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CERTIFICATES AND DIPLOMAS
Diplomas are outlined or designed in the same manner as resolutions. The name of the school is usually the most important part and, therefore, should be the most conspicuous part. It is usually larger and contains more ornament than the rest of the diploma. It is very important to carefully outline the entire design in pencil in order to get balance.
It is worth considerably more money to prepare a diploma in pure India ink for engraving than to prepare it in thin ink not for engraving, from $40.00 to $100.00, being fair prices for the former while the latter can be made for from $5.00 to $10.00 and up. Where $5.00 fresh-from-the- pen diplomas are ordered in large numbers, one can make them quite profitably. One can make the lay-out on all, then the headings, and then follow with the body much more advantageously than if each were completed separately. The larger the quantity the lower the cost should be. .
In making copies of the diplomas herewith, persons who are not good in pen drawing should omit the school buildings. The present day tendency is to omit them. Make drawings at least twice the size of the copies.
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122
Executed by A. M. Grove
Sinn Membership Com. —
A beautiful three color membership certificate by C. W. Norder.
123
This specimen and the one to the pen of H. C.
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TITLE PAGE OR ROSS PAPER
This design was made with pencil and knife instead of with pen as might be supposed. The paper is pur- chased already ruled and tinted as shown by the background. It is not only ruled but “ribbed” or creased at right angles to the ruling. By drawing a pencil across its surface a cross-hatch, dark tone or shade is produced as shown in the shadows and the word “Wreath.” By scraping the paper with a knife a lighter tone is pro- duced as shown in the high lights, scroll, flowers, etc.
The paper or cardboard has a coated, chalk-like surface which scrapes easily, or upon which an oiled or litho- graphic pencil works well and engraves successfully.
Designs of this sort are first created on ordinary paper and then carefully transferred to the Ross paper, preferably with blue as it is not so apt to show up in the engraving. It is a guick method of securing good print- ing results of a wood cut like nature. It is purely a commercial art type of work and not intended for framing. It is guickly executed because only the lights and darks need to be produced, and they are done by simple processes and easy mediums.
is design offers a good example in symmetry or balance, of a mechanical type. Some cartoonists employ this kind of paper. T. Nast used it with telling effect, and others.
125
D. W. Huff, Meadville, Pa. Commercial College.
Sr
126
DESIGNING
Designing—The art of grouping and creating forms in such a manner as to tell a truth or to ornament one, is
well worth studying. The basic principle of designing is drawing. To be a practical designer means that one should be able to draw almost anything. But after this ability is acguired there is much more to be done. One
must have some originality in him by nature as well as by acguirement, to become expert in designing.
Drawing leads to designing in that it causes the eye to observe form, color, light and shade, contrast, group- ing, etc. Originality consists chiefly in grouping that which has been seen separately. Drawing causes one to ob- serve and depict pleasing contrasts of light and shade and form, and designing depends upon these things.
Designs are, as a rule, truthful and decorative. They usually illustrate some truth or fact and at the same time express beauty. Decoration is the art of ornamenting useful things. It derives its material from nature and geometry. Natural forms as conventionalized by making them conform to mathematical exactness.
Designs should be well balanced and harmonious. They should contain elements of contrast but not of dis- cord. They should be neither monotonous nor striking. There should be harmony and there should be contrasts. Truth and beauty should be uppermost in the designer's mind.
This is a kind of work that machines cannot do because it takes brains. Designs take no small amount of thought, taste, judgment, and originality. A good designer enters into the spirit of the thing to be illustrated and adopts and adapts things to that paricular purpose.
The following designs are given to illustrate the things of which we have been speaking. They are also given to show how lettering may be applied advantageously in designing. Lettering is an essential part of de- signing. There is much to learn about lettering to adapt it to a particular purpose and space. It is far more flexible than type and less mechanical, if done by a master. It reauires patience, skill, detail, judgment, and originality.
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| Ka ) ms out the old, ring in the new,
Ring, happy bells, across the snow; he year is going, let him go.
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Nigg out The grief that saps the mind,
Ring in redress fo all mankind. „
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First locate and sketch in outline with pencil the bells, church, and smaller illustrations. Then sug- gest lettering. After this use India ink, but for the lettering use a flexible pen.
127
he Show-bird twittered òn The beachen bough, Ah Heatly the hemlock whose thick branches ben! S Benfeath its bright cold burdeh, and kept dry. = A arde on the earth, of withered leaves, `" The partridge found a shelter Through the snow The rabbit sprang away. The lighter Track Of fox, and The raccoons broad pathy, were there, „ Crossing each other From his hollow tree Cz rel Was abroad, gathering The nuts BFS AGA hat asked The winter eold and sway din shake them, Troms ther hold | William Gallen Bryant.
The hemlock deserves your serious attention. Study how the dark background and shadows serve to make the snow effect. Study the unstudied effect in the lettering, and then create a whole alphabet of
harmonious characters.
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‘Tis pleasant ro behold the wreaths of smoke SS Roll up among the maples of the hill el eee! Where the shill sound of youthful voices wakes US is Sereno The shriller echo, as the clear pure lymph, That from the wounded frees, in d drops, e, A Falls, mid the golden brightness of the mom. uf Is gathered in with brimming pails, and off,
| Welded by sturdy hands, the stroke of axe Makes Ihe woods ring.”
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Study the perspective principle as revealed in the relative size and location of trees. The lettering will demand much care. See the “wreaths of smoke,” suggestive outlines which form the trees, ete.
Make a whole alphabet of this style letter.
128
lolitKely lusty Roger now Through tRe furrows plods along, Oinging to Re creaking plough, Many ô quaint old country song;
Morning rings, As he SINSS,
- . With He cr of offer Springs. „ os eu © i Beag EIER, > e
dren now ın every school
Wish away He weary hours, Slab now tRey feel the rule
Barring them from buds and flowers, How Hey shout
Bounding out, Do
kare- and frelds to race about .
The serious and the frolicsome “teams” should each be studied carefully. The rear view of the former is much simpler than the front view of the latter. Study effect of color in the first and of shadow in the second. Don't overlook nor overdraw the lettering. Use coarse, smooth pen for lettering.
» When the merry lark doth gild $ With bis song the summer hoars, = Ond their nests the swallows build = T In the roofs and hops of lowers, = Ond the golden broom-ilower barns OU about the waste, = A a ^g Ond the maiden May rehums —— pi With a prey haste,- — 2227, | Then, how merry_are he Times! =a |M The summer times! The Spring mes Barry. Cornwall.
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The swallows and lettering need careful attention. The perspective of the former and the angles
of the latter will demand study. Note how the one swallow has been placed where the lines of letter- ing were short. =
129
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Flowers are tedious to draw, and difficult. Study nature - copy nature. Note effect of bor- der, how it holds the parts together and unifies the whole.
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H vw ) Tac back iy the ages, d The plough with wreaths was crowned; g The hands of kings and sages e } Entwined the chaplet round; Y | dar N | 1 TUL wen of spoil disdawed Ebe toil WW) 2222 i | By which the world was nourished, N () ` dn Jews of blood eyriched the soil The proud throne shall cruwble, ö Where areen their laurels flourished. be diadew shall wane, | Now the world ber fault repaits— The tribes of carth shall humble i ( The quilt that stains ber story: The pride of those who reign; ; Amd weeps ber crimes anid the cares And War shall lap bis powp away,- ( ( That formed ber earliest glorp. The kawe that heroes cherish, ( f Ä | The glory earyed iy deadly Trav i d ie Shall tade, decay, ayd perish. | GN Honor waits, oer all the earth, i gen Through endless generations, j The art that calls her harvests forth, ) Ayd feeds th’ expecrayt vations.” |) AUU D
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See how simple in drawing the wheat heads are, also the plow and “wreaths.” Note border of wheat grains. Study the old-time text letters. See the little shadow beneath each grain of wheat.
130
o T ae O Star on the breast of the river! Chg river!
O marvel of bloom and ¢race! Did you fal right down from heaven,
ut of the swectest place? You are white as the thoughts of an angel, Your heart is steeped in the sun: Did you $row in the Golden City, My pure and radıent one?”
Na , nay, I fell not out of heaven ; one gave me my saintly white: It slowly row from the darkness, | Down in the dreary night. From the ooze of the silent river | won my slory and Srace. White souls fall not, O my poet, They rise to the sweetest place.
ng
Wgd
itl i Pe ` 0
= = — | Se } Mf, (age cf Tg = aaisan dh — — EAN Fe
—
ZANER.COLS. OHIO i ~ea
Note the soft, sketchy, actual-pen-like appearance of lettering, caused by tinting rather than black- ing the face of the letters. See how the slant of the verses agree with ths slant of the ws and m's.
„ N
y
viet
FU
= Up ( = Kë 3 A O len.
Thus apple-trees-whose tranks are
strong to bear
Their spreading boughs exert themselves
TUZA vg
Grape vines are quite artistic when drawn with care and twisted with discrimination. Study effect of underscoring in lettering.
131
e blithe guail pipes al’ morn, merry parffidge drums in hidden places,
Nye thie reedy SAF ea m,
e Se spiders r ML E laces. ` 3 why. = — S E
z ez whl 84 24 er md. VE PT IST / Set Lut Ari re BERN, WN WL ji (3
/- <i? H UN GE : e 7% A A Ss? 2 7 n, ; ET ee 2 e Z Se i TIP: s ai 2 Dae nay tf u D 22 a ry * os, tn N {3 Ve W e NI S | z pd mh: Ze Atte 7 7 / \ X 7 "ot SE = Wrin n 7 SS W ZANER. COL o. s zer Aen a, d Yas
1 2
— MM 7 FN | y = |
) - > — —
m -Ml d ha er
, A i ee
- i zs * AR.
Note perspective of shocks of corn, fence, etc. See how detail diminishes with distance. Note how the lettering gets lighter toward the right as it recedes from the center of the picture.
(| 005 0 | | | 1 0 a FAT A e EEN
ii EE ES gu a ; Wi a = W
1 come,
Wi an 1 a
=== =
=e = So "WW Ce TE o. “AR UU et o "en = 2 KA = Ke gi
S o wailing winds, and el woods, j and meadows brown and sere; ¥ 2 eh in the hollow of the grove, Ni the autumn leaves lie dead; Ny rustle tothe ed dying Just, i^ py nd fo the rabbits tread; Z ys the, robin and the wren are flown, Yond from the shrubs the jay,
—
— — N
—
ga
= x — = — = = = = == == > == = E SE EE E SS SS —— == = = = = SI Bee — — x —— Lë = == — Ex S== = = Ke
| de e . And rom the wood-top calls the en Ow I =. Y 7 Z7 TM AN ro . all the gloomy day Ee — E y = “a. 4 > — 2 EZ 7 = La SE: E Z T7 . 2 2 Z ZZ ,
ZANH S Os
Study the frost- like effect of background and windiness of foreground. The figure and con- trasting background suggest the opposing elements of nature. Study the four corners.
132
apg a H iM AAA am Ka ai A K Mil 1 Ae A 8
D Winter, ruler of the inverted year, Thy scattered hair with sleet like ashes Filled,
Try breath congealed upon thy lips, thy cheeks Fringed with a beard made white with other snows Tran those of age, thy Forehead wrapped in clouds, A leafless branek thy seeptre, and thy throne
H sliding ear indebted fa na wheels,
But anien by starms along its slippery way,
| love thee, all unlauely as thou seem’sh, `
And dreaded as thou art! Thou hald’st the sun
R prisoner in the yet undauning east,
Skartening his journey between marn and nann, And hurrying him, impatient of his stay,
iS) a
|
* E
sul!
SS SS
LS ~
YG a Down fa the rosy west; bub kindly still (SN wc Lampensating his loss with added hours | wi viii k social converse and instructive ease, | uf A e ` And gathering, at short notice, in one group | 172 PN iv Sy he family dispersed, and fixing thought, VN , wng Mot less dispersed by daylight and its cares. WE Sew Ww | crown thee king of intimate. delights, ` Vo Me ll. Â Fireside enjoy ments, home-barn Papane, | WE Ww gZ W And all the comforts that the lowly roof
Dy a „ ! Pe l hat? Of undisturbed retirement, and the hours 5 "ri , wy dw OF long uninterrupted evening know.
ZW NA wy; William Cowper.
> # „
( A
Y H 7 $ S EE — 4 NS wn a 7 yn eS =e 2 W AM We Ge W le
The lettering in this design is very compact and uniform, yet legible. Note how close the lines are. Study spacing between words.
u“
i
Ap
KATHERINE LEE BATES '
A8.
133
(Lend this Sreetin Jor your kealtk, kappiness and continued prosper:
= — ore = "Sen PRI ae.
sc) éi SIE N
una“ Dun
KÉ gS To) O > “AU DUFFY. NN vi “o MANAGER. &) R bh PROPRIETO ROPRIETOR ;
134
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Students of design and ornament will find a feast in the two elaborate cover design above, by O. E. Hovis.
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PLAIN USEFUL LETTERING is the title of a book of 32 pages, 515x8 inches, which contains the essential alphabets that all should learn for label and package mark- ing, blue print, mechanical and architectural drawing purposes, show card lettering, text lettering for diplomas, etc. The book is especially intended for class use in Junior and Senior High Schools, Colleges, and other institutions where lettering is, or should be taught. All pupils should learn a certain amount of pen lettering. With the aid of this book, any pupil can master sufficient lettering for ordinary purposes in a short time. In fact, with this book he soon can learn to fill diplomas with the broad pen, or to letter drawings and packages with the common pen. The Old English Alphabet is thoroughly treated, as well as numerous other alphabets. Price 25c per copy, postpaid. In guanti- ties of six or more, 17c per copy, postpaid.
The publishers of this book, Zaner & Bloser Company, also handle materials for en- grossers, penmen and pen artists. Write for prices. We aim to carry the best.
THE ZANER-BLOSER COMPANY, Columbus, Ohio
136