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FIG. 14.
FIG. 15.

FIG. 16.
FIG. 17.
FIG. 18.
FIG. 19.
FIG. 20.
 THE FLEUR-DE-LIS.
1. In making this unique pattern, called the Fleur-de-Lis, a
common millinery stand 25½ inches high is used, as seen in Fig. 1.
 2. Nine inches from the top is fastened a piece of silk of 8 folds,
containing 1¼ yards to the fold. When this is fastened it must be the
center of the fold as seen in Fig. 2.
 3. Then each fold is brought down and made to form a loop fold, at
the base of the stand, as seen in Fig. 4.
4. Figure 3 shows the pattern after the hidden end of the silk is
brought over the top of the stand and is securely fastened, and also is
made to form a girdle, so as to cover the meeting place of top folds.
 5. This girdle must be 4 inches across the center, and 10 inches in
diameter.
6. From tip to tip of the farthest point of the bottom fold is 32
inches. The width of top fold is 13 inches.
7. Any height stand and any length silk may be used.
 LINEN DECORATIONS.
A pretty decoration may be made to accompany a window display
of linens as follows:
Take insulated copper wire and use as a base for stems in making
flowers, thistles, etc. The thistle being entirely new and very
attractive, I will describe the process of making it: Cut strips of
coarse linen 1¼ inches wide and unravel each edge until a fringe is
formed ⅜ of an inch on either side. Wind this strip about the wire
for the stems, as shown in C of the illustration, where a part of the
strip is left unwound. For the thistles, cut strips 15 inches long and
1¾ inches wide, and unravel one edge until a fringe 1¼ inches deep
is formed. (See A.) Fasten one end to the stem where the thistle is to
be formed, and then roll the cloth tightly, allowing the fringe to
remain loose, as in B. Now take white linen thread and wind tightly
around the cloth at the head of the fringe, as shown in the completed
thistle flower. D and E show the strips of cloth before winding.
In making a fence of linens, the rails should be wound with strips 2
inches wide, unravelled to a depth of 1¼ inches, leaving ¾ of an inch
of the plain cloth. (See F.) The pickets are wound with another 2-inch
strip which is unraveled on either side, leaving only ¾ of an inch in
the center of the cloth, as shown in G.
 THE THISTLE LINEN DECORATION.

These strips may be utilized in many different ways, and many

beautiful effects can be obtained by their use. These designs add
attraction to any display of linens.
 CHAPTER XII.
THE ART OF CARD WRITING.

INTRODUCTION.
Show cards, to a business man, are a necessity. Everything
depends upon the way he advertises, and he cannot advertise
judiciously without the aid of signs. Some one must make his signs.
If his business is on a small scale, and he cannot afford a regular sign
writer, perhaps he would like to do it himself; or, if he hasn’t
sufficient time, why not employ a window trimmer who can do both?
A window trimmer who can make his own tickets increases his
value to his employer and can demand more money than one who
does not; at any rate, sign writing, as a side issue, will do no one any
harm, and very often it can be used to great advantage.
The art of show card making can be acquired by any one with very
little teaching, a reasonable amount of patience, and plenty of
practice.
Do not become discouraged at your first attempt. Your card will
look badly, of course, but that is to be expected. You cannot do good
work at the first attempt—it is impossible. Improvements will be
gradual. Each card will prove better than the last, and with a little
practice you will be surprised at the results.
Were it not for the interesting variations and numerous
opportunities to display artistic ability, card-writing would be very
monotonous; as it is, a person with the least bit of artistic taste will
find it a pleasant occupation as well as a convenient and profitable
one.
 A sign maker must find where the sign is to be used and the sizes
of his lettering must be varied according to the distance it is to be
placed from the eye of the public.
Don’t attempt over originality in signs. The majority are not
familiar with signs. They have seen only a few designs. That which
may be conventional to you, because you study signs, will be original
to the majority of people.
Inaugurate a system of uniformity in your card-writing, by which
all your work (styles of lettering, etc.), have a certain amount of
similarity.
If at any time you wish to change your styles of cards or lettering,
let the new styles appear all over the store at the same time. It does
not look well to use a mixture of types or color; it has a tendency to
confuse the public—whereas, a system will teach them to know your
particular style of work at a glance, and it will not only be more
readable, but will establish for you a personality.
 THE WORK ROOM.
The first requirement is a place to work; then you must be
equipped. It is impossible to do justice to your work unless you are
properly fitted out. Walk around the store until you find a suitable
window, and anchor there, provided you will be allowed, for you will
find sunlight much better than artificial light, both for the eyes and
coloring.
Next get a table. Tilt it forward slightly, as in this position you will
find that work can be done better than if a level surface were used.

For those who will go to the small expense of building a table, I

show it in Figure 2.
 RULING.
You can use a Tee Square much more rapidly and accurately than
an ordinary rule. The inches can be marked off on your tee in order
to center the card.
 FOR LINING.
Soft charcoal is the best on coated cardboard. Should your
cardboard be a little rough, a delicate lead pencil mark will be better.
Charcoal marks on coated boards can be easily erased with a soft
piece of cloth; or, better still, a piece of chamois.
 MIXING.
Use a palette knife with a flexible blade, about ½ × 3½ inches.
Find a square piece of glass, or, not having a square piece, use any
shape you have handy. I will explain later to what use the glass is to
be put.
 PAINTS.
Mixing forms an important part of sign work, which, however, is
considerably lessened of late, by reason of several manufacturers
having placed on the market prepared colors which meet the
requirements satisfactorily. I would advise their use if it is possible to
obtain them.
One very important thing is, do not use oil paint on cardboard. It
does not work well and will cause much trouble. No experienced
marker uses oil paints, unless it is black asphaltum to fill in and
outline letters; such as several large department stores are using at
the present time. The glossy effect of this class of work is considered
by many to be very attractive.
The drawback to this method is, the cards require a double
handling and consequently the work is very slow.
Drop black, in distemper, is the cleanest and most handy
preparation for card work. It is sold in most cities in jars containing
one pound. All that is required for making it ready is a little dissolved
gum arabic and water.
Take your palette knife and mix these thoroughly on the piece of
glass, to about the consistency of a thick paste; it will then be ready
for use.
All colors can be purchased in this form. To those who would
prefer to mix their own paint here are given a few hints on mixing.
 BLACK PAINT.
Lamp-black, ground thoroughly with water and gum arabic, a few
drops of alcohol added, will make a fairly good black. All dry colors
can be mixed in this way.
 WHITE PAINT.
Fill a tin cup about ¼ full of whiting, thin it with water, add ½
ounce of pulverized glue—boil slowly, continually stirring until the
glue is thoroughly dissolved; this, when cool, will make an excellent
paint for dark boards.
At another using, should you find it has become stiff, a little
heating will thin it to the proper consistency.
 COMPOUND COLORS.
The following tints can be formed by mixing the colors as below.
The shades can be made to suit any taste by the exercise of a little
judgment in proportioning the colors.
Cream—White, yellow and red.
Drab—White, Prussian blue and vermillion.
Flesh—Lake, white and vermillion.
Fawn—White, stone ochre and vermillion.
Grey—White, Prussian blue, and very little black.
Light green—White, mixed with verdigris.
Grass green—Yellow, pink, mixed with verdigris.
Pea green—White and Paris green.
Dark green—Black and chrome green.
Olive green—Prussian blue and yellow.
Jonquil—Yellow, pink and white.
Lead—Prussian blue and white.
Olive—Red, green, or black and yellow.
Pearl—Dark red mixed with violet.
Purple—White, Prussian blue and vermillion.
Stone—White with a little spruce ochre.
Straw—White and yellow.
Snuff—Yellow, sienna and red.
Slate—White, black, red and blue.
Steel—Cerise, Prussian blue and vermillion.
Salmon—White, yellow and red.
Light yellow—French yellow and white.
Dark yellow—French yellow and red.
Lemon yellow—Yellow pink, with Naples yellow.
 BRUSHES.
Nine-tenths of the inexperienced markers are using camels’ hair
brushes, which do not have the required elasticity for good work.
Much depends upon your brush. A good sign writer cannot turn
out a respectable sign with a poor brush; therefore, a beginner
cannot expect to acquire efficiency unless he uses the proper kinds of
tools.
The proper kinds of brushes can be obtained of any brush dealer.
For ordinary work, a ¾ long No. 5 brush will answer, the cost being
about 20 cents. Purchase a set of about six assorted sizes, which will
answer for all work.

Use great care in selecting your brushes. See that the hairs are of
an equal length and that the ends are even when the brush is
flattened.
Train your brushes flat by always using the same two sides. Rinse
them in a glass of clean water after each using, and give them a
thorough cleansing—with soap and water about twice a week. This
will keep them in good condition.
 Figure 3 shows the exact sizes of a set of brushes, which will
answer for all purposes.
 CARDBOARD.
Your own judgment should be sufficient to know good cardboard.
The more you pay the better goods you get, that is, if you deal with a
reputable house.
Use a pure white, heavy coated board from 6 to 10 ply, according
to the size of the sign you are making. See that your board is of
sufficient thickness to prevent warping. If you use frames, of course
your board need not be so heavy.
Colored card-boards are well enough, occasionally, but as a rule
use plain white; people do not tire of it so easily.
 LAYOUT.
The laying out of a sign requires almost as much study as the
making. It is impossible to make a good sign if your layout is bad.
Always allow plenty of margin to your card and do not crowd or
spread your wording.
Measure off an equal distance all around your card from the
margin, and keep your lettering within these lines.
 HOW TO HANDLE THE BRUSH.
The following illustrations show two views of how to hold the
brush. It is held very similar to the ordinary position of holding a pen
or pencil, except that the brush must be held more upright.
After the brush is well rubbed in paint (on your glass) practice
holding it as shown in the illustration. Rest your hand on your little
finger. The flat side of the brush should be horizontal to the line. In
making the Devinne series of lettering, your horizontal lines are
always fine, while the down strokes are heavy. To make this letter it
is unnecessary to move the brush in your fingers, hold it firmly, and
as you become accustomed to handling it you will find that a very
little pressure while making the heavy line will produce the desired
effect.
In making solid letters of the same thickness throughout, a little
practice will enable you to revolve the brush in your fingers (as in
making an O) so that you can produce the curved portion of a letter
the thickness of your brush without removing it from your card. To
do this requires considerable practice and “if at first you don’t
succeed” try several times; don’t give it up—you may do it correctly
the next attempt.
 In making the rapid brush letters, hold the flat side of the brush at
the same angle as your letter; the down strokes must be fine, the
upper and lower ones heavy. To a beginner this style will come very
easy.
 SPACING.
Treats of the arrangement of letters and words at the proper
distances. Good taste requires that the letters and words should look
about the same distance apart; the space on the line which the words
occupies should be evenly filled. If this is neglected the lettering will
look “patchy”—crowded in one place, scattered in another.
If, in making your sign, you find that you have “run out,” do not
attempt to crowd the word or words into a limited space, but
separate them, and begin a new line. Have all your wordings to begin
and end so that perpendicular marks can be drawn through the first
and last letters of each line. This will give your sign a symmetrical
appearance and add greatly to the neatness of the layout.
 SHADING.
To look well, and to add to the beauty of your work, shading must
be carefully executed in both lining and coloring.
Do not use a dark color for shading, as it will give the letter an
appearance of bulkiness.
Always use a delicate tint for shade lines, such as light grey, which
gives a very pretty tone to a sign. This shade can be made by mixing
black, white and Prussian blue.
Shade on two sides only; the left side of your perpendicular stroke
and underneath the horizontal one; or, vice versa.
Do not crowd the shade lines into your letter. Leave a space
between them about the thickness of the line in the letter itself.