Elements of Show Card Writing

Part 1

ELEMENTS OF SHOW CARD WRITING

A Course of Instruction On How to Make Business-Building Show Cards

By JOHN H. DeWILD

Prepared for the EDUCATIONAL DEPARTMENT OF THE ASSOCIATED ADVERTISING CLUBS OF THE WORLD New York, N. Y.

Copyright 1923, by John H. DeWild

FOREWORD

It is with pleasure that we present this text on Show Card Writing by Mr. John H. DeWild of St. Louis.

It is designed primarily for the use of the study classes in the educational work of the Advertising Clubs that comprise this Association.

It is built out of the practical experience of a class that Mr. DeWild has conducted with success in the Advertising Club of St. Louis. In fact, the publication of the book has been somewhat delayed owing to changes that have been made in the original plan; changes that have greatly added to its practical value and that have come out of Mr. DeWild’s experience in his advertising class.

It should be mentioned that Mr. DeWild is the manager of the Merchants’ Service Department of the Ely & Walker Dry Goods Co., St. Louis. He has written books before on this subject. Being a practical merchandise and advertising man he knows the sales and advertising value of properly made show cards. He understands the technique of show card writing perhaps as well as any man in the country.

This is one of a series of texts prepared for the Educational Committee of the Associated Advertising Clubs and it is hoped by the Committee that it may serve an important place in improving the quality of show card writing and its advertising and sales value throughout the stores of this country and of Canada and of every country where an Advertising Club is located.

EARLE PEARSON, Educational Director.

PAUL T. CHERINGTON, Chairman Educational Committee.

ASSOCIATED ADVERTISING CLUBS OF THE WORLD.

INTRODUCTION

The ten practical lessons which follow, together with numerous supplementary alphabets and showcard suggestions, are the result of careful study, based upon years of experience gained in teaching the simple fundamentals of showcard writing to various groups of merchants and employees, demonstrations before Retail Merchants’ Associations, conventions and in other educational work.

The lessons were formulated into the course recently inaugurated under the direction of the Educational Committee of the Advertising Club of St. Louis. So successful was the course that this book has been prepared with the idea in mind not only to serve as a text book for instructors, where it is desired to conduct classes under the auspices of an Advertising Club, but also for the student or store employee who desires to do individual practice outside of a classroom. This is the only text book published which carries the student forward, lesson by lesson—in a simple, practical manner. (Note the charts for beginners).

It is easy to acquire, in a very short time, the ability to do suitable showcard work, provided the student =first of all masters the fundamentals of lettering=.

By “fundamentals” is meant the simple strokes that form most of the letters, and these “strokes” should be mastered to the extent that they will always be made uniformly.

In lesson No. 1, these fundamentals are thoroughly explained, and by using the large charts which are original with the author, the student will readily grasp the idea of properly forming the letters. With the first lesson thoroughly mastered, the remaining lessons will be very easy.

The author is grateful to the Advertising Club of St. Louis for the inspiration—and the opportunity which led to the demand for a course in card writing. For many original ideas and suggestions used in the class-room, and for several alphabets and showcards, a great deal of credit is due Miss Frances Kaiman and Mr. Charles Jones, both of St. Louis, who gladly gave their services during the original course, and also in the preparation of the text itself.

Experience demonstrates the fact that classes of this kind are made up of students from all walks of life; many of them without experience, and the majority of these young men and women come from the smaller stores in outlying districts.

For this reason, it is necessary in class work, for the instructor and assistants to render personal service to the extent that each student is encouraged along the lines he or she prefers.

As an illustration: The young man from a drug store is interested in vastly different styles of showcards than the young man employed in a grocery store, and after the primary lessons are completed, it is best to prepare suitable copy and layouts for the students, so that each may work along practical lines.

On the pages following the lessons will be found many showcard suggestions for numerous kinds of business, and various seasons, all based upon the alphabets shown in the lesson plates.

MATERIALS FOR BEGINNERS

Secure the proper materials right at the start. Improper materials are a handicap.

Instructors who undertake the classwork in many of the smaller cities and towns, as well as individual students, will perhaps experience some difficulty in securing the right materials. If, after investigation, such is found to be the case and the suggested materials mentioned on this page are not procurable in quantities sufficient for individual or class practice, the Educational Department of the Associated Advertising Clubs of the World, 383 Madison Ave., New York, will be glad to furnish these materials at very low cost.

Part 2

Proper materials are necessary, and good work can be done only when the student is provided with the best.

For the beginner, the following outfit is suggested:

1 set of 5 sizes round speedball pens,

1 set of model “C” speedball pens or several sizes of broad pointed pens,

1 bottle of black drawing ink,

1 No. 10 and 1 No. 12 red sable “rigger” showcard brushes,

1 2-oz. bottle black showcard color,

1 2-oz. bottle light red showcard color,

1 “T” square,

1 drawing board at least 22×28 inches,

A supply of thumb tacks.

The “T” square may be “homemade,” if necessary, as well as the drawing board, the only essential in the drawing board being that it be “squared up” on two sides—the left side and bottom, thus enabling the student to do rapid, accurate “lining” or ruling.

With these materials, the student is ready for the first lesson, which should be practiced with the aid of the large instruction sheets, these charts being provided by the Associated Advertising Clubs, and two of each are included with this text book.

It is also suggested that where the local Advertising Club or other organization is fostering the class in showcard writing, there should be provided extra charts for practice, together with sheets of heavy paper, enameled on one side, size 14×22 inches. This enables the student to do extra practice in addition to the chart work itself.

In purchasing showcard stock, students should keep in mind certain sizes of stock necessary.

Full sheets of cardboard are 22×28 inches.

Half sheets are 14×22 inches.

Quarter sheets are 11×14 inches.

Eighth sheets are 7×11 inches, and so on.

The thickness or “weight” of cardboard is usually designated by the term “ply” which means the number of layers of rough pulp making up the body.

A good weight for ordinary cards is 6-ply.

Heavy board, usually used for half and full sheets, is 10-ply, or thicker. Mat boards and double size cardboard usually come 28×44. Some mat boards and other fancy boards can be procured, however, in 22×28 size, thus saving the time in cutting.

It is suggested that students procure from their printers or wholesale paper houses, catalogs of samples and sizes of the various cardboards, etc., and familiarize themselves with the weights, colors, names, etc.

SUGGESTIONS FOR PRACTICE

If the showcard work is to be conducted in classes, it is highly desirable to procure a suitable room where drawing tables are available; for instance, the drafting room of a high school or college. If this is impossible, the next best method is to provide large tables, slightly lower than thirty inches, and chairs where students may sit at their ease, in using their drawing boards.

As the work progresses, the tables should be raised, so that those who desire may stand up. This will enable the students to do better work, especially when the brush work is being practiced.

In fact, it is suggested that after the third lesson students be permitted to stand as they work, and if in a drawing classroom or showcard studio where practical work is done, the regular drawing tables can be used.

The thorough mastery of the fundamentals is absolutely essential to good work, and particular care should be taken with the first four or five lessons that all students master these details. If the student is without an instructor, he should exert every effort to be painstaking, and never hurry the work in the early stages of practice.

Part 3

Quick, “jerky” strokes, especially with the pen, are decidedly bad form, and should never be attempted until the student has advanced to the point where it is possible to gain a little speed and yet be neat and accurate.

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