A Show at Sho' Cards (Paperback)

This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1913 edition. Excerpt: ... way into the knock-out department and i-rouud out in a hurry. A few there were who liad the foresiyht to dc ai1 from sign paintinij and take up show cai-ds as a specialty and tlicy, in turn, hecanie the vanguard of ir(S(nt da- Show ( ai-d Wiiting, incidentally reai)ing a golden harvest foi- their pains. Following will he found instiuctions as to use of latest tools, hrushes. materials and methods used in molern show card writing. MATERIALS With reference to materials, it is suggested tliat mdy the best are to he considered, especially brushes. All expert lettereis will l)e found in )ossession of the very best tools, the caic of them almost a religion. The card writer is fortunate in needing liut few tools and materials in the execution of his work. At tlie stai-t it is not necessary to equip with all the Aaiious things rimjuired to )roduce unique and odd eti ects. The following list will suffice and includes everything essential for ordinary work: One No. 4 red sable rigger, one No. ( red sable riggei-, one No. 10 red sable rigger, one No. 12 red sable riggei-. One-half dozen, assorted 1 to 6, Russia sable l)rushes. Marking pens, Nos. 1 and; shading pens, Nos. 1, 4 and 5. One No. 8 flat show card brush, one No. 10 flat show card brush, one No. 12 flat show card bi-ush. One bottle black shading ink: one bottle red shading ink; one ounce usual gold bronze; one ounce stri )ing gold bronze; one 1)0X white school crayons; one box artists charcoal; one )air large shears; one s )onge (inibber), one straight edge; one T-square; one wooden )encil conq)ass; one jar onogram fresco color, black; oue jar Monogram fresco color, flake white; one jar Monogram fresco color, ultramarine Ijlue; one jar Monogram fresco color. (lee i Turkey red; oue jar...