/ t??^ # i^ #^ i^* i^-

4^ X i.. i

'' If. ...

!'■ Jk'_..r-_.-ri-*'

*r !>■ * ■&■■ &■ »»'■ is>' ' ■ W > te' #■ f* f ■■ #' f^- !«' i*, i>*,

r i- i i> 1* i* 1> i^^*^- »'^ ■*■ ^V>V ,- J^^ '■

i«i -W' -r* # Tft f* *• i> i> * f«^ -i?./^, *

0 .is^Hi/ *• "19. {* # i?^'' KK^ -^ J"' J" J"' J^ J' J^'^<^i^

ij;' ■#[ *i;^i^^ ^ <^:';v^^

<^; ?*;; -JRy :^ IK' # ^-'Si .ijl; ^p

'' 10 U ip ^ -^ . „ i^r" i¥' ^?(*' v» ^j; ^

..• m^ f^* ^" 'j^ t *• •■^•

^r \^' p' %^ ^ tV- '^: 4-^ ^

*. ^. •»;;■ »

i*v -x* •".*._ «h_ •«*- -.Hw .^ .. ,....:.• ..^,, .%■..; ,k.r .«cv.- i^.- i5r 4^ ite m\ /«■ *■

4* ^> ^]^ >.

• • ■ f^- *^'; m y^

... |>, «'«; ^At.

11^; t^' i%" 1^..

; ^^^■• re* m ~ ^m m. m f>: . (4, liw %^

i. I*. i;x

u.^' ^fi:-' nii^' W %■ %^ 1^* ^ ^P ^ ^ ■r:' t|v \]i^ «]«nV '4> -ft-^ t*^- t^<^ 'ikv ik k '

^; iite^^ iiB^' -^ 'h^ -%■ '^ i^ *■ It ». y ^ ^y^^ w P *• ^^ ^'^ w * ^

" • '.- '-' > 155. ]^< ■» ti^' ■(« i«^. * i> fv; {fc^) 5^.- ?ii> IV ^j;^ !»• f

4,'lfe. ffc. life." % ^ p. \^. t P '^J'^J^^^\y ■'^ ^?^'^ W lifc^ &^ 1^ ^ W' l^r 9f^ !^ i^

R?.' fir: ft: 1^' S^ p. y^k:: X^^ W »' » *■" '^^ i>V i^'" gf^ gj- t^ Pi^' %< i^ *r f^'

•■'* -4, -u. ^. " p.^ R r^ i» (j» » i:«- f ?. i

■ S^ «?/ 1^- i^^ i^^' 1^ 1*^- I* fl^ ^ *

. ... .-_.„ .... ri.nr' (:.."'««.■> u.-, a; IV. »«.. .f'i..- ffek ;A.- IV;

mi i>j •*« P'. ij^. x» V' K**' t,'"^ i^' v

0^ H- {«■ I^-= f*^ l^- l^ ^^ t4 P ^'

.f^

V . ^

V

^o

.V

<>

^

V

A <

/>J.

c, ^r-

-^^

•u

^. .-^^

.^"'

.O*

,-^o.

^' ' ^^'

^ ...

'^O.

/

v-^

^^

.-^

':^^^.^ ^^^^^'o. \^:^^2^^^ ,o

-^^0^

.^*^°-

o H 0 ' ^y"

,V

'3 "J^.

S^'v...

o " "= ^ *0 O

v^^ .

o >

^0

" " 0

^^. .-^^ "• ^-^

<?■ " o « o ^ '^^

V-. C>

^,> .S

•^- ^vV

0° .^-^v.

-n^o^ V
	^ ''-<^

\'^t

x^-n

. sH

.0

0

^t.

^^

v-^^

-%

<'.

^0'

>

o 0 . i^ • • '

.' ,**' V •-. ■• : ^ - '-^^ '^^

.-N^

.-^

',/.....■•■

-n^o^

'«v,0

%.^^^ :A\|-<

4 O

^.

V .

^ ^\^

iqi\ lal^tfir

A COMPLETE SYSTEM

AND SET OF LESSONS

FOR BEGINNERS

THE PULLMAN SCHOOL OF LETTERING CHICAGO, ILL.

iqi\ laiMer

A COMPLETE SYSTEM

AND SET OF LESSONS

FOR BEGINNERS

THE PULLMAN SCHOOL OF LETTERING CHICAGO, ILL.

TT360

MAR 16 1916

/^' (^77/

riv

THE BEST WAYS

TO LEARN SIGN PAINTING

A Complete System And Set Of Lessons For Beginners

Copyright 1916 by A.R.Hussey.

The Pullman School

of Lettering,

Pullman Station, Chicag,o"

^iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii iiiiiiiniiiiiiiiii iiiiiiiiiniiiiiiiiiiiiiiiniiiiiiiniiiiiiiiiiniiiiiiiiiiiiiiiiniiiniiiiiiiiiiiiiiiiiniiiuiiiiiuiiiiiiiiiiiiittiiiiiiiiiiiiiiiiiu^ =

lliillliiiliiiiiiililllililillllillillillilliliiiiilllillliiiiiiiliili

iiiiiiiiiiiiiiiiiiiiiiii

iiiiitiiiiiiiiiiiiiiiiiniiiiiiiiiiiiiiiiiiiiniiiiiiiiiiiiiiiiiiniiniiiiiiiiiiiiiiiiiiiininiiiiiiiiiniiiiiiiiiiiiiiiw^^^^

iiiittiiiiiininiiinmiiiiiiiiiiniiiiiiiiui

CONTENTS

Acid 21

Aluininuiii (leal' ami l)ionze) . . . . 29

Alphabets (names of) 6

Amount of Lettering 27

Awiiiny Lettering 33

Backing Up Letters 14

Barber I'oles 21)

Backs for Glass Signs 3G

lioai d Signs 33

Bi ass Signs 33

Bronze Signs (or Tablets) 33

Burnishing (gold leaf) 12

Care of Brushes 38

Curved Betters 31

Ciicies 21

Chipped Glass Signs 4a-46-4(

Chalk Bine 30

Coating Signs 40

Coioi s (how to mix) •>■*

Cutting- in Color 32

Cutting- Letters 5

Corner I'ieces *1

Cleaning- L'p Gold Job 15

Cleaning Glass 32

Damp Brushes 3tj

Designs *>

Diiliing- Holes in Glass 31

Kmbossed Gold 20

ii^tching (gold on glass) 24

Etching- (brass signs) 4 i -48-4!)

Btching (glass signs) ■13

l-irst Principles 4

first Gilding 11

I'lat Coating 21

flitters 4 0

Mock 24

l-'rames (muslin and oil-cloth)., .yj

l-'iosting on (jlass 2o

(jalvanized Iron Letters 3!i

liaivaiiizcd lion (how to paint).. 37

Gilding (outside) 21)

( rildei s Tip 2(i

Gilding Raised Letteis 2i

Gilding (surface or Hat letters).. 3ti

Glass Signs S-4 3

Glass Cleaning s^

Glass Gilding !^

Gold Stipple (on boaids) 21

Gold Leaf 3!)

Indelible Layouts 37

Instiuctions 13

Introductory 5

Japanned Tin Signs 32

Klean Kups 2S

Kit (the) 50

Lacfjuer (on tin signs, etc.) 30

Laundry Signs 22

Jjayouts 7 and 22

Lemon (iold Leaf 23

i^etters (names of) 6

Lettering Brushes 37

Letters 6

Lines (chalk) 30

Lines (thread) 30

Li((uids (conmionl\- used) 29

Muslin 38

Muslin Signs 22

-Moulding (for glass signs) 31

oilcloth Signs 32

Oilcloth 28

Outlining and Shading If)

I'atterns 7-16-40

Batching (gold jobs) 12

I'ounce Bag 8

Bounce Pattern 16

Piir.iing Coat (for boards) 24

Putty (all kinds) 31

Quick Size 28

Questions 50-51-52

liaised Letter- Signs 41

liaised Letters (on boards) 28

Raised Letters (on wire) 27

lieal Estate Signs 30

Screen Signs 20

Second ('oating 40

Second (Hiding 11

Shading 16

Shellac 27

Shop Equipment 36

Silvei ing (ilass 41 and 42

Silver Leaf 28

Size (slow) 42

Skewing Box 29

Smalting Signs 16

Siiacing Letters 32

Special Letters 6

SLenciling 43

Thread Lines 30

Tricks of the Trade 52-53-54

Tracing Patterns 28

Ti-ansparency 26

Varnish Grounds 38

Varr-iishing Gold Work 16

Wall Signs 37

Wagon Lettei'ing 25

Water Size 9

Washing Gold 13

White Frosted (51ass 26

Wii-e Signs 25

Window Signs 26

Window Shade Lettering 41

Zinc Etched Stencils 26

iC!.A427*^G5

iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii^

iiiiiiiiiiiiiiiii[iiiiiiiiiiiiiiiiiiiiiiiiiiiii{!iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii!iiiiiii{iiiiiiiiiiiniiiiii^

FIRST PRINCIPLES

The instructions in this set of lessons are intended for the exclusive use of the student whose name is on file in the office of The Pullman School of Lettering, Pullman Station, Chicago, Illinois. The student should l)ear in mind that he is entitled to personal assistance to over- come obstacles, for which there will he no extra charge, and such assistance will he rendered free for one year from date of enrollment. I strongly reconmiend that advantage he taken of this privilege as often as neces- sary. Do not hesitate to write for information, fearing that you will annoy us. We want you to meet with success, and the more help we can give you the easier it will he for you to succeed.

Always inclose postage and self-addressed envelope asking for advice and further instruction. We are here to help you; that is what you have paid us for. and we will do our part. We are just as much interested in you now as we were before you sent your a])plication, and it will not be necessary for you to i)ay any more fees for advice and help. Remember always that the man who becomes easily discouraged rarely succeeds.

With best wishes for yoiu^ success, we are. Yours faithfully.

The Pullman School of Lettering,

Pullman Station, Chicago, 111.

"iiiiiiiiiilttiiiliililiilliiliillllliiiiiiiriii

PULLMAN SCHOOL OF LETTERING

INTRODUCTORY

The system aiul working rules for learning sign painting given in this set of instructions are intended for men and boys everywhere who wish to bet- ter their condition by entering -the sign i)ainting business, that promises big cash results for those who have energy and pluck. These instructions are based on my own actual expe- rience, and the experience u\ some of the best sign -painters in this country. Remember there is noway for you to suc- ceed unless you jiieet success half way.' If '■••ou wish to suc- cecvl in the sign painting busi- ness it will bq quite necessary for vou to '^^^■'^ sj;rict attention to tht sy»;tem and rules lai»' be- fore you. which you will find correct in every detail. If ymi find something wrong with the working of any part of these, don't hesitate, and be di-^- couraii'ed ; sit down anrl ask u^^ and we will gladly make clear anv nart that goes wrong. The more careful you are, and :he hardvr vou study the svstem. the more quickly you will suc- ceed and I'ventuallv be able to sail into it and make good.

You Can Go to Work at Once

The instructions in this sys- tem arc ])rinted in book form for the com enience of the be- ginner< It is customary for some -chooTs to Issue lessons in leaflets, one lesson on a leaflet, and send vou one lesson a week.

We have found the book form much better, being more con- \ enient to keep all the lessons before you all the time. When ^ou want to know anything about a particular sign, or how to mix a particular color, you don't have to wait a week to pet your next lesson sheet, be- sides losing valuable time.

You can carry the entire sign painting business in your pock- et and refer to it at any time.

Ask All the Questions You Like

Don't be afraid to ask ques- tions, fearing they might seem foolish or iiliotic to an experir; enced sign painter.

We have lots of time and pa- tience for the man who is will- ing to try to help himself.

You will find the lessons con- tained in this book the most simple and easy to understand of any heretofore Dublished, and l)ased on practical expe- rience, not guess work.

LESSON I

How to Prepare Your Letters Ready for Use

The letters sent you in this course are the very latest sign jKiinters' styles and used by every first-class sign painter.

These letters are printed on specially prepared paper, ready for you to cut out and use.

Cutting Letters

To cut out letters, first pro-

PULLMAN SCHOOL OF LETTERING

cure a soft pine board (or plate ii^lass) and a sharp pocket knife. Slant knife a little and cut away all black around each letter, being very careful to follow the black edge perfectly.

Now your letter is ready for u.se.

Names and Sizes of the Differ- ent Styles of Letters Carried in Stock

ABCDEFGHIJKL

MNOPO RSTUVWXYZ&

abcdefghijklmnopqrs

tUVWXYZ

No 1. Plain Egyptian (reg- ular).

ABCDEFG HIiJKL^MNr OPQRSTU

VXYZ& 1S34567890

No. 5. I' nil Block (regular).

ABCDEFGH

IJKLMNO

PORSTUVW

XYZ&

abcdefghijklmnop qrstuvwxyz

1234567890

ROMAN

ABCDEF

GHUKLM

NOPQRS

BULLETIN No. 2. Plain Egyptian (con- densed).

No. 3. Spurred Egyptian ( rt'i^ular).

No. 4. Spurred Egyi)tian ( ciiidcnsed).

No. 6. Half Block (con- densed).

1 he above alphabets are car- ried in stock (including num- erals) and run from two inches to six inches high.

Any si/.e made to order on ihorl notice.

LETTERS

Tlu- ]tre]>nred loUcrs arc car- ried ill stock by us only, "reg- ular" meaning as wide as high, "condensed" meaning one hall .IS wide a.s high, these sizes be- ing apjiroximate and are to be r -td in our course in painting signs.

Special Letters and Layouts

We will make your special letters and lay out (or design) any jt>b you have, pattern ready for you to perforate and letters ready for you to cut out. and charge you for time and mate- rial only.

The above charges are made for the lazy fell«)w's benefit. Instead of taking the size of the

PULLMAN SCHOOL OF LETTERING

siti^n and making a pattern with his own letters, he w^ould rather ^it down and let the other fel- low do the work, if he wouldn't charge for it.

Drawing, or placing the let- ters in position on the sign you are to paint, is called "Layout*^ (or design), and you will tind that the more particular and painstaking you are, the better job you will have.

All tirst-class sign ])ainters make a pattern (or layout) for the smallest job. it being more accurate and quickly done than drawing it on the window or sign, and the pattern may be used on both face and back of glass after gold leaf is on, and is perfect and easy to handle. You can't go wrong and your

r<tuiii-e imttcrii iiiitl "lay-

iiori/.ontal lines are level.

The pattern sent you. with the word signs on, after being perforated is called a "Pounce Pattern," and the letter "L"- at- tached shows how to perforate

around the edges of letters, also showing a line drawn |)er- pendicular through the center of the pattern, called a guide line, and is used only when pat- tern does not fit the sign, it not l)eing necessary to make yo.:r ])attern as large as your entire window, unless it is a ^nlall Vv'i'iKJow. as you can readily see what a big jattern a window 8x10 feet would re(|uire. Bj- s'dcs, \\m \\n)u'.(ln't ha\e a wall ( r drawing board large enough to lay your paper on, and a pat- tern that large would have to be made in sections, making it too large to handle conxenient- ly, and uncalled for.

How to Make Your Patterns

To make a "pounce pattern," lay the glass sign to be lettered down on top of any good tough drawing paper and cut around glass with a sharp pocket knife. Then you will have no guess work and the pattern will be exact size and fit the glass.

LAYOUTS

Now you are ready to "lay out" your sign (or draw vour letter.s).

St'e Ki«. 4'J on piiut' 7.

If yt!ur sign is to read:

Frank L. Smith

Fancy

CROCERIES

and your glass is 18 inches by 36 inches, you should make your pattern as follows: Al- ways remember height of sign is called "upright" and width of sign is called "landscapes," and on your order always ni'uk it. to a\t>i(l all jxissible error in letterinir-

PULLMAN SCHOOL OF LETTERING

Now take your prepared let- ters and lay out the size you think will fit best in the space vou have.

See figs. 26, 27, 28 and 29 on page 10

shows sign to be lettered 18 inches by 36 inches ; also shows .^pace and size of letters, thus :

2 inch space, 3 inch letter ; 2 inch space, 2 inch letter ; 2 inch space, 5 inch letter and 2 inch space.

shows size of space and let- ters that are best suited for this size sign.

Larger or smaller letters may be used and must be gov- erned by the sign painter's taste entirely. You will find there are some people who can't get the letters large enough and others can't get them small enough.

Lines to Place Letters On

Now with a perfectly straight yard stick draw your lines across naper and lay your 3 inch letters between the two

3 inch lines (Frank L. Smith).

Sec Fi'^s. 2<!, 27 ami '2S on iinK'e !•••

When in j)lace and properly spaced to suit, mark around letters v/ith a sharp lead pencil and take them dut of your way. and ]n-oceed with the 2 and 5 inch letters in the same man- ner. This will show you how to make your pattern.

When you have laid out and perforated your pattern, then it is ready to place on the window or sign you are to paint.

Pounce Bag

Next make a "pounce bag." Fill a Durham tobacco sack

two-thirds full of clean, dry whiting, tie it up securely and place your pattern on the glass (or window) to be lettered, and hold pattern securely, being careful not to let it slip. Make fast with gummed labels (se- cured at your druggist), then rub "pounce bag" over the per- forated lines and you will have an exact duplicate of the let- ters (or layout).

.See Fijs. !)9 on itnK'e 17.

If pattern is to be used on white background (see board signs), you will make a dark "pounce bag," using dry ulta- marine blue or dry lamp black, and proceed as above, using less "pounce," as dark colors show stronger on white sur- faces.

You will then trace around your white lines with a "grease pencil" (on gold glass work only), as it enables you to see vour "layout" better and to patch broken places in the gold leaf; remembering always that tools mentioned in this course can be secured of the Pullman School of Lettering.

See price list of tools and material ; send oostoffice money order with your order for sup- t~ilies and they will be sent same day.

GLASS GILDING

This is one of the most sim- ple methods ever published, one that really teaches you how to lay gold leaf on glass and other surfaces.

Glass Cleaning

Clean your glass thoroughly with a wet sponge (or rag) (lil)])ed in whiting. After you

PULLMAN SCHOOL OF LETTERING

have rubbed over the entire surface (usiiiQf a safety razor blade for takiii"- ofi all paint rubbinw the surface with news- |)a])er, making sure every par- ticle of whitinp- is wiped off, leaving your glass clean and free from grease.

After this operation you will proceed to put your pattern on the outside of the glass (or the side you read from). As the gold leaf is put on the inside (or back of glass), place your I)attern on perfectly even, with face out, then wipe white "pounce bag" over it and you have transferred your letters to the glass (same as instructions under "layouts").

Now set ^^our glass upright on easle (fig. 22 below '^ with "layout" (or pattern side) turn- < (1 in, and you are ready for gilding.

l-'i;;. -li. I'oillK'O pjiU«Tii |>lilf<'(l on tsi«'«' of K'la.ss shows, word siu'iis i«ii4l\ to traro with Kronso lUMioil I ;;il<i.

We are sending you a "pounce pattern" of the word "Signs," with letters tcj match.

that you may more fully under- stand our system and start sign ' ainting at once. The "pounce pattern" must be perforated by means of a tracine wheel (see printed directions on pattern) and the pattern cut and made ready for use, to show you ex- actly how you are to ])roceed and make your own patterns.

The "pounce pattern"' should be made in your shop or at home, and not on the job, as this is a secret method and one you should protect for your own good, being nobody's business how you form your letters.

After cuttinp- the letters fur- nished you in this set of in- structions, you are then pre- T\ired to make your own pat- terns and shape your own let- ters by following our instruc- tions.

\Vhen you have carefully studied every word of the above instructions and know it almost "by heart" then you are ready for gilding.

READY FOR GILDING

Now you ha\-e your glass on the easle, and your letters "pounced" on, and the glass cleaned and free from grease ; then you will proceed to make the size for sticking the gold leaf to the glass.

"Water Size" for Gilding on Glass

To one-half pint of distilled water add one No. 1 empty ca])- sul and bring to boil in a clean granite cu]). After same has l)oiled, stir briskly with a ])er- fectly clean stick, and size is ready for use.

If impossible to get distilled

PULLMAN SCHOOL OF LETTERING

water, filtered rainwater is practically as good and will an- sVver the purpose. (Note — Never use alkali water.)

When "size" has cooled proceed to gild.

See Pi«-. 40 on itsiK'e 1^5.

The "size brush" sent you is used to put on the above de- scribed "size." With this brush you will coat one or two letters, depending on size of letters, beginning at top left- hand corner, and gild the entire toj) line of letters. When top line is gilded, begin in same corner on the next line, and so on until entire job is finished.

See Fiji-. 40 on pnue '-t-

(jilding in this manner will prevent 'size" from running

/vgr sjS;

HId) .'\|\!i|v/ I! /PiyJ (iVi^u

'" m\k\m^

down over your wet gold leaf and streaking it, which is al- most impossible to get out.

Putting on the Water Size

See Fitt'. 40 on |»:iK'e i:{.

You will next lay on your gold leaf (or start to gild).

See FiK. 41 ou pa^e t2.

Place the book of gold sent you in your left hand, then you are ready to use the "water size" for sticking the gold leaf to the glass. Place your "size" on a box or chair at your right hand ; dip "size brush" into "size" and coat one or two let- ters as described above ; then turn back the cover of gold book until you come to the gold leaf, keeping the gold book in left hand. You will then turn

\-m.	lie	;S^nr^l
I
c	("A	NliY'	1
1
(M	■)u.	^N/?li)'	^S
^^	^^M	r =?z^-	-J

FRANKLSMITH

■FANCY-

GROCERIES

r,^Z8.

SI'AU'I' I'O FINISH in "I.X^IN*; Ol'l" a sinn.

PULLMAN SCHOOL OF LETTERING

back the leaf of the book until you have a strip of gold large enough to cover the stem of letter you are gilding, using the thumb of left hand as a stop, or guide.

Fi^'. 4'A. i'uttiuK ili^ K'oliI leaf with

First Gilding

and proceed to co\er the entire letter at first gilding. "First gilding" is a term used by sign painters, and the more careful you are in the first gilding the less patching you will ha\e to do in the "second gilding." "Second gild" (or ])atching up) is also a term used by sign ]:)ainters, and care must be taken in tlic "first gild," makinii^ sure y> u !i-i\e er.oiigh gold on to cover the letter. The space between letters do noi re- quire gilding, but on 'Uiall let- ters, un to 3 indies liigh. may be glided "solid," always re- nvcmbcrin;..^ that it is impossible to gild on glass, unless you flow on plenty of "size." And should your gold leaf slide and run out of i)lace, by t(!uching ed<re of the leaf with your "gilders' tip" you wilj readily see the results. "Sliding" is caused l)y api)]ying the Icnf be- fore "si.-e" has ^-topped run-

ning, and can be prevented in two ways. First is : put on your "size" and by the time you ha\e oj)ened the gold leaf book and cut your leaf to lit, it will be through running; then ap- ply your leaf and it will seldom slide. Second: By touching Q(\gc of leaf with vour "gilder's tip."

"Laying Gold With a Tip"

The "gilder's tip" sent yon is for laying gold leaf on glass and difficult raised letters (see raised letter signs), and sht)uld be slightly oiled by wiping it through yt)ur hair each time be- fore laying it on the gold leaf.

FiU'. 4^. Str«»kinfi- linir with uil- <l<>rs tip. Iift'ore lii.viiiu tip on k<>I<I leaf.

When you ha\ e stroked "gild- er's tip" through your hair it is then ready to i)ick up the si^olfl and apply to the glass. This yon must do each time, and your "tip" will never fail to ])ick up the gold leaf. After you have "first gilded" your letters, you will then wait until gold is perfectly dry before l)nrnishing: by watching the outside, or o])posite side of glass, you will see that it has started to dry. taking on a high burnish or bright spots, and the

11

PULLMAN SCHOOL OF LETTERING

gold must appear bright before you can burnish it. Any dull ])laces (called damp or wet places) must not be touched until they disappear. In cold, damp weather gold dries slow- er and may be hurried along by fanning it, or carefully blotting with soft, clean blotters. Great care must be exercised in lay- ing on blotters that they do not slip and mark the gold. When gold is thoroughly dry you will then proceed to burnish and "patch up." "Patching up" is also a term used by sign painters, and is very essential, unless job is on windows abo\e the second floor, where a small broken place (or crack) in the "first gild" will not show from the street, and patching is un- necessary.

Patching Gold Jobs on Glass

Great care should be exer- cised in "patching" your gold jobs, for the fellow who is care- less is not in demand, and nothing looks worse than a poor gild, and by following this course to the letter you can't SH) wrong.

Burnishing the Job

When you are sure the gold is dry. the next ste]) is to bur- nish ofif the superfluous gold (or ragged parts) wMth a nice clean piece of medicated cotton (that you can secure at the drug store for five cents a pack- age).

You will wipe away all loose particles into a deep cigar box that has previously been cov- ered with a piece of common wire screen, and is called a "skewing box," or a box to save your scraps of gold leaf in.

Piu. 41. I^ayiiiK on the leaf.

After this is done smooth your piece of cotton out. form- ing a nice, smooth surface that w^ill rub over the gold leaf without scratching, rubbing first up and down, then the other way, making sure you have rubbed it enough, and is almost free from wrinkles and rough places, being careful not to rub through. By looking through to the light, you can see every move you have made with your cotton in burnishing.

After you have burnished your gold (as described above) you will then "patch" up the holes and broken places, that can be easily seen by looking through to the light. Start in the left hand corner of the job, same as "first gild," taking a few letters in top line, and flow another coat of "size" on them. being ready always with your gold and "gilder's tip," and proceed as beft^re. onlv using small pieces of gold leaf instead of larger ones in "first gilding."

Smaller pieces of gold for patching are made by opening book until about half inch of gold shows, cutting it ofif from left to right with the front fin- ger nail, then cutting it cross-

12

PULLMAN SCHOOL OF LETTERING

ways, making any size pieces desired, and that will fit the places intended ior, making sure that you have "patched" every place you think will show or be seen from the out- side (or reading side) of the sign.

When dry. as explained in first gilding, you will burnish patches with cotton as before (in "first gilding."

Sot' I'^i^i. -4:? on |tii;if I 1.

Washing Gold

Washing your gold (or giUl- ing) is a \ery simple process, but jiroduces a wonderful ef- fect, and no job is thoroughly (U)ne w i t h o u t "washing ;" neither can you |)roduce a per- fect guild.

The "washing" simply brings out the l)urnish on the gold that no other process will do. and vou will be surpri-ed at the wonderful elTect

After you have burnished the patches with cotton, you will "wash" entire job with boiling h( t water, flowing it on with your "size" brush, same as ap- ])lying "water size" in first gilding and patching, l)eing careful not to go over same places twice. (As water l)ein; I-. (jrdy .icnnd that wili cK-an off the gold, it being soaked u]-. on the first a])plication ot water, it must not be touched again until dry.)

When you become more fa- miliar with gilding, and know^ the exact action of the sizing, gilding and washing, you will then be able to do- the w(jrk with ease, and no guessing.

I therefore advise you to get a piece of glass the size of the jjatterns sent you. "pounce" on the ivittern. gild and patch it

Kiu. 10. I'uMiii;^ on Hie ">iiz«-" lor KiltliiiK on kIxk.s.

Up as often as necessary ; or un- til you are sure you thoroughly understand the process, which. if interested, will absorb about nne hour's time.

W hen vou thorough' v under- stand gilding on glass, and have the gold "patched" and thor- oughly washed, you are then ready to put the lettering on.

£■ iv. I.~. How <Iit' li'ttor.s sent .>»;!> J". CO to lie ii.sejl c.ii ^<>l;l le:if si;tii.s.

Follow Instructions

^'ou will lind the two pat- terns sent you are easy to han- dle while practicing, and the letters being connected and properly sj)aced. you will ha\e noihinu 1(1 di> but to follow my inctructicns, the gilding being (!('■>■ ;is al)o\e.

The "cut out" pattern is now 1)lac( (1 on the g.ass (with side

13

PULLMAN SCHOOL OF LETTERING

marked face) laid carefully against the gold (or gilded sur- face), being careful not to let it slip and mar or scratch the gold leaf.

You will then clean away the superfluous gold between let- ters with the round brush sent you, by slightly moistening the end of brush with your tongue (or damp sponge) and rubbing the brush over the space be- tween letters in a circular mo- tion.

See Fijjf. 4.'> on page 13.

When you have cleaned away all gold leaf from between letters, remove the cut out pat- tern and you have the word Signs in gold letters ready to clean and back up.

To clean up letters ready for "backing up" and finishing jol). first secure a piece of cigar box lid about 5 inches long, }'s inch thick and % inch wide. With a sharp knife trim ofif the paper and make it perfectly square on the end (or ^x^ inch in size). Then lay your yard stick down carefully on top edge of letters, and with the ]?iccc of cigar l)ox lid clean ; way tlie <j-old that does not be- lonp- there, called ties.

.See Fi^i'. -Hi mill 4H on psiK'e 14.

Fi'i. -((i. ClcMiin- f.:i) : :..i bottom

How the .semi-circle i.h

W^hen top and bottom of let- ters are cleaned ofT thoroughly you will look on the other side, to make sure that every par- ticle of gold leaf that does not go to make up the letter has l)een cleaned away thoroughly.

If edges of letters appear ragged, it is your fault, and next time you will remember this point and be more careful, as it can be done cleaner and more perfect with our process than by hand, and much quicker.

rhis being finished, you will now proceed to "back up" the letters.

BACKING UP LETTERS

Into one of our famous "Klean Kup" boxes sent you. put one tablespoon full of our celebrated "backing up" var- nish, which is prepared by us, and ready for immediate use.

With the camel's hair brush sent you. you will then coat the entire back of letters (which is called "backing up") running over on the glass }i of an inch or less, if possible. T.ook over each letter carefully to make sure you have covered every particle of gold leaf. If not covered in cleaning off the

14

PULLMAN SCHOOL OF LETTERING

superfluous gold (or washing entire glass) you will soon dis- cover the places you have miss- ed, and your gold will wash ofl', leaving the bare glass where gold should be.

When this o])eration has been thoroughly taken care of. you will let the backing varnish dry for four hours or over night, before cleaning oft ragged ])laces, or su])erfluous gold.

This, however, can be done in nmch less time with our celcl)rated "backing up" var- nish, but for your first few t-.mcs wotdd advise letting it dry thoroughly before cleaning oft. If nt)t dry enough, the varnish may let go of gold in ]daces, causing ragged edges.

Cleaning Up Gold Jobs

The tools most essential in cleaning up gold jobs are the damp chamois skin, damp sponge and a "wad" of medi- cated cotton.

When "backing up" varnish is thoroughly dry, you will pass the damp sponge over the glass and letters carefully, following this up with a "wad" of cotton, rubbing over the surface until glass is perfectly clean, watch- ing the face of sign to make sure e\ery ]>article of gold leaf is cleaned ofY. N(nv ])roceed with your damp chamois skin to finish cleaning.

After glass is thoroughly cleaned, you are ready for out- lining, or shading.

OUTLINING and SHADING

The Prussian Blue sent you is mixed and tested ready for use, and can be made darker or lighter as desired, by adding ni(.re blue (if drirkcr shade is

wanted), and varnish (if light- Pour out small amount of blue in paper box at a time (as it dries quickly) and soon be- comes fat (or thick) and impos- sible to work hi lettering brush. Place your sign on the easel and you are ready for btisiness. W ith the brush sent you (called outliner) you will "out- line," or edge, and coat entire back of each letter, beginning at your left and working to your right, being carelul to till your brush about half fttll of color, smoothing it out straight and square like a chisel, never allowing brush to become twisted or pointed, but must be kei)t flat.

This is done by working the brush back and forth on your palette or piece of glass.

Hold your brush firmly but lightly between front finger and thumb, similar to holding a pen or pencil, not too stifi, but so as to allow brush to turn or roll when necessary, as in outlining round letters.

Keep your brush well filled with color to axoid ragged edges.

Color should be proper con- sistency, not too thick or too thin, but just right, and you will have very little trouble making a perfect "edging," or "outline."

!<'ins. I. I- jmi IN slio^v proiM-r Mti'okfN ill t'oriiiiiiu letterM iiiul oiit- liiiiiiu.

Always remember to fill your brush full and work it out even- ly t)n your palette or glass, and when this is done several times draw the brush towards yoti, keeping it flat to the ])alette. and apply the palette side of brush to the sign, using the point of brush, pressing lightly.

Never press hard on the heel

\5

PULLMAN SCHOOL OF LETTERING

of your brush ; it's the wrong end to paint with.

Varnishing Gold Work

After your outlining is thor- oughly dry, wipe over lettering with a damp chamois skin and varnish the job, by pouring into a paper cup a small amount of the varnish sent you, and proceed to "outline" the letters with varnish, same as described in outlining, only using a clean (or new) brush and varnish, instead of the blue paint, being sure to cover entire back of let- ters and extending over the blue outline onto the glass }i inch or more, being careful to make a nice, clean, uniform job.

Using Patterns

By using the patterns sent you, it will be very easy to understand our method and be able to make your own "pounce patterns" and lay on the letters.

It not being necessary to make a cut out pattern for every job, neither do we recom- mend it, as you can place each letter in exact position after you have made the "pounce l)attern."

Pounce Pattern

The "pounce pattern" is call- ed "layout," and should be made in the shop or at home, and on arrivel at the job "pounce" the pattern on the outside of the glass; do your gilding; reverse the pattern and use it on the inside of glass, on top of the gold, and you have an exact outline of your letter- ing.

Then you are ready to use your separate letters (or the ones sent you) by laying let- ters on the perforated marks of

"pounce pattern" and cleaning away the surplus gold with the round brush, previously de- scribed, and proceed with backing up, outlining or shad- ing and varnishing.

See FIjt'. 45 on pnee Hi.

SHADING

Shading is for the sole pur- pose of causing letters to stand out, or have a raised appear- ance, which is very pleasing to the eye.

All shading must be on left

As in Fi;;'s. Hi, 24 nnil lit on paK'e IS, and FiK'K. '2ii and 21 on pa^e 17.

and bottom of letters, except in script lettering, which must be shaded on opposite side and bottom. See fi^, 23 on Pa^e 17 When lettering is dry, then you are ready for shading. This is done by sliding the let- ter or pattern to the left and down, the same width as stem of letters, marking edge of let- ters where shade is wanted with a lead pencil.

FIks. 14 and Hi shows letters shaded with your "cut out" letters and connected to letter by dotted lines, as described in "Shading."

This method of shading holds good in letters, scrolls and all shaded work in sign painting.

Practice long "master strokes" in using lettering brush ; it looks professional, and is usually more perfect than the short ones, as a line or stroke can be drawn better fast than slow. Pay strict at- tention to the finished, or out- side of the stroke, letting inner side take care of itself.

SMALTING SIGNS

Where smalt background is wanted, cut in around letters with nice, clean "cutting in" black (see "cutting in" color). When all letters have been "cut

16

PULLMAN SCHOOL OF LETTERING

in." "fill in" (or j)aint) remain- der of baekground and smalt immediately. Lay a smalt cloth on the floor and ])lace trestles crossways over it (smalt cloth shouhT he 3x30 feet, made of strong- calico or an old muslin sign) ; lay sign to he smalted on trestles and sift smalt over entire board and let- ters (using a strainer of any kind that s a n d will r u n

Ki^'. -O .shows split .sliiule on left <i<lo liiiil soiiil sli:i;i(* on ri;;lit si<l<>.

KiK- '■^^ I 'itterii |ioiinf<-<l on uc>l<l losjf. iilttT ;iil<liiiu, is <irj.

:i. >lnslin siikI oilcloHi sliii(t«>

V'xVi. 'IW. i'ro|MT siil«' lo .sli:i<l«- nil script lottiTs.

17

PULLMAN SCHOOL OF LETTERING

Vits. -4. Split mill xtoii .slimlf ri'iiit> for lileiiit Nliaile ns in Fijj;'. IT.

/'/f/^

V\k. i:{. < a.Ht siitiiir.

IS

PULLMAN SCHOOL OF LETTERING

^—^

Pie. 4 mIiown ^vlint is cnlletl the STK^l or IIODV of lettiTN.

/^^/■s?

Pie. UK iust .slisiile.

Fijf. 12. & 18 Proper stroken to form round letters.

V "< ut In" H"«l linrtlj lllletl In hIkii.

10

PULLMAN SCHOOL OF LETTERING

through) covering sign to a depth of ys inch or more. Look carefully over the entire job (looking toward the light), see if every place is thoroughly covered. If all bare places (called shiners) are covered, you will turn board edgeways on trestle, allowing smalt to be dumped off into smalt cloth. You will then trim (or l)lack off) edges and ends of sign, with "flat back" (lamp black turpentine) when edges are dry. set sign against wall or on uprights (se uprights in shop equipment).

SCREEN SIGNS

Screen signs are made to fit on inside at bottom of win- dows, and do not permit the ])eople "gazing in," which adds privacy to the office and will not exclude the light, also al- lowing you to look out of win- dows as readily as though they were not there.

They may be lettered with any inscription, using round or flat face raised wood letters. First make frames of wood to match interior finish or fixtures in building, finish and \arnish to suit, then stretch 60 mesh bronze screen on the frame, keeping it perfectly even and tight.

Lay on raised letters (that have previously been gilded) to suit space, when satisfied with "laycjut" you are ready to fas- ten them on. Remove them from the screen and set frame up edgeways ; you will then tack cheap yardsticks on face of screen, at bottom, or base line of letters, full length of wording on each line. Then you will lav screen and frani','

down (face up) and place let- ters in position on top of yard- stick.

Remove letters and stand screen and frame on edge again. This entire operation requires a helper to hold frame on edge and drive the tacks (or tack on letters).

Hold your letters in place by means of a 2x4, about 2 feet long, covered on one end with two thicknesses ' of chamois skin. This you will dampen and hold securely against face of letters, while your helper drives the tacks through the screen into back of letters. Make no mistakes in spelling or placing tacks, as screen is very expensive and holes and soiled places cannot be re- paired. (See price list).

EMBOSSED GOLD

To emboss gold letters on glass, gild and outline in usual manner. Coat one letter at a time with thick Demar varnish. When letter is coated, dabble the end of a half-inch bristle fitch (that has previously been cut t)ft') into the varnish. This is called embossing (or stip- pling). When thoroughly dry (say over night) size and gild as in glass gilding. This is used on inside of letters that have previously been outlined in burnished gold, and for backgrounds that have been lettered in any dark color. For embossing backgrounds, letter panel in black or any dark color, and shade with asphal- tum to which has been added a little quick rubbing varnish. Coat over all with Demar \ar- nish, ami :--t:]^|)lc a-^ di '^'

PULLMAN SCHOOL OF LETTERING

1)rush. and giUl with lemon or deep gold, using water size.

FLAT COATING

Most all coating in the sign shop should be flat or semi- flat. This is imi)ortant and very essential. In laying out and smalting, smalt will stick- to glossy surfaces, causing all kinds of trouble. Marking with chalk or pencil on glossy surfaces will dig into the soft glossy film and almost spoil the job. Semi-fiat coats are sel- dom used unless same is to be varnished over. All colors (ground in japan and thinned with turpentine) will dry per- fectly flat and free from gloss. White lead (ground in oil. thinned with turpentine) will also dry flat. If gloss or semi- gloss is recjuired, add rubbing varnish to the Japan colors and oil to the white lead. To draw oil out of white lead, break u]) a small keg of lead in tur])cn- tine and let stand over night. Dip off the oil and repeat as often as necessary. This can be mixed with Demar varnish or any light-colored varnish, and is mostly done in this man- ner for wagon work, when i)er- fcctly wdiite job is wanted.

ACID

Nitric acid may be kept in glass bottles or earthen jugs, and is used for etching on brass. Hydrofluoric acid must be kept in either paraffine. gut- ta percha or lead bottles or jugs, and never in glass recep- ticles. and is used for etching on glass.

GOLD STIPPLE ON BOARD SIGNS

To Stipple background on board signs in gold leaf, pro- ceed to cut in and smalt, same as in smalting board signs. To cutting in color add a trifle more japan and allow to dry longer. \\^hen dry, paint with a thin coat of flat white, using ])lenty of japan dryer. Be very careful in this coat, and do not rub out the paint, as it will loosen the smalt, making let- ters rough. And should smalt get in letters on this coating, go over each letter with yotir fingers which wall knock every particle of smalt off. \\'hen second coat is dry, thin shellac entire surface and size in "sIoav size." W^hen readv, gild on out f>f book as in Gilding ( Surface or flat letters). Before burnish- ing, press down entire gilded surface with a piece of cotton or pbish. This will force gold in all hollow places. Lettering mav be done in black or anv dark color that w^ill look good with a gold backjrround. Do iwt fill in letters with black en- tirely, but leave % inch of flat gold around letters.

CIRCLES

Circles mav be made on an\- surface excc|)t gla^^s by placing a tack in exact middle of wdiere circle is wanted and making one end of thread (or any good string that will not stretch) fast to the tack and with loop at the other end, place lead- jiencil in loop and mark circle the size wanted, or mav be drawn by means of carpenter's compasses. To make a gold leaf circle on glass, gild where circle is w\anted, and by cutting the exact size of circle out of

21

PULLMAN SCHOOL OF LETTERING

cardboard, place on back of gold and clean gold away with square end of a damp stick. If half inch stripe is wanted in circle on the glass, two card- boards may be necessary. A large one the size of outside of circle, and one a half inch smaller. Back up with rub- bing varnish as in (Gold AVork on Glass).

LAUNDRY SIGNS

The most practical and use- ful laundry signs made are the Sidewalk sign, Double-faced Board sign, and Glass Hanging sign. The sidewalk sign is made of white pine boards, 12 inches wide, tongue and grooved and glued together. When dry, plane off smooth and with No. 1^ sandpaper on a block, rvib across the grain until plane marks disappear. Before planing and sanding, nail a 1x2 inch strip on top and bottom. This w\\\ keep sign from warping, prime and coat (as in priming and second coat- ing). Letter in black, dark blue, dark red or any dark color, and shade with tints (as i n oilcloth signs). T h e "Double-faced" Board sign is rsually 12 inches by 18 inches ;ind lettered on both sides, cleated on ends, coated and let- tered (as in sidewalk signs) ; are fastened ' to building bv means of a 1x3 inch cleat,. 18 in.ches lonsr, nailed on edge of ove end. This strip will extend 3 inches over at top and bot- tom, and can be nailed or screwed to building and sign will extend out, making a very attractive doul)le-faced sign and inex])ensi\e in lots of a

dozen or more. The Glass Hanging sign also makes an at- tractive sign for hanging in windows, etc., and should be double thick glass, 12x18 in. or larger, suspended by brass chain. Chain should be fas- tened to sign by means of drill- ing holes in the two upper cor- ners and brass cleats bolted into each hole or by using the ladle chain placed around en- tire sign. This may be sup- ported by two pieces of jack chain, desired length. This sign may be lettered in gold leaf or any dark color of let- ters and shaded to suit, but should have either a frosted background (see white frosted glass) or a Flitter background (see Flitter), making a beauti- ful transparency. Background may also be of any opaque co^.or, leaving thS letters to be frosted, which will make a beautiful sign. ^lake pounce pattern and layout sign as pre- viously mentioned in "pounce patterns" and "cutting in" color.

LAYOUTS

Laying out signs ("called layout") is very interesting and requires no small amount of taste, but by looking at other signs and layouts you will see that there are many different ways to arrange them, and it would be impossible for us to attempt anything further than snap])ing lines, drawing semi- circles, letters, etc.

See FiKN. E ami A on vn-j:v -Jli.

MUSLIN SIGNS

Muslin signs are one of the most i)opular temporary signs made, and <i4-e -used across store

22

PULLMAN SCHOOL OF LETTERING

fronts for special announce- ments, removal sales, openings, etc. Also used for signs on frames large enough to cover entire huiUlings.

Muslin signs are lettered in o'\\ colors, thinned with ben- zine. Add very little jajjan drier, and make color very ih.'n.

I'h'.ce letters on as in oil cloth- signs, and mark around with iharp lead j;encil. Letter with regular sign ]iainter's muslin brush ers and shade as directed (in "oil cloth signs") using

Kiu. 1'^. Sliowiii;^ l>r*i|>«T iiietli:><l iiiitl iiii;;l<' <«» |»l!if»' l»'<t«Ts oil :i .seiiii- firolt- — \<)'I'K tlie liiu- in eYiiot cen- ter ttt eaeli letter.

Fiu'. "A." iO\net itu.sitioii t«t hold lettering iM-iK-il iinil tinu«TN in <lr:i\\- iii;; top :iii<l liaittoni line.

tints. Shadhig must be kei)t away from letters. Large sale signs can be "cut in" with water color, sometimes called "distemper color." For this you will use prepared calci- mine, called "muresco," which is })re])ared with glue, etc., ready to mix and thin witli iM^iling water.

First mix in boiling water into thick paste, then thin to l-rnDcr wordcing c -i^istencv vv-i<h hot wat'^r. (This you '\-i11 try out on a scrap of mus- lin.) "Cut ill" arc~)und letters, lerning the clear white musTn. which mnkes a very a<-trnctive sign, by using red or blue back- ground.

In "cut in" work, letters may be spaced closer than "letter- ing on ;" in fact, letters may almost touch each other and still look good, if spacing is uniform. After lettering one or two signs you will see vour little blunders, and be able to straighten out defects.

These signs may be lettered with "cut out letters," or by marking around letters, "rut- ting in" with "fitch" or "bristle brush."

The above descr'b':'d si""n can be done in oil co^or. and is sometimes preferable.

LEMON GOLD LEAF

Lemon gold leaf should never be used on outside, or ex- posed to the weather, unless thoroughly varnished, as it will tarnish in a very short time. However, it may be used in gilding on glass and wagon let- terimr (same as deep gold leaf) and will wear equally as well if \arnished over.

It is also used fi)r inside of

23

PULLMAN SCHOOL OF LETTERING

letters and is called "mat gold." For this purpose you will gild and "patch up" job (as in glass gilding). When job is gilded and "patched up," you will then outline the letters with the fol- lowing "backing up color :" "To lamp black" (ground in japan) add rubbing varnish, and thin with turpentine to proper working consistency. After pouncing on the letters (as described in using "pounce pattern") you will follow the "pounce" lines, making an even outline on the letters.

When dry, clean ofif surplus gold with damp cotton and fin- ish cleaning with damp cham- ois skin ; and "size" (or coat) inside of letters with clear, "quick size." When dry, "gild on" out of book ; this will give you a burnished outline, and "mat gold" center, and is called "double gold lettering" or "em- bossed gold lettering."

ETCHING GOLD (On Glass)

To etch pictures or designs on gold leaf, make pounce pat- tern of picture or design and place on outside of glass and pounce, then trace over pounce marks with a grease pencil, then gild in the usual manner. Avoid patching and overlap- ping as much as possible. When patching and washing is done (as in glass gilding) you will reverse the pattern and use it on inside of glass and pounce the design on the gilded sur- face. Now coat over design on outside with water color black. You will then scratch or draw the outline of your picture or design with a sharp stick through the gold, the water- color (on the outside) will

24

show through and aid you in shading. To shade the picture (or etching as most commonly known) you will cut ofif a ^-in. bristle fitch, 34-iiich from the ferrule. This will leave the bristles stifif enough to cut through the gold leaf and do your shading (or etching). When picture or design is etched, clean the black off of outside and back up design with japan black on the inside. For backing up use lamp black (ground in japan) to which is added quick rubbing varnish and thinned to a proper work- ing consistency with turpen- tine. One coat will be sufficient and may be varnished in about two hours.

PRIMING COAT FOR BOARDS

The priming or first coat on new boards should be very thin, mixing the white lead with about one-third oil and two- thirds turpentine, adding a small amount of dryer to aid in drying hard, so it can be sand ])apered smooth.

First, coat all knots and pithy nlaces with thin shellac, let stand 30 minutes or until dry. then coat (or prime), putty all cracks and holes.

Rub the priming coat into the wood thoroughly by cross- ing and recrossing with the brush several times.

When this coat is thorough- ly dry or hard, sand paper and You are then ready for a second coat. (See second coating.)

FLOCK

Flock is used for back- grounds on oilcloth and makes a beautiful inside sign.

Oilcldth strcchcd on ;i

PULLMAN SCHOOL OF LETTERING

frame, size in lettering with quick size, and rub on gold bronze, "cut in" and sprinkle on flock (same as in smalting signs).

Cut in with oil color about same shade as flock. Flock may be had in most any color desired.

FROSTING ON GLASS

The two most used frostings. in the sign business, is the one as described in "white frosted glass" and the one herewith de- scribed.

Tie up a large piece of com- mon house painters' putty (size of fist), in a piece of cheese cloth, leaving enough of the latter to hold as a handle. With this, dabble over glass where frosting is wanted (using putty very soft), making perfectly even, when dry this may be varnished.

WAGON LETTERING

Wagon letiering may be done, on the "flat coat" or, after the rubbing varnish has been ;UM)lied. and thoroughly dried. The rubbing varnish should be rubbed with ])ulvcrisc(l pumice stone, or curled hair, which re- moves the gloss and i)rcvents the proi(l from sticking.

However, it is l)est U) b; wjyrc "sure than sorry" and thoroughly "pounce" the sur- face to be lettered with your white "pounce bag"; this will usually ])rcvcnt g"ld from sticking.

Should the surface not be thoroughly hard (or' dry) it is better to wait a few days, or trv the following, which is a sure preventive and is used only ill extreme cases :

Coat surface (to be lettered) with white of egg diluted with water ; if any gold sticks to this it can be easily washed or wiped ofl^, with moist chamois skin.

Now make "Pounce Pattern" and proceed in the usual man- ner to "layout" job. Size let- ters carefully and evenly with our celebrated quick size, and lay it on smoothly and not too runs and leaves wrinkles in the gilding.

Begin to lay on size from left to right, as in glass sizing and gilding.

When size is thoroutjhly dry (or to the desired "tack"), gild and burnish with cotton as in glass gilding, then shade and outline. (See shading.)

Sof I<'i'.i-»i. -<> :iii!l '21 on iia^e 17.

WIRE SIGNS

Scmietimes called "Sky Signs," are made of No. 9 gal- \ anized wire, woxen in dia- mond shape (or "Mesh"), any size "mesh" up to 3 inches, and is either set in channel, or round iron frame. "Channel iron frame" being more expen- si\e, round iron frame Is cheaper and must be set in an extra gas i)ii)e frame, in order to hold sign securely, and is u: ed on roofs of buildings only, and is called "Sky Sign."

Flat galvanized iron letters is the f)nly style recommended for "Sky Signs. The letters may be cut out of 28-gauge gal- \ anized iron, painted black and fastened to *'\\'ire Mesh" with ct)i)per wire or copper rixets. wire being most ]iractical, black letters being the only co'or that will contrast with a li'^-ht blue sky. m'd<es a \e-y (lur;il)]>- aii'! lecfible siuii.

2t>

PULLMAN SCHOOL OF LETTERING

The "Wire Mesh" with "Channel Iron" frame is vised on store fronts, and "double face" swinging signs, and may be painted any color to match front, or plain black, using raised wood letters — gilded. For store front signs and rib- bons, made of galvanized iron, painted and lettered in gold leaf and smalted any color.

See V«>. 11 on itaue 27.

WINDOW SIGNS

Make "Pounce Pattern" of lettering desired and place on outside of window as previous- ly explained, g:o over pattern v.M>h "Pounce Bag."

Size in the letters with our "celebrated quick size" allow- ing same to dry about f^ of an hour, or until ])roper "Tack" is felt.

Place back of finger to size and if it appears dry and hard, it will be ready for gilding. If gilded when too wet, you will drown the gold ; hence, a poor gild, and gold cannot be prop- erly burnished unless size is the proper "tack."

After becoming accustomed to gilding and feeling the size, vou will encounter no difficulty. (See quick and slow size.)

Use the same "Size" for Gold and Aluminum Bronze.

GILDERS' TIP

The gilders' tip is made of camel's hair, in different lengths, from 1 inch to 3 inches, and must be thoroughly wiped through the hair (or side of face) before lifting the gold leaf from the book to surface to be gilded.

Tip used for laying silver leaf, is much stronger, and made of badger hair. The

camel's hair tip is used only for laying gold leaf on glass, and gilding dil^cult places on scrolls and raised letters.

WHITE FROSTED GLASS

Mix white lead and boiled oil to the consistency of thick cream, and coat glass to be frosted.

Then fill a Durham tobacco bag with cotton, turn glass to the light, and tap the paint gently until it appears evenly. (This is called stippling.)

ZINC ETCHED STENCILS

On No. 4 sheet zinc, place your design (or layout) and paint around the lettering with best turpentine asphaltum, be- ing careful to cover every spot except the lettering. Coat back of zinc with melted parafifine & pour muriatic acid on side to be etched ; wipe over lettering gently with a piece of cotton while etching. A\'hen acid has eaten its way completely through, rinse in clear water and remove asphaltum with coal oil. Now warm the zinc plate until parafifine begins to melt, and wipe ofif with soft cloth.

To make temporary etching tub, use a piece of oilcloth, fastened in a frame made of lx2-inch wood strips, large enough for your zinc plate, keep tub in motion while plate is etching.

TRANSPARENCIES

Make "pounce pattern" and "layout" your glass, same as in window and glass work. Using the "pounce ])attern" on inside of glass, going over same slightly with white "pounce

26

PULLMAN SCHOOL OF LETTERING

"Cut in" around lettering" with oil black, (.r an\- color, ground in oil. being first thinned to proper working con- sistency with boiled oil, and add small anioiuit of japan dryer.

When black is dry ; frost. ( See white frosted glass. ) For quick work.

"Cut in" with lamp black, ground in japan, and a little let stand until dissolved. Shake quick rubbing varnish added ; thin to proper consistency with turpentine.

This you will fnid the cpiick- est, and best way. recpiiring but ( me coat of black.

RAISED LETTERS ON WIRE

To fasten raised wood let- ters on wire mesh signs, gild letters in usual way and coat back of letters, with one coat of golden ochre (ground in japan), thin with turpentine to consistency of thick cream.

When this is thoroughly dry fasten on wire mesh by means of ea'\ani/.ed iron staples.

Great care must be exercised in splitting letters when driv- ing in sta])les. Use 2x4 co\- crcd on end with two thick- nesses of d.aniT) chamo'S ^k'u. hold against face of letters (as in Screen Signs).

GILDING RAISED LETTERS

Proceed to gild raised letters out of book same as jn gilding surface or flat letters, except when letters are \^ery small, or as in case of script, or difficult letters, then gilder's tip may be used as in gilding on glass. (See glass gilding.)

27

■tt«Ts on ^vir«'si;;ii.

AMOUNT OF LETTERING

• Vn excessive amount of let- tering must be charged extra.

You should, both, for the customer's benefit and yours. !(^id d()\\'ii tlie amount of let- tering as far as possible. Too mtich spoils the appearance and legibility of a sign, besi les "brevity is the soul of adver- tising."

SHELLAC

Shellac is used for coating over knots and sap])y places before painting.

.\lso used in quick work, over priming coats, or second coats, and before laying on "size" for gilding, for the lat- ter, you will find very benefi- cial, as it stops all suction and prevents "size" from striking in.

Putty in nail holes, and cracks. will always show throuph the "size" unless coat- ed with shellac before sizing.

Shellac is made by dis.solv- ing gum shellac, one pound in

BUILDING SUGGESTING VARIOUS SI The above picture shows the different I making it easier for both the salesman and c look best and be most serviceable.

The above buildings are printed one-thi ience. For sale by The Pullman School of

;$ OF SIGNS AND MANNER OF PLACING THEM

ds of signs and the different places for signs,

tomer to understand what kind of a sign will

larger and made in tablets for your conven- ettering. Write for price.

PULLMAN SCHOOL OF LETTERING

one quart of grain alcohol, and occasionally and thin with alco- hol to suit.

Avoid trouble, by using shel- lac very thin.

Flow on quickly, and avoid p-oing over more than once, with brush.

SILVER LEAF

Silver leaf should never be used on outside work, or left exposed to the air and light, causing it to tarnish.

It may be used in gilding on glass work, same as gold leaf, by using size a trifle stronger.

Proceed same as in (gilding on glass).

RAISED LETTERS ON BOARDS

A cheap and quick way to fasten raised letters on board signs, is to smalt and black the edges of boards first, when thoroughly dry, place a heavy clean fish line on board, where letters are to be ^laced. by aid of bradawl, at one end. make fast, and draw line tight and in place. Lay letters in place and i^roperly snaced. put one brad in each letter to hold them tem- iM^rarily. This will keep them from iarring out of place until nailed on securelv putting' in ribont four brads to each six- inch hotter, more or Ic^s, as '"e- quircd according to size. Re- move fish line and sign is completed.

OILCLOTH

C )iU-loth can be had in either (lull or glossv finish. 36, 45 and 54 inches wide.

The dull finish being prefer- able and does not reouire the benzine rub. as described in oil-

cloth signs.

TRACING PATTERNS

Tracing patterns are done after letters are placed in posi- tion and carefully marked around with a lead pencil.

For tracing, use dressmaker's tracing wheel, place pattern on a soft pine board, and carefully trace each letter. When fin- ished, turn over and sand paper the marks caused by tracing wheel, then pattern is ready for use.

See the letter "I^" attached to pattern sent you.

QUICK SIZE

"Quick size" is used for sur- face lettering on board signs, wagon lettering, and for gold and aluminum bronze, on win- dow work. In using "quick size." you must be very care- ful to lay on even, avoiding runs.

When dried to the desired "tack" for gilding (as explained in window si<^ms), lay gold leaf on out of book, this is called "gilding from the book." A drop or two of boiled oil will be of great helj:) in sizing in a large job, where there is lots of readirg matter. The oil will slow it down, and give vou a chance to "size in" several let- ters before starting to gild.

Watch "size" closely, that it (Iocs not dry to quickly (or "get away") and become so hard that there is no "tack" left, and gold will not adhere to the "size." In "slow size" you will seldom experience such diffi- culty.

"KLEAN KUPS"

To have clean cups at all times. }-ou should provide your-

28

PULLMAN SCHOOL OF LETTERING

self with a lye tub. A 5-gallon stone jar is best for this pur- pose. To one can of Lewis' Concentrated Lye, put 3 gal- lons of water. Place in stone jar and keep tin cups in over iiifj-ht, or longer, until paint will wash off in clear water, or, send for a hundred of our famous Liquid-Proof "Klean Kups", knocked down, ready for vou to fold, as the one sent you. (See price list.)

BARBER POLES

To repaint Barber Poles, trace all stripes, scrolls, etc.. with indelible lead pencil, ana paint the entire barber pole with a thin coat of flat white, and continue to coat until per- fectly white. Size and gild the ball and other places to be gild- ed with "slow" size, but do not varnish over the gold. Then stri])e with red and blue, and when dry, finish by varnishing with Deniar \irnish.

ALUMINUM (Leaf and Bronze)

Aluminum Leaf and Alum- inum Bronze must 1)e applied to "quick size" only. Do not attem])t glass-gihling with Aluminum Leaf. It will not work. A hi milium Leaf is used principally for raised and sur- face letters on inside work only. Aluminum Bronze for outside window lettering and edges of board signs in the shop. For --irii)inu- and outlining, use "lin- ing aluminum bronze" mixed thick in rnbl)iiig varnish and ihiniu-d with turi)entine. 'I'o do a while job of lettering on dark surface, add a little "lin- ing aluminum bronze" to the wliite. It will cover b.'ttcr and von can often <>,et awav witli

one coat of paint on your let- ters.

SKEWING BOX

A small box used for the sole purpose of cleaning skewings from gilding is made as fol- lows : Take an ordinary cigar box, remove lid, and cover with common wire screen. When skewing box is full, empty and sell to the buyer of gold waste. We urge the saving of all cot- ton used for burnishing and cleaning gold (on glass), or (surface gildinp-'i, also all old letters which have been gilded and are beyond repair. Burn them in the stove and save the ashes.

LIQUIDS

(Used in Sign Painting Busi- ness)

Demar varnish.

(Juick rnl)1)ing varnish.

S])ar \arnish.

Coach varnish.

Asphaltum.

White shellac.

( )range shellac.

( irain alcohol.

Wood alcohol.

'I\iri)entine.

Japan.

Nonpareil, gold size.

I'^it oil.

Boiled linseed oil.

Le Page's glue.

GILDING (Outside)

"Slow size" should be used for outside gilding, as it wears longer and no danger of drying too fast. When gilding store fronts, "quick size" should be used. Ixcmembcr that gold will adhere to any sticky sur- face, so (lit not forget the "pounce bag." Patent leaf (or

2<)

PULLMAN SCHOOL OF LETTERING

outside gold) should be used on all outside gilding. To make, rub one side of leaves in gold book with common beeswax. In closing book, your gold will adhere to the waxed leaves. Then cut out one leaf at a time as needed, and by pressing to sized portions with thumb, the and stick to the "size." This is used in windy weather with great success, when ordinary gold would blow away.

LACQUER (For Tin Signs, Etc.)

A very beautiful imitation of brass signs may be made by lacquering new sheet tin, and lettering in black or"cutting in" with black, or any dark color, leaving the brass letters, but is not recommended for outside use. To very thin baking var- nish, add enough Tumeric to color as desired, and bake in slow oven ; or,

Seed lac, 3 ounces ; Tumeric, 1 ounce ; Dragon's blood, 34 ounce ; Alcohol, 1 pint. Digest one week. Shake frequently, but do not bake.

CHALK LINE

The chalk line is another al- most indispensal)le tool, in the sign shop. A thin fish line mak- ing the best and strongest line for almost all purposes. Make marks at one end of sign for space and letters, and duplicate these marks on the other end, by marking on yard stick and measuring them ofif where wanted. By means of a small fish hook with (barb filed ofY) tied to one end of line, and hooked into cloth, or board, von are ready to "snaj/' the

line. To "snap" line, draw tight and lift with thumb and finger, letting loose and repeat as often as lines are wanted. Use charcoal, blue chalk, or common school crayon, for chalking lines.

THREAD LINES

For short lines, wrap black cotton thread around end of lit- tle finger, on left hand. Chalk the thread with common school crayon, place little finger with thread wrapped around, at starting point where line is wanted, take hold of thread with fore-finger and thumb of left hand, then pull tight with right hand, and snap by letting go with thumb and finger of left hand. This you will find to be one of the most useful ways ever discovered, with which to make chalk line on signs and glass. Lines can be made at any angle by adjusting and raising and hiwering the hands.

Kitt.

Siiiipiiinu' tlirend line.

REAL ESTATE SIGNS

Real Estate signs are usu- ally made of white ])ine in the following sizes: 1x2 feet. 2x.S feet. .^x4 feet. 4x.^ feet, 4x6 feet.

M)

PULLMAN SCHOOL OF LETTERING

6x(S feet. 7x9 feet. The larger sizes can be made of galvanized iron with a wood frame, cost being practicallv the same as wood. 2x3 feet, 3x4 feet, 4x5 feet, 4x6 feet boards, should be made of wide kiln-dried lum- ber, tongue and grooved, and clamped together until glue is thoroughly dry. First shellac all knots and satM-iv places, then prime with white lead and oil. Second coat should be white lead thinned with benzine, putty all holes and cracks with white lead putty before second coating. (See Putty — How to Make.)

CARVED LETTERS

Carved letters are made of .)4-inch kiln dried white pine, and are commonly called raised letters, and should be painted three coats, sized and gilded in the usual manner. They are to be used on all raised letter jobs. Send to Spanjer Brothers, Chi- cago, for ])rice list and catalog, or, send inscription and size of board letters are wanted for. and we will give prices and size (if letters you should have to fit gold will let loose of the leaves tlie board.

DRILLING HOLES IN GLASS

Lay glass on a solid le\ el table' Cut an X (with "red devil" glass cutter) where holes are wanted, and with a three- cornered file, fastened in a car- penter's brace, proceed to drill until halfway through. M'urn o\ er and mark another X an 1 jinish drilling. To make drill, get smallest three-cornered fde l^ossible, and with i)inchers. break off end, until ragged

enough to cut good. When drilling, keep hole full as pos- sible of turpentine. Drills for sale by the Pullman School of Lettering. (See price list.)

PUTTY

Dry white lead putty is the most popular i)utty in the sign shop, and is used for filling holes and cracks in new and old board signs. New boards should always be primed (or lirst coated) before -puttying.

To make the abo\ e i)Utty (com- monly called lead putty) put out on a board or any solid [)lace, two i)ounds of dry white lead, add equal parts cjf quick rulibing \ arnish and turpentine until mixed into a thick mass.

I hen pound with a hammer until lumps disappear, (ireat care should be exercised in mix- ing this putty thick (or dry), keej) in water when through using. The writer prefers ct)m- mon glazier's putty for nail holes in raised letters, where they are to be sheliaced and sized for gilding. The lead ])Utty should be squeezed into cracks and holes with a stiff putty knife, allow^ed to dry hard, then sand pai)ered smooth. By mixing too much rubbing varnish into lead putty, it will be impossible to sand paper, causing the putty to dry too hard, and great care should be taken in preparing it. Hot glue and whiting makes an ex- cellent putty for knot holes and large cracks.

MOULDING (For Glass Signs)

.Ml glass signs, except inside hanging signs, should ha\e either oxidized copper (.r pol-

.31

PULLMAN SCHOOL OF LETTERING

ished bronze border. The oxi- dized copper border is the most commonly used and looks best with most any color of back- ground. Send to us for prices.

OIL CLOTH SIGNS

To prepare oil cloth for let- tering, stretch out on wall the size wanted, and go over en- tire surface with a big piece of cotton, first dipped in benzine, then in whiting, being very careful to touch every particle of surface ; this will prevent your color from "creeping." Then "snap" or ("draw") your lines where letters are to be placed, and proceed with lay- out, letter in any color, and shade, or outline, to suit. Let- tering may be done in Oil Black or Japan Colors, shading in light colors, such as, light green, light yellow, drab or ivlnk ; in fact, most any light tint. Oil cloth is very often smalted, and when stretched on a frame and lettered has the exact appearance of a board sign, and wears for one year or more, if put flat on building where wind cannot get at it. Black or blue smalts being pre- fc rable, with white or light yel- low letters. Proceed with "cutting in" as in (Board Signs).

JAPANNED TIN SIGNS

Simply wrap in pattern paper a japanned tin the exact size wanted for the sign, and lay cut as for pounce pattern, then unwrai) and rub white pounce bag over paper and place tin face down on white, and trace letters with a lead pencil, this will give an exact impression. Letter with quick size, to which has been added a small amount

of medium chrome yellow (ground in oil).

Letter with a pencil brush or use cut-out letters and plush roller. Gild in the usual man- ner and wash over letters with cotton and water, then chamois dry. Japanned tin is made in black only, prepared and ready to letter. Can be had in most any size.

CLEANING GLASS

To clean old signs off of win- dow's, use a "Gem" safety razor blade, using a jeweler's hand \ice for a handle. This you will find one of the most useful articles for this purpose, and is also used for trimming edges of letters, such as round letter, etc. Wash glass with whiting and water, sponge off, and dry with a chamois skin. Then pol- ish with common newspaper, and you are ready for gilding.

SPACING LETTERS

There being no set rule for .'pacing letters, the space be- tween them should be meas- ured by the eye entirel}'. All : 'aces ]:)etv^'een letters must a])- rear the same. Letters are never the ^ame size, but they appear to be.

Some letters occupy more space than others and when this happens in a line of letter- ing, you must make the space between the others in that line, to look as near the same as pos- sible.

The most essential part is a pleasing effect.

CUTTING IN COLOR

Cutting in color should always be made up with plenty of oil, and just enough japan to dry over nieht. ."Cutting in black"

PULLMAN SCHOOL OF LETTERING

for snialting. shouUl he made of lani]) l)lack ( iyrouiul in oil). To this you will add a small lumh (>\ white lead ahout the size of an e.ug", and enoug^h japan to make it dry. say a tahlespoonful to each pint of color. Do not use japan color for smalting backgrounds, as it drys too fast v\m\ will not hold smalt and should ne\er be used for that purpose. However, it may he used with fine result in "cuttinc: in" on o^lass signs. Use Prus- sian blue in oil (for blue ■^malts). and for other colors of -^malt, use paint as near the ^ame color as possible, lea\-rng- out the wdiite lead.

AWNING LETTERING

Use dry lamp black mixed in cheap furniture varnish, thick like mush, and thin with ben- zine; or, to as])haltum, add dry lamp black, and thin with ben- zine. "Cut out" letters and use bristle brush to apply the black, usine semi-drv l)rush.

/=/^/o .

BRONZE SIGNS (Or Tablets)

P.nni/.e tablets sell so little outside of the larger litirs, tliat

we would ad\ise you to not bother with them at present. The prices run from $20 per sq. ft. up, ow'ing to the amount of work. The most elaborate carving is often done on pat- terns, which of course, makes price run up accordingly. You can give price wdien requested but will make more money pay- ing attention to other work.

S»>e Ki«'. !► oil |i:iK'C .'{.">.

BRASS SIGNS

Brass signs may be used for sill signs, corner signs, drum signs, etc., in fact, for most any high-class business firm that can afford to ha\e them pol- ished often enough to keep in good sha])e, as they are far from being a lazy man's sign, and are being re])laced by the chipped and etched glass sign, and wn"ndow lettering. They are used with any sized bevel, or, without bevel, and make a beautiful sign if kept clean, h'tch and Fnamel, either letters or background. h""or particu- lars see hatching Brass Signs.

.See Fi;>'. 7 on itiiKc :?.">. .See Vi^. 2 (ill |i3i.:xe -47.

BOARD SIGNS

I'oard signs are made in most all shapes and sizes and are used for overhead swinging signs, sill signs, panel signs, long board signs, etc. Over- head and long board and panel signs, should be smalted, being best for durability and beauty, h.owexer; they may be finished in varnished groind, lettered in flat surface gold i^r raised let- ters. Smalted backgrounds should not be i)lace{l within reach (if the i)asser-by, on ac- count i'^i the sandy finish, which m; ke^ an excellent place for <cratchiii<.> matches.

PULLMAN SCHOOL OF LETTERING

DitVerent It ACKS I'or nI^aiim jiiiiI h irw Nii;:.^«>Kti<>iis :in to \^ Iktc .si;iii> iii:i.> (;(> iiiHtle for.

,^4

PULLMAN SCHOOL OF LETTERING

HE

1

LOAN&TRUST

COMPANY

(ESTABUSHED 188?

F/tf.Z

/^«

MINNEAPOLIS TRUST COMR^NY

^/<r,S.

P/^./o

F/(r, //

I'iKN. !• mill lO Itratii/.f I'lililfts. l-'i^.N. N mill S-- Doiiblr Kiu'i' Si;iiiH. KiK. I I Sky Siuii.

35

PULLMAN SCHOOL OF LETTERING

SHOP EQUIPMENT

The Sign Shop shouUl be pro- vided with 2 pairs of trestles, called horses, about 2 ft. 6 in. high and 3 ft. 6 in. long; 1 large easel made of 1x4 white pine strips, about 3 ft. wide and 6 ft. high, also holes for pegs in uprights 5 in. apart ; 6 2x4's for uprights, 3 or 4 inches longer than ceiling is high, with peg- holes 4 or 5 inches apart. Pegs should be made of old worn-out broom-handles, about 7 inches long ; being of hardwood, it will be impossible to break them. Spike a 2x4 on the center of ceiling, full length of the shop, and place one end of upright against the 2x4 on ceiling, and kick bottom end (on floor) in tight. This will hold a number of board signs and will keep them up end out of the way, also; shorter uprights may be used on the walls of the shop for the same purpose.

BACKS FOR GLASS SIGNS

Back boards for glass signs

r-a4:€-made so that wh©n-glass-is~

: laid in frame, and moulding

j screwed on, the glass will rest

■ on its outer edge. Backs of

! flass signs should be made so

t^that glass will touch only on

i'buter edge (where oxidized

copper border is used), and do

not allow glass to rest on any

part, except ou-ter edge. Should

this occur, sign will catch

water and dust, causing it to

reel in a very short time.

GILDING

(Surface or Flat Letters)

Lay lettering to be gilded on trestles, or set upright on the easel and gild out of book. Start to gild bottom line of let- ters to prevent small particles of gold leaf falling down into size, causing rough places in gold when l)urnished. When sign is laying down on trestles, this precaution is not necessary. Place gold book in left hand, opening and turning leaves back wdth front finger of right hand. Press end of book fartherest from vou gently to the board and directly under the letter. Allow book to roll towards top of letter, pressing gently to stick gold to size. (See above cuts on sizing let- ters upright on easel). When pold is layed on all sized por- tions proceed with burnishing. \\'ith a wad of medicated cot- ton, the size of your fist, go over it in circular motion, tak- ing ofif the loose gold leaf ; this you will rub over the screen in --your, "skewing box" and save. When full you can sell all waste cotton and "skewings" to your gold dealer. Finish burnishing by rubbing over each letter in different directions to remove all wrinkles, and rough places, being careful not to scratch the gold leaf.

DAMP BRUSHES

Never allow your lettering brushes to come in contact with

.36

PULLMAN SCHOOL OF LETTERING

water or cl-amp chamois skin, as brushes will lose their shape, and it renders them useless, inxariably causing them to be- come pointed — when they should be flat like a chisel. If one should be crowded and twisted out of shape, pull be- tween the thumb and hot putty knife, or stove-pipe, being care- ful that you do not scorch or to straighten it out properly. Ilien lay away in a flat posi- burn the hair, but warm enough tion.

WALL SIGNS

Xew brick, or raw wall, should be first primed with a thin coat of lead and oil, mostly oil. Measure size of wall to be lettered and make sketch, drawn to scale, one inch to the foot. Paint each letter on with best white lead, thinned with benzine, nothing else. Cut in ;is soon as you like with dry l.'inip l)l-'ck. mixed to a mush in boiled linseed oil and small

GALVANIZED IRON (How To Paint)

It is very essential that care be taken in coating all galvan- ized iron, as it will soon peel off unless proi)erly treated. Coat with same mixture, and in same way, as Galvanized Iron Let- ters.

INDELIBLE LAYOUTS

^^'hen priming coat is thor- oughly dry, go over with No. Ij4 sand])aper. cutting until smooth. Lay on letters and mark around them with intlel- ible lead pencil. Putty all holes and cracks, then coat until per- fectly white. You will find the indelible marks will show through sufficiently to "cut in" or trace with lettering brush, or use the letters sent you and a i)lush roller. (See Cutting ^n Letters.)

LETTERING BRUSHES

Lettering brushes are made in all sizes, and of all kinds of

r.mount of japan ; then thin v.ith b.Mizine to proper work- ing consistency. Cutting let- ; rs must be done with a bristle fitch or bristle cutter and fdled in with a large bristle brush.

material, and furnished by us for any kind, or size of sign you wish to paint. You should iiaxe brushes that are best suit- ed for the different signs to be painted, and by ordering of us

llrifk WnU Simi In forojrroiiiul niitl rniNiMl letter wire sIkii in baek- ;; roil 11)1.

37

PULLMAN SCHOOL OF LETTERING

and stating what your needs are, we will gladly send yon suggestions and prices at once.

We want you to succeed, bnt will not guarantee succc-s, i'^ you use inferior material and tools, or suggestions, from others.

After you are through usir"; the lettering Inrushes, wash them thoroughly in tur])cntinc. pulling hetween thumh and fir- ger and dip])ing in and out of tur])entine until perfectly clean, then with a soft cloth \vi])e them dry and di|) into pure lard oil, till they are full of <^~c'\^^-'\ and wipe again, then smooth them out into chisel shri])C, lay away in j^encil b'^x and keer in dry place. Before usino- a-T'iin wash out grease in turpentin.e. Brushes kept in this manner will last for years.

CARE OF BRUSHES

Lettering brushes must be thoroughly washed in turpen- tine after using. ("See lettering brushes.") Fitches and larger bristle brushes mu^t Iv wrapped in paper. To wran. lay paper down and iV'-^-- ■ brushes on to]) cf it. \\'r-i'> paper around brush securely and fold in at end of bristle^. This will keep brush straight and ready for use. Set briv di- es in pail of benzine, deep enough to cover bristles of brush. Never keep them in water. Red sable, or any w^ater color brushes must be washed in clean water. Pull water out of brush gentlv with thumb and finger, and lay away in a straight position, d'ake care of your brushes and thev will last a long time, and obey you to the letter.

.■^s

MUSLIN

Sign painters' muslin is pre- l^arcd and ready for use, put up in rolls, and is 24, 36 and 42 inches wide, and may be stretched on frames, or lettered, and fastened to building with- out frame, is cliea]) and makes the best looking temporary sign in the business.

Letter on finished side of muslin, which you will find to be smooth and completely filled with starch. The muslin, described herewith, is the very best made, and can be furnished by us in rolls of 60 yards each, or more, (vn receipt of order.

VARNISH (Grounds)

X'a.rnished (irounds may be used for backgrounds on any board signs for either raised or surface gold lettering. Prime and thoroughly coat, sand- l'ai>ering each coat perfectly :^mo(-th. being very careful to work out all brush marks, putty everv hole and crack. If back- ground is wanted, coat board three thin coats of dark lead ('olor nnd. thr(H' coats of dr<")p l)1ack (g-ound in japan). Mix l^'a'^k ^vith ciuick rubbing var- nish, and thin wdth turjientine. \\ hen dry hair ofif each coat of black, with upholster's cnrl'^d hair until smooth and free from little particles. L^se \erv little rublnng varnish in the b'ack. above mentioned, and a]ii)ly with camel's hair brush ; when dry, coat over the ])lack with one coat of color \ arnish, made of quick rubbing \arnish and colored slightly with clean drop black (gnnmd in ia])an). Wdien this coat is drv and hard, hair off with rnrled hair, jioinice thoroughly

PULLMAN SCHOOL OF LETTERING

with white pounce bag to pre- vent gold from sticking to the black, and proceed with surface lettering and shading (or out- lining), as you choose. Then tinish with one coat of best out- side coach varnish. For red background, use salmon color for first three coats, using japan red, same as black (in black liackground), also color var- nish and finish as in black background. Raised letters ])reviously gilded, may be tacked on after finishing coat of varnish has thoroughly dried by stretching a tight, clean fish-line at base or bot- tom line where letters are to set. Then proceed to layout and tack letters on (as in Raised Letters on Boards).

GALVANIZED IRON LETTERS.

(ialvani/ed iron letters are cut out with snips, ])ainte(l and fastened on wire signs, some- times called sky-signs. Prime (or first coat), with dry red lead, first mixed thick like nuish. and add small quantity of japan and thin with turpen- tine. I'^irst, you will clean let- ters with strong cider vinegar, when dry, coat with the above red lead, rubbing out very dry, then ]>aint letters black and fasten them on wire as direct- ed in ( Wire Signs).

GOLD LEAF

Ciold Leaf is put uj) in books, .V4 inches square. Tiold is hanmiered by hand and is ver\- thin, about 23 carats fine, it is 'old by the pack, 20 books to the i)ack. and 25 leaves to each book. One book will cover aj)- proximately 216 scpiare inches, or, Wj scpiare feet. This will

allow enough to over-lap a lit- tle in gilding, as should be done in all surface gilding to insure a good job. You may think you are wasting gold by lib- eral gilding, but by so doing you will save time, which is sometimes more valuable.

FRAMES

(Muslin and Oilcloth Signs) Muslin and oilcloth frames are usually made of lx2-inch strips (for illustration), to make a frame 3x12 feet, cut 2 side strips, 12 feet long, and 5 cross strips, 3 feet long. Lay two 3-foot strips on the floor 12 feet apart and nail the 12- foot pieces on top at each cor- ner, putting one nail in each corner until ready to square. Place the remaining three strips under the 12-foot strips, about 3 feet apart, also putting one nail at each end to hold in place until four corners of frame is squared. You will now square the four corners (one at a time), putting in three more 4-penny nails. Proceed in like manner until four cor- ners are perfectly squnre and sufficiently nailed to hold in place. Then finish nailing the three remaining cross cleats. If corners do not come out per- fectly square, there is just two things wrong; either your square, or you have not cut the strips exactly the same length, which is absolutely necessary, and would ad\'isc putting strips together when cutting to length. ^^'hen the abo\e is completed, fill in at each end with strips.

SECOND COATING

Second and third coating niav be done either Hat or

PULLMAN SCHOOL OF LETTERING

glossy, and depends entirely where, and how, signs are to be used.

In second and finishing coats, we recommend turpentine in- stead of oil, especially in sign painting. Too much oil will cause the white to turn yellow in a few hours, while turpen- tine, or benzine, will evaporate and leave the coating perfectly white. A small piece of Prus- sian blue, or black, the size of a pea will color about two gal- lons of paint sufficiently to make it perfectly white, and will cause it to bleach out whiter with age.

Always add a few spoonsful of our celebrated "quick size" in your coating color. Where boards are being coated for smalted backgrounds, the ])aint

'■r ^sr- ■

should be perfectly flat (with no gloss or shine), (ilossy color

will often cause the smalt to stick (which should not), spoil- ing the sign or causing lots of trouble, and is prevented by mixing color in turpentine. This is called "Flat Color." Too many painters imagine that oil is the most essential thinner for white lead. This may be the case in house i)ainting, but never in sign painting, except in priming coat on new work. Coating board signs proper- ly (ready to letter), is no small item, and should be done with great care. Lay color on even- ly, smooth out well, and avoid brush marks by crossing and recrossing until they disappear. Lay boards flat on horses (or trestles) while sandpapering, puttying and coating. Allow boards to lav in this position until partially dry, then set up- right on easel, or against wall.

PATTERNS

A pattern should be made for all glass, board and window signs, also, any small signs where it is practical.

Tf the sign is broken or de- stroyed in any way, you have the exact size of letters, glass, etc., also preference in getting the job again.

Aifter each job is completed roll pattern up carefully and mark it so you know exactly what job it is, and date when completed.

FLITTERS

Flitters are very small metalics cut in diamond shape and can be had in most all colors, and are used for sprink- ling on letters, and for back- i-Tounds on gflass signs.

■'<':

40

PULLMAN SCHOOL OF LETTERING

Cut around letters on glass using thick black, that will cover good. W hen dry, var- nish with clear, "(juick size" or "quick rubl)ing varnish." Be- fore varnish is dry s])rinkle on flitters wliich make a very ])ret- ty sign.

Flitters are sometimes used for entire backgrounds. Do let- teiing in black, and varnish en- tiro back of glass with ' r .:b- bing varnish." When varnish is nearly dry, sprinkle with thl- ter, after standing a few min- utes, dump off surplus flitters.

RAISED LETTER SIGNS

This is a very pojiular sign, and is not very expensive, and makes a good appearing, dressy sign, where a large size can be used.

They can be made for a'mo^ t

any place, across the front oi

buildings, suspended o\er sivlc-

'.valks, ])anels under win(U)Ws,

winiJ" signs, etc.

They are made of high-grale uiln and air-dried white pine, securely glued together, ap- I earing as one ])iece.

To paint (see coating sign ) p:actically any color may be Msed in smalted or varnished I)ackgrounds, dark colors b.^!n"; l)referable and shows off tlie 'did to the best advantage.

WINDOW SHADE LETTERING

Make pounce pattern of lay- out. Pounce on lettering in the usual manner, size in lettering with our celebrated quick size, and gild in about one hour with gold leaf, aluminum leaf, or gold bronze, or aluminum bronze.

Shade or outline, with colors to suit. Black being preferable on dark colors, double shading on light colors, using asphal- tum glaze, split and outlined with black. See cut of Split Shade.

S«M' Kiji. 'iU oil piiK'e 1~.

CORNER PIECES

Corner pieces are used on both wood and glass panel signs, and help to make a beau- tiful layout. The corners and end pieces shown (on page 4C-) are carried in stock ready to be ])erforated, same as the pounce pattern sent vou. (See price list.)

KIkx. 7.' ami "<> sliow enil .sitoIIn iiikI oonier iiit'oe.s. vjirriecl in .Ht«M-k.

SILVERING GLASS

Solution No. 1

Tut IS ounces of distilled

water in a clean granite ves cl

and add 1^ grams of nit-nte

of silver, and 1>^ grams of Ro-

AHUFACTURERS NATIONAL BANK,

PULLMAN SCHOOL OF LETTERING

chelle salts, and boil 5 minutes. Then form a funnel of filter- paper, closing ends firmly, and placing in a glass funnel, pour the boiled solution into this and when filtered, put solution in a bottle that has been paint- ed black on the outside to ex- clude the light.

Solution No. 2

Put 18 ounces of distilled water into a granite cup, pour out 4 ounces (4 ounces into a glass). Into this put 2 grams of nitrate of silver and cau- tiously drop in liquid ammonia until it becomes dark and con- tinue dropping until it becomes clear. Add 2 grams nitrate of silver, thoroughly, dissolved, and add to the water in granite cup. and filter as before. Clean glass with felt and jeweler's rouge, then Avash with w^hiting and water. In a glass pitcher pour equal parts of the 2 solu- tions. Mix well and pour over Hass and allow to stand about 30 minutes. Pour ofif the sur- plus solution and allow glass to dry. When thoroughly dry. rnb well with a clean chamois- skin and coat back with orange shellac. Hlien. with a flat coat of grey paint and finish with one coat of asphaltum. If let- tering is to be done on the sil- vered side, it should be backed with a coat of hard drvinj? var- nish, and allowed to dry thor- oughly before silvering. All vessels used in the above sil- vering solution must be relig- iously clean.

ANOTHER SILVERING

PROCESS

Hot Solution

Put 1 pint of distilled water

into a flask and place on stove until it boils. Then add 24 grams of Rochelle salts and boil 7 minutes. Take ofif, let cool, and filter, as first silver so- lution mentioned above. When placing flask on stove to boil this solution, flask must be placed in sand, in a pie pan. or some such utensil.

Cold Solution

One pint distilled water. Pour half of glass into a pint tumbler. Put in tumbler 38 prams nitrate of silver, drop in liquid ammonia and stir until clear. Then add 32 grams ni- trate of islver.

Either one of the above- mentioned silvering solutions may be used for silvering chipped elass. and etched glass signs. Clean the glass thor- oughly before pouring on solu- tion. When solution is dry. i^'p your patterns (as in Chijipcfj (ilass Signs).

SLOW SIZE

"Slow size," sometimes call- ed "fat oil size." is used for gilding, raised and surface let- tering and most all exterior work, and should ne\er be var- nished. "Fat oil" is made by first breaking up 2 lbs. of dry red lead in boiled (^il, thick like mrsli ; to thi'^ you will add one gaUon of boiled oil. mix thor- oughly and put away in a tin pail. Cover pail with two thicknesses of cheese cloth and allow to stand in the sun from three to six months. The longer it stands the better it is.

"Fat oil" is very expensive, and by making it up as directed above you will have enough for manv vears.

42

PULLMAN SCHOOL OF LETTERING

"Fat oil" and "fat oil size" are indispensible in the sign sho]) and is the most reliable when allowed to stand twelve hours or more.

Be sure to ha\e surface to he "sized" well coated and free from suction and perfectly smooth l)el\)re laying- on size.

In cold climates "sizing" must be d<^ne in a moderately warm room. Should the room l)ecome cold while size is dry- ing, this will cause the size to lose "tack," but on warming the room "tack" will soon ap- pear and you are ready for gild-

"Slow size" or "fat oil size" is made by mixing together cciual ])arts of "fat oil" and our celebrated "quick size." To this add e n o u g h medium chrome yellow (in oil) to color it surticicntly to show on the background (or surface) you are "sizing" in.

When taking "fat oil" out of tin pail that has stood the re- (|uired length of time, break the lilm on the oil and pour out carefully. Do not stir or mix the red lead into the oil. This will allow all sediment to go to the bottom of the pail, leaving the "fat oil" perfectly clean and red lead on the bottom.

STENCILING

To make a stencil for (|u;m- titv work, always make "male" and "female."

h^irst make "i)ounce" pattern ;ind jjerforate.

I'ounce this on i)re])ared stencil paper and cut out half of each letter. This is called the "male stencil."

Now i)lace this stencil on an- other i)iece of stencil pai)er and make impression of same by

going over half cut letters with your dark "pounce bag."

Then place your "pounce" pattern or "layout" on this to get the other half of letters and cut. This is called the "female stencil."

Cover a 2 inch paper hanger roller with heavy plush, and roll your color instead of using a stencil brush.

Use color heavy and not too much on the roller. By work- ing the roller semi-dry, you will find your letters will be per- fectly clean when finished. When done with roller and stencils, wash thoroughly in turpentine and hang stencils on a nail, which will keep them perfectly straight.

With this treatment they will last for years.

Make stencil color of lamp black, ground in oil, and add a little fat oil to make color good and stiflf.

For background stencils see "cut in" letters.

.See Kiu'. tiTi oil itiiiie MK

ETCHING (Glass Signs)

Ftching glass signs is a very simple process, and when prop- erly executed makes a beauti- ful sign for either outside or inside work. Coat glass to be etched with best "turpentine asphaltum," thinned with tur- pentine (about two parts as- phaltum and one part turpen- tine), and when dried to proper tack (not too dry) roll on lead foil, smoothing out all wrinkles carefully with thumb and fin- ger. Now coat with a thin wash of whiting, with a \ ery little Le Page's Glue (enougli to bind) thinned with water. This may be aj^plied with a "wad" of cottoti. Now pounce

4.^^

PULLMAN SCHOOL OF LETTERING

on your "layout" and go over lines, correcting the letters. This will prevent rubbing off "layout" with your sleeve or while working on the job. Cut out letters with a needle and |.Mck out foil where glass is to be etched. Then wash care- fully with benzine or turpen- tine (turpentine preferred), bank (or putty) edges of glass with thick putty made of bees- wax and a very little asphal-

tum, which should be heated a trifle. If too thin, add enough whiting to make thick like putty, using the thumb to bank or putty edges, which should be j^2 to ^ of an inch deep or high on edge. Now coat the letters with thin Le Page's (due. and sprinkle them with flake graphite. To one part of hydrofluoric acid add three parts water and pour on glass until letters and background

IK

/PfL£

BANK

l':oj»or v.siy to flit .h<«'IU-:Is <-ii!I«mI "^I \I,I-; AM) KIOM \l, ill «|ii:!ii(it.v work or :iii.v Ni;;ii itjiiiitiiiu.

44

.*' mill iiro iiNcil

PULLMAN SCHOOL OF LETTERING

are covered. This you will al- low to etch about 20 minutes. '! hen throw off into a pan that has i)re\-iously been coated with pararime and rinse off g"]ass in clean water and hold to light to see if etched to suit.

This will give the etched parts a beautiful eml)osscd ef- fect, and when gilded and treated (as in chipped glass signs) you will have an em- bossed letter with a burnished gold outline. ( See Chij)])ed (ilass Signs.)

CHIPPED GLASS SIGNS

Chipping glass signs have remained a secret for many years, although several have described the process but have nex'er gone into detail suffi- cient!}' far that one could really master tlie art or become ])roR- cient and use it to any advan- tage financially. We have or- ganized The Pullrr.an School of Lettering for the })urposc of

iiSTATE

ll. A I I IV

I \1 1 I

N(;jRTH FIELD

STATE ,

bank\

NORTHFIELD

PULLMAN SCHOOL OF LETTERING

helping its students instead of taking their money, and the more you want to know the better we like it. Chipped glass signs should be made on plate glass only. With the letters sent you, make a pounce pattern of what you want to say on the sign and perforate. Clean your glass and paste on a piece of heavy manila paper that has been prepared as fol- lows : To a half pound of gran- ulated glue (that has been soaked in water four hours) shave a half bar of laundry soap ; to this you will add a half pint of glycerine and heat in a double boiler until thoroughly cooked. While this mixture is hot. coat a larp^e sheet of manila ])aper and let stand over night (or until dry), then wet glued side with a damp sponge and apply to the glass, smoothing out all wrinkles with a piece of cigar box lid that has been rounded on edge with sand- paper. When paper is dry, lay on your pounce pattern face down and pounce letters with a dark "pounce bag." Then, with a lead pencil and T square, g. ' o\er top and bottom lines of lettering. This will make them level and sharp. Lay "cut out" letters sent you on perforated lines of pounce pattern and mark each one with a sharp lead pencil. Now you are ready to cut, and with a sharp stencil knife (or pocket knife) cut out letters as follows : In cutting letters, keep away from the lead pencil marks y^ inch (in ordinary size letters). You will find, when gilded and ready to clean off between and

around letters, your "cut out" letters are ^i inch larger than the space or letters you have just cut, and when letters are sandblasted, chipped and gild- ed, and the surplus gold is cleaned away, you will then have a chipped gold letter, with a burnished gold outline J^ inch wide around each letter. You will then back them up (as described in Backing Up Letters), and when the "back- ing up varnish" is dry you are then ready for the background, which should be black (or any dark color, such as dark red, dark blue, dark green, etc.) When you have cut the letters out, you are then ready to have them sandblasted. If there is a sandblast machine in your town, or neighboring town, have glass sandblasted and you are ready for chipping, or send us size of glass and wording wanted for sign and we will furnish the glass, cut all neces- sary patterns, etc., sandblast and chu) the letters ready for you to gild and put on back- ground, border, etc. All you will have to do is gild the let- ters and lay on the "cut out" pattern we send you and clean away surplus gold with brush (as per printed instructions at- tached to the word "Signs" sent you). This is a very sim- ple process that any one with ordinary intellip^ence, good eyes and two hands can do as well as we, and the only reason for above suggestions is on ac- count of so few towns having a sandblast machine. We wish to impress upon your mind again, we are here to help you instead of taking vour monev ;

46

PULLMAN SCHOOL OF LETTERING

only you ask the questions and we will be only too glad to an- swer them. In this way you will be able to make any kind of sign wanted, and be in a class by yourself and in big de- mand. To chip letters or back- ground on a sign 24x36 inches, soak one pound of best cabinet glue in water over night. In the morning pour off water and melt in a double boiler or car- penter's glue pot. When hot. ai)i)ly with a clean 3 inch bristle brush quickly, one line of let- ters at a time, covering over ])aper letters and all, being careful to touch every place that is to be chipped. When the glue has set or dried a few minutes (or sufficiently dry to cut around letters with a small knife blade) you will proceed t<i cut around each letter care- fully, and do not miss or skip one place to be cut. The cut- ting prevents glue from stick- ing to edges of letters, and un- less this is done edge of letters when chi])ped will be ragged. When this is finislied pull ofif the j):i])er artnmd the parts to be chipped. Some j^refer a needle in ])lace of a knife blade for cut- ting around letters. Now sign is ready to set away in a warm, dry room, and it will chip itself Do not pick the chips unless they do not come ofif after standing ten hours or so. If good blue is used this should not happen, and will chip per- fectly in about eight to ten hours, or sooner. When the chipping process is- finished soak the glass with water until pa])er and particles of glue wash off easily. Then rinse thoroutrhlv with clean water

and you are ready for gilding.

See Fin". 41 «>ii itiiK'e 111.

I^M;;. H. HrjisN et«-lieil, Mliowiii^' full l(e\el mill roNette.s.

ETCHED BRASS SIGNS

Brass signs are usually made of 16 gauge patent leveled etch- ing brass. Cut plate to size and have same Imffed to a per- fect surface. Lay out and make pounce i)attern with let- ters sent you. Before laying out pounce pattern clean entire j)late with turpentine and whit- ing, being careful not to scratch the i)late. When thoroughly clean, pounce on the layout with while jxnmce bag. and with lead pencil in one side of compasses trace top and bot- tom lines of lettering, and with T square go over pounce lines, squaring and correcting each letter perfectly. While cut- ting around letters with the acid resist keep your fingers from coming in contact with polished surface, as this will leave a greasy mark and acid will refuse to etch. To j^revent this make what is called a bridi/e. bv nailinij- a 2x2 inch

47

PULLMAN SCHOOL OF LETTERING

of a 1x2 inch pine strip, 30 inches long. Rest your left hand on bridge, steadying the right hand, or brush hand, while "cutting in" letters. Cut around each letter carefully with the following acid resist:"

"Acid Resist"

To 8 ounces of paraffine add 8 ounces white beeswax and Yz ounce of Burgundy pitch. Melt wax and paraffine together, and before adding the pitch pulver- ize to insure immediate coali- tion. To the above you will add one and one-half times as much best turpentine asphal- tum and heat o\er slow fire and stir thoroughly. Remove from fire, and to the above add one- half pint of best turpentine. This you will return to the fire and cook carefully for ten min- utes. There are other "acid resists" mentioned below, more simple to make and easier to work, but we are unable to recommend them to our students.

Soc KiK. 7 on iciye '.\Tt.

Caution

Great care should be exer- cised in making the abo\e formula, or "acid resist," as both turpentine and asphaltum are high explosives, and great care must be taken not to over- heat while cooking. T h e above "acid resist" must be worked on warm brass and in a warm room, heated to about 80 degrees. When cutting i>n around letters with this mix- ture, use a long camel's hair outlining brush. Dij) brush in tur])entine, then in mixture.

working the two together on a warm piece of glass to shape your brush before applying to brass or "cutting in" letters. After letters are "cut in" and background around letters fill- ed in, allow to dry over night. When dry, place plate in a warm oven, watching it until "resist" begins to melt and set- tle (or flow). Then remove and touch up all pin holes and bare places, including ends and liack of plate, with hot paraf- fine, and the plate is ready for etching. For small etching tub, make a frame of 1x4 inch wood strips, nailing together at four corners. Tack oilcloth on edges, allowing enough slack in oilcloth so that tub will l)e about four inches deep when completed. You will also paraffine entire inside of tub as on back of brass plate (men- tioned ab(n-e). To one part of C. P. (chemically ])ure) nitric acid, add two parts of cold water. Make enough to cover entire l)ottom of tub to a de])th of about 1 inch or m i^'c. Pl-'.ce T 'nte in the soluti; :i. face uj), and acid will act on exposerl hra'S or letters and etch to •--r^'^rr dn^th in a few hours. .•\p"itate often v\u\ wn'rh c''"'^- fuUy to prevent acid from etch- ing too rai)idly or overheating. When the plate is etched to proper depth (which is about 1-32 inch) you will remove plate from acid and rinse in water thoroughly. Then clean resist off with benzine or coal- oil and place in oven to warm slightly, and remove paraffine by wiping plate briskly with a soft cloth. Now wash with benzine and return ]>late to a

48

PULLMAN SCHOOL OF LETTERING

hot oven and burn oft any par- ticles that may stick in corners or edges of letters. To remove hot plates from oven place a thin board under same, using board as a handle, and allow to cool. When cool, brush over plate with fine sawdust. This will remove any possible trace of grease t)r oil from the paraf- hne or "acid resist." After you have dusted off every particle of sawdust, you are ready for enamel, and with "Premier Black Backing Japan" you will fiow a coat over entire back- ground and letters, using a bear hair (or fitch-hair) brush; then place in the oven and bake at about 200 degrees heat two hours, or until dry (not hard and brittle). This you will re- peat until lour coats ha\ e been applied and baked. When fovirth coat is baked and cooletl. you will shave enamel «3ff around letters with a stiff putty knife that has been shar- pened on end, same as a car- ' enter's wood chisle. and is free from knicks (or rough places). l)t) not let shavings of enamel fall into letters. When all enamel is shaved off carefully ( where it is not wanted) return to oven and bake in 500 degrees heat four to six hours. W'hen cool, polish with any good metal polish until perfectly clean. This will leave a beau- tiful black letter with a brass background, or vica versa, and may be ])olished as often as necessary by usin*i^ a piece of plush tacked on a block (3x4 inches. 1 inch thick).. If the polish dulls the letters in the first cleaning, you have n<it baked lluni sulVicientlv hard or

at the proper heat. You may thin the first coats of enamel to a nice flowing consistency. Finish coat should be a trifle heavier or thicker, being care- ful that surroundings and table you do your coating on are free from dust. This is quite neces- sary in doing a perfectly clean job. For beveling brass signs you should have a set of our beveling tools, which are made by us for beveling brass and copper signs, with full instruc- tions how to use, etc. (See price list.)

Another "Acid Resist"

(For Etching Brass)

Beeswax, resin and asphal- tum (e(|ual parts) heated to in- sure coalition.

And Still Another ''Acid Resist"

To 1 pint turpentine asphal- tum, add 1 ounce beeswax. Heat until melted; when cool thin with turpentine and coat entire surface oi brass to be etched, and before resist is dry (or when j)ro])er tack is reach- ed) roll oil lead foil, smoothing out all wrinkles which may ap- pear ; then go over foil with a very thin whiting and glue mix- ture. This will show the pen- cil marks around letters which you have previously marked. Then cut out letters with a sharp pocket knife (or needle) and lift out foil in places to be etched ; wash with coal oil or 1)en/.ine. \\'hen thoroughly cleaned lay plate flat on a level table and "bank" edges with stiff putty made of beeswax, to whicli has been added a small

49

PULLMAN SCHOOL OF LETTERING

quantity of asphaltum. (See Etching- Brass Signs.) Now pour on plate about a quarter of an inch of the following so- lution : One part nitric acid and three parts water. Leave stand until etched -to desired depth.

THE KIT

'	m	' js-.^-.^B	1
	■ ^««-%^
i	^K

FlK. "D." The Kit (or Tool Box > loaded ready for any job. Write for l»artleiilarH and price.

The sign painter's kit (or tool box) should be composed of the following tools and materials :

1 complete set of muslin brushes.

3 each of the different camel's hair lettering brushes,

3 sword striping brushes (different sizes).

1, y2 inch fitch.

1, 1 inch fitch.

1 gilder's tip (camel's hair).

1 gilder's tip (badger hair).

1 tracing wheel.

1 grease pencil.

Gold leaf (deep and lemon).

Gold lining bronze.

Turpentine.

Aluminum bronze (lining and regular).

Half dozen "Gem" safety razor blades, and handle.

One hundred No. 1 empty capsuls for water size.

School crayon (chalk).

4 thumb tacks.

1 spool of No:. 8 black cotton thread.

1 alcohol lamp.

1 small bottle of wood alco- hol.

1 small bottle of chloroform.

1 putty knife.

1 small screw driver.

10 cent package of medicated cotton.

1 big--mouthed bottle of lamp black (ground in japan).

^ pound of English vermil- lion (dry).

6 screw-top cans for the fol- lowing:

Quick size. Rubbing- varnish. Spar varnish. Lard oil. Demar varnish. 1 big mouthed bottle of tur- pentine, for rinsing- brushes. Pounce bag (white). ^2 dozen sticks of charcoal. Chamois skin. Sponge.

QUESTIONS

Study every question thor- oughly before you attempt to paint your first sign job. Be sure you are right before going ahead. The following ques- tions are very important and vou should be able to answer

50

PULLMAN SCHOOL OF LETTERING

each and every one of them practically.

No. 1. What is flat coating?

No. 2. Give different meth- ods of snapping lines.

No. 3. How are damp i)en- cils cared for?

No. 4. What is^ cutting in?

No. 5. How is hacking up color made? .

No. 6 How do you straight- en a warped pencil?

No. 7. Name all liquids used in sign i>ainting.

No. 8. \Vhat is flock?

No. 9. What is smalt?

No. 10. What use have we for Le Page's Glue?

No. 11. How do we care for hristle brushes?

No. 12. How do we layout japan tin?

No. 13. What is a hack- ground stencil?

No. 14. What is a surface letter stencil?

No. 15. What is meant by landscape?

No. 16. What is meant by upright?

No. 17. ^^'hat is meant by the term condensed?

No. 18. What is meant by the term regular?

No. 19. How is gold and silver applied to glass ?

No. 20. What is the best method used in frosting glass?

No. 21. What is the process of burnishing gold and silver on glass?

No. 22. How do yoii prepare a sign for varnish background?

No. 23. How is flitter ap- plied to letters?

No. 24. For what other pur- pose is flitter used?

No. 25. Why do you add quick rubbing varnish to as- phaltum ?

No 26. How do you make water size?

No. 27. Which side of a let- ter should be shaded?

No. 28. How do you remo\ e old lettering (tr old ])aint from glass?

N(». 29. What is ilu- fir^t precaution in window letter- ing?

No. 30. What brushes arc most used for muslin and oil- cloth signs?

No. 31. Describe a back- ground stencil.

No. 32. How d(^ we make a zinc-etched stencil ?

No. ^^. How do you emboss gold on glass?

No. 34. HoAv- do-we yirepare- galvanized iron. for coating?

^^. What 'do we use' fat oil for?

No. 36. What is fat oil?

No. 37. How do we prepare to letter on a finished wagon?

No. 38. Why do we use stale beer in "laying out" on glass?

No. 39. How do we prevent gold from sticking to varnished ground ?

No. 40. What is shellac used for?

No. 41. What use have we for an alcohol lamp?

No. 42. What liquids are used for drilling holes in glass?

No. 43. What is meant by cutting in ?

51

PULLMAN SCHOOL OF LETTERING

No. 44. What is surface let- ter?

No. 45. How do we smalt a board sign?

No. 46. What use is made of an indelible lead pencil?

No. 47. What use is made of nitric acid?

No. 48. What use is made of hydrofluoric acid in the sign business?

No. 49. ^^'hat is a skewing box?

No. 50. What kind of gold leaf is best for outside work ?

No. 51. How is the surplus gold removed when the back- ing up is dry?

No. 52. For what purpose is lemon gold leaf used ?

No. 53. Which of the two requires the stronger water size, gold or silver leaf?

No. 54. How do we cut gold leaf?

No. 55. What is meant by washing gold leaf?

No. 56. What kind of a brush is used for applying gold leaf to the glass?

Nfi. ?7 . How is gilder's tip j>rc]~»ared to lift the gold leaf?

No. 58. What is meant by patching gold jobs?

No. 59. \Miat is meant by backing up ?

No. 60. What kind of var- nish is used for stippling?

No. 61. How should colors be mixed for outlining?

TRICKS OF THE TRADE

Liberal gilding may waste gold Init it will save time, which is often more valuable.

Outlining gold letter with color on glass is most casih'

done wMth semi-transparent colors, such as drop black, Prussian Blue or reds, mixed with "quick size" and turpen- tine.

Pure white lead is mostly used in coating boards, etc., for outside work, being very dur- able.

Lamp black is the most dur- able of all pigments.

Drop black is deeper in tone and more transparent.

Sign writers' black (in oil) is best for ordinary board signs or black lettering on glass.

Swedish black is best for water color, mixed in thick paste form with Le Page's glue thinned with water.

Wash lettering brushes im- mediately after using. If used in water color wash in water. If used in oil or Japan color wash in turpentine, grease with lard oil ; wash again with tur- pentine before using.

Never use skinny or dirty colors ; strain them through cheese cloth.

Never use a worn-out or poor brush. Save time by using good tools and taking good care of them.

Never allow wall brush to stand in water ; wash them out and wrap them, and keep them in benzine.

Have two sets of lettering brushes, one set for water colors and another for oil colors. Don't allow water colors to come in contact with oil of any kind.

Sable hair brushes are best for water colors and heavy lead colors.

All surfaces to be lettered

.S2

PULLMAN SCHOOL OF LETTERING

should be thoroughly cleaned. You will save by adopting this plan.

Measurements should be taken accurately.

Always keep top of can colors smooth and covered with turpentine.

Quick size may be slowed by adding a few drops of good var- nish.

Use rule, snap line and com- passes for making lines and curves.

Don't depend too much on your eye.

Shellac should not be used between coats of paint. It may cause trouble.

Never promise a jol) sooner than you can do it.

Never use quick size for out- side gilding. Use slow size or fat oil size, which must stand over night before the proper tack is reached for gilding.

To make layout or pounce pattern, make layout just as wanted, then ])erforate lines and letters with tracing wheel, lay pattern on face of signs and run o\'er layout with ])ounce bag with dry whiting and re- move ]:)attern. anrl your layout will appear.

Flock produces a tine vel- vety gromid for signs and may be used instead of and in same manner as smalt.

Cheap closing out t^r sjiecial sale signs may be made on glass fronts by coating outside of gla-s with calciniine. Let- ter with jajian color t same as in oilcloth and muslin signs).

I)(i not take e\ erybody's ad- \ ice. Study carefully, using L-tiod indunient in e\ervthing

you do. To be successful in the sign business use good materials. Get good prices and collect promjitly.

If chalk will not write on glass, rub over with stale beer or cider vinegar and the chalk will mark extra fine.

No sign painter's kit is cotn- j)lete without that most valu- able article, the chamois skin, for wiping and drying glass and other surfaces.

A small alcohol lamp is gen- erally carried in the kit for boiling and making water size.

A soft sponge is another very essential thing in the kit and is used for washing glass signs and on window work.

Dainp windows in cold, changeable weather should be kept dry with an electrical fan.

Sign rods for swinging signs should be made of gaspipe, supported by chain or wire cable, using small turnbuckle to tighten and level signs.

Ne\er add oil to asphaltum It will retard the drying. Add rubbing \arnish or quick size to insure hardness.

Asphaltum is used for glass. o\ er color and gold, and sliould be ajiplied thin.

Never buy your staple colors in one pound cans, if it is pos- sible to get them in five pound press cans. This will avoid waste and is much more con- \enient, it being best to get most any color in japan or oil put up in five pound press cans.

Don't use cutting in color that has been standing for sev- eral days. It should be made up fre^h for most every job. and will avoid trouble, as it be- comes fat and li.ard to wnrk.

5.3

PULLMAN SCHOOL OF LETTERING

Don't let smalt run (or slide) off board signs, as it will spoil edge of letters. Dump it off quickly.

When varnishing, flow on freely.

Pounce all surfaces (except glass) where leaf or rubbing- bronzes are used before sizing in letters. Use the pounce bag or whiting and soft cloth.

^ COLORS

(How to Mix)

Tn this table the hrst color named in each item is the base and should be used in the greatest quantity. The other colors should be added until desired shade or tone is reached :

White and red produce pink.

Red and black produce ma- roon.

Yellow, blue and red produce bronze green.

White, black and red pro- duce lavender.

Red. yellow and blue produce citron.

Yellow and blue produce green.

White and yellow produce cream.

Yellow and red produce orancfe.

Blue and red produce violet. Yellow and black produce olive.

Red and blue produce purple.

Yellow, black and red pro- duce brown.

Red, yellow and black pro- duce russet.

WHiite and blue produce light blue.

White, black and red pro- duce lavender.

Red, yellow and blue produce citron.

Yellow and blue produce green.

W'^hite and yellow produce cream.

Yellow and red produce orange.

Blue and red produce violet.

White and black produce gray.

White, yellow and red pro- duce flesh.

Yellow and black prodtice olive.

Red and blue produce purple.

Yellow, black and red pro- duce brown.

Red, yellow and black pro- duce russet.

54

1 \- •■-. n i

578

-^0 . ^ V

Ao^

\^

■■,y

-^'

-^^0^'

0 • -v^N,.,'.

V ^. %*'-"o^"^-- V^-'^^^' %^'^'^

<>.

^:> ' . . 5* /\

,V

.^^

0

-^^0^

V-? ' • « 5

■'?.'

4 O

o >

'^^ '.."^'.o* ^V

>

^ ^:^P!

"^

V %,^V^M^^\/ _..,\ ^^,^^ .^

.^

4 o

o o

o V

Hq

x^

>o-

.^'

V

>;

.HO.

G^

^5\\\\1%-

o >

-^^0^

^^ *<:^^lr\'^

k\^

H o^

'v^*^

O

- %

^^ "'>..>-

.■Jy^

•^o

.<^'

-^^o"^

.N^*^ ""-o

■'^.

>J ■/•,

''>..^^'-

'o V"

"o y

^^•'V,

^_

<■ "-ti.

\

>i"^'

C" /

O

o V

^^ .

^^c,^'

S:"\

•^

^^

\0 -n^

''■' >. "'5*,

'\K.

'.V -x^

;^

^^-^^

V'^'.

<>.

,v

1

T^*^ N. MANCHESTER. INDIANA

^<iSu^

C^\^

.0 V-.

;':-j*'

I ,i ^4! * ,€ ,:f ^€^«I ^4 ^1 A ,;4 ,li 'i!i '4 ' «, % * '

•a 1,4 A A-,^'^ r^^Aj€j€ M • li ■# *«i> % tt ■*!» 'it -^

ti ..«i-,^.t „■?>■, -f^ ■>>

^4 ..-^

^ ■■•* ■>{'

f ■ « ' ■*

^\ -m i|j ci t' ti '^l- '^^i- •■^*' A ■'^ >l /yf *^. ^^i

,'?'■■. •*' ^*'- ;« ^ 4 1i f ^1 '^1 41 ■'^■^■"'- ' > .1 > '€''^^""-.

; /' 4 * ^ € ^«!l €i ^d ^1 q v:|i ^-^v^. -^^. -W'-^..

i4 4. ,<i,.* .c ,^j .f v^ M M, .M . ; . - ^<^"4 ' ir ;t ■* .K/i XM M M AM M '^ '4 * '^'4:'^^ 1;)E; i-^ 4 €■* 1^ ^ ■« i il -^t n-^> '^ -^v ;/i ,-tl : I! '^^ ^ f ^: .< ■ 4 ^ ■* •1r ^i 4- '^t "4 ''di ■

■Si .. ^V _"%i

• •''-'■■^'iii

'|L-. -i^ ^ % % 4 t 4 ^ n M 4 4: 'S :% '-^ '^. ^ .

^'t. ■"' '^'^i ■* :« 1^ =C ^C^* '^^'^i '■•^■■* ::^-'-^'^ ^■■'' ^'"'r

jD-'-.i * * t ^ ^' € * -^ ^ii 4i' "^^ *• l^: i. :,

^■'^* ■4. ^^ 4 * '-^ '#■ ^ € *€'^f .4i 'i$ '-'l f,- '^. .^^ m ''m:

4t -gf! #■ # 1^ ■<! ';ii ^>4 ■« '4 ^ "^' '^^- 'm '# % 'V. >§^ ".

Hi !'■ ^ :# ^-r [W .ii^ ^14 ;^| '^ 4 -.Ij '^' .^1 'ill -Ji V;t: .:

J-li . C ■ * '^-^ C- ■■# ^' -^^ /€ '^ '4 € ^ -^f '^^- '^^ '^^^ -^^ ^S 'i' -ifi ^ * 4 t -7^ C ^tf m .1! *!l '€ ■# #, '.J' ':4- ^

^f^^ii _<! ^^ -i; ^ ^1 ^. ^lif 4: il! ' •^-■^1 '-^ '■# -m •?^^: '# ^■^ '-^. ^.

ll ^ :i^r .^1^ I. ^. M' -^- ^M' '^J -^i ll> l(t ^i[ '^j -.i: '0. ■>#- ..• y^^ '^^ '-

[ft 1: I'- ^ € ?^, ^: ?^, ■•^1; ^1 '^ll ^1 ^l(- '4 ' ■ ^ '^^ '4 ^

^i ^\ ■% .4\ i- ii i *^^ ^ ^; 4i ''4\ 4\ '4\ "Ai . - ^ "V'-f '-4-^^ 'n

^ -^. i\ * ji; ^ t t 4; :* * ';tl '^^ti 4i "^1 ■#; Vf :.i' ■.*"-.iy. ^^''.s'

V- ti^^i ■* 'i € ^4. M\ € 4) "'€ '*• '^^■"i^ !^- ^ '•^-■•4i^ "ii

■-- . -. If ^ «!■ Il ^J ^^1 4\ 4 It! 4 /til ^i*ai ■^■~^:- .r 4 'a: ^\i-"

;| f :i(? € ^ :-4r 1^ 4. '^ J ■■Ml -■■4\ 'ii^<^'% '^ii "■'%.: .^.■•^; v^. ■.^.^, - . ^..'^' .^^ -.* ■...< .^ •■.■^•' ^ ';^ :^< ^^5 .^f ;^ ^i 11] '^^1 "i^: *"W'-^

^J-^ i' - ^' r' ^S^^^,-.. ,,... t^l .:^ ^f- :r -. .1 '^^ .||-. " hi " ^. ^^ .^

Ji-%i %. Mx **.. .^: <vt € ^1 ^ ^! Ai -M ^^ M\^ .^1 'i^^-'

J i .A ■«'[ ;* '^ # €1 <i ^ • 4fe"^i'

? ^ m -^ 4! '^i

;«j- ^ ^1 Si, .-M -i e: -.^1 .

in I ^9i V^ .-^I j«l ^1 .1 ' .LI ' ..f

^^i ^4i '^ ^.]^l ;;^ ;^ ;#i %

«f! .	li •:«> ■«■	.^ " li"v: -.'.^
f		■^^m ■^p^
•'•'	X.X-	.^1 %i
	■4% ."-^	r#i -^
.^		-p ^1
> .	■ . ■"' . ■".	.. t* '^
	iSJi- '■^el	^ ^r

^} i» ^r iy^ ip\ A)

J- I.-. 1

«*: *:. i

.r- .jp;-^.j»'

^^^>

r » L' 15 i'

-i. .. ) '

w p

'•r P*s> ».> I.' .&:::. fe;, u

*^

jw' ^ m ^y # fife^ i;^ . t?^^' ^j-- iJfci f:*.' % i*. ^' i^^^ f^^ w i^ fliv'^l>^' i&^'^#: {?^^ ^^ e^^" »■ .*".

" 4^ 5^ f«i #. fe # fS'^ # ^i ^r.^:' .^W' ^' ^^ .*i «l^ -*■ J^^ !^-

^{■^ (f, m #.■ ^ •^' *^' ♦ * .

^)^' ^" t^ i^ ^ # ^^ -^^ ^ " ^^' t«^ «S: ^: ^.- 'i. flRi; !1;

_ '• .-.' -^ . ■■ »-. i*^- 'JTi: Aits. >'*■ '

^. l«i ::;ii 1^ ^^ ^e m- ':

■' -■■ 43;v^" ^: -^ :¥• # -i^* ^'_

•i?;. m ^'^ ;*. ->% * # t^

.^^ i»i:" .^ ^' 'W. ^ ^'m: ^?^ -^^''^

^.'' -^ ■^>~ -iii^- # '^ t' !^^

; ; /»; .«; •*. ^, '^^ ^1- 'm 'i*-

■■ !%?*'■ !]&?■*."

1^ (0. r f^' * • ,

^ jyv fly. %■ !|«^ r I

1^ f^ §^- ». 9^; o

■V 1^. f# '*^ *:

» fir. 1^ tr -1^ -' '■^^ ^'' It ^' '%

*■■ *:' g^' •* 9- ■ h^ '^■'^- -^^ i)^ , m^.' 1^' ?^- .* #. ^t

' \^' ^ U WW

jig" f^ * *. r '••

,i». .fc. •!».• A),.,.- >tr

^:' m ^h :•■ >

B' 4». i«i; *•*, m ^'<

4.' M. fx.

«^: «^ ^'-

3t" fa.

jT itt- '•?: "*/ i»r ^if Tjjf ».w>^ ':*y<- ».«•■?»•. ^^•', .-•''" J

■ %..•; mr#' I*. 11^ i"**^ B^ * o> ritt fjf'^.?'

,.'' -fi;"' ^•■' ^^ W' %'^ W l^ ^P \^ ^ 9^ '' ■ ^-,^- .^^,. 'i,v -j^ ;^/, %^ m 9*. t\^- ii^v Ik' ^' i^ ?

■it/ 1^ m ^»^>' »f'' 9^ -P^' 9^ ^ ^. .!^- ''^• v»' at'" %'Mfe'^" p' pv ?fc' ^ ^' ^^' i>^ ^' *i^ k

. ,%.. v. ■ w..~ ft... ri..v »*..•, .^■.i >W -as*' V (fc- 4l» '

^ ' ': f^ [K i> r*' D» ^ ^ .«. * '

■ >^ ]^^^ ^> il^ ^ |fe^ fisfc- # i: . ^^ A r* . »*. rvi i^ iir r«u ii>.'

^*^- li-^ %■ % "^ ^' >^ ^ ^''^- ^- I

' t^AAA~:A^JiA^ ti 1^1 W^

1 7i;€::/€ ''Cvt ?^ft a a A^^^^r ' ^| " ' ^ a . X. 4 4...t.,€.,ii:' « A A A A -^^ '^^^ ^^ % '^

■ '^M^A'AS AAJ"^ A . -fi- s'^* - ' ' * * ^

^.^€ A A A-A -^^ L*.^^i u ''9i-'^?i ^1 Y\ - . ^i. A ■ € ,€ ,^ii A ^'^ '^ •^•' ;^« ■'' ' ■■ '^ ^' ^' ■'

^r€ ^* "'^ ">^ ^'i '€-'^l-:^^^i ^ti "^«^i '% ^4 " ^fh

^^^ ^n -^'■' '- • • 4 41 ^' ' ■'' ' ^'--^ •" A '^^ 4

" 4 A € f ^ ^^'^ ■^'- ^'' >:' ' ^ i H A ■'

^^ ^' ii''

:^:. ■•'• :.^; ^ •■^■
tA y- A :^. .* .4;
il A-
i( «	»: ii- t M-
	'A A"'-t ■
4\ 'l w. -

€ *^i

p

KS

F

^Ai

%--*?^, ,.J .^- '^ 'm ''^"^^

, J - , /iiCi .t^- ^i my ■■# ■■^ -^^

I /'^ ■- .-■• .^- .•'■^.' . i . ^v , \. ^H -It 4;- VI: i: ■ ^ .^ '^ ■:^ ., -., ^ .,. 4. Ml W M '$.1 ^ M< 4i ml ^i -'^> '■^' >^y> "M v|- • •'■ '-'

1: I--. '4^ * 'i^C ^t! '^, '^-V '4i '^11 ',^1 ^."',1 ■ ■ ■ . . • ■■■ ^' -' '^i i. J^/ H '^i ^; 4' ^, '4i ■# '4 ■ .> ,. ^- ^ .-} ',

' " «^ 4 % 4 m ■% -^.. A '4l 4! '4: '-^i Vi ■■;i '•^.^■.: :) * € '4: € ^^ ^ ^f ^ai -If V;|i- :vj|^. '^^ [^.. ^:f •■^.

^ ^ ^^^^' C '^i A A '' "' -^1' ^ '^*i "^; ■"'■ ^^'^ «•■ a: > . il '<^ 4 ,* %ij .4 ^^ ^j ^; ;i '■<4[ ''41 '^1 -i^, ^,/,.^, \^. -^

% t € t ¥i- 01 #1 ^1 .*; ;^<fi '4[ 'i- t ■'- '- ■

'•^- " ., |i 4) ^ '4 ^[ ■'* ^5 -'

.:. ■* ■■* * ^1 € '^ '€': i^r .-^ 4J 4] >iV ^ ^ fi 'M ''^ '^l ^

iM- 11 ^e If 4! *ti ■'<! -^ ^ M[ . ■ ' « c ^ <i ;4i ^ «ft ^r^i ^ ^

'^.l^- a :t '«(; -^i fi «&! 41 iri fi ■•

H ^ ■■^H 41 ■<( *^ s^' ''5iij -^ '^i Mi «<H

"i.- «*• V

m, ^i '^^. :^}t ^--f

■'■ ^i; fS, !^, i^; z^*^

'^^t^f 'llf '-Itlij.^ "■%%, '^i'

^} -•'ii ■*; -i! M 5*1 "# ^'^

^^' -^l ^: :.^

^i^ ^l^'^ft

*1 a ii

■ ^i ^i ^^1- 1^ # ^. ^f ■'»<f ^# '3*1 ^fvi Wi •