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139 pages

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How to Write Signs, Tickets, and Posters is a timeless guide to the art of signmaking, ticket writing and poster designing. From advertising to painting and lettering, this clear and concise handbook covers everything a signmaker needs to know.

First published in 1902, Paul Hasluck’s concise guide is one of his most famous works, still providing excellent advice and guidance to novice and expert signmakers alike. Born in 1854, Hasluck was an Australian journalist and engineer that produced a collection of do-it-yourself guides and a master of technical handbooks.

This volume contains a wealth of information and illustrations. The contents include:

- ‘The Formation of Letters, Stops, and Numerals’

- ‘Making Sign-boards and Laying Ground Colours’

- ‘Shaded and Fancy Lettering’

- ‘Painting a Sign-board’

- ‘Poster-Painting’

Republished by Read & Co. Books, How to Write Signs, Tickets and Posters is a classic do-it-yourself guide, complete with original illustrations and diagrams. An essential volume for those who love to produce their own handiwork or are looking to learn a new skill.

I. Introduction and Preliminary Practice

II. The Formation of Letters, Stops, and Numerals

III. The Sign-Writer's Outfit

IV. Making Sign-boards and Laying Ground Colours

V. The Simpler Forms of Lettering

VI. Shaded and Fancy Lettering

VII. Painting a Sign-board

VIII. Ticket-Writing

IX. Poster-Painting

X. Lettering with Gold, &c.

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Arts plastiques

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Publié par	Read Books Ltd.
Date de parution	06 août 2020
Nombre de lectures	0
EAN13	9781528766586
Langue	English
Poids de l'ouvrage	1 Mo

Informations légales : prix de location à la page 0,0500€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

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HOW TO WRITE SIGNS, TICKETS AND POSTERS

WITH NUMEROUS ENGRAVINGS AND DIAGRAMS
Edited By
PAUL N. HASLUCK
First published in 1899
Copyright 2019 Old Hand Books
This edition is published by Old Hand Books, an imprint of Read Books Ltd.
This book is copyright and may not be reproduced or copied in any way without the express permission of the publisher in writing.
British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library.
www.readandcobooks.co.uk
P AUL N OONCREE H ASLUCK

Paul Nooncree Hasluck was born in April 1854, in South Australia. The third son of Lewis Hasluck, of Perth, the family moved to the UK when Hasluck was still young. He subsequently lived in Herne Bay (Kent), before moving to 120 Victoria Street, London, later in life.
Hasluck was the secretary of the Institution of Sanitary Engineers - an organisation dedicated to promoting knowledge of, and development in the field of urban sanitation. Hasluck was also the editor of several magazines and volumes over his lifetime, including Work Handbooks , and Building World. He was an eminently knowledgeable and talented engineer, and wrote many practical books. These included such titles as; Lathe-Work: A Practical Treatise on the Tools employed in the Art of Turning (1881), The Watch-Jobber s Handy Book (1887), Screw-Threads, and Methods of Producing Them (1887), and an eight volume series on The Automobile as well as a staggering eighteen volumes of Mechanics Manuals.
In his personal life, Hasluck married in 1883, to Florence and the two enjoyed a happy marriage, though his wife unfortunately died young, in 1916. Hasluck himself died on 7th May, 1931, aged seventy-seven.
CONTENTS
I.-Introduction and Preliminary Practice
II.-The Formation of Letters, Stops, and Numerals
III.-The Sign-Writer s Outfit
IV.-Making Sign-boards and Laying Ground Colours
V.-The Simpler Forms of Lettering
VI.-Shaded and Fancy Lettering
VII.-Painting a Sign-board
VIII.-Ticket-Writing
IX.-Poster-Painting
X.-Lettering with Gold, c.
Index
LIST OF ILLUSTRATIONS
1.-Perpendicular Straight Lines
2.-Horizontal and Oblique Lines
3.-Various Angles
4.-Parallel Lines
5.-Simple Curves
6.-Compound Curves
7.-Simple Straight and Curved Lines in com bination
8.-Circle
9.-Oval
10.-Freehand-drawn Coil round Cylinder
11.-Freehand-drawn Cable Twist
12.-Freehand-drawn Scroll for Inscription
13.-Sign-Writer s Blackboard and Easel
14.-Concentric Circles
15-20.-Camel-Hair Writers
21-24.-Palettes
25.-Pair of Tin Dippers
26.-Monogram showing how to draw I, L, F, E, H, T, A, V, and Z
27.-Monogram showing how to draw the letters X, Y, N, and K
28.-Monogram showing how to draw O, C, G, Q, P, B, D, J, N, R, and S
29.-Monogram showing how to draw M and W
30.-Monogram showing how to draw the Arabic Numerals
31-35.-Hair Pencils, large sizes
36-43.-Hair Pencils, smaller sizes
44-52.-Sable Pencils
53.-Long-hair Fitch
54.-Oval and Pound Pencilcases
55-57.- Riggers
58-64.-Sable Liners, or Tracing Pencils
65.-Short-hair or Filling-in Brush
66.-Filling-in Brush with Tin Ferrule
67.-Badger Hair Softener
68.-Sable Blender
69-79.-Tin Dippers
80.-Paint Strainer
81.-Parts of Strainer
82-86.-Palette Knives
87.-Compasses and Dividers
88.-Jointed Mahl or Rest Stick
89.-Sign - Writer s Candle stick with Shifting Reflector
90.-Brodie and Middleton s Sign-Writer s Outfit
91.-Making Frame for Sign-board
92.-Section of Sign-board
93.-Covered Sign-board
94.-Glazed Sign-board
95.-Skeleton Letters
96.-Skeleton Letters
97.-Skeleton Letters and Numerals
98.-Letters formed of Straight Lines at Right Angles
99.-Letters formed by Oblique Lines
100.-Letters formed by Combined Vertical, Horizontal and Oblique Lines
101.-Letters formed by Combined Straight and Curved Lines
102.-Letters formed by Curved Lines
103.-Roman Capitals, Solid
104.-Roman Capitals, Open
105.-Roman Capitals, Open
106.-Roman Capitals and Numerals, Open
107.-Roman Numerals, Stops and Dashes or Rules
108.-Roman Brackets, Braces, and Small Letters
109.-Egyptian Capitals
110.-Italic Capitals
111.-Italic Small Letters
112.-Old English Capitals
113.-Old English Capitals and Small Letters
114.-Script Capitals
115.-Script Small Letters and Numerals
116.-Tablet Letters, Numerals, Stops, etc.
117.-Hair-line Italic Small Letters
118.-Formation of a Blocked or Raised Letter
119.-Letter with Thickness underneath towards Light
120.-Letter with Thickness above, partly towards Light and partly against
121.-Letters with Thickness against Light, and without Perspective Lines
122.-Sans-seriff Alphabet and Numerals in Perspective
123.-Italian Alphabet in Perspective
124.-Ornamental Initial Letter for Church Work
125.-Medioeval Capitals
126.-Medioeval Small Letters
127.-Ornaments for Church Work
128.-Ornaments for Church Work
129.-Method of Expanding Letters
130.-Expanded Letter
131.-Expanded Letters
132.-Elongated or Condensed Letters
133.-Compressed Letters
134.-Expanded Ionic Letters
135.-Drawing Letters in Perspective
136.-Examples of Perspective
137.-Perspective Lettering
138.-Sign - Writing in Perspective
139.-Plain Board
140.-Plain Shield
141-144.-Scrolls
145-146.-Hands
147.-The Royal Arms
148.-Prince of Wales s Plume
149.-Ribbon Ornament
150.-Crown
151-152.-Scroll-work Corner Pieces
153-154.-Lemon Tree
155.-Shoemaker s Knife
156-157.-Pointing Lead Pencils
158.-Perforating Wheel
159.-Lining Brush
160.-Flat Fitch
161-163.-Wooden Compasses
164.-Wooden Spatula
165.-Diagram of Eight-sheet Poster
166.-Single Letter on two Sheets
167.-Gilders Cushion
168.-Gilders Knives
169.-Gilders Tip
170.-Gilders Mop
SIGNS, TICKETS, AND POSTERS
CHAPTER I.
INTRODUCTORY AND PRELIMINARY PRACTICE.
T HE use of signs as a means of advertising is of very ancient origin. In old Rome the taverns had signs, and the Greeks also made use of them, as is proved by allusions made by the old Greek writers on the subject. In England, during the middle ages, when most people could neither read nor write, a sign, or signboard, was of absolute necessity to the tradesman. These were generally indicative of the trade carried on within. With the spread of education these signs gradually fell into disuse; still many exist to the present day, as the three golden balls of the pawnbroker and the gaily-painted pole of the barber. The modern practice of sign-painting- accepting the term in its original sense-is an almost obsolete art, which survives only in the royal arms, arms of public companies, heraldic shields, and in some hotel sign-boards. It is, however, the modern practice of lettering on signs, shop-fronts, walls, vehicles, etc., that will be dealt with in this handbook. The precise name of this art has invariably presented a difficulty with previous writers on the subject, but the present title sufficiently describes the work, as now practised. There are three distinct classes of work, sign-painting, sign-writing, and lettering.
The sign-painter is an artist capable, as a rule, of doing any class of letter painting. The sign-writer is capable of doing any class of writing and lettering, from church work to the outside of a tradesman s shop, but stopping short of pictorial work. The letterer may be an ordinary painter, who is able to exactly form letters and numerals, and who by practice acquires considerable skill. Men of this last class are to be found working in wheelwrights and carriage-builders yards, and in the railway-carriage and waggon works throughout the country. They generally use block letters, simply shaded, such as one sees on railway waggons and coal trucks. This work is simply letter painting. It has much sameness about it, and holds out small field for improvement in the way of spacing, style and display. Probably many of these letter painters, after a little training, would be able to execute sign-writing with credit.
It must not be inferred from what has been said that it requires a gifted nature to properly acquire the art of sign-writing, for with proper and methodical training it is within the reach of all Indeed, it will be shown how the more simple styles of plain lettering may be carried out by almost mechanical means. The instructions, however, are principally intended for those who follow some trade in which a little lettering is sometimes required, and thus the workman has a chance to learn, by properly following up the course of instruction laid down in these pages.
It is very essential that the sign-writer should acquire some practical knowledge of freehand drawing and geometry. A little only is better than none at all; but the more the student knows the more will he be a master of his art. It is not necessary to draw copies exactly the same size as they are given in these pages, although, for the purpose of training his eye, he should for some time endeavour to draw them to the same scale, and then ascertain by measurement how far his completed drawing is out. Afterwards it is necessary to become proficient in both reducing and enlarging, and after awhile the student should make each drawing larger than the preceding one, and taking this last as copy for the next one. He can thus go on until the limits of a full-sized sheet of drawing paper are reached, so that when the time comes to practise upon the black-board he will gradually have worked up to the enlargements almost without being aware of it. All these intermediate drawings should be kept as copies to practise from on his blackboard, and it will be a good plan to practise until he actually makes a drawing on the blackboard enlarged direct from the illustrations in these pages, and when doing this he should put his intermediate drawings out of sight.
To commence a short series of drawing lessons, the student should