Modified Block Numerals.
The free-hand and rule-rivalling-eye mechanic goes to his space to be lettered and after a swift, accurate study of the limitations and contour of that space, as a basis for the letter construction, including style, height, thickness, etc., he snaps the necessary top and bottom lines and proceeds to rapidly, but lightly, sketch out his letters. Fairly marvelous examples of this manner of mechanics are to be encountered in sign and wagon establishments. Such men are rarely ever in search of a job. The job is mostly in sharp search of them.
Such skill and facility in execution of lay outs is not gained in a day. An eminent vehicle letterer once told the writer that he "was glad to have acquired the 'knack' of accurate free hand and eye work after years of practice." At present there are boundless fields of originality awaiting the sign writer and vehicle letterer. Imitation of the styles of expert letterers may with the beginner lead up to nobler examples of the art—for has not the sage whispered that genius knows only the right of conquest?—but to the apprentice, fired with the sacred spark of ambition, copying will not long suffice.
The acknowledged best examples of sign writing and wagon lettering should serve as the beginner's model, rather than the work of any single practitioner of the art. The fact that the work of every letterer has a certain, positive individuality of style furnishes the best possible reason why the learner should strive to avoid copying continuously the various alphabets of any individual expert to the exclusion of all others.
LAYING OUT, SPACING, OUTLINING, AND BALANCING
of a job of wagon lettering are factors of chief concern. The artistic and really beautiful example of lettering is brought forth only when praiseworthy skill is exercised in executing the operations named. Individuality of workmanship is based upon the style of laying out. A workman practiced in handling a lettering or striping pencil can very soon master the difficulties of painting a letter after it is outlined. The job accurately and artistically laid out, even if lettered in a manner not strictly up to the standard, will far more effectively fulfill its mission as a work of art than will the one properly penciled but improperly designed. The key, then, to fine wagon lettering may be embraced in the work of laying out. To present rules by which the workman may at all times and closely abide in preparing a contemplated design for letter painting would be impracticable because the laying out, with its attendant features, must conform to the size, form, and general condition of the surface. In laying out, the best exponents of the art are agreed that it is advisable to employ as few lines as possible. The fewer lines, the more grace, freedom, and easy poise of the letters. At the beginning of his career the letterer will probably need the aid of four lines, two for the top limbs and two for the bottom limbs of the letters. As he gains in skill and experience the two inside lines may be dispensed with. Then with the ever present dividers in hand the space so lined out may be "touched off" until the necessary divisions to accommodate the letters desired in the line are spaced. Generally speaking, all letters, except W, M, J, and I, have equal spaces, one square, for example. M and W require a bit more space, I and J a bit less. There is to be remarked a considerable variation in the space between letters, some of the letters being full in form and some open. In the use of L, F, J, A, V, W, T, Y, only half the space given to the other letters is allowable, and in the placing of V and L less than half is permissible, one letter being advanced well into the space allowed the other. The letter I is in some respects a difficult letter to space correctly. When it chances to be cast between two letters occupying full squares each it will require more than the usual space, otherwise, being a needle-like letter, it will be elbowed out of easy location.
Ornamental Alphabet No. 1.
Ornamental Alphabet No. 2.