A has its cross bar drawn at two-fifths of its height. Properly it should be wider than the H or N. The center bar of B belongs above the center of the letter. C is not drawn in a perfect circle. Abrupt curves should be avoided and the exact lines of the dividers discarded. D requires care in execution, its large sweeping curve being a difficult one to control. E goes a bit wider than its height, with bar above center. F is frequently drawn a trifle narrower than E. Remarks made concerning C apply to G. Keep cross bar of H above the center. Its width should be about equal to its height. I is very easy to make and needs no description. J is a little narrower than the other letters. K is entitled to about the same space as H. The cut shows where the angles of the letter meet. L and M occupy considerably more space than other letters. N requires the same space as H. O is a little wider than C. The necessity for this increased width will become immediately plain to one who will first make C and then undertake to confine O in the same circle. The proportion of P is shown in the alphabet. Q, along with O, needs easy, sweeping curves to best display its form. Make the appendage clean cut and bold. It has been said that a wagon letterer's standard as an artist is determined by the quality of his Roman R's. Be that as it may, R is rightfully regarded as a difficult letter to execute. The cross bar usually goes in at the center of the letter. The tail of the letter constitutes the difficult point to control. S is a handsome letter, withal a difficult one to execute properly. To ascertain the correctness of one's S, invert the letter as drawn. Inverted the letter will be top-heavy but it should not be built on awkward lines. T has the same height as width. It should not be narrowed beyond the proportion here indicated, as one often observes it in sign work. N and V may be passed without comment. W, practically composed of two V's, is distinguished as the widest letter of the alphabet. X occupies about the usual space and its upper part should be smaller than the nether. Y is best known as a wide letter and like the T, has a shape that tends to break the regularity of spacing and leads the workman oftentimes to ruin the appearance of the letter through the process of contraction. Z is ordinarily classed as one of the easy letters of the alphabet to make.
The modified block alphabet herewith shown is executed by many Eastern wagon letterers, and it may be said to be drawn upon pleasing and easy lines. In display lines the modified block presents a glowingly fine appearance, forcible, prominent, and plain enough for him who runs to read.
The ornamental alphabets set forth in alphabets No. 1 and No. 2 require no extended comment. They may be varied somewhat to meet certain needs and necessities. The letters composing No. 2 have limbs projecting above and below the regulation lines, and therein lies the chief beauty.
By the kind permission of Mr. Chas. B. Sherron, editor of Varnish, the writer is pleased to illustrate a Grecian alphabet of decidedly unique attractions. Wagon letterers have come to regard this alphabet with much favor, and, if properly executed, it gives very striking effects. The embellishments admit of innumerable changes and modifications. In point of fact, the variations that are possible with this design are only limited by the talent of the workman. The letters may be shaded quite as handily as other styles. Done in gold against any dark ground they furnish beautiful and rich effects.
Accompanying these alphabets are a few designs for business vehicle panels in which examples of present day lettering are reflected from variously ornamented grounds. From a study of them the apprentice may perhaps find a suggestion that will lead him to originate more pretentious examples. There are many unexplored fields of beauty in the domain of ornamental wagon lettering, bear in mind.
CHAPTER XI.
MONOGRAMS—ANTIQUITY OF THE MONOGRAM—HOW TO DESIGN AND PAINT THE MONOGRAM—TOOLS NEEDED—LEADING COLORS EMPLOYED—SOME ENGAGING COMBINATIONS—ILLUSTRATIONS, ETC.
The designing and painting of monograms is an accomplishment which the carriage painter should zealously strive to acquire. Years ago the crest, coat-of-arms, and other elaborate forms of ornamentation accompanied the monogram in its mission as a panel decoration. Gradually, in response to the dictates of the vehicle-using public, and encouraged, no doubt, by the stern mandates of competition, the use of the lavishly wrought style of panel ornament has given way largely to the monogram. Despite the apparent tendency toward plain effects in the matter of pleasure vehicle ornamentation the fact remains unassailed that a well executed monogram cast upon the panels of a vehicle imparts a color effect, and breaks the monotony of a finish, to a very satisfying extent. As my lamented friend Manchester was wont to say: "That little patch of color warms up the entire job, relieving that sense of sameness that one feels when contemplating a carriage. No matter how nicely it is finished, there seems to be something lacking if the ornament is omitted. That little color spot is like an oasis in a desert—a resting place, as it were, for the eye." Most certain it is that the dull uniformity, the eye offending lack of variety, in the painting of a carriage panel is often relieved by the simple addition of a monogram. The monogram is not of recent origin. Away back in those alluring days of Greek heroes and Egyptian divinities the monogram existed. Indeed, early in the fourth century, as ancient history informs us, monograms were used to identify the pomp of power. In France the monogram was early employed in the capacity of a signature and inscribed upon seals and coins. In point of fact, the use and purpose of the monogram was clearly established when the world was yet young.