THE ART OF DECORATING
DRY GOODS WINDOWS AND INTERIORS.
_By L. FRANK BAUM._
A Complete Manual of Window Trimming, designed as an Educator in all the
Details of the Art, according to the best accepted methods, and treating
fully every important subject.
_FULLY ILLUSTRATED._
CHICAGO:
THE SHOW WINDOW PUBLISHING COMPANY,
1900.
COPYRIGHTED
1900
BY L. FRANK BAUM.
INTRODUCTION.
The peddlars, or packmen, of ancient days, who were the first recognized
merchants, realized fully the advantage of displaying their wares before
prospective customers. Gaining entry to a castle, a palace, or a
mansion, the packman spread his goods upon the floor to best advantage
and then awaited patiently while the assembled bevy of women gazed
enraptured upon the treasures at their feet. If he could not obtain
permission to open his pack his visit was fruitless of result.
In old Bagdad arose the custom of open booths built before the entrances
of houses, wherein was attractively displayed the merchandise offered
for sale. This custom is still extensively followed in Eastern
countries.
At Cheapside, in London, the method was to hang upon iron hooks along
the front of the building such articles as might induce the observer to
buy, or entice him to enter the shop.
The same custom was prevalent in the Colonial days in America, and is
not yet fully obsolete.
Thus from the earliest days merchants well knew the value of display,
and the modern show window is the logical outcome or development of that
knowledge.
Careful research fails to determine where the show window was first
utilized as an adjunct to merchandizing. It is probably a gradual
development from the small, many-paned front window of the merchant
shop, following the natural transformation of shops into stores and of
crude green-glass panes into clear plate-glass fronts.
However it came about, the modern mercantile establishment, whether
located in a retired village or upon the main street of a thriving city,
is to-day deemed incomplete without a front of the clearest and best
plate-glass. These windows are not intended to light the interior of a
store, although indirectly they may serve such purpose. Their prime
object is to sell goods.
Without advertising the modern merchant sinks into oblivion. The busy
world forgets him, and he is left to himself—to rust, to vegetate, or to
fail ignominiously.
Merchants of olden times stood in front of their shops and cried
“buy!—buy!” in imploring tones. Modern merchants still cry “buy!—buy!”
but they do it in a different way. They advertise in newspapers and
display their wares in their show windows.
These are the three grades—the three developments in advertising. The
street crier, the newspapers, the show window. The last mode of inducing
trade is the modern one, and therefore the best. More goods are sold
through window display than through newspaper advertising. It is more
direct. The newspaper advertisement says: “We have goods to sell.” The
show window says: “Here they are!”
But the judicious use of advertising through newspapers must not be
discouraged. Every man, woman and child in town does not pass your
windows. Those who do not may read in the newspaper of your attractive
display of goods, and so be induced to pass your way.
The most successful of modern merchants use the newspapers to announce
their window displays. This combination of the two greatest forces in
advertising has been found to succeed beyond any other method.
To make a display of goods in your window that is most attractive, that
will sell readily the articles exhibited, is to-day acknowledged an art.
Many things are to be considered. There are the technicalities to be
learned, judgment and good taste to be exercised, color harmony to be
secured; and, above all, there must be positive knowledge as to what
constitutes an attractive exhibit, and what will arouse in the observer
cupidity and a longing to possess the goods you offer for sale.
It has been said that a window decorator is born, and not made. Yet we
find that those “born” decorators must acquire knowledge of
technicalities and detail work before they can succeed. Who shall
determine which are “born,” and which are “made” decorators? The “born
musician” must, unfortunately, learn to play the fiddle, and the “born
blacksmith” must be taught to shoe a horse. And the worldly cynic will
tell you that under proper instruction and with a desire to learn, any
son of Adam can play the fiddle or shoe a horse.
I have never known a man who desired to learn the art of decorating fail
to attain skill and subsequent success. Perhaps it is only those “born”
ones who desire to learn.
It is true that a clumsy man, a man without judgment or taste, a man
destitute of knowledge of the requirements of modern merchandizing,
might prove a lamentable failure as a store decorator. But I have never
known such a man desire to learn the art.
The object of this book is to place before the novice the instructions
necessary to fit him for successful work. The author believes that this
volume contains all information necessary to enable a student to acquire
proficiency in the Art of Decorating Dry Goods Windows and Interiors.
The field of merchandizing is so broad that this work is confined to dry
goods decorating, although many of the chapters will be of service in
decorating windows with other lines of goods.
Much of the information offered has been gained by personal experience,
yet I am greatly indebted to many brother decorators, and especially to
prominent members of The National Association of Window Trimmers of
America, for assistance in my attempt to place clearly before my readers
the many details of the art.
Practical methods have in every instance been preferred to theoretical.
The simplest and easiest way of accomplishing any work is always the
best.
I am hopeful that those desiring to attain skill in decorating will find
much useful information in these pages, and if this book proves of real
assistance to its readers my object in writing it will have been
accomplished.
Most Sincerely,
L. FRANK BAUM.
THE ART OF DECORATING.
[Illustration: [Fleuron]]
CHAPTER I.
HOW TO PLAN STORE FRONTS.
In building a store on modern principles the front is more important
than any other detail. For, a store being intended for the sale of
merchandise, the front is the first thing that meets the public eye, and
by its appearance the entire establishment is judged.
The size and shape of the windows depends, of course, upon the size and
location of the store, but the principle consideration is to obtain as
large an expanse of window as possible, and convenient entrances.
In single store fronts, which we shall use as examples, the ordinary
arrangement is similar to that in diagram A, having the entrance, with
double doors, in the center. This gives two good sized windows, if the
front is of fair breadth, and admits the customer to the central aisle.
[Illustration]
To avoid dividing the expanse of window, and to render the display more
impressive, a popular arrangement is that in diagram B, having the
entrance at one side. Which side to place the entrance is determined by
the trend of traffic, the entrance being placed nearest to the busy
portion of the street, as more convenient to the customer. Exception.—It
is argued by some merchants that it is better to place the entrance
furthest from the crowded portion of the street, as in this case the
people must first pass before the window.
[Illustration]
It will be noted that people intending to enter the store will not be
influenced by the window display, in which case the location of the
entrance is immaterial.
Diagram B shows the bevelled entrance, slanting diagonally from the
front window to the door, and thus giving the public a glance at the
small side window in passing or entering. In diagram D we show the
curved front, in which the side window is a curved or semi-circular
pane. This style is very attractive, but more expensive, and is more
liable to be broken than the flat pane.
[Illustration]
[Illustration]
[Illustration]
[Illustration]
Diagram C shows one of the most popular arrangements of store fronts.
This allows for a double entrance, with a broad expanse of window
between. In wide fronts these entrances are double doors, in narrower
fronts a single door is sufficient. Variations of this front which has
bevelled entrances, are shown in diagrams E and F. The first has the
semi-circular end panes, which are recommended as especially imposing,
and the latter shows a square perfectly rectangular turn for the side
panes. The advantage claimed for this method is that it attracts the
attention of those approaching the window more quickly than will the
slant or curve, but this does not appear likely unless the front
projects beyond the line of the building.
The large central pane, with double or single side entrances, is a very
successful style of front, and is strongly endorsed by those who have
used them.
It sometimes happens that thick pillars of masonry obstruct the front,
as shown in diagram G. In this case the window panes should be set at
the outer edge of the pillars, rather than against the inner edge, as
much of the effect of the front would be lost by the projecting pillars.
The entrance, however, should be set at the inner edges of the pillars,
as indicated.
[Illustration]
Posts are always to be avoided in window spaces, and there is seldom an
occasion where they are really necessary. But where a front is rebuilt
or altered and posts cannot be avoided, they should invariably be set
directly back of the window frames, as shown in diagram H. When they are
placed in this manner each window has a clear space back of the pane,
and the decorator has an opportunity of putting one distinct trim in
each window. But if the posts occupy the center, or even the sides of
the window, no decorator on earth can trim the space properly or
effectively.
[Illustration]
Diagram H also illustrates the continuous front, where many windows are
placed side by side. Any of the fronts previously described can be so
extended indefinitely.
There are many other styles of store fronts, but most of them come under
the head of “freak fronts,” and are only appropriate for the special
buildings for which they were designed.
The main points to consider in building a front, are, (a) to get as
large an expanse of glass as possible; (b) to use iron framework,
occupying the least space where the panes join; (c) to avoid the use of
posts back of the panes, but where they are necessary to place each post
behind the point where two large plate-glass panes are joined together.
A new idea in show window fronts is to allow the two sheets of glass to
come together at the corners, where they are held by brass braces and
set screws so that there is no corner space at all. This arrangement
looks well and has several advantages. The glass is less liable to break
than when set against a post or frame; and all shadows in the window are
avoided.
Last, if you have an old-fashioned front, get your landlord to take it
out and replace it with a modern, plate-glass front. If he refuses, move
elsewhere. You cannot afford to be in the mercantile business without
good windows to back up your enterprise.
CHAPTER II.
THE SHOW WINDOW.
In attempting to explain the fundamental principles of successful store
decoration, the window is the first thing to be considered, and there
are all kinds of windows, little and big, upright and oblong, cramped
and spacious. Some are hard to get at; some have big, awkward posts in
them; but no matter what they are or how undesirable they seem, remember
that anything with a pane of glass before it may be made a show window.
Build a window floor on a level with the lower edge of the glass; build
it strongly and make it as deep as you are able. Three feet is a fair
depth; six feet is not too deep.
BOXING A WINDOW.
In order to produce a good window there must be a proper foundation to
work upon. An open-backed window is an impossibility as considered from
a window trimmer’s standpoint, save in very few cases where articles are
small and only require a window shelf to display them.
All windows should have a substantial board backing and sides extending
about one-half the height of the window itself. A door should be made in
this at one side, to permit the trimmer easy entrance and enable you to
reach any goods you may wish to withdraw from the window. Above this
backing it is desirable to have a sash reaching to the ceiling, which
will serve to admit light and prevent dust reaching the trim.
The distance of the backing from the glass is a matter of choice. Some
prefer very deep window embrasures, and for furniture, carpets, stoves
and like bulky articles, they are undoubtedly best. For displays of
light, small articles, a shallow window is very desirable, and
furnishings, notions, etc., may be effectively arranged in thirty inches
space. For the general window, however, where various classes of
merchandise are required to be exhibited, a depth of from four to five
feet is best; and even six feet, especially for a clothing or cloak
trim, is not considered too deep for good effects.
The floor of the window embrasure should be made perfectly level, as
this will admit of more substantial framework than an incline. A
removable, sloping floor may be provided for use when desired.
Against the solid backing brackets and shelves may be secured, their
arrangement being altered as occasion demands. It also admits of tacking
the draperies in a substantial manner, and there is a satisfaction in
knowing your window is solid and that any fragile articles displayed are
perfectly safe.
HOW TO WASH WINDOWS.
A clean window pane is a necessity in a show window. Nothing destroys
the attractiveness of a really good display so readily and effectively
as a streaked, flyspecked glass in front of it.
Many merchants dread window washing day. It shouldn’t be a bugbear when
a simple method like the following is understood. Wait until the sun is
off the window, for if the sun is shining on the glass it will look
streaked after drying, irrespective of the amount of muscle expended in
the rubbing. Dust the window thoroughly, inside and out, and don’t touch
the glass until after the inside woodwork has been cleansed. Use nothing
but warm water, mixed with sufficient ammonia in washing the glass.
Steer clear of soap. Dry the windows with the rubber cleaner or soft
cotton cloth. Linen leaves lint on the glass. Polish with paper; that’s
all that’s necessary.
TO PREVENT WINDOWS FROM FROSTING.
One of the merchant’s greatest trials is the sweating and frosting of
windows in cold weather, rendering them useless for display purposes at
the very season when they are most valuable.
Much has been written concerning methods of prevention of frost, but
most of them are theoretical, and, while they work well in some
instances, are absolute failures in others.
THE CAUSE.
Scientists will tell you that the reason a window sweats is because
there is an uneven temperature on the opposite sides of the window pane.
The cold air outside chills the pane, which condenses the moisture in
the warm air inside as it strikes the glass, and the moisture is
deposited in the form of “sweat” upon the inner surface of the glass. It
then freezes, producing “frost.” Occasionally, when there is moisture in
the outer air, a deposit is also made upon the outer surface of the
glass, but in either case the frost arises from the uneven temperature
of the air inside and outside the window glass.
THE REMEDY.
The foregoing cause of the evil being understood, it is also plain that
any arrangement which will render the temperature of the air the same on
both sides of the pane will remedy the difficulty. Any other method is
obviously imperfect and ineffectual. If the temperature within and
without the window is the same the glass cannot sweat or frost.
To obtain an even temperature it is absolutely necessary to box the
window. It must be cut off entirely from the other part of the store.
[Illustration:
FIG. 1.
]
The space under modern show windows is used largely for ventilating
cellars. Our sketch shows half of this space used for ventilating
cellar, and other half as a cold air passage to allow the outside air to
pass through the double perforated window floor, thereby keeping the air
within the window enclosure approximately the same temperature as the
outside, and thereby preventing the sweating and freezing, so annoying
to the trimmer.
[Illustration:
FIG. 2.
]
A A, open space between double perforated bottom, to be filled with
loose cotton to permit the air to pass, but dense enough to keep back
the dust from the street.
The floor of the window should be made of boards, perforated and made to
fit in snugly without fastening down, so they can be taken up
occasionally to clean out the dust that will accumulate in time.
[Illustration:
FIG. 3.
]
Fig. 3 shows how boards may be used without being perforated. Small
pieces of wood are nailed on one edge of each board, say about
one-eighth inch thick, so as to keep the boards about that distance
apart.
C is a small door that opens into the store room to reach the cold air
space, for cleaning occasionally.
B, opening for lighting and ventilating the cellar. A trap door may be
arranged to fit over the opening B, but a better arrangement is to have
two sashes of glass to fit the front of the openings immediately back of
the wire screens shown in Fig. 2. If hinged at the top, they can be
opened by pulling back with a cord or chain from the inside of the room.
Fig. 2 shows a wire screen now much used instead of the more expensive
iron grille work formerly in vogue.
When possible, a glass roof should be used to inclose the window, in
which case the lights may be arranged above the glass. This prevents
heating the window. In using floor drapings, employ only cheesecloth, or
some light material that will allow air to pass through.
All this may seem to require considerable trouble and alteration of your
windows, but wherever this method has been used it has been found
thoroughly practical and an absolute prevention of frost.
OTHER METHODS.
(1) An electric fan kept constantly in motion in a corner of the window
is said to avoid frosting by keeping the atmosphere in circulation, and
thus preventing condensation upon the surface of the glass. In a large
window there should be two fans, in opposite corners, and these may be
easily concealed from view.
(2) Electric Heaters.—As almost every store is now provided with
electric light service, and electric heaters can be purchased in all
sizes on the open market, the interest in this new application of
electric heating is universal. All that is necessary is to place a small
electric heater in the window in any concealed position, and to connect
it with the lighting mains.
(3) Several washes for the window glass have been recommended, but our
observation has been that these usually fail to prevent frosting.
It is true that one method will succeed with a merchant, and fail when
utilized by his next door neighbor. It is hard to explain this fact,
save for the different atmospheric conditions of the two rooms. It is
not unusual to see one window as opaque as a sheet of felt and another
loom up as transparent as a crystal, when both are apparently under the
same conditions. One sees a window free from frost where it is entirely
enclosed, and that seems to explain the reason. But a few doors further
on another window similarly enclosed is covered with ice. Some windows
that have a half-length enclosure inside are clear and others are
frosty, and some that are entirely open to receive the heat of the store
room are clear while others are not.
Among the various washes are pure glycerine, in which a flannel cloth is
dipped, ammonia and salt, and alcohol and water. As said before, these
are seldom effective in preventing frosting. The safest and best remedy
will be found in ventilation, as above described.
CHAPTER III.
SOME PRACTICAL HINTS.
Those who are inexperienced in window decoration will need a few general
instructions before attempting to trim in a practical and successful
manner. Experience has taught us several things which apply so forcibly
to the art of decoration that they may be considered in the nature of
rules, and must be studied carefully and thoroughly by the novice.
SUGGESTIONS.
The trouble with most window trimmers and beginners is that they ignore
all suggestions offered, from the fact that they are window trimmers,
and are supposed to know it all, which is a grave mistake (for no man
knows it all). From experience, you will find that by listening to any
and all suggestions offered, there will be a time when you will be glad
to accept them. If you do not take to the suggestion, pass it up, but in
all cases it pays to listen and act accordingly.
SIMPLICITY.
There is nothing more “fetching” in a window than the simple artistic
arrangement of a few attractive goods. Simplicity has been urged by
almost every writer upon window trimming, yet it is generally
disregarded. More err in crowding a window than in displaying
insufficient goods.
A good background, throwing out a few articles that are good values or
distinct novelties, may be relied upon to arrest the attention of the
passing shopper. It is poor policy to display expensive and inexpensive
merchandise in the same window, or to exhibit what is called a “mixed”
window. A crowded window bewilders the beholder, and while he may admire
the general arrangement and wealth of color, no one item will
sufficiently attract him to induce him to enter the store, or will
impress his mind so far that he will recollect it when occasion arises
to purchase. The most successful show windows are those where a few
goods are well displayed.
It is bad advertising to display too many lines in one window. The most
effective window usually contains but one line of goods. Dress goods
never show to advantage when mixed with other articles, and silks and
calicos, in the same window, each detract from the other.
Special windows always win more attention, and are more easily trimmed
and more quickly changed when they have served their purpose.
DETAIL AND WORKMANSHIP.
I will here say a few words upon the subject of detail work in window
trimming. I have always found that anything which was worth doing at all
was worth doing well. It may take a little more time and cost a little
more money, but you will obtain the desired results in the end, and your
window will be the means of increased sales of the goods displayed.
I have had a great deal of experience with window trimmers, and have
found that the great majority of them do not pay that strict attention
to detail which is so necessary in a perfectly dressed window. They will
say, “Oh, that is good enough,” “No one will notice that,” etc., when
they detect some omission in the detail of the work. But they are wrong,
for a great many of those whose attention is attracted to the display
will as quickly note the defect as the skilled window trimmer himself.
One of the greatest troubles the window trimmer has to contend with is
the lack of time necessary to do complete and perfect work. The house
wants the window changed, and wants it immediately, ignoring the fact
that it requires time, both to take out the old and put in the new
display, and on that account it is absolutely necessary that a great
deal of the work should be done in the workshop before going into the
window at all. You may find a picture or model that would make a good
subject for a novelty window of certain kinds of goods, and it could be
worked out in fine style if only sufficient time were given for detail
work, that is, making all of the different parts of the subject in their
proper place, and leaving out of the work not the slightest detail
necessary to make the finished work identically like the picture or
model. This would, necessarily, require considerable time and labor, but
when the trimmer gets advanced in the work he will become so interested
that he will not be satisfied until he has it complete in detail.
The special efforts of the most successful window trimmers are directed
toward the carrying out of the small details, without which there can be
no perfect specimen of the window trimmer’s art, and for lack of which
so many windows present a crude and unfinished appearance.
WHAT TO DISPLAY.
The mission of the show window is not to display unsaleable goods, but
to sell goods. If you can’t make a pretty picture and sell goods at the
same time let the picture go, but make a display that will sell the
goods. But don’t forget that if you can make the window attractive
enough to arrest the gaze of the passerby your goods are half sold. This
may appear to you ambiguous at first, but a little thought will teach
you never to lose sight of the fact that goods must be sold, and that an
attractive window will help sell them. But a “picture window,” in which
the value or utility of the goods is sacrificed to make the picture, is
not art, but foolishness.
In the selection of goods for your window two classes are best. First,
new goods, of which there is ample stock; for, being new and seasonable,
they are in demand and can be sold with profit and the money reinvested.
Second, old goods which must be disposed of, probably at a sacrifice, in
order that the money tied up in them may be used to better advantage.
These last are “bargain” windows and each article must bear its price
ticket. Cut the price sufficiently to interest people. Bear in mind that
these goods might lie on your shelves years without moving if there was
no show window to dispose of them. Properly displayed and properly
priced, the show window will sell them like hot cakes, even though they
are old enough to have gray whiskers. People dearly love bargains.
Don’t make the mistake of selecting a variety of goods for your display.
Confine it to one line as much as possible, and when that is impossible
confine it to kindred lines. You don’t need so very many goods if you
know how to display them. Some of the best windows I ever saw contained
very few goods; but, bear in mind, every piece stood out as distinctly
as a wart on a man’s nose. At the same time a well-filled, or “stocky”
window, as it is called, frequently is quite as effective as any, and a
reputation for carrying a full stock is a desirable thing for any
merchant. Unto them that have goods shall be given trade. You can’t sell
what you haven’t got.
ROBBING WINDOWS.
Frequently a merchant finds his stock so reduced that the only size,
color or style of a certain article remaining is that displayed in his
window trim. When you have a call for such an article do not rob your
window display, but take the customer’s name and address and agree to
send the article C. O. D. when you change your window.
This method has been adopted by all the large stores, and has proven
very satisfactory. The effectiveness of your window remains unimpaired,
and usually a customer is willing to wait in order to secure the desired
article. In rare instances, when there is danger of a good sale being
lost, this rule may be abrogated, and the article taken from the
display; but if it is understood by your patrons that no goods will be
removed from your windows until the trim is changed, they will readily
see the advisability of such action, and be willing, in most cases, to
wait a reasonable length of time.
WINDOW TRIMMERS’ ROOM.
Every window trimmer should have a fair sized room for the sole purpose
of keeping his fixtures, wax figures, a work bench, etc. It should have
plenty of light, with one portion set aside for ticket writing; a place
with a door to keep out the dust, in which to keep his cardboard, cut in
the desired sizes for his use; a place to keep wax figures when they are
not in the windows (dust proof stalls, large enough for each figure, are
best); a sign in the room to read, “A place for everything and
everything in its place.” Keep your room locked and carry the key in
your pocket.
TOOLS.
A proper outfit or kit of tools is a necessity. For carpenter work, such
as building your own framework, you will require cross-cut and rip saws,
chisels, screwdrivers, awls and a hammer. Don’t attempt to make very
fine joints; it is unnecessary, since the frame will all be covered. But
be sure your work is substantial and will not pull apart. In order to
preserve your lumber for future use and to obtain strength in your
structure, use screws wherever possible, first boring a hole with a
small bit, or, if the material is thin, using an awl to make the holes
for your screws. In your tool box have partitions for all sizes of
screws, nails and tacks, and keep each size separate.
For upholstery work, such as pleating, puffing, draping and covering the
frame with cloth, you will need a large pair of shears and an
upholsterer’s hammer, which has a long, extended head. Also provide
yourself with a small pincushion, 3 or 4 inches square, and put a loop
of tape on opposite corners. These loops can be placed over two buttons
of your vest, to hold it firmly in place, or you can pin the cushion by
the loops to any part of your person. Don’t loan your tools to anyone.
Keep them locked up in your tool box. Carry the box into the window with
you, for then you have everything at hand you will be likely to need.
Keep a supply of screw eyes and hooks, wire and cord in your box, for
you will often need them. Tools for electrical work will be explained in
the chapter on electrical designs.
THE SCREEN.
Professional window trimmers prefer usually to work during the night or
early morning, when they are uninterrupted by either employes, customers
or curious groups who delight in watching them from without.
It is, however, often necessary to work during the day, and in this case
a screen of muslin or cambric is stretched across the window to insure
privacy. This screen is almost a necessity to the merchants in smaller
cities, where all work is done in daytime, and may be utilized to good
advantage in attracting the curiosity of passers-by.
One merchant we know of has painted across his screen in big, black
letters, “Watch This Window!” Another uses the following: “We are
Getting Ready to Surprise You.” And still another: “This Window is Dead
To-day, but will be Alive To-morrow!” Many texts may be selected, but a
sign of some sort upon the window screen is certainly a good
advertisement.
OPEN WINDOW TRIMMING.
Many decorators of late have found a distinct advantage in leaving
shades up and dispensing with screens. They work in plain view of the
crowds that congregate to watch them. This would be embarrassing to the
beginner or the modest man, but its advantage lies in being an added
attraction for the store. People are often curious to know how a window
display is built up and arranged, and enjoy watching the workman. Often
the people attracted are the loafers of a town, and those who, having no
business of their own, would not be likely to bring business to the
store. But in cities where the streets are crowded, the open window may
be considered a distinct attraction to the casual observer and the
general public.
The last three chapters are preparatory to the real work of decorating,
and should be read with care by the student of the art.
CHAPTER IV.
FRAMEWORK.
The beginning of any work is always its most important period. Begin
right and you may succeed; begin wrong and you are certain to fail.
When a window display is conceived in the fertile brain of the artist,
his first work is to erect the framework for his creation. He must have
something to build upon. Many trimmers—even some experienced ones who
ought to know better—go to the wood pile when they wish to erect a
framework. I advise every one to carry on hand a stock of standard
pieces for frames. Almost any one who can handle a saw can make them
himself, but a carpenter may be employed where necessary. Not a great
variety of pieces are required, and the number of them depends on how
many windows you have to trim. But with a supply of the regulation
standard pieces you may construct an endless array of arches, pillars,
shelving, centerpieces, pedestals, etc.
The trimmer who is driven to attack the wood pile when he starts to make
a display is not only to be pitied, but is badly handicapped in his
work. The amount of time consumed in building each special fixture in
your window is detrimental to profitable trimming, and annoying to
yourself and your employer. A well equipped fixture room is a money
maker, as well as a time and labor saver.
The first system of standard pieces I will explain is that adapted and
invented by the veteran decorator, Charles W. Morton. It is very simple.
In many cases these fixtures for framework may be covered and trimmed in
your room, in sections, and afterwards taken to the window, where they
are easily put together. This is a wonderful assistance in making a
rapid change.
These standard pieces are mostly made of half inch wood, and are covered
with black cambric or painted. They are light in weight, strong and
durable.
Each piece represents a useful stand in itself, and there is no limit to
the variety of designs obtainable. The following is a brief description
of the pieces:
Nos. 1, 2 and 3 on the first illustration are pedestals (or boxes). The
size of smallest is one foot square (or a cube). The second size is one
foot square and two feet high. The largest size is one foot square and
three feet high.
No. 4 is a circle, two feet six inches in diameter, and made of 1-inch
board.
No. 5 is a half circular stand, three feet high and one foot six inches
in diameter, and covered with heavy paper.
No. 6 is what I call a cap. It measures one foot square at small end,
three feet square at large end, and one foot six inches deep. It is a
good fixture for laces, embroideries or notions.
No. 7 is a 1-inch pine board, one foot wide and eight feet long, or any
length suitable for the window to be trimmed.
No. 8 is a round pillar, eight inches in diameter, and three feet six
inches high.
No. 9 is a cap, eight inches in diameter at bottom, twelve inches at
top, and ten inches high.
No. 10 is three half circles, each made one foot square, and boxed in,
the small one measuring three feet six inches in diameter (outside
measurement). The second one is five feet six inches in diameter, and
the largest half circle seven feet six inches in diameter.
No. 11 is a half circle box, one foot high and two feet in diameter. The
pyramid is one foot square at the base, and two feet high.
The second illustration shows a few devices, made of ½-inch wood, and
measure about three feet high, and will suggest themselves for showing
many lines, such as notions, jewelry, cutlery, hardware, etc.
The other illustrations give you a few examples of the many designs
obtainable from this modern combination fixture.
Another set of standard pieces which has been quite largely used and is
recommended by many decorators, is illustrated below.
The first illustration shows how to make pillars, stands, etc. They will
need little explanation, but I will mention, for example, that A is made
from two circular pieces of wood, 1, joined together by strips of wood,
or lath. These circular pieces are very useful. The cone, C, is made by
connecting the pieces 5 and 3 by strips or lath. D is a standard having
3 for its top. F is a useful stand employing the pieces 1 to 5 connected
by short standards.
[Illustration:
STANDARD PIECES FOR FRAMEWORK—FIRST ILLUSTRATION.
]
[Illustration:
STANDARD PIECES FOR FRAMEWORK—SECOND ILLUSTRATION.
]
[Illustration:
STANDARD PIECES FOR FRAMEWORK—THIRD ILLUSTRATION.
]
[Illustration: HOW TO MAKE PILLARS, STANDS, SHELVES, ETC.]
One thing is important. Do not use nails larger than is necessary to
hold the structure together. Many novices spike their pieces together as
firmly as if they were to endure to the end of time, and the consequence
is that many pieces are broken and destroyed in taking the framework
apart. Temporary security is all that is required, and by the exercise
of a little care the frames will last for years.
[Illustration: HOW TO USE CIRCLES.]
The second illustration shows the use of circles for arches, domes,
etc., which may be built into a bewildering variety of effects. The
stock pieces required are the full circle, A, the half circle, B, and
the quarter circle, C. These should be sawed from 1-inch lumber, in a
variety of sizes, and in connection with the uprights, for pillars, will
enable you to make any sort of arch or dome you may desire.
[Illustration: HOW TO MAKE STAIRS.]
The third illustration depicts the most useful centerpieces and fixtures
known in window trimming. The stairs, or shelves, may be taken down and
used in a variety of windows, and the same will apply to the other
fixtures shown.
[Illustration: FRAMES, BACKGROUNDS AND CENTER-PIECES.]
[Illustration: EASTER-EMBLEMS.]
All the frames described are best made of pine, as soft wood is easier
to tack or pin to. Provided they are perfect in form, they need not be
well finished, as they will be covered with puffings, pleatings and
draperies.
These pieces may be added to by the preparation of smaller ones to be
used as shown in the fourth and fifth illustrations. These can be used
in almost endless variety and occasions will often arise when a corner
or section of your window will appear bare, and may be furnished with
some small, attractive design made from your stock pieces.
However, the first set of fixtures described is recommended as the most
perfect and therefore the best for general use.
CHAPTER V.
HARMONY OF COLORS.
After erecting the framework the decorator proceeds to cover it, in
order to complete his background. But before doing this the harmony of
color must be considered, as the real success of his window will depend
upon the good taste and arrangement of the colors employed.
No man need be frightened at facing this frequent bugbear to the
novice:—color harmony. Any one will readily understand it after reading
this chapter.
“What is color?” you ask.
Nothing but common daylight deprived of some of its wonderful
properties.
When this is understood the subject is robbed of its terrors, for we
know we are facing a natural effect, and nature is simplicity itself.
When light strikes any object, such as a blade of grass or leaf, the
rays of white light are separated or decomposed; part are absorbed by
the grass or leaf and the others reflected to the eye, causing the
sensation of color; in this case green, the grass or leaf having
reflected the blue and yellow rays and absorbed the red. To understand
this thoroughly a little scientific experiment will demonstrate clearly.
Go into a dark room, shutters, doors, etc., closed tight. Now make a
very small hole through a shutter to the outer daylight, when a fine
pencil of light will penetrate the darkness. Into this ray of light
place a prism of glass, when the ray, after passing through the prism,
will be diverged and separated, showing the solar spectrum in all its
beauty.
The colors thus shown are the elementary colors of white light, commonly
called the “primary” colors. The red, blue, and yellow are the most
dominant in the spectrum, and in consequence always understood when we
speak of “primary” colors; the intermediate rays shade into the various
colors of the spectrum and are called “complimentary colors.” They show
all the tints of the rainbow, which is in fact a gigantic solar
spectrum.
The blade of grass has appropriated the red rays of the spectrum (or
light) and leaves us only the blue and yellow, which, being reflected
and blended, give us the sensation of green instead of white.
Every color affects the eye (or optic nerve) with a different vibration,
which enables the optic nerve to inform the brain of the color. In this
way we get the sensation of color. Black is the absence of all color;
that is to say, it absorbs all the rays and returns none. White is the
reflection of all the rays, none being absorbed.
The “primary colors,” red, blue, and yellow, have their “secondary
colors,” which is the combination of any two primaries; as a mixture of
blue and red make purple, the complementary (or contrast) of yellow,
blue and yellow make green, which makes red the complementary or
contrast. Yellow and red make orange, the complementary of blue. The
secondary colors are therefore purple, green and orange.
The tertiary colors are those obtained by a mixture of all the primary
colors (one proportion of which produces black), making what are called
“broken tones.”
The “secondary colors,” produced as above, make the perfect contrast or
complementary colors of the primary set, and the “tertiary colors,” or
“broken tones,” produced as above, enable us to carry out harmony
effects.
No harmony of color is perfect unless it contains all three primaries in
some proportion or other. Thus, green (blue and yellow) and red are
correct, having the three primaries in the composition. For simplicity I
will not go into shades, which are simply lighter tints of the primary
colors; but I may add that in harmony of color the color value or
intensity of the shades must be carefully noted, to be effective; that
is, a brilliant orange (red and yellow) will not be complementary to
light blue, but would be correct with blue of same intensity. All the
innumerable shades or tones are produced from the three primary colors,
by reducing the strength of tint; that is, making it lighter, and the
tones are produced by admixture of black, etc., or, rather, the
admixture of the three primary colors, in different proportions,
lowering the tone, and making lighter. Thus all the shades are made,
each having its proper complementary color or contrast.
All colors, when brought into close proximity, affect each other by
reflection or absorption, and the nearer they are in tone the more they
will suffer. The difference in tone should be considerable, or a neutral
line of black, white or gray placed between them; otherwise you have
reds in proximity to blue appearing yellow, the complementary of red and
blue. Red in proximity to green (its complementary) is purer and
brighter. Red in proximity to black becomes duller. Red in proximity to
white appears lighter (pink). Red in proximity to gray becomes brighter;
so that the same red will appear of different shades according to its
arrangement with regard to other colors adjacent. The same law governs
the arrangement of all colors. If red and white are placed in contact,
the white becomes tinged with the complementary of red (green), and the
red appears deeper and brighter. White placed beside a color strengthens
its tone. Black dulls it. Black surfaces appear faintly tinted with the
complementary of the adjacent color, because of its low reflective
power.
Black and white are commonly said to be complementary to each other, and
to harmonize with all the other colors.
THE WINDOW.
Our first consideration is the background. White is too harsh for
general work, but is good when the window is so dark that it makes much
glare and reflection. In this case it will heighten the light, render
the display more distinct, and assist in avoiding reflections. Black
(flat or gloss) painting of the interior, or a black cloth background,
is objectionable because it makes the window a veritable “camera
obscura” and reflects everything. It also renders the colors of the
goods dull or broken. Something between white and black will therefore
be found better, such as a warm French gray (if painted, flat of
course), not light enough to appear nearly white, but as nearly
“neutral” as possible. A background like this will brighten up most
colors to some extent, and will not interfere with any adjacent color.
It also assists in avoiding reflections and glare.
In the arrangement of your window there are two points to keep in mind,
the “near view,” which takes in only one window, or part of it, and the
“further view,” which will embrace the entire trim, making all the
windows as one. In the front part of the window take care of the
harmony, or contrast, and only use such colors as are not a light shade
of compound color, such as lavender, etc., which are easily faded. For
the second row arrange it so that when viewed over or between it and the
first row, you get a proper contrast, harmony or broken tone, that will
act as a “neutral” and avoid “killing” the three colors at once. The
arrangement by contrast is usually the best and easiest.
The “further view” should not have any startling color effect at one
end, and nothing to balance it at the other, but should have a similar
effect of harmony or color. When the center is of lower or broken tones,
usually esteemed neutral, or if there be three color effects, make them
one of harmony and two of contrast, or vice versa. Relieve them with
neutral colors, and add a touch of ribbon, flowers, etc., of the
complementary neutral, to arrest the eye a moment.
To decide the color of a fabric, study what colors it is composed of.
Then it becomes easy to find the complementary. For instance, a fabric
of dull green (broken tone) with an allover pattern of black, covering
25 per cent of the surface will amount to very dull green; but if the
black covers 75 per cent of the surface, it will be a greenish black,
although the green will appear more prominent than it really is, the
black being non-luminous, or a poor reflector.
In light shades care must be taken to define the color, as pink, yellow
or rose cast, light blue, green or purple cast. Inattention to this will
mar the color effect, as the complementary selected will most likely be
incorrect.
It is well always to remember that there are but three primary or
elementary colors (red, yellow and blue-green), and that there cannot be
harmony of color arrangement if either one is wanting. Also that the
distinction of harmony depends on the predominance of one, and the
subordination of the other two.
A COLOR CHART.
In order to be sure that your color combinations are harmonious, the
accompanying diagram of a “color scheme” will be a safe guide. Color
combinations are governed by set laws, and, as is the case with all
other natural laws, it is both foolish and disastrous to ignore them.
The center of the chart is white, for white harmonizes with any color.
The most distinct combinations are found by consulting the extremities
of each straight line, whether dotted or plain. But every dotted line
will harmonize with every other dotted line as well, and these are the
combinations of strong colors. The triangle connects the three basic
colors, blue, red and yellow, which are distinct contrasts. The other
plain lines show the tints which harmonize together, but not with strong
colors. If ever in doubt as to a suitable combination, consult the
chart. By following the directions of its lines you cannot fail to be
right.
[Illustration]
MATCHING CHART.
The following color chart is used by some trimmers for matching colors.
As already explained, the modern window calls for a variety of
colorings, and it is in the matching of these colors, such as the
compound shades, drabs, buffs, sages, with their different hues, that
considerable work and patience is called for. With such colors as these
a number of points are to be considered before a definite conclusion can
be obtained. Some of the shades, for example, are very sensitive to the
various qualities of daylight. A dark, cloudy day, a sunny, bright day,
a hazy day, etc., all have their effect upon the colorings in the window
design. There are other conditions which come in to interfere with the
proposed color adjustment of the window trimmer.
Colors may appear so and so to the eye when placed in the design with
certain other colors. A blue setting, for instance, may match each other
if the combination includes several shades of blue. When the design is
placed in its place in the window, alongside of a yellow, for example,
the yellow offsets certain of the blue shades, producing tints of a
yellowish green of some of the blues, while blueish greens are developed
in others. This, of course, disorders the proposed color plan and the
result is discouraging unless it is known how to overcome or avoid such
troubles. Furthermore, certain colors which match by daylight are made
quite the reverse as soon as the electric light or the gas light is
turned on in the window. All this is perplexing to the window artist,
but there are remedies. Use charts 1, 2 and 3. In the first are the
standard color chart line, A, B, C, D, E, F, G and H. These represent
the color lines of the solar spectrum. Along the side of the chart are
figures 1, 2 and 3. The first indicates the absorption spectrum of
yellow color. By following the chart lines it will be seen that this
yellow absorbs violet and blue, while it transmits red, green and
yellow. In 2 we can see that the blue which this division represents
absorbs orange red, yellow green and yellow, and transmits blue, violet
and part of the green. Division 3 represents green, which results as a
combination of the two former divisions.
In Fig. 2 is a chart for representing the absorption of ruby glass and a
single green shade. In this it can be seen that division 1 involves
transmission of the red in A to the orange red in C, and the remaining
colors are absorbed. In 2 is an absorption of all the colors except
green, yellow green, blue and blue violet. In 3 is the result of
combining the colors, in which case this setting permits no rays to
pass, resulting in full black or darkness. In chart 3 is another plan
for color setting in which 1 indicates the absorption spectrum of
yellow, 2 in which violet shows the absorption in yellow and yellow
green, 3 the compound of green rays with the absorption of the remainder
of the spectrum.
[Illustration: CHART 1]
AN EYE FOR COLORS.
A window trimmer who has an eye for color is usually able to group
colors quite satisfactorily without the assistance of charts and
regulations, but there are very few who possess the qualification,
although perhaps many think they do. The reason that many suppose this
is because the color plan of their window is pleasing to their own eyes,
though it may be distasteful to others. Hence the necessity of applying
to color charts, etc., to avoid discords to the eye of the practiced
colorist. If you seek to produce white light from any of the color rays,
add thereto the complementary ray. If yellow be absorbed the resultant
color will be violet. If blue and yellow rays are absorbed the reflected
ray will be red. If red is absorbed then we get green. If yellow and red
be absorbed the result will be a blue. In window trimming two colors of
striped goods placed in juxtaposition will always heighten each other’s
color effect. Suppose that two stripes of a certain color fabric are
arranged parallel with two stripes of another color it will be seen that
the color of the four stripes differ if we look at them from a certain
distance. This is because the coloring of the two inside stripes serve
as terms of comparison to judge the modifications of these two interior
stripes in their juxtaposition. For example, it will be found that red
will be modified, inclining to violet, and orange is modified inclining
to yellow, when the stripes are made up of red and orange. If we use a
combination of blue and violet in a window design we will find that the
blue will be modified to a greenish blue, and the violet to a reddish
color. It is a good idea to cut out some four-inch wide strips of fabric
and experiment, before going ahead with your color scheme.
CHAPTER VI.
MATERIAL FOR BACKGROUNDS.
Not less important than the framework is the background and the
decoration of your framework. Indeed, many trimmers regard the subject
of backgrounds as the most important in window trimming. There is a
distinction between framework and background, although the frame often
constitutes the backing of a portion of your window. Thus, a step, a
table, or anything that supports the goods, is a part of the framework.
An arch, puffed and pleated to make up your picture, is part of your
background.
A background may be upholstered in any fabric from cheesecloth to
velvet, or it may be a painted scene, or an imitation of nature, or
simply covered with wall paper, or panelled to represent a room. It is
the frame to your picture, and all pictures cannot be framed alike.
Of fabrics, cheesecloth is most in vogue. It is pretty, easily worked,
and cheap. Whatever color or combination is selected, you must use to
cover your floor, your framework, and the backing wherever it is visible
from the front. It may be simply spread over your woodwork, or pleated,
or puffed; and the same material may be used for draperies where they
are required. The best effect is obtained by using light color or even
plain white, and edging with a darker color that is harmonious, or a
darker shade of the same color. White goods require a dark backing as a
foil; dark goods of all kinds require a light backing. Of course there
are exceptions. Pure white goods are effectively shown on a backing of
cream or any other delicate tint.
Some people have said that cheesecloth is not appropriate for
backgrounds, and recommended richer fabrics. A few trimmers for large
and wealthy concerns have obtained permission to use expensive drapery
in the place of cheesecloth, and are covering their backgrounds with
plushes, raw silks, satins and upholstery goods. These make the windows
appear rich, but not especially attractive. They are stiff and unpliable
and must hang loosely in draping. The risk of loss in soiling will not
allow of using light colors, and the dark shades and figured goods soon
become tame to the spectators. They are not nearly so effective a foil
to merchandise as cheesecloth. Only the richest goods can be used with
such backgrounds, for ordinary goods would look very cheap by
comparison.
It is true cheesecloth is a flimsy, cheap material, looking very coarse
upon close inspection, but it is an ideal cloth for decorations. It
lends itself to puffing, pleating and all modes of draping with great
pliability. It is made in every tint and color. It has a way of
rendering itself unobtrusive while serving as a capital foil for almost
any grade of merchandise. And it is cheap. Find any other material which
has these qualifications, and trimmers will readily adopt it. Many
houses cannot afford more expensive material. Cheesecloth has figured
prominently in the evolution of show windows. Had merchants been forced
to adopt a more expensive material for backgrounds and floor coverings,
it is probable that many of them would not be decorating their windows
even to-day.
Then, its bright and varied colorings allow of many combinations and
perfect harmony. It makes a window attractive enough to stop
pedestrians, who, glancing at the display, unconsciously note that the
goods on exhibition are thrown prominently into the foreground, while
the coloring that made them pause has modestly retired, and serves only
as a foil for the articles of merchandise.
Jewelry, bric-a-brac and silverware assuredly need a richer background
to display them harmoniously; but cheesecloth is appropriate for
nine-tenths of the window trims throughout the country, and there is
absolutely nothing to take its place.
FIREPROOF DECORATIONS.
Not infrequently we hear of a bad fire occasioned by draperies or
decorations catching from a lighted match or other similar cause, the
inflammable nature of the material used causing a rapid spread of flames
and consequent damage to property. Whether this occasions great loss of
life, as was the case at the great bazaar in Paris, or is a minor blaze,
such as often occurs in a window when a lighted gas jet approaches too
near the trimmings, such accidents are desirable to avoid.
Quite recently a method has been discovered of treating material used to
decorate halls, booths and windows, which absolutely precludes the
possibility of a blaze. The material is simply dipped into a solution of
tungstate of soda and allowed to dry. Bunting, cheesecloth and other
material so treated are slow burning when ignited, and never blaze up.
Therefore they are easily extinguished and cannot readily set fire to
woodwork or other substances. No hall or booth where people congregate
should be decorated without using this simple and effective precaution
against fire, and all loss in a show window may be avoided in like
manner. The solution does not injure the fabric.
CHAPTER VII.
PLANNING A WINDOW.
There are two ways to plan a window. One is to draw on paper a diagram
of your framework and lay out your plan as carefully as an architect
will design a house. Another is to plan as you build, and gradually add
to your window until it is completely trimmed. Both ways are practiced
by the best trimmers, and each method has been defended by its votaries
as the best.
At first thought it would seem best to make a plan of your window, but
sometimes it will not look as well when completed as the plan would seem
to indicate. And, again, if you build up a window without any
forethought, it is just as liable to be a disappointment as a success.
Perhaps it is best to have some plan formulated if only in your mind,
and then work as closely to it as your window and your material will
allow. If you see a chance to improve it as you work, you may easily do
so. Often I have carefully thought out a window, and, after fairly
starting, changed its plan by degrees until it was totally different
from what I had first intended.
For a symmetrical window a centerpiece is always necessary. It may be an
arch, a pair of steps, a circular recess, or whatever you choose, but
the center is always the most important point of your trim. Good windows
are sometimes made by building out the sides uniformly and drawing them
toward the center, but it requires much skill to do this successfully,
and even then you cannot ignore the center, where the eye of the
observer rests first and most frequently. This is the reason a small
window is often as effective as a large one. A large window can, of
course, show more goods and more detail, but all this is accessory to
the centerpiece, and the main idea of any big window can always be
reproduced in a smaller one by leaving out some of the details and
accessories, and, perhaps, reducing the size of the centerpiece. Circles
or sections of circles are best for frameworks, as nothing is so
graceful as a circle. Squares, triangles, etc., are stiff as compared to
circles, and are difficult to trim. Even steps, or series of shelving,
are best made in circular form. Pillars are useful in many ways. They
support arches or platforms, and may be used independently for many
lines of goods.
Aim to have the heaviest part of your trim in the center. The extreme
sides, or ends, of your window may be next heaviest or fullest. Between
the center and the ends the trim should be lightest; but this depends
considerably on the shape of your window and the character of the trim.
If you have no judgment don’t attempt to trim windows. Aside from an
artistic eye and deft workmanship the only other requisite of a
successful trimmer is common sense.
Do not place your trim too near the window pane, as it destroys the
effect of the best display. Unless goods are very small indeed they will
look better the farther they are removed from the pane. The floor space
in front of the main trim may always be utilized to good advantage.
And, speaking of floors, I am not in favor of what are called “floor
trims” in any line of merchandise. They do not attract one unless he
deliberately stops to gaze into a window, and few people do that in this
busy age. Raise your trim to the center of the window, even if it is
composed of small wares, and then it will arrest the gaze of the
passerby.
The suggestions I have offered are of necessity general in their scope,
and I advise you to study all the good windows you may see. Don’t be
content to copy them, however, but improve upon them. Some other man’s
idea will frequently give you an idea of your own that is vastly better.
Originality alone does not always win. It is better to copy a good
window than to originate a poor one. And to originate a good window is
better yet.
Where the window dresser is required as a salesman during the day, the
decorating is done late in the evening, when a screen is not at all
necessary.
CHAPTER VIII.
SHOW WINDOW UPHOLSTERY.
HOW TO DRAPE.
Unless a window dresser is thoroughly conversant with the art of draping
he will not be recognized as accomplished. Yet there are many
professional trimmers who, it must be admitted, create wonders in their
line while unable to put up an effective drape. This statement may be
denied by many trimmers, and it surely sounds rather strange. However, I
wish to argue on this subject and shall at the same time endeavor to
give those not fully posted on the knack of draping some practical hints
and suggestions.
If a man in a smaller town who takes care of the show windows is not
acquainted with this branch of trimming, you need not feel surprised, as
he has little or no chance to see and learn. It is naturally easier for
him to learn pleating, puffing, and to make his wooden fixtures, than to
put up an artistic drape, simply because he can acquire great ability
and skill in these lines of work without being instructed, while many
men will never learn how to drape until they are shown how to do it.
Draping is the foundation of the art of window trimming.
There is no window in which some kind of a drape could not be applied to
good advantage. It gives the window an artistic and pleasing effect and
is always appropriate. Draping is as old as the history of decorating
itself, and it will never become old fashioned.
While the prettiest and most artistic effects are produced by draping,
it is simple in itself, and, as in some tricks, “easy if you know how.”
PLAIN FESTOON DRAPERY.
One edge of the fabric is first pinned along the line to be draped, the
distance being spaced equally, and it is an advantage to have little
wooden spindles projecting a few inches, where each rosette would come,
so that the material hangs clear of the wall instead of flat against it.
Whatever the distance is between the pins, two or three times the same
length of cloth should be allowed to make the festoon. About eight or
ten inches below the pin the material is tied together tightly with a
piece of string, the surplus material thus gathered together being for
the purpose of forming the rosette. Removing the pin, the cloth is
lifted up and the pin inserted at the same place again, but in such a
way as to hold the fabric just where the knot was tied. Tacks may be
more easily managed than pins. The rosette finally almost forms itself,
as the bunch of surplus fabric is simply turned inside out, and pulled
or patted into shape. The process is quite simple, and should be clearly
understood by an inspection of the drawing, which shows at one end the
fabric pinned up; the next loop has the string tied around it, and the
third is finished with a neat rosette, the folds of the fabric hanging
in a graceful cascade.
[Illustration]
Quite recently a drapery hook has been invented which forms the rosettes
automatically, thus simplifying the above process.
COMBINATION DRAPERY.
The drape shown in the first illustration consists of cheesecloth and is
constructed in the following way: Take a thin bendable strip of wood,
perhaps ¼ to ⅛ by 1½ inch, fix the lengths according to the size of your
window, puff it with cheesecloth, bend it into the shape of a
semi-circle, and place it in the center of your window. You may place it
horizontally, vertically or slanting, to suit your fancy. If your window
measures 3 yards, take from 9 to 12 yards of cheesecloth and allow 1 to
2 yards extra on each side to hang down. The festoons as shown in the
sketch require about 3½ times as much cloth as the distance from one
rosette to the next one. If you desire to drape deeper, allow about four
times as much cloth instead of 3 or 3½ times as much for the festoons.
Take the piece of cloth, divide it in two equal parts and pin it up at
the middle by the edge, on the center of the semi-circle. After this
form the festoons one after the other, one to right and one to left. The
rosettes are made in this manner: After the cloth is pinned up and
divided as indicated, take hold of it at about one foot below the pins,
fold it into many pleats, each about 1½ inch wide, lift the cloth up to
the pin and drive a second pin through the pleats, thus pinning it
against the background. This leaves a bunch of cloth for the rosette,
which you turn inside out, pull it apart and form it into the shape of a
rose. After you have made the second rosette the festoon has formed
itself almost to perfection, and if not your fingers must help out and
complete the process by pulling and pushing the folds into proper shape,
which is then easily done. The other part of the drape in our first
sketch is like the one No. 3, and will be treated later. The sections
No. 1_a_ and No. 1_b_ are made of separate pieces of cloth thrown over a
short piece of curtain pole, which is projected about a foot from the
background. These sections are more adaptable to silk drapery and
require a square piece of very wide cloth, not narrower than 36 inches.
To construct No. 1_a_ this piece of cloth is laid upon the counter in
diamond shape—like a napkin—and the cloth turned over from either end
into wide pleats to and fro until the extreme points are thus folded.
No. 1b is the same with the only difference that the diamond shaped
piece of cloth is folded or cut into triangle shape and folded only from
one side. These pieces, thus prepared, are folded again in the middle
and thrown over the fixture, showing only one-half of their entire
length. If you wish to have them reach down lower take a longer piece of
cloth, cut the ends into diamond or triangle shape and proceed the same
way. The effect of this style of draping is greatly increased by
trimming the edges with tassels or fringes.
[Illustration: No. 1^a]
Drape No. 2 is one of the most effective, and consists of two pieces of
cheesecloth, silkaline or light silk. Two contrasting but harmonizing
colors are very desirable. It is the plain festoon and rosette drape
projected from the wall by heavy knitting needles. These you drive in
first and start with pinning up your cloth at one end (right end first)
and continue with it until the left end is reached. When commencing with
the second bolt of cloth do not unroll any more of it at the time than
necessary to push the bolt alternately through the loops of the first
piece. After you have thus covered your background, proceed to form the
rosettes; pull, push and pat the folds of the drape into proper shape
and you have produced a pretty and artistic effect.
Drape No. 3 can only be constructed with heavy plush-velour or rich
drapery silk or any goods with two right sides—as both sides are
shown—unless you cut the goods. It consists, like No. 2, of two pieces,
and an endless variety of different designs may be formed with this
style of drapery. The sections No. 1a and No. 1b are very appropriate
with this drape, and separate rosettes, heavy silk cords, tassels and
fringes will greatly enrich it. To put up this drape requires more skill
and taste than the former two, as, unless it is executed to perfection
it is unattractive. Throw your goods over a curtain pole projected from
the background and let the first end drop down to the floor. Then fold
the goods carefully into about 4 to 7 folds and form the loops as shown
in illustration without ever letting the folds become uneven or
irregular, something which is more difficult to avoid than the sketch
exposes.
All in all, draping is easily learned, and no ambitious amateur will
rest until he has acquired full ability to put up an artistic drape.
HOW TO PUFF.
It will take about four times the length and width of cloth to puff any
given space. If your background is 12 feet long and 3 feet wide it will
require four strips each a yard wide and 48 feet long. Very coarse
puffing may be made by using as little as three times the amount of
cloth that will cover the space, but for puffing such as is shown in our
illustration four times the amount is required.
[Illustration]
There are two ways to puff. For large spaces it is quicker and cheaper
to cover the backing with bookbinder’s paste, and puff upon that. Always
begin at the left-hand upper corner. Turn the edge of your cloth, to
start with for, raw edges always look badly. Support the cloth with your
right hand, and with the left spread out your thumb and fingers and claw
the cloth together into an irregular puffed effect. Do not be too
particular about each handful—the total effect will be all right. Work
quickly and your puffing will be more uniform than when done cautiously
and slowly.
[Illustration]
If you are not covering a very large space it is best to pin your
puffing. Start the same as directed for pasted puffing. Fasten a small
pincushion, well covered with pins, to your vest, and use a small
upholsterer’s hammer to tack with. Keep the hammer in your right hand.
Push up the cloth and pin it, driving the pin in lightly with your
hammer. Be sure to puff close enough to hide the pins.
PUFFING FOR HEADINGS AND ORNAMENTAL DESIGNS.
First take cloth or bunting, fold into 9-inch strips, fasten end to wall
or counter by small wire nail (with head filed off and pointed), take
other end, pull tight and fasten at first; next take sharp knife or
scissors (knife preferable) and cut along folds to end. (This will give
you a straight, clean edge.) Take 9-inch strips, pleat into small pleats
and fasten as in beginning, step back eight or ten feet, place pin into
pleats, then start at beginning or end and pin every five or six inches
apart and so on full length of cloth.
This may be made day previous to using in window. Now to apply it to
design, start at right hand corner and tack pins every three inches
apart, or according to size of puffs desired, continue until all is on,
then start at beginning and pull out puffs. When completed you will find
that your puffs are even and of a uniform size, and the time taken will
be a great deal less than anticipated.
This puffing can be used on every shaped design imaginable and with very
best of results.
THE SHOGRAN PUFFING.
This wonderfully popular and useful puffing is named after its inventor,
Leonard Shogran.
[Illustration]
I feel confident the usefulness and labor saving qualities of this idea,
together with the neat and artistic effect which can be obtained by its
use, will be appreciated by all my readers. In connection herewith I
wish to state, that the value and usefulness of this decorating device
is becoming so pronounced that many decorators have begun to use it
almost exclusively to give a finished effect to their decorations, where
cheesecloth is used. The reason of this popularity is no doubt due to
the fact that with it a display can be beautifully finished in one-tenth
the time consumed in puffing the old way.
This puffing is the result of a great deal of scheming as to how to
lessen the time and labor in finishing up a job of cheesecloth work. It
is generally done by taking the cheesecloth loosely in the hand and
pinning or tacking it in position, representing small rosettes, the
tiresome and tedious operation of which every window trimmer will admit.
[Illustration]
I have used this puffing with telling effect in building booths and
floats and decorating halls, etc. In short, it has become an
indispensable article with me, as well as all who have learned to use
it.
In preparing this puffing, tear a length of ten-cent cheesecloth into
eight strips or, if wider puffing is desired, tear it into six strips,
according to width wanted. Sew them into tubes, or what I would call
long sleeves, and turn them on a thin stick or rod, so the ragged edges
will be on the inside. Then full them over a strip of muslin about one
and one-half inches wide, and thus the article is made.
[Illustration]
If you wish to use it in covering the ragged edge of some pleated work,
where tacks and pins are usually in plain view, fasten one end of the
muslin strip at a point where you intend to begin, then draw the puffing
back about two feet from where you fastened the muslin; then we draw the
puffing over it nicely, not too full, and fasten the puffed part in
place; next, draw the surplus puffing back another two feet, and repeat
the operation; and so on until finished. An illustration of this will be
found in the accompanying sketches. Should the strip of muslin prove too
short, pin another to it, and draw the puffing over. The sketches will
give an idea of how easily it can be draped and festooned, or worked
into any artistic scroll or design the inventive mind of a decorator may
dictate.
[Illustration]
Decorators who try this idea will be surprised to see how quickly the
goods can be made and applied. The seam is sewn very rapidly on a sewing
machine, and it is a pleasure to work with this ever ready and very
pliable material.
EDGES.
Pleated backgrounds with puffed edges are very popular. To puff an edge
use about one-third or one-half the width of your material, and puff and
pin as before directed, taking care to turn under all the raw edges, or
better yet, use the Shogran puffing.
There is upon the market a prepared puffing of colored and white
cheesecloth, sewn upon strips of heavy paper. It is sold at a small
advance over the cost of raw material. When you wish to put in a window
in a hurry this prepared puffing is valuable; but I advise everyone to
learn the art of puffing, for only by being able to do all the detail
work yourself can you become a successful trimmer, and wholly
independent of the supply houses.
TO MAKE SUNBURSTS.
A “Sunburst” is the effect created by a form of pleating radiating in
all directions from a central point.
Sunbursts, while they look difficult to make, are comparatively easy. It
matters not what shape you wish to construct, whether round or square,
the system is always the same. First measure your outside edge of frame,
then cut off your strips of cheesecloth the different lengths required,
pleat in center of them all and tie firmly with string, nailing them to
the center of the frame. Then stretch them to the outer edge of the
frame.
SMOCKING.
One of the prettiest effects in backgrounds is made by “smocking,” or
catching the material into little squares, as is shown in the
illustration. I have used this method in many windows, and always with
good success. For paneling, pillars, etc., it will be found very
desirable and attractive.
First cut your goods one-fifth larger than the space you wish to cover,
sewing breadths neatly together. Then lay the cloth in even folds, and
on each fold make dots with colored chalk or pencil, to show where the
squares are to be caught up. These squares show plainly in the picture.
They should be caught together with a needle and thread of a color to
match the cloth. If the work is neatly done it will more than repay you
for your trouble; and, indeed, once you have caught the knack of doing
it, you will find it easy and quick work. So little material is used
that it is the least expensive of any fancy background. I generally use
bleached muslin, but the light shades of bunting or surah silk are
equally adaptable.
[Illustration]
HOW TO PLEAT.
Pleating is more of a trick than it appears to the uninitiated. Good
pleating is very beautiful, but poor pleating is worse than none at all.
The secret of good pleating is uniformity.
I will acknowledge that pleating was one of the most difficult things
for me to learn; but I finally invented a little scheme that assisted me
wonderfully.
It was nothing more or less than a clothespin, but it accomplished the
work accurately. Start at the left-hand upper corner, first turning
under the raw edge. Then place the slot of the clothespin over the edge
and turn it half around to the right. Place your finger against the fold
thus made, pull out your clothespin and tack or pin in place. Move your
clothespin a given distance to the right, turn again and pin as before.
The pleating will be absolutely uniform. In single pleating the folds
are all one way; box pleating is made by turning first to the right,
then to the left, as in illustration.
[Illustration]
[Illustration:
SINGLE PLEATING.
]
If you have a good eye for distances you won’t need the clothespin, but
beginners may use it to good advantage.
Where you have a pleated background the edges of your framework may also
be pleated closely, and then, say every six inches, pull out the
pleating into the form of a rosette. The effect is very pretty.
[Illustration:
BOX PLEATING.
]
CHAPTER IX.
THE BACKGROUND.
A good background is a necessity. It is the frame of your picture. Many
goods, desirable in themselves, need a color effect to throw them out
properly. Practical window trimmers devote much study to designing their
backgrounds, frequently relying upon them to arrest the eye of the
passing throng and so direct attention to the goods themselves.
No matter how artistic a window display may be, it loses more than half
its attraction if not suitably backed. The background affords relief to
the trim, and is as necessary as the scenery to a stage setting or the
sky line to a landscape. It completes your picture, and, frequently,
attracts the eye sooner than the goods.
Therefore too much attention cannot be given backgrounds, and were there
a school of window trimming, the proper use of the background would be
one of the first things taught.
STOCK BACKGROUNDS.
Many trimmers construct their backgrounds in the windows, which takes
considerable time, and when completed, they hurry in the goods to be
shown, not giving themselves time to show them properly, feeling they
have spent too much time on the background. Consequently, the window is
not what it should be. To obviate this I would advise the using of
portable stock backgrounds. They are not expensive, and are easily
constructed. The time saved in trimming a window is a very important
factor. A few frames made of light strips, covered with cheap muslin,
forms an excellent groundwork. They can be decorated with cheesecloth in
sunbursts, pleating—or, in fact, there is no limit to the variety of
ways to treat them. The frames can be made in convenient sizes to fit
your windows, so that they can be easily handled and put together
quickly in the window. Both sides of the frames should be decorated, so
that after you have used one you can turn your frame, showing a
different style and color entirely.
These backgrounds are also to be commended as examples of good taste and
elegance of design without being elaborately ornate. A very great
mistake is not infrequently made in trying to gain a great effect by
using an overdone and complicated background which results in
distracting the eye from the rest of the display, just as an extremely
simple and beautiful picture is often killed because it has been put
into a huge gilded Rococo frame.
There are almost countless materials which may be used in making
backgrounds, which will give just the finishing touch needed to complete
a harmonious window; for instance, Japanese Grass Cloth, which can be
procured from most of the large wall paper houses. This is a combination
of thread and fine straw, woven together, and backed with tough paper.
It comes in just the colors which will harmonize with any other color
without predomination,—rich olive green and golden browns, or even
beautiful dull reds.
The Oriental mattings and cloths of unique weave and pattern may also be
used.
The accompanying plates illustrate how quickly these backgrounds can be
put together.
[Illustration:
STANDARD BACKGROUNDS—PLATES 1 AND 2.
]
[Illustration:
STANDARD BACKGROUNDS—PLATE 3.
]
Plate No. 1.—The pleated frames explain themselves. Palms add much to
the finish of almost any background.
Plate No. 2.—Shows some excellent sunburst effects.
Plate No. 3.—Gives an excellent idea of the utility of frames, with the
addition of a few palms. This represents an Easter egg, made of strips
covered with heavy paper; the outside in white cheesecloth, the inside
with lavender China silk, with baby dressed in white. There are dozens
of other ideas that will suggest themselves to you, suitable to the
season. The egg is only one suggestion.
[Illustration:
STANDARD BACKGROUNDS—PLATE 4.
]
Plate No. 4.—The lattice work can be made with white tape, ribbon or
strips of wood painted. A hoop nailed to the outer strips will make a
good frame. Any style of ornament can be cut out of heavy cardboard, or
wood ornaments obtained from almost any saw mill at a little cost. A
plain box with blocks nailed top and bottom, covered with cloth in any
color desired, with a panel of gilt picture moldings, makes a good
pedestal.
Plate No. 5.—Shows how one frame can be used in front of another to an
advantage, and good effects obtained.
Plate No. 6—Suggests an excellent background for windows. The bottom of
the pillars is covered with a strip of lincrusta, painted white and
touched up with bronze. A plain cap can be used instead of the fancy
ones, either square or round, with a band of lincrusta to match the
bottom.
These backgrounds can be produced at little cost, and are a great help
to the trimmer who has many windows. With a little ingenuity and
adaptation one can form an endless variety of artistic backgrounds.
The backgrounds shown were designed by Charles W. Morton.
AN OPEN BACKGROUND.
[Illustration:
STANDARD BACKGROUNDS—PLATE 5.
]
[Illustration:
STANDARD BACKGROUNDS—PLATE 6.
]
Where it is desirable to admit light to the store, the window may be
draped in a style that is called “an open background.” At the back of
the window tack a width or double width of cheesecloth or other material
to the top and bottom of the window; not too tightly, but with slack
enough to allow for gathering at the middle, as is shown in the
illustration. It is not necessary to pleat the material at the top and
bottom, as the gathering gives an effect of fullness, but if a single
width is used it gives a fuller appearance when pleated. Tie the centers
together with bows of bright ribbon. Hanging baskets of flowers and
vines suspended in the center of the spaces add to the effect. This
style of backing is very neat, and much better than no background at all
for drug and jewelry displays.
[Illustration]
[Illustration: Section of Lattice Work.]
LATTICE WORK.
For lattice work erect a light framework, wind with cloth, and use
strips of curtain cloth, white tape or ribbon for lattice. Run all the
strips one way before you put in the cross strips, and these should run
back of the first, before the next, and so alternating until you have
reached the end. The next strip should reverse the order, running before
the first.
CHAPTER X.
FIXTURES.
Having erected a proper framework and covered it in an artistic manner,
the background is complete, and the decorator next turns to the subject
of proper fixtures on which to display his goods.
The writer is a firm believer in good window fixtures, for they assist
greatly in making a handsome display, and thus selling goods. Therefore
an adequate supply of substantial brass and nickel fixtures is not an
extravagance, but a necessity. I said an adequate supply. The big city
store needs a great variety of fixtures, for there are many windows to
trim. The small store cannot afford more than enough to be used to good
advantage.
Side brackets, or arms, must be provided amply, and enough uprights and
rods to make whatever racks or trees may be required for small goods.
Special display require special fixtures, and where the fixture cannot
be entirely covered, a homemade erection would be out of place. When a
need arises for a good fixture the expense should not be considered.
From a town of 50,000 inhabitants a merchant writes: “I can no more
expect my trimmer to create a good window without proper fixtures than a
carpenter to make a good piece of cabinet work without tools. Windows
that will attract attention to our goods are necessary; therefore we buy
every fixture that is required.” A firm in a town one-half the size of
the above, states: “If we were forced to choose between inside fixtures
and window fixtures the window fixtures would get them every time. We
could sell goods off a dry goods box when once we had brought the people
into our store; but without a good window display we fear we could
induce very few to enter.”
A general merchant in a town of 5,000 writes: “I never paid any
attention to my windows until a year ago, when I instructed one of my
clerks who was going to the city, to buy whatever fixtures we might need
to trim a window properly. To my horror he purchased nearly $200 worth
of fixtures, including a jointed form. I felt like sending the goods
back, but, at the clerk’s earnest solicitation, decided to keep them.
To-day I would not part with them for double the amount they cost. My
windows are talked of all over the country, and my competitors are
making frantic efforts to imitate my style of trimming windows.”
Another merchant writes: “I never bought a window fixture that did not
prove a good investment.”
HOMEMADE FIXTURES.
The decorator more frequently finds a lack of fixtures to be his
stumbling block than any other detail of window trimming. Dearth of
proper fixtures is more fruitful of complaint, contention and ill
feeling between the trimmer and his employer than all other causes
combined; and, while there are many unreasonable and “stingy” employers,
on the other hand, it may be observed that in very many cases the more
indolent and incompetent the trimmer the louder are his complaints; and
to such a degree does he sometimes carry this that his colleagues become
wearied of his “hobby,” he becomes persona non grata with his employer,
resulting finally in being driven out to make room for one with more
tact, better temper and a larger store of latent resources, enabling him
to make the best of the, perhaps, meager supply of materials at hand.
Did any one ever know of an incompetent and unsuccessful trimmer who did
not lay all his troubles and failures to the lack of fixtures; or a
capable and successful one who did not climb to the top in spite of his
handicaps of this kind? Again, there are many ambitious young men who do
make an effort to surmount these difficulties, regarding this as the
“make-shift period,” sighing the while for the time when they can take
their place in the great establishment, that “promised land” where their
troubles will have ended, where there are fixtures galore for every
wrinkle, and where they must but say, “presto, change,” and the
marvelous creations they dream about will be complete. It is no secret
with experienced men that this state of things exists only in dreams,
for, if the great store is replete with all the modern appliances, so,
also, are the requirements multitudinous in proportion, and the trimmer
who has failed to cultivate to the utmost his inventive faculties while
occupying his humbler sphere cannot hope to succeed in the greater one;
and, yet again, it has been proven that the average store, doing a
business of $100,000 a year, is as fully equipped in the fixture line,
in proportion to volume of business done, as is the great metropolitan
establishment whose sales run into the millions.
It is well to agitate the fixture question in every proper way with the
employer, and to try to obtain those that are necessary; and it is well,
also, to keep an eye on the lumber pile, for with saw and hammer one can
rig up fixtures with which he can make a creditable display of any class
of merchandise, and at the same time train himself to become a man of
resources; for, far and away ahead of all other gifts the successful
trimmer is always resourceful, and the ability to hastily construct
necessary fixtures is twin brother to the gift that enables a man to
handle every kind of goods given him in all the ways it is capable of
being displayed at short notice which is the characteristic stamp of the
true artist, and determines his value to his employer as well as his
standing in the profession.
Here are one or two illustrations:
[Illustration:
IDEAS FOR HOMEMADE FIXTURES.
]
If you have been asked to show underwear, for instance, and metal
fixtures are not obtainable, don’t entertain a trimmer get some curtain
poles, saw into required lengths, procure some three-pronged metal towel
racks from house furnishing department, screw them on pole, as seen in
cut, and you have a fixture that the goods will sufficiently cover, so
that no one will guess it was not originally manufactured for the
purpose.
To make a very effective centerpiece for a linen or handkerchief window,
cut from any old boards the shape of a vase, say thirty-six inches high.
Pad one side of this to the shape of a vase with old papers, excelsior
or any old rubbish; cover with muslin, then puff all over with
cheesecloth; now two feet from your dark background stretch from floor
to ceiling coarse, black tarletan; place the flat side of vase against
this and pin your handkerchiefs or napkins on in vine and flower effect.
The tarletan is entirely invisible and the goods have the appearance of
“growing” right out of the vase.
To make an effective and artistic arch quickly, nail your uprights to
the floor, cover with carpet padding; over this puff, pleat or stretch
plain cheesecloth or whatever you wish to cover it with. Now get some
flour-pail lids for caps, procure some barrel hoops, cut out about
one-third and nail either end to the side of post caps. The space can be
filled in by puffing or pleating.
These methods are shown in outline in the above diagram.
[Illustration: A Method of Arch Construction.]
Another, more elaborate arch is made as follows: Go to the lumber room,
where old boxes and barrels are kept, and there are usually a saw and
hammer about the store. That’s enough. Remove the wooden hoops carefully
from your barrels, and save the heads. If you have not enough pieces
among the boxes to serve for uprights purchase a few 2 × 4s, and also a
bundle of lath. If you wish to make an arch, use the 2 × 4s for
uprights, run a board across the top, and nail blocks in such a position
that by bending lath or light strips, and nailing them to the blocks,
the circle of the arch will be formed. See illustration. Puff
cheesecloth upon cardboard or the thin wood used for backing pictures,
and fasten it to the circle of the arch, allowing it to run down as far
as the pillow. Allow the top board to project a trifle beyond the face
of the arch, and cover or puff this edge. For the pillars take heavy
carpet paper, or roofing paper, and cut it the length you wish the
height of the pillar to be. Cover the surface of this paper with cloth
or velvet. Then bend the paper in cylindrical form, around the upright,
fastening at the back with brass paper fasteners. It will have the
appearance of a solid and substantial pillar. Twine smilax or ivy about
this and you will be surprised at the effect.
PEDESTALS.
Barrel heads may be fastened together with light strips and then nailed
to the top of an upright to form a pedestal on which any class of goods
may be displayed. The top and standards may be closely covered with
cloth, or draped from the edge of the top to the floor. Another way is
to put a barrel head at the top and bottom and drape in hour-glass
shape, drawing the cloth together at the center and tying with a bow of
bright ribbon, or other material.
OTHER FIXTURES.
[Illustration]
[Illustration]
[Illustration]
By winding hoops with cheesecloth you can use them in a variety of ways.
In an illustration is shown a suspended hoop fixture which makes a good
centerpiece. The pins in the center, which are to hold merchandise of
various kinds—hats, bonnets, shoes, etc.,—are pieces of broom handle
nailed to the flat of the hoop. Another good homemade fixture is in
easel form, one-third of each hoop being cut away, as shown in the
picture. A standard with half-hoops fastened to the sides makes a good
fixture for showing laces, furnishing goods, etc. These are all outline
drawings and do not show the fixtures covered, but when they are wound
with cloth they present a very neat appearance, and are certainly
useful.
[Illustration]
Knitting needles driven into an upright standard, make neat and
serviceable bars for displaying furnishing goods.
HOMEMADE CORSET FORM.
[Illustration]
The country trimmer is frequently at a loss to make a good corset
window. Boxes of goods may be piled up, to be sure, but that requires a
great deal of stock, and never looks very well, either. A dozen corsets,
properly placed, will make an excellent display, and will sell more
goods than a mass of rolled and boxed corsets. Have a dozen oval pieces
of 1-inch board sawed, of a size that just fits the bust of the corset.
A corresponding number of pieces should be made to fit the waist
measurement. Connect these two pieces by means of a standard, and lace
the corsets lightly over this improvised form. By extending some of the
standards you can have the real corsets of your display set up, so that
all may be plainly seen. Allow the top of the corset to project several
inches above the bust piece, and upon the shelf thus formed put a
puffing of bright colored stuff, or place a potted palm. For a narrow
window such a display is especially desirable, and it may also be
adapted to any shaped window to advantage.
Perhaps the above suggestions will give the reader ideas of utilizing
the lumber room to good advantage. In another chapter a variety of
suggestions is offered, many of which will require more or less
ingenuity on the part of the decorator to prepare properly.
ONYX STANDARDS.
There is a paper with surface printed in close imitation of onyx, which
is being utilized by many window trimmers to manufacture onyx standards
upon which to display goods. Take a round pole, three feet long and
about three inches in diameter, and nail upon either end a 12 × 12
square of 1-inch boarding. Cover all surfaces with the onyx paper, and
set several of these stands in the window. Over them lay suits of
clothing, pieces of dress goods, or place upon the tops pairs of shoes
or other articles. A pretty effect is created by twining smilax around
the standards. Onyx columns to support backgrounds may be made in a
similar way. The paper may be obtained from any first-class stationer,
and when viewed from the sidewalk closely resembles real onyx.
PALM STANDS.
When showing small articles in a window effective accessories may be
employed by using draped stands of irregular heights scattered about the
window, upon each of which is placed a palm plant. If the stands are
draped in red or yellow they show off the green palms to good advantage.
Smilax may be twined about the bases.
GLASS SHELVES.
Have strips of single or double thick window glass cut to the size you
desire. Place two 1-inch screw eyes in your frame or window side, and
rest the edge of the glass upon them. Fasten the ends of two pieces of
picture cord, or chain, to the screw eyes, draw them over the outer edge
of the glass and fasten them about a foot or eighteen inches above the
shelf. This fastening is easily made and removed, and the shelves will
be found very substantial.
CHAPTER XI.
DRESS GOODS DRAPINGS.
[Illustration: DRESS GOODS STAND SILK STAND]
There are almost as many ways to drape dress goods as there are
varieties of the goods themselves, and many of them are good ways, too.
Ask any window trimmer, no matter what experience he has had, if he can
drape dress goods, and he will answer “certainly!” and be surprised at
the question. But how well he can drape is another question. Whether his
drapings are modern and up-to-date is also worth investigating. An
experienced trimmer finds himself inventing new drapings almost daily,
and these are more or less serviceable. It is a good plan to use those
methods that commend themselves to you and that you find you are able to
reproduce easily.
[Illustration: SKIRT STAND]
The stands have much to do with your success. In fact, there can be no
real success without proper fixtures. We show a diagram of an excellent
dress goods stand, which is suitable as well for silks or almost any
class of dry goods. The frame work is light and made of soft pine and
covered with heavy roofing paper. The measurements are shown in the
drawing. By referring to Plate No. 1, accompanying this article, you
will find that draping No. 4 is made on this stand. In Plate No. 2
drapings Nos. 10, 11 and 12 are also made on the dress goods stand.
Plate No. 3 shows six styles of drapes made over this same stand. The
illustrations are from photographs and are so distinct that even the
novice will find little difficulty in understanding the folds. For an
“all-round” stand I recommend this highly. It should be made in three
heights, 3 feet, 4 feet and 5 feet, and is then suitable for blankets,
comfortables, muslin underwear, tablecloths, and many other lines. At
the right of the dress goods stand is a diagram of my silk stand, which
will be found useful where many silks are shown. Its size renders it
especially appropriate for silk widths and by referring to drapes Nos. 5
and 6 in Plate No. 1, and drapes Nos. 7, 8 and 9 in Plate No. 2, you
will find examples of drapings over this stand. The dimensions are
plainly given in the drawing.
[Illustration:
DRESS GOODS DRAPINGS—PLATE 1.
Examples 1, 2 and 3 are made over the Skirt Stand.
Example 4 is made over the Dress Goods Stand.
Examples 5 and 6 are made over the Silk Stand.
]
[Illustration:
DRESS GOODS DRAPINGS—PLATE 2.
Drapings 7, 8 and 9 are made over the Silk Stand.
Drapings 10, 11 and 12 are made over the Dress Goods Stand.
]
[Illustration:
DRESS GOODS DRAPINGS—PLATE 3.
Six Modern Drapes, all made over the Dress Goods Stand and suitable
for displaying almost any material for Dress Goods.
]
In all large stores a skirt stand is an important factor in displaying
goods. The one I use is easily made, is light and durable, and answers
the purpose admirably. The illustration shows it perfectly and gives the
dimensions. Drapings Nos. 1, 2 and 3, in Plate 1 are examples of the use
of this stand.
For the convenience of decorators I give herewith a number of
illustrations of drapings in common use. These need not be described in
detail, for it would be a task well-nigh impossible. Each man must, by
practice and study, work out the various details of draping for himself,
for the graceful folds we so often see and admire cannot really be
taught. If you ask a trimmer what his method is for making a certain
effective draping, he will stare at you in bewilderment and say,
“Why—why, I just give it a push here, and a twist there, and a yank
sideways—and it’s done.” As a matter of fact, he don’t know how he does
it, any more than a painter can tell you what particular sweep of the
brush created his masterpiece. A delicate touch—an artistic eye; that’s
about all there is to it. I show herewith many pretty styles of
drapings, but beyond describing the materials you must work with and
giving you the pictures to study, I can assist you no further. But do
not be discouraged; try them. A little practice will no doubt enable you
to duplicate any of them, and then I suggest you invent new drapings of
your own, that fit your peculiar style and taste, for dress goods are
susceptible to innumerable methods of display.
[Illustration:
FIG. 4.
]
[Illustration:
FIG. 4.
]
Given the proper stands, as before illustrated, draping is not so
difficult as at first appears. In Fig. 4 I show a cylinder stand, with
an upright attached that is used for many of the drapings that have a
raised heading. The cylinder is made from papier mache or heavy straw
board. Some forms are made to spread at the bottom, in the style a
woman’s dress is hung. And sometimes a flat board, or a cross-bar is
required, as will be explained further on. For fastening the material to
the cardboard form use artist’s tacks, as they are convenient and do not
injure the cloth. Fig. 4 (a) shows the cylinder with an upright stick
tacked upon it to hold the puffed heading; (b) shows the first process
in draping, (c) the second, and (d) the method of gathering the puffing
at the head. In Fig. 4 (e) is shown the completed drape, which is both
new and highly artistic. Fig. 5 is also very effective, and its
construction may be followed in (a) and (b), and in the full draping
(c). Fig. 6 is certainly an odd effect, and one that is just now growing
popular. The method of gathering the fold is shown in (a), and the
result in Fig. 6 (b). Fig. 7 recently originated in Germany, and is very
graceful and pleasing. The method may be followed in (a) and (b) to the
full draping in (c). In Fig. 8 the pansy, fans and butterflies are made
from fancy silks arranged at the top of draped dress goods. Of course
the colors must all harmonize. Simpler forms of draping are those in
Figs. 9, 10, 11, 12, 13 and 14, and these are all made over cylinder
form, and only skillful manipulation is needed to enable you to
duplicate them. Figs. 15, 16, 17 and 18 are made over a cross-bar and
the folds held in place by pins. This cross-bar may be fastened to a
simple upright standard, or you may use a flat board, which is somewhat
better. Fig. 19 shows a neat method of stacking piece goods, the top
piece being used for the puffing. Fig. 20 is called a floor draping, and
is made up over an upright standard.
[Illustration:
FIG. 5. (_a_)
]
[Illustration:
FIG. 5. (_b_)
]
[Illustration:
FIG. 5. (_c_)
]
[Illustration:
FIG. 6. (_a_)
]
To describe in detail every fold in the above drapings would be tedious,
even were it possible to make myself understood. Any trimmer will
readily catch the ideas from the pictures and be able to utilize them in
his own way. Some of the drapings shown have been in use for some time,
but the majority are this fall’s productions, and all of them are
graceful and pretty and will bear reproduction.
[Illustration:
FIG. 6. (_b_)
]
[Illustration:
FIG. 7. (_a_)
]
[Illustration:
FIG. 7. (_b_)
]
[Illustration:
FIG. 7. (_c_)
]
[Illustration:
FIG. 8.
]
[Illustration:
FIG. 9.
]
[Illustration:
FIG. 10.
]
[Illustration:
FIG. 7. (_b_)
]
[Illustration:
FIG. 13.
]
[Illustration:
FIG. 14.
]
[Illustration:
FIG. 15.
]
[Illustration:
FIG. 16.
]
[Illustration:
FIG. 17.
]
[Illustration:
FIG. 18.
]
[Illustration:
FIG. 19.
]
[Illustration:
FIG. 20.
]
THE FLEUR-DE-LIS.
1. In making this unique pattern, called the Fleur-de-Lis, a common
millinery stand 25½ inches high is used, as seen in Fig. 1.
[Illustration: FIG. 1.]
2. Nine inches from the top is fastened a piece of silk of 8 folds,
containing 1¼ yards to the fold. When this is fastened it must be the
center of the fold as seen in Fig. 2.
[Illustration: FIG. 2.]
[Illustration: FIG. 4.]
3. Then each fold is brought down and made to form a loop fold, at the
base of the stand, as seen in Fig. 4.
4. Figure 3 shows the pattern after the hidden end of the silk is
brought over the top of the stand and is securely fastened, and also is
made to form a girdle, so as to cover the meeting place of top folds.
[Illustration: FIG. 3.]
5. This girdle must be 4 inches across the center, and 10 inches in
diameter.
6. From tip to tip of the farthest point of the bottom fold is 32
inches. The width of top fold is 13 inches.
7. Any height stand and any length silk may be used.
LINEN DECORATIONS.
A pretty decoration may be made to accompany a window display of linens
as follows:
Take insulated copper wire and use as a base for stems in making
flowers, thistles, etc. The thistle being entirely new and very
attractive, I will describe the process of making it: Cut strips of
coarse linen 1¼ inches wide and unravel each edge until a fringe is
formed ⅜ of an inch on either side. Wind this strip about the wire for
the stems, as shown in C of the illustration, where a part of the strip
is left unwound. For the thistles, cut strips 15 inches long and 1¾
inches wide, and unravel one edge until a fringe 1¼ inches deep is
formed. (See A.) Fasten one end to the stem where the thistle is to be
formed, and then roll the cloth tightly, allowing the fringe to remain
loose, as in B. Now take white linen thread and wind tightly around the
cloth at the head of the fringe, as shown in the completed thistle
flower. D and E show the strips of cloth before winding.
In making a fence of linens, the rails should be wound with strips 2
inches wide, unravelled to a depth of 1¼ inches, leaving ¾ of an inch of
the plain cloth. (See F.) The pickets are wound with another 2-inch
strip which is unraveled on either side, leaving only ¾ of an inch in
the center of the cloth, as shown in G.
[Illustration:
THE THISTLE LINEN DECORATION.
]
These strips may be utilized in many different ways, and many beautiful
effects can be obtained by their use. These designs add attraction to
any display of linens.
CHAPTER XII.
THE ART OF CARD WRITING.
INTRODUCTION.
Show cards, to a business man, are a necessity. Everything depends upon
the way he advertises, and he cannot advertise judiciously without the
aid of signs. Some one must make his signs. If his business is on a
small scale, and he cannot afford a regular sign writer, perhaps he
would like to do it himself; or, if he hasn’t sufficient time, why not
employ a window trimmer who can do both?
A window trimmer who can make his own tickets increases his value to his
employer and can demand more money than one who does not; at any rate,
sign writing, as a side issue, will do no one any harm, and very often
it can be used to great advantage.
The art of show card making can be acquired by any one with very little
teaching, a reasonable amount of patience, and plenty of practice.
Do not become discouraged at your first attempt. Your card will look
badly, of course, but that is to be expected. You cannot do good work at
the first attempt—it is impossible. Improvements will be gradual. Each
card will prove better than the last, and with a little practice you
will be surprised at the results.
Were it not for the interesting variations and numerous opportunities to
display artistic ability, card-writing would be very monotonous; as it
is, a person with the least bit of artistic taste will find it a
pleasant occupation as well as a convenient and profitable one.
A sign maker must find where the sign is to be used and the sizes of his
lettering must be varied according to the distance it is to be placed
from the eye of the public.
Don’t attempt over originality in signs. The majority are not familiar
with signs. They have seen only a few designs. That which may be
conventional to you, because you study signs, will be original to the
majority of people.
Inaugurate a system of uniformity in your card-writing, by which all
your work (styles of lettering, etc.), have a certain amount of
similarity.
If at any time you wish to change your styles of cards or lettering, let
the new styles appear all over the store at the same time. It does not
look well to use a mixture of types or color; it has a tendency to
confuse the public—whereas, a system will teach them to know your
particular style of work at a glance, and it will not only be more
readable, but will establish for you a personality.
THE WORK ROOM.
The first requirement is a place to work; then you must be equipped. It
is impossible to do justice to your work unless you are properly fitted
out. Walk around the store until you find a suitable window, and anchor
there, provided you will be allowed, for you will find sunlight much
better than artificial light, both for the eyes and coloring.
Next get a table. Tilt it forward slightly, as in this position you will
find that work can be done better than if a level surface were used.
[Illustration: FIGURE 2 ]
For those who will go to the small expense of building a table, I show
it in Figure 2.
RULING.
You can use a Tee Square much more rapidly and accurately than an
ordinary rule. The inches can be marked off on your tee in order to
center the card.
FOR LINING.
Soft charcoal is the best on coated cardboard. Should your cardboard be
a little rough, a delicate lead pencil mark will be better. Charcoal
marks on coated boards can be easily erased with a soft piece of cloth;
or, better still, a piece of chamois.
MIXING.
Use a palette knife with a flexible blade, about ½ × 3½ inches. Find a
square piece of glass, or, not having a square piece, use any shape you
have handy. I will explain later to what use the glass is to be put.
PAINTS.
Mixing forms an important part of sign work, which, however, is
considerably lessened of late, by reason of several manufacturers having
placed on the market prepared colors which meet the requirements
satisfactorily. I would advise their use if it is possible to obtain
them.
One very important thing is, do not use oil paint on cardboard. It does
not work well and will cause much trouble. No experienced marker uses
oil paints, unless it is black asphaltum to fill in and outline letters;
such as several large department stores are using at the present time.
The glossy effect of this class of work is considered by many to be very
attractive.
The drawback to this method is, the cards require a double handling and
consequently the work is very slow.
Drop black, in distemper, is the cleanest and most handy preparation for
card work. It is sold in most cities in jars containing one pound. All
that is required for making it ready is a little dissolved gum arabic
and water.
Take your palette knife and mix these thoroughly on the piece of glass,
to about the consistency of a thick paste; it will then be ready for
use.
All colors can be purchased in this form. To those who would prefer to
mix their own paint here are given a few hints on mixing.
BLACK PAINT.
Lamp-black, ground thoroughly with water and gum arabic, a few drops of
alcohol added, will make a fairly good black. All dry colors can be
mixed in this way.
WHITE PAINT.
Fill a tin cup about ¼ full of whiting, thin it with water, add ½ ounce
of pulverized glue—boil slowly, continually stirring until the glue is
thoroughly dissolved; this, when cool, will make an excellent paint for
dark boards.
At another using, should you find it has become stiff, a little heating
will thin it to the proper consistency.
COMPOUND COLORS.
The following tints can be formed by mixing the colors as below. The
shades can be made to suit any taste by the exercise of a little
judgment in proportioning the colors.
Cream—White, yellow and red.
Drab—White, Prussian blue and vermillion.
Flesh—Lake, white and vermillion.
Fawn—White, stone ochre and vermillion.
Grey—White, Prussian blue, and very little black.
Light green—White, mixed with verdigris.
Grass green—Yellow, pink, mixed with verdigris.
Pea green—White and Paris green.
Dark green—Black and chrome green.
Olive green—Prussian blue and yellow.
Jonquil—Yellow, pink and white.
Lead—Prussian blue and white.
Olive—Red, green, or black and yellow.
Pearl—Dark red mixed with violet.
Purple—White, Prussian blue and vermillion.
Stone—White with a little spruce ochre.
Straw—White and yellow.
Snuff—Yellow, sienna and red.
Slate—White, black, red and blue.
Steel—Cerise, Prussian blue and vermillion.
Salmon—White, yellow and red.
Light yellow—French yellow and white.
Dark yellow—French yellow and red.
Lemon yellow—Yellow pink, with Naples yellow.
BRUSHES.
Nine-tenths of the inexperienced markers are using camels’ hair brushes,
which do not have the required elasticity for good work.
Much depends upon your brush. A good sign writer cannot turn out a
respectable sign with a poor brush; therefore, a beginner cannot expect
to acquire efficiency unless he uses the proper kinds of tools.
The proper kinds of brushes can be obtained of any brush dealer. For
ordinary work, a ¾ long No. 5 brush will answer, the cost being about 20
cents. Purchase a set of about six assorted sizes, which will answer for
all work.
[Illustration: FIGURE 3 ]
Use great care in selecting your brushes. See that the hairs are of an
equal length and that the ends are even when the brush is flattened.
Train your brushes flat by always using the same two sides. Rinse them
in a glass of clean water after each using, and give them a thorough
cleansing—with soap and water about twice a week. This will keep them in
good condition.
Figure 3 shows the exact sizes of a set of brushes, which will answer
for all purposes.
CARDBOARD.
Your own judgment should be sufficient to know good cardboard. The more
you pay the better goods you get, that is, if you deal with a reputable
house.
Use a pure white, heavy coated board from 6 to 10 ply, according to the
size of the sign you are making. See that your board is of sufficient
thickness to prevent warping. If you use frames, of course your board
need not be so heavy.
Colored card-boards are well enough, occasionally, but as a rule use
plain white; people do not tire of it so easily.
LAYOUT.
The laying out of a sign requires almost as much study as the making. It
is impossible to make a good sign if your layout is bad. Always allow
plenty of margin to your card and do not crowd or spread your wording.
Measure off an equal distance all around your card from the margin, and
keep your lettering within these lines.
HOW TO HANDLE THE BRUSH.
The following illustrations show two views of how to hold the brush. It
is held very similar to the ordinary position of holding a pen or
pencil, except that the brush must be held more upright.
After the brush is well rubbed in paint (on your glass) practice holding
it as shown in the illustration. Rest your hand on your little finger.
The flat side of the brush should be horizontal to the line. In making
the Devinne series of lettering, your horizontal lines are always fine,
while the down strokes are heavy. To make this letter it is unnecessary
to move the brush in your fingers, hold it firmly, and as you become
accustomed to handling it you will find that a very little pressure
while making the heavy line will produce the desired effect.
In making solid letters of the same thickness throughout, a little
practice will enable you to revolve the brush in your fingers (as in
making an O) so that you can produce the curved portion of a letter the
thickness of your brush without removing it from your card. To do this
requires considerable practice and “if at first you don’t succeed” try
several times; don’t give it up—you may do it correctly the next
attempt.
[Illustration]
In making the rapid brush letters, hold the flat side of the brush at
the same angle as your letter; the down strokes must be fine, the upper
and lower ones heavy. To a beginner this style will come very easy.
SPACING.
Treats of the arrangement of letters and words at the proper distances.
Good taste requires that the letters and words should look about the
same distance apart; the space on the line which the words occupies
should be evenly filled. If this is neglected the lettering will look
“patchy”—crowded in one place, scattered in another.
If, in making your sign, you find that you have “run out,” do not
attempt to crowd the word or words into a limited space, but separate
them, and begin a new line. Have all your wordings to begin and end so
that perpendicular marks can be drawn through the first and last letters
of each line. This will give your sign a symmetrical appearance and add
greatly to the neatness of the layout.
SHADING.
To look well, and to add to the beauty of your work, shading must be
carefully executed in both lining and coloring.
Do not use a dark color for shading, as it will give the letter an
appearance of bulkiness.
Always use a delicate tint for shade lines, such as light grey, which
gives a very pretty tone to a sign. This shade can be made by mixing
black, white and Prussian blue.
Shade on two sides only; the left side of your perpendicular stroke and
underneath the horizontal one; or, vice versa.
Do not crowd the shade lines into your letter. Leave a space between
them about the thickness of the line in the letter itself.
A NEW WINDOW CARD.
[Illustration]
The panel cards, as shown above, can be made very artistic and
appropriate for any article you may wish to show.
For the illustration, should you possess the ability to execute a water
color or pen drawing of sufficient merit to place before the public,
well and good; otherwise, do not attempt it; a poor drawing will not
improve your card.
Among the monthly trade journals can be found any number of very
artistic designs, which may be cut out, pasted on a card and placed in
position back of the small opening. If this is done with proper care, it
will be almost impossible to detect the deception through the window,
and the drawing will have the appearance of being made expressly for
that card.
In the larger opening, place your wording in small, neat letters.
The panels can be made any desired size—the ones shown here are 12 × 15
outside, the large opening is 6 × 8 inches, the small one 4 × 8 inches.
LETTERING.
Before going further into technical instructions, it may be well to
explain the various styles of letters, and the uses for which they are
required. It is always best to use one general style of lettering for
all your cards, as the cards thus become identified with your
establishment and form a sort of trade mark which people quickly
recognize. What style of letter you adopt depends much upon your own
taste and the skill and facility you acquire in making any certain
letters. While each of the styles shown in this article has its special
use, any one of them may be adapted for your work.
The letters and sample cards have all been drawn by William Lee Jukes,
who is acknowledged one of the leading card writers of America. He has
given us every useful style of letter known to the craft.
[Illustration:
DE VINNE STYLE OF LETTERING.
]
But bear in mind that a plain, stylish, characteristic letter is the
best—something that people will read without noting the letter itself,
that will enable them to understand what the card says, without stopping
to realize whether the letter itself is well or poorly executed. That is
the acme of perfection in card writing. An illegible card loses all its
intended effect. A poorly executed card makes people notice that it is
not well done. A fancy card calls attention to the card itself and
induces the reader to forget what the card says. You don’t want to show
what a fancy card you are able to execute—at least the business firm
that employs you doesn’t care a rap for your skill. But you do want to
impress a fact concerning your goods upon the minds of a possible
customer. Therefore, strive to make a neat card, a modest card, and at
the same time one attractive enough to arrest the attention and induce
people to read what it says.
This may appear a hard task to the novice, but by exercising good
judgment and experimenting in various styles of lettering you will be
able to get very close to the ideal you are seeking.
The requisites of a good card are simply these:
1. It must be sufficiently attractive to be noticed, to draw the eye of
the prospective customer.
2. It must be worded briefly and concisely, so that every word counts,
and you do not say too little or too much.
3. It must be so neatly and modestly lettered that the words are
impressed upon the mind of the reader without his realizing just how the
letters are formed.
Having impressed this upon you I will now describe the different styles
of lettering.
_De Vinne_ letters are shown on the preceding page. This style of letter
makes a very neat and stylish card, and is used extensively by
department stores as a fixed style. Although it has the appearance of
simplicity it is a very difficult letter to make correctly, and I would
advise beginners to use a more simple style.
The capitals and small letters of a rapid brush lettering are also
illustrated in the engraving upon this page. It it is a very neat
letter, easily made, and much used where rapid work is necessary.
[Illustration:
RAPID BRUSH LETTERING.
]
_Modern Roman_ is a comparatively new face, and has lately been
extensively used for out-door advertising. The unfinished, outlined
letters will give an idea as to the manner in which this style of letter
is made. It is well to draw the outlines first and fill the letter in
solid afterwards.
[Illustration:
MODERN ROMAN STYLE OF LETTERING.
]
_Modern Egyptian_—A bold letter is naturally a useful letter. The one
here shown is easily made and easily read. I recommend it as especially
suitable for show cards announcing a sale, or for like purposes. The
letters must be made a trifle irregular in order to be fully effective.
_Script_—This is one of many familiar styles of script. While this class
of lettering is fast losing its popularity, it is still preferred by
many for show cards. One who is a good penman may become very efficient
in this style of lettering with very little practice.
[Illustration:
MODERN EGYPTIAN STYLE OF LETTERING.
]
[Illustration:
AN ALPHABET OF SCRIPT LETTERS.
]
_Unique Letters_—The novice will, at first glance, consider this a very
difficult letter to make, but, on the contrary, it will be found very
easy of execution. The vertical lines must be heavy; the perpendicular
ones light. This face has no established regularity. The ribbons can be
run through the letters promiscuously to suit the taste of the writer.
The centers may be filled in, as in the word “cards,” or the letters
outlined and shaded, as in the word “signs.”
[Illustration:
UNIQUE RIBBON LETTERING.
]
If you will practice on these letters you will acquire more or less of
proficiency in their use.
[Illustration:
THE BLOCK LETTER.
]
[Illustration:
OLD ENGLISH TEXT.
]
_Block Letter_—The block letter is scarcely appropriate for show cards,
although there are some occasions when you may use it. A large window
ticket or interior sign may be made with this letter, which is so severe
and regular that it will show distinctly a long distance. It is the most
popular of all letters for outside sign work. By spacing off a number of
squares, according to the size of the sign you wish to make (using a
lead pencil so that the lines may be afterwards erased), and following
out the idea as shown in our illustration, you will be surprised to find
how easily block letters may be made.
[Illustration:
MEDIAEVAL LETTERS.
]
Old English Text—This style of letter is always popular, and always has
been and always will be. It is especially suitable for writing
testimonials, diplomas, charts, etc., or for initials or monograms—in
fact, it is useful for a hundred and one purposes. Most people know the
letter and read it easily, thus giving it a decided advantage over many
complex fancy letters.
MEDIAEVAL LETTERS.
The mediaeval style of lettering, of which I show an illustration, is a
new face with an old-style appearance. You will find it a very neat
letter for show cards, and often used in connection with cards bearing
illustration. Its chief merit lies in the fact that it is black and
legible, while at the same time it presents an antique, stylish
appearance. I shall show next month some illustrations of fancy show
card work in which this face is used to advantage.
[Illustration:
ANTIQUE ROMAN LETTERS.
]
_The Speech Makers_—These silhouette forms are now very popular and are
appropriate for show cards with suggestive headings, such as “Behold our
Fall Garments!” or “Allow me to introduce you to ——,” or “Here they
are!” and similar catch phrases. It does not require an artist to draw
them. A little practice will enable you to copy the outlines and then
they are simply filled in with the brush.
[Illustration:
THE SPEECH MAKERS.
]
FIGURES.
[Illustration:
FIGURES FOR THE DIFFERENT LETTERS.
]
In the illustration of figures shown, I have presented five distinct
faces, which may be used in connection with any style of lettering. The
top row of figures is Roman; the second Roman outlined; and here
attention should be paid to the method of shading, that the figures may
stand out boldly. The third line of figures is Egyptian, the fourth
antique Roman and the fifth De Vinne. This last is the best all-round
figure you can adopt, as the De Vinne is the best all-round letter. It
is not an easy face to make, but once mastered will prove of inestimable
benefit to the card writer.
INDEX INITIALS.
[Illustration:
INDEX INITIALS.
]
[Illustration:
RIGHT AND LEFT INDEXES.
]
[Illustration:
SPECIMEN OF ORNAMENTAL CARD.
]
[Illustration:
EXAMPLES OF PANELS AND FANCY CARDS.
]
These indexes, which may be used in connection with any style letter,
will be found valuable. The hand should be outlined before the letter is
made. There is a general similarity in all the letters, and once you
have mastered drawing the hand you can easily apply it to any shaped
letter. It is intended to be used as an initial letter, an example being
its connection with the words, “We point with pride,” etc., at the end
of the series. In the same illustration is an example of a simply made
but very attractive border.
[Illustration: Signs]
[Illustration: Japanese Garden]
RIGHT AND LEFT INDEXES.
In this cut may be seen plain index fingers, pointing to right and left.
Also several small ornaments that will be useful for decorations and are
not too difficult for the beginner to master.
FANCY CARDS.
The making of a fancy card is not as difficult as one would think.
The difficulty lies in the layout. If you can lay out and color a card
artistically, the lettering (no matter how poorly executed) will be
offset by the artistic arrangement. On the contrary, if these good and
bad qualities should be reversed, the good effect would be entirely
lost. You will note a reproduction of the card reading, “Early Spring
Blossoms,” from which a fair copy can be made. Of course in print the
card loses half its artistic value, from the fact that the colors cannot
be shown. Spring puts one in mind of dainty blossoms, consequently let
your colorings be in harmony, and the wording breezy and new.
[Illustration:
EXAMPLE OF AN ARTISTIC LAYOUT.
]
The illustration represents a card 14 × 18 inches (a good window size).
The body is lilac, on which is pasted a sheet of cream water color
paper, torn around the edge, leaving a margin of two inches. After
tearing the paper so as to leave a raw edge, touch the edge lightly with
gold; then lay out your work with light lead pencil marks. Copy the
layout shown in the illustration as closely as possible, changing the
wording to suit. Next make a series of graceful scrolls, taking care not
to get them stiff, using a pale lilac. Next daub on a cluster of
blossoms, using several shades of purple; that is, mix white with the
purple, until it becomes very delicate. The wreath is of a delicate
lilac. Make letters and figures purple, shaded with lilac.
Paste paper on card, leaving space on same so that the right hand upper
corner may be slightly curled. Tip letters slightly on top with gold,
and you will have an artistic card.
The card reading “Japanese Garden,” will be seen ornamented entirely
with Japanese characters. It is a point to be remembered that the
decorations of a fancy card should always be in harmony with the
wording. It is a bad art and bad policy to have your ornaments foreign
to the tone of the card. Another illustration, “Signs,” shows an example
of an artistic layout. The same design may be used for other purposes,
such as to advertise jewelry, laces, wall paper or any decorative goods.
But you will see at a glance it would be inappropriate for teas, soaps
or flatirons.
[Illustration]
The alphabet illustrated is called an antique Roman face. It is an
excellent show card style, rather irregular, neat and easily made.
You will notice that I illustrate some examples of artistic layouts.
These will form the basis for fancy show cards, and serve to attract
attention. When designs of so elaborate a character are used the letters
themselves should be especially plain and distinct.
[Illustration]
A “sign shop” is an important requisite of a department store, and to
establish one in the proper way requires no little skill and judgment.
Difficulties and disputes are continually arising between the painter
and the heads of departments, which render it necessary to run the sign
shop on a strictly systematic basis, in order that the signwriter may do
justice to his work.
THE DEPARTMENT STORE SIGN SHOP.
Mr. Jukes writes as follows concerning department store sign shops:
[Illustration]
“I will point out a few of the difficulties I have found, and the way
they may be overcome. For instance, one morning I arrived at the store
during the busy season and found, to my surprise, no less than six
individuals (from cash boys up), each of whom possessed a scrap of
paper, which they forthwith fluttered in my face. I will not attempt to
write the orders, instructions, threats, etc., that I underwent. Suffice
to say, that each one insisted on his signs being made immediately, and
all had been instructed to wait for them.”
[Illustration]
SOME NOVELTIES IN PRICE TICKETS.
“Now, roughly figuring on the six orders, I found that it would take at
least four hours to get the work out. This is but one example of the
many little worries which tend to make up the everyday troubles of a
department store sign writer. I therefore believe that it is absolutely
necessary to run the shop under rules, an outline of which follows.”
Write up an order form and have printed and tableted, as our
illustration shows.
[Illustration: CARD SIGN ORDER.]
Scraps of paper are very easily mislaid or lost, and you will find an
order blank of the below description a very necessary acquisition to
your shop. Charging the cards to their respective departments will teach
your customers to be caretaking, hence your work will be considerably
lessened. The cause is obvious.
It is well to make it a standing rule that no one should wait while
signs are being made. This rule may be easily enforced by a promise of
their prompt delivery when completed.
Signs should be made according to the order in which they are received;
that is, every one should wait his or her turn. This rule need not apply
to window tickets.
Make a sign for your shop to be read as below and after having signed by
some one in authority, hang it in a conspicuous place and conform
rigidly to its rules.
RULE I.
All orders must be written on the order blank provided for that purpose
and approved by the head of the department.
RULE II.
Sale sign orders must be in the sign shop at least four hours in advance
of sale.
RULE III.
No one allowed to wait for signs or loaf in sign shop.
RULE IV.
All work must be done in the order in which it is received. This rule
does not apply to window tickets.
* * * * *
PEN WRITING.
The up-to-date card writer has adopted the pen to do a great deal of his
work, and, indeed, it is often used to excellent advantage. A card
written with the pen is decidedly neat and novel, and is very effective.
Perhaps it is not so bold in appearance as a card written with a brush,
but for a change (and to be up-to-date) it may serve you to give the pen
a trial.
[Illustration]
[Illustration]
It requires but little practice to obtain the mastery of this style of
show card writing. Buy a bottle of Sanford’s gloss black ink, and a few
of Soennecke’s round-writing pens, which may be procured from any
stationer, and see what you can accomplish. You will find it easy and
pleasant work, and soon be able to do very effective lettering. Learn to
make the simple strokes first, and then follow the style of lettering
shown you in the illustrations, as this letter lends itself easily and
gracefully to pen formation. Embellishments may be added to the letters
to suit the fancy of the artist.
[Illustration]
MARKING OUTFIT.
Fig. 1 is a section of a color mining stone bowl, which can be purchased
at paint goods stores. Fig. 2 is a piece of smooth marble, eight by ten
inches in size, on which to mix colors. The color mixing knife is also
shown. Fig. 3 includes a set of camel’s hair brushes, assorted sizes.
Fine brush A, is for outlines; broad ones, B and C, for filling in. The
color pots, 4, should be provided with brush supports, D, so as to keep
the brushes from the paint when not in use. A triangle, 5, a square, 6,
flat rule, 7, and a compass, 8, are also required.
[Illustration]
THE USE OF STENCILS IN WINDOW TRIMMING.
As accessories to window trimming, stencils have come to perform a
useful part in that art of decoration. Where a number of show cards are
to be lettered in the same manner, no more effective or expeditious way
of getting them out is to be found than by stenciling the same, unless
it is to have the cards printed, a much more expensive process.
Furthermore, aside from the mere lettering on the card, the trimmer may
add and reproduce any ornament or device he choose, and there again
avoid the expense of having a cut engraved. The experienced window
trimmer finds many uses for his stenciling, and this process is
especially valuable in decorating the background of a trim, where plain
white papers, colored cartridge papers, cheap white cloth, burlaps and
numerous other materials may be patterned or lettered at very little
expense and in such a manner as to add to the attractiveness of the
trim.
To begin with, the window trimmer needs but few things for cutting and
applying his stencils: a very sharp knife, any kind of extra thick paper
(this must be coated with shellac varnish or oiled to prevent the paint
from soaking into it), some paint brushes, oil and water color paints of
the desired colors, and a bottle of turpentine. After the pattern or
lettering chosen or designed is traced or drawn upon the paper, care
being taken that the design introduces cross strips to hold all
together, it is cut away. Then the varnish is applied. When dry it is
taken up and the edges of the stencil carefully cut here and there where
the varnish may have run over, as it is necessary to keep them clear and
sharp. Next the desired colors are gotten out; a large plate will serve
for a palette, though separate saucers for each color are preferable.
The colors, if oil, are mixed with a great deal of turpentine, but water
colors should be applied “stiff.” Next the stencil is held firmly
against the fabric to be lettered or decorated, and quickly but neatly
painted over, care being taken that the stencil pattern does not slip
and rub the design, and that part of the fabric appearing through the
stencil each time is thus stamped. The design can be repeated on the
fabric at will and in any arrangement the window trimmer sees fit. On
cards and thin papers it is better to use thickly mixed water colors in
place of oil colors, as these latter are liable to spread. In the cities
one can get stencils already cut, but there is no reason why the window
trimmer should not design and cut his own, as very little practice in
this art makes perfect, and one’s own designs are, for many purposes,
generally more applicable. Stencil, alphabets of various sizes can be
bought, costing all the way from fifty cents to $1.50 a set, according
to their size. These the window trimmer will find very valuable aids in
lettering his show and price cards.
[Illustration:
THE USE OF STENCILS IN WINDOW TRIMMING
]
[Illustration:
THE STENCIL PLATE.
]
An exceedingly pretty effect was noticed in a down town New York shoe
dealer’s window, gotten by giving the trim for a background a screen of
light olive burlaps, upon which the monogram of the firm was placed in
stenciled pattern in metallic colors. A little ingenuity along this line
cannot fail to produce equally valuable effects. If the spaces left by a
stenciled letter are objected to, these spaces may be easily filled in
with a brush, as is shown in the letter “R” in the illustration. By the
use of stencils many pretty backgrounds may be made. Paper the sides and
back of your window with common white print paper, and then stencil a
pretty border around them, with ornaments to suit your fancy. Stenciled
ornaments may also be used to decorate your card work. If you have a
neat monogram of the firm’s initials cut, you can use it in the corner
of all your show cards.
[Illustration:
A STENCILED BORDER.
]
[Illustration:
THE STENCILED LETTER.
]
CHAPTER XII.
LINEN AND HANDKERCHIEF DRAPINGS.
LINEN DISPLAYS.
The month of January is generally considered “Linen Month,” and special
pains are taken by wide awake merchants to interest buyers by means of
attractive displays of these goods. We show with this several modes of
folding napkins. Fig. 1 shows a method of wrapping a fringed napkin or
doyly closely about a stiff wire rod. This may be used in many forms of
arches and grille work.
[Illustration:
FIG. 1.
]
[Illustration:
FIG. 2.
]
[Illustration:
FIG. 3.
]
The regular fan-shaped fold is well known to everyone. Our illustration
shows methods of varying the simple fan by producing the single and
double circles. What is called the “bishop’s mitre” is next illustrated,
the three folds being very simple and easily executed.
[Illustration:
SAMPLES OF ARTISTIC TOWEL DRAPING.
]
We also show some samples of artistic towel draping, suitable for both
interior and window displays.
HOW TO FOLD HANDKERCHIEFS.
The following is a description of the handkerchief folds, the numbers
corresponding with these in the illustration “A”:
No. 1:—Pleat the handkerchief from corner to corner, and pin it in the
center. This will form a double leaf.
No. 2.—Fold the handkerchief once, forming a triangle; then pleat on the
straight edge, forming a single leaf.
No. 3.—First fold the handkerchief into a small square, turn the corner
over, forming a small triangle, then pleat as in No. 2. This will form a
small leaf.
Nos. 4 and 5.—Fold each corner to the center of handkerchief, turn the
handkerchief over and fold the corners again to the center, then pull
out the corners to the outside edge, forming a puff.
No. 6.—Pleat in some pleats across the handkerchief, as indicated in the
drawing, pin about two inches from each end, and draw the corners to the
center, forming a double circle.
[Illustration:
HANDKERCHIEF DISPLAY, SHOWING VARIOUS FOLDS.—_Morton._
]
[Illustration:
THE HANDKERCHIEF FOLDS, NUMBERED.—A.
]
Nos. 7 and 13.—Fold the handkerchief twice, making a small square; then
turn the sides to the center, as shown in drawing.
No. 8.—Fold as in No. 6. Draw both the ends over, and pin so as to form
a double half circle.
No. 9.—Pleat from corner to corner, leaving one end a little short, and
pin. This will form a double leaf.
Nos. 10 and 20.—Take a small nickel rod or smooth stick the thickness
you wish, commence from the corner of the handkerchief and roll, then
pin and slide off the rod.
No. 11.—Fold the handkerchief twice, making a small square—then turn one
of the corners over, showing the complete border.
No. 12.—Pleat the handkerchief in small pleats, as shown in drawing No.
8. Then bend in the center, which will form a small circle.
[Illustration:
DESIGNS IN FOLDED HANDKERCHIEFS.—B.
]
[Illustration:
DESIGNS IN FOLDED HANDKERCHIEFS.—C.
]
Nos. 14 and 19.—Pleat as in No. 8, and draw both ends together. This
will form a large half circle—two pinned together form No. 14.
Nos. 15, 16 and 17.—Fold the corners to the center of handkerchief, then
turn the handkerchief over and fold again, the corners to the center.
Turn it over again and fold corners to the center. Now draw out the
edges of the handkerchief. This will form a cross. No. 16 shows the
back, No. 17 the front and No. 15 the center, with the corners turned
back.
No. 18.—Pleat handkerchief as in No. 8, pin in center, and open both
ends.
No. 21.—Shows two double leaves, like drawing No. 1, one laid over the
other.
The illustrations “B” and “C” will give the reader an idea of the
numerous combinations that may be made from the different folds. With a
little ingenuity you can produce designs without limit. I also show
several windows in which examples of handkerchief folding are prominent,
thus affording the reader an opportunity of selecting a number of
designs for his own use.
[Illustration:
DIAGRAM EXPLAINING HANDKERCHIEF FOLDS.
]
If you have a big window to decorate with fancy handkerchief folds it
will be a good plan to get two or three salesgirls to assist in the
folding. Show them how to fold the designs you require and their work
will save you much valuable time. The pinning together on the frames is
quick work.
[Illustration:
FOLDED HANDKERCHIEF DISPLAY.—_Morton._
]
[Illustration:
FOLDED HANDKERCHIEF DISPLAY.—_Mohukern._
]
The diagram will give you a better idea of the folds than the other
pictures, which are reproductions of direct photographs from the goods
themselves.
To produce the figure of “The Greek Cross,” proceed as follows: After
the handkerchief is spread out full size turn down all four corners
exactly to the center, producing No. 1. Then turn face downward and
again fold the corners to the center, along the dotted lines A, B, C, D.
This makes No. 2, which is also turned face down and the corners turned
to the center along the lines A, B, C, D, and secured with bent pins.
The pattern is now turned with the face upwards and the final figure is
easily completed, as shown in No. 3. Four loose laps appear, and by
placing the forefinger of each hand within these laps at point AA, and
lifting the same the flaps straighten out and form B (No. 3). When all
the flaps are raised and straightened the cross is formed and the figure
completed.
[Illustration]
Having formed this figure you may proceed to the more intricate folds
derived from this foundation. While making these first folds a couple of
sheets of stiff paper will be of assistance in keeping them in place
while turning them over. Another thing is to have the handkerchiefs
ironed smooth, and if they are stiff from starch all the better.
[Illustration]
[Illustration]
Fold A.—Starting with No. 5 as a base, turn it over, then turn corners
E, F, G, H, to center. Allow it to remain with same face upward. Turn
new corner to the center and secure it. Now turn the handkerchief face
upward and center points will turn themselves outward. The inner points
are turned back from the center, making the complete figure as shown.
[Illustration:
GRAND ARCH, COVERED WITH FOLDED HANDKERCHIEFS.—_Morton._
]
[Illustration:
FRONTAL ARCH OF FOLDED HANDKERCHIEFS.—_Shogran._
]
Fold B.—This is the same as the center portion of fold A. It is made in
precisely the same manner, but with the addition that the loose outer
points of A are turned to the back and secured.
Fold C.—This is an effect produced by the use of two handkerchiefs
folded one within the other. Except as regards the use of the inner
handkerchief the pattern is nearly the same as fold B, differing from it
only in the first and last folds, by which the inside handkerchief is
arranged spread outside the handkerchief as in No. 1, and placed upon
the other as shown in No. 6. Fold the outer handkerchief as in No. 5,
turn over, turn corners E, F, G, H to center and secure them; turn face
up, shake out outer points, and turn back points A, B, C, D as shown in
No. 7. Grasp points E, F, G, H, roll them under, as shown in cut of fold
C, and secure with pins.
Fold D.—Use two handkerchiefs laid evenly together corner to corner.
Make No. 2. Turn corners E, F, G, H to center; repeat and fasten. Turn
face up and turn back center points. When these points are turned back
the under one is drawn a little further out than the upper, thus showing
the borders of both. It is well to have the borders of prettily
contrasting colors.
Fold E.—Make No. 2. Turn corners E, F, G, H to center; turn over and
turn corners A, B, C, D to center and fasten. Turn face upwards. Take
the projecting points in the center and turn them outward; draw them a
little toward the corner, and the figure is complete.