Artyping - Second Edition
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Cayo CæctusArtyping - Second Edition
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Cayo Cæctusz
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A R T Y P I N G
Second Edition
by
Julius Nelson
Specialist in Typewriting Education
Copyright, 1939, by
Artyping Bureau
Copyright, 1940, by
The Gregg Publishing Company
Copyright, 1962, by
Julius Nelson
Published by
Educational Publication Division of
ARTISTIC TYPING HEADQUARTERS
3200 Southgreen Road
Baltimore 7, Maryland
Printed in United States of AmeriiQR
C O N T E N T S
Border Designs . • . • 3
Cover Designs . . • . 9
Ornaments . . . . . . 13
Alphabets . . . . . . 19
Monograms ...... 34
Cross-stitch Designs . 46
Portraits ...... 56
Index . . . * 63
BORDER DESIGNS
Use5. Border designs, comprising
one ol" the simplest yet one of the most
fascinating divisions of artistic type-
writing, have a variety of uses. Among
the most frequent and appropriate ones
are the following:
1. Cover pages for manuscripts,
essays, themes, booklets
2. Practically all types of
greeting cards
3. Personal and business sta-
tionery
4. Programs
5. Menus
6. Stamp album pages
7. Bulletin board notices
8. Landscapes
9. Portraits
10. Silhouettes
Construction. While mainly the
capital f,X" was used in the construction
of the border designs shown on the follow-
ing pages, almost any symmetrical letter
or character found on the typewriter key-
board may be used, either singly or in
combination Sometimes a very pleasing
and unusual effect may be obtained by
striking over one or more letters or
characters over certain parts of the
original border design. In the example
on the following page, the first border
design was constructed by the use of the
capital "X" only. The second border de-
sign, however, while originally made
with the capital M X f M was typed over in
parts with the capital "M."
xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx
xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx
xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx
XXX
xxx
xxx
xxx
xxx xxx
MMIOWMMMMMMMMMHMMMMMMMMMI^^
MXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXM
MXMMMMMMMMMMJ4MMMMiflMMMMMMMMMMMMMMJ<^^
MXM MX M
MXM HXM
MXM J4XM
Usually the most simple border de-
signs are the most effective. Sometimes,
however, in order to focus attention on
something contained within the border de-
sign, it is necessary to make it a little
more elaborate. Some of the typewriter
characters which may be used effectively
for borders are: e, 1, m, o, s, v, w, z,
A, E, H, I, M, N, 0, S, T, V, W, and'$.
Incidentally, any of the border de-
^
signs shown on this page and the follow-
— — IM mmmmmtmmmtmmmmm*mmmA*mm**m^mmmmmm m in 1 1 mm mi n urn r^mmmmmmmmfmmmmtm^mmmtmi
m g pages may be adapted t o an 8-1/2 x 11
s h e e t of paper by merely e l o n g a t i n g the
h o r i z o n t a l p a r t of the d e s i g n by t y p i n g
in more l e t t e r s or c h a r a c t e r s . For ex-
ample, i n the two d e s i g n t?s fatTf the top of
the page merely Tt Tf
type 65 X s (instead
of the 41 X's shown M above) T M
on p i c a -
type machines and 78 X s on e l i t e - t y p e
machines. In both c a s e s you w i l l have
one-inch side margins.
XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX
X x
X XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX X
X X x X
X X X X
xxxx xxxx xxxx xxxx xxxx xxxx xxxx
XX XX xxxx xxxx xxxx xxxx xxxx xxxx
xxxx xxxx xxxx xxxx xxxx xxxx xxxx
xxxx xxxx
xxxx xxxx
xxxx xxxx
xxxx xxxx xxxx xxxx xxxx xxxx xxxx
X X X X X x X X X X X X X X
xxxx xxxx xxxx xxxx xxxx xxxx xxxx
xxxx xxxx
X X X X
xxxx xxxx
x x x x x x x x x x x x x x x x x x x x
X X X X X X X X X X X X X X X X X X X X X
X X X X X X X X X X X X X X X X X X X X
xxx xxx
XX XX
xxx xxx
The t h r e e f u l l - p a g e border d e s i g n s
shown on the f o l l o w i n g pages may a l l be
adapted t o 8 - 1 / 2 x 11 paper.
5
xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx
X x
XXXXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXX X
X X
X * *
o
X X
X x
X
X X X X X X X X X X X X X X X X X X X XJ X X X X X X X X X X X X X X X X
XXXXXXXXXXXXXXXXXXXXXXXXXXXX XXxxxxxxxxxx
xxxxxx
xxxxx xxxx xxxx xxxxx
X X xxxxx XXXXX X X
x x x X X X
xxxxxxxxxx XXXXXXXXXX
x x x x x x
x xxx XXX X
X X
X X
XXXXXX xxxxxx
X X X x x x
x x x x x x
xxxx X X xxxx
X X
XXXXXXX xxxxxxx
X X
X X
X X
X X
X X
X X
X X
X X
X X
X X
X X
xxxxxxx xxxxxxx
X X
XXXX X X xxxx
x x x XX x
x x x X X X
xxxxxx XXXXXX
X X
X X
X xxx XXX X
X X X X X X
XXXXXXXXXX XXXXXXXXXX
x x x X X X
X X xxxxx XXXXX X X
xxxxx xxxx xxxx XXXXX
xxxxxx
7
xxxxxx xxxxxx xxxxx xxxxx xxxxxx xxxxxx
xxxxx xxxxxx xxxxx xxxxx xxxxxx xxxxx
xxxx xxxxxx xxxxx xxxxx xxxxxx xxxx
xxx xxxxxx xxxxx xxxxx xxxxxx xxx
XX xxxxxx xxxxx XXXXX XXXXXX XX
X xxxxxx xxxxx XXXXX XXXXXX X
xxxxxx xxxxx xxxxx xxxxxx
xxxxxx xxxxx xxxxx xxxxxx
xxxxx xxxxx xxxxx xxxxx
xxxx xxxxx xxxxx xxxx
xxx xxxxx xxxxx xxx
XX xxxxx AAAAA XX
A XXXXX XXXXX X
xxxxx xxxxx
xxxxx AAAAA
xxxxx xxxxx
A. A AAA xxxxx
AAAA A xxxxx
AAAAA xxxxx
xxxxx xxxxx
xxxxx AAAAA
AAAAA xxxxx
xxxxx AAAAA
xxxxx xxxxx
A A AAA xxxxx
xxxxx xxxxx
xxxxx AAA AA
A AAAAA XXXXX X
XX xxxxx XXXXX XX
xxx xxxxx AAAAA AAA
xxxx xxxxx xxxxx xxxx
xxxxx xxxxx xxxxx xxxxx
xxxxxx xxxxx xxxxx xxxxxx
xxxxxx xxxxx xxxxx xxxxxx
X xxxxxx xxxxx XXXXX XXXXXX X
XX xxxxxx xxxxx XXXXX XXXXXX XX
xxx xxxxxx xxxxx xxxxx xxxxxx xxx
xxxx xxxxxx xxxxx xxxxx xxxxxx xxxx
xxxxx xxxxxx xxxxx xxxxx xxxxxx xxxxx
xxxxxx xxxxxx xxxxx xxxxx xxxxxx xxxxxx
8
COVER DESIGNS
Uses. The basic difference between
a full-page border design and a cover de-
sign is the fact that the cover design is
usually much more elaborate. For this
reason, art-typed cover designs should be
used in instances where the number of
copies to be used is sufficiently large
enough to warrant the extra work. Here
are some suggested uses; it would make
little or no difference if duplication
is by mimeograph, offset, or photoengrav-
ing:
i. xearoooKs
2. Magazines
3. Newspapers
4. Programs of four or more
pages, the first page of
which is used for the cover
only
5. Menus (with the same re-
striction as for programs)
6. Student handbooks or teacher
handbooks
7. Pamphlets of various kinds
Construction. The same principles
described on Pages 3 and 4 for construct-
ing border designs would apply here. If
the cover is to be mimeographed, the type
should be cleaned and, if necessary, the
stencil should be carefully cleaned and
preserved for possible future use.
The design on Page 10 shows dark
lettering against a white background; on
Page 11, white lettering against a dark
background; on Page 12, dark lettering
against a light background.
9
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$ $ $$ $ $ $$$ $$$ $5 $$ $ 3>
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$ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $
$ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $
$ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $
Cl {£ ^ ^ ^
^Q « a JL! J ^ N&
sb vb vb vj> tb «^> >J)
% b u ) o +$ Cb •$ Cp >*p «|l
$ $ $ $ $ $ $ $ $ $ $
^^(^(f<^(f^pjh^
*D »© ^ O w w w «^P w
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$ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $
10
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$ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $
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$ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $
$ $ $ $ $ $ %% $ $ $ $ $ $ $ $ 5 $ ^ $ $ $ $ 3>$ 5p5j>,p$>p!p$»p
!p5j>!p4> $ $ $$$ $ !j> $ $ !p $ 5> $ $$$$ $^# $$ $$$»!>
«Pvp^«p^!p $s{>«p «p%plp%p «p«p4>«)> *p«ps> $3>>p 4> %p <4> «p >!p «p
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$$$$$$ $$$ ^^^ $$$ *p*p<!p !!p*p«p $«p$ ^ <!p ^ ^ ^p ^p *>
| %p 3& *p
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$$$$$$!p$$$$$$$$$$$$$$$$$$$$$$$^$$$$$^^^^p«P
$$$$$ $$$$$ $$vj>!p.p q>$$$$
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•M>3 ::.f~.
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$ $ . .4>.4)4>4>4)4>.4). . $ $
$ $ . $ $
(£ dfi <£ (^ d*
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12
ORNAMENTS
Uses. These comprise a highly in-
teresting yet frequently unused phase of
typewriter art. Oftentimes, by placing
four identical ornaments (one in each of
the corners) of a cover page, for exam-
ple, it is not necessary to type a border
around the sheet, thereby effecting some
saving in time. The cover design shown
on Page 16 was constructed in this man-
ner. Sometimes a small ornament placed
around or on two or four sides of an im-
portant word or phrase will call the
reader1s attention to it; ornaments are,
therefore, also a means of emphasis in
addition to their decorative value. They
may be used to decorate the following:
1. Cover pages
2. Greeting cards
3. Personal and business
stationery
4. Programs
5. Menus
6. Bulletin board notices (to
attract attention)
7. Slogans, prayers, sayings,
etc., that are to be framed
8. Bridge tally cards
9. In place of, or in conjunc-
tion with, border designs
Construction. The capital or small
letter tfx,tf because of symmetry, can be
ideally used for constructing ornaments;
other symmetrical letters and characters,
such as o, s, v, *, and $, can also be
used. Ornaments may be made with as lit-
tle as one stroke or by combining many
hundreds of strokes. Many and unusual
types of ornaments may be constructed v i a
the typewriter but are p r a c t i c a l l y impos-
s i b l e of construction with pen and ink
because of the exactness of the horizontal
t a l and v e r t i c a l spacing p o s s i b l e on the
t y p e w r i t e r ; a l s o because the i n d i v i d u a l
strokes from which the ornament i s con-
s t r u c t e d are a b s o l u t e l y i d e n t i c a l . (The
best free-hand a r t i s t may vary i n d i v i d u a l
strokes i f he draws enough.) As far as
graphic a r t s are concerned, the type-
writer i s c l o s e s t t o being mathematically
precise,,
X XXX XX XX xxxx xxxx
X X X X X X X XX
X xxx XX XX xxxx xxxx
X xxx X X
XX X XX X X XXX XX XX
xxx x x x xxxxx xxxxxxx
XX X XX a x xxx XX XX
X xxx x. X
XXXXXX XX XXX xxxxxxx
X X X X X xxx xxx
XXX XX x x x xxx xxx XX XXX XX
X X X X X xxx xxx
xxxxxx xxxxx xxxxxxx
$ $ $ •J) ^O ^Q 4 ) j p «A
$ $ $ $ 4) 4) JJ »Jw Jp $ : • . • * • 4)
$ : : $ Jp J» 41 Ja 41 $ : : . 4)4) • • • 4)
$ : : $ 4) 4) Jp «JB cp $ : : • 4> 4> I Z Z «p
dr ^ ^ <t ^
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A* • . . . . «H « . . . . . * ( f « . . * * * ( H
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• • # •
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q; tr (t c <f $ (I; (t; (T <t <rd*d'd*d*d'*£d'<£«£
4)4)<p^4>4)4)4)4)4)
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16
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AAAAAXXA
XXXXXXXXXX
xxxx xxx
XXX XX
XX XX
XX XX
XX xxx
X xxxx
XX xxxxxx
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xxxxxxxx
xxxxxxxxx
A AAAAA .AA
xxxx xxxxxxx
xxx xxxxxxxxxxxx
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XXX XXXX XX xxxxxxx
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XX XX XX xxxx
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XX XX xxxx
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XX
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17
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18
ALPHABETS
Uses. One of the most interesting
and practical uses of typewriter art is
that of lettering. Since there are so
many uses for lettering, only the most
important of these will be listed. Art-
typed lettering has been used as follows:
1. Advertising
2. Circulars
3. Cover pages
4. Envelopes
5. Greeting cards
6. Letterheads
7. Needlework
8. Notices
9. Posters
10. Programs
11. iUDllCEtlOnS
In addition to illustrating most of
these uses in this section (and, while
doing so, using a variety of styles), a
few brief suggestions for each use are
indicated below and on the following two
pages.
Advertising. Wide field, offer-
ing many possibilities. Will
attract attention to much
greater extent than ordinary
print. Used by mail order
firms and advertising agencies.
Circulars. Mimeographed, litho-
graphed, or printed. Used by
retailers as an advertising
medium.
19
Cover Pages. Adds to salability
of books by making their covers
attractive. Used by authors
and publishers.
Envelopes. Prepared in this man-
ner, they are more likely to
attract attention. Especially
recommended by business-reply
envelopes. Used by business
firms and individuals.
Greeting Cards. Enhance all
types of greeting cards - even
where the illustration is not
art-typed. Used by greeting
card manufacturers and by
t » » « . \ J f £ 3 v * « I » C I I V s J L • J l s L W » \ J 9 0 X J l v « J L A w W l l .
Letterheads^ Unlimited origin-
ality possible in both business
and personal letterheads. Off-
set and photoengraving may be
used to change size where con-
venient or necessary. Used by
business firms, professional
men and women, and others.
Needlework. Letters are first
worked out on typewriter and
then used as pattern or guide*
May be used for the sampler
(cross-stitch) type or other-
wise. Used by housewives,
horaeworkers, and hobbyists.
Notices. Used chiefly to attract
attention* Used by schools,
churches, social organizations,
and some business firms.
20
Posterso May be typed on paper
and then pasted on cardboard.
If many are to be done, they
may be printed from plateso
Used by athletic organiza-
tions, schools, churches, and
business firms.
Programs. Makes a mimeographed
program look extremely attrac-
tive. Used by schools, social
clubs, dramatic societies,
and churches.
Publications. This would include
newspapers, magazines, and
booklets. May be used for the
name of the publication, head-
lines, or subheadings. Used
by schools, churches, and many
business firms (for their house
organs).
Construction. While the variety of
alphabets shown in this book are, for the
most part, constructed with the use of
either the capital "X" or the ,f $, u this
by no means exhausts the possibilities.
This type of lettering has a number
of distinct advantages over that executed
by hand—whether by pen and ink or by
paint and brush. Because of the preci-
sion of the typewriter mechanism, greater
accuracy, neatness, and symmetry are pos-
sible. For example, if letters are to be
one-half inch wide and one inch high, all
the typewriter artist has to do is to
make all letters five characters wide
(six if elite type is used) and six
spaces vertically. Also, because the
21
typewriter ribbon is far less likely to
smear than ink or paint, greater neatness
is bound to be the result. Furthermore,
because the sizes of the strokes which
make up the letters do not vary, neater
and more symmetrical lettering results.
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dp ^P ^9 «P ^P uP ^P ^P *M
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31
yyyyyyyyyyyyyy yyyyyyyyyyyyyy yyyyyyyyyyyyyy yyyyyyyyyyyyyy \rrjfr \rf \Xf \jrt' XrT V f
yyyyyyyyyyyyyy XrT \rt XrT \ff \rf \rf \rf yyyyyyyyyyyyyy yyyyyyyyyyyyyy yy yyyy yyyyyy yy
yy -a- yy
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yy yy yy yy yyyyyy yy yy XrT \rr XrT
yy yyyyyy yy yy yyyy yyyyyyyyyy yy yyyy yy yyyy- yy XrT XrT
yy yy yy yy yy yy yy yyyyyy yyyyyy yyyy yy yyyyyy yyyyyy yy yyyy yy
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yyyyyy yy yy yy yyyyyy yyyyyyyyyy yy yyyyyy yyyyyy yy yyyy yy
<^ yyyyyy yy yy yy -yyyyyy yyyyyyyyyy yy yyyy yy yyyy yy yyyy yy
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t J^ t-A tA >JA 4-A. f A 4-4A-
yy yyyy yyyy yyyy yy yy yy yy yy yy yy
yyyyyyyyyyyyyy yyyyyyyyyyyyyy \rr \TT \ri \TJ \rf \rf \rr yyyyyyyyyyyyyy yyyyyyyyyyyy^^
yyyyyyyy yyyyyy yyyy \rr V f \rt yyyyyy yyyyyyyyyyyyyy yyyyyyyy yyyyyy
yyyyyyyy yyyyyy yyyy yyyyyy yyyyyy yyyyyyyyyyyyyy yyyyyyyy yy yy yy
yy yy yyyy yy yyyyyyyyyy yy yyyy
yy yyyy yy yyyyyy yyyy yy yyyyyyyyyy yyyyyyyy yy
yyyyyyyy yyyy </> yyyyyy yy yy yyyyyyyyyy yyyyyyyy yy yy
yyyyyyyy \fr \rt \rt yy yyyy yyyy yy yy yyyyyy yyyy-
yy yy yy yyyyyy yy -yy yy yy yy yy yy yyyyyyyyyy yyyyyyyy yy yy
yyyy yy yyyyyy yy yyyyyy yyyy yy yyyyyyyyyy yyyyyyyy yy
yyyy yy yy yy yyyy yy yyyyyyyyyy yy yyyy
yy yyyyyy yyyy yy -ff yy yyyyyy yyyyyyyyyyyyyy yyyyyy yy- yyyyyy
yyyyyyyy yyyyyy yy yy yyyyyy yyyyyy yyyy yyyy yyyyyy yyyyyyyy yyyyyy
yyyyyyyy
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yyyyyyyyyyyyyy yyyyyyyyyyyyyy yy yyyy yyyyyy yy yyyyyyyyyyyyyy yyyyyyyyyyyyyy
</> yy yy yyyyyy yy yy yy yy yyyyyyyy yy yyyyyyyyyy
yyyy yyyyyyyy yy -m yy yy yy yy yy yy yy yy yy yy yy yy yy yy yy -yy -yy -yy -yy
yyyy yyyyyyyy yy yy yyyyyy yy yy yy yy yyyyyyyy yyyy yyyyyy yyyyyy-
yyyyyy yyyyyy yy yy yyyyyy yy yy yy yyyyyyyyyy yy- yyyyyyyy yy
yyyy yyyyyyyy yy- yy yyyyyy yy yy yy yy yyyyyyyy yyyy yyyyyy yyyyyy
yyyy yyyyyyyy yy yy yy yyyy yy yy yy yy yyyyyy yyyyyy yyyy yy yy yy yy
yy yy yy yy yy yy yy yy yyyyyyyy yy yyyyyyyyyy
yyyyyyyyyyyyyy yyyyyyyyyyyyyy yyyyyyyyyyyyyy yyyyyyyyyyyyyy yy yy yy yy -yy K^T yy
yyyyyyyyyyyyyy yyyyyyyyyyyyyy yyyyyyyyyyyyyy yyyyyyyyyyyyyy yyyyyyyyyyyyyy
Underscores, Diagonals, and Parentheses
dP f JL
I J I ZL
mn O P f r
5 U V VJK.
z
Y
s c fro n I
33
MONOGRAMS
Uses. A typewritten monogram is
merely an extended use of one or more
typewritten letters. Monograms may be
used to personalize stationery - both
letterheads and envelopes - and as a pat-
tern to follow when cross-stitching such
articles of apparel as blouses, shirts,
sweaters, handkerchiefs, and linens in
general.
Construction. As far as stationery
is concerned, the monogram may be worked
out on the typewriter and then an engrav-
ing made for use on the letterhead and/or
envelope. If desired, no engraving need
be made; the monogram may be printed via
offset.
If monograms are to be used on wear-
ing apparel or linens, the initials must
be worked out on the typewriter first and
then used as a guide in doing the needle-
work. Another method is also available:
After the monogram is worked out on the
typewriter, an exact copy of this is made
by inserting into the typewriter two
sheets of typing paper, with a sheet of
soft carbon between them - and with the
carbon side up. A carbon impression of
the reverse of the monogram will appear
on the back of the top sheet. Place this
sheet on the material you are going to
monogram (both on a hard, smooth surface)
with the carbon impression against the
cloth. Cover the whole monogram with
pencil strokes - both up-and-down and
crosswise. The monogram will then be
transferred to the cloth. With care, you
can use the paper several times.
34
On the following pages will be found
three complete sets of alphabets which
are especially designed to be used as
monograms. On Pages 36-38 is an alphabet
style to be used for the first (left-
hand) letter of the monogram; on Pages
38-41 is an alphabet style to be used for
the second (middle) letter of the mono-
gram; on Pages 42-44 is an alphabet style
to be used for the third (right-hand)
letter of the monogram. These alphabets
are so arranged that, if it is desired,
the middle letter of the monogram may be
omitted.
Sample monograms, using these alpha-
bet styles, will be found on Pages 44 and
45. In the samples shown, two horizontal
spaces have been left between the differ-
ent letters of the monogram. This may be
varied; it is suggested, however, that no
more than four horizontal spaces between
letters be used, since this will detract
from the compactness of the monogram.
Note that an octagon-shaped figure
has been used on one of the monograms.
Some may prefer such an enclosure. How-
ever, the available space should be cal-
culated carefully before attempting to
35
Monogram Alphabet Style (Left Hand)
XXX XXX xxx xxx
X X X X X X X
X X X X X X X
X X X X X X X
X X X X X X X
XXXXX xxxx X X X
X X X X X X X
X X X X X X X
X X X X X X X
X X X X X X
X xxx xxx xxx
xxx xxx xxx X
X x x X
X X X X X
X X X X X
X X X X X
xxx xxx X XX XXXXX
X x X X X X
X x X X X X
X x X X X X
X X X X X
XXX X XXX X
XXX X X X
X X X X
X X X X X
X X X X X
X X X X X
X X X XX X
X X X X X X
X X X X X X
X X X X X X
X XX X X
XXX X •
X xxx
36
xxxxxxx xxxxxxxx xxxxxxx
X as
X
x xX x X
XXXXXXXXXXX XXXXXXXXXXX xxxxxxxxxxx
X
xxxxx x x x xX x x x xxxxxxx
X X
X X x
X X x
xxxxxxxxxxx xxxx xxxxxx x x x x x xX x x x x x
ly <S
r*N X v "v
y KS f^« X XX
X X X X X
xxxxxxx X
X
xxxx x X X X
X X w X X X
xxxxxxxxxxx XXXX X xxxxxxxxx
XX XX X X xxxx x x x
X X X
X xxxxxxxxxx x x X x
X X X
xxxx xxxx X xxxxxx
Monogram Alphabet S t y l e ( L e f t Hand)
X XX
X XX
Y Y Y X
X X x
XXX X
X X
X X
X A
X A, A
X XX
X XX
Monogram Alphabet Style (Middle)
XXXXX xxxxxx xxxxxxx xxxxxx
X J%, X X X M m X
X X X X X X X
X X X X X A X
X X X X X X X
X X X X X X X
X X X X X X X
XXXXXXX XXXXXX X X X
X X X X X X X
X A. X X X X X
X X X X X X X
X X X X Jv X X
X J%. X X dlfij) dm X
X X X X X X X
X X XXXXXX 4\*d!m^Umjlm*Mm,Jm*£m .A.Jv./wVpfVjp\
38
xxxxxxx xxxxxxx XXXXXXX X X
X X X X X
X X X X X
X X X X X
X X X X X
X X X X X
X X X X X
xxxx xxxx X xxx xxxxxxx
X X X X X X
X X X X X X
X X X X X X
X X X X X X
X X X X X X
X X X X X X
xxxxxxx X xxxxxxx X X
xxx X x X X
X X X X X
X X X X X
X X X X X
X X X X X
X X X X X
X X X X X
X X XX X
X X X X X
X X X X X
X X X X X
X X X X X X
X X X X X X
X X X X X X
xxx xxxxxxx X X xxxxxxx
39
Monogram Alphabet Style (Middle)
X ,{['-<-, X f. A*AAtAAA«A xxxxxxx
X X X Y X X Y aa, X
V X X X X
XX XX XX $ 'if
X X V V X X "f X Y X X
lm 4 fi. Mm
X X Mm X X mf V X M\ X X
X X X X X X x X X
X Y
jfm
X XX X X X
X f. X X X X AAAAAAA,
X x
4 m
X X X X X
X J\ X X X X aa
X j \ X X X X y
A.
X X X X X X X
X V
4 K<
X X X X .aa
X v
X X X X X ;fi't
X X X X AAA AAA. A X
AAAAAAA XXXXXXX xxxxxxx AAAJVP
X Mm X A X X
X X X X X X
X A X X X X
X A X X X X
X X X X X X
X X X X X X
X A xxxxxxx AAAAAA»A X
X X X X X X
X X X X X X
X d \ X X X X
X X X X X X
X afi. X X X X
aa X X
X X i'k, X X
xxxxxxx X X xxxxxxx X
40
X X X X X X X X X X X X X
X
xxxxxxxxxxxxxxx
xxxx xxxxxxxxxxxx
X
xxxxxxxx
xxxxx xxxxxxxxxxxx
xxx xxxxxxxxxxxxxx
X X X
X X s xxxxx
X X
X X
X X X X xxxxxxxxxxxxxx
xxxxx X
xxxxx
X X
X
X X,
X X
xxxxx xxxxx
xxxxx xxxxxxxxxxx
X
x x x x xX
xxxxxxxxx X X X tZmmm%
X X
x X x x x x x x x a
:f
f
>a
xxxxx x x x x x x x x x x
X
x x x x x
X
x x x x xX
X X X X
X X X X X X X
fi < X !<
X ( X X xxx xxx
xxxxx
x x x x x xX x x x x x x
X
x x x x x x x x x x
x xxxxxxxxxxx
X X ,*
X
xX x
X X xxxx *- x*
X
xxxxxxxxxxx xxxxxxxxxxx
X x x x x x xX x x x x x X
X
X X X
X X
X X xxxxxxx x xxxxxxx x
xxxxxxxxxxx XXXXXXXXXXX xxxxxxxxxxx
X x. X X
x xxx X X
xxxxxxx xxxxxxxx1 xxxx XX
xxxxxxxxxxx xxxxxxxxxxx xxxxxxxxxxx
X X X
X X X X
X XX X X
xxxxx XX xxxx xxxxxxx
xx x x x x x x x x x X xxxx xxxxxxxxx
X X X X X X
xxxx X X X X X
X X X X X
xxxxx XX X xxxxxxx
X xxxxxxxxxxx
xxxx xxxx X X X
X X xxxxxxxxxx X X
X X X X
X X XX xxxx
XX XX
Monogram Alphabet Style (Right Hand)
X XX
X X A
X X aa aa.
X: x X
xxx x
Uj mm
X X
X X
A X X
Y
A X
X V V
/%. A
X AAA
Completed Monograms, Using Styles Shown
•
xxxxxx
fF Ifc >».
XXX ¥
X xxx
X X X V Y
,1 %• W
- x. a A A
Y Y Y X A /^
fi fi.
X X fi X
XXXXX AAAAAA aa a s\
ak A. .fi:-. a X fi: Y
i' %•••• -f f X :> X X X a%. ,Y
X X X a X X X X A
e V X a X X X X Y Y
X X a xxx X X X A A A
A. X X X X X X X
xxxxxx XX a
m mm
X XX
. X X X X
•
XX XX
•
fi.. .'.'::,.
44
Completed Monograms, Using Styles Shown
YYYYYYY
A
XXX A xxx
X Y A fi;
M m.
X X X X
X A X
X X X
xxx xxxx xxx
X A. X
X A X
X X X X
A fi ft: A .a;,
xxx •fia
m 9»
xxx
X
xxxxxxx
AAA. AAA AAA .AAA A A A
A X A a
X X m mm X
\,:"
XXX X •H 1: ft.
A
Y fif V
X X X
X X X X X X
X X V a X X
X X f7 X X X
X XX xxxxxxx fi A >:•->•
X X X S f:i a X X
X X X A a X X
:<%: X J:".. a: X X
aa. aa. ¥, X :
a X X
X xxx X Y
d fi.
A
X X ~, '"•', X
Y X m *;> X
a:> a-
•fifi. ;a
AAAAAAAAAAAAAAA
45
CROSS-STITCH DESIGNS
Uses. The name ?fcross-sti tch ,"
when referring to typewriter art, is just
a convenient term to use for designs con-
structed in a manner which makes it easy
to identify all of the letters and char-
acters that went into the design. This
is in contrast to the type of design
where one or more characters are superim-
posed for the purpose of shading the de-
sign, but where it is often difficult (if
not impossible) to determine the charac-
ters used and the number of each. It is
also possible to shade when typing cross-
stitch designs, the techniques of which
are discussed in the paragraph headed
H
Const ruction.ff
Cross-stitch designs - whether they
are shaded or otherwise constructed - may
be used for almost any purpose for which
one would use pen-and-ink designs or
paint-and-brush designs. If constructed
neatly and carefully, they are pleasing
to the eye and give a most unusual effect.
Construction. Basically, there are
three main kinds of cross-stitch designs
made on the typewriter: the silhouette
type (usually a solid design, made with
but one letter or character); the outline
type (usually only the essential features
of the design show; may be made with one
or more letters or characters); the
shaded type (usually shading is accom-
plished by varying the letters or charac-
ters, varying the spacing, varying the
color of the ribbon, or any combination
of these). Samples of all three of these
types are shown on the following pages,
46
but since the shading technique is a bit
more involved, a brief discussion of it
follows.
To get shading, we must get contrast
by one of the several means mentioned In"
the preceding paragraph. Note below how
we get contrast by varying the letters or
characters:
ffff^rf*ffffff^ffc*ff^ ^ C C t * ffi c
«JS <kP <xl s&ft ^P J& J& «£} *2| %P ^9 ^ 9 *kM <& <*u «>u %o tJb « 0 «2^
ff^ v ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff ff
w W ^P *iP S r Nr Nr ^ H& *r V ^ r " ^ ^? * ^ * & < ^ < ^ ^ ^ * ^
^ ^^^C^^ff^ff^^ff^ffffffCffffff
%M <J$ » P sab'-tM d p *Xk mV ^y «J& W w w w w < ^ J p <S ^ ^ ^ 9
wwwwwvwwwwwwwwwwwvww
wwwwvwwwwwwwwwwwwwww
wwwwwwwwwwwwwwwww^
000000000CO0000000CK)
O0O0OOO000OCX)O0C)00OO
CXXXXKXXX)OCXXXXXXX)CXD
IIIIIIIIIIIIIIIIIIII
IIIIIIIIIIIIIIIIIIII
IIIIIIIIIIIIIIIIIIII
The typist can apply the above tech-
nique almost indefinitely by experimenta-
tion and ingenuity. Samples of shaded
designs using the above technique will be
found on Pages 53 and 54.
In the example at the top of the
next page, note how contrast is obtained
by varying the spacing between characters
both horizontally and vertically. This
type of shaded design may be found on
Page 55.
47
a
Since t h i s book i s p r i n t ed in black
only, no c o n t r a s t examples of varying the
color of the ribbon w i l l be s hown. How-
ever, i t must be noted t h a t t his t e c h -
nique i s used by many t y p i s t s with q u i t e
e x c e l l e n t r e s u l t s . In a d d i t i on to the
usual r ed-and-blac k bichromat i c ribbon
a v a i l a b l e (which, i n c i d e n t a l l y, shows
good c o n t r a s t ) , o t h e r bichrom a t i c ribbons
such as green-and-brown, r e d- and-blue,
and r e d - a n d - p u r p l e may be had Ribbons
in other c o l o r s are als o avai l a b l e .
Until the typewriter artist becomes
proficient at shaded designs, it is sug-
gested that he confine his designing to
the silhouette-type designs which, as
indicated on Page 46, is usually a solid
design, made with but one letter or char-
acter; or the outline-type design, con-
structed in much the same manner. The
following paragraphs will be devoted to
the details involved in constructing such
designs.
Let us assume that the typist would
like to type a design of the Statue of
Liberty. The first thing to do is to get
a fairly good picture or drawing of this.
Then he should place a sheet of carbon
43
paper - an unused sheet, preferably -
over a sheet of white typing paper. On
top of the carbon paper he should place
the page or sheet containing the design.
Now he should proceed to type over the
design, using those letters or characters
which will give the best effect (perhaps
the X, $, O, or % ) . Now he should remove
the carbon paper and the clean sheet of
paper will have on it a carbon copy of
the design. If he wishes to have an
original instead of the carbon copy, it
will be a relatively easy matter to copy
it from the carbon.
It is not usually advisable to pro-
ceed upon the construction of a design
without careful planning. This may take
time, but the result will be worth every
bit of the time and effort expended.
Samples of actual designs which were
typed by this method are shown on Pages
50, 51, and 52.
49
xxxxx xxxx
xxxx X
2
ft, /ft
X
X x
X X
X X
X
X 2 X
X
X X
a 2 3 X
X
X
2 32 X
X
X X X
X X
3 X
X
2 22 2X X X
X
X X X
X XX X X
2 X
X
X X X
xxx X
X
r^ »"*S <^
P% ?s ^s X
X X XXX X
X
X
X
X
2 2 X
X
2
X X 2
X
X
2 X
X
X X
X X
X
?% 2 X
X
X 2 X
X
X 2
X
X
2X X X X
xxxxx
5a
X X
X X
X X
X XXXXXXX X
xxx xxxxxxxxx xxx
X XXXXXXXXX X
X XXXXXXXXX X
XXXXX X X xxxxx
xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx
XXXXXX XX XX XXX XX XX xxxxxx
xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx
xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx
XXXXXXXXXXxxxxxxxxxxxxxxxxxxxxxxxxx
xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx
xxxxxxxxxxxxxxx xxxxxxxxxxxxxxx
xxxxxxxxxxxx xxxxxxxxxxx
xxxxxxxxxx xxxxxxxxxx
xxxxxxxxx xxxxxxxxx
xxxxxxxxx xxxxxxxxx
xxxxxxxxx xxxxxxxxx
xxxxxxxxx xxxxxxxxx
xxxxxxxxx X XX X xxxxxxxxx
XXXXXXXXX XXX X X xxx xxxxxxxxx
XXXXXXXXX XXX X X x x x xxxxxxxxx
xxxxxxxxx X X X X xxxxxxxxx
xxxxxxxxx X XXX X xxxxxxxxx
xxxxxxxxx X XXX X xxxxxxxxx
xxxxxxxxx X X XXXXX X X xxxxxxxxx
XXXXXXXXX X X X X xxxxxxxxx
xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx
51
HHH
HHH
HHHHH
HHHHH
HHH
HHH
HHH
HHH
HHHHH
HHHHH
HHHHH
HHHHH
HHHHH
HHHHHHH
HHHHHHH
HHHHHHH
HHHHHHH
HHHHHHH
HHHHHHHHH
HHHHHHHHH
HHHHHHH
HHHHHHH
HHH HHH
HHH HHH
HHH HHH
HHH HHH
HHH HHH
HHHHHHHHHHHHHHHHH
HHHHHHHHHHHHHHH
HHHHHHHHHHHHHHH
HHHHHHHHHHHHHHH
HHHHHHHHHHHHHHHHH
HHHHHHHHHHHHHHHHH
HHHHHHHHH HHHHHHHHH
HHHHHHHH HHHHHHHH
HHHHHHHH HHHHHHHH
HHHHHHHHH HHHHHHHHH
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH
yyyyyyyy
yyyyyyyyyyyy
yyyyyyyyyyyy yy
yyyy •• yyyyyy
yyyy yy yyyyyy
*/* • • yy yy yyyyyyyyyyyy
*/> • • yy yy ** ** •• yyyy
yy yy yy •« •• •• •• ~yy yyyy
yy yy yy yyyy
0 - (N.. yy yy yyyyyy
(V. • • fw 0"* yy yy '•yyyy
yy yy •• yyyy
0*. 9* 99 99 (\, (S., 99 0»» (V.. yy yy ••yy
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fv. . . o*. •• . . , . •• . . <s. •* yy yy
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yyyy •• yyyy yy yyyyyy
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$ $ $ $ $ $
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$ $ $ $ $ $
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$ $ $ $ $ $ o; a/ 07 a/ 0/07 0/07 07
lo lo lo lo ^ /o /o /o /o
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O 0 O
PORTRAITS
Probably one of the most interest-
ing, and yet most difficult, subdivisions
of typewriter art is that of portrait
typing. Its difficulty consists not only
in making sure that the typed portrait is
a good likeness of the original photo-
graph, but in choosing the best technique
of several which may be used.
Uses. Of course, the chief use of
typed portraits is for display. However,
because of its uniqueness, a typed por-
trait may be used, in one way or another,
in the following categories:
1. Advertising
2. Letterheads
3. Programs
4. Menus
5. School yearbooks
6. School newspapers
7. Miscellaneous publications
If used in any one of the above
categories, the typed portrait is an ex-
cellent attention-getting device.
The author has known a number of
typists who have become so adept at this
phase of art typing that they receive
frequent requests from individuals to
type their portraits. Pee for "paint-
ing" a portrait on the typewriter may
run from $5 to $50 or more, depending
upon the artist's ability and the size
of the portrait to be typed.
Construction. Perhaps the easiest
style oF portrait typing comes under the
56
heading of "outline pictures." The best
method of procedure is to draw the out-
line of the portrait in very light pencil
lines on a sheet of paper. Insert this
paper into the machine, and by following
the pencil outline (typing over it so as
to obscure it), the portrait is typed.
The portrait on Page 59 is typed in this
manner.
The portraits on Pages 60 and 61 can
be easily typed (after a little practice)
by determining the light and dark areas
of the portrait. Use an "X" or "$" (or
other fairly solid full-space letter or
character) for the dark areas and leave
the light areas blank. Portraits of this
type and the type shown on Page 61 should
be held at a distance of six or more feet
from the eyes for the best effect.
The portrait on Page 62 employs the
principles of shading, described on
Page 47. In planning this type of por-
trait, it is suggested that the following
steps be followed:
1. With a soft pencil, trace the
outline of the face on a very thin sheet
of white paper (a sheet of onionskin is
perfect) placed over the photograph,
which is held against the light.
2. Outline the light and dark areas,
indicating by pencil notations just what
letter or character should be typed in
each area.
3. Place the traced pattern over a
carbon and a clean sheet of paper.
57
4. Insert these into the typewriter
and proceed to type, following the pencil
notations previously made.
If any character or letter would
seem to fall between two different types
of shaded areas (as, for example, if an
!,
M" would partly come into an "N" or
other area), decide whether most of it
would come into one area or another.* If
most of it would come into the "N" area,
then an "N" should be struck; otherwise,
the "M" should be struck. This point is
often quite important, as when the nose,
eyes, ears, and mouth areas are typed; it
is relatively unimportant around the
hairline.
As just indicated, the most diffi-
cult part of a portrait is the nose,
followed closely by the eyes, ears, and
mouth. Great care should be taken (1)
in pencilling these areas in and (2) in
typing them.
As was stated in a previous section,
all of the designs in this book are typed
without the use of the variable line
spacer. However, if shaded portraits
such as the one shown on Page 62 are to
be typed, it is suggested that the vari-
able line spacer be used to make each
line of letters and/or characters just
touch the preceding one. In this way,
the portrait can often be made to look
more realistic**
58
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xxxxxxxxxxx xxxxx xxxxxxxxxxxxxxxxxxx
60
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