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A R T Y P I N G

Third Edition

Julius Nelson

Specialist in Typewriting Education

Copyright, 1940, by
The Gregg Publishing Company

Copyright 1962, 1974, by
Julius Nelson

Published by

Educational Publication Division of
ARTISTIC TYPING HEADQUARTERS
3200 Southgreen Road
Baltimore, Maryland 21207

Printed in United States of America

CONTENTS

Preface.. • • 3

Border Designs.4

Cover Designs. 9

Ornaments .. 14

Alphabets...•.19

Monograms.36

Cross-stitch Designs .47

Cut-out Designs ..58

Cartoon-type Designs.62

Silhouettes. 66

Portraits.71

Index

78

PREFACE

From relative obscurity two decades ago, typewriter art
has emerged as a new type of graphic art, with countless
thousands of adherents in this country alone. This tre¬
mendous increase in popularity may be due to the following:

1. The increase in popularity of typewriting in all
curricula

2. The emphasis upon the “worthy use of leisure” as a
cardinal principle of education

3. The trend toward hobbies as a means of relaxation

4. The desire to create

5. The emphasis upon personal-use typewriting

6. The practical applications of machine-made art

In summarizing letters from thousands of typewriting
teachers, I have been able to formulate the following values
of typewriter art:

1. Helps to teach more expert manipulation of machine
parts

2. Helps to create a desire to turn out neater work

3. Relieves the monotony of drill work

4. Provides an ideal opportunity for “rainy day” and
pre-holiday work in typewriting classes

—Julius Nelson

3

BORDER DESIGNS

Uses. Border designs, comprising one of the simplest yet
one of the most fascinating divisions of artistic typewriting,
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 stationery

4. Programs

5. Menus

6. Stamp album pages

7. Bulletin board notices

8. Landscapes

9. Portraits

10. Silhouettes

Construction. While mainly the capital “X” and small
“x” were used in the construction of the border designs
shown on the following pages, almost any symmetrical letter
or character found on the typewriter keyboard 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.

Usually the most simple border designs are the most
effective. Sometimes, however, in order to focus attention on
something contained within the border design, it is necessary
to make it a little more elaborate. Some of the typewriter

4

characters which may be used effectively for borders are: e, 1.
m, o, s, v, w, z, A, E, H, I, M, N, O, S, T, V, W, and $.

Incidentally, any of the border designs shown on this
page and the following pages may be adapted to an 8 V 2 x 11
sheet of paper by merely elongating the horizontal part of
the design by typing in more letters or characters.

The full-page border designs shown on the following
pages may all be adapted to 8 V 2 x 11 paper.

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X

COVER DESIGNS

Uses. The basic difference between a full-page border
design and a cover design in the fact that the cover design is
usually more elaborate. For this reason, art-typed cover
designs should be used in instances where the number of
copies to be used is sifficiently 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 photoengraving:

1. Yearbooks

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 restriction as for programs)

6. Student handbooks or teacher handbooks

7. Pamphlets of various kinds

Construction. The same principles described previously
for constructing border designs would apply here. If the
cover is to be mimeographed, the type should be cleaned and,
if desired, the stencil should be cleaned and preserved for
possible future use.

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13

/

ORNAMENTS

Uses. These comprise a highly interesting yet frequently
unused phase of typewriter art. Oftentimes, by placing four
identical ornaments (one in each of the corners) of a cover
page, for example, it is not necessary to type a border around
the sheet, thereby effecting some saving in time. One of the
cover designs shown was constructed in this manner. Some¬
times a small ornament placed around, or on two or four
sides of, an important word or phrase will call the reader’s

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 conjunction with, border designs

Construction. The capital or small letter “x,” 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
little as one stroke or by combining many hundreds of
strokes. Many and unusual types of ornaments may be
constructed via the typewriter but are practically impossible
of construction with pen and ink because of the exactness of

14

X X

the horizontal and vertical spacing possible on the typewriter;
also because the individual strokes from which the ornament
is constructed are absolutely identical. (The best free-hand
artist may vary individual strokes if he draws enough.) As far
as graphic arts are concerned, the typewriter is closest to
being mathematically precise.

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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. Publications.

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, offering many possibilities. Will
attract attention to much greater extent than
ordinary print. Used by mail order firms and
advertising agencies. V;

Circulars. Mimeographed, lithographed, photo-copied,
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 manner, they are more likely
to attract attention. Used by business firms and
individuals.

Greeting Cards. Enhance all type of greeting cards —
even where the illustration is not art-typed. Used
by greeting card manufacturers and by those
making up their own.

Letterheads. Unlimited originality possible in both
business and personal letterheads. Offset and
photoengraving may be used to change size where
convenient and 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 otherwise. Used
by housewives, homeworkers, and hobbyists.

Notices. Used chiefly to attract attention. Used by
schools, churches, social organizations, and some
business firms.

'#» '

Posters. May be typed on paper and then pasted on
cardborad. If many are to be done, they may be
printed from plates. Used by athletic organizations,
schools, churches, and business firms.

20

Programs. Makes a mimeographed program look ex¬
tremely attractive. 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, headlines, 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 “x,” this by no means exhausts
the possibilities.

This type of lettering has a number of distinct advan¬
tages over that executed by hand - whether by pen and ink
or by paint and brush. Because of the precision of the
typewriter mechanism, greater accuracy, neatness, and
symmetry are possible. 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

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.

21

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31

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32

33

White Letters Against A Dark Background

mmmm

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34

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35

Underscores, Diagonals, and Parentheses

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 pattern to follow when corss-stitching
such articles of apparel as blouses, shirts, sweaters, hand¬
kerchiefs, and linens in general.

Construction. As far as stationery is concerned, the
monogram may be worked out on the typewriter and then an
' engraving 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 wearing apparel or
linens, the initials must be worked out on the typewriter first
and then used as a guide in doing the needlework. 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.

On the following pages will be found three complete

36

sets of alphabets which are especially designed to be used as
monograms. First is an alphabet style to be used for the first
(left-hand) letter of the monogram; next is an alphabet style
to be used for the second (middle) letter of the monogram;
and finally 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 alphabet styles, are also
shown. In the samples shown, two horizontal spaces have
been left between the different 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 to
enclose a few of the monograms. Some may prefer such an
enclosure. However, the available space should be calculated
carefully before attempting to do this. Also shown are an
intersected monogram and a monogram on a background.

37

1

X XXX

XX

Y

XXX

Monogram Alphabet Style (Left Hand)

X

X X

x x x.

xfflc

x m x

xxxxxxxxxxx

xxxxxxxxxxx

39

Monogram Alphabet Style (Left Hand)

40

Monogram Alphabet Style (Middle)

Monogram Alphabet Style (Middle)

42

Monogram Alphabet Style (Right Hand)

X. X.

X X

X X

X x

x x \ xxx

xxxxxxxxxxxxx.

x x xxx

X

X

r

X

x x x.

*

$xx x x x

xxxxxxxxxxxxx

43

Monogram Alphabet Style (Right Hand)

44

xxxxxxxxxxxxx

y a Nr

x XX Nr

X xx a y

X W XXX X X XXX X

$ * i | r>

v h*4 x x

^Exx x x

x x ” ” x x
xxxxxxxxxxxxxxx

Completed Monograms, Using Styles Shown

H

HHHH
H H

HHHH
H H
H H
H H
H H
H H

H H H H H H
H HHHHH HHHHH H

HHHH
H H

HHHHHHHH HHHHHHHHHHHHH
H H H H

H HHHHH HHHHHHHHHHHHH
H H H H H H

HHHH
H H
H H
H H
H H
H H

H H II H

H HHHHHHHHHH H

H H

H

H HHHHH HHHHH H
H H H H H H

II

H H
H H
H H
H H
H H
HHHH

H H
H H

H H H H
H HHHHHHHHHHHH HHHHHH
H H H H

HHHHHHHHHHHHHHH HHHHHH
H H H H
HHHH HHHH

H

H HHHHHHHHHH H

H H
H H
H H
H H
H H
H H
HHHH

9 •

9 9 ®

9 9 • • «

• • • • « 0

v xxxx...

»«•••••••«

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• »•••••••••••

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#

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•

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• • •X# ® ® X ® • • •

« • ® X » • « X « ® ® 9 <8»

• 0 0 X• 9 VA* • • » • 9

• * « A« | ( X« « « » « « «

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9 9 9 9 9

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9

46

CROSS-STITCH DESIGNS

Uses. The name “cross-stitch,” when referring to type¬
writer art, is just a convenient term to use for designs
constructed in a manner which makes it easy to identify all
of the letters and characters that went into the design. This is
in contrast to the type of design where one or more
characters are superimposed for the purpose of shading the
design, but where it is often difficult (if not impossible) to
determine the characters 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
“Construction.”

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
accomplished by varying the letters or characters, 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, but since the shading technique is a bit
more involved, a brief discussion of it follows.

47

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:

::::::::::::::::::::NNNNNNNNNNNNNNNNNNNN
::::::::::::::::::::NNNNNNNNNNNNNNNNNNNN
::::::::::::::::::::NNNNNNNNNNNNNNNNNNNN
::::::::::::::::::::NNNNNNNNNNNNNNNNNNNN

:NNNNNNNNNNNNNNNNNNNN

mmmmmmm^mmmmmmmmmmmmiiiiiiiiiiiiiiiiiiii

VVWWVVWWWVWWV..

vvvvvvvwvwvvvwvw_ ....._.......

VWVVVVWVVWVV wwv.

vvvwvvwvwvvvvvwv......

VVVVVVVVVWVVVVTVWV.....

The typist can apply the above technique almost
indefinitely by experimentation and ingenuity. Several
samples of shaded designs using the above technique are
shown.

Since this book is printed in one color only, no contrast
examples of varying the color of the ribbon will be shown.
However, it must be noted that this technique is used by

48

many typists with quite excellent results. In addition to the
usual red-and-black bichromatic ribbon available (which,
incidentally, shows good contrast), other bichromatic ribbons
such as green-and-brown, red-and-blue, and red-and-purple
may be had. Ribbons in other colors are also available.

Until the typewriter artist becomes proficient at shaded
designs, it is suggested that he confine his designing to the
silhouette-type design which, as previously indicated, is
usually a solid design, made with but one letter or character;
or the outline-type design, constructed 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
farily good picture or drawing of this, Then he should place a
sheet of carbon 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
would 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 proceed upon the con¬
struction of a design without careful planning. This may take
time, but the result will be worth every bit of the time and
effort expended.

49

»»»»♦»♦

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50

51

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xxxxxxxx(((({((v (({((((((((((((((((((

XXXXXX(((((((((((((((((((((((((((
XXX(((((((((((((( (ss(((((((

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52

xxxx

XXX'

xxxxx

XXX'

XXX

xxxxxx

xxxxxxxx

xxxx

XXX

53

M

MMMMM
MM M MM

MM M MM

MM M MM

MM III M II IIIMM
MMIIIIIIIIIIMIIIIIIIIIIIMM
MMIIIIIIII M M IIII

I M M IIMM

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inn in in nun hi nn hi nn n wvwv i
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III MMM MM IIIIIIZZZM ZZ M

MMMMMMMM MM MMMMMIIIMMMMMMMMMMMMMMMMMMMMM

MMMMMMMMMMMMMMMMMMMM M MM II M MM Z

MMMMMMMMMMMMMMMMMMMMM MM M MM I

MMMMMMMMMMMMMMMMMMMMMMMMMM M MM. I

XXXXX MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMM M MM I

AVAVAVAVAVXXXXXXXX XXMMMMMXXXXMMMMMMMMMMMMMMMMMMMMMMMMMM MMMMMM
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54

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56

I

X

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X XX xxxxx

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X :: xxxxxx

X ::::XXXXX

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X i:t: tin XXXX

nX XXX:: i :XXX

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min

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57

CUT-OUT DESIGNS

These are stencil-type designs. They are fairly easy to
construct and can be quite effective. It is the best way to
construct a typewritten design in a hurry.

Uses. These designs may be used with the following,
either by themselves or in combination with regular (not
cut-out) designs:

4

1. Greeting cards

2. Programs

3. Bulletin board notices

4. Portraits

5. Silhouettes

V

6. Attention-getting lettering

Construction. First, draw in outline form the design,
object, or character you wish to type. Then cut out this
design by means of a scissors or a razor blade. This makes a
stencil, or pattern, out of the sheet of paper. This pattern is
then placed over a sheet of plain paper. These two sheets are
then inserted into the typewriter and “filled in” with a letter
or a character. Be certain that you start one vertical line
above the pattern and end one vertical line below the pattern;
also, start typing one horizontal space to the left of the
pattern and end typing one horizontal space to the right of
the pattern. It is suggested that capital letters be used (or
other full-space characters, such as the “$”) until one
becomes adept at the use of the variable line spacer; then,
small letters may be used.

58

A variation of this cut-out method is to cut out the
design from a sheet of carbon paper and insert the carbon
between two other sheets of paper and then type all the way
across the top sheet. The resulting design will be a white
design against a dark background. One of each of the two
types of these designs follows.

59

.//// .

//////,

////////,

//////////,

f

7

/

//////////

, pgs»

//

7 /

if

/

7

/

/

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i 'mm/m

7 .

j pr

60

HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH

HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH

HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH

HHHHHHHHHHHHHHHHH 1 "

HHHHHHHHHHHHHHHH'

HHHHHHHHHHHHHHHI

HHHHHHHHHHHHHHHH

HHHHHHHHHHHHHH r

HHHHHHHHHHHH’’

HHHHHHHHHH*’

HHHHHHHH*’

HHHHHHH'

HHHHH!

HHHHHHHH
HHHHHHHH
HHHHHHHH
HHHHHHHH
HHHHHHHH
HHHHHHHH
HHHHHHHH
HHHHHHHH
HHHHHHHH
HHHHHHHH!

iHHHHHHHHHHHHHHHHHHHh
[HHHHHHHHHHHHHHHHHHHH
iHHHHHHHHHHHHHHHHHHHH
[HHHHHHHHHF {HHHHHHHHH
[HHHHHHHHH! .{HHHHHHHHH
IHHHHHHHHHHHHHHHHHHHH

{HHHHHHHH!
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{HHHHHHHH!
'HHHHHHHH!
HHHHHHHHH. HHHHHHHH!

HHHHHHHHHHHHHHHH
HHHHHHHHHHHHHHH
:HHHHHHHHHHHHH!I
HHHHHHHHHHHHHHH
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■VHHHH HHHHHHHH
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HHHHHHH

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HHHHHHHHH!. HWHHHHHHHHHHHHHHHJ .HHHHHHHH
HHHHHHHHHHHH...—{HH HHHHHHHH

hhhhhhhhhhhhhwhwhhhhhhhhhhhhhhhhhhhhhh

HHHHHHHHHHHH1 [HHHHHHHHHHH

HHHHHHHHHHHHHHHH HHHHHHHHHHHHHHH

HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH
HHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH

61

CARTOON-TYPE DESIGNS

Perhaps a good definition of a cartoon-type design is
one which can be drawn on the typewriter by a typist who
just sits down at the machine and decides to make a
typewritten sketch. This may be of any object or person —
perhaps even a caricature — and type this design without any
(or very little) planning whatsoever. The design so obtained is
usually merely suggestive; it need not necessarily be accurate
or in proportion.

Uses, These designs best illustrate advertisements
(whether or not these advertisements are entirely drawn on
the typewriter). They may also be used for the following:

%

1. Greeting cards

2. Menus

3. Bridge tally cards

4. Notices

Construction. Here, again, there is no set pattern. You
actually draw the design as you go along. When drawing a
cartoon-type face, use diagonals or parentheses for the hair;
“x,” “?,” or for the ears; “I” or apostrophe for the nose;
the period or “o” for the eyes. (Actually type the period over
the “o” for best effect, or use either one.) Note the designs
on the following pages.

62

s I
:: I
::: I
:::: I
X

:::::: I
::::::: X
:::::::: X
::::::::: X
::::::::::: X
::::::::::::: X
::::::::::::::: X

X

xxxxxxxxxxxxxxxxxxxxxx

xxxxxxxxxxxxxxxxxxxx

xxxxxxxxxxxxxxxxx

AAA

XXXXXXXXX AAAAA XXX

XX:::::XX AAAAA XXX 0000

XX:::::XX AAA XXX 0000

XX:::::XXXXXXXXXXXXXXXXXXXXXXOOO

YYYYYYYXX YXYXXXXXXXXXXXXXXXXX

YYYYYYYY YYYYYY YYXXXXXX XXXXXXX

XXMMMMMMM XXXXXXXXXXXXXXXXXX
MMMMMMMIIII MM X

MMMMMMM IIIIIIIIIMMMM XXX
MMM MM XXXXX

63

64

ft ft

65

*>

SILHOUETTES

It is extremely fascinating to make silhouettes on the
typewriter — and one has a rather wide range of subjects
from which to choose. Almost everything — from a portrait
to a tree — can be typed in silhouette style. Animals, birds,
flowers are but several of the many possibilities.

Uses. Silhouette-type designs may be used most
effectively in typing:

* 4

9

1. Greeting cards

2. Letterheads

3. Menus

4. Dance programs

5. Cover pages

»

Construction. No special skill is necessary. Once the
type of design wanted is determined, the typist then copies,
traces, or sketches it on a sheet of paper — very lightly. Over
this pencil drawing, following its lines, he fills in with “x’s”
or some other letter. If the pencil outline is too heavy and
shows underneath the typing, the design may be retyped,
using the first-typed copy as a guide. After sufficient
practice, it is possible to type silhouettes without resorting to
pencil guidelines. In addition to the “x,” the following letters
and/or characters may be used: c, e, i, m, n, o, s, u. v, y, #, $,
%, &, @, and c.

66

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70

PORTRAITS

Probably one of the most interesting, 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 photograph,
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 portrait
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 excellent 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. Fee
for “painting” a portrait on the typewriter may run from
$25 to $100 or more, depending upon the artist’s ability
and the size of the portrait to be typed.

71

Construction. Perhaps the easiest style of portrait typing
comes under the heading of ‘"outline pictures.” The best
method of procedure is to draw the outline 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 first
portrait shown at the end of this discussion is typed in this
manner.

The portraits that follow are, in order, the silhouette
type, the shaded type (light and dark areas), and the shaded
type (varying the letters). A brief discussion of each of these

methods follows:

To type a light-and-dark area portrait, first determine
the light and dark areas. Use an “X” or “$” (or other fairly
solid letter or character) for the dark areas and leave the light
area blank. Portraits of this type of shading — all all other
shaded-type portraits should be held at a distance of six or
more feet from the eyes for the best effect.

To add the background to a light-and-dark area portrait,
reinsert the typed portrait, align carefully both horizontally
and vertically, and type either a colon or a diagonal in the
blank spaces.

To type a shaded style of portrait by varying the letters,
use the principles outlined in the construction of cross-stitch
designs. In planning this type of portrait, it is also suggested
that the following steps be followed :

72

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.

2. Outline the light and dark areas indicating, by pencil
notations just what letters or characters should be typed in
each area.

3. Place the traced pattern over a carbon and a clean
sheet of paper.

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
(wo 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 if it would come into the “N” area, than 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; is is relatively unimportant around
the hairline.

The most difficult part of a portrait is the nose,
followed closely by the eyes, ears, and mouth. Great care
should be taken (1) in penciling these areas in and (2) typing
them.

73

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77

INDEX

Alphabets, 19-35

advantages of art-typed, 21
construction, 21

styles of, 22, 23-25, 26-28, 29-30, 31,32-34, 35
uses, 19-21

Border designs, 4-8
construction, 4-5
full-page, 7, 8
uses, 4

Cartoon-type designs, 62-65
construction, 62
uses, 62

*

Cover designs, 9-13
construction, 9
uses, 9

Cross-stitch designs, 47-57
construction, 47-49
shading, 47-49
uses, 47

78

Cut-out designs, 58-61
construction, 58-59
uses, 58

Designs (other than lettering or alphabets)
boat, 54, 63

borders, 4, 5, 6, 7, 8, 12, 13
cartoon face, 63
cartoon silhouette, 64
city skyline, 64
covers, 10, 11, 12, 13
donkey and boy, 67
drum majorette, 57
elephant, 50
fish, 52
flower, 51,56
lantern, 61

ornaments, 15, 16, 17, 18, 39, 41
portraits, 70, 74, 75, 76, 77
scene, 53, 55
teapot, 60
train, 63

Lettering, samples of, Cover Design, 10, 11, 12, 17, 26, 28,

30,32,33,34,35

79

Monograms, 36-64

completed, 39, 41,43, 44, 45, 46
construction, 36-37
styles of, 38-39, 40-41,42-43
uses, 36

Ornaments, 14-18, 22, 28, 31,39, 41,43, 46
construction, 14

cover design constructed from, 17
uses, 14

Portraits, 71-77

construction, 72-73
types, 72
uses, 71

Shading in typewriter art, 47-49, 72-73

Silhouettes, 66-70
construction, 66
uses, 66

80