Movie Makers (Jan-May 1928)

A few comments on Little Sunny "Little Sunny is the ideal artificial lamp. Of all my artificial lamps, yours is the handiest." Warren S. O'Brien, Waukesha, Wis. "It is a corker and the best all around lamp in our shop." Sanborn Studios, Lynn, Mass. "I think Little Sunny is a wonderful little giant. Together with a more powerful (20 amp) arc light it serves beautifully to light up shadows in taking groups, etc. For still life and genre at homes I use Little Sunny only." Dr. George Richter, St. Louis, Mo. "Little Sunny is splendid. I am more than pleased. It's equal to any $140 light." Geo. Barrett, Cleveland, Ohio. "This little lamp is the best thing of its kind I ever had, don't know how I could get along without it." Paul Fallen, Mt. Oliver, Pa. Little Sunny pulls 8 amps., works on A. C. or D. C. 110 volts. The aluminum reflector and handle fold back for compactness. Uses 6.4 mm. x 6" carbons, size folded 7 x 5 x 2J/2 inches, weighs with 15 feet of cord 50 ounces and costs $ 1 5 complete with cord and six double carbons; 6 ft. folding stand $2.50. If you don't li\e Little Sunny, you can return him within 10 days and we'll cheerfully refund your money. LEONARD WESTPHALEN 438 Rush Street Chicago, Illinois (ft D& tftllc lOizariti y /ZftUrcraft* Drawing^LetteringPenS As you practice, study the action of your pen. If it produces a ragged stroke perhaps you are not holding it so that the marking tip glides flat over the paper. There is a tendency at first to use a finger movement which raises the lower side of the marking tip off of the paper before the stroke is completed, resulting in a ragged lateral stroke or a poor terminal. This should never happen with an arm movement. If you have failed to drain off the surplus ink or if the pens are crusted with hardened ink and need cleaning your work will not be uniform. "A good workman knows his tools." Time spent in learning the latitude and limitations of your pens is most profitably invested. You will also save much time and effort by studying the construction of each letter before you apply the pen. Draw out the strokes with a pencil in their consecutive order, retracing them with the pen. Note where they start and where they terminate and try to complete each element in a single movement. The numbered arrows indicate their order and direction. When you handle your pen properly it will not be necessary to "patch up" strokes. Good spacing is as important as find it necessary to fit them closer together and where straight letters occur together more space must be allowed between them. Note also that all the letters do not consume the same space. E-F-L-P-S-T are considerably narrower while M and W are proportionately wider. The circular letters C-D-G-0 and Q look best when allowed full width. After you have become familiar with the construction of the alphabet with the larger pen practice it with the smaller sizes, ruling the guide lines a little closer together. Those who are interested in learning how to letter will have all they can handle in the way of practice this month if they master the use of the pens and the construction of the upper and lower case Gothic as made with the Style B pen. Time spent learning the fine points of the Gothic will make it easier to learn all the other alphabets. On a basis of comparative construction there is quite a marked similarity between the Gothic alphabet and the Roman. To avoid disappointing those who will want to take up the lettering of art titles at once we have included in the illustrations a plate showing the Art Title Roman and Italic alphabets designed for the Style C or Style D ART TITLE ROMAN ABCDEFGHIJRLMNO PQKST U VWXYZ &$%$, (Designed for Shh "G* CAHjD>> St\ih'<D'(§pii<Lhall abcde -^^ ijkimnopqr st u9Wxv2;ia345676c90?! ah c d aj g hij\ilmnopc[rsluv w xy xj) 133 G3D6^GMjX£MK09QjlScriWWX^ good letters. While practicing letter construction strive to equalize the space between the letters themselves. After you have completed a full page of copy hold it away from you and study it with half closed eyes to see if there are any dark spots or holes in it. When a page of lettering is properly executed it will have an even tone over all. Where circular letters appear side by side you will pens. This will serve as a guide and will be shown in constructive form in the next lesson. We have shown, also, a group of the simplest forms employing mottled or stippled effects to soften the background. The photos are blended into the mat. Various methods of handling these and others will be discussed in other articles and the use of pastel effects, silhouettes, mats and cutouts will be shown and explained. Fifty