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 OPPORTUNITY 
 MONOGRAPH 
 
 m Vocational 
 Rehabilitation 
 Series No. 38 
 
 Show 
 
 Card 
 
 Writing 
 
 FOR DISABLED SOLDIERS, SAILORS 
 AND MARINES TO AID THEM 
 IN CHOOSING A VOCATION 
 
 Frepared bv the 
 FEDERAL BOARD FOR VOCATIONAL EDUCATION 
 
 and issued in cooperation ivith the 
 Office of the Surgeon General, War Department, and 
 Bureau of Medicine and Surgery, Na<uy Department 
 
 MAY, 1919 
 
 WASHINGTON : GOVERNMENT PRINTING OFFICE : Kit
 
 Note to the Disabled Soldier, Sailor, or Marine. 
 
 As a disabled soldier, sailor, or marine you should remember that 
 the Office of the Surgeon General, War Department, and all its em- 
 ployees, the Bureau of Medicine and Surgery, Navy Department, 
 and all its employees, and the Federal Board for Vocational Education 
 and all its employees are mutually interested in your welfare solely. 
 They have arranged a definite plan of cooperation to help you in every 
 possible way. You can not afford to leave the hospital until the 
 medical officers have done everything that they can for you to 
 restore you to physical health and strength. Any other course will 
 interfere with your vocational success later. Furthermore, you should 
 by all means take advantage of the educational opportunities which 
 the hospital has provided for you. 
 
 "While you are making up your mind what line of work you want 
 to follow you should take advantage of the opportunities to try your- 
 self out in the different lines of activities which are provided at the 
 hospital. When once you have made up your mind as to the employ- 
 ment you want to enter or the kind of training you want the Federal 
 Board to give you after you leave the hospital, you should ask the 
 vocational officers at the hospital to provide for you the kind of train- 
 ing which will advance you in the direction of the occupation which 
 you expect to follow or for which you expect to be trained after you 
 leave the hospital. You will find the educational officers at the hos- 
 pital eager to render this service for you, and you should consult them 
 early in your hospital career. 
 
 All disabled soldiers, sailors, and marines in hospitals who want 
 information about reeducation should ask any instructor of the Hos- 
 pital Educational Service or the representative of the Federal Board 
 for Vocational Education. 
 
 Men discharged from the military or naval service who want infor- 
 mation should write to or call at the office of the Federal Board for 
 Vocational Education, Washington, D. C, or the District Office of 
 the Federal Board of the district in which they are located. The 
 district offices of the Board are located at the following points: Boston, 
 New York City, Philadelphia, Washington, Atlanta, New Orleans, 
 Dallas, St. Louis, Cincinnati, Chicago. Minneapolis, Denver, San 
 Francisco, and Seattle. For addresses see p. 3 1. 
 
 Acknowledgment. 
 
 This monograph was prepared by May II. Pope, under direction of 
 Charles II. Winslow, Chief of the Research Division of the Federal 
 Board for Vocational Education. Acknowledgment is due to Dr. 
 John Cummings, of the Research Division, for editorial assistance. 
 
 (2)
 
 scA5bo\o3^C 
 
 SHOW-CARD WRITING. 
 
 The purpose of the show card. 
 
 A man's attention is attracted through his sense of sight more readily 
 than in any other way. A word, a phrase, a pithy sentence will catch 
 his eye and focus his interest, where something requiring more concen- 
 tration would fail. For this reason window dressing has grown into 
 an important feature of every merchant's business, and cards point- 
 ing out the quality and prices of the goods displayed are univer- 
 sally used. These show cards were formerly made by sign painters, 
 until some, more farseeing than others, realized the opportunity to 
 specialize in this line of work, which has now developed into a dis- 
 tinctive trade. 
 
 Different types of cards. 
 
 There is a great; variet y of t ypes in show cards. Some are large, others 
 are small; some are ornamented with designs suitable for the occasion, 
 or season, or goods 
 
 to be featured i n 
 t he advertisement ; 
 others are plain nu- 
 merals or letters giv- 
 ing the bare detail 
 of cost. As these 
 cards are shown in 
 t he street cars, on 
 moving-picture an- 
 nouncements, on 
 billboards at theater 
 entrances, as well as 
 in the stores, t hey 
 must be so varied as to be appropriate to their surroundings. 
 
 A practical feature in writing show cards is the selection of some 
 special design or slogan with which the article or firm may always be 
 associated in die mind of the public. In this field a show-card writer 
 with originality is aide to realize materially upon his ideas. 
 
 Future of the trade. 
 
 Because the merchant believes that, seeing is very likely to mean 
 buying lie finds the show-card writer indispensable to his business. 
 Whether large or small, every store needs these display cards with 
 their catchy announcements to aid in promoting business. I'resent- 
 day competition makes it necessary that every known means of attract- 
 ing attention shall be utilized by the merchant who would keep up in 
 his line. Progressiveuess in store management has occasioned rapid 
 growth in the trade of card writing within the last few years, and the 
 constantly increasing demand lor advertising indicates that the trade 
 of show-card writing has an assured future. 
 
 2?portnnlty 
 onographs. 
 
 As a disabled man 
 interested in how 
 you can "carry 
 on" when you get 
 back home, you 
 can not afford to 
 miss reading the 
 Opportunity 
 Monographs pub- 
 lished by the Fed- 
 eral Board for Vo- 
 cational Educa- 
 tion for your spe- 
 cial benefit. In 
 them you will 
 find, plainly and 
 simply stated, all 
 the information 
 you need about 
 many, many oc- 
 cupations in 
 which you may 
 be interested. By 
 reading them jou 
 will know better 
 what you would 
 like to do, and the 
 representatives of 
 the Federal 
 Board, wherever 
 you may meet 
 them, in hospital 
 or office or by cor- 
 respondence 
 when necessary, 
 will be in the po- 
 sition to help you 
 make your choice 
 of what you want 
 to do, help you 
 get properly pre- 
 pared for it, and 
 put you in the 
 proper occupation 
 after you have 
 been prepared to 
 stand on your feet 
 as a worker in it. 
 
 11601S 19 
 
 (3)
 
 Remember this! Equipment. 
 
 A handicap is a For the man possessing limited capital the small cost of the necessary 
 you have one, equipment is an alluring inducement to enter the trade. A few dollars 
 You R can do^hat wil1 cover the entire cost. Brushes, pens, penholder, with ink retainer, 
 
 and no one else ruler, art gum or sponge rubber, thumb tacks, combination compass, 
 can do it for you. , _ r > 
 
 Grit will beat any a pair ot large shears, a T-square, a box of charcoal, soft lead pencils. 
 
 won the* war. It and cardboard make up the list of necessary material for the show-card 
 will beat yours, writer. A good-sized drawing board completes the list. ''The better 
 Your handicap is the workman the fewer the tools'' has been said. An expert card 
 unles*>-ou d are 1C de D - writer works efficiently with a board, a T-square, and a half dozen 
 termined to make thumb tacks, 
 it one. The folks 
 
 back home know What men in the trade should know. 
 that you do not 
 
 'endent idle* tor ^ ' t > 0O( * general education is essential for a show-card writer who 
 
 life, and the Gov- expects to be more than merely a mechanical maker of words and 
 
 to^help you^re- letters. Those who become expert in the art need a knowledge of 
 
 establish ywirself designing and an originality in composing effective phrases, such as 
 
 ment as an inde- can not be resisted even by those who read the cards casually. 
 
 with every oppor A practical knowledge of the geometric construction of letters is 
 
 vancement r ^"fundamental, for though simple lettering may be largely mechanical 
 
 work, skill must not be confined to the utilization of mechanical means 
 You will not be . 
 compelled to take alone. 
 
 ever^but^vou will ^ knowledge of color is an advantage to those who make sign cards, 
 be given expert Color combinations and contrasts play an important part in producing 
 getting such train- attractive cards. As card writers are confronted by all sorts of combi- 
 you^hoobe't.otake nations of words in inscriptions, it is necessary for them to know letter 
 it. Your disahil- forms; to understand novelty in designing, arrangement, and artistic 
 win not be reduced embellishment; and to exercise taste in harmonizing colors, so as to 
 ti^ng and learn produce cards that will be not only neat and attractive but at the 
 to work. Your same time legible, 
 wagas will be ad- 
 
 SwcoXTn- What men in the trade d0 ' 
 
 tinue n in % the same Show-card writers make price tickets and all types of trade cards 
 
 amount that will used in windows, on special sale sections, on the announcement boards 
 
 be paid if you do . ., . . . . , 
 
 not take training, ot theaters, on automobiles, in cafeterias, in street cars, and wherever 
 
 and voiiaml 1 your <>l8e tne card may S( ' rve as a proper medium for advertising. The 
 
 family will be trade j s carried on in different ways. Cards are sometimes made by 
 
 ing the period of salesmen who give only part of their time to this work. Other writers 
 
 to^-ouf' SUP K* ve a " ^ their time to one firm requiring a large number of cards for 
 
 its own use Some card writers work for show-card firms and others 
 
 have their own offices and fill special orders. 
 
 Opportunities. 
 
 The demand for show-card writers is far greater than the supply, 
 livery small town offers an opening for one or more, who would make 
 a good living at the trade in that locality. 
 
 How men are trained. 
 
 Many card writers are trained in the shop. Correspondence courses 
 afford fair advantages to the man who must save time and money, but 
 personal supervision is of great advantage, and personal criticism is 
 essential if a correspondence course is taken. Courses in card writing 
 are now offered in technical schools and Y. M. C. A. classes and voca- 
 tional schools all over the country. Among the schools now offering 
 courses in show-card writing are the following:
 
 Federal School of Commercial Art, Minneapolis, Minn. 
 
 Idaho Technical Institute. 
 
 Los Angeles Y. M. C. A. schools. 
 
 St. Louis Y. M. C. A. schools. 
 
 Lowry Sign and Advertising Service, Chicago. 
 
 Link's Business College, Boise, Idaho. 
 
 State Trade School, Danbury, Conn. 
 
 Appleton, Wis., Industrial School. 
 
 Kenosha, Wis., Vocational School. 
 
 Neenah, Wis., Industrial School. 
 
 New York High School. 
 
 New York Vocational Schools. 
 
 Detroit, Mich., School of Letters. 
 
 Augustana College, Bock Island, 111. 
 
 College of Commerce, De Baul University, Chicago. 
 
 School of Industrial Arts, Trenton, N. J. 
 
 Koester School, Chicago. 
 
 Semby School, Minneapolis, Minn. 
 The length of time required for the completion 
 of courses depends upon the student; one very 
 good course covers eight weeks. Some students 
 after the fifth or sixth lesson have done work 
 sufficiently creditable to bring a money return. 
 Proper and methodical training is very necessary. 
 Care and exactness must first bo acquired and 
 speed will naturally follow. 
 
 Courses given in show-card writing cover such 
 subjects as how to mix and when to use water 
 colors, inks, and oils; the care of brushes and 
 pens; the proper kind and color of cardboards to 
 use; and how to apply bronze and diamond dust. 
 The formation of pen and brush letters is, of 
 course, fundamental, and the principles of letter- 
 ing must be taught in a simple, thorough, and 
 correct way . Proper instruction, with application, is bound to bring 
 success. 
 
 BRIEF SYNOPSIS OF THE COURSE IN SHOW-CARD WRITING GIVEN AT 
 THE KOESTER SCHOOL, CHICAGO. 
 
 Will yon 
 Carry on* 
 
 If none of tho oc- 
 cupations out- 
 lined in this pam- 
 phlot are possible 
 ones for you to 
 learn, the Govern- 
 ment has pro- 
 vided hundreds of 
 courses in other 
 lines, among 
 which there is one 
 precisely suited to 
 meet your needs 
 one in which you 
 can become 100 
 per cent efficient, 
 whatever injury 
 you may have suf- 
 fered. 
 
 The scheme of 
 oceu nations for 
 which training 
 will be provided 
 by tho Govern- 
 ment free of cost 
 to you includes 
 more diflerent 
 sorts of employ- 
 ments than you 
 have ever heard 
 tell of. Tf you 
 don't find one 
 that suits you in 
 this pamphlet, get 
 another. 
 
 After you have 
 heen trained. 
 Uncle Sam will 
 undertake to find 
 an employer who 
 needs your help, 
 or if you prefer to 
 go it on your own, 
 you will be pro- 
 vided with an out- 
 fit of tools. 
 
 If the training 
 misses fire the first 
 time and you find 
 the new occupa- 
 tion unsuited to 
 you , you can come 
 back for another 
 go in the game, 
 and try a new 
 occupation. 
 
 Lesson plates Nos. 1 to 6. Improved method for teaching correct formation and relative 
 proportions of letters and numerals. Brush method. 
 
 General instructions. Proper materials, student's worktable, light, how to care for 
 brushes, show-card paint, how to practice, kind of practice that counts, lesson plates 
 explained, how to fill the brush, how to bring the brush to working point, how to hold 
 the brush, position at table, position of paper. 
 
 Lesson plates Xos. 7 to 10 Single stroke rapid roman lettering. How to begin the 
 practice, time-saving methods, how to hold (lie brush, various positions of the brush 
 explained, how to manipulate the brush to produce clean-cut strokes, purpose of single- 
 stroke vertical and italic roman lettering. 
 
 Lesson plates Xos. 11 and 12 How to shade letters. Various styles of shading, proper 
 colors for shading, shading as an embellishment, shading to give emphasis. 
 
 Lesson plates .Yos. 13 to Hi Single strokt cgyptian lettering. Brushes to use, how to 
 hold the brush, how to manipulate the brush to produce the proper stroke, how to 
 practice the elementary lines and curves. 
 
 Lesson plates Nos. 17 and IS Single and demble stroke alphabet and numerals. Purpose 
 of this style of letter, brushes to use, method explained, different methods of finishing 
 the letters.
 
 $25 or $10 a Luton plate Xo. 19 Single-stroke old English alphabet. Purpose of old English lettering 
 
 Weekl now t0 hold the brush, retouching the principal strokes. 
 
 What is the dif- Lesson plate Xo. SO Singh-stroke modified roman pen lettering Advantages of pen 
 Terence between lettering for text or descri pt ive mat ter, inks to use , how to practice pen lettering, how to 
 $2S and $10 a week; hold tne p(. n now t0 manipulate the pen to procure clcan-cu t strokes, how to use an ink 
 between comfort . ' . .... . . , * , 
 
 and poverty: be- reservoir to facilitate rapid work. 
 
 tween independ- Fifteen practical shou -card layouts. In the foregoing lessons the student acquires suffi- 
 ence and the con- cient ability to enable him to make practical use of his knowledge. Thealphabetscovered 
 pendency! b are sufficient for general show-card use. Therefore, at this point, the course presents 
 tw-een saving for a 15 practical layouts showing how the text should be separated into display lines and 
 rainy day and liv- dcscr iptive groups, also various st yles of letters that may be used in harmony for display 
 mouth The dil and descriptive matter. An appropriate -how-card phrase is used for each layout, 
 ference is one of Display lines and descriptive groups arc indicated in the exact size and styles of letters 
 training. It is the t i , in i ct terine each layout. Specific directions as to color, combinations, and 
 difference be- , , , " ,",,. 
 
 tween the trained embellishments arc given for each layout. 
 
 and the untrained A study in design and layout. The principles of spacing, importance of show-card 
 tak" 'trahiinE ef0re ' ded 8 mn gi b<*t rules for spacing, lessons in spacing, how to center a word or line. 
 
 Condensing and extending letters. now to plan lettering to fit a given space, rules for 
 condensing, rules for extending, appropriate uses of condensed and extended letters, 
 practice exercises. 
 
 Principles of the balanced layout. Balanced layout denned, how to plan the balanced 
 layout, important points to observe, example > of balanced layout , practice exercises in 
 balanced layouts. 
 
 Border lines, underscore, space fillers, and panels. Brush ruling, how to draw an 
 ellipse, initial panels, initial letters, a few card kinks. 
 
 The group layout. How to plan the group layout, examples of group layout, practice 
 exercises in group layout. 
 
 Combination layout. Purpose of the combination layout, how to divide the phrase 
 into display lines and groups for the combination layout, examples of combination 
 layouts, exercises in combination layouts. 
 
 Price tickets. Normal style price tickets, bold style price tickets, small price tickets, 
 fancy price tickets, illustrative price tickets, practice exercises. 
 
 Illustrated show cards. Sources of ideas, tracing from clipped illustrations, how to use 
 the pantograph for enlarging illustrations, the mirrorscope, examples of appropriate 
 designs for various purposes, exercises in illustrated show cards. 
 
 Principles of col or f Color contrasts. II ow to mix water-color paint, color effects; 
 color combination; mixing standard colors to produce shades, tints, and unusual colors; 
 lessons in color combinations. 
 
 Shoir-card embellishment. Dry-color blending; spatter work; relief lettering; applying 
 mctallics, diamond dust, flock, etc.; phrase and picture filing; seasonable embellish- 
 ments; floral decorations; poster cut-outs; silhouettes; how to paint muslin signs. 
 
 Instruction in the use of t lit air brush. Principles of the air brush; sectional view of an 
 air brush; illustrating and describing all important parts; air pressure; how to put a 
 gas outfit together: colors for air-brush use; how to use the air brush: care oft he airbrush; 
 how to cut stencils; practice exercises to gain control of brush; color blending; exercises 
 in the u<e of stencil designs. 
 
 Lesson plate Xo. */. Single-stroke alphal>et and numerals for modern speed ballpen 
 lettering. 
 
 Lesson plati Vo. .'.'. filiform single-stroke alphalx-t and numerals for Payzant pen 
 lettering. 
 
 Li i.toti jilnii Vo. .' '. Single-stroke I'ayzanl or -peed ball pen alphabet with retouched 
 spur-. 
 
 Ltsson plait .Vo. 4. Speed ball pen initial capitals, retouched and embellished. 
 f.rxson plati .Vo. .'.;. -outline roui.ni initial emlH'llished capitals, plain lower-case 
 letters. 
 
 I.' -yon jihitt Xo. 2'!. Modern roman and fancy alphabets for music pen lettering. 
 Lismn plait .Vo. ?7. Old Knglish text |ien, and small speed ball jx'ii alphabets. 
 Lesson plait Vo :- S|n>cd ball jmti alphabets. 
 
 Lesson iihitt Vo Itapid single-stroke 1 ant ique roman brush alphaliet. 
 Lft.-on platt Vo. ti I: ipid -ingle-stroke modified roman brush alphabet. 
 lit ' ingle- troke antique alphabc t and numerals. 
 
 Qualifications. 
 
 Anyone who fan learn <o write can learn to draw or paint letters for 
 .-hew farcin. It is tmt es.-ential to have artistic ability, although this
 
 
 the reputation of 
 beina, just a little 
 ahead of the rest 
 
 Samples of show-card writing.
 
 8 
 
 Examples to would be an asset in the trade; a steady hand and a correct eye are the 
 only requirements, and it is well to remember that "the sight that 
 te/ whose lefUeg insures correct drawing is not that of the eye only, but of the mind. " 
 was amputea 
 above the knee on rr nn j:., n 
 account of injuries nanaicaps. 
 received in battle 
 
 studied machine Good eyesight is essential, but almost no handicap other than blind- 
 desipning and is ... 
 
 now employed by ness, or the loss of both arms, is prohibitive. It is an advantage to have 
 
 both hands, but the fact that one-armed men have so clearly demon- 
 
 Another soldier strated their ability to write as legibly as others with both hands in- 
 suflered with , , J J . . , 
 
 chronic bronchitis dicates that the difficulty for a man with one hand becoming a snow- 
 
 folf ittelwJ card writer can be overcome. 
 
 able to return to 
 
 UonTsTba?-' Desirability for the disabled man. 
 
 tender. He was 
 
 trained as a motor The work is not heavy, the hours may be adjusted to the strength of 
 mechanic and se- " . J J 
 
 cured an open-air the worker, the prospects for work in the trade are iavorable, and the 
 
 Position asc u " pay is good all of which characterizes the trade as one suitable for 
 
 . . disabled men. A chief attraction which show-card writing holds out 
 A former laborer . . 
 
 was weakened by for the handicapped man is the freedom allowed in the choice of a 
 in^he backhand working place. He may be independent, not only in the place of his 
 
 abdomen. He was wor v ] )U ( j j n selecting: his own hours for work. This liberty means 
 given a course in ' . . J 
 
 mechanical draw- much for a man who is physically below normal. The conditions under 
 
 employed ^iif a which a writer of show cards works are favorable, both as to time and 
 drafting room. place 
 
 A soldiersuffering 
 
 from chronic ne- Remuneration. 
 
 phntis, formerly 
 a farmer, studied 
 machine -shop Show-card writing is a fascinating art and brings good profits. For 
 
 now employed in this reason its appeal will be strong to the wounded soldier, 
 mot o? comnanv & ^ n exact standard of prices has never been possible for card writing, 
 as so much depends upon the quality of the work and the time required 
 helper lost the to make the cards. The cost of the material is negligible; but show 
 fefT er hand USe was carc ^ s have an intrinsic value to the merchant, who is usually willing to 
 retrained 'in a pay for them. 
 
 engineering, and Card writers make from $2o to $75 a week. Advertising cards, being 
 as "a* V sITuonary * a temporary nature, must be inexpensive. Rapidity is necessary, 
 engineer in a i n order to make it profitable, as the writers are usually paid by piece- 
 work. The example may be cited of a hunchback who began show- 
 card writing at S3 a week and by his energy and application rose to a 
 salary of $40 in a short while. 
 
 A lack of application or giving way 1o discouragement over first 
 attempts may cause failure, but for no other reason should a disabled 
 man who desires to become a writer of trade cards feel the slightest 
 fearof the undertaking. Begin the course with a determination to 
 succeed, and remember that lack of confidence is not conducive to 
 success in any trade. Learn the principle strokes with great care, 
 practice diligently until dexterity is acquired, work without hesita- 
 tion, boldly and with enthusiasm, and in a short time there will be 
 acquired expert nesa in a trade which is interesting, agreeable, and 
 lucrative.
 
 UC SOUTHERN REGIONAL LIBRARY FACILITY 
 
 A A 000 068 254 2 
 
 Samples of show-card writing.
 
 FEDERAL BOARD FOR VOCATIONAL EDUCATION. 
 
 MEMBERS. 
 
 David F. Houston, Chairman. James P. Munroe, Vice Chairman, 
 
 Secretary of Agriculture. Manufacture and Commerce. 
 
 William C. Redfield, Calvin F. McIntosh, 
 
 Secretary of Commerce. Agriculture. 
 
 William B. Wilson, Arthur E. Holder, 
 
 Secretary of Labor. Labor. 
 
 P. P. Claxton, 
 
 Commissioner of Education. 
 
 EXECUTIVE STAFF. 
 
 C. A. Prosser. Director. 
 
 Layton S. Hawkins, Chief Vocational Education Division. 
 Charles H. Winslow, Chief Research Division. 
 II. L. Smith, Chief Rehabilitation Division. 
 
 (10)
 
 DISTRICT VOCATIONAL OFFICES OF THE FEDERAL BOARD FOR 
 VOCATIONAL EDUCATION. 
 
 All disabled soldiers, sailors, and marines, whether in or out of the hospital, should address their 
 communications either to the Federal Board for Vocational Education, Washington, D. C, or to 
 the district office of the Federal Board of the district in which they are located. The district offices 
 of the Board are located at the following points, respectively: 
 
 District No. 1, Maine, New Hampshire, Vermont, Massachusetts, and Rhode Island. Office: 
 Room 1201 Little Building, 80 Boylston Street, Boston, Mass. Branch office : Rooms 324-326 Masonic 
 Building, Portland, Me. 
 
 District No. 2. Connecticut, New York, and New Jersey. Office: 469 Fifth Avenue, New York, 
 N. Y. 
 
 District No. 3. Pennsylvania and Delaware. Office: 1211 Chestnut Street, Philadelphia, Pa. 
 Branch office: Room 491 Union Arcade Building, Pittsburgh, Pa. 
 
 District No. 4. District of Columbia, Maryland, Virginia, and West Virginia. Office: 606 F Street 
 NW., Washington, D. C. Branch offices: Room 400 Flat Iron Building, Norfolk, Va.; Room 411 
 Park Bank Building, 104 West Lexington Street, Baltimore, Md. 
 
 District No. 5. North Carolina, South Carolina, Georgia, Florida, and Tennessee. Office: Room 
 823 Forsyth Building, Atlanta, Ga. 
 
 District No. 6. Alabama, Mississippi, and Louisiana. Office: Rooms 412-432 Maison Blanche 
 Annex, New Orleans, La. 
 
 District No. 7. Ohio, Indiana, and Kentucky. Office : Rooms 1212-1214 Mercantile Library Build- 
 ing, Cincinnati, Ohio. Branch office: Home Service Section, American Red Cross, Park Building, 
 Cleveland, Ohio. 
 
 Ditrict No. 8. Michigan, Illinois, and Wisconsin. Office: Room 1600 The Westminster, 110 South 
 Dearborn Street, Chicago, 111. Branch office: Room 807 Owen Building, Detroit Mich. 
 
 District No. 9. Iowa, Nebraska, Kansas, and Missouri. Office : Rooms 815-824 Chemical Building, 
 St. Louis, Mo. Branch office: Room 413 Massachusetts Building, Kansas City, Mo. 
 
 District No. 10. Minnesota, North Dakota, and South Dakota. Office: Room 712 Metropolitan 
 Bank Building, Minneapolis, Minn. 
 
 District No. 11. Wyoming, Colorado, New Mexico, and Utah. Office: Room 400 Mercantile 
 Bnilding, Denver, Colo. 
 
 District No. 12. California, Nevada, and Arizona. Office: Room 997 Monadnock Building, San 
 Francisco, Calif. 
 
 District No. 13. Montana, Idaho, Oregon, and Washington. Office: Room 539 Central Building, 
 Seattle, Wash. 
 
 District No. 14. Arkansas, Oklahoma, and Texas. Office: Room 810 Western Indemnity Building, 
 1000 Main Street, Dallas, Tex. 
 
 (11)