Pennsylvania Railroad 'Calendar' Lettering

 

Note that even though this car was reweighed last in January, 1951, it was repainted in 1954, but not reweighed at that time. Tom Martorano Collection

Beginning in 1954, the Pennsylvania Railroad updated their lettering styles for freight equipment. Gone was the simple serif ("Roman") style lettering with ball Keystone interlocking "PRR" emblem. The new lettering was bold by Pennsy standards, featuring large road name (for example, 13" for 40-foot house cars and 16" for 50-foot house cars) and included a larger, "shadow" Keystone emblem. 

Sept. 5, 1954, Shenandoah, Virginia, Bob's Photo

One interesting and short-lived quirk was the script or "Calendar" style of numbers. As someone who really sweats the details of lettering and appreciates the nuances and beauty in such things, I have always been quite taken with these numbers, even though they are sadly out of my modeling era. They were drawn in January, 1954, issued in April, 1954, and seemed to have been phased out within a couple months. While it is entirely my conjecture, I am guessing that it was quickly discovered that the portions of the lettering that extended above and below the lines were a headache to align, adding time and cost to the stenciling process.

Paul Dunn photo, R. J. Burg Collection

There were also two other nuances during the same few month period. The "inside" of the "P" was a more square shape at the right portion of the "bulge" in the "P." Also, the lower upward diagonal in the "N" extended to terminate aligned with the horizontal line of the serif at upper left of the "N." These two nuances were also changed when the Calendar numbers were eliminated circa June, 1954.

Sept. 18, 1955, Brooklyn, NY

On a smaller route, such a stenciling oddity might have gone relatively unnoticed by researchers. However, given that the Pennsy likely repainted more cars in a couple months than many roads might in a couple years, there exist numerous photos of the Calendar scheme. It's cool enough to this student of type and typography that I might just model a car for the display case that features this beautiful example of railroad type.

Decals (yet again!)

My latest PDC sheet*

I know I post a LOT about decals and artwork... it's kind of an obsession for me. I love how the correct artwork for a specific railroad, using their unique type ("font") can really add the right finishing touch to a model. I also notice that many people inquire on lists and forums if there are decals available for subject X or how they can go about creating artwork for decals. It's really not that difficult and the hardest part, the printing in white, is easier than you might think. 

My latest effort for illustrative purposes, not yet flat-coated and sharper in real-life than shown here... however, it looks exactly like PRR late steam era lettering because it's based on the Pennsy's actual lettering, not some generic "font" used by a "graphics" person at one of the model RR manufacturers. Also, it's the car number, reweigh location and date, etc. that I want.

First, the artwork. If you have a community college near you, the chances are quite good that they offer a class in Adobe Illustrator (before you say Illustrator is too expensive, read on please.) A class in Illustrator will teach you everything you need to know, and quite a lot more, to make decal artwork. Also, regardless of the software you choose, the concepts are similar and translate across software. The main thing is to learn how to work in vector graphics. Take the class. 

It's exciting to see the fruits of one's digital labors. Note that Jefferson Bus Lines is purely fictitious for my proto-lanced town of Jefferson, Oregon

Next, decide on software. If you like Illustrator, you can likely find an older version that you can buy outright on a site such as ebay. For what we are doing, even 15 year old Illustrator is adequate. Just make sure your current computer will support it. Alternatively, you can choose the Adobe subscription model (it always has the latest version!) You might find that you can subscribe, create the artwork you need in a month or two, and then unsubscribe. If you're enrolled at the community college, you'll qualify for the academic discount, too. Other options are out there, with the most common being Corel Draw. Find something that works for you and go from there.

Now for the printing and this is the part that's easier than you think... no Alps white inks or ghost white toner, unless that's the path you choose. You can simply save your file as a .pdf and send it off to PDC and within a week or so have your decals. You can fill up an 8.5" x 11" sheet to your heart's content. Also, since you're creating only what you need, you won't take up valuable real estate with extra number jumbles, reweigh locations and dates, repacks, etc. The white ink is fantastic and other colors are available, too.

I really encourage you to explore this... it's also not just for things on the rails. You can use it for signage, decorating, etc., for anything on the layout. Stop asking and start making!

*note that what you see here is converted from vector to raster (pixels) and downsampled to protect the work I have done to create all this artwork

PS - I am not interested in creating artwork for your projects. I don't have enough time for my own!

More on Lettering

San Diego, Sept. 5, 1955, Col. Chet McCoid photo, Bob's Photo

One of my early posts on this blog was about decal artwork from prototype lettering and I had a follow up post about the vagaries of lettering for the same road. Tony Thompson has had a couple of posts recently about lettering, as well, on his Modeling the SP blog. Recently, I again had reason to mull the subtleties of lettering. In the process of creating artwork for a decal set for CNW Emergency box cars, I noticed a peculiar difference in the lettering on the cars built by Pullman-Standard versus those constructed by American Car & Foundry. The Pullman cars followed standard CNW lettering, while the numbers on the AC&F cars (see '79350' below) were clearly non-CNW standard, using a more condensed type. The capacity and dim data also used a non-standard type, which can be clearly discerned in the builder's photos (not included here.) The reason is not clear. However, with the set, I make clear that I can only vouch for the set for as-built Pullman cars or repaints. This is just another illustration of the fact that even for the same cars on the same road, the lettering is decidedly not the same. Buyer (or modeler) beware!

 

Pullman-built lettering above and AC&F-built lettering below

Tacoma, Feb. 19, 1955, Col. Chet McCoid photo, Bob's Photo

Types for Lettering on Structures and Other Layout Signage

One of the things I am always on the lookout for is interesting types (“fonts”) that I can use to create specialized lettering. I have been particularly attuned lately as I have become more focused on structures. “Simple” sans serif types of the 1930s and 1940s have a more stylized look than the basic computer "fonts" of today. When I see a model structure that is to represent a period (e.g. late 1940s) structure, yet uses Arial or Helvetica for the sign that has the name of the business, it doesn’t look correct to my eye; it has a simple, anachronistic quality that screams, “I’m a model!”

The photo above of Utah Ice & Storage Co., May 9, 1928, by Harry Shipler/Shipler Commercial Photographers, is from the Utah State History project hosted by the University of Utah's J. Willard Marriott Library. While the PFE R-30-2 (at right) and R-30-13 reefers are interesting, my attention was also drawn to the lettering on the building at right in the image (for a better view, click on the image and note the red rectangle around the lettering.) I replicated the characters by tracing using a tight crop of the image, as shown below (the 'J' is a composite of the 'I' and 'S' while the 'O' is derived from the 'C'.) I plan to use the characters to letter a structure of an ice plant on my proto-lanced layout of Jefferson (based on Medford,) Oregon.

The two photos below (March, 1957, Chula Vista, Calif., Col. Chet McCoid photos, Bob's Photo,) illustrate another example of an interesting type that can be used for structure lettering. I initially purchased the photos for the subjects, a PFE R-30-9, above, and R-40-4, below, but stumbled upon the sign in the background. I found the style of the lettering compelling and I have need for a feed mill/ag supplier in Jefferson. So, after cropping, I pulled the images into Illustrator and created the "Willis-Burr Co." as seen below. I will finish the lettering for the details (Fertilizer, etc.) at a later time, but what's here illustrates my point.

The options for lettering are limitless and I have several others to be generated. Note that there are many font purveyors with period types available for download that can be used for these purposes. I tend to favor fee-based fonts over free downloads as I don't trust freeware to not have other malicious software embedded into it (my own cautious nature.)

Speaking of decals, I have two new sets for freight cars. They are D215 for the Virginian's 1916-built single sheathed box cars and D216 for the Minneapolis & St. Louis's ARA-design single sheathed cars built in 1930. Both have "cuts" in the lettering to accommodate surface details as on the prototype.

Decal Artwork Presentation file from Chicagoland RPM

This past weekend at the Chicagoland RPM, I presented a clinic on Creating Artwork for Decals. The file can be accessed via the link. Note that there was a bit of information presented via live demonstration that is not in the file.

Clinic file from MARPM (as well as St. Louis RPM)

Yes, I know, it's been a looooonnnngggg time since I have posted anything. I aim to rectify that over the coming weeks. First up is the link to the presentation files from this past weekend's MARPM event as well as the St. Louis RPM in July. Both files may be accessed via this link.

The recent presentation, from MARPM, is a modestly expanded and revised version of my clinic on creating decal artwork (like that shown above.)

The second and older one is the clinic from St. Louis for this year's project car. The focus of the clinic is/was alternate center rivet, U-section/hat section steel box and auto cars.

Presentation files from NERPM

As promised, here are the links to view the two presentation files from my talks at the NERPM from this past weekend (02-03 June 2017). This year's event boasted great clinics, excellent display models, and many great vendors. If you're looking for a high quality meet that offers a varied program, I enthusiastically recommend putting it on the calendar next year.

• Creating Artwork for Decals
• Finding Kitbashing Opportunities in Freight Cars (revised and updated from RPM-East and will be revised further and presented at the St. Louis Railroad Prototype Modelers' Meet, 23-24 June 2017, in Collinsville, IL)

Please bear in mind that both presentations contain speaking elements that are absent in the files. That is particularly important for the decal artwork presentation, as there was a "live" demonstration that is absent from the "static" slides. I will attempt to present this material again to allow others to see it "live".

Some progress

Decal artwork for SP/T&NO F-70-6 & -7 flat cars

I had posted awhile back on the SP F-70-6/F-70-7 flat car kit from Espee Models and the PRR F29 depressed center flat car from Funaro & Camerlengo. Progress has been somewhat slowed by an impending move that is now in the process of happening. However, I did manage to get the artwork for the decals sent off to be printed. That gives me some motivation to have the cars painted and ready to be lettered when the decals arrive.

Decal artwork for PRR F29 & F33 flat cars

I also managed to get the boiler load finished and I will post that progress in the near future. It will be loaded on the F29.

Enjoy the artwork until next time. Note: these decals will be available from Speedwitch.

A Good Point and a Decal Set

When I posted about creating decal artwork, I received a reply from Stephen Wilder, who made a very good point about the creation of accurate lettering; a point that had completely slipped my mind, but bears mentioning as it's another example of the things that are encountered in making accurate lettering. He observed that the "MA R" from my Pere Marquette lettering differed from what he had created for his Pere Marquette lettering. Yet neither of our lettering is incorrect. Often, one style of lettering will not work for a car that has constraints, such as a single sheathed automobile car (the Pere Marquette auto car has slightly condensed lettering in the road name as compared to a 1937 AAR box car or a gon) or a depressed center flat car (the "PENNSYLVANIA" on the F29  is only six inches tall). These differences must be incorporated or the lettering will not work. It's a point worth noting and I thank Stephen for making it.

I would also like to take a moment to plug the excellent decals that Stephen created: Smokebox Graphics set DF0187 for Pere Marquette freight cars. It's rare that I will rather purchase a decal set than create my own. I'm that picky. That said, I bought the Smokebox Graphics decals because the artwork is that good. They are printed by Cartograf. If you model airplanes, you know how good Cartograf decals are. I highly recommend this set.

Decal artwork

There was a good deal of discussion recently on the Steam Era Freight Cars list (STMFC) on Yahoo! Groups concerning the decal offerings of a seller on eBay. In particular, there were musings about the various printing technologies (silk screening, Alps, and some of the other more recent printers capable of printing white inks [or facsimiles thereof], as well as the creation of the artwork itself.) I thought I would provide a little background information about how I create artwork for the decals I offer under the Speedwitch line, both for model kits and standalone decal sets.

At the outset, I must state that I am fanatical about the accuracy of lettering. It needs to do two things. First, it must capture the “look and feel” of the prototype it represents. While I know that many people in the hobby value many different things, to me lettering is part of what makes a prototypical car. Lettering was different across railroads and I don’t just mean the slogans and emblems. The three-inch and two-inch letters and numbers that make up the stencils for capacity and dimensional data were quite different from railroad to railroad. The vast majority of decal and rolling stock purveyors just pull up their standard serif or sans serif “fonts” to make this lettering. I get why they do it. It’s quick and easy. It just doesn’t work for me. The railroads’ characters were highly stylized; the decals should be, too. If a decal proprietor is cranking out half a dozen new decal sets per week, I just can’t see how they are getting this right. I do grasp that what I value may be valueless or far less important to others.

The second thing is that the lettering must fit. Before I started making decal artwork, I cannot tell you how many times that I got a model all ready for lettering only to discover that the stenciling in the kit decals spanned across a greater space than it did on the prototype or overlaid a tank band on a tank car, when it didn’t on the prototype. This is usually because the characters weren’t correct (see previous paragraph), making the spacing of the characters incorrect, making the problem cascade into one of incorrect fit of the lettering. Again, if there are a lot of sets coming out per week from a producer, I don’t see how this detail is being observed.

A fairly typical decal subject

With my rant out of the way, I’ll explain how I do it and why it takes longer (a lot longer). I work from very clear photos of the car side, from closeup photos of the actual lettering (I am fortunate to have lots of photos like this for a great many railroads), and, ideally, from actual railroad drawings of characters, emblems, medallions, etc. These are scanned at extremely high resolution (12800 pixels per inch, usually) and imported into Adobe Illustrator, after any cleanup and squaring up in Photoshop. Illustrator is a very powerful vector graphics tool for drawing.

A piece of the Pere Marquette single sheathed auto car scanned to be used as the basis for artwork

The actual drawing part of things involves creating each character from scratch, carefully “tracing” (electronically drawing) against the high resolution scans. After all of the necessary letters, numbers, emblems, etc., have been drawn, they are re-sized to scale, HO most frequently in my case. Most people would think that is the bulk of the work. That is just part one.

The "MA R" characters as drawn using the previous photo

All of the artwork must then be laid out against a scan of the model and fitted to represent the layout as stenciled on the prototype(s). This involves much careful spacing, followed by a lot of copying, pasting, and reorienting to create multiple groups of reporting marks, capacity data, and reweigh, repack, and brake test stencils. None of this is done by “typing”, but rather by moving the objects (characters) around to create the various data sets. It is extremely time consuming.

The completed model using the artwork created as described herein

Once a set is complete, it then must be laid out for printing in a way that maximizes the amount of lettering in the minimum space, while not overcrowding. Remember, empty real estate on a decal sheet equals lost money. Most frequently the artwork is laid out to incorporate multiple sets that are part of a large sheet. 

The next step is to send the artwork to the printer. All colors (except white and black) must be specified as a Pantone color for printing. I approve the artwork, quantities, and cost estimate, and then wait. The waiting game can be difficult as I want to see how everything looks as soon as I finish the artwork, but it takes weeks for the silk-screen decals to be printed. Upon receipt of the large sheets by me from the printer, I cut the sheet into the individual decal sets.

The last step is to create the instructions/data sheet. This is another area where I endeavor to separate myself from the pack by offering enough prototype reference material to allow the modeler to accurately letter their fine creation. 

On the horizon, I am testing some single print sheets that will allow me to print in much smaller quantities with much faster turnaround. The other good news: once I have the artwork created for a road, I can use that as a lever for future sets. Also, if the test is a success, I will be able to provide custom decal services for HO and other scales. Stay tuned!