EASY TO L EA RN EAS Y T O WR I T E

EAS Y TO T EACH EASY TO READZ3

EW . T R U E A N D T R I E D M ET H O D O F T EAC H I N G A N D L EA R N I N G A R A P I D , P R ACT I C A L H A N D .

STA R T I N G AT T H E AG E O F T E N Y EA R S A N D P R OG R E SS I N G SY ST EMAT I CA L LYST E P BY ST E P T H R O U G H S C H OO L I N TO AC T UA L L I F E .

U I D E A N D I N S P I R AT I O N FO R T H E T EAC H E R ; A SC I E N T I F I C S E L F I N ST R U CTO R FO R T H E H OM E

ST U D E N T ; A N D A SA F E A N D S U R E M ET H O D FO R A L L W H O D ES I R E TO W R I T E S U C H AH A N D AS T H E P R ES E N T N E E DS A N D T H E F U T U R E W I L L D EMA N D .

BY C . P . Z A N E R

N D E R O F A N D C H I E F I N S T R U C T O R I N T H E Z A N E R IA N C O L L EG E O F’ P E

’

N MA N S H l P ; E D I TO R F T H E B U S l N E S S

E D U CATO R . A J O U R N AL. O F PEN MA N S H l P A N D B U S I N E S S E D U C AT I O N : A N D A u r H O R O F

N U M E R O U S WO R K S O N PE N MAN S H l P , E N G R O S S I N G A N D PEN A R T .

PU B L I S H E D BY

Z A N E R BLOS ER COMPA NY

CO LUMB U S . 0 .

“84908

C O PY R I G H T1 9 04

B Y Z A N E R B LO S E R

PREFACE

Writing shoul d be pla in and rapid . The business world demands it . Slow

writing is out of date, and i l legible writing is inexcusab le, annoy ing, and dangerous .

A good handwriting be ing now'

w ithin the reach of al l , a poor one is a d isgrace .

Copybooks and vertical writing have fostered form at the expense of freedom ,

and slow, cramped finger movement writing has resul ted . Speed and muscular

movement theories have fostered freedom at the e xpense of form , and reckless,

scraw l ing, il legible writing has been the rule.

Form without freedom is of l ittle value, and freedom without form is fol ly .

Form and freedom must go hand in hand or fa i lure fol lows .

The Arm Movement Method of Rapid Writing is based upon form and move

ment, neither being sacrificed as both are absolutely essential to success . The

work is so planned and graded that form'

and movement for the first t ime are

deve loped together successful ly and sc ientifica l ly from the beginning, the s imple

preced ing and lead ing to the complex .

To'

simpl ify the learning, insure legibil ity, fac i l itate execution, and develop the

h i ghest possible speed , the forms have been so s impl ified and constructed that the

maximum of ease, pla inness, and speed is atta ined .

For the first time we have simpleness of form without slowness of execution ;

plainness w ithout sti ffness, as in the vertical ; and freedom w ithout ‘

eckles sness .

Simpl ic ity of form is essential in order that al l may acquire the art. For

simple forms not only mean ease in reading, but ease in execution, as wel l as the

h i ghest possible speed . Ease in acquisition and execution, pla inness in form, and

rap id ity in writing are the essentials of successful writing, and the Arm MovementMethod comprises the same to a greater degree than any other.

The cop ies were al l written free ly, even rapidly, w ith the pen ,and not drawn

slow ly for the sake of accuracy . They are therefore practical rather than technical ,

and serve to il lustrate not only form but movement as wel l .

CONT ENT S

Why People Write Poorly . .

What I s Good Wri ting"

Who Can Learn to Wri te Wel l".

The Worth and Price of a Good Handwri ting

Study and(

Practice

Form and Movement

The Arm Movement

How to Acquire the Arm Movement . .

Tra ining

How to Practice

Before and After

The \Vriting Lesson

Materia ls

Heal th

Counting or Mark ing T im e

How Fast to Practice and Wri te .

Learn ing and Unlearning

Penmanship Ph i losophy

Penmanship Phys iology 1 0- 1 ]

Penmanship Psychology

Vertical Writing .

Pos ition of Body .

Posi tion of Arm , Hand , and Pen

Pos i tion or Angle of Paper

I nterest and

Mod e l Form s for Study and Im i tation

Optional Forms for Advanced Pup i ls

Techn ical and Descriptive Analys is 1 5-1 7

Plan of The Arm Movement Method of Rapid

Writing

Final Words Worth Heed ing

Part One or Book One 1 9 -48

Part Two or Book Two 49 —71

Part Three or Book Three 72 -8 9

Part Four or Book Four 90-100

Lettering 101 - 1 02

Fine Art Penmanship

Commerc ia l or Copper-

plate Script

A Pictorial Epitom i zed History of Wri ting 1 05 - 106

The Phys io logy and Anatomy of the Mach inery

of Wri ting . 1 07- 1 09

Appl ied Phys iology 1 1 0- 1 1 1

Certificate

05 0WHY PEO P L E WR ITE POORLY .

That there is more poor than good writing in the worl d , no one wi l l deny . And that people in general do not

write poorly intentional ly, but are unable to write we l l , no one w i l l deny . Why then are people unable to write better"The correct answer wi l l lead to the correct solution of the heretofore unso lved problem .

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f Why people write poorly may be attributed to three th ings , any one of wh ich W i l l serious ly interfere W ith, i f notwhol ly defeat. a good handwriting .

The first of these three th ings wh ich stand in the way of learn ing and writ ing a good hand i s the teach ing of

ch i l dren to write before they are old enough to learn ri ghtly, and the requiring of writing from ch i ldren before they

hat e been taught to wri te wel l . This of itsel f lays the foundation of poor instead Of good writ ing, because it encour

ages and develops the two evi ls wh ich block the way to good writ ing— excesswe finger movement and gripping. These

are the natura l results of premature writing and immature m inds and bodies . Finger movement and gripp ing are

the d irect and unavoidable results of teaching and requiring ch i ldren to write a sma l l hand . And so long as this

requirement is demanded and continued , slow , cramped , drawn writing w i l l he the result.

The remedy is to require less writ ing on the part of ch i ldren and to al low them to write large enough so that theyw i l l of the ir own accord use the arm instead of the fingermovement .

The second reason why people write poorly is that the forms heretofore taught have been too complex and d ifficultfor everyone

‘or even a majority, to acquire and execute . (The vertical , however, was too print-l ike, be ing thereby

s low and c lum sy in appearance ."Writing must be suited to the natural ab i l ity of the many rather than to the

dexterity of the few who des ire to become professional penmen . The author of the Arm Movement Method of Rapid

Writing was the first to recogni ze th is cond ition, and as a result the forms here in presented are at once s imple . w ith°

6ut be ing slow, pla in, w ithout being c lumsy, and rap id , without being scrawly .

The th ird reason why people write poorly is tha t they have not been tra ined in the arm movementl except the fewwho have attended a school of penmansh ip or a bus iness col lege and rece i ved instruction from a profess iona l penman .

And where finger movement and gripping have become a hab it, it requires spec ial effort to overcome these ev i ls and

to acquire the true way . But th is is now made poss ible and comparatively easy by the aid of the graded course of

exerc ises and concise instructions given in th is manual .

W HAT I S GOO D W R IT I N G"Good writing is that which is eas ily read and eas i ly and rapid ly written” To be easy and rapid in execution, it

eeds to be simple in construction, normal in s lant, and natural in action.

The Arm Movement Method of Rap id Writing is plain, s imple in construction , med ium in slant easy and natural

in movement, and capable of the h ighest speed . Moreover, it is easy to acquire as compared Wi th the usual com

plex, ski l l ful hand . and therefore within the reach of al l .

WHO CAN L EARN TO W R ITE W E L L"The Arm Movement Method of Writing is so s imple in form and natural in construction that al l can learn to write

wel l who are not deformed , and who are w il l ing to fol low the instructions and pract ice the copies as given .

ei

f

tin

lgas here presented has been shorn of its complex ities and d i ffi culties, bringing it with in the normal

reac o a

Al l cannot learn to write equal ly wel l , but no one need despair. The art is so planned and presented that pla in,

easy writing is an assured fact for al l who are not ind i fferent to the importance of a good handwriting and who are

reasonably ambitious to possess it.

THE WO RTH AND P R I C E OF' A GOO D HANDW R IT I NG .

The worth of a good hand writing cannot accurately be estimated , but its worth is insome measure determinedfact that it is eagerly sought, and that its possessor finds it a ready and valued servant at al l times , as wel l

to som eth ing better and h igher. Al l other th ings be ing equal , the one possess ing a good hand

poorly loses it.

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I ts greates t worth however, cannot be measured in dol lars and cents , as it is a constant a id in acquiring, expressing and i eco i d ing informa tion . be ing cultui a l as we l l as prac tica l . MOi eover, it is a l i fe compan ion, ever ready to he lpi f it is good . on to b indet i f it is bad , in the strugg le for advancement and success .

The pric e of a good hand writing is not talent but to i l . Study and practice backed by determ ination is sure to

bring results . Of course , to become a masterful penman , takes ta lent as we l l as toi l , but to learn to write a good ,

rapi d hand . common sense and persevering practice are a l l that is needed .

One can, in a few months , learn to wri te such a hand that writing ever after w i l l be a pleasure and benefit. Nowis the time to begin . Be w ise today, and be a good penman , by beginn ing the study and practice herein outl ined for

your benefit.

STUDY AND P RACT I C E .

Two things are essential to success in learning to wri te . The first is study and the second is practice . Ne itherone a lone can produce good results, but the two comb ined i nsures success .

Study is necessary to learn the form of letters a d to dec i de upon the method of the ir production . dy is a lsonecessary to detect m istakes and d ic tate the remedy

Practice is necessary to learn to produce the form wh i ch study has evo lved . Practice is necessary to tra in the

muscle to obey the d ictates of the m ind . I t is on ly by prac tice that we become profic ient in writing as in other things .

Stud ied practice tend s toward pe rfection . R emem ber, not study a lone nor practice a lone, but the two comb inedare the essentials to success .

FO RM AND M OV EM E NT .

Fa i lure fol lows when form is cons idered alone , or when movement is cons i dered alone ; but success fol lows whenform and movement are comb ined . Form is essentia l to give legib i l ity,

and movement is essential to fac i l itateexecution .

I f the form is s imple and graceful in construction , the movement necessary for its production must be of l ikecharacter ; it must be s imp le and graceful also . I f the movement is w i ld and awkward , scraw l ing, awkward forms

must necessari ly be the result .

Persons sometimes say I have the movement al l ri gh t, but there is someth ing wrong w ith the form of the

letters . The facts are that the movement is not ri ght or the forms would be ri ght, for forms are but pictures of

mot ions . And as it is a poor rule that w i l l not work both ways , we can also as truthful ly say that mot ions are but

p ictures of form s .

Therefore , form and movement need to go hand in hand . as forms are necessary for movements to act upon, and

movements are necessary to create and multiply form s .

The say ings“

sacrifice form for movement; and sacri fice movement for form , are each one-s ided and reveal

that both are but ha l f truths , which , i f comb ined , sacri fice ne ither form nor movement, and produce a perfectwhole, as wel l as practical writing.

THE ARM M OV E M ENT .

There are a number of movements employed in writing , it be ing imposs ible to write w ith one set of muscles and

with one movement or motion .

The fingers are too short to prope l the pen rap id ly and eas i ly, and , as a natural consequence , they soon t ire and

fa i l to do the work eas i ly and we l l . Finger movement is eas i ly acquired but tiring to use, and inadequate to meetmodern commerc ia l needs .

Arm movement is what its name impl ies ; the use of the arm instead of the fingers to prope l the pen . The

musc les of the arm are strong and powerful and are capab le of do ing a great deal w ith but l ittle sense of tire or

exhaustion .

The true function of the fingers is to hol d the pen wh i le the arm propels it. They may also assist in m inordeta i ls, but nothing more .

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Arm movement is somewhat d i fficul t to acquire and contro l , but when once mastered it is then easy and pleasu

able . Arm movement makes writ ing graceful . easy, and forceful , and is therefore suited to the demands of bus ine.

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As presented in th is manual , arm movement is the most sc ientific method of writ ing ever publ ished , being the

same as used by the worl d’

s lead ing penmen, and as evo lved by the author after twenty years of experiment, study,

practice, and observation .

You wil l therefore make no m istake to acquire it and to teach it to others .

HOW TO ACQUI R E THE ARMMOV E M E NT .

Let the ful l weight of the fore-arm rest on the fleshy part just forward of the e lbow, the latter extend ing over theedge of the desk or table . I n order that th is fore-arm rest may be free to act in al l d irections w ithout s l ipping upon

the table , the c loth ing from the elbow forward should be loose and large .

The hand shoul d rest and gl ide upon the tips of the th ird and fourth fingers, or upon the l ittle finger alone, eitherupon the na i l or s ide of the first joint . See i l lustrations .

The fore-arm rest serves as the center of action and control , wh i le the l ittle finger serves as a gl id ing rest and

control . The latter a ids in mak ing figures and in such letters as o and a.

The musc les which cause the arm to move in and out the sleeve are s ituated about the shoul der. Those wh ichcause the fore-arm to move sidewise are s ituated on the upper-arm between the elbow and shoulder. The musc les

which propel the fingers and hold the pen are s ituated in front of the elbow , and are used as a cush ion for the arm to

rest and act upon .

Al l of these muscles co—operate in what is termed Arm Movement, and need to be tra ined .

The exerc ises in th is manual are so arranged and graded as to develop th is movement i f the instructions are

fol lowed .

T RA INING .

To tra in in any l ine, one must practice . I t is on ly through intel l igent practice that any art can be acquired . I t

is only through intel l i gent practice that good penmansh ip is acquired . One must put the arm in motion and keep it

in motion in order to train it to do th ings wel l . Thei'efore you must place the arm in act ion and keep it actingunti l improvement is produced , i f you would learn to write wel l .

Repetition is necessary, as it takes many efforts to acquire anyth ing so des irable as the art of writing . You musttherefore expect to put forth one effort after the other in the same d irection unti l you. accompl ish your end . The

muscles of the arm are large and the forms used in writing are gmal l , therefore much careful practice is necessary

to train the muscles to act quickly and accurately .

But good writing is sure to fol low careful and pers istent practice . The task wi l l at times seem d ifficult, but atmost, it need not exceed a few months, and when it is once acquired it wil l last a l ifetime.

HOW TO PRACT ICE .

First, study critical ly the form to be practiced , See how many turns , angles, and loops it contains ; how wide

and high ; how slanting ; etc . Endeavor to so impress the form upon the m ind that you can c lose your eyes and see

it pla inly .

Second , retrace slowly w ith a dry pen the letter to be practiced . This will help to create a clear concept and a

definite knowledge of how the letter is constructed .

Th ird , practice freely w ith the arm movement the exercises unt i l improvement is shown, even though it takes a

hundred sheets of paper. Then go on to the letter, word , or sentence

Fourth , critic ise your practice very careful ly, tak ing suffic ient tim e to locate the principal fault and to dec ide upona remedy . Then endeavor to overcome the fault and to acquire the correct mode and form the proper hab it .

Fifth , endeavor to devote a certa in amount of time each day to improve your penmanship .

Sixth, do al l of your writing w ith as much care as time w i l l adm it, for, after al l . care is the one, main, common

sense essential of good writing .

BEFO R E AND AFT E R .

Before beginning to practice from th is book wri te in your very best hand , us ing black ink , the fo l lowing :

This is a specimen of my penmanship before beginning study and practice in the ArmMovementMethod of Rapid Wri ting.

Sign your nam e and da te the sam e .

After prac tic ing therefrom write . s i gn . and da te the same as the above and send the two to the publ ishers . I f

suffi c ient improvement has been made , and your handwriting is good in form and movement. a beauti ful certificateor d iploma s igned by the author. w ith your name lettered the reon . w i l l be granted , certi fying to your sk i l l and pro

fic iency . A charge o f only fi l’

ty cents w i l l he made for engross ing name , ma i l ing in tube, etc .

Now is your chance to get a good handwri ting , and a d i ploma as we l l .

P E RSO N A L C R I T I C I SM S .

Persons practic ing from th is manua l who are des irous o f rece iving personal critic i sm s upon the ir practice , as

we l l as ad d i tiona l information and instruction , shoul d write to the author, who w i l l doubtless be able to provide theservice s des ired .

THE W R I T I N G L ESSO N

Materia l s should be good in qual ity,and orderly arranged . But l i ttle time shoul d be spent in the ir d i stribution

and co l lection .

The wri ting lesson should not fol low active, outdoor exerc ise, and should come late rather than early in the day .

Movement exerc ises should precede the practice of letters, words, and sentences . Movement needs care ful , en

thus iastic attention and dri l l .

Counting is the best means of arous ing enthus iasm , keep ing the c lass work ing together, and giving defin ite i deasas to how fast to wri te .

Prac tice upon blank paper shoul d precede the work in the book . I ndeed , one or two lessons can very profitablybe given on paper before plac ing the work in the book .

Pos ition o f bod y . pen ho ld ing , form , and movement need to be emphas i zed each lesson .

—The blac l should be used to i l lustrate form , to cri tic ise common faul ts , and to instruct by example .

The c c

ny -boo l : z i nnot do a l l ; ne i ther can the blackboard ; but both are helps in the hands of a l ive,wide ~ awake ,

enthus iasti c , q ua l ified teacher.

Keep form and movem ent as c losely related as you can, at a l l times . N ever d ivorce them .

Fm pb i s i z ."form s‘nd m ovem ent, but do not neg lect m inor th ings as

"

trifles make perfection .

Disc zznri ge penc i l wri ting by encouraging pen writing from first to last .

i t‘

s the backward pupi l rather than the prod i gy that needs your encouragement .

He lp a pup i l to im pro ve by first find ing the error; second , by expla ining the cause ; and third , by giving a remedy .

Devc te about one -ha l f o f each lesson to movement dri l ls and musc le tra in ing ; the other ha l f to form, and detai lsof execut ion .

Learn to write we l l , as exam ple is better than precept . and the two work best together.

M AT E R I A L S .

Good pens . ink , paper, and hol ders are essentia l to good writing . The pen ho lder shoul d be of wood or rubberand no t of meta l . The latter are d ear at any price , and natura l wood are the best. Pens should be smooth and ne ithervery ‘

fine nor coars e . I nk should be free flow ing and as b lack as can be had , provid ing it is noncorros ive . Papers hould be wh i te . fa irly smoo th . firm , careful ly ruled . and convenient in s i ze .

Ho good rather than how cheap should be your gui de in purchas ing suppl ies . As a workman is known by histool s . so a penman m ay be known by his m ateria ls .

H EA LT H .

Good writing is the product of correct tra in ing . Correct tra in ing is dependent upon, or at least mod ified by, good

health . Good hea lth is the result of ri ght l iving . R ight l iving is the recogn ition and practice of normal forces wh ich

may be termed sleep, food , and exerc ise . See that enough s leep is taken at the right tim e ,wh ich m eans during the

n i ght time . See that your foods are healthful , we l l cooked . care ful ly se lected in accordance w i th your needs .

’and

s lowly eaten. Gra ins ,vegetables , fruits , nuts , fish , and m i lk are hea lth ful and less l ike ly to be harm ful than meats ,

coffees, pastries , etc . Try it and you w i l l be convinced . Exerc ise shoul d be ne ither extreme ly heavy nor exc i t ing , but

much the same as in do ing useful , serv iceable th ings . Bri sk wa lk ing is the best because it leads to free, open a ir

breathing, and erect posture .

Learn to l ive a s imple, healthful l i fe, learn to write a s imple , serviceable hand , and l i fe w i l l last longer and be the

better for it and for you.

COUNT I NG OR M A RK I N G T IME.

Counting is a means of uni form ing the movement keeping the c lass work ing enthus iastical ly together, and giving

an idea as to about how fast to practice . Exerc ises, princ ip les . letters, and letter exerc ises ( letters jo ined"can be

counted for very successful ly ; but counting for words and sentences is im pract icable , because not a l l letters are m ade

on the same time ; that is , w ith the same speed .

The usual m ethod of counting is w ith the voice , but t ime may be ind icated by tapping, by the metronome, or bya mus ical instrument .

I n exerc ises , one count is usual ly given for each down stroke ; in princ iples, one or two counts for each ; and in

letters , two or three counts for each .

HOW FAST TO P RACT I C E ANDW R I T E .

I t is very important to know about how fast to practice , as improvem ent and excel lence depend upon it . Slow

writing is of l ittle value as is also rapid scribbl ing . Slow writing is usual ly cramped writing , and shoul d never be

practi ced . Some say it is draw ing, but such is not the case, as draw ing is h igh ly educat iona l and valuable .

Some say sacrifice form for movement and speed , but N ance sac li fiued is hard to rega in or bring to l i fe .

I n slow writing freedom is sacrificed , and in rapid learning form is sacrificed . Both are extrén-

iEST' “

The true way is to practice ne ither very rapid ly nor very s lowly, whi ch means w ith an easy, un i form , free . graceful arm movement.

I n practicing upon such letters joined as u, n , m , and a , about 1 25 downward strokes should be m ade to the

m inute, and in such letters as o , c , r, and 5 , about 80down strokes should be made to the m inute . This w i l l be ne i therfast nor s low, but at such speed as to encourage ease and exce l lence ; ease in execut ion and excel lence in form ;the two, real , valuable essentials in handwriting .

L EA R N I N G AND UN L EA R N I N G .

Two th ings are necessary on the part of a l l . except ch i ldren , to learn to write we l l . The first is to unlearn some

of the th ings acquired when too young to learn correctly, and under im proper instruct ion . The second is to acquirethe correct method of practice and to form correct habits of action .

The movement exerc ises as p lanned and arranged in the Arm Movement Method of R api d Wri t ing accompl ishtwo th ings at one and the sam e tim e : they overcome , counteract, and break up excess ive finger action and s low ,

cramped movement ; and lay the foundation for an easy , graceful , pract ica l handwriting .

To leave beh ind you o ld faults and to acquire correct hab i ts begin inte l l i gent. enthus iastic and pers istent pracce upon the work as p lanned, and a successful hand writi ng is yours for service and for pleasure .

P E N M A N S H I P P H I LOSO PH Y .

The s imple lever. compris ing the power. fulcrum , and we i ght . i l lus trates how large , heavy bod ies are moved byimparative ly l ittle power. In other words . it shows how motion represented by P may be converted into forceanted by W, through the agency represented by F.

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I n writing, the princ iple may be represented by the lever and pul ley The

pul ley or string represents the power, the e l bow or F represents the fulcrum ,

and the hand or W represents the we i ght . Power is thus used to produce

motion . I t is nature’

s way to multiply motion . The large , powerful musc lesof the upper

-arm and shoulder are used to mul tiply motion— are used to

increase activ ity .

The boulder represents res istance ; the pen represents act iv ity. P mustact much to move the boulder a l i ttle ; P needs to act but l ittle to move the pen

much . Comparative ly l ittle Power is necessary to move the boulder, representing great res istance, a smal l d istance ;comparative ly great Power is necessary to create, susta in, and control the hand , representing great activity, a greatd istance . for the pen in its fl i ght during an hour or day travels a long way .

This expla ins why it is so e asy to create movem ent in writing and why it

is so d iffi cult to control movement . The fulcrum represented by the e l bow beingso far removed from the weight represented by the pen, the control or manage

ment of the letter is correspond ing ly d i fficul t .

When the l ittle finger is used as the fulcrum , the control of the pen is

comparatively easy, but its propuls ion is quite t iring . Hence the ease w ith wh ichone learns to write w ith the finger movement, and the result of tire and even

paralys is when much writing must be done w ith that movement.

This makes it pla in why arm movement is d ifii cult to acquire but easy after it is learned , and why finger movement. is easy to acquire but tiring after it is learned . The end , not the means, is what should be considered .

P E N M AN S H I P P H YS I O LOGY .

The human body, particularly the band and arm , is a mach ine by wh ich writing is done. To develop, care for, and

tra in th is mach ine . one needs to understand it, e lse injury may result.

The parts most d irectly re lated to writing are the fingers ,hand ,

fore and upper-arm , and shoul der. These parts

are composed of bones , musc les, l i gaments . tendons , bloo d vessel s , nerves, tissue, etc . , etc .

The nerves stimulate activity as wel l as convey information . The blood vesse ls convey food to the muscles , bones,nerves , and ,

tissue . The bones serve as levers for action, and as a framework. The musc les are the agents of motion,

acting upon the levers from the impulse from the nerves .

The hand conta ins twenty-seven bones as fol lows : 8 carpals ( in the wrist", 5 meta carpal s ( in the palm", andphalanges ( in the fingers". The fore -arm conta ins two bones : the ulna which jo ins the under po int of e lbow and

the l i ttle finger s ide of the hand , and the rad ius wh ich jo ins the thumb s ide of the hand and the upper part of

elbow. The upper arm conta ins one bone cal led the humerus . The shoulder conta ins three bones ; the head of the

humerus, the scapula or shoulder blade, and the clavicle or col lar bone.

1 0

he muscles which move the fingers and open and close the hand are situated in the fore-arm , the larger port ionbei in front of the elbow . The musc les wh ich move the fore-arm and cause it to act as a h inge at the e l bow are

in the upper arm between the elbow and shoul der. The musc les wh ich move the upper and consequentlye arm , are s ituated back , on top, and in front of the shoulder.

re s ituated on the upper-arm and somewhat removed from

the member in action or being acted upon . These musc les act much as the string and pul ley as i l lustrated in the

chapter entitled Penmansh ip Phi losophy . Large , powerful m usc les are there fore used to create many, sma l l ,rapidl, continuous motions as used in writing .

These musc les are taught to act quite quickly and rap idly by correct and pers istent tra in ing. The exerc ises,principles, letters, letter-exerc ises, words, etc . in th is manual are used as penmansh ip gymnastic exerc ises to tra inthe musc les to do the m ind '

s b idd ing . I t is only by such tra ining that correct learning is poss ible . And it is only

through inte l l igent practice that improvement is sure to come . I ntel l i gent pract ice impl ies knowledge of the mach inewhich does the writing, to keep it in order. and to tra in it, and of the forms to be written, to know how best to

construct and execute them .

P E N M A N SH IP PSYC H O LOGY .

Mind manifests itsel f through the bra in, sp inal cord ,nerves , and muscles . Bra in seems to be the dynamo in wh ich

m ind generates power or man i fests itse l f . The spinal cord is the ma in channel through which the m ind acts . N ervestransm it energy and intel l i gence . Musc les act by m eans of stimulus from the nerves .

Mental functions are described as feel ing, know ing and w i l l ing . We first feel , see, hear, smel l , or taste . We

next become consc ious of these feel ings or perceptions and know . We then des ire to do someth ing, and the act of

doing is cal led w i l l . As concerns writing , the process is as fol lows : through the eye the m ind perce ives form : the

m ind become consc ious of sa id form and des ires to produce it ; the w i l l says,“

al l right, and d irects the musc les to

perform that wh ich the‘

eye observed and the m ind perce ived .

We have also three actions of the m ind known a s voluntary, involuntary, and reflex actions . Voluntary acts are

consc ious and under the d irect control of the inte l lect and w i l l : I nvoluntary acts are those wh ich preserve l i fe suchas breath ing, and are not only unconsc ious but sometimes independent of the w i l l . R eflexacts are those wh ich become habitual , such as talk ing, wal king, writing, etc . At first they are consc ious"but through u

repet ition and practice they become autom atic .

‘1 v .

"LA m4

N erves are of two k inds ; in-carrying or sensory nerves, and out-carry ing or mo tor nerves . The former carrymessages to the bra in from the senses , and the latter carry messages from the brain to the muscles . The hand is‘/

therefore in d irect commun ication w ith the m ind by these nerves which act as telephone or telegraph l ines . This con

nection is so close , real , and intel l i gent , that the hand is now very general ly cons idered as projected bra in . The handis also recogn i zed as the ready servant of the m ind , ever ready to do its

‘

bidd ing. So success ful does th is service or

performance become through consc ious thought and consequent repetition , that the hand learns to do many wonderfuland sk il l ful acts almost unconsc iously . Walk ing, talk ing and writing are three of many of these semi or unconsc iousacts .

At first they are al l thoughtful and d ifli cult. but by repeated effort they become quite easy and thoughtless in

performance . We become sk i l l ful , graceful , good walkers in proportion .to our careful , sk i l lful practice in walking.

We become good talkers i f we give thought to substance and utterance. We become good penmen in proportion to

our sk i l l ful practice of good penmansh ip in writing.

The hand unconsc iously endeavors to perform the d ictates of the m ind . I f the latter dictates good , c lear, tangible ,

accurate , spec ific fornI s , the hand w i l l produce them almost fa ith ful ly . The reason we have so much poor penmansh ipin the worl d is -that people think very indefin itely about the forms they are endeavoring to execute .

Think good forms and the nerves w i l l convey the message to the musc les and they in turn w i l l execute them on" wer. T h is is psychology s implified but none the less sc ientific and trustworthy . I t is not a theory . but a fact or

ld it l c a , am t“.

"on w i l l therefore m ake no m istake in storing up perfect percepts of form . To do th is, you need to

fly form critica l ly"r the proportion of the letter, its general shape, location, number, and character of its

as, loops, angles, etc.

’

Know good form . th ink gt “ . form , wi l l good form , and you w i l l soon write good form . This manua l is arrangedto

‘

acil itate getting the necessary kqowledge of form and the necessary sk i l l to execute it . Fol low the thought and

ac on and good writing w i l l fol low as surely as n i ght fol lows day .

1 1

V E RT I CA L WR I T I NG .

I t came, it conquered , and in turn was conquered by th at wh ich is better than it or its predecessors . I t came as

a protest aga inst extreme s lant and angularity. I tsel f an e xtreme in rotund ity and upri ghtness, it could not rema in

long unchanged . As a consequence . the comprom ise betw een no and much s lant, between angularity and rotund ity,

between extreme largeness and sma l lness , between heaviness and da intiness is here, and here to rema in indefinitely .

Vertical Writing emphas i zed legibi l ity and s impl ic i ty more than they had ever before been emphas i zed , and in

so do ing d id a good work ; a work wh ich l ives today, and w i l l continue to l ive , in its successors . I t d id much good ,

a l ittle harm , and passed as a potent factor in penmansh ip . Such , a lso, was the fate of Spencerian, the angular style,

and the o ld round hand . Each paved the way to someth ing better.

Let us give each its due , revere the memory of their various authors . and push on, fac ing the dawn of new cond i

tions , adopting . adapting . and developing as d id they, and thereby add our part, be it much or l ittle, to the generalgood of good writing.

POS I T I ON OF BODY .

Two th ings are essential in pos ition wh ile writing : health and effi c iency . The first is necessary. not only to goodwriting and to pro longed writing , but to the enjoyment and performance of any art or act. The second is ne c

essary

to make writing thorough ly practica l and easy in execution.

A ,

Keep both e lbows near the edge of the table or desk , as by so do ing the shoulders are even and the spinestra ight lateral ly. Lean s l i ghtly forward , bend ing at the h ips . By al l means keep the ba A . “ om bowing outward and

the body from break ing and form ing a wrinkle between the abdomen and stomach .

The l i ght should come from the left and not Arectly from in front .

The feet should be kept somewhat apart and uncrossed .

1 2

POS ITI ON OF ARM, HAND,A N D PEN. be a l lowed to turn far enough to throw the holder out

ward from the e lbow .

The ful l weight of the arm shoul d rest upon the Ho ld the pen firm ly, but do not p inch or grip it .

cush ion of musc l e in the front of the e l bow, thus form Try to be sens ible and natura l about pos it ion rather

ing the center of motion and control . The c loth ing of than rigid ly forma l .

the fore -arm shoul d be loose and l i ght, in order to give

freedom and ease to movement .

The hand shoul d_rest and gl ide upon the l i ttle finger

a long the s ide and just back of the nai l . This gl id ing

rest shoul d move freely toward the ri ght in m ak ing the POS I T I O N O R A N G L E OF PAPER .

up strokes in'

the sm al l letters . I t shoul d sl ip free ly in

large forms such as capitals and long loops .

POS ITI ON N. HAND AND FORE M.

Q LIDI NQ REST ARM R EST

The holder should po int above and somewhere be

tween the e lbow and shoulder. I t shoul d cross the hand

som ewhere near the knuckle joint of the first finger. I f

the hand and fingers are long, as in some adul ts , it

should cross above , but i f short, below as in the il lustra

tion . The hol der shoul d be held at an angle of about

forty-five degrees , as the pen writes most effectivelywhen hel d at that angle .

The s ide of the palm of the hand shoul d not touch or

rest upon the paper, but be kept free , a l lowing the l ittlefinger on ly to rest upon the paper or b lotter.

The wrist need not be held flat, but it should not

I NT E R EST AND ENTHUSI ASM.

Interest may be said to concern the ind ividual , and enthus iasm the class . I f the teacher is enthus iastic the - class

wil l become so, and each member ~wil l become interested in writing .

Education,i f it be true education, is interesting and pl easurable . I s your writing lesson interesting and p leas

1 eble"I f not, it is not educational . Then it is your duty to make it educational , by bringing to it the sameknow ledge,

and enthus iasm that you bring to your other classes .

The remedy is s imple ; prepare your writing lesson as careful ly as any other. Cheer is as catch ing as gloom"d writing as stimulat ing as poor writing is d iscouraging . Improve your writing as we l l as your teach ing and the

ch ing of writing wil l become a del ight and bened iction, because it wi l l enthuse and bless al l with a good band .

it and see .

1 3

The paper shoul d be hel d c lose to the body when

writing at the top of the sheet . and wel l from the body

when w r i t i n g

near the bottom .

T h e p a p e r

shoul d be hel dn e i t her paral lel

.

w ith the desk nor

at right anglesw ith the fore-arm ,

but about m i dwayb e t w e e n thesetwo extremes .

T h e e l b. o W

shoul d be sh i ftedfrom two to fourtimes in writingacross the page,

but never whenthe pen is on the

paper and in motion . Move the elbow between words

or exerc ises .

Both elbows shoul d be kept near to the edge of the

desk , and be bent at about ri ght angles . The fore -arm

should cross the desk at about forty-five d egrees .

A blotter shoul d be he ld w ith the left hand so that theri ght one can s l ide upon it, thusrp teeting the paper

from perspiration or oily secret ions mm the sk in .

/ 2 3 4 5

M OD E L FO R M S FOR STUDY AND IMI TAT ION .

The forms selected and presented for study and pract ice i n the Arm Movement Method of Rapid Writing are theresul t of m any years of study , observat ion, experiment, and practice . They com bine in the h ighest degree the -

essen

tial s of legib i l ity and rapi d ity . Be ing s imple, they are easy to acquire and easy to execute .

‘

Be ing graceful as wel las pla in, they are rap id as we l l as p leas ing .

The s lant is natural , be ing ne ither sti ff nor extreme , and the turns are round ing w ithout be ing clum sy . The

forms are script’

rather than print- l ike in character, and are intended to be written freely and not drawn slowly .

O PT I O N A L FO R M S FOR A DVA N C ED PUPI LS.

C w

As people d i ffer in tastes in other th ings ,it is reasonable to expect d i fferences in handwriting . The form s given

above are s l i ght mod ifications of those given for practice in the manual . These may be substituted for the ones

there in given by those who prefer. and can make them better. Sty le is of less importance than exce l lence in e xecu

tion . Therefore strive for exce l lence rather than pecul iari ty . Stick to one,form unti l you master it, and then i f you

do not l ike it, others w i l l be easy to acquire .

1 4

TEC H N I CA L AND D ESC R I PT I V E A N ALYSIS.

Letters have l ike and unl ike qual ities .

~ Like qua l ities make them easy and rapid in execution, and unl ike qual itiesmake them legible and easy to read .

Analys is emphas i zes these l ikes and unl ikes , and acqua ints us w ith the construction of letters and thereforewith the ir form and execut ion . No analys i s means superfic ial and therefore inadequate know ledge of form whi le toomuch ana lys is interferes w ith practice and robs the lesson of interest and enthus iasm .

Princ iples are forms common to a number of letters ; the th irteen princ iples constitute the ma in portion of a ll of

the smal l and capital letters . Study these princ iples critica l ly, and learn them by number for convenience in study

ing, analyz ing, and teach ing the letters .

The greater number of princ iples, a system contains, the easier is the analysis of the letters , as there are fewermod ifications .

The letter i contains one angle, one turn . one dot, and three strokes, and it is about again as w ide as high , withoutconsidering the dot . I t is al so composed of princ iples 2 and 4.

The letter u contains two angles , two turns , and five strokes, being sharp at the top and round ing at the base .

I t is composed of princ iples 2 , 4,and 4.

x The letter n contains one angle, three turns, and five strokes . I t is composed of princ iples 5 and 6 . I t is also the

same as u in he i ght and w idth’

.

The letter m conta ins two angles , four turns , and seven strokes , and is l ike the 11 except that it contains one more

princ iple. I t is composed of princ iples 5 , 5 , and 6 .

N

The letter x contains two turns, two angles , and four strokes. I t is composed of princ iples 5 and 4. I t is con

structed by retracing a portion of the first part w ith the second .

Afi d /yJ/J Jaw/y and f/7

/ 4 407 7 2 3 5 a

626 6 49 PG /P V h’

QMe [f ife/J are Cofi jff aa ‘ed

1 5

The letter r co nta ins one turn . a re trace . and a fin ish in the form of a sma l l loop . I t is composed o f princ iples5 and 1 . I t. is cons tructed by retrac ing the downward stroke of princ iple 5 w i th that of 1 w i thout ra is ing the pen .

The letter v conta ins two turns and a fini sh the same as r. I t is composed o f princ iple (5 and a fin i sh .

The letter w conta ins two angles , two turns , and a fin ish as in v . I t is composed of princ iples 2 ,4, and 4.

The letter e conta ins a loop, and is composed of princ i ples 2 and 4 joined by a turn .

The letter 0 is composed of princ iple 4 w ith a dot and turn to the ri ght of the top .

The letter 0 is an e l l ipse . I t is composed of princ iples 3 and 2 , and a finish as in w . The princ iples are mod ifiedby be ing shortened , more curving , and less slanting .

The letter a conta ins an oval . one angle, one turn,and four strokes . I t is com posed of princ iples 3 , 2 , and 4.

Princ ip le 3 is mod ified by be ing made downward . I t is an i without the dot and w i th princ iple 3 added .

The letter r conta ins one acute and one obtuse angle . and one turn . I t is com posed of principles 2 and 4. Bothare mod i fie d s l i gh tly . I t resem bles i w ith a shoulder or bump in the back .

The letter 3 is composed of princ iples 2 and 2 , the las t be ing made downward and more curv ing .

The letter t conta ins an angle , a turn , and a retrace ; a lso a letter i . I t is composed of princ iples 2 , 1 , and 4, and

a hori zonta l stra i ght l ine .

The letter d contains one angle and one turn, and an i , a, and uncrossed t . I t is composed of princ iples 3 , 2 , 1 , and 4.

The letter p contains an inverted d w ith two angles . I t is composed of princ iples 2 , 1 , 3 , and 4. Princ iples 2 and

1 are m od ified by be ing made much longer.

The letter 1 contains a loop and turn , and an i . I t is composed of princ iples 7 and 2 .

r The letter b begins the same as I and fin ishes the same as w . I t is composed of princ iples 7 and 2 , and fin ish as v .

The letter h conta ins a loop, one angle , and two turns . I t begins as I and ends as n. I t is composed of principles7 and 6 .

The letter k conta ins a loop,an open oval , and one ang le, and one turn . I t begins and ends the same as h , and is

composed of princ iples 7 , 3 , 2 , and 4. Princ iples 2 and 3 are mod ified .

The letter j begins the same as i , and conta ins an angle , loop and dot. I t is composed of princ iples 2 and 8 .

The letter y begins as n fin ishes , and ends as j . I t is com posed of princ iples 6 and 8 , and conta ins two turns, oneangle, and a loop .

The letter 2 begins l ike n and ends l ike y, and conta i ns one turn, one angle, and a loop . I t is composed of

princ iples 5 and 8 , the latter be ing mod ified at the beginn ing .

The letter 9 begins as a and ends as j. I t conta ins an oval , angle, loop and turn . I t is composed of princ iples3 , 2 , and S.

The letter q contains a complete a and i , and a loop . I t is composed of princ iples 3 and 2 1 and 2 mod ified , and 2 .

The letter f conta ins an I and i , and begins l ike the former and end s l ike q . I t is composed of princ iples 7, 1 and2 mod ified , and 2 .

The letter 0 is an e l l ipse and is composed of princ iple 9 w ith a lateral curve .

T he letter A is much l ike an enlarged sma l l a , and is composed of princ iples 9 , 1 , and 3 mod i fied in d irectionand length .

The letter C is composed of princ iple 9 mod ified , and resembles the sma l l 0, but is more round ing .

The letter E begins and ends as C, and is composed of princ iple 9 w ith a loop in the center.

The letter D begins w ith princ iple 1 and end s as the 0. I t is composed of princ iples 1 and 3 , and 9 mod ified w itha latera l curve attached .

1 6

https://www.forgottenbooks.com/join

PLAN OF

T H E ARM MOV EME NT MET HOD O F RAP I D WRI T I NG .

Form and movement are presented together, and should go hand in hand unti l a good handwriting fol lows .

Capita l and sma l l letters are al ternated throughout the'

series , the one to the benefit of the other, and as theyoccur in actua l writing .

The Form s or styles of letters are s imple and yet not s low or labored . They are the embod iment of pla inness,ease and rapid ity ; such as the bus iness worl d needs and demands .

The éopies were written free ly and represent practical rather than stud ied sk i l l . They show what can actual lybe done w ith a free arm movement.

Each and every copy is accompanied by clear, concise, practical , helpful , need ful instruction, the result of yearsof experience, experiment, and practice .

Eve ry th ird Copy in Parts Five , Six and Seven is separa ted in the center, and is int end ed to be wri tten crossw iseover the prac tice upon the two preceding cop ies .

PARTS FIVE, SIX, SEVEN AND E IGHT .

Part Five comprises th irteen smal l and twelve capital letters , the figures . movement exerc ises and princ iples .

Th is is int ended for pupi ls ten years of age and upward , and for al l who have not mastere d form and movement.

Part Six comprises th irteen exten ded sma l l letters , fourteen cap itals . the figures,exerc ises , princ iples and sen ~

tences . I t is intended Uo fol low Part Five, an d to com plete the e lem entary foundat ion of form and movement .

Part Seven com prises al l of the letters and figures", exerc ise s , and sentences . It sho ul d fol low Part Six, and carry

the work on to a more advan ced stage .

Part Eight com pri ses letters, exerc ises , sentences ,names and a ddress es, paragraph s , Business Forms

,letiter, etc .

I t shoul d fo l low Part Seven and carry the work to. a practical , business -l ike end ; an e asy, rap id , legible hand-writing .

FI N AL WORDS WORTH HEEDI NG .

Each Copy should be practiced unti l im provement is observed , and , better sti l l , unti l the work is satisfactory in

both form and movement.

The Mastery of each copy makes each succeed ing one eas ier,and the who le art an easy and assured possess ion .

The fa i lure to master first princ iples means fa i lure al l a long the l ine unti l you return and master them .

Good Writ ing is no sl ight task, nor is it an ind i ff erent accompl ishment . I ts w orth makes it h igh ly des irable , andits acquirement depends upon the fa ithfulness w ith wh ich you pursue enthus iastical ly and practice intel l igently t hework so careful ly planned here in .

After a l l, it is interest in and love for good writing that makes it easy of acquirement, and its possess ion a source

of satisfaction and continual profit.

1 8

PART F IV E OR BOOK F IV E

Comprises movement exerc ises , princ iples , thirteen smal l letters , twelve capital s , words . and figures ; al l gradedand arranged spec ial ly for easy , speedy, and correct learn ing , w ith detai led instructions accompanying each copy,

together w ith a modern, descript ive, non-techn ical , s imple system of ana lys is .

Every third copy is intended to be written crossw ise on the paper over practice of previous cop ies , thereby util iz

ing paper and at the same t ime learn ing to write in a stra i ght l ine w ithout a guide other than the eye .

Letters are given in groups accord ing to s im i larity, the easiest ones being given first, each lead ing to someth ingmore and more d i fficul t, thus putt ing into practice and real i z ing the true worth of the ol d educational maxim :

“ fromthe s imple to the complex .

Form and movement, for the first time , have been presented upon a par; neither hav ing been sacrificed , but bothmade ready servants from the start in the art of learning to write wel l .

Cap ital and smal l l etters are presented alternately, each to the benefit of the other ; the capital s to make the

smal l letters free, and the sma l l letters to make the capitals less scraw l ing .

Movement has been inseparably connected w ith form , and not d ivorced from it as has hereto fore too frequentlybeen the case . Learn ing correctly from the beginning is here made so easy and pla in that no one need fa i l to acquirea good handwriting, as theory and practice , sc ience and art, form and movement have been so comb ined that the

road to good writing is as pla in as the proverb ial road to market.

”

Use a rapid arm movement. Keep thefingers from acting. Make about 2 00down strokes a minute . Work carefully at all ifmes .

I NSTRUCT IONS FOR PRACT ICE.

With the body in a healthful attitude , and the fore-arm resting upon the table, you are ready to begin practice upon

the compact oval exerc ise . Use pure arm movement, and m ake about 200down strokes to the m inute . Raise the penevery coupl e of inches and ad just the paper and e lbow so that the movement does not become cramped . Make the ex

erc ise’ between two b lue l ines , about three-ei ghths of an inch apart, and avoid open spaces or b lots . Fi l l l ine a fter l ineand page after page of th is form unti l you can make it regular in he i ght and spac ing . Keeping constantly at it w i l lreward you with a pleas ing exerc ise and ul t imate ly w ith a good hand -writing . Master this exerc ise and the fol low ing

w i l l then be w ith in your grasp . Work l ively at al l t imes, counting 1 , 2 , 3 , 4, 1 , 2 , 3 , 4, 1 , 2 , 3 , 4, etc . at the above rate

of speed .

See that the arm worksfi’eely on the muscle in front of the elbow. Sleeve should be loose. Count I 2 . 3 , 4 . 5 . 5 for each oval .

I NSTRUCT IONS FOR PRACTlCE.

Review first exerc ise before beginning th is . Aftei you have good control of the arm , begin upon these ovals, and

see how un i form in s i ze and spac ing you can m ake them Retrace each oval f1 on1 s ix to ten times, counting at the rate

of about 200 revolutions to the m inute . The s leeve should be loose enough to al low the arm to rol l f1 ee ly w ith init. The l ittle finger should gl ide freely and eas i ly upon the s ide of the first jo int and upon the blotter. Keep the penin good cond ition and use it careful ly , changing whenever it begins to scratch or make a coarse l ine . Stop practic ingnow and then to exam ine your work and to compare it with the copy . Learn to criticise intel l igently and you w i l limprove much faster.

1 9

Count nghz. left . right, lefl . fight, left. at (h

fore -arm act ing l ike a h inge at t

center at the e l bow .These exerc ises shoul d

cul tivate the hab it of writingstra igh t across

w ith quick ,sure, yet l ight acti

on .

This shows how to pr

fortunate enough to have one on t

t ion of l ine . Work

through activity . I t is necessary to do a

ing. and it is true inwriting . Repet ition

The pen should ma

actice crossw ise over the prev io

he paper youare practic ing upon .

Sk i l l comes only through training ;

freely at al l times ,nev

e rate of about 1 00strokes a minute . Letforea rmact like hinge at elbow.

the page w ithout a ru

MODEL PRACT ICE.

us work and to do so w ithout

Watch spac ing between lines as wel l as d irec

er drawing or d ragging the pens lowly .

thing many t imes before profic iency resul ts .

is the key to success .

20

See how unfiorm in height, slant, and spacingyou can make this exercise . Drive the arm quickly in and out the sleeve .

I NSTRUCT IONS FOR PRACT ICE.

This straight-l ine exercise is made with an in-and -out or push-and -

pul l action of the arm , no finger or wrist actionbeing necessary. Make it between two blue l ines and endeavor to secure uni form s lant . Make about 200down strokes

to the m inute . See how even you can get the spac ing . Arm movement, l ike most good th ings , is not gotten w ithout

pers istent effort, but it is sure to y ield to pa instak ing, inte l l i gent practice , and it is the secret of good penmansh ip .

Do not let the fingers act in form ing the up and down strokes . The ir function is to hold the pen whi le the arm prope ls

it . These exerc ises are given to aid you to ga in control of the arm musc les so that you can eventual ly write w iththem , and write wel l and easily too .

Use circular movement on oval and push-and—

pull movement on the straight line. Retrace about six times . 2 00down strokes to the minute .

I NSTRUCT IONS FOR PRACT ICE.

Make the oval and then straight l ine . This going from one to the other quickly prepares one to go from one letter

to another w ithout hesitation ; a very necessary th ing in actual bus iness writing . Use pure arm movement . Hold the

pen firm ly but do not grip it . Aim to preserve a neat appearance of the page , free from blots , and systematic in

arrangement. Do not be satisfied w ith fa ir resul ts— strive for excel lence . I f you are s incere and persevering, youw i l l get what you go after. Trac ing rap idly over the copy w ith a drv pen w i l l give a better idea of form and s i ze,

and it may have a tendency to rel ieve nervous tension as we ll . Crit icise each l ine . See that slant is uni form and

spacing regular. See, also, that oval s are about two-thirds as wide as long.

Let the fore—arm swingfreely from the elbow in making these exercises . 771e lower curve will require also some in-and— out motion.

I NSTRUCT IONS FOR PRACT ICE.

Swing right, left, right, left, right, left about 100 strokes to the m inute . Let the strokes be as regular as that

of a pendulum , and as c lear cut as the copy . No finger or wrist action shoul d be a l lowed . Make these crossw i se over

the practice on the oval s and stra i ght l ines of the previous copy . Reverse the motion at a given place each t imeso as to keep the margins perpend icular. Arm movem ent is easy after it is once under control . These exerc ises aid

in getting control . Th e better the exerc ises . the better the control . Lightness of stroke and quickness are desirable .

How wel l and how easi ly should be your motto .

2 1

See that littlefinger glides easily andfreely with the pen. Time. I , 2 , 3 . 4, 5 , 6 , finish, I , 2 , 3 , 4, 5 , 6 finish, 1 . 2 , 3 , 4, 5 , 6 ,finish.

I NSTRUCT IONS FOR PRACT ICE.

See that the movement is regular, elastic, and free . Avo id spasmod ic starts and stops , but let the motion rol l onfrom form to form . Mot ion should precede plac ing the pen on the paper and continue after it has been raised . Concentrate the m ind upon the finish , or you may have d i fficul ty to change from the large oval to the smal l . Aim atperfect ease in execution, as that secures the best results in form . Grace and accuracy are the result of ease andfreedom .

Arm movement. Rolling motion. About 70to the minute. Finishwith curve pointing upward. Nofingermovement.

FORM STU DYThe O is composed of princ iple 9 and a lateral curve . I t comprises an el l ipse , and a

loop which should and upward . The second form resembles A , and the last looks l ike I .

I NSTRUCT IONS FOR PRACT ICE.

Use an easy, rol l ing arm movement . Curve both s ides equal ly . After mak ing a l ine of o’s , stop and look them

over careful ly. See where in they are good , and where in they are poor. Then endeavor to im prove them . Rememberthat qual ity is essential as wel l as quantity . One can practice too much as wel l as too l ittle . Careful , inte l l igent,critical practice brings the best results, and in the least time.

Swing back andforthfreely in makingfirstform. Make second exercise with~a rapid up— and- down action. Glide freely on up strokes.

I NSTRUCT IONS FOR PRACT ICE.

Use gl iding movement on the long up strokes . Little finger shoul d sl ip freely toward the ri ght in making them .

The stra ight l ine or princ iple one is made downward with l i ttle finger s l ipping but l ittle . Make it firm ly rather thanrap id ly, and w ithout much if any finger movement . T ime, gl ide 1 , gl ide 1 , gl ide 1 , gl ide . About si xty down strokes

to the m inute .

22

See that arm swings freely from the elbow. Keep down stroke straight.

I NSTRUCT IONS FOR PRACT ICE.

An easy, graceful gl id ing of the pen and hand is necessary, not only for these exerc ises , but for success ful writing as wel l . These exerc ises are of a

'

two-fol d value as they break up and overcome excess ive finger action and

cultivate at the same time the correct action of the arm . Do not hes itate therefore to fi l l many pages of such forms ,

and to review them frequently . I nstead of buy ing paper by the n ickel‘

s worth , get a quarter ream ( 250 sheets"at a

ti'

me . I t takes paper as wel l as effort to learn to write correctly, but it is a paying investment .

Angle at tap, turn at bottom. Littlefingerglides freely in making all upward strokes. Place dot carefully .

FORM STU DY .

The i is composed of princ iples 2 and 4 with a dot above . I t contains one angle , one turn , and

three strokes, and is made w ithout raising the pen except to make the dot . The lower l ine showsthree common tendenc ies or errors, wh ich shoul d be avoided . The first resembles c because the

down stroke is curved ; the second resembles e because it is looped instead of be ing sharp ; and

the third resembles r because it is sharp at the base and fin ishes w ith a left instead of a rightcurve .

I NSTRUCT IONS FOR PRACT ICE.

Use the same gl iding motion described in the previous copy . See that the movement centers at and procedes

from the elbow in mak ing such letters as i, u, m, w , etc . T ime, 1 , 2 , 3 , dot, ; 1 , 2 , 3 , dot 1 ,2 , 3 , dot for the i : 1 and 3

for the up strokes , and 2 for the down stroke . About 50to the m inute . Not that many each m inute, but at that rate

of speed when the pen is on the paper.

Use a rapid, circular arm movement in making oval exercise. Employ a quick, direct, straight arm action to make second exercise.

I NSTRUCT IONS FOR PRACT ICE.

Make each exercise without rais ing the pen . Learn to be quick and l i ght in action , and continuous . Strength and‘scope come by

“ hol d ing on”unti l the exerc ise is completed . I t encourages three th ings : up-and -down action, free

dom from left to right, and cont inuity of effort. Al l are necessary for good , legible, rapid writing.

23

Keep a good position. Take good care ofpen. Watch slant. Make oval and then straight line. Keepfingers from acting.

I NSTRUCT IONS FOR PRACT ICE.

Always read and re-read head l ine of copy . Then study the copy ; its shape , s i ze , and method of mak ing . Nextread instruct ions . You are then ready to practice inte l l igently, and make im provem ent in accordance w ith your

m ental and phys ical eff ort. Make oval and stra ight l ine tracers at the rate of about 200down strokes to the m inute .

MODEL PRACT ICE.

Th is practice shows how every th ird copy can be wri tten across that whi ch h as been written over once . Be

watch ful about spac ing between the down strokes as wel l as between l ines . See how orderly you can keep your prac

t ice sheets . Systemat ic practice encourages im provement more than any other one thing . The bus iness man ad

m ires order and neatness , therefore develop them . See the fol low ing page .

24

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Study quality of line in the up strokes . See how smooth and sharp . Afree movement is necessary to secure them.

I NSTR UCT IONS FOR PRACT ICE.

Cultivate a l i ght, l ive ly action and the qual ity of l ine in your writing wi l l improve greatly . N ervous , broken l inesare the resul t of s lowness and cramptness rather than of real nervousness as is genera l ly supposed . Swing eas i ly,

graceful ly,and l i ghtly from one blue l ine to the one beneath in mak ing the double-l ine ia exerc ises . Ease in wri ting

comes by learning to make exerc ises freely and graceful ly . Avoid finger action as none is necessary in such work

as th is .

Use a rolling, fairly rapid arm movement. End 0upward and A downward . Make the former more rounding than the latter.

I NSTRUCT IONS FOR PRACT ICE.

Go from one letter to the other w ithout check ing the m ovement, s im ply change it s l i ghtly in the finish ing of the

l etters . Study the d ifference between the le tters in the copy and then the d i fference between yours . Use no fingerac tion . Noth ing but pure arm movement is necessary . See how graceful as wel l as how accurate you can make

them .

Arrows show which diwection to make the principles . All are same inhigh . Up strokes slantmore than down strokes . Count 7, 2 , 3 , 1 , 2 , 3 .

I NSTR UCT IONS FOR PRACT ICE.

Make the up strokes more freely than the down stroke ; al so make them more s lanting . See that the l ittlefinger s l ips freely toward the ri gh t in mak ing the up strok e s . Do not shade the down stroke or finish the up strokes

w i th a dot. Ra i se the pen wh i le in mot ion,in mak ing the up strokes . These l ittle forms are the e lements of writing

and we have named them princ ip les . The first is princ ip le 3 ( left curve"; the second , princ iple 1 (stra igh t l ine";and the th ird , princ iple 2 (rig1h t curve". R em ember the ir names .

26

Use an easy, graceful, gliding motion at all times . Make turns rounding and angles sharp . Pure arm movement. Nofinger ac tion necessary

I NSTRUCT IONS FOR PRACT ICE.

These are principles 5 , 4, and 6 , or upper turn, lower turn , and double turn . I f you can make them freely andwel l , you w i l l have but l ittle d ifiiculty in mak ing most of the letters as they com prise the ma in portion of a majorityof them . See that the l ittle finger s l ips freely toward the ri ght and that the motion comes from the e lbow and notfrom the fingers .

Princ iple 5 is made on th is time, 1 , 2 ; 1 , 2 ; 1 , 2 ; accent on the 2 . Princ iple 4 on th is time , 1 , 2 : 1 , 2 ; 1 , 2 ; accenton the 1 . Principle 6 on th is time , 1 , 2 , 3 ; 1 , 2 , 3 ; 1 , 2 , 3 ; equal emphas is . Make about 75 to the m inute .

77te n contains one angle and three turns . The wide spacing develops a free movement across the page . Push on the up strokes.

FORM STU DY .

The n is composed of princ ip les 5 and 6 . The common faults are found beneath the

correct forms . The first resembl es u. The second m ight be m istaken for re because it con

ta ins two angles instead of one, and two turns instead of three . The th ird resembles an -r

because the last part looks l ike a flourish , and i s on a d i fferent slant than the first .

I NSTRUCT IONS FOR PRACT ICE.

Keep the down strokes paral lel and al l turns equal ly round ing . The tendency is to sharpen the second upper turn

and to make the last one too round ing . Avo i d these i f you woul d write unm istakably p la in at a l l times . Avo idspasmod ic motions by cultivating a strong . steady, free arm movem ent . Wide spac ing is good to d iscourage fingeraction by mak ing it poss ible and eas ier to use arm movement instead . The ova l thrown freely around the last n w ith

pure arm movement insures perfect freedom from start to finish . Be sure to make it graceful by us ing a gracefulmotion .

Make all turns equally rounding and all angles equally sharp .

-

Connect the exercises gracefit lly by using a graceful arm movement.

I NSTRUCT IONS FORPRACT ICE.

The sooner you give up dragging the pen sluggish ly with a heavy . lazy-l ike motion, the better for you and your

writing. The sooner you abandon al l finger and wrist movement on such forms and exerc ises as the above , the better

for you and your penmansh ip . You cannot serve two masters successful ly . Therefore strike out bo ld ly . and keep

strik ing, and success w i l l fol low . Keep a good pos ition of body, arm , hand , and paper. Do not let palm of hand rest

on paper. Keep elbow just off the edge of the table . See i l lustrations .

27

77te m contains two angles and andjbur turns . See that the little finger as well as the penjogs gently toward the right and across the page.

FORM STU DY .

The m is composed of princ iples 5 , 5 , and 6 . I t has seven strokes , three short and

four long ones . The first improperly formed m is too angular and irregular in spacmg ;

The second resembles no, and the th ird looks l ike rn because of irregular s lant of the

down strokes .

I NSTRUCT IONS FOR PRACT ICE.

Aim to use pure arm movem ent on th is form and to se cure un i form slant in the down strokes . Push in making

the long up strokes and sw ing graceful ly from one blue l ine to the other. To do th is success ful ly, the s leeve‘

needs

to be loose at the elbow so as to al low the arm to act free ly w ith in it. The arm shoul d not sl ip on the table, but act

upon and w ith in the bunch of musc le just forward"of the e lbow .

Time, I , 2 , 3 , swinging l , 2 . 3 . About 40m‘

s a minute. Time, I . 2 . 3 , circle; I 2 , 3 . circle. About 2 5 m'

s a minute.

I NSTRUCT IONS FOR PRACT ICE.

Sit quite erect to make exerc ises . I t enables you to see the form and it loosens the movement . Accuracy at th isstage of progress is not as essentia l as freedom , and as gracefulness in form and motion . There is but one safe, sure ,

successful way, and that is through a graceful arm movement. Begin ari ght and you w i l l end right, because once on

the ri ght road , the trave l ing w i l l be del ightful .

Use a rolling. circular arm movement on the capital . and a gliding. fore-arm action in the small letters .

I NSTR UCT IONS FOR PRACT ICE.

The change from capi tal s to sma l l letters and from sm al l letters to capital s is at first somewhat d i fficult, as it

involves changing from ova l to gl id ing motions and back aga in to ovals , but a l ittle practice w i l l soon overcome the

d iffi culty . Spac ing between the smal l letters is much w id er than in them . Keep the spac ing in letters normal .

28

Watch turns and angles closely in the word Annum. Keep spacing wide between the letters . Use a free.

’

easy arm movement.

I NSTRUCT IONS FOR PRACT ICE.

A light, fine, smooth l ine is des irable , and unless you have it, your movem ent is not what it should be . Make thecapita l A with a l i ght, easy, forceful sw ing of the hand and arm , watch ing critica l ly the slant of oval, w idth of same,

retrace, and fin ish . Be careful but not slow or sluggish . Watch spac ing between letters and keep it uni form .

The tracer is good to develop sureness . Make it briskly without the aid of thefingers . Make about 2 5 retraced ovals in a minute .

I NSTRUCT IONS FOR PR ACT ICE.

In mak ing the A tracer, endeavor to keep the l ines c lose toge ther, and retrace each form about six times .T ime,

1 , 2 , 1 , 2 , 1 , 2 ; 1 for the first down stroke and 2 for the second . The motion shoul d be free from jerks , regular,free ,

and fairly rapid . The retrace oval should be made a tri fle faster than the A tracer. and the spac ing uni form .About

200down strokes to the m inute makes a l ively action, but not too l ively i f wel l modulated .

Place the pen quickly andfirmly upon thepaper and then make the Cwith a strong, free, circular armmovement.

FORM STU DY .

The C is composed of princ iple 9 . I t begins‘

and ends the same as the sma l l letter c , but has

a more round ing back and a shorter finish . The second form lacks rotund ity and suffi c ient bookat the top .

I NSTRUCT IONS FOR PRACT ICE.

Place the pen firm ly and quickly on the paper, and give the hand and pen a free , forceful wh irl to the left and

downward . to make a good C. Almost strike the paper to create a dec ided dot in beginning t he letter, and make at

least (50to the m inute . DO not grip or pinch the hOlder, yet hold it firm l y . A certa in tenseness of grasp and of musc le

is necessary for a good qual ity of motion . Cramptness is one extreme and looseness is the other. Avo id both .

Fause slightly at the beginning of each C. Use a free. fOt‘

Céfit l, rolling. arm movement. Make about 75 in a minute.

I NSTRUCT IONS FOR PRACT ICE.

Emphasize the dot of each letter, and i f you prefer a sma l l loop instead of the dot, there is no reason why you

should not be al lowed to adopt and use it . But make it an unm is takab le C, and make it freely . Exce l lence does not

come at the first b idd ing . Like a fa ir ma i den . a good handwri ting must be wooed and won by pers i stent . fa ithfuleffort. Once won, l ike a good w i fe, it is a serviceable . l i fe com pan ion .

A good position is necessary for good health and a good hand writing. Space should be uniform.

I NSTR UCT IONS FOR PRACT ICE.

Make from four to five exerc ises to the m inute . Keep the compound curve m idway between the blue l ines . Swing

leftward w i th cons iderab le force but not w ithout grace . Practice each exerc ise by itse l f, fi l l ing page upon page of

each . I t is a good exerc ise to practice crossw ise on the paper over prev ious practice . I n th is way paper may be econ

om iz ed , and ,what is sti l l more important, the eye and hand tra ined to write straight without l ines to write upon .

The x contains two turns and a retrace . Raise pen in each letter.

Finishforms below with a sweeping arm movement.

F ORM STU DY .

The x is composed of princ iples 5 and 4, made c lose together. The first part of first imperfect

letter is too s lanting and the second'

part too curving . The last form resembles v because the

second part does not come to the base l ine . Be careful to retain the essentia l characteristicsof each letter.

I NSTRUCT IONS FOR PRACT ICE.

Th is style of x is fin ished on the spot”w ithout going back to cross it . Think of princ iples 5 and 4 in mak ing it,

and retrace the down strokes neatly . I f des ired , the letter may be made w ithout ra is ing the pen by retrac ing the

first down stroke the same as in the smal l letter_v . Many p refer to make it in th is manner. Choose your method , and

then perfect it. Excel lence is the thing des ired and in demand .

Be mindful of corres tion. Watch 551k mg in and between letters . Use a free. gliding arm movement.

I NSTR UCT IONS FOR PRACT ICE.

See that the l ittle finger g l ides freely from letter to letter. Be careful to place dot of i above the letter and not to

the ri gh t of it . Fini sh x as careful ly as you begin m . Keep al l turns equal ly round ing and al l angles equal ly sharp .

30

See howgradually you can approach the center and howfi’eely . Use a free rolling arm movement in the E tracer. Study form.

I NSTRUCT IONS FOR PRACT ICE.

This d im inish ing tracer is a fine exerc ise to ass ist one to ga in contro l over the movement. I t o vercomes s pas

mod ic action and cultivates patience . Make the E tracer w ith an easy, rol l ing arm movement, keeping the loop sma l l .

Place the penfirmly upon the paper and two, circular impulses will make the E. and about 5 0to the minute .

FORM STU DY .

The E begins and ends l ike C. The loop should be made near the center. The second

letter looks l ike 0 w ith a l ittle extra tw irl in the beginning . The loop in the last form is

too large .

I NSTRUCT IONS FOR PRACT ICE.

Keep the smal l loop near the center and pointing downward . Keep the motion rol l ing from one letter to the

other, and hit the paper quickly with the pen as you start the E Learn to be quick and sure and your writing w i l l

be in demand . Rap id writing is a valuable acquis ition .

Write the word without raising the pen. Begin with a rolling and end with a gliding motion. Write 1 5 words a minute.

I NSTRUCT IONS FOR PRACT ICE.

Start the E freely but not reck less ly or you w i l l have d i fficulty to connect successful ly to the n, as it requireschanging from a rol l ing to a gl i d ing motion . Keep a l l turns the same in the smal l letters . and ma inta in w ide spac ing

between the letters . Watchfulness of detai ls is the secret of superior penmansh ip . And i f you are careful of deta i lsin writing you wi l l be careful w ith the deta i ls of other arts and acts .

Make the compound curve with a_ graceful motion. The tracer should be made quickly without littlefinger slipping very much.

I NSTRUCT IONS FOR PRACT ICE.

Do not raise the pen unti l each exerc ise is completed . R etrace the compact exercises w ith care so as to secure

uni form spac ing and color. Much t ime can be spent very profitab ly upon these exerc i ses . They are more valuable

than they appear.Therefore invest in them . They w i l l pay handsome d ividends later on . and a l l through l i fe .

3 1

The r contains a turn, a retrace, and afinishing loop . Make the circle with a quick, free movement. Be careful . Be perseveting.

FORM STU DY .

.The r is com posed of princ iples 5 and 1 and a finish in the form of a sma l l loop and a lateralcurve . The first imperfect letter looks l ike v, and the

“

second l ike x . Avoid these errors .

I NSTRUCT IONS FOR PRACT ICE.

Begin the r l ike n , retrace the downward stroke careful ly w i th the upward , and finish with a

smal l loop or dot, paus ing sl ightly before starting toward the right. A l ittle finger action is

a l lowable , but not much is necessary or des irable . Be careful to retrace a l l of the way up. Circ le the r w ith freedomand care, doing so graceful ly .

Make the long connecting lines with a strong, free arm movement. Finish the r with care. Swing gracefully from'

one lineto the other.

I NSTRUCT IONS FOR PRACT ICE.

I t is sa id that tri fl es make perfection'

and that perfection is no tri fle . Trifles make writing good or bad , and

surely good writing is no tri fle . Watch the l ittle th ings and ere long your writing w i l l be a glorious success . Whata good recommendation it is to have people say how wel l you write"”

Make about 2 00 down strokes to the minute and about 600’

s . See howfreely and easily as well as howplainly you can write .

I NSTRUCT IONS FOR PRACT ICE.

Enthus iasm makes th ings easy . I f you are interested you w i l l enjoy the writ ing hour. Writing is not so muchtalent as it is acquis it ion . Al l must learn it. Some learn m ore eas i ly than others because they are more interestedand amb itious . Start to work enthus iastica l ly upon the tracers and o

’s and see how eas i ly you can conquer that right

arm Of yours . Success to you.

Begin with a straight line and fnish like 0. Watch spacing between letters . Time, 1 . 2 , 3 ; l 2 . 3 ; 1 , 2 , 3 . About 5 0to the minute.

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Put vim inyour practice . watchfulness in your eye . and perseverance in your ejfort and a good handwriting will follow.

I NSTRUCT IONS FOR PRACT ICE.

Begin the word w ith an upward curve and turn and end it w ith a lower turn and curve . Finish v careful ly and

place dot over i , not to the ri ght Of it as is a common tendency . See how grace ful ly you can sw lng from one word toanother beneath it . Watch pos ition as we l l as spac ing .

Secure uniformity in heIght, spacing and slantwithout sacrificing eitherfreedom orarmmovement. Persevere andyouwillwin agood handwriting.

Practice , practice, practice ; study, study, study ; care , care, care, are the price one must pay for a good handwriting. Money cannot buy it, ne ither can money take it away . I t is an accom pl ishment a l l adm ire and a necess ity many

bus iness men demand , as evidenced in the request found in want”

advertisements and e lsewhere apply in own

handwrit ing . That tel ls the tale , and your hand may e ither w in or lose you a good pos ition, depend ing upon its

excel lence or poorness . Better resolve now to write wel l and you w i l l .

Make the Pwithout raising the pen. Retrace quickly and make the oval with a free, forceful, swing . Pau'

se may be made at bottom.

FORM STU DY .

The P is composed of princ ip le 1 ,retrace . and princ iple 9 . The princ iples are mod ified

in s i ze and d irection . The second form is too narrow, and the last too round ing and the

finish is too low .

I NSTRUCT IONS FOR PR ACT ICE.

Review the copy before this and then see how wel l you can make the P. N ote the fact that the second part of

oval slants more than the first or retrace part . Begin w ith an in-and -out motion and end w ith a c ircular one . Makeabout 50to the m inute . Time , 1 ,

2 ; 1 , 2 ; 1 , 2 . Count 1 for the first part and 2 for the oval .

Study spacing. See how Pends and u begins . Down strokes in small letters should be the same slant as the capital . Write freely at all times .

I NSTRUCT IONS FOR PRACT ICE.

See that first stroke of u is para l lel w ith last stroke of P. Keep u Sharp at the top and n round ing . N ever have

them appear the same and your writing w i l l at least be leg ib le . There is too much i l legible, scraw l ing, scribbl ingwriting in the world . Resolve that there sha l l be one less poor penman in the world by improving your penmansh ip .

I f you are a teacher, resolve that there sha l l be many less by teaching writing rat iona l ly and enthus iastical ly .

84

Use afree. lateral , gliding action in thefirst exercise, and a gliding and circular motion in the second .

I NSTRUCT IONS FOR PRACT ICE.

Practice these exerc ises crossw ise over previous practice . Make a downward stroke in the first exerc ise, on eachblue l ine crossed

;

and in the second , a letter on each cross l ine . Th is w i l l teach you to hit the mark”and get what

you go after— a good handwriting .

The w is a uwith afinish like v. Do not grip the holder. Sit erect. Use arm movement. Studyform. Thinkform.

FORM STU DY .

The w is composed of princ iples 2 , 4, and 4, and a fin ish as v . I t conta ins two angles .

two turns , five strokes and a fin ish . See that your letter conta ins the same . The firstcommon fault looks l ike io ; the second , l ike an angular m ; and the th ird , l ike ue . Write

pla inly by avoid ing these errors .

I NSTRUCT IONS FOR PRACT ICE.

Pause gently in finish ing the w , and see that the first part resembles u. The w -u exerc ise a ids in developing thefirst part, and the w-v exerc ise aids in developing the fin ish . Push the pen rather than drag it. R emember that a

good handwriting is not acquired in a day , nor w ithout spec ia l effort . But it is poss ible to a l l who are worthy of it

and who are w i l l ing to pay its price in toi l .

Ifyou would win a good hand writing. you must workfor it. 77te copy will help you.

I NSTRUCT IONS FOR PRACT ICE.

An easy,gl id ing,

free movement from letter to letter is necessary for good wri ting and easy writing. The l ittle fingerneed not sl ip much in the letter, but it should s l ip freely in going from one letter to another. An easy . gl id ing act ionof the l ittle finger toward the right wh i le writing is . in itse l f, a guaranty of good wri ting nine cases out of ten . Therefore get it, and get it quick . Circ le the n in the word w in free ly and eas i ly .

3 5

Doyour best each time . Master movement by mastering the exercises . Thenyou can master writing. Use a rolling motion in the B tracer.

I NSTR UCT IONS FOR PRACT ICE.

See how regular in he i ght. s lant, and spac ing you can make the stra i ght l ine exerc ise w ithout the a id of the

fingers , and at the ra te Of about 200down strokes to the m inute . Practice free ly and free writing w i l l resul t.

Make the B without raising the pen. Retrace carefully but quickly, andfinish with a rolling motion, stopping with the pen on the pgper.

FORM STUDY .

The B is composed of the Pw ith an oval ad ded . The l ittle loop should point upward ,

and be near the center of the letter. The top of the second letter is too smal l , and the

loop in the last is too large .

I NSTRUCT IONS FOR PRACT ICE.

Use a quick , l i ght, elastic in-and-out or push -and -

pul l movement in the first or retrace part of the letter, and tworeverse ova l mot ions in the second part of the 8 . Keep your movement und er the control of the wi l l by th ink ingintent ly of the letter as you are about to make it . Be quick menta l ly as we l l as phys ical ly . Th ink good writing and

you w i l l soon produce good wri ting .

Write halfway across page without raising pen. Then raise the pen each word either at ending or base offirst part of B .

INSTRUCT ZONS Ff R PRACT ICE.

Strive to write w i th cons'

iderab le force . By so do ing you w i l l deve lop freedom and ease . Slant u and n the same

as the first part of 8 . Keep top of u sharp and n round ing . Do not forget about pos i tion . I t is necessary for hea lthas well as penmansh ip .

Use a free . small . rolling motion. Swing grace/id ly from one line to the other, using nofinger or wrist action.

rf ’ p

I NSTRUCT ION S FOR PRACT ICE.

Let the motion be a l ive ly one from start to finish . K eep the loops ful l by us ing a c ircular action . The l ittlefinger needs to jog toward the ri ght freely and eas i ly . I t is best to let the l ittle finger rest on the flesh rather thanon the na i l , and to use a blotter to let it s l ip upon . The blotter protects the paper from perspiration and oil and keepsthe finger dry . Hold the blotter w ith the left hand , and keep it about an inch below the l ine you are writing upon.

Always loop the e and dot the i. Form andfreedom should go hand in hand. Keep a good position. Watch spacing. Be systematic .

, Z / W

FORM STU DY .

The e is composed of princ iples 2 and 4 by be ing joined at the top by a curve instead of an

angle as in i . I t conta ins one loop, one turn, and three strokes . The first tendency is to d im ini shor om it the loop and it then resembles i, and the other tendency is to make it l ike a sma l l capita l Eand it then looks l ike r.

I NSTRUCT IONS FOR PRACT ICE.

The loop is the characteristic of the e, therefore be sure to make it ful l enough to be eas i ly recognized from i.

Use an easy, rol l ing motion, curving the up stroke more than the down stroke . The e w ith a c ircle around it makes

a pleas ing form for practice . See how unl ike you can make i and e w ithout curving the back of the e or mak ing the

lower turn of e more round ing than the i.

Pause infinishing v to avoid looping it, and to be sure to loop the last e. Watch the turns.

I NSTRUCT IONS FOR PRACT ICE.

Finish the word as careful ly as you begin it ; even more careful ly . Make up your m ind to end right Whether youbegin ri ght or not. Make the e l l ipse about the word w ith a quick, easy sw ing of the hand and arm . No wrist move,

ment. See that the entire motion centers at and procedes from the e l bow . Be careful to not loop the finish of v or

drop to the base l ine w ith it .

77te dimin tshmg oval exercise aids one to control movement. and thereby to write a large or small hand. Watchyourposition.

I NSTRUCT IONS FOR PRACT ICE.

See thatO

thc arm ro l ls free ly upon the musc le in front of the el bow in mak ing these oval forms . Let the

mot

éon be ne i ther hurried nor s luggish, sure but not sti ff, and l ight but not weak . Ease of execution is the key to

goo wri ting .

Retrace R carefully but quickly andfinish with a vertical compound curve. Make the three R'

s without raising the pen. Loop should be small .

FORM STU DY .

The R is com posed of the Pw ith a vertica l compoundcurve added . The loop should

po int upward and be near the center of the letter. The second R resembles K, and the

last one is top heavy.

I NSTR UCT IONS FOR PRACT ICE.

Make large oval of R nearly hori zontal and see that l ittle loop points upward . The letter fin ishes downward and

toward the ri ght the sam e as A, and w ith as de l icate a curve . See how eas i ly they may be jo ined . Be sure to drop

to base l ine w ith finish or it may resemble Pwhen they are jo ined .

Use an easy, gl id ing-toward— the-nghtfore-arm movement. Spacing is wide bet-ween the letters . not in them.

I NSTRUCT IONS FOR PRACT ICE.

Runner is a n ice word to practice . Make the letters smal l and the spac ing between them wide . Keep the‘

down

strokes stra i ght and the same in s lant . The r used at the end of the word should never be used except as a final l etter.

Fin ish the capita l w i th a vertica l compound curve end ing toward the ri ght .

Maintain a good position. Keep good pens. Watch angle ofpaper. Reviewprevious exercises . Use arm movement“

.

These exerc ises are good to develop speed and control ; two very des irable essentials of a practical handwriting .

See how gradual ly you can merge from the com pact to the open exerc ise , and how rap i d ly . A lternate the oval and

stra i ght l ine exerc ises .After worki ng fa ithful ly and strenuous ly upon the exerc ises to the left, begin practic ing

somewhat more leisure ly upon the one to the ri ght. swinging w i th a l ively grace from exerc ise to exercise .

3 8

The c has one dot and one turn. Make the dotfirmly and finish the letterfreely . Do not raise the pen injoining the c .

FORM STU DY .

The c is composed of princ iple 4 and a dot and turn to the right at the top . The first im perfectform resembles i because the turn and dot are too sm a l l , and the second looks l ike a capita l .I l legible writing is due to these common tendenc ies wh ich , therefore , should be guarded aga inst .

I NSTRUCT IONS FOR PRACT ICE.

Place the pen firm ly upon the paper and make upper turn more round ing than lower turn . Keepthe dot strong and wel l to the ri ght of the down stroke . Make the exerc ises w i thout ra is ing the pen, and use a freearm movement except in the dot where a s l i ght finger alction may be emp loyed .

Keep each letter distinct inform and spacing. Count, i, c, e , circle; i. c , e, circle, making about twenty a minute.

I NSTRUCT IONS FOR PRACT ICE.

The turns on the base l ine shoul d a l l be the same in both words . Begin c w i th a dec ided dot and end e w ith an

unm istakable loop . The letters in the word ice each conta in two strokes . and two of them conta in dots . Sw ing aroundeas i ly w ith the e l l ipse . ne ither s luggish ly nor w ith a jerk . Rem ember that it is not practice a lone that is necessary

to learn to write wel l , but study and practice comb ined . I nte l l ige nt “

practice makes perfect,”and not mere practice .

Pause at base line in the pointed oval. Make down stroke nearly straight. Begin Princip le 1 1 with a dot and end withpen resting on base line.

I NSTRUCT IONS FOR PRACT ICE.

Are you sure you are on the right track"Have you exam ined care ful ly the form each time you began work upon

a new one, or upon one not mastered"Have you observed w i th care the movement you are us ing to d i scoverwhether you are real ly us ing arm movement or not"I nvestigation may lead you to d iscover some need ful . he lpfulth ings . Try it anvhow ; it can do no harm and may do much good . Master the exerc ise and princ iple given beforego ing any further, as the form is found in a num ber of letters wh i ch fo l low . and success depends upon its mastery .

3 9

Time 1 , 2 , 3 , 4; l 2 , 3 , 4; 1 , 2 , 3 , 4; about thirty to the minute. Join the letter with a free and easy swinging movement.

FORM STU DY .

The H is com posed of princ iples 1 1 , 3 and 1 , and a fin ish l ike 0, but w ith a smal ler

loop . Down stroke of princ ip le 1 1 is stra ight and not curved as in the second form . The

last form is narrow and reveals a cram ped movement.

I NSTRUCT IONS FOR PRACT ICE.

Finish both parts of H on the base l ine . I n connecting the letters, curve the long upward stroke cons iderably.

Keep down strokes para l le l and quite stra i ght. The second'

part shoul d curve graceful ly to the ri ght at the top .

Therefore to make it, start it w i th a leftward swing of the hand and arm .

Make all downward strokes on the same slant. Give equal spacing between letters . Finish the word carefully withprincip le 3 .

7M

Let hand rest and roll or rock on little finger in making these little ovals . Connect the wide- space forms gracefully .

I NSTRUCT IONS FOR PRACT ICE.

By cul tivating a c ircular motion , you w i l l be able to master the sm al l letters 0 and a quite eas i ly . Circular formsdemand c ircular movements ; stra i ght form s . stra i ght or d irect movem ents . Therefore learn to change success ful lyfrom one to the other by learning to mod i fy, shi ft and change motion, now th is way and now that.

"

Make the a quickly with a circular movement, closing it at the top, and curving the down stroke considerably.

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I NSTRUCT IONS FOR PRACT ICE.

Com e to the base l ine firm ly w ith the first part of K, and begin the second part w ith a free and easy sw ing . Beginand end second part w ith curves po inting toward the right, the one s l i ghtly upward and the other downward .

End e as care/id ly as you begin K. Dot i care/i dly and see that n has three turns . Use arm movement.

I NSTRUCT IONS FOR PRACT ICE.

End e as you begin i . Use a gl id ing movement in the smal l letters . I n jo ining K to i , check the movement at

base of K so .a s to make the turn narrow and in harmony with smal l letter turns . Joining capita ls and smal l letters

as in the second part of copy makes a fine exerc ise for practice . I t un ifies the large and sma l l movements and thereby uni form s the writing .

77te little finger need not glide while making the small retrace ovals . I t should glidefreely infourthprinciole exercise .

I NSTRUCT IONS FOR PRACT ICE.

The l ittle retrace oval exerc ises tra in the hand to act in a c ircular manner so as to execute we l l such letters as

o and a, which conta in ovals . Practice them freely and careful ly . The second exerc ise a ids one to make stra ight andcurved l ines , angles and turns a lternately . Writing is made up largely of turns and angles , stra ight and curved l ines ;hence the need of learning to make them wel l .

Notice how slanting the oval is in a . Each letter should contain an i without doz. Make circle quickly withpure arm movement.

FORM STU DY .

The a is composed of princ iples 3 , 2 , and 4. I t conta ins one oval , angle, and turn, and four

strokes . The first i l legible letter resembles u, because it is not c losed at the top, and the second

looks l ike 0 because the last downward stroke is curved . Letters should be unl ike or theybecome doubtful .

42

I NSTR UCT IONS FOR PRACT ICE.

Begin the a toward the left rather than e ither upward or downward . Curve the down stroke more than the upward , and slant the ova l

,more than the 0. Close the a careful ly at the top . and drop to the base l ine w ith a s tra ight

stroke in fin i sh ing the le . ter. Be careful to finish the letter careful ly before throw ing the c irc le about it. Studyth is letter critical ly , as the first part is d i fferent than any we have had .

Write the word freely with but littlefinger action and without raising the pen. Learn to write straight between lines.

I NSTRUCT IONS FOR PRACT ICE.

Remember, the last downward stroke in a should be a stra ight l ine . The two turns on the base l ine should be

the same—“

al ike as two peas . About twelve of these words can be written in a m inute . That is to say, the pen

shoul d move at about that rate of speed when on the paper. Of fi furse it would be the he i ght of fo l ly to writetwelve words each m inute, as that woul d leave no time for thoughtful critic ism , carefgl observation, and determ ination as to what to do to improve .

YSee that armworks freely at elbow. Make 1 5 0down strokes a minute. Pause o veen l ines to examine and critia se your work.

I NST RUCT IONS FOR PRACT ICE.

See how round ing on top and sharp at the base you can make these exercises . Dim inish the second form gradual ly, ma inta in ing un i form spac ing throughout . The sma l ler the form , the more strokes can be m ade in a giventime, though the pen wi l l travel less rapid ly . Try to equa l or excel the copy .

Sit erect. Use arm movement. Retracefirstpart of letter half the height. Make 40to the minute. Time. 1 . 2 : 1 . 2 : l . 2 .

FORM STU DY .

The N is composed of princ iples 1 1 and 5 , the latter be ing mod ified . The second letter lacks

ind iv idual ity , and the last has a m istaken ident ity as it resembles h . What d oes yours look l ike"I NSTRUCT IONS FOR PRACT ICE.

Use a quick, firm ,free movemen t . ma inly ih -and -out . and reverse the motion quickly at the

bottom w ithout paus ing , retrac ing at least hal f-way to the top . Jo in the letter into groups of three . mak ing each

w ithout rais ing the pen , or w i thout check ing the motion to any great extent at any one place . Make at the rate of

about one a second when jo ining in this manner.

43

Use a free . gliding. fore— arm or hinge- like movement in this sentence, beginning and ending each word grace

fully.

I NSTRUCT IONS FOR PRACT ICE.

Thei

runn ing hand has long s ince been a favori te style among penmen for correspondence purposes because ofi ts ease in execution, reduc ing . as it does , effort to the m in imum by its short downward strokes . By its long, s lender,and grace ful upward curves ,

it eas i ly becomes a th ing of beauty”

and , to the one possess ing it, a joy forever.

”

Possess it and you, too , wi l l be happy .

Watch closely turn and angle, straight and curved lines in these exercises . Do not use thefingers . Maintain uniform slant.

Study vertical stroke in r. Pause at the shoulder of the letter. Finish like i. Make circle with rapid arm movement.

FORM STU DY .

The r is composed of princ iples 2 and 4 w ith a short, nearly vertical , connecting l ine . I t

conta ins one acute and one obtuse angle , one turn , and four strokes . The first defective letter

resembles t or i , and the second looks l ike one style of e .

I NSTRUCT IONS FOR PRACT ICE.

Be sure you have a c lear percept of the letter r before attempting to make it . Then use

prec ise ly the same movement as in such letters as i exce pt that you pause at the shoulder of the Jetter. Withoutthi s pause , you are apt to sharpen the shoulder too much , or to fa i l to make it at a l l or to make it we l l . Thereforestudy it critical ly and then make it careful ly . Thus pract iced , it may be quite easy and beauti ful . I t is usual ly made

a l i ttl e h igher than the other short, sma l l letters . I n c ircl ing the r, the pause at the shoulder or obtuse angle w i l lneed to be st i l l more pronounced than in the letter as usua l ly made .

See how easily the little finger canjog to the right in the word runner. Finish the word as care/i dly as you begin it.

A W44

I NSTRUCT IONS FOR PRACT ICE.

Th is is another n ice word to practice . See how eas i l y the pen can be taught to run right along toward theright, paus ing only to form the shoulder of the r n icely . Watch pos ition . Study and heed head l ine of each copy.

Make these tall m’

s at the rate of one a second. Pure arm movement. Nofinger action. Diminish the exercise gradually.

I NSTRUCT IONS FOR PRACT ICE.

Drive the arm rap idly, e lastical ly, and forceful ly in-and -out the s leeve to make the tal l , sma l l m exerc ise , mak ingseven w ithout check ing the motion or ra is ing the pen . See how round ing you can make the turns and how sharpand retrac ing the angles . Dim inish the second exerc ise very gradua l ly, toning and tra ining thereby the movement

so that capitals and smal l letters may be made at w i l l equal ly wel l .

Time 1 , 2 , 3 ; 1 , 2 , 3 ; 1 . 2 . 3 . One countfor each down stroke. About 3 5 a minute. Join theM'

s gracefully. Drive arm in and out sleeve .

FORM STU DY .

The M is composed of princ iples 1 1 , 5 , and 5 . Princ iple 5 is mod ified by be ing made

tal ler. Avo i d looping as in the second form , and the last looks as though it were scared

or had its back broken . Wh ich"I NSTRUCT IONS FOR PRACT I CE.

Reverse the motion quickly at the base and retrace as far toward the top as you can . Avoid loops or turns at the

base and angles at the top . Begin and end as in K and N . Use pure arm movement and do not ra ise the pen in the

letter. Jo in three M's w ithout ra ising the pen or check ing the motion .

Move on and move freely is a good motto in learning to write well . Finish v carefully . close the o. and loop the e .

I NSTRUCT IONS FOR PR ACT ICE.

Make the connect ing strokes w ith a free sw ing of the fore-arm , the e lbow serv ing as the center of pivot. Nofinger action to speak of i s necessary or advisable . and no wrist movement is required under ord inary c ircumstances .

Shi ft the e lbow between words when the movement of the fore-arm becomes cramped at the el bow .

45

Make ovals lively withpure arm movement. Use rocking action in the s— like exercise. Getpowerfrom and above elbow.

I NST RUCT IONS FOR PRACT ICE.

The various exerc ises given above are somewhat un l ike those given heretofore . They require more of the

latera l , c ircular mot ion , and more of the rock ing or under-action as in the exerc ises to the right . Let the hand and

pen sw ing and rock free ly to and fro in the last form given . And in the s-l ike character, start with the rock ingaction and end with the lateral , ova l movement.

Curve the down stroke more than the up stroke. Make it with a swing so as to close it. Pause infinishing/

FORM STU DY .

The s is composed of princ iples 2 and 2 , the latter be ing mod ified by mak ing it downward and

curv ing it more . The first common fault looks l ike the uncrossed t, and the last resembles r.

Curve the downward stroke we l l and close the letter at the base .

I NSTRUCT IONS FOR PRACT ICE.

Use a quick , latera l , rock ing- l ike movement, curving the down stroke much more than the up

ward , and finish ing w ith a dot i f The s , when made free ly w ith the arm movement we l l under control , is

one of the most graceful of letters , and one of the most qui ckly made . Study it closely and then practice it fa ithful ly.

Write the word freely and without raising the pen. Curve down stroke in 5 . make u sharp . and n rounding.

Pause at the shoulder of r and bottom of 5 . Do not pause at top . Make circle with a free swing but care/id ly.

Littlefinger may rest in makingfigures . Make them quickly. Be sure to make them unmistakable . About 75 a minute .

42 42 4 44 44 4 4 42 444444b e 7 7 7 7 7 747 4 4 4 42 22 4 47 44 d b é é é é

é é é é é é é é 22255;I NSTRUCT IONS FOR PRACT ICE.

Make 1 with a firm though quick action of the hand a nd fore -arm . The l ittle finger may rest in mak ing figures ,

though it should sl ip from figure to figure . Make second part of 4 a trifle h igher than first part . Begin 6 w ith princ ip le1 and end it w ith a quick, smal l oval . The 9 begins l ike a and ends below l ine l ike an abbreviated g. N eatness and

pla inness are two very important essentials in figure mak ing.

Neatness ,plainness, and quickness are essential . The 7 extends below line. The 2 and 3 beginalike, and 5 ends like 3 . Study as well as practice .

7 7 7 7 7 7 7 7 7 2 2 2 2 2 2 2 2 3 3 3 3 3 3 3 3 5 5 5 5 5 5

7 7 7 7 7 7 7 7 7 2 2 2 2 2 2 2 2 3 3 3 3 3 3 3 3 5 5 5 5 5 ;

7 7 7 7 7 7 7 7 7 2 2 2 2 2 2 2 2 3 3 3 3 3 3 3 3 5 5 5 5 5 5

I NST RUCT IONS FOR PRACT ICE.

The 7 begins w ith a smal l dot and is composed of one hori zontal and one slanting stra ight l ine . 2 begins the

same as 7 and ends the same as an inverted 7 . 3 begins the same as 2 and is composed of two sma l l ova ls . 5 beginsw ith a short, slanting stra i ght l ine and ends l ike 3 .

’The hori zonta l stra ight l ine is made last. Make al l the figuresquickly, firm ly, and pla in . The 7 extends below the l ine the same as 9 .

Grouped according to shnilan'

ty. Watch spacing in as well as between letters . Retrace r andfinish w carefully.

Use a quick, twist- like motion in this double loop exercise . The 8 is an inverted 5 . Make up stroke nearly straig ht.

W W WWW Ww ee s / seesaw af fi x/ Y fi f

/ f fi X/

fi g ay

I NST RUCT IONS FOR PRACT ICE.

Curve the down stroke of 8 cons iderab ly . Count, 1 , 2 ; 1 , 2 ; 1 , 2 . Make about 60to the m inute . The 4. 6 . and 8extend above the other figures , and the 7 and 9 extend below . Be neat, be plain, be quick, are the three card ina linjunctions in figure mak ing.

47

Firstpractice thefigures according to similan'

ty; then in their natural order. Make onefigure directly beneath another in vertical columns .

/ 4 é 7 7 2 3 5 5/ M / t 7 7 2 3 5 s / 2 3 4 5 é 7 5/

7 / 2 3 4 5 é 7 5refi re 7 7 2 3 5 50 4 47 7 2 3 5 9 0 2 3 4 5 47 5

/

7 / 2 3 4 5 47 5/7

I NSTRUCT IONS FOR PR ACT ICE.

Make each figure d istinct and unm istakable . Fi gures are unre lated as are letters . and they must therefore stand

a lone . Each is complete in itse l f . They are therefore more important than ind ividual letters, and unless they are

unm istakab le , serious trouble may arise , as they are the representat ives sometimes of large values . One figure some

times means fortunes . How essential then that al l should make figuges unm istakably pla in .

Note similarity of letters . Use a free, arm movement in all . Watch size, slant, ana spacing. Learn to be sure.

I NSTRUCT IONS FOR PRACT ICE.

Th is is a review of al l cap ital letters thus far given . You w i l l doubtless d iscover that it is more d iffi cul t to makethem one after the other, than to repeat the same letter as in the usua l practice . The reason that they are more d iffi

cult is that the motion or movement must change to suit the form and construction of the d i fferent letters . Practiceand perseverence w i l l w in, however, and a good handwrit ing fo l low . Success awa its the plucky.

48

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Use a graceful , forceful , regular movement in this exercise. Pause slightly infinishing the V. About 75 a minute .

I NSTR UCT IONS FOR PRACT ICE.

Th is doub le-turn or compound -curve form is the best exerc ise to encourage a graceful , non-spasmod ic movem ent .

You w i l l therefore do we l l to practice it enthus iastica l ly w ith a l ight, e last ic , un i form arm movement . The tal l v

exerc ise is also a graceful form and deserves your fa ithful effort.

Use a springy . quick. graceful motion. and finish care/id ly . Begin exercise withcapital and end with small v. Be watchful ofposition.

FORM STU DY .

The V is composed of princ ipl es 1 2 and 2 with a fin ish l ike the smal l v . The second formlacks stab i l ity, and the last one looks l ike U . Fin ish each letter careful ly .

I NSTRUCT IONS FOR PR ACT ICE.

I f you have mastered the previous exerc ises , the letter V and the V exerc ises w i l l be a

de l i ght to make . I f you have not practiced the former exerc ises suffi c iently ,y ou w i l l be hand icapped unti l you do give

movement its share of attention , as it is through orderly action that good form s are poss ible . R emember that forms

are but pictures of motions .

The V should have a rounding turnat the top and bottom. Dot i‘

s andfinish both v‘s carefully . Use a free movement.

a“

I NSTRUCT IONS FOR PRACT ICE.

Use an easy-l ike , graceful movement in making

'

the V i f you w ish it to be gracefulf R ightly made , the V is one

of the most graceful of letters . Watch spac ing between le tters to see that it i s un i form , and w ider than in the letters .

Each V shoul d contain two turns and a finish pointing toward the ri ght .

Drive arm rapidly in and out the sleeve to make retrace exercise. Retrace upper half of diminishing exercise; turns at bottom.

I NSTRUCT IONS FOR PRACT ICE.

These exerc ises are necessary for two purposes ; to a i d in establ ish ing a uni form slant, and to cultivate enoughup-and -down action to enab le one to m ake w ith ease and profic iency the ta l l sma l l letters, such as t and I . Master the

copy, therefore ,i f you would write a l l of the smal l letters wel l .

50

MODEL PRACT ICE.

Th is i l lustration shows how every th ird Copy may be written across former practice , thereby econom i z ing paper

and tra ining the eye and hand to write in a stra ight l ine and to space un i form ly between l ines . This plate showsactua l practice . What others have done can be done aga in, and you can do as wel l or better by proper effort. Seehow systematical ly you can fil l your pages"Noth ing so encourages improvement as systematic practice.

Begin and end like i. Never loop t. Cross it carefitlly . Check motion in forming turnat base . Retrace top carefully.

FORM STU DY .

The t is com posed of princ iples 2 , 1 , and 4, and a hori zontal stra ight l ine . I t conta ins one angle .

retrace , turn , and cross, also an i . The first error is in looping the letter, and the second in

plac ing the cross after instead of across the letter.

I NSTRUCT IONS FOR PR ACT ICE.

Make the t w ithout ra is ing the pen except to cross it. A l ittle finger action is an advantagein th is l etter, but the primary or ch ief movement is that of the arm . A sl i ght pause at the top before start ing the

downward retrace w i l l aid in retrac ing successful ly . and a s l i ght check in the action is necessary as near the basel ine to a id in form ing a short turn such as in i and u, and other s im i lar sma l l -letter turns .

5 1

want should be unifom z. All turns on base line should be the same . Flourish is added to encourage freedom in ending as well in beginntn

I NSTR UCT IONS FOR PRACT ICE.

Keep a l l down strokes nearly s tra igh t and the sam e in s lant . See that the l ittle finger sl ips free ly toward the

ri ght from letter to letter. Th is latera l movement shoul d be firm as we l l as free . Strength is one of the d istin

guishing qua l ities between mature -or bus iness writ ing and the imm ature , school -boy hand . Cultivate strength and

thereby acquire a bus iness— l ike style of penmanship .

Drive arm quickly in and out the sleeve with a Springy motion. Finish letter with a pause . Use grace/"4] movement in compound curve exerczse .

I NSTRUCT IONS FOR PRACT ICE.

This tal l , smal l w exerc ise needs to be made w i th more vim and more ih -and -out movement of the arm than the

sma l l w exerc i se . Retrace center of letter as far downward as you can , and keep turns narrow on base l ine . The

double-turn exerc ise needs to be practiced frequently w ith perfect freedom and ease .

Begin andfinish W l ike if . Retrace center. Use quick. elastic arm action. No wn’

st orfinger movement necessary. Finish with care .

FORM STUDY .

The W is composed of princ iple 1 2 and princ iples 2 , 1 and , 2 mod ified . I t resemblesa sma l l w grown tal l . The se cond form looks l ike U or C, and the l ast one looks l ike M.

Avoid these errors .

I NSTRUCT IONS FOR PRACT ICE.

In mak ing th is letter. use a graceful movement in the b eginning part. and fin ish the letter quite h igh so as tokeep it from resembl ing U or M. Finish it w ith a dot or b l ind loop. The three letters jo ined make a very pleas ing andhe lpful exerc ise . See w ith what rea l freedom and grace you can make them , us ing pure arm movement .

Armmovement. Correct position. Watchful/less of turns and angles . Care in dot of i and cross of 1 . End well

52

See how straight and uniform in slantyou canmake the exercise . A littlefinger action is allowable in t- like form.

I NSTRUCT IONS FOR PRACT ICE.

Try to produce a gray-l ike effect in compact or trac ing exerc ises . Wide, open or black spaces sh oul d be avo ided .

About 200 down strokes shoul d be made in a m inute . Pen shoul d not be ra ised throughout the exerc ise . Keep turn

narrow at base of t-l ike form . C lose a and make both turns the same in s i ze and resting on the base l ine .

Begin d with a and end withuncrossed I . Make without raisingpen. Close a part and retrace top carefully .

FORM STU DY .

The d is composed of princ iples 3 , 2 , 1 , and 4. I t conta ins one oval . angle , retrace , and turn,

as wel l as the letter a . The first defe ctive form resembles ct or c l, wh i le the latter looks l ike a ,

or an 0 w ith a flourish .

I NSTRUCT IONS FOR PRACT I CE.

Use enough arm movement to make execution easy and unrestricted or cram ped . and enoughhand and finger action to make the form prec ise and pla in . The l ittle finger need not s l ip much , i f at a l l . in makingany part of the d except the fin ish ing stroke . The da and dt exerc ises are good forms for practice .

Each d should contain a good a . Close a part of d. See that little finger slips freely and easily toward the right.

Make 70tall u'

s a minute . Keep down strokes straight. Secondform at rate of l 00down strokes a minute .

I NSTRUCT IONS FOR PRACT ICE.

Use a free,forceful , in-and -out movem ent in these forms . The second exercise w il l demand more gracefulness

of motion than the first . and a trifle less speed . Real grace rather than a h igh rate of speed is neede d . Watch

spac ing, slant, and he i ght, as wel l as qual ity of l ine . The latter te l l s many secrets as to k ind of movement you are

us ing, and whether your touch is too heavy or l i ght .

MODEL PRACT ICEThis is an example of cross-l ine practice— of practic ing crossw ise over that wh ich had been written . Such prao

t ice saves paper, encourages writing in a d irect l ine, and a ids one to space regularly and practice system atical ly . Firstthe word d id was written and then the u exerc ise was pract iced crossw ise over it. At least every th ird copy in th isbook can be practiced advantageous ly this way .

The Ubegins like Wand ends like A. Second style is used tojoin to small letters . Use an easy movement.

FORM STUDY .

The U is composed of princ ipl es 1 2 , 2 , 1 , and 3 . The second form looks l ike I with a fancyfin ish ,

and the last one is too narrow and hook- l ike in the beginn ing .

I NSTRUCT IONS FOR PRACT ICE.

Cultivate a l ight, smooth , uni form touch of the pen to the paper. I t encourages freedomand grace in movement . Last turn in second sty le U should not be more round ing than the first. Check the motions l i gh t l y in mak ing it, and in jo in ing two sma l l letters . End the first style toward the ri gh t so it w i l l not resemble Y .

Retrace second part at top and begin it and s im i lar letters w ith a firm , emphatic dot, or smal l loop.

End Uwith a gen /e curve pointing downward toward the fi ght, orjoin carefully to small letter. Use an easy . gliding movement.

Sit healthfully . Keep pen ingood condition. Make exercises with a quick, springy motion. Studyform carefully . and cr iicise closely.

I NSTRUCT IONS FOR PRACT ICE.

Use push -and —

pul l movement in the first exercise, and a quick ,reverse-oval motion in second and th ird . Little

finger shoul d gl ide free ly in the stra ight- l ine form , jog gently toward the ri ght in the second . and rest in form ing eachoval in the th ird . This reverse oval movement needs care ful attention as we have not had much practice thus far

upon it. Be patient, persevering, and systematic in your practice .

Make first part ofp with a forceful , in-and-out arm movement. Second part resembles reversed d. Retrace lowerpart care/id ly.

FORM STU DY .

The p is composed of principl es 2 , 1 , 3 , and 2 , the two first of wh ich are mod ified by be inglonger. The letter conta ins an inverted d with a projected angle instead of a turn . The firstcommon fault resembles js , wh i le the latter m ight be m istaken for f.

I NSTRUCT IONS FOR PRACT ICE.

Use plenty of fore -arm or h inge action in mak ing first and second strokes of p. Make theletter w ithout ra is ing the pen and fin ish the same as 5 . Make the second part w ith a quick , c ir

cular action , paus ing as the letter is completed before jo ini ng to the next as in the P exerc ise .

Use l ittle or no finger action, and do noth ing w ith a slow, dragging motion.

Write the word without raising pen. Compare siz e of ovals inp and d; also shape . Use an easy. arm movement.

Use a graceful movement in makingfirst exercise . Pause slightly at top of second exercise and keep loop full .

I NSTRUCT IONS FOR PRACT ICE.

e pure arm movement in these exerc ises . Avo i d spasmod ic action and endeavor to deve lop a smooth , regular,

firm yet free arm act ion . Keep the cros s ing h igh in the s econd exerc ise , the top sharp and the bottom round ing .

See that the fore-arm acts d iagona l ly ih -and -out the s leeve in making the lower loop form .

v v

Begin like U anrl and like small y. Cross on base line. Retrace second part at top . Use arm movement.

FORM STU DY .

The Y resemb les U and is com posed of U and y comb ined . Avo id the errors shown in

the second form by keeping down strokes uni form in s lant. The last form lacks o w idth

and grace , having been executed with a cram ped movement.

I NSTRUCT IONS ,FOR PRACT ICE.

Use a free up-and -down or in-and -out movement of the fore-arm , caus ing

“

the el bow to

act somewhat l ike a h inge . The Y c onta ins two turns , an angle , and a loop . Cross ingshould be on the base l ine and not be low as is the tendency . There is no need of any finger action in th is letter.

Use a springy, graceful arm movement at a l l times and you w i l l sometime know from experience what real ease and

grace in writing are .

Use arm movement. Watch spacing between words . Keep short letters uniform in height. Keep down strokes on same slant .

I NSTRUCT IONS FOR PRACT ICE.

See that the l ittle finger sl ips gently toward the ri ght in sentence writing . As a rule , write each word w ithoutra is ing the pen . Th ink of spac ing . s lant, turns . angles , loops, retraces, etc . wh i le writing . I n other words , th ink goodwri ting and good writing w i l l be the result .

Use an easy . rapid. rolling armmovement in thefirst exercise , and a semi-rollingmovement in the second .

Use ann movement. Keep crossing low by curving up stroke . Check motion, near base line so as to keep turn narrow.

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Joining words strengthens movement. See spacing between words . Push on the pen in making the up s . rokes .

Letmovement come directfrom elbowfor the l . Finish v carefully and make lower turn in l the same as in v.

I NSTRUCT IONS FOR PRACT ICE.

Keep the loop ful l and the cross ing low by us ing a free , sem i -ro l l ing movement. Check the motion as you near

the base l ine or you w i l l have d i fficulty in keep ing lower turn narrow . See that the fore-arm crosses the paper d iagonal ly as i l lustrated in the fore part of th is book . Make from 75 to 1 00 l

'

s jo ined in a m inute, and about the same

number of Iv’s .

Begin b like I and end like v. Pause infinishing the letter. Use little or no finger movement.

FORM STU DY .

The b is com posed of princ ipl es 7 and 2, and a fini sh l ike v . The first common faul tresembles h , t i, or te ; and the second looks l ike Ie . The finish of the b is its ch ief characteristic , and shoul d therefore be made w ith great care .

I NSTRUCT IONS FOR PRACT ICE.

Use a free , hal f-rol l ing , fore-arm motion, the e l bow acting as a h inge in mak ing the loop .

Keep the cross ing low , the down stroke nearly stra i ght, and the fin i sh smal l and hi gh . Check

the motion near the base l ine so as to form a smal l turn instead of an ang le .

Use afree arm movement and but little finger action. Write word without raisingpen. Make all turns alike .

Check action at base of b and infinish of b and w. Use rolling motion in reverse oval loop exercise .

7he I begins likejand ends like 5 and prinaple 1 3 . Let arm rollfreely in the tracer. 7hink clearly.

FORM STU DY .

The I is com posed of princ iples 3 and 1 3 mod ified . The second form resembles Q , andthe last looks l ike d . Learn to be pla in and unm istakable .

I NSTRUCT IONS FOR PRACT ICE.

Employ a free , sem i -“

rol l ing arm movement in the I . Pause w ith pen firm ly on paperin finish ing the letter. Keep downward stroke nearly stra ight, and push the fore-arm d irectly forward in the s leevein starting the letter. Use a l i gh t, e lastic arm movement in the traces . See how springy the fore-arm rest near theelbow can become by proper re laxation and tens ion whi le practic ing th is del i ghtful ly easy and graceful exerc ise .

R aforthyourmost intelligent and enthusiastic effort each time and improvementwillfollow.

I NSTRUCT IONS FOR PRACT ICE.

Yes , improvement fol lows every honest effort. You m ay not see it at the time . but it has been made . ei ther inthe m ind . in the musc le , or on the paper. Improvement cons i sts of three k inds : subjective , muscular, and objective .

Right effort (think ing"creates ri ght act ion (musc le", and ri gh t action creates good writing.

PrinCiple 7 is composed of right curve and straight line . Time I , 2 ; 1 , 2 ; 1 , 2 . About 75 in a minute . Armmovement.

I NSTRUCT IONS FOR PRACT ICE.

Th is is a good form to practice crossw i se over prev ious copy . Un i form s lant and spac ing are two essentia lswhich need attention unti l they become hab itua l . Keep cross ing low and downward stroke nearly stra i ght . Mainta inturn at top and a free, arm movem ent . Sl ight finger action is he l pful . I t is excess ive finger action that is tiringand detrimental to graceful writing .

The h begins like I and ends like n. Keep down strokes parallel . Begin and end quickly . butpause at angle.

5 9

FORM STU DY .

The h is com posed of princ ip les 7 and 6 . I t conta ins two angles , one loop, and two

turns . The first common faul t resembles Ic and the second I i . The last is too crowded by

the second part be ing made too c lose to the first .

I NSTRUCT IONS FOR PRACT ICE.

Make loop w ith a quick , e last ic arm action, pause at base , and then fin ish w ith a graceful ,gl id ing , lateral motion . Be careful to make upper turn in second part of h as round ing as

the lower turn .

Retrace r'

s carefully . Close a . The h has one angle and two turns . Begin and end wordfreely . Check action at shoulder of 7

See how easily, uniformly , and lightly you can make these oval exercises . Use pure arm movement. 2 00ovals a minute.

The X resemble H, bothparts beginning the same . Use second style whenjoining to small letters . Keep last turn'

narrow.

FORM STU DY .

The X is com posed of princ ip les 1 1 and 3 mod ified . The second part begins l ike the

second part of H and ends the same as A . The second form resembles I made w ith two

strokes , and the last looks l ike H .

I NSTRUCT IONS FOR PRACT ICE.

Use a sem i—rol l ing movement in mak ing the X. Try to have the two parts m ere ly touch . See with what real

ease and grace you can make the letter. You must learn to relax musc le sufii c iently for real freedom and yet to

tens ion it enough for perfect control . Somewhere between a cramped cond it ion and looseness the true cond itionex ists . Find it .

Two. quick half— circular impulses make the X. See that the little finger glides toward the right in small letters .

60

Keep down stroke nearly straight and crossing low. Use but littlefinger action; mainly arm movement. Turn at top.

The k begins and ends like h. Secondpart resembles capital R. Make small oval horizontal . Time. 1 , 2 ; 3 4; 1 , 2 ; 3 , 4. Pause at angle .

FORM STU DY .

The k is composed of princ ip les 7 , 3 , 2 , and 4; the 3 and 2'

be ing mod ified . The firstdefect ive form looks too much l ike h , because the l ittle oval is too sma l l . The second formis too crowded , and the last resembles the capital R .

I NSTRUCT IONS FOR PRACT ICE.

Pause at the base l ine aftermak ing loop . but do not ra ise the pen . The last down stroke

in k shoul d be the same s lant as down stroke in loop . Make each part w ith a quick , springyaction , us ing the fingers a very l it tle i f des ired . Second part is made same hei ght as r and

s , wh ich is about one-fourth h igher than such letters as i, n, and w .

See that elbow acts like hinge in making the loop . Finish k with narrow turn. Littlefinger should glide from letter to letter.

Neatness . sureness quickness . are a ll desirable . Acquire them. Keep a good position. Secure regular spacing. Avoid angles .

I NSTRUCT IONS FOR PRACT ICE.

'Use a free,ful l c ircular motion in the retrace , reverse oval exerc ise , retrac ing each one from s ix to ten times .

Make the reverse loop exerc ise w ith a free, un i form , sem i -ro l l ing movement . Aim to have space between loops about

the same as in them .

Use an easy semi- rolling movement. Keep crossing on base line, and little loop narrow. Elbow should be free .

6 1

FORM STUDY .

The Z begins as X and ends as J. I t conta ins a loop l ike D and ups i de down it looks l ikeE. The second form looks l ike a big figure 3 , and the last looks about as much l ike N as 2 .

One loop is too large and the other too sma l l .

I NSTRUCT IONS FOR PRACT ICE.

Li ghtness and freedom of movement are essentia l to permanent improvement. The copy

book method o f drawing the letters s low ly w ith the finger movement is a l l lost when rapid writing is attempted .

Therefore waste no time w ith s low writing but persevere w ith freedom and form at one and the same time . Practicefree ly , but endeavor to contro l the motion . Each success i ve , earn

-est effort makes contro l that much the eas ier.

Pers istence in the right d irection always w ins . In writing it is as true as in other things . Therefore persevere .

Small loop in Z same siz e and slant as e. Write word without raising pen. Loop crosses on base line.

loopsjoined a minute. Let elbow act like hinge . Keep crossing high. Make turn at base. Down stroke

Thejis composed of the reversed loop dot same as i. Join the letters with a strong, gliding motion.

FORM STUDY AND PRACT ICE.

The j is com posed of princ iples 2 and 8 , and contains an angle , a loop, and a dot . The first

usua l error cons ists in mak ing it round ing at the top, and the second form is too s lanting, a

fault common to al l lower loops . Wh en j fo l lows n , it resembles y, i f the spac ing between the

two letters is narrow . Use a free arm movement, almost free from finger action , w ith enough

c ircular motion to make loop full w i th a turn at the bottom .

Keep down strokes parallel . Use a free arm movement. Dotjand finish p carefully . All turns should be similar.

See how neatly you can retrace the. reverse ovals . Let the hand swing easily from left to right in the compound curve exercise.

Make small loop and horizontal curve with care and gracefiulness . First stylejoin s to small letters . Avoid carelessness .

FORM STU DY .

The Q is composed of princ iples 1 0, 3 and 2 . The loop in the second form is too large ,

and the last one resembles an L or an h . The smal l loop should be hori zontal .

I NSTRUCT IONS FOR PRACT ICE.

Use a free arm movement but check or restra in the motion wh i le form ing the loop, or

it may -become so large as to resem ble S. The first style is intended to jo in to smal l letters , but the second is not so

intended . Begin w ith a definite dot of smal l loop and end w ith a lateral curve . The space between the down stroke

and the finish in first style is not as wide as you m ight suppose . The tendency is therefore to make it too w ide .

Quality and quickness are in demand . Watch detail . Think good writing. The pen will soon produce it.

This little double- turn exercise needs to be made withfree. gliding. graceful action. without pauses . Keep loops full .

Beginy like v and end likej. Cross on line . Maintain two turns . an angle . and a loop .

FORM STU DY .

The letter y is composed of princ iples 6 and 8 . I t begins as n finishes . and ends l ike j .I t is an inverted h .

‘

The first defe ctive form resembles g, and the second looks l ike a cap i talY . Begin the letter w ith a graceful . gl id ing movement and end it w ith a lmost pure h ingemotion at the e l bow . Little or no finger movement is needed . Join the four y

’s without

ra is ing the pen and end w ith a graceful flourish .

6 3

Use enough arm movement to write easily depending upon carefulness for control . Watch turns, angles, and loops .

I NSTRUCT IONS FOR PRACT ICE.

Th is is an excel l ent word for practice . Aim to make al l loops same s i ze and slant . The

elbow shoul d act l ike a h inge in mak ing loops , and espec i al ly in mak ing the long double-curve from bottom of y to

top of I . Keep down strokes nearly stra i ght, and s lant lower loops no more than upper loops .

Use a free, lateral arm movement infirstform. Let arm act quickly in last exercise . Keep upper and lower loops same s ize .

Begin L like C and end like 62. Curve down stroke nicely by using a graceful movement. Keep loop small .

FORM STU DY .

The L is composed of princ iples 1 3 , 3 , and 2 . The second form resembies S, and the

last looks l ike h . The loop shoul d be about hori zontal .

I NST RUCT IONS FOR PRACT ICE.

The L be ing composed of two compound -curves is the embod iment of gracefulness . To execute it success ful ly, a

graceful movement is necessary. Gracefulness of action is the result of a wel l - trained musc le , which , in turn , is the

product of rhythm ical though t and tra ining . The exerc ises preced ing the L are calculated to deve lop a symmetricalaction and are therefore worthy of fa ithful practice . See how graceful ly you can cause the pen to caper over the

paper. e L w i l l te l l the tale . See that it tel ls noth ing but good ta l es— tales of patient practice and graceful action .

how easily and how well be your motto . Write each word without raising the pen. Observe spacing. Sit health/tally .

Check motion at top to keep turn narrow. See how well you can now make the 5 1hprinciole exercise.

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Think now and then of correct position.,See that little fingerjogs toward the tight. Use strong, connective armmovement.

Littlefinger should slipfreely in loop , and from a to a . Make down strokes straight. Close oval of a .

The g is composed of a andj. Start care/idly and endfreely. Start letter toward lefi . not upward or downward .

FORM STU DY .

The 9 is composed of princ iples 3 . 2 , and 8 . The first common error cons i sts in letting it, open

at the top and it then resembles y . The last letter s lants too much below the l ine .

I NSTRUCT IONS FOR PRACT ICE.

Make the letter w ithout ra is ing the pen . Little finger need not sl ip in mak ing first stroke ,

but it should s l ip freely in the loop . Make the exerc ise w ithout ra is ing the pen . Cross ing shouldbe on the base l ine . Close a part and avo id angle at bottom of loop . See that the arm acts

free ly on the muscle at the e lbow in mak ing the loop.

Write word without raising the pen. Close oval ofg and a . Down strokes should be parallel, exceptfirst stroke in a and g.

Use a springy. hinge- like arm movement. Make 1 5 0loops a minute; 75 , separated. Be careful . Act skillfixlly .

Begin like 1, Endfirst like I second like 5 . Keep crossing law. Nofinger action. Endfirstfirmly, second gracefully.

6 6

paral le l .

FORM STU DY .

The C is composed of princ ipl es 7, 2 , and 1 . Second G is too w ide, and the last is too

narrow .

I NSTRUCT IONS FOR PRACT ICE.

Make loop long by keep ing cross ing low . Make both downward strokes in cond style

Start the letter w ith a graceful , force ful , upward fore -arm sw ing . NO finger action is necessary . Learn to

be qui ck w ithout be in cr hurried , and sure without bein cramned . Exerc ises w i l l a id you to do it . Practice thema g I

faithful ly .

Use a free gi iding motionfrom letter to letter. Spacing is wide between letters . not in them. End g and y gracefully.

Make tall small a exercise with springy. in-and-out arm movement. Close a carefully and make last dawn stroke straight.

The q is composed of a and lower, reverse loop . Make loop with quick, ir-and— out arm movement.

FORM STU DY .

The q is com posed of princ iples 3 , 2 ,1, 2 , and 2 . The first defective q is too round ing . and

the last too angular.

I NSTRUCT IONS FOR PR ACT ICE.

The l ittle finger may rest wh i le mak ing first part of q , but it may sl ip in the loop part . Closeloop on base l ine and fin ish l ike a . Jo in the letters without ra is ing the pen . A s l ight pause

may be made in finish ing loop i f des ired . Avo id broken , k inky l ines . Keep the fingers fromacting excess ive ly . A l ittle finger motion is advantageous to good form and exactness of detai l .but too much is destructive of ease in execution and grace in form .

Que/i. control movement. Loops should be same size . Turn should be the same . Do not raise pen inword .

Use a graceful . elastic arm movement. Make all loops same size . Count. I . 2 ; l 2 ; l 2 for stem; 5 0a minute .

Stop lateral motion suddenly at angle , and make stem with springy arm movement, pausing at dot. Space regularly .

FORM STU DY .

The T is com posed of princ iples 1 and 1 3 . The second letter resembles J and the lastlooks l ike I . Avo i d the se and other errors . Study form critical ly .

I NSTR UCT IONS FOR PRACT ICE.

Start free ly toward the right w ith strai ght l ine in m ak ing the T . Pause but l ittle at

angle , and make stem w i th a downward and then le ftward sweep of the pen , us ing pure arm movement .

Goad writing is first a matter of correct training, and then of habit. Good writing is a valuable habit.

See that arm acts like hinge at elbow in making loop . Use springy . in- and— out arm movement in tall 0 exercise .

Make fwithout raising pen. Begin and end as l wi h lower loop es in q. Looos should be same siz e.

FORM STU DY .

The f is composed of princ iples 7, 1 , 2 , and 2 . I t conta ins an I and i and the lower part of q .

The firs t common error causes it to look l ike b, and the last contains a flourish . Be as carefulabout fin i sh ing letters as beginn ing th em , and your writing w i l l be legib le .

I NSTRUCT IONS FOR PRACT ICE.

See that fore -arm acts l ike h inge at e lbow in mak ing the f . Close lower loop as you com e to

the base l ine from be low . Begin and end the letter w ith princ iple 2 . Make at least s ix t‘

e jo inedw i thout rais ing the pen . paus ing s l igh tly in fin ish ing at the base l ine . Use a quick , l ight yet firmarm movement w i th a l i ttle finge i action i f des ired .

08

771e/our loops, and thefour turns on base line, should be the same . Use plenty ofpush— and -

pull arm movement.

Curve up and down strokes equally . Use graceful . twist- like arm movement. Curve stem s’ightly and end firmly .

top horizontal . Cross neatly . Curve down stroke gently. Use easy arm movement. Keep a good positivn.

FORM STUDY .

The F is composed of princ iples 1 , 1 3 . and 1 ; al so of the T w ith a cross . The last form

resemb les l or T , and the second l acks w i dth and w ithout the cross looks l ike the long 5 .

Learn to be prec ise aii out deta i l . Be part icular w i th l ittle th ings . A good band w i l l fo l low .

care is the secret of good writing. Watchfulness 0/ details : and care in execution constitute nine- tenths of all good writing.

Time. I 2 . 3 . 4; l 2 . 3 . 4: about 80to the minute. Pure arm movement. Drop wizh connecting stroke. and end withflourish.

I NSTRUCT IONS FOR PRACT ICE.

This is an exce l lent, old-time . wel l -tried exerc ise . I t is fine for deve loping a graceful movem ent . and ga in ing

contro l of the pen. Practice it frequently . I t is worth its w e i ght in d iamond s ,

"and then som e .

“

See how expert you

can become prac tic ing it . No other one exerc ise . perhaps, conta ins such a p leas ing arrangement of l ines .

'

6 9

Let little finger res: in making these characters . Use a quick combined movement of thefingers , hand . andfore-arm .

I NSTRUCT IONS FOR PRACT ICE.

Make the long , stra ight stroke first w ith a firm quick downward motion . Make the c w ith a quick , c ircular motion, curving the downward stroke cons iderably . The in the dol lars s i gn is made w ith a quick, tw ist- l ike handac tion w ith the l i ttle finger serving as a p ivot upon wh ich the hand acts

The per cent and in care of characters resemble small 0 and c combined with stem of p, and are made in like manner.

Be quick and sure . Hand should roll or rock on little finger. Fingers may act some butpower comes from elbow.

Q Q Q Q CZr Q Q Ce Mé a ké a se éa ice a ga

Account character is composed of a, stem ofp . and c . At sign is made of a with a circle thrown over.

Plainness . sureness . quickness , neatness , systematic arrangement are essentials infigures . Sit ive to acquire them.

0 / 2 3 # 5 6 7 Y7 fl / 2 3 4 5 4

I NSTRUCT IONS FOR PRACT ICE.

Little finger should rest in mak ing figures , but s l ip in going from one to another. Begin 1 , 4, and G al ike, and end

7 and 9 the sam e . Start 2 and 3 in the same m anner and fin ish 3 and 5 a l ike . the figure 8 is an S inverted . The 6 and

8 extend above the others, and the"i and 9 extend below th e l ine . Make each figure unm istakably . Figures , unl ike

letters . are unre lated by context. Each must stand on its own footing . Hence the need of unmistakableness .

Keep capitals small and simple . Little finger should restand serve as center of control . Use either style of r.

Keep a good position. Use good pens and paper. Study as well as practice . Little letters should be uniform in height.

I NSTRUCT IONS FOR PRACT ICE.

After writing the above sentence , compare it w i th some of your writing before beginn ing th is series of lesson

I s your writing eas ier"I t certa inl y is , un less you have ignored the instruc tions . I s your writing more un i form" I f

you have stud ied and cri tic ised as we l l as pract iced , it certain ly is . After exam in ing careful ly your writing at t l

present stage, review such portions of the work you are need ing before proceed ing to the next part .

7771'

s and the previous sentence contain the secrets of learning to write well . They contain in a nutshell the essentials of good writing.

non- spasmedic arm mc -l nent in these exercises . Keep elbow near edge or table .

71

PART S EV EN O R BOOK S EV EN

Comprises a l l of the capita l s . smal l letters , and figures ; movement and letter exerc ises ; al l graded and arrangedto fac i l ita te the learning o f a pract ica l , graceful , easy, rap id hand , w ith spec ific instructions for pupi l and teacheraccompany ing each copy .

Part Seven or Book Seven shoul d not be atte mpted or practiced unti l Parts Five and Six have been fa ith ful lystud ied and prac ti ced on the part of both teacher and pup i l , as the work there in is m ore s im ple than, and leads to,

that wh ich is presented in Part Seven .

Every th ird copy is a rev iew , or a prelude to that wh ich fol lows . I t is a lso intended to be practiced across pre

v ions practice .

Capita l letters are presented accord ing to the ir appearance, the eas iest ones first . The smal l l etters accompanythe cap i tals . many of wh ich are s im i lar in appearance and construction . The d im in ish ing form of the capita ls not onlyleads to more practica l sk i l l in cap ita ls , but it leads a lso to exce l lence in sma l l letters .

Form and movem ent are presented together ; the two so interwoven that one can scorcely avo id a good hand

wri ting . The way is so c lear, the gui de board s so numerous that the road to good writing is about as pla in and easyas experience and effort can make it .

Movement has been presented in its s implest and most practical garb . Al l intricate and impractical exerc isesand forms have been e l im inated , and only the practica l and progress ive presented .

The sentences are not only model s of practicab i l i ty,but they conta in the essence of common ,sense instruction

and information re lating to penmansh ip, and not to some fore ign and unrelated thought and work. The sense in the

sentence hel ps the pupi l to“

st ick to his task by keeping h is m ind upon it, and not by tak ing it away, and into otherchannels .

Sit healthfully . Watch angle of paper. Use arm movement and rolling. rapid . continuous motion . 2 00down strokes a minute .

I NSTRUCT IONS FOR PRACT ICE.

Aim to secure un i form ity in he i ght, in spac ing between down strokes, in slant . Aim also to secure a uni form

touch of the pen to the paper. Qua l ity o f l ine reveal s qua l ity of movement . Therefore see that the l ine is smooth

and grace ful . revea l ing l ightness and yet firmness of touch . and a free , fairly rapid arm movement. Sluggi shness of

mot ion is as bad as finger motion . Strike out bo ld ly from the start and continue unti l you subdue the mot ion by

tiring and subduing the musc le . Fi l l page upon page of each exerc i se unti l you can make it uni form ly we l l .

Count. 1 . 2 ; l 2 ; l . 2 : about 8 0a minute, or 60 if an extra motion is made between eachform . Curve sides equally .

https://www.forgottenbooks.com/join

I NSTRUCT IONS FOR PRACT ICE.

Use pure arm movement in these letters . Employ a round, graceful , forceful , free,fairly rapid motion . Little

finger may rest in smal l 0 but it shoul d sli p freely from letter to letter. Curve both s ides of letters equal ly and see

that s lant and spac ing are un i form .

Keep a good pos ition at al l times. Do not lean aga inst cha ir back . nor aga inst the table .

MODEL PRACT ICE.

Ri ght practice only produces improvem ent . Therefore be careful about the method of your practice so as to

not use time and paper w ithout profit. Systematic practi ce means careful practice and eye judgment. Good writingis more a matter of eye tra in ing and care in execution than anyth ing else . Therefore be careful how you practice .

This i l lustration is given to show how.

Think of eachletter as you are about to make it. Think good writing until good writing becomes a habit. As youthink so will you act.

74

Retrace A carefully and swingfreely over the top withpure arm movement. Make down stroke straight in diminishing exercis e.

Start letters leftward. notdownward. Slant oval of small a more than of capital . Do not raise pen in small letter.

I NSTRUCT IONS FOR PRACT ICE.

Start the cap ital with a free, forceful arm movement, the motion proceed ing from and centering at elbow. The

beginn ing part of capital shoul d extend to the right of the second part of the letter. Retrace second part and finishwith a gentle curve toward the ri ght. The sm al l a needs to be begun more de l iberately than the capita l , w ith the

l ittle finger sl ipp ing less freely than usual . Close the smal l letter careful ly, and make the second downward stroke

straight.

Good writing can be learned. Care is the secret. Toil is the tool . Intelligentpractice is the means . Perseverance wins .

Make about 2 00down strokes a minute. Pure arm movement. Diminish oval gradually and therefore carefully.

Begin the letters with an emphatic dot; curve down stroke in small letter less than in capital . Use arm movement.

I NSTRUCT IONS FOR PRACT ICE.

Use a circular, quick but not spasmod ic arm movement. Let the l ittle finger sl ip freely in the capital , and fromletter to letter in the smal l c . Do not ra ise pen in the smal l letters, nor in joining the cap ita l to the smal l letters .

Dim inish capita ls un i form ly and keep smal l letters same he i ght. End careful ly, though quickly . Be sure to make dot

of smal l letter we l l to the right of the downward stroke so as to keep it d istinct from i . Be free but be careful at al ltimes . Use arm movement.

75

Force little finger to slipfreely toward the right in goingfrom letter to letter. Usefingers but little.

Let the movement continuefrom O to 0without stopping whenpen is offpaper. Diminish oval exercise gradually.

fi v

orot

BeginD by pulling pen toward body and end with a free , rolling motion. Retrace stem of d carefully, and close oval .

I NSTRUCT IONS FOR PRACT ICE.

Begin both letters more del iberately than you finish them . End cap ita l toward the right so as to join eas i ly tosma l l letters . Re lax muscles of the arm to get freedom , but restrain them at the same time to get form . Learn ingto wri te is therefore both a matter of re laxat ion and restra int. Too much relaxation leads to looseness, and too

much restra int leads to cramptness . Avoid the two extremes .

77tinking before you act leads to excellence . Watchfltlness of spacing between letters is an essential quality in learning.

Diminish oval exercise uniformly . See that arm rollsfreely in the E tracer. Use pure arm movement.

Make Ewith two, quick, circular motions withoutpausing at loop . Keep loop of e open by curving up stroke considerably .

I NSTRUCT IONS FOR PRACT I CE.

Use a pure, rol l ing movement in the cap ital , and a sem i -rol l ing motion in the smal l letter. Keep small loop of

capital po inting downward , and m i dway between the top and bottom of the letter. Make capital and smal l letters

w i thout ra is ing pen . A lways loop the sma l l e , and never fa i l to begin the capital w ith dot or smal l loop. See how

gently and smooth ly the l ittle finger can jog toward the ri ght in making the smal l letters.

76

Look, think, act. Study theform, determine what should be done, practice until you can do it and do it well.

Keep a good position. 771ink clearly in advance whatyouwish to accomplish. Make Ptracer in twoparts .

77tese letters resemble reversed d . Retrace both carefully, and end with reverse oval closed . Join letters without raising pen.

I NSTRUCT IONS FOR PRACT ICE.

Make capital w ith ln-and-out movem ent of fore -arm and end w ith a free , reverse—oval mot ion . The first part of

smal l letter is made w ith the push -and -

pul l motion, end ing w i th a sma l l reverse-oval motion ; both letters be ing made

much the same except the capital begins w ith the pul l and the sma l l letter w ith the push mot ion . Pause w ith pen

on paper at ending of the smal l letter. Make w ithout raising the pen .

Use afree arm movement; watch turns , angles , loops, and spacing; and employ an elastic action. Be systematic .

Use pure arm movement. Make B tracer in three parts , the straight linefirst. Study proportion. Be free and be easy in action.

Begin capital with in-and—out arm movement; end with reverse oval motion. Pause atfinish ofb and make loopfreely.

I NSTRUCT IONS FOR PRACT ICE.

B looks l ike Et reversed . Keep smal l loop near center of letter, and end w ith dot. R etrace first part at least

ha l f the hei ght of the letter, and keep loop smal l . Curve up stroke of b cons iderably, make loop ful l , keep cross inglow ; fin ish w ith dot or smal l bl ind loop ; and end toward the right, not downward . Use a steady. non-spasmod ic

ac tion , and deve lop a l ight, smooth ,graceful l ine . R emember that qual i ty of l ine shows qua l ity of movement .

77

Heed the thought and study theforms in the copy. Use afree arm movement. Push on the upstrokes . f ersevere.

Diminishing exercises tone movement and increase skill . Think clearly and quickly concerningfinish of R tracer. Be careful .

Make Rwithout raising the pen. Slant loop upward. Retrace first r carefully, and pause at shoulder of second r.

I NSTRUCT IONS FOR PRACT ICE.

See how c lean and sharp and smooth and graceful you can m ake the l ines . Good pens , ink, and paper ; a free

arm movement ; and a l i ght touch are necessary . See that you have the firs t and that you deve lop the second and

th ird . Movement exerc ises develop l ightness of touch , and retrac ing form s deve lop sureness and evenness . Movem ent exerc i ses are as necessary to good penmansh ip as gymnast ic or cal isthen ic exerc ises are to ath letics and health .

We learn by repetition. Write and re-write until progress is shown. Think how to practice advantageously.

Curve up stroke. Check motion at base without raising pen. Space carefully infirst exercise and retrace carefully in tracer.

End K same as R. Second halfofK should point toward the right. Do not raise pen in small letter.

INSTRUCT IONS FOR PRACT ICE.

Keep first down stroke of K quite straight . Start second part leftward not downward , and end toward the right .

Check the motion near the base l ine of the capital in join ing to the smal l letters so as to keep the turn narrow as in

the smal l k . Smal l loop ortop of second part of k shoul d be quite hori zontal . Keep last down stroke paral lel to thefirst and make narrower than h . Use a free arm movement at al l times w ith s l ight finger action in loops .

Writing requires skill , therefore training, mental and physical . Armmovement is difficult to acquire but easy when learned .

Stopfirmly on base line withfirstpart ofH. Begin secondpart with a free swing toward the lefi .

Begin bothparts ofH the same as K. Make down strokes parallel in both capital and small letters . Usearm movement.

I NSTRUCT IONS FOR PRACT ICE.

Keep a blotter under the hand so as to keep the paper clean and to provide a nice place for the l ittle finger to

gl ide upon . Remember, the l ittle finger should gl ide gently toward the ri ght in go ing from letter to letter. I t should

also sl ip up and down in mak ing loop of h , unless the fingers ass ist in form ing the loop . Watch spac ing and s lant

in mak ing these letters . Fin ish smal l h with care so as to have two turns in the second part, both of wh ich should

be the same in size .

Plainness , rapidity . ease, neatness are the essentials ofgood writing. See howperfectly you can acquire and practice them.

Make about 70N 3 a minute. Keep top rounding. Retrace bottom. Diminish exercise gradually. Use armmovement.

79

Make N without raising pen. Keep down strokes parallel in both letters . Finish capital with a grace/il l turnpointing toward the nght.

I NSTRUCT IONS FOR PRACT ICE.

Employ a graceful arm movement upon these letters . They are graceful when made wel l , and they are comparative ly easy to make . N arrower, they contain the princ ip les that are used in a -grcat many letters and need thereforeto be mastered . Stop now and then to observe your pos ition, to exam ine the forms you have made, and to determ inewhat to do to improve. Study as wel l as practice is necessary for the best results in the shortest time.

To- day, not to marrow, is the time to use arm movement. Watch down strokes. Fi t words care/idly.

Use a rapid push— and—

pull motion, making down stroke straight and retracing nearly half the height. Watch spacing.

Time, I 2 , 3 ; 1 , 2 , 3 ; one countfor each down stroke. Thirty-five capitals to the minute ; sixty small letters to the minute.

I NSTRUCT IONS FOR PRACT ICE.

Fore-arm should act d iagonal ly in-and -out of the sleeve in mak ing the cap ital s . Retrace cap itals hal f the he ight.

The l ittle finger shoul d sl ip freely up-and-down in mak ing the capital s , and toward -the-ri ght in the smal l letters .

Make down strokes stra i ght in both letters, and see that each m conta ins four turns and two angles .

Unform action means uniformpenmanship. Movement exercises reduce unruly motions to orderly action. Wide spacing also aids.

Keep pen moving gracefully in this exercise . Push— and-

pull , twist- like. pure arm movement. Diminishgradually.

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Begin U same as N; end same as A. Make second part sharp . Keep u sharp at top; rounding at base: Use easy action.

I NSTRUCT IONS FOR PRACT ICE.

Slant down strokes of both letters the same . Use an easy , graceful , sem i-rol l ing arm movem ent in both capita l

and smal l letter. Ease of action— ne ither s luggish nor spasmod ic— is the/true method of practice . Slow. writing isl i fe less and exhausting in patience ; reckless, uncontrol led speed is demoral i z ing to form . A happy med ium is best .

I

Think and watchform while writing. Employ head as well as hand. Use eye as well as muscle.

both exercises sharp at top , rounding at base, down strokes straight, up strokes curved. Arm movement.

Each letter should contain two turns , one angle, and one loop . Cross on base line . Use afree, forceful a'

rm movement.

I NSTRUCTIONS FOR PRACT ICE.

The capital and smal l letters are much the sam e in construction and therefore in movem ent . See that the arm

acts l ike a pivot or h inge in mak ing the long , d iagonal down stroke,and in the last up stroke . Loop should be

crossed on base l ine, not below , w ith turn at bottom .

Poor writing is like muttering speech— a disgrace . Be unmistakable . You should also be neat and systematic . Be free in movement.

82

Time 1 , 2 ; 1 , 2 ; l . 2 ; oneform a second. Accent 2 infirst and 1 in secondform. Down stroke straight.

Drive am out sleeve to start J; push-and—

pull movement. Make down stroke nearly straight in both letters .

INSTRUCT IONS FOR PRACT ICE.

The J is a long letter, but not a d ifficult one . Cross ings shoul d be on the base l ine . Lower loop shoul d be

smal ler than the upper. Keep cross ings of sma l l j on the l ine al so . Be careful to place dot just above the letter.

Use fore-arm motion ; the el bow act ing l ike h inge . Little or no finger movement is necessary . Use a l ive ly, gracefulaction and the forms w i l l be d raceful and good .

Up strokes are longer and more gracefitl tha refreely. Equal spacing between all letters .

Swingfreelyfrom the start, checking movement only after having retraced eachfrom six to ten times . Keepformclearly in mind.

Start 1 withfree outward movement of arm. Make i sharp at top; rounding at base . Dot it carefully.

I NST RUCT IONS FOR PRACT ICE.

Use sem i-rol l ing motion in mak ing the capital . Keep top of 1 narrow or it may resem ble L when jo ined to smal l

letters . Keep down stroke of i stra ight . Use a free, gl id ing movement in smal l letters . Keep a good pos ition, s ittingnearly erect w ith spine stra ight . Watch angle of pen and paper, and use good materials—

pens , ink, and paper.

83

Watchfulness of details , and practice upon movement exercises , will produce improvement and make you a good penman.

Learn to make ovals equally well either way around. Use gracefi dcompound movement in X exercise .

MakeXwith semi- rolling arm motion; curving sides equally. Small x curved less than capital, but much like it.

I NSTR UCT IONS FOR PRACT ICE.

Review d irect and ind irect oval exerc ises prel im inary to the practice on the cap ital X, using a free , graceful action

throughout . Dim in ish the letter gradual ly, beginn ing ,qui te large . Review princ iples 5 and 4 before beginn ing prac

tice upon the sma l l x . Both parts in both letters should touch gently and retrace at least a short d istance .

Generate enoughpower to carry the penfrom word to word across the page with ease andfreedom. Be watchful , too.

Notice that the oval exercise ends with a reverse loop. Use lively motion in the retraced Z .

The capital and small 2 are nearly alike. What is the difference"Small 2 has but one loop. Useiarm movement.

84

I NSTRUCT IONS FOR PRACT I CE.

Down strokes in cap ital are curved the sam e . Loop in smal l letter is the same as 1 1 . cap ital except a trifle smal ler.

First down stroke in smal l 2 shoul d be straight , the sam e as in n. Cross ing in both letters should be on base l ine .

Make the capital and smal l letters freely and w ithout ra is ing the pen.

Enthusiasm and love for excellence , make practice pleasant and work profitable . Usefree arm movement and sit healthfully .

Practice large and small compound curve tracers with afree, graceful arm movement, crossing in the center.

This capital resembles Z and L. The small q resembles a andf. Loop in 0should be horizontal . Both end'

the same.

I NSTRUCT IONS FOR PRACT I CE.

Begin cap ital Q w ith a rol l ing motion but m erge it into a restricted , horizontal gl id ing movement . Begin the

sma l l q careful ly w ith a restricted arm and hand motion , but end it free ly the sam e as the capital . The l ittle fingerneed not sl ip in the a part of q . Dim in ish capi ta l gradual ly , end ing w ith a good Q or figure 2 .

Movement exercises and wide spacing between letters aid in overcoming unruly and uncontrolled action.

Use a free and twist- like or diagonal armmovement. Make loop small and horizontal in L.

Employ a graceful movement inL and a slightly rolling action in the small I . Keep loop of capital small .

I NSTRUCT IONS FOR PRACT ICE.

To m ake the L success ful ly, one must perce ive it c learly . I t is composed of two com pound -curves , and they demand grace of ac tion to execute success ful ly. Begin the le tter l ike C and E and end l ike Q . The smal l I needs to bemade ful l w ith the cross ing low ; therefore curve up stroke cons iderably and down stroke but l i ttle . Loop of cap i talneeds to be smal l or it resembles S.

Rapid, legible writing is in demand . Meet it by practicingfaith/i dly upon exercises and watching turns and angles .

Use a graceful, twist— like arm movement in double loop exercise . Keep cross ing low in S and divide oval equally.

See how graduallyyou can diminish the capitals, and merge them in to small letters , as they are much the same.

I NSTRUCT IONS FOR PRACT ICE.

Both letters begin and end the same . Use a rock ing-l ike motion for the lower part of the capital and for the smal l

letter. Begin and make the upper part of the capital the same as smal l I , end ing l ike capital I . The l ittl e fingershoul d s l ip or gl i de more free l y in the sma l l letter s than in most smal l letters .

“

Use a graceful arm movement in both .

Simpleforms , easy movements , and movement exercises develop speed and plainness . Use a gliding action in sentences .

Use semi- rolling movement in exercise . Make down strokes of G parallel . Keep crossing low. Use easy motion.

Begin G like 1 and S and end on base line with straight line . Beging like a and end likej. Use an easy, arm motion.

8 6

I NSTR UCT IONS FOR PRACT ICE.

Let the fore-arm sw ing freely from the el bow in begin ning the capital and in end ing the smal l letter. Loop of

cap ital is a trifle more round ing than that of the smal l lett er. C lose smal l 9 at top and cross loop on base l ine . Lower

loops to be attractive and harmon ious should be the same s i ze as upper loops, but for m ere legib i l ity they may be

smal l .

Earn a good band wri ting and it will earnforyou in return a good position, and helpyou to keep it.

Make stem exercise at rate of one a second. Pause at the dot orfinish of the stem, and curve down stroke nice/y .

Make top of Thorizontal . Do not raisepen at angle, Retrace top of t carefully. Each t contains an i.

J J J J J J

I NSTRUCT IONS FOR PRACT ICE.

Avo id curving top of T much or looping it at the angl e . Make first stroke long or it may resemble J or I . Makesmal l letter w ithout ra is ing pen except to cross it. Some finger action is adm issable in the smal l letter, but only in

a m inor m anner. See that l ittle finger gl i des to the ri ght in go ing from letter to letter.

Gaod writing is the result of toil. I t takes true worth to get it. Movement exercises help to acquire it.

Make 1 00down strokes a minute, and 6 0stems . Use grace/id , arm movement at all times .

Make horizontal strokes parallel and straight. Keep both loops inf same size and see that eachf contains an i.

f t"87

I NSTRUCT IONS FOR PRACT ICE.

The F is the same as T w i th a cross at the center. See how graceful you can make the down stroke . The smal l

f IS a combina tion of I and q . The upper loop should cross at he ight of i and the lower one should c lose at the basel ine . Use hinge and ih -and -out movement for th is letter. Some finger movement is not

’

objectionable, but fingeraction should never be the primary motion.

Firmness and sureness make writing business like. Learn to push rather than drag thepen.

Think quickly in the E exercise, making about 80a minute. Keep central loop small.

Make down strokes firmly. Littlefinger need not slip . Fingers may aid arm. 7 and 9 extend below line.

é é é é é é é 7 7 7 7 7 7 7 7 7 7 7 7 7 ]I NSTRUCT IONS FOR PRACT ICE.

The l ittle finger shoul d serve as the center of control in the execution of figures . Be sure . Be firm . Be quick .

Be neat. Be systematic . Figures are used more and more , and each year in th is commerc ial era, they mean more

and more . Great accuracy in the ir use and mean ing is therefore necessary . Meet the need by doing good work

quick ly . Now is the tim e to learn .

Study and practice are the keys which unlock the door to good writing. Be enthusiastic and persevering.

Notice similan'

ty. The 8 is a reversed S, and its finishmay extend above as 6 . Be sure. Be plain. Be quick.

2 2 2 2 2 2 5 5 5 5 5 3 3 5 5 5 5 5 5 5 e‘

sr sr sr e s

’

e/e e e a e o

Be in love withyour work. Use your brain to directyour hand. Success willfollow. Use arm movement.

JW88

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PART E IG HT O R BOOK E IG HT

Comprises exerc ises , sentences , proper names and addresses . jo in ing of capitals , rules forf s'

pacing, variety of

hands . bus iness forms , a complete letter, and practical lettering alphabets . Each copy is accompanied by terse , prac

t ical instructions for pup i l and teacher.

Part Eight or Book Eight should not be attempted or practiced unti l Parts Five, Six . and Seven have been thorough ly stud ied and practiced by both teacher and pupi l , as the work there in l eads up to that conta ined in th is part .

The work in Part E i ght is in part a review and resume of previous work, as we l l as an advance in the d irectionof actua l bus iness writing, end ing, as it does, w ith bus iness form s and letter writing .

The examples of lettering are the embod iment of s imp l ic ity, pla inness , ease , rapid ity, and practicab i l ity. No one

need to despair of lettering pla in ly, neatly, and rapi d ly i f they w i l l but fo l low careful ly the instructions .

The work in th is and the previous parts has been so thorough ly planned and expl ic itly presented in cop ies and

instructions that no one need go further for a good hand writing . Fol low the instructions and al l w i l l be wel l .

Use pure arm movement. Make about 2 00down strokes a minute . Watch spacing between down strokes only .

Use afree motion but watchform closely by watching turns , angles, retraces , loops , slant, spacing,height, and up and down strokes .

Use a rapid . semi— rolling . pure arm movement. Make turns rounding. ang.

'

es sharp , and down strokes straight.

Movement, movement, movement [5 the key to good writing. Form , form, form is the key to good writing.

Diminish exercise carefully —

patiently- skillfully —

gradually. I tgives quantity and quality of action, as well as control.

90

Use an easy, gliding arm movement at all times. Watch height, spacing, slant and quality of line. Watchposition.

Begin second part of“

K with a free , forceful swing, starting toward the left. Keep turn narrow at base line .

Knowgood writing, practicefaithfully read good books, think good thoughts , and your services will be in demand .

W

This is the penman'

s favorite exercise . See howgracefixlly and well you can execute it. Space widelyfor the H.

a quick graceful, circular and gliding arm movement infirstpart ofH. I tmakes a good exerciseforpractice .

Use thefingers but little even in extended letters . Make loops same in size. rounding at ends , and short.

I NSTRUCT IONS FOR PRACT ICE.

The s lant of the extended letters is more important than the ir he i ght. I f they vary in slant it is much more

noticeable than i f they vary in hei ght. Short letters shoul d conform to long ones in slant. Therefore make the

short letters on the same s lant as the tal l ones and the result w i l l be pleas ing as wel l as practical .

9 1

Pause infinishing B . Retrace or raise pen as youmay prefer and can do best. easiest and quickest.

A'

ore dijy‘

erence inproportion of letters , Change the motion to suit. One style aids in acquiring another. Which doyou ’ike best"

I NSTRUCT IONS FOR PRACT ICE.

One hand or style natura l ly a ids another. Learn one h and and you w i l l have the key to any other. As it is some

t imes necessary to write a long nam e in a short space , it b ehooves one to be able to write a condensed or narrow

hand . At other times the rul ing may be narrow and the space long . in wh ich case a w i de or running hand is des irable .

Then , too , som e people natura l ly write ta l l , and others w id e , and each the better by such variation . Good writingdoes not necessari ly m ean any one particular hand .

Uniformity in letters is secured by uniformity ofmotion and close observation. Movement exercises lead to uniform action.

MI NSTRUCT IONS FOR PRACT ICE.

An easy arm action uni forms the he i ght letters and gives them grace . Do not make angular turns in one letter

and round ing turns e lsewhere in the same letter or in another on the same page . Al l turns should be equal ly round ingand a l l angles equal ly sharp or acute . Un i form ity in action insures un i form i ty in wri ting . Exerc ises develop uni

form . non-spasmod ic action .

Pause at top of C and E. Use graceful , arm movement in g. FinishA with curve pointing toward the right.

Keep first loop of D small and on base /ine . FinishD quickly with a circular arm movement.

Watchfulness of details , of common errors, and of movement used, leads to excellence. Study the thought as well as the form of the sentence.

I NSTRUCT IONS FOR PRACT ICE.

The spac ing between words should not be so close that two words w i l l appear as one , nor so w ide that a letter

or word appears to have been om itted . Let the eye learn to space, and then you w i l l always have a rule w ith you.

Be as careful about the end ing of words as about the beginning. Watch deta i l s, and d e fects w i l l d isappear. Use a

free movement at al l t imes .

Use an easy, graceful arm movement in Vand W, and a gliding arm motion in the small letters . Watch spacing.

Ifpreferred, penmay be raised inR instead of retracing. Keep finish ofPhigh so it does not resemble R.

Learn to beyourself. Be self reliant. Improve your writing by takingpride in it, and by making ityour own.

I NSTRUCT IONS FOR PRACT ICE.

Be particular about the deta i l s of your writing . No other one th ing w i l l cause it to improve as much . Concern

yoursel f w ith exce l lence rather than w ith pecul iarity or ind ividual i ty . as the latter w i l l assert i tsel f a l l unconsc ious lyin due course of time . Keep down strokes nearly stra ight and para l lel . Use arm movement to secure grace and

freedom . Rev iew movement exerc ises frequently . Keep a health ful pos ition .

9 8

Use in- and-out arm movement inM‘

s; gliding,fore-arm movement i nsmall letters . Watch spacing between letters.

Pause atfinish of C, but do not raise pen in writing the names . Use rocking— like arm action in the G

'

s .

Keep sleeve loose at elbow. Watch spacing between words . Use gliding motion and arm movement.

I NSTRUCT IONS FOR PRACT ICE.

Be sure you aim ri ght in your practice . Have someth ing in m ind that you des ire to accompl ish , and stick to it

unti l you succeed . I f your writ ing lacks ease and freedom ; then th ink freedom and ease and w in them by pers istentreview upon exerc ises . I f it is form that you need ; then th ink fo

'

rm , critic ise c losely, and observe deta i ls . Be en

thus iastic over writing because of its uti l ity or beauty . Then work w i l l seem l ike play.

Watch slant of down strokes to keep them uniform. Use an easy movement at all times . Be careful and systematic .

Use a free,forceful , fore-arm movement to connect letters , and to propel the pen across the page. Watch spacing.

Keep letters uniform in height by using afree, graceful , gliding arm movement— freefrom left to right.

94

I NSTRUCT IONS FOR PRACT ICE.

N ever before has good writing been so much in demand . No other one th ing serves so we l l as a stepp ing stone

to something better. Coupled with spel l ing and figures, good writ ing is a valuable acquis ition, and easi ly w ith in thereach of a l l who w i l l but study and pract ice in the ri ght manner— as herein i l lustrated and expla ined .

Rapid writing is valuable slow writing is dead"

. See how much life you canput intoyour writing by using arm movement.

Daintiness in wn’

ting means a refined quality not a bad thing to possessfor occasional needs . See howfreely and daintily you can write.

Let the hand and arm rock or roll slightly in this round ing style . Curve the up strokes considerably . Use arm movement.

I NSTRUCT IONS FOR PRACT ICE.

People. d i ffer in other th ings , why not in penmanship"There is no objection to th is sl ight d i fference so long as

the writing is perfectly pla in to a l l , rapid and easy in execution . I nd ividual ity cannot be taught, but it may be guidedinto proper channel s as it mani fests itse l f unconsc iously to the pup i l . I t is better to thus mod i fy it under intel l i gent

critic ism than to al low it to deve lop into strange and pecul iar styles . Then, too, by practic ing the d i fferent styles heregiven, the hand is caused to act somewhat out of accustomed channels and in so do ing acquires sk i l l not poss ible inany other way . The writer after practic ing thus for a short time can resume h is regular style w ith increased ski l land effecti veness, writing it better and eas ier.

Push the penfirmly toward the right in making the up strokes . Make turns narrow. Watch Spacing. Writefreely.

9 5

Note location of salutation. School the eye to spacing. Accustom the hand to graceful action. Review exercisesfrequently.

4,/ 7 aé .

I NSTRUCT IONS FOR PRACT ICE.

See that the general effect of your writing is good by s ee ing , l st, that it is neat in appearance , 2nd , that it is

orderly in arrangement, and 3rd . that it is graceful . The fi rst comes by care ; the second . by observat ion : and the

th ird , by ski l l ful practice . Use arm movem ent as a bas is of execution as it is the secret and source of graceful , easy,

rap id , successful writing . Watch s pac ing between letters and words , and keep margins stra i ght .

One of manyforms of closing a letter. Be careful in all ofyour writing. Use arm movement. Practice exercises often.

I NSTR UCT IONS FOR PRACT ICE.

I t has been sa id that order is Heaven’

s first law . I f th is be so,we have one good reason to bel ieve that order

in writing is a virtue not to be i gnored . We do know, however, that system is the first law of doing and record ingbus iness as it is done today . You w i l l therefore do wel l to begin now to form habits that are systematic . Writing isan excel lent art to d isplay such ab i l i ty . I t p leases the bus iness man to see an orderly handwriting . Do you w ish tosucceed"Then learn to be systematic in your writing .

9 6

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iNSTRUCT IONS FOR PRACT ICE.

Letter writing is an art no one shoul d be i gnorant of . More letters are written today than ever in the worl d’

s

history . Letters are of more importance than they have ever been , conta in ing as they do more important orders forgoods , more exp l ic it instruct ions for various l ines of endeavor in art , in sc ience . in commerce , and in matters perta ining to peace and war. You w i l l therefore make no m istake by studying the art of writing letters . The first requi s itein letter writing is to say exactly what you w ish , and in good Engl ish . The second requis i te is good form wh ich involves arrangement and penmansh ip .

To secure good arrangement and good writing, you must study spaces and use a free movement.

Study arrangement. Notepunctuation, capitalization, and abbreviation. Use afree arm movement at all times .

I NSTRUCT IONS FOR PRACT I CE.

Al l capitals should be the same in he i ght. Al l loop letters should be uniform in s lant. The m inimum letters

shoul d be regular in s i ze . Th ink of the princ iples contained in each letter as you are about to execute it . Watchspac ing between letters and words . Be careful to make a d istinct ion between commas and periods . See how neatl yand how orderly you can write the beginn ing of the accompany ing letter.

A commonForm ofReceipt. Study its arrangement. Punctuate carefully . Use°

arm movement. Watch spacing between letters and words .

/ z,/7 04

98

CommonForm ofNote . Use the eye and exercise thejudgment in suchwriting. Be careful and sure, yetfree in execution.

- / a 4// 7 a é .

ADue Bi l. There are many kinds . Learn to write this one well. Use a grace/id movrment. Practice upon exercises .

99

A Simple Form ofAccount. Learn to rule neatly and accurately . Make allfigures plain. Use an easy movement at all times .

Common Formof Check. Note difi’

erence in size of script. See h0' "W "

ecute it. Persevere.

4/ 72 / m 3 / 7 ef

I NST RUCT IONS FOR PRACT ICE.

R ev iew exercises frequently . They make writing better and eas ier. Watch deta i ls . Have someone criticiseyour penmansh ip . Others w i l l see faults wh ich escape you. Exerc ise care at a l l times . N ever scribble . Always doyour best . Writing is too va luable an art to be neglectful o f. I t is a lways speak ing for or aga inst you. Make it ofsuch character that it w i l l a lways be for and not against you.

1 00

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PRACT ICAL MA RK I NG ALPHABET.

Th is is the ol d , ever-new, valuable , ava i lable style of l ettering that is at once easy, artistic , and practica l . Perhaps

no other style of letter embod ies in as large a m easure a l l of these qua l ities .

The secret of its trin ity of va lues l ies in the fact that the strokes are s im i lar in construction, un i form in s lant, and

gently curved wth a swe l l shade . The com pound curve or l ine of beauty recurring so often adds to its rhythm ic,

graceful , fine art qual ities .

To make it, hold the paper stra ight w ith the desk , let the hol der point toward the elbow, and use a flex ible pen

such as the Z anerian Fine Wri ter.

Practice upon the princ iples at the bottom of the plate , next upon the smal l letters, then upon the cap itals, andlast the figures , as they are the most d ifli cult.

Use a steady, sure, comb ined movement, a im ing to secure a grace ful increas ing and d im inish ing sha de with theheaviest part near the center.

Be patient, observant, critical , and persevering, and a success ful style of lettering is yours

ECLECT IC TEXT .

This is a compos ite alphabet, having been m ade up of the princ iples of a number of standard forms . Study care

ful ly the proportion and shape of letters . as we l l as the spac ing in and between letters .

Use a broad -

po inted pen , F. Soennecker is best, and hol d the pen more nearly vertical than in writing . Keep the

edge of the po int at an angle of forty-five degrees throughout the work .

Dip ink sparing ly, careful ly, and frequently . Watch spac ing . Use a penc i l head and base l ine for the s mal l

letters , wh ich may be erased after lettering is complete . Make the left s ide of letters first and then the righ t s ide .

Study careful ly the turns at the top and bottom of letters .

Use a s low , firm , sure comb ined movement in executing th is k ind of letters Speed is not so essential as accuracy .

The l i ttle finger and 1 ight s ide of pa lm of hand shoul d rest firm ly upon the paper.

Uni form i ty in he i ght w id th . spac ing and th ickness of stroke is essential .

Be patient, observant, and careful , and you wi l l win a good band at lettering .

102

3 ms t 7 /7 a

FI NE A RT PENMA NSH IP AND HOW TO ACQUI RE I T .

The forms given herewith are the same as given in the preced ing pages with s l i ghtmodifications in construction

and qual ity of l ine . The forms have been beauti fied by the add ition of shade and an occas iona l graceful l ine . Andwhat a big d i fference a l ittle shade properly made makes in the general appearance"Beauty rather than business

seems here to be the dom inant factor, hence the term fine art,"as appl ied .

To ac quire and execute successful ly th is perfected and beautified hand, use Arnol d’

s Japan or diluted I nd ia ink ,

fine, flexible pens , good paper, and a properly adjusted obl i que penhol der.

Use about the same movement as heretofore prescribed , but less speed . espec ial ly in the smal l letters . Ra isethe pen oftener, and pause longer when it is off the paper, than in the bus iness style . R etouch the t, d,

‘

and p, and

ra ise the pen in B, M, N , P, R , and W, also in jo ining to such letters as a, c, and o. The pen may also be ra ised in L

and 2 a fter mak ing the shade .

How graceful , how accurate , and how beautiful should be your aim, rather than how rapid and legible as in the

bus iness .

See how un i form ly the cap itals have been spaced in the names and combinations . Study effect of l ight and

shade. aim ing to have ha ir l ines and shades alternate as often as poss ible .

The shades on the capital s, indeed the letters themsel ves, need to be made quite quickly ; snapped off as it were .

Dash and da intiness are two essentials in this work . Do and dare and you w i l l win.

COMMERCI AL OR COPPER -PLATE SCR IPT .

This is another mod ification of the style of writing given heretofore in th is compend ium . The ch ief change in

th is style has been brought about by heavi ly shad ing the down strokes .

For th is kind of writ ing one needs a fine, flex ible pen, an obl i que hol der, d i luted I ndia ink, and firm, h igh-grade

paper.

To execute these strong , smooth , long shades , one needs to go much more slowly than in the previous style, and

more finger action is necessary . The l ittle finger should not s l ip for such work, but shoul d serve as the center of

control . I n fact, th is represents drawing rather than writ ing, as none of the work is done off-hand , and the pen is

ra ised a fter every shaded stroke in the smal l letters . Both s ides of the loop in I , etc . are made downward , and the

up l ines in n, m , etc . are not as slanting as in the ord inary style .

Great care and sureness are the forces wh ich plodd ingl y produce this hand . I t is used in engros s ing reso lutions,memorials ,

fam ily records, d iplomas, etc and is quite’

valuable and comparatively eas i ly acquired .

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The progress of events by 1 850were'

pregnant w ith freedom , not only freedom for the black man, but for the

wh ite man’

s handwriting, as it wa s sti l l somew ha t labored and s low. The Sem i -angular or Spenceri'an styl e was createdto serve the double standard of beauty and business, wh ich it unquestionably did as wel l as one servant can serve

two masters .

The last decade of the n ineteenth century saw the Spencerian merge gradual ly into a sl i ghtly smal ler, more slant

ingvand runn ing, as wel l as somewhat swi fter hand . I ts long loops were d i fficult and cumbersome and its angular

turns somewhat il legible, but it was a step in advance of its predecessors .

The teaching of writing to ch il dren necessitated someth ing s imple and pla in . The ,vertical met that demand ,

but fa i led to satisfy or meet the dem ands of bus iness . I t was suited to ch ildhood rather than to commerce, andthereby fai led in general usage at the hands of adul ts .

IW4 ICI0

Today the world demands writing that is pla in, rapid , and easy . I t must be easy to lea rn, easy to write, and

easy to read . To be al l of these , it must be s imple and sem i-round as wel l as sem i-slanting . I t must al so be rapi d

and capable of be ing written wi th the arm movement instead of the fingers . Such is the fo l low ing :

As wi l l be seen by a glance at the forego ing h istoric styles , whenever the worl d demanded faster writing the

forms were changed to adm it of freedom and speed . They di d not add more speed to the ol d hands, but mod ified

the style so as to al low speed to be appl ied without d estroy ing the form . Just as in sai l ing the seas . For a wh i le the

sai l s sufficed , but the time came when more sai l s became burdensome and then they were abandoned and a new sh ipwas invented . So it was on land . The stage coach and relay of horses did for a time

,but eventua l ly new coaches

and new forces replaced the ol d . I t is the old , ol d story of“

necessi ty being the mother of invent ion .

A glance at the various styles and dates demons trates that there has been progress in the art of writing more andmore rapi d ly . Not more plainly but more speed i ly . This progress w i l l doubtless continue . Change is the law of

growth in the W( rl d of art, and wri ting is no exception to the rule .

Today the v mrl d demands plain, rapid writing. The hand comb ining plainness and ease of execution in the

h ighest degree is the one to adopt and teach . Such is the last one i l lustrated as nearly as we can now portray it,

and such is the work in th is manual .

1 063

T H'

E PHY S I O LOG Y O F T H E ARMO R T H E

ST UDY OF T H E MACH I N ERY O F WR IT I N G .

NOTE— This chapter is intended for profess iona l penmen, and for those who w ish to prepare as such. The work

is technica l and ted ious, but im bedded there in are facts wh ich teachers who aspire to or profess to be profess iona ls

should know .

THE BON ES.

Compos it ion : Animal and Mineral matter. The former Ulna : Jo ins internal condyle— articulates l ike hingeh

predom inates in youth ; the latter,in ol d age . rotates aga inst rad ius at wrist .

Funct ion : Support to the body as a frame-work, Funct ions : To move elbow l ike h inge ; to turn

and to serve as levers to produce and increase or tw ist : the former to eat, the latter to fan .

motion.

THE S HOU L DER. THE HAN D .

Clavic le— col lar bone : Shape of ital ic s , joins sternum Wrist.

and acrom ion hi hest o int rocess of the

scapula .

g p pCarpa l : E1ght 1n number ; two rows of four each ; up

per, scapho id , sem i-lunar, cune i form , and pis i form ;lower, trapezium (major", trapez ium (m inor",magnum , unc i form .

Funct ion ; to operate the wrist in al l d irections .

Scapula— shoulder blade : Flat, l ike trowel or spade .

Gleno id cavity, socket for humerus, acrom ion and

coraco id ( crow’

s beak"processes .

Funct ion : To move shoul der, and attach musclesthereto .

UPPER ARM.

Pa lm .

Humerus : Caput humeri— head . External and internal Metacarpa l : Five in number (one thumb , four finger".condyle ; Former jo ins w ith rad ius ; latter, w ith Funct ion ; to move the hand— to partial ly close it,ulna . and to open it.

Funct ion : To move arm in al l directions .

FORE-ARM.

Fingers .

Rad ius : Joins external condyle— rotates against ulna Pha langes : Fourteen in number.

it pronates or turns palm down, and it sup inates l st pha langes, five in number.

or turns back of hand down . Articulates w ith 2md phalanges , five in number.

scaphoid and semi- lunar bones of the wrist— back Last phalanges , four in number.

of thumb . Funct ion ; open and c lose the hand .

107

MUSCLES.

S HOU LDER.

The musc les are first named . The ir head or origin

is then described . and the ir outer extrem ity, end , or

insertion is then located .

Pectora l is major: Broad , flat musc le s ituated imme

d iately beneath sk in of breast.

Origin ; c lav ic le, sternum , and ribs .

I nsert ion ; anterior l ip of the b ic ipital grove of

the humerus , about two inches below the head .

Funct ion ; draws arm forward across the breast,

and rotates it sl i ghtly inward .

Lat iss imus d ors i : Broad , triang ular muscle of the

back, covering lower part of shoul der blade .

Origin ; spinous processes , lower ribs, etc .

I nsert ion ; bottom b ic ip ital grove of humerus,about two inches from head .

Funct ion ; draws arm backward and rotates it

sl ightly inward .

The Pectora l is major and Lati ss imus dors i are

the largest musc les used in writing . They move

the fore-arm in and out the sleeve when the arm

rests at the e lbow . They are the seat of the arm

or so-cal led muscular”movement, as wel l as of

the whole-arm movem ent .

De ltoid :

Origin ; spinous process of scapula, acrom ion, and

outer th ird of c lavic le .

The shoulder-cap muscle .

I nsert ion ; del toid im press ion . just above the m id

dle of the outer shaft of humerus .

Funct ion ; ra ises the arm from the s i de to a horizontal pos ition . Th is is the seat of whole-arm

movem ent . Th is musc le suspends the el bow

whi le the pectoral is major and latiss imus dors imuscles propel the arm in writing . Rest ing the

arm on the table re laxes the de lto id muscle .

UPPER ARM.

Biceps brach i i : Two-headed muscle in frontof humerus .

Origin ; by its inner or short head , to the apexof the coraco id process ; by its outer or longerhead to the upper part of gleno id cavity over

head of humerus , descend ing along b ic ip italgroove . The two un i te and form fleshy part .

I nsert ion ; b ic ipital tuberos ity of the rad ius ; a lso

w inds about between ulna and rad ius .

Funct ion ; flexes fore-arm and turns or rol ls it

outward .

1 0

Anconeus : Between outer condyle and olecranon .

Origin ; external condyle of humerus .

I nsert ion ; outer s ide olecranon and triangularsurface of ulna .

BACK VIEW OFRIGHT ARM

FRONTVIEWOFRIGHT ARM.

BACKWARD. Q' TERESMAJOR,ROTATESAR”INWARDANDDRAVSARI’I BA( KWARO. . E' TERESHIN‘

0_R.ROTATESARHOUTWARDANDDRAWSARM FLEXESFORE‘A

z

RMANDSUP

é' ANNULAR LIGAMEET. HOLDSDOWN ANDPROTECT"TENDONSOFFORE' ARM ANDHAND.

Triceps brach i i : Three-headed muscle s ituated back

of humerus between shoulder and el bow .

Origin ; by its m idd le or long head, below glenoidcav ity ; by its outer head to the outer edge of

humerus ; and by its inner head to inner edge of

humerus .

I nsert ion ; o lecranon process of ulna at elbow :crazy bone (stops extend ing fore-arm".Funct ion ; extends fore -arm .

Brach ia l is ant icus : A broad , flat muscle beneath and

on e ither s ide of b iceps musc le .

Origin ; lower hal f inner humerus and adjacentmuscular tissue .

I nsert ion ; corono id process of ulna wh ich stops

bend ing of fore-arm .

Funct ion ; flexes fore-arm in connection w ithbiceps .

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APPL I E D PHY S IOLOG Y

A Know ledge of bones and mus c les is of value to the hand . The longer the lever. the more uncontrol

penman and teacher, inasmuch as it enables them able , and the larger the muscle , the more unman

to we igh , measure, and determ ine effort in learn ageable , as concerns the execution of smal ling and in do ing . forms .

The Attachment of musc les to bones is of such character Arm Movem ent in writing is therefore more d i fficul t toas to multiply motion many times , thereby re control than finger movement. beca sse the leversduc ing muscular activ ity to the m in imum . are longer and the musc les larger. Finger move

The princ iple of anima l mechan ics is thus d isc losed and ment is more tiring than arm movement, because

to be the bas ic princ ip le of th is activity, and The Funct ions of the arm muscles and levers in writingcom parison w ith its three d ivis ions, the power, are to create suffi c ient quanti ty of motion to makethe fulcrum and the we i ght seem appropriate here . it easy to propel the pen, and of the hand and

The Power is represented by the attachment of the fingers to secure qual ity, and control to make it

musc le at its head or ori gin by means of tendons “ a °y to m anage .

to bones, l igaments, or other muscles, and by its

contracting qual ities .

The Fulcrum is represented by the jo ints , because theyserve as the center of activity . The muscle be ing i n

inserted into the bone near the fulcrum , as is

customary, the resultant motion produced at the

extrem ity of the lever is much greater than at

the fulcrum .

The We ight is represented by the hand in writing and

by the pen wh ich it ho lds and w iel ds . The we i ghtin th is c lass of levers is much l i ghter than the

power, but motion is much greater in volume .

The Object in an imal mechan ics is s im i lar to the crane

in princ iple of leverage — to mul tiply motionrather than to multiply power, as in the common

lever. Strength in the form of large , strongmusc les is uti l i zed to produce a vast number of

sma l l , rap id motions .

Sk i l l is the result of th i s saving of effort on the one

hand and multipl ication of motion on the other

1 10

I n writing, and in s im i lar arts , is mul ti .r "da conservative average of about e igH fi rm

is to say, i f the musc le produc ingmoves one inch the extrem ity 01

member acted upon would move e i ght inc h e s . O r

to reverse the problem ( for it is a poor rule that

w i l l not work both ways", i f a letter were made

one inch h igh , the muscular contraction or expan

s ion would be but about one ei ghth as great.

The rat io between muscular contraction on the ins ide

and resul ting outward motion varies w ith the

members employed and art performed . Thus the

levers of the fingers be ing comparatively short,they must act r e latively more than the levers of

the arm . As much more as they are shorter. Or

to reverse the propos ition again, the levers of the

arm be ing longer than those of the fingers , and

farther removed from the pen, w i l l , in produc inga given form , move or act as much less than the

fingers as they are longer.

N ature thus econom i zes effort by us ing strength to se

cure act ivity. By a comparatively smal l muscular

contract ion a large outward movement is pro

duced . I t is thereby an exchange of strength for

volume . I presume that when we actual ly travel

over eight m i les of space w ith our feet, we travel

but one m ile in muscular contraction .

~wever, is of a two-fold nature— it is put forthto create motion and it is put forth to contro l

motion . Some arts require more effort to create

wh i le other arts require more effort to control .

Large arts,such as walk ing, chopp ing, sweeping,

saw ing, pound ing, etc . . require m ore creative thancontrol l ing effort . This is due to the fact that muchstrength as wel l as much motion is demanded , both

of a quant itative character; the m aximum of

strength and activ ity .

Sma l l arts, such as writing, watch -mak ing, eu

grav ing, embro idery, etc . , require more control l ingthan creatung effort . Th is is due to the fact thatqual ity of motion is demanded rather than quant ity . The effort is expended in managing, in

l im iting, and in reduc ing act ivity .

The Art o f Writ ing be ing one of our smal lest and swiftest arts, is consequently one of the most d iffi cul tto acquire and perform . To secure speed , the

arm rather than the fingers must be em ployed ,

and to secure legib i l ity, e ither the fingers mustass ist, or the musc les of the arm be trained to act

m inutely and o rderly enough to produce goodwriting as wel l as rap id writing.

The latter m ethod , i f reduced to a work ing bas is ,

reduces effort to the m in imum . Few ,however,

seem capable of thus writing, as the sk i l l is ofsuch a hi gh order because of the long levers and

the smal l form s, that the tra in ing is too tax ingand extended to adm it of the necessary t ime andenergy on the part of the average c iti zen whodoes not asp ire to become a professional penman.

The former method , the co-operation of the fingersw ith the arm to secure form seem s the one mostin accord w ith nature, and consequently the one

most commonly employed .

Finger Movement is comparatively easy to acquire because the levers are relatively short and the

power c lose to the we ight— the contraction near

the pen . This refers to slow writing rather thanto rap id writing , as the latter is d i fficult to ac

quire, no matter whether the fingers or the armare employed . Finger-movement writ ing m ay besa id to be tiring ; arm-movement writing, d ifficult .

1 1 1

The Fingers are so constructed as to contract more

eas i ly and powerful ly than they extend . The irch ief function is to grip and not to open and close- to hol d the implement wh i le the arm performs

the labor. This , also, expla ins why finger movem ent is more t iring than arm movement .

The Logica l Conc lus ion is that arm movement is'

neces

sary for rap id writing . as wel l as for graceful .

profess ional writing . The f unction of the fingersis to hol d rather than to propel the pen

— to ass istin m inor deta i ls rather than to create mot ion .

Movement is relat ive ly d i fficult to acquire because

the levers are comparatively long and the power

far removed from the we i ght— the contraction of

musc le ( the source of mot ion"somewhat d istantfrom the pen . The management of the pen therebybecomes greater than the movement or propul s ion

of the same . The reason becom es apparent when

you endeavor to write on the blackboard w ith the

crayon attached to the end of a yard -stick , or

when you attempt to write w ith pen or penc i l byhol d ing it four or five inches from the po int.

Comb ined Movem ent or cc -operation seems most

rat ional , logical , and natural inasmuch as the

larger members may serve in the larger forms and

the sma l ler members in the smal ler forms . Then ,

too, the fingers can ass ist the arm in those forms

it fa i ls to perform advantageously ,wh i le the arm

in return can ass ist the fingers in those letters

they fa i l to produce eas i ly or quickly enough .

Elbow is the center of activ ity for nearly al l per

formances of the hand and arm . I t be ing m idwaybetween the Land (the smal lest"and the shoul derthe largest", it is therefore a happy med ium or

gol den mean between the two extremes . acting .

as it does at al l times , in conjunction w ith one or

the other, and usual ly w ith both .

The fingers act forward and backward , outward

and inward on a l ine w ith the fore-arm . The

movement emanating from the shoulder acts in

the same d irection as the fingers driv ing the forearm in and out the s leeve . The elbow acts . not

in the same d irection . but in oppos ition to the

two former. I t therefore cc -operates w ith both .

and w ithout which ne ither the fingers nor the

upper arm coul d write at al l freely or we l l . A

st iff elbow would be a serious barrier to goodwriting .

TH IS BEAUT I FUL CERT IFICATE,

Fom tim es as large as here shown ,is given to a l l who purchase th is book and who make suffi cient improvement i

‘

their W iting by fo l low ing instructions . Further information is given on page 8 .

Rem em ber that these certificates w il l m ean som ething, as they w il l not be given indiscrim inately but onl y to

those who earn them by improvem ent and sk il l . Such a certificate ought. to be worth to any young man or

wom an ,as a hand w r it ing i s w orth double tha t am ount i f it. is worth a cent.

A charge of 50 cents is m ade. for engrossing the nam e. thereon ,and m a il ing securely in a strong tube .

Why not w in the two prizes— a good hand writing and th is beautiful certifi cate which was m ade entirely w ith a

pen by the author,Mr . Z aner.

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Score Strip Sect

This b bound by Pacific Library Bi nd i ngpuny . Los Ange les . spec ia l ists i n Library BOur work and ma terials are guaran teed tri ndefin i tely to satisfaction of purchaser. ax

defects appeari ng i n ei ther w i l l be made goo:

out add i tional charge .

“ Bound to wear.

"