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    njk

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
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    13 views48 pages

    Zaner Lessons in Ornamental Penmanship

    Uploaded by

    Octavian Zahorneanu
    njk

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    of 48
    Zaner & BLoseR Company coLumBus, ono, | rustisnes ay THE PURPOSE The object of these lessons tn arnan ip Is to enable the student to study and practice in may acquire in the shortest possible time aml in the best manner what is generally termed « professional or ornamental hand- writing, ‘The purpose of fnstructions and illustrations Js to diselose the means rather than the end of good writing and to train the mind and the muscle by giving exercises that are progeessively graded. Pet theories are not indulged in or recommended; instead, the instruction given Is such that experience has demonstrated tu be the best and sueh as is used by the leading penmen of Auerien, The development of the highest beauty consistent with a free and easy the forms presented, and assim‘ating the Instruet expert penman, Use oot common sense in Interpret ment for every earnest effort expended, Of course you lessons will fail to-do theirs. ovement fans been the By studying critically: m contained in the text, it Is possible for the home student to. become an and applying the instruction and you will be rewarded with improve- must do your part intelligently, enthusiastically and perservingly or the You must learn to develop and to your own God-given powers of common sense, for that is the most practical theory: on earth. You must leurn to use the muscles from the tips of the fingers to and including the shoulder for use at different times ‘and in different kinds of work. Keep in mind the fact tht it is a beautiful style of penmanship that is desired, and that any method by which it may be acquired and exceuted to the best ad yantage is the one to adopt. ‘Therefore, get ta Work and work hard and intelligently and success will crown your efforts Before going any further it is necessary for you to recognize the fact that there are two essential things which you must ttilize to become a specessful penman, ‘The one is study and the other is practice, Study critically the form to be produced and then practice faithfully to realize it. It is simply the old story of mind and muscle combining to produce a desired product. feo must go hand in hand at all times, Neither oe will do alone. ‘Th MATERIALS In order to get the must out of these lessons, It Is necessary that you have good materials with whieh to practice. Pav. First, you should have good paper. The sheets should be Sxi0 inches, faint end wide riled, and of quality consid- crably above the Average found In book stores. ‘The surface should be fairly smooth, altvough not glossy. If Jou desire to practice on but one side of it, 5 Ih. paper is heavy enough, but If you wish to practice on both sidesy you will need about 6 Tb. Japer. Puss axm vouom, We would recommend the use of the Zanerian Ideal or Zanerian Fine Writer pens, the latter being finer and more flexible than the former. We recommend an oblique holder that has been properly adjusted by one who has had years of experi In his work The cont of 4 hover In no way assures the purchaser that its adjusted properly for profesional writing. “It therefore pays to secure the best from those whom you know 40 be competent to adjust such a holder. Twx. ‘The ink should be free flowing and of such « quality ax to make faint hair-lines and black shades. Arnold's Japan fink comes’ more nearly filing these requirements than any other of which we have knovledge. Zanerian Tndia ink is another high grade effective ink. loose-fitting coats rather large in the sleeve and loose at the armpit. Cut the uf, and usually’ roll up the shirt sieeve within the coat sleeves, We do not ‘Fou get into the habit of writing without a coat sleere om you find meu te do yours 73 usually necessary in most ofices and schools. Poxriox. ‘The illustrations showing positions are such that we would recommend that you follow quite as fait your peculiar physical make-up ill allow. “Note particulary the location of the elbows the slope of the tmck, the angle piper ete. Provide yourself with « Motter to be kept under the hand for the litle Anger to lide upon. Form the habit holding both your biotter and your paper with the left hand, In exceuting small letters, lean forward further than wh executing capitals, The eye aces to be nearer the small letters than the capitals, in order to see details, It is not a bad plan to shove the point of the Abows ato the table for producing small letters anti to pull them of of the edge of the desk whea starting to qgeute capitals. This slight change of posture has tendency to give hetter contol in small Teters while Teuning ‘ver the desk, aive greater freedom In capitals while siting more upnght. ‘This sligtt-movement of the trunk of. the jrwurd when making stall and capital letters is restful rather than tiring, and enales one to necommnodate i nd practicing with the ba fully as the 8 ‘The plate below is for the purpose of giving an idea as to how letters are measured and their slant determined. As Is shown thercon, the down strokes are on a slant of 9) degrees, while the up strokes are on « slant of 29 degrees, ‘The spaces are the same in width as in height. Of course, ‘no one can write freely and write mechantealiy exact, but it is well to have exact models fran which to practice and from which to form percepts, ‘This plate will enable you to get a better idea of the proportion of letters than ‘would be possible without the space and slant lines, A critical esamination of the basic principles will lead to clearer concepts and consequently more skil length and shape of shade, and where the heaviest part of the shade occurs. ul execution, Note particularly the proportion of letters that is their relative height and width, ‘The minimum letters are one space high, with the exception of end # which are about a space and one-half high. ‘The t, d and p cover three spaces, while the loops cover four spaces. ‘The capitals are taller stil, being five spaces in height. ‘These proportions may he changed to suit the style of writing desired. That is, the loop letters may be made but three spaces high if desired, oF they may Ye made five ie six spaces high. ‘The capitals too, may be elunged, and instead of being made five spaces high as herein shown, they may be made but four spaces high, oF six or eight or even ten spaces, as the taste of the writer may decide or the purpose for which it is intended may determine. ‘The main thing always to keep in mind is to have all of the letters of @ given group similar and to haye some definite relation shown beiween the minimum, the extended and capital letters. It is not well to h Unit ve one long lop and one short one, nor one large capital and one small one on the same page. ity oF oqusistaney Is essential. Q . This likeness or similarity of letters is what determines the really good from the medium and poor or unprofessional. Similarity of style, or slant,sof shade, of proportion, of simplity or complexity is essential for real excellence. “4 PRINCIPLES, OT Le Oe. a ee Ge LbAA py py af TIS T fe OGLE Lg SLES bey ge See 8 0.1. NLUSTRATES ‘watiING 1 CentER, LOWER LEFT coe] zi ‘ UPPER Runt CORNER: LB POSITION OF PEN, HAND, AND ARN —SDE view SAT} yf BETWHEN OHMT AND ERE OF HERS ‘These illustrations convey what we consider a good, xeneral, healthful practicable position of the body, arm, hand, Pew, and paper. If you are tall, slender, and long-fingered, oF short, fat, and shott-ingered, you will find it necessary to differ considerably from the illustrations. ‘To what extent, Your own judgment must dictate. In fact, you ought to study Your own physical make-up in order to decide what position ‘will enable you to do your best work. ‘The fact that we have Prepared the accompanying illustrations indicates that we Would advise you to adhere to them. For an average height person, say § feet 8 inches, the top of the désk or table shodld be about 14 inches above the seat of the chat ‘THE STUDY OF FoRM ‘two things are essential in the exceution of superior penmanship. ‘They are perception and performance. ‘The hand can not well perform that which the mind does not perceive. On the other hand, the hand unconstiousty endeavors to follow the ictates of the mind. In other words, the hand, thoroughly and carefully trained, becomes the ready servant of the will and tellect, Poor writing owes its existance quite as much to poor perception as to poor performance. ‘Therefore, if you would exe lessons study carefully and critically the form before you begin to practice upon it. By so Woing you will not only leam to write a much finer band but will do so in mush less me. And this matter of perception is quite as difficult to acquire as the ability to execute. Kye training is therefore just as important as muscular training, and as tedious to attain. Before beginning practice upon any exercise, prindple, letier or word, study it carefully, noting first the relative height and width; second, its general shape, whether round-like or square-like, king or narrow, regular or irregular; third, note care fully ‘the main divisions of the letter, and finally take into consideration the litte things such as turns, angles, beginning and encling strokes, et Tf necesear ret the most out of t draw the letter carefully and perfectly—just as perfeetly as you can perceive, using a well sharpened pen and an eraser to make corrections in order to get just exactly what you perceive. If you can get a better idea of form of a letter by tracing Tt, do so. Some of our finest permen, in their endeavor to get to be sich, worked for hours attempting to draw 4 Perfect letter hefore attempting to practice it. You will do well to utilize the same method. Much unnecessary effort is expended ani not w little paper wasted by practice following superficial observation, Mherefore you would make no mistake in having a clear form in your mind before placing it upon paper, Someone has Tretly said that you must think gool writing before you can hoye to exeeute it. Nothing trucr was ever spokea. Begin now, therefore, to study form and to study it systematically and therefore scientifically. Jt would be an excellent plan to pencil as perfectly as you can perceive the entire alphabet. By drawing you ean realize ‘na tangible manner whotever you know about form. In offhand work we rarely realize our ideal 8 s “There are two forces employed in writing, one which may be termed the creative force and the other the controlling force. ‘The two should always go hand in hand, else serihbling on the one hand or eramped writing on the uther band Is sure te be the result In creating motion, three sets of muscles are employed by all superior penmen. ‘The imuseles located on the forearm in front of the elbow move the fingers. ‘The mascles on the upper arm meve the forearm at the elbow. The muscles on, the chest and back move the upper arm at the shoulder. In the hest writing all of these muscles cooperate to produce. the final product. [We have also three meaas of controlling this three fold setion. The first and most important control is thit known as “will ‘Ihe second control is that secured by resting the forearm on the muscle in front vf the elbow. ‘The third teans of control is the litte finger as it comes in contact with the blotter upun whieh it glides und reats alternately, ‘The old iden that the hand should rest and glide upon the nails of the third and fourth fingers is mere theory, as prac- cally nove of our fnest pemen write that way. Instead, nearly all of them nest the hand upon the side of the tile Anger usually upon the flesh somewhere between the nail and first joint. This litle glide and rect aids in eontwiling, the olhersioe Jevky aid spasmodie movements of the upper arm. 1m writing the aninimumi small letters, this little Anger rest should slip freely in making most of the up strokes, and it stould rest or slip but very litle in making the down strokes. ‘There are a few exceptions to this rule but they will be nated froin time to time when the letters are glen for practice in which the exceptions occur We have sald nothing thas far about the rate of speed. Your nervous ‘condition will have much to do in determing the tate of speed at which you should practice writing. A good rule is to write freely enough to keep the nervous system, from sling the Hines, or fast enough to keep the wabbles out of curved forms. Rapid writing is out of the question where. real gracefulness and accuracy wre desired, And in ornnte penmanship, it is not quantity but quality that countee ‘Therefore use enough speed to make your siting graceful, hut not enough to prevent aceuraey- and. precision 8 THE F: RRCIS d before Ve have here two fund Important exercises whieh shoul took, ‘These exercise ure given for a two-fold purpose, the first of which Is to secure quantity of secure quility of action, ‘These exercises are given large in order that sufficient freedom may be ereated to make the execution Of letters of fair sinc, pleasurable In act as well as in result, ‘The absence of shaded strokes encourage delicacy of touch as well fas freedom of action. fs ‘ovil exercise the same size as shown, first u height, slant and spacing. ing the direct motion and then the indirect motion, endeavoring nd by oval exercises we do not mean any clrealar like form, hut we mean that ovals should be of the proportion of 2 iat’ is two-thirds as wide as long. ‘Cechnteally speaking they are not ovals but ellipses, but they are commonly called penmanship profession, ‘The sides of these ovals should be curved equally and the ends should be curved the same. ‘on should begin and end the exercise with the same slant. ‘That is, do not begin with one slant and end with it what i best in slant must be answered by each individual, but there should be so far as possible but one slant in ‘cach person's hand writing, so far as generality is concerned. ‘The arm should rest on the muscle in front of the elhow and not slip, hut should revolve freely within the sleeve, which shuold be loose and large If you are in the habit of wearing an under sleeve below the elbow, we would suggest that you it of at the vlbow in order to let the arm move freely within the other sleeve. After mastering the oval, you will do well to take up the straight-line exercise, making it the same sh without the use of the fingers, by pushing ard palling the forcarm In and out of the sleeve somewhat diagonally. this the push-and-pull motion while others call it the in-and-out motion. Stick to it until you can make the exercises slant, In spacing and in height.” After making a section ‘one or two inches in length, shift the elbow or payer slightly and make ancther section. Keep on adding section on to section until you get across the page. ‘Then begin again, : Temember there are two dunlities of action you should seeure by practicing upon these excrcies, ‘The Ors i the ability to rove the pen ins cieula? or back and forth manner free, forcefully and rapidly. And the second Te that you cultivate a td be made tnitorm delicate toueh of the pen to the paper so that ail hnes either up or down are equally thin. ‘These forms Sh At ebout the rate of 200 down strokes to'the minute. me 10 TIED u DIRECTIONS FOR PRACTICE. Let the little finger glide freely on the side between joint and nail in all forms herewith.” Do not ave thumb or first or second fingers in this lesson except to hold the pen, If you rest on side of finger, and we belive I est to Jo so, always use a blotter to rest the hand upon. After writing one-thitd of the way across the page or making one exercise, either draw the paper to the left or shift elbow to the right. Do not try to write across the page with the elbow and paper in one place, Nos. 1, 2 and 9 are made with the forearm acting as a hinge at the elbow. Nos. 4, 5 and 6, with the same movement in con- junction with an in-and-out action of the arm in the sleeve; tho two movements” producing: a diagonal action of the armas it enters the sleeve at the wrist. Nos, 7 and 8, the same movements as hefore, combined and reversed, producting ‘@ compound elliptical action on the muscle in front of the elbow. Nos. 0-and 10 are produced by sniting: the former separate, simple motions resulting in a compound, cireular exercise. No. 11 is produced with hinge action on the straight lines with « gradual backward Action of the arm in the sleeve at the elbow—as the pen mover to the right-—with « reversal of this seme beckward action In con junction with a slight rolling action to produce the compound curve, Nos. 12, 18 and 14 are made similarly to the frst part of preceding form. Nos. 15, 16, 17 and 18 xe purely rolling movements with a lateral and backward action of the forcarm and cow. Nos, 19, 20 and 21 same as preceding with less of the circular and more of the hinge and direct lines, Nos. 22, 28 and 24 are hinge and bickward actions. Practice with « free and easy action on these exercises until you acquire them. Make about 900 strokes per minute in most of the forms. Not that many each and every minute, but at that Fate of speed. Nos. 9, 10, 22, 23 and 24 are not so fast, Study as well as practice. ‘The forms given serve in establishing the simplest movement “The sooner you learn to criticise your own efforts and to correct them the sooner will you learn to wri should, therefore, begin this day to find your weak points; and then ertdicate them by diligend practice. itemeniver that i only fysteratic, enthvalante, properly directed practice that amounts to. nauche Cultivate the ability to make a uniformly light, strong, easy appearing line. We say easy “appearing” line so that you may know that we do not mean that i should be made without effort, Hot no matter how easy the excrelses appear after they are made, they Usually take all the attention one ean give them to make them fatsly: accurate, Make all of your practice about one-fourth Inrger than the forms presented. At ti of the forms, particulary of the capitals. 2 ye 1e$ it would be well to double the size 2 CEI GEO F#ALL5 | HYVIVEL LVL IIS) 2LLLLLLLA OAAALALME ZEN ————a—— SS HOW WE WRITE, T wish 1 could tell you ove and all, just how 1 write. T wish 1 could tell you how our finest peamen rile, Ido not care to tal you how many of us ay ve write for Gal might prevent you from leatning to do as well, But how We aetualy produce the forts that are so universally adonred, T kaow Unt i fa so easy to say, “T_tse_ the arm, combined, or ome oties ovement” and et it go at that, as though thnt explained all have heurd many Say thet they used the combined Mnovenment. Thave seen them weite, yet all wrote differently. All used the fingers sone: some used them considerably all used the arm and shoulder muscles; each dne uted all the tuscles'a tte, yel one or two words could. ‘nat’ express, theit manner correctly. What is true of the muscular i true of any other general movement. Now, the object of these Ieasons {s to tell You Hwo laen to wrte™to write as Spencer, Piekinger, Boser, Madarasy Tayler, Canary Courtney, Boner Mile and many more tho welt masterfully “And iow, in beginning, do not fall to secur we have illustrated. ‘The angle of the paper is essential. ‘The forearm should’ Ye held at ight angles tothe connective slant. “With the arm and paper ietposttion af describe, litle foes resting-—gliding on botter—you may. place the yen one-tenth of an iach above the Ine-on the paper and draw it to the line at fn angle of about 60 degrees (ar any similar angie that you may adopt for your penmanship) fitiout slipping the litte. Goget or allowing the thumb and first-and second fingers to ct. ‘This will cause the joints of the Iittle and fourth fingers. to ‘net lightly ‘This slit action wil be eased by the fection of the fngers and the blotter sather then by voluntery scton of the tnind upon the hand museles. Now this will seem aiicult at fest, but nine out of ten of our best penmen use move or less of this tnevement, many dolnge so tmnconsclously, us ll the weiter for yere,, Ia fact It is most laipandble to write a very Ane hand without is wction, “The little fiager will therefore not need to slip up and dowen very fan, not more than half the height of the Totter, In producing Nox. 2 and 3 (fist lin) the little Ringer should ify ieecly: to, tie sight--the length of the ines tn the Second line the action should come from the ellow, the latter serving as the center of motion. Ia fact the motive power for these Sinall Ietices should come from the bicep and tricep muscles hetween the elbwr and shoulder. We art shoul rat on the muscle in front of the elbow, "Let the elbow serve as the renter of « creatoe motion and the litle fager vest as the center of contra Toot the little finger glide Freely to the right tm making up strokes, an fe it rest or glide freely in onking down strokes. Nov do not confound it with the finger movements, as If not Anger action for the thiimb und first and seeond Angers need not net See thatthe foreurat cts ike hinge at the elbow in fuking up strokes, The. Nand tmust. not roll, nor the Velst work. In produclng’ Whe up strike (retrace) of r the litle Anger need mt ay ths will enuse m perceptible aetin of the Tretabets of tae tae Pause slightly, oF rather, check the motion, and tn fishing’ © Sa. Sec tht the apm swings freely, from the ellow in al up strokes (except in, such as shall be named). and especially 0 as to be clearly noticeable In the wide spacings and long inlUal and final strokes, "To secure this direct levrke movement. push sn the pen in producing the long strokes." Hold the pen frmivat all times, nlther lousely nor vieeike u Producing chaded strokes, such as last part of » and m, central of x and v, | VIMITEMIITT Pere enol Bee eee Lp a en ee ee a, Oe er ee cement a? ee | eee ge US ee eee tas als oe | ee ts tae ae ae pt se esse’ | ee a ee eee eee OA yt t OO ee | “we ~_ i a tee 1 ee et ee te eer 19. RAISE THE PEN OCCASIONALLY. You may (should) raine the pen at the dot of rand in making ¢. Check the mation at be shoulder of the second style r but de not stop it Raise the pen ae suggeated in », “You should tmake the down stroker in'« ind.9 more quickly than the average down stroker in order to curve them well, ‘The litte finger heel not slip in making the frmall oy but He should lip tn producing the down stroke of a, especially: when the pen fs ralsal at the bottom. Draw the Best down stroke of « gently to the left, making Tt more deifverately and longer and more slanting than the average down stroke. Notke carefully that the down strokes ef sind @ are quite slanting, but Out of the els lose curring. Make the Circe mals Strokes ‘of « without slipping the litle finger In producing turns that are very short and angular, the pen should stop, but if you prefer rounding, full, free, graceful turns, the: pen should be kept moving at a livelier pace. In fact T like a fre, caay and graceful motion, because that means, when under control, free, graceful, beautiful forms. Master the preliminary exercises, elements and principles before beginning on the letters. “Take one form at a'time and fill at least one page (between lines included) before beginning another. Do not hurry; neliher should you sleep. Study your movements and your forms. Critieise and correct, ‘Turn your writing upside down and examine it eritically. When your movement is atif, practice preliminaries and Jing between forms. | Ralse the en and shite the elbow to the right or pall the paper to the left, or'hoth, from two ‘across the page. Vihea you desire to improve In form (after precticing movement, select principles, | normal spacing. Raise the pen whenever the movement becomes cramped. If your movement seems wild, and nervous, push on the up rokes. If your movement is sluggish and your touch heavy, practice long-line exercises aid free light, graceful movements, You should inake the shaded strokes more slowly than the light one, You should make the n’s (singly) at the rate of about thirty per minute, Not that many every minute, but at that speed. You should muske about three, then pause and critlelse and observe. Use your best judgment as to just what peculiar action or movement is best for you. If you can use the fingers « little without weakening the line or producing irregularities and nervous kinks, there Is no reason why you should mot do so. Most of our finest penmen use more finger action than T think Dest, but whether itis their wsing or my thinking that is Wrong De not shade all @’s nor omit shade on all o's. It Is a good plan to learn to shade every other a oF o in your practice. “Be sure to close your o’¢ at the top and to make them rounding and fall, Curve the down strok: of the # considerably and raise the pen at least once in making it. Do your best each time. Make mo stroke carelessly. Alm, at all times, to practice thought- fully and with the view of improving each and every form. ‘This will mean mental as Vell as muscular effort. 6 wen a1 tt ete eee te OA oe ee eee | Se ee 2 es <2 __- _eceeecce a A ttt Oe ae tl ts | AO pg pp eee ce a” ee. - ——“__2_—- _aaaaa’ GRACEFULNESS AND SYMMETRY. Gra rnamental writing: Lines should be delicately ines, too, shouldbe simeoth and delicate and smother eesentie, All the fine ines StH greater HOW to MAKE (AND p. The ¢e, 4 and j/s seem to be specially suited {o this light shade condition, Let us learn how to make them, “Begin the { much as yeu would an i Dut instead of stepping the pen or reversing the motion at the heal-tine, as inc the raed while the pen Is stil in motion and on its way to the top tocome davn again When aboat tree spaces above the line H€ stops, pases in the ale, then suddenly strikes the paper fimnly enough to 1 ness of line ymmetry of form are among the chief essentials of mndedl tobe of the greatest value. irm. Contrast of light and’ shade is. still easional brilliant, black shade the beauty Jolt or force the teeth or points of PER tpt and then starts toward the base ine, to be lifted gradually and desterously and swift from the paper ag It nears Tine and to he raised clear of the paper somewhere between the ead ani baselines. Hither. this: or to be carried slmest to the Tine, where the nction is checketsuffclently to allow the turn to be mde ‘on the line as delletel ag in the L But it is not done. ‘The top is m re. Tt must be “retouched.” ‘This must be done by making the top level as gherpening the comers. “The crossing is usually added by making a compound curve over the letter or a short line followi ing Slop matter of taste: ‘The movement comes from the hand and elbow. ‘The action comes trom the elbow, but is subdued by ittle finger resting firmly on the blotter and acting in conjunction with the arm and perhaps the other fingers. If you do the pen near the line, itis necessary to use the fingers more than deserived. Ibis not a ain to use the fingers, but itis to vet sa recessary unless the other i nat plain, lip freely from the time the pen starts until it stops in making the first two strokes inp. ‘The yme from the elbow as a center. Tt should act ike a hinge, After making the up stroke, come to and below the 4 rush, stopping abruptly about two spaces below the line. The pressure of the pen upon the paper will be suficient to ‘check the motion. Square similarly as the ¢ and finish like ant » oF an inverted 0. lany of our best penmen make the shades of ¢ and d with a very snaplike, spasmodic, or impulsive action, while others draw then rather deliberately. I prefer « compromise of the two. and therefore make them freely, though not $0. quickly Ger it risky, nor so slowly as to produce a rough or nervous-like line. The little finger should slip freely in. the. connecting vie, but rest pretty securely in the down stroke of ¢ and d. Leam to rely more upon yourself than upon these instructions andl you will then surely succeed. ‘Tum to these remarks for correction and emifirmation, to the copies for inspiration, nnd to 18 AULA Aap IS? 3S be ldddil | Al LE rs Pe ee Pe | eg LS Pa as fle afl iso pf pe ee pe , LOL PB IH" | Lome dome Bimmer feneed GeO LIS, foefipore Lip lip cab» | 19 HOW LOOPS AIE MADE. Loops are usually considered difficult. 1 cannot say that I find them very much more so than many short letters. Ido not think that you will find them so, either, if you will observe. the proper position. Remember the Taper shoud be so Hell tnt the foreares Wil be ae igat angles to the cbtmcctive sont Ti, silt te piner inthis ponitone you will cause the pen to move to the right and upward, causing a slight backward and then forward netion of the arm in the sleeve, in conjunction with the hinge motion, and then without stopping the pen at the top allow it to turn abruptly and descend toward the line, raising from the paper somewhere between the crossing and the base line, you will no doubt find, in due time, that loops we tw dificil afterall. But you are: hot done. Place’ the pen carefully oa the unfinished stroke’ and complete ain't oe mand you will have Lor h. If you do not wish to raise the pen at or near the crossing, then let the Angers act in conjunction with the hinge section of the vow and check. the Motion you are coming down at the crossing by letting the litte ger drag less realy of ret." You cannot make loops suecessfully if your forearm is at right angles to the base line without a good deal of finger action, Whereas, with the paper turned as before advised, 3 use the fingers much, but the muscles of the upper arm instead, — This hingelike action is the real movement for producing long, slender, substantial loops. In fret, it is the best movement we have with whieh to counteract finger action, PRELIMINARY EXERCISES COME FIRST. Of reliminary exercises must be mastered Defore attempting the letters. “The letters mast he mastered before attempting words, ‘The pupil ust rely upon bis better judgment about the ittie things. Now, deo't work too hard at thie loop business. Simply let the Iktle Anger slide reclyy nd it the arm acs whinge at the eltow and you will find loops to be pleasant to practic” You may find them hard at frst, but the longer you practice in this manner the’ easier they will bey and the betler you will like them. A WORD ABOUT MOVEMENT. Keep in mind that a light, easy, graceful, yet firm and delicate movement {5 essential at all times, De nat Serew Your muscles town so tighly by Herve aawiey Inst they cannot acl" Nor must you let teat ee loose that they op around rather than dance oF waltz rnust be controlled as well as created. You must learn to write with sceming ease ‘ame tine put forth your greatest «ffore Yor the best penimen on earth must necessarily keep clove wateh of Ie pens come a master. Tf that be true, how much more essential is for the learner to do the same. ‘Like all things se’ the rich one could possess it. But white they can buy eostiypalntingsy Mey eithout frst earning it by work. Teis needless to sty’ why sw few of the ich write well 20 even after che worth eannot produ a CPE L 7 4 ae hf Le Lg LZ ff. ies Ny ieeeen a ae Sterne Zee + ot Atehehs al as ache Ax INVERTED OR LOWER LOOPS. On the loops below the base line was where I first learned to use the hinge rather than the finger action, And it may be you ean apply the same movement to this class of letters most successfully in the beginning. Tt is not necessary to use fingers. Even the enthu vl some Anger netion in the loops, but 1 18 there T do not think it necessary to use them, or at least not to produce their length. ‘To me it seems rather “funny” oF queer to hear people say “use the fingers slihtly in loops, but do not use them in the smaller letters. Now, it seems to me, that the Inrger the form the larger should be the action, In other words, when you have large forms use large muscles, and when you have stall forms use small muscles. But do not understand me to say that in small forms we should not use large muscles We should use large muscles in small forms, in conjunction with small muscles, to give grace, strength and ease of execution In the large forms, like loops, use the simall muscles in a secondary manner, In conjunction with the Inrger muscles, to give system, accuraey and control. That is, if you cannot control the large muscles well enough to produce the desired results, then ‘all into action the smaller muscles to assist tn the work. Do not let prejudice prevent you from using your God-given and created forces when they can do the work better than other members. The fact of Ht 1, you will find it hard enough to do good York by using all the museles, without trying to do all your vork with a fer. You may have some diffeulty in getting the crossing up as fer as the base line in the loops herewith in coming from the bottom, but it should be there. “Do not stop the pew at the bottom, but keep it moving. Dy close observation you will see that the down strokes in loops are not quite steaig or should not be so at least. It is generally supposed that they are straight and are usually so taught, but none of our hest pen. ten oF engravers make them so, Your y+ ought to make good his if reversed, your 2 should begin the same as n's, Do not aute at the top of your loops above the line nor at the bottom of those below the line, but keep the motlon going. De this to avoid sharp, angular turns. Aim, at all times, to secure enough speed for gracefulness and smoothness of line, and enough control for accuracy and system. A good rule to follow Is to “write as slowly as you ean to write freely,” oF “to write as freely 48 you can to write accurately.” In other words, do not go so fast but that you can go orderly, nor so slowly that you can «lo your work with apparent ease, te of muscular movement recom S AIFDI OD F dddds L7 28 ag. fer eee Gea eee ee got etd Fi Ted and fare somewhat more difeut to exceute than the other loops, because we have an up stroke three spaces long fon the min slant, The litt ¥ slip or rest whichever way you like best in producing the lower loop in these letters. It is best, however, to raise the pen as you come to the line before adding the final curve. In the f, the pen may be raised to advantage tivee, once neat the crossing going’ down and at the bate line comng up. If you can mnie it as! well 42 you wishy and be sure oie ent mising the pen, so mich the better; but there are but. few wit ean. This raking. of the pen "so freauently may’ eee to many wory detremental but I have yet to Anda svliient univer of Tne pene wha a wot aloe the Fen freqeenti, to indicate that itis had, In truth, it Is Us very reason why many do not writelbetter Tenet Cl el False the pen and not to vse the fingers. It is simply anather proot that precept i ot ny gow! as example. Ii T were to write a T was told T would not have written these lessons. “Why? Because I was told to witeymnot as thers’ wrote, Mut as some one Mhought W-onght to he written. SPACING. I have suid nothing about spacing, The spaces hetween letters should he w trifle wider than in leters. How much Wrder is a matter of taste rather than rile." You can gauge my tate Dy consulting tie sentence, “Good, jennanship pase” om the first plate, “Study it. You will sce that all the words. given for practice are not spaced the same. Tne spacing bat made ide in simie and narrow in ethers, to give variety for practice, Wher yur movements become cramped and sluggish it would bw well to wate the words with long strokes (wide spacing) between the letters: We donot dean Mt advisable to, use wide spacing Jn the letters, as it encournger a seravling hand. FORM STUDY. Keep constantly in mind that nearly all angles are the sume and nearly all turns are the same. or instance, the top of the small é should be the same as the junction of lines in f, the turns at the base should be alike as well. The turns at the top of an n should correspond with the one at the botiom and with those wv, h, etc. In fact, hy reversing your papers you {an Jind many defects not usually noticesble, And if you cannot see defects you cannot improve rapidiy. it will not do to racer gameting is wrong. You mut find what that something ie then, io doubt, you an radiate the wrong by ight pructice. “There is no one thing that will show you wherein you are deficient in perception of form so well as penciling or drawing {he letters slowly. “By so doing the eye is required to direct the pencil, rather than the musele PRACTICE POINTERS. Now don't be afraid to practice quite vigorously at times on the work given. Tt would be well if you would double the size of the copies at times, and at others to reduce the size a half and double the spacing, “After practicing the alifferent styles In this way always finish your work by” practicing the size and spacing fiven in tht copies, Keep your pens in 00d condition, also your ink. Good material is essential, and it need not necessarily: he expensive. 2 7 Fee Pr fe ent -qutngite Lg EAE pe Spee F re Y p fitee fora LYALL PP pt PPE Slieidl A eet Pemude ttle tcl owt In these exercises, it is not well to attempt to see in detail the forms as they fall from the peny as the pen must travel fester tian the eye can travel and observe detail, Instead of looking intently clther at the top of the exercise oF at the bottom ‘bile making it, the better plan is to look at the exercise as a whole, keepinyg the pen moring horlontally across the page so that the exercise will rest on the base line, In the diminishing exereise, simply see that the exereise is diminishing uniformly and at the right ratio, After the work is done and the pen lifted from the paper, the eye ean then look the work over ani detect where It is faulty in deta ‘All that the eye can hope to do while the pen is in motion is to detect whether the exercises are uniform in height, spacing and stant, ond whether they are resting on the hase line, whether the dirsinishing’ ones are diminishing at the right ratio, and Whether the shades are right in width. At the same time sccodary consideration may be given to such matters as curvature, nmetry, et The fist thing to co thing to consider is the shape ee ig the shape of the farm, ‘The second thing to consider is the location of the shade. ‘The third the shade and where its heaviest part occars. ‘The ability to make what is known as a “ewel iy unlll a tinsimum with # obtained and thea instantly begins to diminish Is not acquired ‘can roake a long, monotonously heavy shade, but only an expert cin make a shade short and swelling tapers gradually both ways, + responsive, lf the ability to make’a short shade, and to place It high oF low upon the will, than the old, long # exercise on page 20. Study carefully the form of the exercise unshaded as given. Notice Enrctully that the up and down strokes are curred about equally, and thal the upper and lower loops of the exercise are 1 cand slant. ‘Practice upon the ansbaded exercise until you can make the form well. Then practice it, placing the Shade Delow the crossing but not with the heaviest part toucking the base line. After having mastered this, take wp the ove With shade at the top, above the crossing, practice until you can make the shade short aad near the top. ' Next practice in Making crerg ether form thadel above end every other form thaded below, but not allowing any of the shade to extend as far as the center ofthe form.” hulls, to became compete master of the ant of shading, practice the dual form of the long # excise itcrein it fs shaded both at the top and at the bottom. ‘This requires ‘an unusbally quick, elastic and responsive. action—an 26 No exe faction that many who call themselves professionals have never attained. It is precisely the opposite of the sction required of the feet and legs when jumping off of the floor and endeavoring to erack the heels together three times before aljghting, and Mere tre fewer: people far in the world who can make this long exercie as talon he made than can perform the phe feat just mentione In order to) bots sides equal See that the sha fe direct oval as shown, start the motion before 9 lseing the heaviest part of the shade nt halt the slant height, wh ss'awell in the center and taper gradually both ways. paper, and endeavor to curve halt the height of the form. ‘The reverse-oval principle is the reverse of the direct oval exeept that it is left open at, the ba Principle with the low shade i» modified by fattening the right stde snd pl re Deavlest. prt of te shade near the Bt Thee reverse oval and compound curve principle, as in v, wand y, Te curved 2 little more in the beginninur than the just mentioned, while the shade, although different in shapes should be located nt Tlf the slant height ns conte part, ‘This is the Inst of the reverse-oval and principles and as they le at the foundation of for critically and practice then faithfully, and results will be fully appreciated later on. "Tew students work long. and faithfully enough upon these principles before hureying on to the letters constructed from them. "Be, therefore, yersereing and patient With your practice upon them, reviewing them frequently from time to Lime with « view of perfecting and mastering them. and execution study then e capital stem exercises ai principles as shown on the following pages are very important, and should be studied and practiced. faithfully from time to time, These cxereines have long since been recoxnined hy teachers of penmanship as. tual Inentals for form and freedom of the highest order. Always master the form before attempting the sade, using aa easy, getee Tul moveraent with considerable force and energy. No finger ction whatever should be used in the At somevhat more tigatly” when taki tion of capital letters. "The flogers sh ‘a shade than light Tines, but no coasclous efort Is necessary in this particular. If the fingers are allowed ion with the arm they will almost invariably weaken the form and flatten the ovals. The shades qu the eupita the lower hilt of the letier nnd heaviest part near the base line. ‘The slant of the shade should be on an angle of about twenty-five degrees, ld hold the pen, and grip 28 fe LIISA LLL SELL. dd ddd ddddd PID? ake up one exereise oF form at a time and stick to it until you have mastered it, o at least made substantial i tment As a rule, two oF three pages at Irast should be devoted to a form before going abead. Not infrequently It is 1 te cover seve swith a form before improvement is shown. Improvement is more the result of critical observa careful effort than protonged but indiscriminate practice leavor to always determine the shape, the Inention and the slant of the oval, as well as the Ieeation, the shape and the flant of the shade, before proceeding with the practice. Much time, effort and paper anay thas be saved, as the average pupil practices entirely too ritieises too little Before one can hope to cultivate good writing he tmast learn to pere ood writings before he ean hope to reproduce it. And before ene ean Wd critically various forms comprising the script cluracters, for the ‘he Smagines. ‘The various principles presented sepsrately and combined need to be studied patiently and th and perseveringly. Good writing i# a growth rather than a sudden attainment. Tk takes and weeks to acquire it, ‘Therefore you should not hecome discouraged if after a few days or weeks practice you fail to write lest than half as well as you think you should. The subtleties of seript lines, shades and forms are such as to demand the fincst quality of our thought to perceive, as well as the finest quility of our effort to create and command. The fair mistress of fine Art in writing is quite as erasive, charming and dificult to acquire as the fair mistress of other fine arts. think pool writing it is necessary to analyse carefully average person knows far less about seript forms th practiced inteligently In order to mike capitals well, It Is necessary to see that the forearm is arm should act freely weight of the arm encumbered with unnecessary clothing. ‘The an the muscle in front of the elbow. ‘The elbow itself may be right off the edge of the table but the ful! id vest on the muscle which should e near the edge of the desk, ‘The exercise) from which the capitals are formed should be Dold and yet Gelicate, This double quality demands tut they be executed ina bold-like manner, but with a touch that is delieate and uniform. Considerable power should be generated and held tn reverse in order to do the work confidently, gracefully and with ease. u —

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