EASY TO L EA RN EAS Y TO WRITE

EASY TO T EAC H EASY T O REA D

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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 , HA ND
S T A R T I N G A T T H E A G E O F T E N Y E A R S A N D P R O G R E S S I N G S Y S T E M A T I C A L LY
.

S T E P BY ST E P T H R O U G H S C H O O L I N TO AC T U A L L I F E .

UI DE 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 S A 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 A
H A N D AS T H E P R ES E N T N E E DS A N D T H E F UT U R E W I L L D E M A N D .

BY C . P . Z A N ER
NDER OF AN D CH I EF I NS T R U C T OR I N T HE Z A N E R IA N CO
E E LL G OF
’
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PEN MAN S H l P ; EDI T OR F T H E BU S l N ES S

ED U CATO R . A U RNA
J O L. OF PEN MAN S H l P AN D BUS N ESS I ED U C AT I O N : AN D A u r H O R O F

N UMEROUS WO R K S O N PE N MAN S H l P, ENG ROSSI NG AN D PE N AR T .

P U BLI SH ED BY

Z AN ER B L O S E R C O M PA N Y
CO LUMBUS 0 . .

“ 84 9 0
8
 C O PY R I G H T
1 9 04

BY Z A N E R B LO S E R
 P R E FA C E
Wri ti ng sh oul d b e p l a i n a n d ra pi d .Th e b us i ne ss w o rl d d e m an d s i t Sl ow .

w ri ti n g i s o ut o f d a te a n d i l l eg i bl e w ri ti ng i s i n e x c us a b l e a nn o y i n g a n d d a n g e ro us
, , , .

'

A good h a n d w ri ti n g b e i n g now w i th in th e reac h of a l l a poo r o n e i s a d i s g ra c e

, .

C o pyb ook s a n d v e rti ca l w ri ti n g h av e fos tere d fo rm a t th e e x pe n se o f f re e d o m ,

a nd s l o w , c ra m p e d fi n g er m ove m e n t w ri t i n g h a s res ul te d Sp ee d an d m us c ul a r
.

m o v e m ent t h eori es h a v e fos tere d f re e d om a t th e e x pe nse o f form a n d re ckl e ss , ,

s cra w l i ng i l l egibl e w ri t i n g h as b ee n th e rul e

, .

Form w i thout free d om i s of l i ttl e va l ue a n d freed o m w ith out form i s f ol l y

, .

Fo rm a nd f ree d o m m us t go h a n d i n h a n d or fa i l ure fo l l o w s .

Th e Arm Mov e m en t Met h od of Ra p i d Wri t i n g i s b a s e d u pon f o rm a nd m ov e

m e nt, n e i th er b e i n g sac ri fi c e d a s b oth a re a b so l ute l y e s sen ti a l to s ucc es s The .

'

w ork i s so pl a nn e d an d gra d e d th at f o rm a n d m ov e m e nt f o r t h e fi rs t t i m e a re
d e v e l o pe d t o ge t h e r s uc c es s f ul l y a nd s c i e nt ifi c a l l y f ro m t he b e gi nni ng, th e s i m p l e
p rec e d i ng a n d l ea d i n g to th e c o m pl e x .

T o s i m pl ify th e l ea rn i ng i n s ure l e gibil i ty f a c i l i tate e x e cuti on an d d e vel o p th e

'
, , ,

h i g h est po ss ibl e s peed th e form s h a v e b ee n s o s i m pl i fi e d a nd c on s truc ted th at t h e

,

m a x i m um o f e as e pl a i n n es s a n d s pee d i s atta i n e d
, ,
.

For th e fi rst t i m e w e h a ve s i m p l e ne s s o f fo rm w i th out sl o w n e ss o f e x e cutio n ;

p l a i nn es s w i th out s t i ff n e s s a s i n th e v erti c al ; a n d f re e d o m w i th o ut ec k l es s n e s s
‘
, .

Si m p l i c i ty of fo rm i s e s sen ti al i n ord e r t h a t a l l m a y a c q ui re th e a rt For .

s i m p l e f orm s not on l y m ea n e ase i n rea d i ng b ut e a s e i n e x e c uti o n a s w e l l a s th e

, ,

h i gh es t p oss i b l e s p e ed E a s e i n ac q ui s i t i on a n d e x e c ut i on p l a i nn e s s i n form a n d
.
, ,

ra p i d i ty i n w ri t i ng a re th e e s s e nt i a l s o f s uc ces s f ul w ri t in g a n d th e Arm Move m e nt

,

Meth o d co m pri s es th e s a m e to a grea ter d e g ree th an an y oth e r .

Th e c op i es w ere al l w ri tte n f re e l y, e v e n ra p i d l y w i th th e p e n a n d not d ra w n

, ,

s l o w l y for th e s a k e o f a cc ura c y T h e y a re t h e re f o re p ra c t i c a l ra th e r th a n te c h ni c al
.
,

an d s e rv e to il l ustra te not onl y f orm b ut m ove m ent as w el l .

 CO NT E N T S

Wh y Peo pl e Wri te Po o rl y . . Po s i t i o n of Arm H a n d

, , and Pe n

Wh a t I s Goo d Wri ti n g " Po s i t i o n or An g l e of Pa p e r

Who Ca n L e a rn to Wri te We l l " . I n te re s t an d

T he Wo rt h a nd Pri c e of a G o o d Ha nd w ri t i n g Mo d e l Fo rm s for Stud y a nd I m i ta t i o n

(

Stu d y a nd Pra c ti c e Op ti o n a l Fo rm s fo r A d va n c e d Pup i l s

Fo rm a nd Move m e n t Te c h n i c al an d De s c ri p ti v e A n a l ys i s 1 5 17 -

T h e Arm Mo ve m e nt Pl a n of T h e Arm Mo v e m e nt Me th o d of R a pi d

Ho w to A c q ui re th e Arm Mo ve m e n t . . Wri t i n g
Tra i n i n g Fi n a l Wo rd s Worth Heed i ng

Ho w to Pra c ti c e Pa rt On e or B o o k On e 1 9 48 -

B e fo re an d Af te r Pa rt T w o or B oo k T w o 49 7 1 —

T he \V ri ti n g L e s s o n Pa rt T h re e or B o o k T h re e 72 8 9 -

Ma te ri a l s Pa rt Fo ur or B o o k Fo ur 9 0- 1 00

He a l th Le tt e ri n g 1 01 -
1 02

Co un t i n g or Ma rk i ng Ti m e Fi n e Art Pe nm a n s h i p

Ho w Fa s t to Pra c ti c e a nd W ri te . Co m m e rc i a l or Co p p e r p l a te Sc ri pt
-

Le a rn i n g an d Un l e a rn i n g A Pi c t o ri a l E p i to m i z e d H i s to ry of Wri ti n g 1 05 1 06-

Pe n m a n s h i p Ph i l os o ph y T he Ph ys i o l o g y a nd A n a to m y of th e Ma c h i n e ry
Pe n m a n s h i p Ph y s i o l o gy 1 01 ]
-
of Wri ti ng . 1 07 1 09
-

Pe n m a n s h i p Ps y c h o l o g y Appl i e d Ph y s i ol o g y 1 1 01 1
-
1

V e rt i c a l Wri ti n g . Ce rti fi c a te

Po s i t i o n of B od y .
 05 0
W HY PE O P L E WR IT E PO O RLY .

Th at th ere i s m ore poor th a n goo d w ri t i n g i n t h e w o rl d no on e w i l l d e ny

, ,
An d th a t peo pl e i n general d o not
,

w ri te p oo rl y i nten tio n al l y b ut a re un a b l e to w ri te w e l l n o o n e w i l l d e n y W h y t h e n a re p eo p l e un a b l e to w ri te b et te r .
.

"
T h e c o rre c t a ns w e r w i l l l ea d to t he co rre c t s o l ut i o n o f th e h e re to fo re un so l ve d pro b l e m
i i i i
.

Wh y pe o p l e w ri te poorl y m a y b e attri b ute d to t h ree t h i n gs a ny o n e of w h c h W i l l s e r o us l y nte rfe re W th i f n ot

“

, ,
f

w h ol l y d e f e a t a goo d h a n d w ri t i n g
i i i i
.
.

T h e fi rs t o f t h e s e t h ree t h i n g s w h i c h s ta n d i n t h e w a y o f l ea rn ng a n d w r t n g a goo d h a n d i s th e tea c h n g of

c h i l d re n to w ri te b e fo re th e y a re o l d e n ou gh to l ea rn ri gh t y
l a n d th e re q ui ri n g o f w r t i n g f ro m c h i l d re n b e fo re t h e y
, i
h a t e b e e n taugh t to w ri te w e l l T h i s o f i t se l f l a ys th e foun d a t i on of poo r i ns te a d Of g oo d w ri t i n g b e c a us e i t e nc o ur
i
. ,

e x c e s s w e fi n ge r m o v e m e nt a n d gri pp i n g T h e s e
a g e s a n d d eve l o ps t he tw o e v i l s w h i c h b l o c k t h e w a y to go o d w ri t
ng —
.

a re th e n a tura l re s ul t s o f p re m a ture w ri t i n g a n d i m m atu re m i nd s a n d b o di e s Fi n g e r m ove m e nt a n d gri p p i n g a re .

th e d i re c t a n d un a vo i d a b l e re s ul ts of teac h i n g a n d re q ui ri ng c h i l d re n to w ri te a s m a l l h a n d An d s o l o n g a s t h i s .

re q ui re m e nt i s d e m a nd e d a n d c o n t i nue d s lo w c ra m p e d d ra w n w ri t i n g w i l l he t h e re s ul t
, , ,
.

Th e re m e d y i s to re q u i re l e ss w ri t i n g o n th e p art of c h i l d re n a n d to a l l o w th e m to w ri te l arg e e no ugh s o th a t t he y

i
w ll of t h e i r o w n a cc ord u se th e arm i n s te a d o f th e fi nge r m ov e m e n t .

T h e s ec o nd re a s o n w h y p eopl e w ri te p oo rl y i s th at the f orm s h e reto fore t augh t h ave b e en too c o m pl e x a n d d i ffi c ul t

"
‘
fo r e ver yo n e o r e ve n a m a j ori t y to ac q ui re a n d e x e c ut e ( T h e v e rti c a l h ow ev e r w a s to o pri n t l i k e b e i n g t h e re b y -

u
.
, , , ,

s l o w a n d c l m s y i n a p p ea ra n c e . Wri ti n g m us t b e sui t ed to th e n a tural a b i l i ty of th e m a ny rath e r th an to th e

d e x te ri ty of th e fe w w h o d e s i re to b ec o m e pro f es s ion a l p e n m en Th e aut h or o f th e Arm Mo v e m en t Me th o d o f R a p i d
.

Wri ti ng w a s t h e fi rs t to rec o g n i z e th i s c o n d i t i o n an d as a res ul t th e form s h e re i n pres ente d a re at on ce s i m pl e w i th

, .

6ut b e i n g s l o w pl a i n w i t h o ut b e i n g c l um sy a n d rap i d w i t h out b e i n g s c ra w l y

°

, , , , .

T h e t h i rd re a so n w h y p eo pl e w ri te poorl y i s tha t t h ey h av e n ot b ee n tra i n e d i n th e arm m ov e m e n t e x ce pt th e fe w l

w h o h a ve a tte n d e d a s c h oo l o f p e n m a n s h i p o r a bus i nes s c o l l e ge a n d rece i v e d i ns truc t i o n f ro m a p ro fe s s i on a l p en m a n .

An d w h e re fi n g er m o v e m e n t a n d g ri p p i n g h a v e b e c o m e a h a b i t i t re q ui re s s pe c i a l e ffort to ov e rco m e t h ese e v i l s a n d

,

to a c q u i re t h e t ru e w a y .But t h i s i s now m a d e pos s i b l e a n d com p ara t i v e l y ea s y b y th e a i d of th e gra d e d co urse of

e x erc i s es a n d co n c i se i n s truc t i on s gi v e n i n th i s m a n ual .

W HA T IS GOO D WRI TI N G "

Good w riti n g i s th at w h i c h i s eas il y re a d a nd e as i l y a n d ra p i d l y w ri tten” T o b e ea s y an d rap i d in e x e c uti on , it
ee d s to b e s i m p l e i n cons truc t i o n no rm a l i n s l a nt a n d n a t ural i n a c ti o n
, , .

T h e Arm Move m e n t Me t h o d of Ra p i d W ri t i n g i s p l a i n , s i m p l e i n con s truc ti o n m e d i um i n s l a n t eas y a n d na tura l

i
,

i n m o ve m e n t a nd c ap abl e o f th e h i gh e s t s p e e d
, Moreove r i t i s eas y to a c q ui re a s c om pa re d W th t h e us ua l c o m
.
,

pl e x s k i l l ful h a nd a n d t h e re f ore w i thi n th e reac h o f a l l

, . .

W HO CAN L E ARN TO W R ITE WELL "

Th e Arm Mov em e nt Meth od o f Wri t i n g i s s o s i m p l e i n f orm a n d n a tura l i n con s truc t ion th a t al l can l earn to w ri te
w e l l w h o are n o t d e form e d , a n d who a re w i l l in g to fo l l ow t h e i ns truc t i o n s a n d p ra c t i c e t h e c o p i e s a s gi v e n .

e g
i ti n a s h e re pre s e n te d h a s b e e n s ho rn of its c o m p l e x i ti es and d i ffi c ul t i es b ri n gi n g i t w i th i n t h e no rm a l ,

rea c of a l
All can n o t l e a rn to w rite e q ua l l y w e l l b ut n o o n e n ee d d e s pa i r T h e a rt i s so pl a nn e d a n d p re s e n ted th a t p l a i n
, .
,

e a s y w ri t i n g i s a n a s s ure d f a c t fo r a l l w h o a re no t i n d i ff e re nt to th e i m portan ce o f a
goo d h a n d w ri t i ng a nd w ho a re
re a so n a bl y a m b i t i o us to p oss es s i t .

T HE W O RT H AN D P R I C E OF A G O O D HA ND W R I T I N G
'

Th e w o rt h o f a good h an d w ri t i n g c a nn o t ac c ura tel y b e e s t i m a te d b ut i ts wo rth i s i n so m e m eas ure d ete rm i n e d ,

fa c t th a t i t i s ea ge rl y sough t a n d t h at i t s p os se s s or fi n d s i t a re a d y a nd v a l ue d s e rva n t a t a l l t i m e s as w e l l
, ,

to s o m e t h i n g b e tte r a n d h i gh e r Al l o t h e r t h i n gs b e i n g e q ua l t h e o n e posse s s i n g a g oo d h an d
.
,

p o o rl y l o s e s i t .

5
 I ts g re a t es t w o rth h o w e v e r c a nno t b e me a s ure d i n d o l l a rs a nd c e n ts as i t i s a c o n s ta n t a i d i n a c q ui ri ng e x pre s s
, , ,

i n g a nd i e c o i d i n g i nf o rm a ti o n be i n g c ul t ui a l a s w e l l a s p ra c t i c a l MOi eo v e r i t i s a l i f e c o m p a n i o n e ve r re a d y to h e l p
. .
, ,

i f i t i s g o o d o n to b i n d e t i f i t i s b a d i n t h e s t rugg l e fo r a d va nc e m e nt a n d s u c c e s s
. , .

T h e p ri c e o f a g o o d h a n d w ri t i n g i s n o t ta l e n t b ut to i l Stud y a n d p ra c t i c e b a c k e d b y d e te rm i n a t i o n i s s ure to
.

b ri n g re s ul ts Of c o urs e to b e c o m e a m as te rf ul pe n m a n t a k e s ta l e n t a s w e l l a s to i l b ut to l e a rn to w ri te a g oo d ,
.
, , ,

ra p i d h a n d c o m m o n s e n s e a nd p e rs e ve ri n g p ra c t i c e a re a l l th a t i s n e e d e d
. .

On e c a n i n a fe w m o n th s l e a rn to w ri te s uc h a h a n d t h at w ri t i n g e ve r a f te r w i l l be a pl e a s ure a n d b e ne fi t No w
, , .

i s th e t i m e t o b e gi n Be w i s e to d a y a n d be a goo d pe n m a n b y be gi n n i n g t h e s tud y a n d p ra c t i c e h e re i n o ut l i n e d fo r
.
, ,

yo ur b e n e fi t .

ST UD Y A ND P R A CT I C E .

T wo t h i n g s a re e s s e n t i a l to s uc c e s s i n l e a rn i n g to w ri te T h e fi rs t i s s t ud y a n d the s e con d i s p ra c t i c e
. N e i th e r .

o ne a l o n e c a n p ro d uc e g o o d re s u l t s b ut th e t w o c o m b i n e d i ns ure s s uc c e s s
, .

Stud y i s n e c e s s a ry to l e a rn t h e f o rm o f l e t te rs a d to d ec i d e u po n t h e m e th o d o f t h e i r p rod uc t i o n d y i s a l so .

n e c e s s a ry to d e te c t m i s t a ke s a n d d i c ta te t he re m e d y
Pra c t i c e i s n e c e s s a ry to l e a rn to p ro d uc e t h e fo rm w h i c h s tud y h a s e vo l ve d Pra c t i c e i s n e ce s s a ry to tra i n th e .

m us c l e t o o b e y th e d i c ta te s o f t h e m i n d I t i s o n l y b y p ra c t i c e th a t w e b e c o m e p ro fi c i e n t i n w ri t i n g a s i n o t h e r t h i n g s
.
.

Stud i e d p ra c t i ce t e n d s to w a rd pe rf e c ti o n R e m e m b e r n o t s t ud y a l o n e no r p ra c ti ce a l o n e , b ut th e t wo c o m b i n e d
.
,

a re th e e s s e n t i a l s to succ ess .

FO RM AN D M O V E M E N T .

Fa i l ure f ol l ow s w h e n f orm i s c o n s i d e re d a l o ne , o r w h e n m o ve m e nt i s con s i d e re d a l o ne ; b ut s uc c e ss fo l l ow s w h e n

f o rm a nd m ov e m e nt a re c o m b i n e d Fo rm i s . e s s e n t i a l to gi ve l e gi b i l i t y ,
a nd m o ve m e n t is e s s e n ti a l to f a c i l i ta te
e x e c ut i o n .

I f t h e fo rm i s s i m pl e a n d g ra c e ful i n c o n s t ruc t i o n t h e m o v e m e n t ne ces s a ry fo r i ts p ro d uc ti o n m us t b e of l i k e

,

c h a ra c te r ; i t m us t b e s i m p l e a n d g ra c e f ul a l s o I f t h e m o v e m e n t i s w i l d a n d a wk w a rd , s c ra w l i n g a w k wa rd f o rm s
.
,

m us t n e ce s s a ri l y b e t h e re s ul t .

Pe rso n s s o m e t i m e s s a y I h a v e th e m o v e m e n t a l l ri gh t b ut th e re i s so m e th i n g w ro n g w i t h th e fo rm o f th e
,

l e tte rs . T h e f a c ts a re th a t th e m o v e m e n t i s n o t ri gh t o r t h e fo rm s w o ul d b e ri gh t for f o rm s a re b ut p i c t ures o f ,

m ot i o ns . An d a s i t i s a p oo r rul e th a t w i l l no t w o rk b o t h w a ys , w e c an a l s o a s t ruth f ul l y s a y th a t m ot i o ns a re b ut
p i c t ure s o f f o rm s .

Th e re fo re form a nd m ove m e nt n e e d to go h a n d i n h a n d a s fo rm s a re n e c e s s a ry fo r m o ve m e nts to a c t upo n a n d

, . ,

m o ve m e n t s a re n e c e s s a ry to c re a te a n d m ul t i p l y f o rm s .

s a c ri fi c e fo rm fo r m o ve m e n t ; s a c ri fi c e m o ve m e n t for fo rm
“
T h e s a y i ng s and a re eac h o n e s i d e d a n d re ve a l ,
-

t h a t b o t h a re b ut h a l f t ruth s w h i c h , i f c o m b i n e d s a c ri fi c e n e i t h e r f o rm no r m ov e m e nt , a n d p rod uc e a p e rf ec t
, ,

wh ol e , a s w e l l as p ra c ti ca l w ri ti n g .

T H E A RM M O V E M E N T .

T h ere a re a n um b er of m o ve m e nts e m pl o ye d i n w ri ti n g i t be i n g i m po ss i b l e to w ri te w i th o n e se t o f m usc l es a nd

,

w i th o n e m o ve m e n t or m o t i o n .

T h e fi n g e rs a re t o o s h o rt to p ro pe l th e p e n ra p i d l y a n d e a s i l y a n d a s a n a tura l c o n s e q ue n c e th e y s oo n t i re a n d
, , ,

f a i l to d o t h e w o rk ea s i l y a n d w e l l Fi n g e r m o ve m e n t i s ea s i l y ac q ui re d b ut t i ri n g to us e a n d i n a d e q ua te to m e et
.
,

m o d e rn c o m m e rc i a l n e e d s .

Arm m o ve m e n t i s w h a t i ts n a m e i m pl i e s ; t h e us e o f t h e a rm i n s te a d o f th e fi n g e rs to p ro pe l t he p e n The .

m us c l e s o f t h e a rm a re s t ro n g a n d po w e rful a n d a re c a pa b l e o f d o i n g a g re a t d e a l w i t h b ut l i ttl e s e ns e o f t i re o r
e x h a us t i o n .

Th e t rue fu nc ti o n o f th e fi n g e rs i s to h ol d th e p e n w h i l e th e a rm p ro p e l s i t T h e y m ay a l so as s i s t i n m i n o r .

d e ta i l s b ut n o t h i n g m o re
,
.
42

Arm m o ve m e n t i s s o m e w h a t d i ffi c ul t to a c q ui re a n d c o n tro l b ut w h e n o n c e m a s t e re d i t i s th e n e as y a nd pl eas u

,

a bl e . Arm m o v e m e nt m a k e s w ri t i n g g ra c e f ul e as y a n d f o rc e f ul a nd i s t h e re fo re s ui t e d to t h e d e m a n d s o f bus i ne
. , , .

6
 As p re s e n te d i n t h i s m a nua l a rm m o v e m ent i s th e m o s t s c i e nt i fi c m e th o d o f w ri t i n g e ve r p ub l i s he d , b e i ng th e
,

sa m e a s us e d b y t h e w orl d s l e a d i n g p e n m e n , a n d a s e vo l ve d b y th e a uth o r a f te r t w e n ty yea rs o f e x pe ri m e nt, s tud y ,

’

p ra c ti ce , a n d o b s e rva t i o n .

You w il l the re fore m a k e no m i s ta k e to a c q ui re i t a n d t o te a c h i t to o t h e rs .

HOW T O A C Q UI R E T HE ARM MO V E M E N T .

Le t th e f ul l w e igh t o f th e f o re arm re s t o n th e fl e s h y p a rt j us t fo rwa rd o f th e e l b o w th e l at te r e x te n d i n g ove r th e

-
,

e d g e o f t h e d e s k or t a b l e I n o rd e r t h a t t h i s fo re a rm re s t m a y b e f ree to a c t i n a l l d i re c ti o n s w i th out s l i p pi n g upo n

.
-

th e ta bl e t h e c l o t h i n g f ro m t h e e l b o w fo rw a rd s h o ul d be l oos e a n d l a rg e
, .

T h e h a n d s h o ul d re s t a n d g l i d e upon th e t i ps o f th e t h i rd a n d f ourth fi n g e rs , o r upo n th e l i ttl e fin g e r a l o ne e i the r ,

up on th e n a i l o r s i d e o f th e fi rs t j o i n t Se e i l l us t ra t i o n s
. .

Th e f ore a rm re s t se rv es a s th e ce n te r o f a c t i o n a n d c on tro l w h i l e th e l i ttl e fi nge r s e rve s as a g l i d i ng res t a nd

-
,

con t rol . Th e l att e r a i d s i n m a k i n g fi gure s an d i n s uc h l ett ers a s o a n d a .

T h e m usc l e s w h i c h ca use t he a rm to m o v e i n an d out th e s l e e v e a re s i tua te d a b o ut th e s h oul d e r T hos e w h i c h .

c a us e th e f o re arm t o m ov e s i d e w i s e a re s i tua te d on t h e up pe r a rm b et w ee n t h e e l bow a n d s h o ul d e r T h e m us c l e s

- -
.

w h i c h pro pe l th e fi n g ers a n d h ol d th e pe n are s i tuate d i n fro n t o f th e e l b o w a n d are us e d a s a c us h io n for t h e a rm to ,

re s t a n d a c t up o n .

Al l o f th e s e m us c l es co—o p e ra te i n w h at i s te rm e d Arm Mo v e m e nt a n d n e e d to b e tra i ne d , .

T h e e x erc i s es i n th i s m a nual are so a rra n ge d a n d gra d e d a s to d eve l o p t h i s m o ve m en t i f the i ns truc t i o n s are

fol l o w e d .

T R A I NI NG .

T o tra i n i n any l ine on e m us t prac ti c e

, I t i s on l y t h ro ugh i n te l l i ge nt p ra c ti c e th at a ny a rt ca n b e a c q ui red
. It .

i s on l y t h ro ugh i nte l l i g e nt p ra c t i c e th a t go od p en m a n s h i p i s a c q ui re d On e m us t p ut th e a rm i n m oti o n a n d k ee p i t

.

i n m o t io n i n o rd e r to t ra i n i t to d o t h i n g s w e l l T h ei e fo re y o u m us t p l a c e t h e a rm i n a c t i o n a n d k ee p i t a c ti n g
.
'

un t i l i m p ro ve m e n t i s p ro d uce d i f y o u w o ul d l earn to w ri t e w e l l
, .

Re p e t i t i o n i s n ec e s s a ry a s i t ta k e s m a ny e fforts to a c q ui re a n yth i n g so d e s i rabl e a s th e a rt o f w rit i n g You m us t

, .

th e re f o re e x p ec t to put f o rt h on e e ff o rt a ft e r th e ot h er i n t h e s a m e d i re c t i on un t i l yo u a c co m pl i s h yo ur e n d T he .

m
.

m us c l es of th e a rm are l a rge an d th e f orm s use d i n w ri t i n g a re g al l the refo re muc h ca re f ul prac ti c e i s n e c e s s ary ,

to trai n th e m u sc l es to a c t q u i c kl y a n d a c c ura te l y .

But goo d w ri t i ng i s s ure to fol l o w c a re ful and p ers i ste n t prac ti c e Th e ta sk w i l l a t t i m es s ee m d i ffi cul t, b ut at
.

most i t nee d not e x c ee d a few m onth s and w h en i t i s onc e a c q ui red i t w il l l ast a l i f eti m e
, , .

HOW T O P R A CT I CE .

Fi rs t , th e f orm to b e p rac t i c e d
s tud y c rit i c a l l y Se e h o w m a n y t urn s a ngl e s a n d l oop s i t contain s ; h ow w id e
, , ,

an d h i gh ; h ow s l a n ti n g ; e tc En d ea vor to so i m p re s s th e f o rm upo n th e m i n d th a t y ou ca n c l os e yo ur e yes a n d s ee

.

i t pl a i n l y .

Se c o nd , retrace s l o wl y w i th a d ry pe n th e l e tte r to b e p ra c t i c e d T hi s w ill h el p to c re a te a c l e a r co nc e pt a n d a

.

d e fi n i te k n ow l e d ge o f h o w th e l e tte r i s con s truc te d .

Th i rd , p rac ti ce f re e l y w it h t h e a rm m o v e m en t th e e x e rc i se s unt i l i m prov e m e nt i s s h ow n, e ve n t h o ugh i t tak e s a

hund re d s h e e ts of p a p e r Th e n go o n to th e l etter w ord o r se n te nc e
Fourt h , c ri t i c i s e y our pra ct i ce ve ry c are f ul l y t ak i n g s uffi c i e nt t i m e to l oca te t h e pri n c i p al f aul t a n
. , ,

, d to d e c i d e upon
a re m e d y T h e n e n d ea vor to ov erc o m e th e fa ul t a n d to a c q ui re th e c orrec t m o d e a n d fo rm t h e pro pe r h a b i t
. .

Fif t h , e n d eav or to d ev ot e a c erta i n a m oun t of t i m e ea c h d a y to i m p ro ve yo ur p e n m a n s h i p .

Si xt h , d o a l l o f y o ur w ri ti ng w i t h as m uc h c are a s t i m e w i l l a d m i t fo r a f te r a l l c a re i s th e o n e m a i n co m m on , , . , ,

s e n se e sse nt i a l o f go od w ri ti n g .
 BE F ORE AND A FT E R .

Be f o re b e gi n ni n g to p ra c t i c e f ro m t h i s b o o k w ri te i n y o u r ve ry be st h and , us i n g bl a c k i n k , th e fo l l o w i n g :
This is a specimen o f my penmanship before beginning study and prac tice in the Arm Movement Method of Rapid Wri ting .

Si g n yo ur d a te th e s a m e
na m e a nd .

Aft e r p ra c t i c i ng th e re f ro m w ri t e s i g n a n d d a te th e s a m e a s t h e a bo v e a n d s e n d th e t w o to th e p ub l i s h e rs
. . If .

s uffi c i e n t i m p ro ve m e n t h a s b e e n m a d e a n d yo u r h a n d w r i t i n g i s g o o d i n fo rm a n d m o ve m e n t
, a b e a uti f ul c e rt i fi c a te .

o r d i p l o m a s i g n e d b y t h e a ut h o r w i t h y o ur n a m e l e t t e re d t h e re o n
. w i l l b e g ra n te d c e rti f y i n g to y o ur s k i l l a n d p ro . ,

A c h a rg e o f o n l y fi l ty c e n ts w i l l he m a d e fo r e n g ro s s i n g n a m e m a i l i n g i n tub e e tc
’

fi c ie n c y . , , .

Now i s y o ur c h a n c e to g e t a goo d h a n d w ri t i n g a n d a d i p l o m a a s w e l l , .

PER SO N A L C R I T I C I SM S .

Pe rs o ns p ra c t i c i n g f ro m th i s m a n ua l w ho a re d e s i ro us o f re c e i v i ng p e rs o n a l c ri ti c i s m s up o n th e i r p ra c t i c e a s ,

w e l l a s a d d i ti o n a l i n fo rm a ti o n a n d i n s t ruc ti o n s h o ul d w ri t e to t h e a ut h o r w h o w i l l d o u b t l e ss b e a bl e to
, , p ro v i d e th e
s e rv i c e s d e s i re d .

T HE W R I T I N G L E SS O N
Mate ri a l s s h o ul d b e g oo d i n q ua l i ty ,
an d or d e rl y a rra n ge d . But l i ttl e t i m e s h o ul d be s pe nt i n t h e i r d i s tri b uti o n
a nd c o l l e c ti o n .

T h e w ri t i n g l e s s o n s h o ul d n o t f o l l o w a c t i ve , o ut d o o r e x e rc i s e, a n d s h o ul d c o m e l a te ra t h e r t h a n e a rl y i n th e d a y .

Mo ve m e n t e x e rc i s e s s h o ul d pre c e d e th e p ra c t i c e o f l ett e rs , w o rd s , a n d se n te n c e s Mo v e m e n t n e e d s c a re ful , e n .

t h u s i a s t i c a tte n t i o n a n d d ri l l .

Co un t i n g i s t h e be s t m e a n s o f a rou s i n g e n th us i a s m , k e e p i n g th e c l a s s w ork i n g to g e th e r, a n d gi vi n g d e fin i te i d e a s
a s t o h o w f a s t to w ri te .

Pra c t i c e upo n b l a n k p a pe r s h o ul d p re c e d e th e w o rk i n th e b oo k I n d e e d , o n e or tw o l es s o n s c a n v e ry p ro fi ta bl y.

b e gi v e n o n p a p e r b e f o re p l a c i n g th e w o rk i n t h e b oo k .

Po s i t i o n o f b o d y p e n h o l d i n g f orm , a n d m o v e m e nt n e e d to b e e m p h a s i z e d e ac h l e s so n
. , .

T he b l ac l
—
s h o ul d b e us e d to i l l us t ra te fo rm t o c ri t i c i s e c o m m o n f a ul t s a n d to i n s t ruc t b y e x a m p l e
, , .

T h e c c ny b o o l : z i nn o t d o a l l ; n e i th e r c a n t h e bl a c kb o a rd ; b ut b o t h a re h e l ps i n t h e h a n d s o f a l i ve , w i d e a w a k e
- ~

e n th us i a s t i c q ua l i fi e d t e a c h e r
, .

K ee p f o r m a n d m o ve m e n t a s c l o s e l y re l a t e d a s y o u c a n , a t a l l t i m e s " N e ve r d i vo rc e t h e m
"
. .

Fm p b i s i z f o rm s‘ n d m o v e m e n t b ut d o n o t n e g l e c t m i n o r t h i n g s a s tri fl e s m a k e p e rf e c t i on
. , .

Di s c zzn ri g e p e n c i l w ri ti n g b y e n c o ura gi n g p e n w ri ti n g f ro m fi rs t to l a s t .

i t s t h e b a c k w a rd p u p i l ra th e r t h a n t h e p ro d i g y t h a t n e e d s y o ur e n co ura g e m e n t
‘
.

H e l p a pu p i l to i m p ro ve b y fi rs t fi n d i ng t h e e rro r ; s e c o n d b y e x p l a i n i n g t h e c a us e ; a n d th i rd b y g i v i n g a re m e d y
, , .

De v c te a b o u t o n e h a l f o f e a c h l e s s o n t o m o ve m e n t d ri l l s a n d m us c l e tra i n i n g ; t h e o t h e r h a l f to fo rm , a n d d e ta i l s
-

o f e x e c ut i o n .

Le a rn t o w ri te we l l a s e x a m pl e i s b e tt e r t h a n p re c e p t a n d t h e tw o w o rk bes t toge th e r
, . .

M AT E R I A L S .

G oo d pen s i n k p a pe r a n d h o l d e rs a re e s s e n ti a l to g o o d w ri t i n g
. , , T h e p e n h o l d e r s h o ul d b e o f w oo d o r rub b e r .

a n d no t o f m e t a l T h e l a t t e r a re d e a r a t a n y p ri c e a n d n a t ura l w oo d a re th e b e s t Pe ns s h o ul d b e s m oo th a n d ne i t h e r
. , .

v e ry fi n e n o r c o a rs e
‘
I n k s h o ul d b e f re e fl o w i n g a n d a s b l a c k a s c a n b e h a d
.
p ro v i d i n g i t i s n o n c o rros i ve Pa pe r , .

s h o ul d b e w h i te f a i rl y s m o o th fi rm c a re f ul l y rul e d a n d co n ve n i e n t i n s i z e
. . , . .

Ho g oo d rat h e r t h a n h o w c h e a p s h o u l d b e yo ur g ui d e i n purc h a s i n g s up p l i es As a w o rk m a n i s k no w n b y hi s .

to o l s s o a p e n m a n m a y be k n o w n b y h i s m a t e ri a l s
. .
 H E A LT H .

Good w ri t i n g i s th e p ro d uc t o f c o rre c t tra i n i n g C o rre c t t ra i n i n g i s d e p e n d e n t u po n o r a t l e a s t m o d i fi e d b y goo d

.
, ,

h e a l th. G o o d h e a l t h i s th e re s ul t o f ri gh t l i v i n g R i gh t l i v i n g i s t he re c o g n i ti o n and p ra c t i c e o f n o rm a l fo rce s w h i c h

.

m ay b e te rm e d s l e e p foo d a n d e x e rc i se, Se e t h a t e n o ugh s l e e p i s t a k e n a t t he ri gh t t i m e w h i c h m e a n s d uri n g t h e

, .
,

n i gh t t i m e Se e th a t your foo d s a re h ea l th f ul w e l l c o ok e d c a re f u l l y s e l e c te d i n a c c o rd a nce w i th y o ur n e e d s a n d ’

.
, . .

s l o wl y e at e n G ra i n s v e ge ta b l e s f rui ts n uts fi s h a n d m i l k a re h e a l th f ul a n d l e s s l i k e l y to b e h a rm f ul t h a n m e a t s
.
, , , , , ,

c o ffee s p a s tri e s e tc
, T ry i t a n d yo u w i l l b e c o n v i n c e d
, . E x e rc i s e s h o ul d b e n e i th e r e x t re m e l y h e a vy n o r e x c i t i n g b ut
. ,

m uc h th e s a m e a s i n d o i n g us e f ul s e rv i c ea b l e th i n gs B ri s k w a l k i n g i s t h e b e s t b eca us e i t l e a d s t o f ree o pe n a i r
, .
,

b re a t h i n g a n d e re c t po s ture
,
.

L ea rn to l i ve a s i m p l e h e a l th f ul l i f e , l e arn to w ri te
, a s i m pl e , s e rv i c ea b l e h and , and l i f e w i l l l as t l o n g e r and b e th e
b e tter for i t a n d fo r yo u .

C O UN T I N G OR M A R KI N G T I ME .

C oun ti n g i s m ea n s o f un i fo rm i n g th e m o v e m e n t k e e p i n g t h e c l a s s w o rk i n g e n th us i a s ti c a l l y t o g e t h e r a n d gi vi n g
a
a n i d e a a s t o a b o ut h o w f a s t to p rac t i c e E x e rc i s e s p ri n c i p l e s l e tte rs a n d l e tt e r e x e rc i s e s ( l e t te rs j o i ne d
.
, c a n be
c o un te d fo r v e ry s uc c e s sf ul l y ; b ut c o un t i n g fo r w o rd s a n d s e n te n c e s i s i m p rac t i c a b l e b e c a us e no t a l l l e t te rs a re m a d e
. ,

,
,

"
o n t h e s a m e t i m e ; th a t i s w i t h th e s a m e s p e e d ,
.

T h e us ua l m e t h o d o f c o unt i n g i s w i t h th e vo i c e b ut t i m e m a y b e i n d i c a t e d b y t a pp i n g b y th e m e t ro no m e o r b y
, , ,

a m us i c a l i n s t rum e n t .

I n e x e rc i s e s o n e c o unt i s us ua l l y gi v e n fo r e a c h d o w n s tro k e ; i n p ri n c i p l e s on e o r tw o c o un ts fo r e a c h ; a n d i n
, ,

l e tte rs tw o o r th re e c oun ts for e a c h

,
.

HOW F AST TO PR ACT I C E AND W R ITE .

I t i s v ery i m porta nt to k no w a b o ut h o w f a s t to p ra c t i c e a s i m p ro ve m en t a n d e x ce l l en c e d e p en d upo n i t Sl o w , .

w ri ti n g i s o f l i ttl e va l ue a s i s a l s o ra p i d s c ri b bl i n g Sl o w w ri t i n g i s us ua l l y c ra m p e d w ri t i n g a n d s h o ul d n e v e r b e
.
,

pra c t i c e d So m e s a y i t i s d ra w i n g b ut s uc h i s n o t th e c a s e a s d ra w i n g i s h i gh l y e d uc a t i o n a l a n d v a l ua b l e
. , , .

So m e s a y s a c ri fi c e f orm fo r m o v e m e n t a n d s pe e d b ut N a n c e sac li fi ue d i s h a rd t o- re g a i n o r b ri n g to l i f e
, .

B o th a re e xt réniEST
“

I n s l o w w ri t i n g f re e d o m i s s a c ri fi c e d a n d i n ra p i d l e a rn i n g f o rm i s s a c ri fi c e d
'

, .

Th e t ru e w a y i s to p ra c t i c e n e i t h e r v e ry ra p i d l y n or v e ry s l o w l y w h i c h m e a n s w i t h a n e a s y un i fo rm f re e g ra c e , , , .

ful a rm m o v e m e n t .

I n p ra c t i c i n g up o n s uc h l e tte rs j o i n e d a s u n m a n d a a b o ut 1 2 5 d o w n w a rd s tro k e s s h oul d b e m a d e to t h e

, , , ,

m i nut e a n d i n s uc h l e tt e rs a s o c r a n d 5 a b o ut 8 0d o w n s tro k e s s h o u l d b e m a d e to t he m i nut e

, , , , , T h i s w i l l b e ne i t h e r .

fa st n or s l o w b ut a t s uc h s p e e d a s t o e n coura g e e a s e a n d e x c e l l e n c e ; e a s e i n e x e c ut i o n a nd e x c e l l e n c e i n f o rm ;
,

th e two , rea l va l ua b l e e s s e ntia l s i n h a n d w ri t i n g

, .

L EA R N I N G A N D UN LEAR N I N G .

T w o t h i n gs are n e c e s s ary o n th e p art o f a l l e x c e p t c h i l d re n to l e a rn t o w ri te w e l l . Th e fi rs t i s to unl e a rn s o m e , .

o f t h e t h i n g s a c q ui re d w h e n too y o un g t o l e a rn c o rre c t l y a n d u n d e r i m p ro p e r i ns t ruc t i o n The s e c o n d i s to a c q ui re , .

th e c o rre c t m et h o d o f p ra c t i c e a n d to fo rm c o rre c t h a b i t s o f a c t i o n .

T h e m o ve m e nt e x e rc i s e s a s p l a nn e d a n d a rra n g e d i n t h e Arm Mo v e m e n t Me t h o d o f R a p i d W ri t i n g a c c o m p l i s h
two t h i n g s a t o n e a n d t h e s a m e t i m e : t h e y o v e rc o m e c o u nt e ra c t, a n d b re a k u p e x c e s s i ve fi n g e r a c t i o n a n d s l o w
, ,

c ra m p e d m o v e m e nt ; a n d l a y t h e f o un d a t i o n fo r a n e a s y g ra c e f ul p ra c t i c a l h a n d w ri t i n g , , .

T o l e a ve b e h i n d y ou o l d f a ul t s a n d to a c q ui re c o rre c t h a b i ts b e gi n i n te l l i g e n t e n t h us i a s t i c a nd pe rs i s t e nt p rac .

c e upo n t h e w ork a s p l a nn e d , a n d a s uc c e s s f ul h a n d w ri t i ng i s y o urs fo r s e rv i c e a n d for p l e a s ure .

PEN M ANSH I P PH I LOSO P H Y .

T he l e v e r c o m p ri s i n g th e po w e r f ul c rum a n d w e i gh t i l l us t ra te s h o w l a rg e h e a vy b o d i e s a re m ov e d b y
s i m pl e . . , .
,

i m p a rat i ve l y l i tt l e p o w e r I n o t h e r w o rd s i t s h o w s h o w m o t i o n re p re s e n te d by P m a y b e c o n v e rte d i n to fo rc e
. .

an te d b y W, t h ro ugh t h e a g e n c y re p re s e n t e d b y F .

9
 I n w ri ti ng, th e p ri n c i pl e m a y b e re p re s e n te d b y t h e l e ve r a n d pul l e y The
pul l e y o r s t ri n g re p re s e n ts t h e p o w e r t h e e l b o w o r F re p re se n ts t h e f ul c rum ,
,

a n d t h e h a n d o r W re p re s e n ts t h e w e i gh t Po w e r i s t h us us e d to p ro d uc e
.

m o ti n s w a y t o m u l t i p l y m o t io n
’
o .I t i s n a tu re T h e l a rg e po w e rf ul m us c l e s .
,

o f t h e upp e r a rm -
and s ho ul d e r a re us e d to m ul ti p l y m otio n a re us e d to —

i n c rea s e a c ti v i ty .

T h e b o ul d e r re p re se n ts re s i s t a nc e ; th e p e n re p re s e n ts a c t i v i t y P m us t .

a c t m uc h to m o ve t h e b o ul d e r a l i ttl e ; P n e e d s to ac t but l i ttl e to m o ve th e p e n

m uc h . m
Co pa ra ti ve l y l i ttl e Po w e r i s n e c e s s a ry to m o v e t h e bo ul d e r, re p re s en t i n g g re a t re s i s ta n c e , a s m a l l d i s ta n c e ;
c o m p a ra t i v e l y g re a t Po we r i s n e c e s s a ry to c re a te , s us t a i n a n d c o n tro l t h e h a n d , re p re s e n t i n g gre a t a c t i v i t y , a g reat
,

d i s ta n c e fo r t h e p e n i n i ts fl i gh t d uri n g a n h o ur o r d a y t ra ve l s a l o n g w a y
. .

T h i s e x pl a i n s w h y i t i s s o e a s y to c re a t e m o v e m e n t i n w ri t i n g a n d w h y i t
i s s o d iffi c ul t to c o n tro l m o v e m e n t T h e f ul c rum re p re s e n te d by t h e e l b o w b e i n g
.

so fa r re m o v e d f ro m t h e w e i gh t re pre s e n te d b y th e p e n , t h e c on t ro l o r m a n a ge
m e nt o f t h e l e tte r i s c o rre s po n d i n g l y d i ffi c ul t .

Wh e n th e l i ttl e fi n g e r i s use d as th e f ul c rum , th e c o ntrol o f th e p en i s

c o m pa ra t i v e l y ea s y b ut i t s p ro p ul s i o n i s q ui t e t i ri n g
, H e nc e th e e a s e w i th w h i c h
.

on e l e arn s to w ri t e w i t h th e fi n g e r m o ve m e n t , a n d th e re s ul t o f t i re an d e ve n
p a ra l y s i s w h e n m uc h w ri t i n g m us t b e d o n e w i th th a t m o ve m e n t .

T h i s m a k e s i t p l a i n w h y a rm m o ve m e nt i s d i fii c ul t to a c q ui re b ut e a s y a f te r i t i s l ea rn e d , a n d w h y fi n ge r m ov e
m e nt i s easy to a c q ui re b ut t i ri n g a fte r i t i s l e a rn e d
. T h e e n d , n o t th e m ean s , i s w h a t s h oul d b e c o ns i d ere d
. .

PENM ANSH I P PHY S I O LOGY .

The hum an b od y p arti c ul a rl y th e b a n d a n d a rm i s a m a c h i n e b y w h i c h w ri t i ng i s d one

, , To d e v el op, care for and .
,

tra i n th i s ma c h i n e o n e n e e d s to un d e rs t a n d i t e l s e i n j ury m a y re s ul t
.
, .

T h e p a rts m o s t d i re c tl y re l a te d to w ri t i n g a re th e fi n g e rs h a n d f ore a n d upp e r a rm , a n d s h oul d er

, ,
T h e s e p a rts -
.

a re c o m po s e d o f b o n e s m us c l e s l i ga m e n ts te n d o n s b l o o d ve s s e l s n e rv e s t i s s ue etc e tc
, , .
, , , , .
, .

T h e n e rve s s t i m ul a t e a c t i v i ty a s w e l l a s c o n v e y i n fo rm a t i o n T h e b l oo d v e s s e l s c o n ve y f oo d to th e m usc l e s b o ne s
.
, ,

n e rve s a n d t i s s ue
, ,
. T h e b o ne s s e rve a s l e v e rs fo r a c ti o n a n d a s a f ra m e w o rk T h e m usc l e s a re th e a g e nt s o f m o ti on
, .
,

a c t i n g up o n th e l eve rs f ro m th e i m p uls e f ro m t h e n e rves .

p h a l a n g e s ( i n t h e fi n g e rs "
T h e h a n d c o n ta i n s tw e n ty s e ve n bo ne s a s f ol l o w s :
.
-
8 c a rpa l s ( i n th e wri s t
T h e f o re a rm co n t a i n s t w o bo ne s :
-
5 m e ta c a rpal s ( i n th e p a l m , a n d
t h e ul n a w h i c h j o i n s th e un d e r po i nt o f e l b o w a n d
"
, "
th e l i ttl e fin g e r s i d e o f th e h a n d a n d t h e ra d i us w h i c h j o i n s th e th um b s i d e o f th e h a n d a n d th e up pe r p art o f
,

e l bo w T h e u ppe r a rm c o n t a i ns o n e b o ne c a l l e d t h e h um e rus
. T h e s h o ul d e r conta i n s t h ree bone s ;
. th e h ea d of th e
h um erus, the sca pul a or s ho ul d e r bl a d e , a n d th e c l a vi c l e o r co l l ar bone .

1 0
 h e m us c l e s w h i c h m ov e th e fi ngers a n d o p e n a nd cl o s e th e h a nd a re s i tua te d i n th e f ore arm , th e l a rg e r port i o n -

be i i n f ro nt of t h e e l b o w T h e m us c l e s w h i c h m ove th e f o re a rm a n d c a use i t to a c t a s a h i n g e a t t h e e l b o w a re
.
-

i n th e up p e r a rm b e tw ee n th e e l b o w a n d s h o ul d e r T h e m us c l e s w h i c h m o ve th e up p e r a n d c o n s e q ue ntl y .

e a rm , a re s i t ua te d b a c k o n to p a n d i n f ro n t o f t h e s h o ul d e r
, ,
.

re s i t ua te d o n th e up p e r a rm a n d s o m e w h a t re m o ve d f ro m -

th e m e m b e r i n a c t i on or b e i n g a c te d upo n Th e s e m us c l e s a c t m uc h a s th e s tri n g a n d p ul l e y a s i l l us tra te d i n th e

.

c h a pte r e n t i tl e d Pe n m a n s h i p Ph i l o so p h y La rg e po w e rf ul m u s c l e s a re th e re fo re u s e d to c re a te m a ny , s m a l l ,
.
,

ra p i dl, c o n t i n uous m o t i o n s a s us e d i n w ri t i n g .

Th e s e m us c l es a re ta ugh t to a ct q ui te q ui c kl y a n d ra p i d l y b y c o rrec t a n d p e rs i s te nt tra i n i ng T h e e x e rc i s es , .

p rin ci pl es , l e tt e rs , l e tte r e x erc i s e s w o rd s e tc i n th i s m a n u a l a re us e d a s p e n m a n s h i p g ym n a s t i c e x e rc i s es to t ra i n

-
, , .

th e mus c l e s to d o th e m i n d s b i d d i n g I t i s on l y b y s uc h tra i n i n g th a t c o rre c t l ea rn i n g i s pos s i b l e

'
. An d i t i s o n l y .

th ro ugh i n te l l i gen t p ra c t i c e th a t i m p ro ve m e n t i s s ure to c o m e I nte l l i g e nt pra c t i c e i m pl i es kn o w l e d g e o f th e m ac h i n e .

w h i c h d o es th e w ri ti n g to k ee p i t i n o rd er a n d to tra i n i t, a n d o f t h e form s to b e w ri tte n, to k no w ho w be s t to

, .

con s truc t and e x e c ute th e m .

PEN M A N S H I P P S YC H O L O G Y .

Mi nd m a n i fe sts i tse l f through th e b ra i n s p i n a l c o rd n e rve s a n d m us c l e s B ra i n s ee m s to b e th e d yn a m o i n w h i ch

, , , .

m i n d g e n e ra te s pow e r or m a n i f e s ts i ts e l f T h e s p i n a l c o rd i s t h e m a i n c h a nn e l t h rough w h i c h th e m i n d a c ts N erves

. .

tra n s m i t e n e rgy an d i n te l l i g e n c e Mus c l e s a c t b y m e a n s o f s t i m ul us f rom t h e n e rve s

. .

Me nta l fun c t i o n s a re d e s c ri b e d a s fe e l i n g k no w i ng a n d w i l l i n g W e fi rs t f e e l s ee h ear s m e l l or ta s te We

, .
, , , , .

n e x t b e c o m e c o ns c i o us o f t h e s e f e e l i n g s o r p e rc e pt i o n s a n d k no w We t h e n d e s i re to d o s o m e th i n g a n d th e a c t o f .
,

d oi n g i s ca l l ed w i l l As c o n c e rn s w ri t i n g th e p roc e ss i s a s f o l l o w s :
. t h ro ugh t h e e y e th e m i n d p e rc e i ve s f orm : th e
,

m i n d b ec o m e con s c i ous o f s a i d form a n d d es i re s to p rod u c e i t ; th e w i l l s a y s a n d d i re c ts th e m us c l e s to

“
a l l ri gh t , ,

p erform t h a t w h i c h t h e e y e ob s e rv e d a n d th e m i n d pe rc e i v e d
‘

We h a ve al s o th ree a c t i o n s o f th e m i n d k no w n a s vol un tary i n vo l untary a n d re fl e x ac ti o n s V ol unt ary a c t s a re , , .

"
con sc i ous an d un d e r th e d i re c t c o n t ro l o f t h e i n te l l e c t a n d w i l l : I n vol un ta ry a c t s a re t h o s e w h i c h p re s e rve l i f e s uc h
as b rea th i n g , a n d a re no t o n l y u n c o n s c i o us b ut so m e t i m es i n d e p e n d e nt o f t h e w i l l R eflex .

a c ts a re t h ose w h i c h b e co m e h a b i tual s uc h a s t a l k i ng w a l k i n g w ri t i n g e tc
, At fi rs t t h e y a re c o nsc i o us b ut th rou,

"
gh u , , .

re pet i tio n an d p rac t i c e th e y b e co m e a utom a ti c LA m

‘
1
v
4
. .

N erve s a re o f t wo k i n d s ; i n c arry i n g o r s e n so ry nerv e s a n d o ut ca rry i n g o r m o to r n e rv es

-
T h e f orm e r ca rry ,
-
.

m ess a g e s to th e b ra i n f rom t h e s e n s es a n d th e l atte r ca rry m e s s a g e s f rom th e b ra i n to th e m us c l e s

, T he h a nd i s‘ / .

th e re f o re i n d i rec t c o m m un i c a t i o n w i th th e m i n d b y th e s e n e rv e s w h i c h a c t a s te l e ph on e or te l e g ra p h l i n e s T h i s con .

n ec t i on i s so c l o s e re a l a n d i nt e l l i g e n t t h a t th e h a n d i s no w v e ry g e n e ra l l y c o n s i d e re d a s p ro j e c te d b ra i n
, , , T he h an d .
‘

i s a l so re co gn i z e d a s t h e re a d y s e rva n t o f th e m i n d e v e r re a d y to d o i ts b i d d i n g So s uc ce ss f ul d oe s t h i s s e rv i c e o r
, .

pe rform a n c e b e co m e th ro u gh c o n s c i o us t h o ugh t a n d c o n s e q ue nt re pe t i t i on t h a t th e h a n d l e a rn s to d o m a n y w o n d e rf ul ,

a n d s k i l l f ul a c t s a l m os t un co ns c i o us l y Wa l k i n g tal k i n g a n d w ri ti n g are th re e o f m a ny o f t h e s e s e m i or un consc i ous

.
,

a c ts .

At fi rs t t h e y th o ug h t f ul a n d d i fli c ul t b ut b y re p e a te d e ff ort th e y b eco m e q ui te ea s y a n d t h o ugh tl e s s i n

a re a l l .

p erform a n c e We b ec o m e sk i l l ful , grace ful goo d w a l k ers i n p ropo rt i on t o our c a re ful s k i l l ful p rac ti ce i n w al k i ng
.
, . ,

We b ecom e go od ta l k e rs i f w e gi ve th ough t to s ub stan c e a n d utteranc e We b ec o m e goo d p en m en i n p roport i on to

.

our s k i l l ful p ra c t i c e of g oo d p e n m an s h i p i n w ri t i n g .

Th e h an d un co n sc i ous l y e n d e a vors to p e rfo rm th e d i c t ate s of th e m i n d I f th e l a tter d i c tate s goo d c l ea r t a n gi b l e .

, , ,

a c c ura te s p e c i fi c fornI s th e h a n d w i l l pro d uc e th e m a l m os t f a i th f ul l y T h e re a s o n w e h a ve s o m uc h p oor pe n m a n s h i p

, , .

i n th e w o rl d i s t h at p eopl e t h i n k ve ry i n d e fi n i te l y a b o ut th e fo rm s t h e y a re e n d eavo ri n g to e x e c ute

-
.

T h i n k g oo d fo rm s a n d t h e n e rv es w i l l co n ve y th e m e s s a g e to th e m us c l e s a n d th ey i n turn w i l l e x ec ute t h em o n
"
w e r T h i s i s p s y c h o l o g y s i m pl fi e d b ut n o n e t h e l es s s c i e n t i fi c a n d trus two rth y
.

“ "
i I t i s not a t h eo ry b ut a f a c t o r . .

l d it l am t
c a o n w i l l t h e re fo re m a k e n o m i s ta k e i n s tori n g up p e rf ec t p e rc e p ts o f fo rm
, . T o d o t h i s y ou n e e d to .
,
"r
fly f orm c ri t i c a l l y th e p ro port i o n o f t h e l etter, i ts g e n e ra l s h a pe l o c a ti o n n um b e r a n d c h a ra c te r o f i ts , , ,

as l oo p s a n g l e s etc
’

, , , .

K n o w goo d f orm th i n k gt fo rm w i l l goo d fo rm an d y ou w i l l so on w ri te goo d form T h i s m a n ua l i s a rra n g e d

. “ . , , .

a c i l i ta te ge tt i n g th e n ec e s s a ry k q o wl e d ge o f fo rm a nd t h e n ec e s s a ry s k i l l to e x e c ute i t
‘

to Fo l l o w t h e t ho ugh t a nd .

ac on a n d goo d w ri ti ng w i l l fol l o w a s sure l y a s n i g h t fol l o w s d a y .

11
 VER T I CA L WR I T I N G .

It cam e, it i n turn w a s c o n q ue re d b y th a t w h i c h i s b e tte r th a n i t o r i ts p re d e c e s s ors

c o n q ue re d , a n d I t c a me a s .

a p ro te s t a g a i n s t e x t re m e s l a n t a n d a n gul a ri t y . I ts e l f a n e x tre m e i n rotun d i ty a n d up ri gh tne s s i t c o ul d n ot re m a i n

,

l o n g un c h a n g e d As a c o n s e q ue n c e th e c o m p ro m i s e b e tw e e n n o a n d m uc h s l a nt b e twe e n a n g ul a ri ty a n d ro t und i t y
. . , ,

b e tw ee n e x t re m e l a rg e n e s s a n d s m a l l n e s s b e t w e e n h e a v i n e s s a n d d a i n t i n e s s i s h e re a n d h e re to re m a i n i n d e fi ni te l y
, , .

V e rt i c a l W ri ti n g e m p h a s i z e d l e gi b i l i ty a n d s i m pl i c i ty m o re th a n th e y h a d e ve r b e f ore b e e n e m p h a s i z e d a nd i n ,

s o d o i n g d id a g o o d w o rk ; a w o rk w h i c h l i ve s to d a y a n d w i l l c o n t i n ue to l i ve
, i n i ts s uc c e s s o rs
, I t d i d m uc h goo d ,
.

a l i tt l e h a rm a n d p a s s e d a s a p o te nt fa c to r i n pe n m a n s h i p
,
Suc h a l s o , w a s th e f a te o f Sp e n c e ri a n, th e a n g ul a r s ty l e
.
, ,

a n d t h e o l d ro un d h a n d Ea c h p a ve d t h e w a y to s o m e t h i n g b e t te r
. .

Le t us gi v e e a c h i ts d ue re ve re th e m e m o ry o f t h e i r v a ri o us a ut h o rs a n d p us h o n fa c i ng th e d a w n o f ne w co n d i
, . ,

t i o n s a d o p t i n g a d a p t i n g a n d d e v e l o p i n g a s d i d th e y a n d t h e re b y a d d our pa rt b e i t m uc h o r l i ttl e , to th e g e ne ra l
, . . , ,

go o d o f go od w ri t i ng .

PO SI TI ON OF BODY .

T w o th i n g s a re e s s e ntia l i n p os i t i o n w h il e w ri ti n g : h e a l th a n d e ffi c ie n c y T h e fi rs t i s ne c e s s a ry no t o nl y to goo d
.
.

w ri t i n g a n d to p ro l o n g e d w ri ti n g but to th e e nj o y m e nt a n d p e rfo rm a nc e o f a n y a rt o r a c t T h e s e co n d i s n e e s s a ry
, .
c

to m a k e w ri t i n g t h o ro ugh l y p ra c t i c a l a n d e a s y i n e x e c ut i o n .
, A

K e e p b o th e l bo w s n e a r th e e d g e o f th e ta b l e o r d e s k a s b y s o d o i n g th e s h o ul d e rs a re
, e ve n a n d t h e s p i n e
s tra i gh t l a t e ra l l y L e a n s l i gh tl y f orw a rd b e n d i n g a t t h e h i p s
.
, By a l l m ean s k ee p th e b a A “ o m bo w i n g o utw a rd a n d
. .

t h e b o d y f ro m b re a k i n g a n d fo rm i n g a w ri n k l e b e tw e e n t h e a b d o m e n a n d s to m a c h .

Th e l i gh t s h o u l d c o m e f ro m th e l e f t a n d no t Arec tl y f ro m i n f ro nt .

T h e f e et s h oul d b e k e p t s o m e w h a t a p a rt a n d unc ros s e d .

12
 PO S I TI O N OF ARM, HA N D ,
AND PEN . be al l o wed t o turn far e n o ugh to t h ro w th e ho l d e r o ut
w a rd f ro m th e e l b o w .

T h e f ul l w e i gh t of th e a rm s h o ul d re s t upon t h e H o l d th e p e n fi rm l y b ut d o no t p i n c h o r g ri p i t
,
.

c us h i on of m us c l e i n th e f ro n t o f t h e e l b o w t h us fo rm ,
T ry to b e s e n s i b l e a n d n a t ura l a b o ut p o s i t o n ra t h e r i
i n g t h e c e n te r o f m o t i o n a n d c o n t ro l T h e c l o th i n g o f . th an ri gi d l y form a l .

th e f ore a rm s h o ul d b e l oo s e a n d l i gh t i n o rd e r to gi ve
-
,

f ree d o m a n d e a s e to m ov e m e n t .

T h e h a n d s h o ul d re s t a n d g l i d e upo n t h e l i tt l e fi n g e r
_

a l o n g t h e s i d e a nd j us t b a c k o f th e n a i l T h i s gl i d i ng
SITION R ANGLE
.

re s t s h o ul d m o ve f ree l y t o w a rd th e ri gh t i n m a k i n g t h e PO O OF PA PE R .

up s tro k es in t h e s m a l l l e tte rs I t s h o ul d s l i p f re e l y i n
'

l a rge f orms s uc h a s c ap i t a l s a n d l on g l oop s . T h e p a p e r s h o ul d b e h e l d to th e b o d y w he n

c l os e
w ri t i n g at th e to p of th e s h e e t . a n d w e l l f ro m t h e b o d y
w h en w r i t i n g
n ea r th e b o ttom .

T h e p a p e r
PO S ITI O N N H A N D A N D FO R E
.
M .
s h oul d be h el d
n e i t h e r p ara l l el .

w i t h th e d e s k n or
at ri gh t a n gl e s
w i t h t h e f ore arm -
,

b ut a b o ut m i d w a y
b e t w e e n th e s e
t w o e x tre m e s
R E ST
.

Q LI DI N Q AR M R ES T
T h e e l b . o W
s h o ul d b e s h i f te d
f ro m t w o to fo ur
T h e h o l d er s h o ul d po i n t a b o v e a n d s o m e w h e re b e t i m es i n w ri t i n g
t w ee n th e e l b ow a n d s h o ul d e r I t s h o ul d c ro s s th e h an d
. a c ros s th e pa g e ,

so m e w h e re n e a r th e k nuc kl e j o i nt o f t h e fi rs t fi n g e r If .
b ut n ev e r w h e n
th e h a n d a n d fi n g e rs a re l o n g a s i n s o m e a d ul ts i t , , th e p e n i s on t h e
s h oul d c ro s s a bo v e b ut i f s h ort b e l o w a s i n t h e i l l us t ra
, , p a p e r a n d i n m o t i on . Mo v e th e e l b ow b etw e en w o rd s
t i on. Th e h o l d e r s h o ul d b e h e l d a t a n a n g l e o f a b o ut o r e x e rc i s e s .

fo rty fi v e d e g ree s a s th e p e n w ri te s m o s t e ff e c t i ve l y
-
, B o th e l b o w s s h o ul d to th e e d g e o f t h e
b e k ept nea r
w h e n h e l d a t th a t a n gl e . d e s k a n d b e b e n t a t a b o u t ri gh t a n g l e s
, T h e f o re a rm .
-

T h e s i d e o f t h e p a l m o f th e h an d s h o ul d n o t touc h o r s h o ul d c ros s t h e d e s k a t a b o u t fo rt y fi v e d e gr e e s -
.

re st u p o n th e p a p er b ut b e k e p t f re e a l l o w i n g t h e l i ttl e
, , A b l o t te r s h o ul d b e h e l d w i t h t h e l e ft h a n d s o t h a t th e
fi nge r on l y to res t up o n t h e p a p er o r b l o tte r . ri gh t on e c a n s l i d e up o n i t th us rp t e e t i n g th e p ap e r
,

Th e w ri s t n ee d n ot b e h e l d fl at b ut i t s h oul d n ot , f ro m p e rs p i rati on o r o il y s e c re t i o n s m m t h e s k i n .

I N T E R E ST AND E N T HUSI A SM .

I nteres t m ay b e s a i d to c on c e rn th e i n d i v i d ua l a n d e nt h us i a s m th e c l a s s ,I f th e te ac h er i s e nthus i a s t i c th e c l as s .
-

w i l l b e c o m e so a n d e a c h m e m b e r w i l l b ec o m e i n te re s te d i n w ri t i ng
,
~
.

"
E d uc a t i o n i f i t b e t rue e d uc a t i o n i s i n t e re s t i n g a n d pl e a s ura bl e I s y our w ri ti n g l e s s o n i n t e re s ti n g a n d p l e a s

"
, , .

1 e bl e I f n o t i t i s n ot e d ucat i on a l
,
Th e n i t i s your d uty t o m a k e i t e d ucat i o n a l b y b ri n gi n g to i t t h e s a m e k no w l e d g e ,
.
,

a n d e n t h us i a s m t h a t yo u b ri n g to y o ur o t h e r c l a s s e s .

Th e re m e d y i s s i m p l e ; p re p a re y o ur w ri t i n g l e s s o n a s c are f ul l y a s a ny o th e r C h ee r i s a s c a tc h i n g a s g l oo m .

d w ri t i n g a s s ti m ul a t i n g a s p oo r w ri t i n g i s d i s c oura gi n g I m p ro v e yo ur w ri t i n g a s w e l l as y our t e a c h i n g a n d the

.

ch i ng o f w ri t i n g w i l l b e co m e a d e l i gh t a n d b e n e d i c ti o n b ec aus e i t w i l l e n t h us e a n d bl e s s a l l w i th a goo d b a n d
,
.

it a n d se e .

13
 /2 3 4 5

MO DEL FO RMS FOR ST UD Y AND I MI T A T I ON .

T h e f orm s se l e c te d a n d p re se n te d fo r s tud y a n d p ra c t i c e i n th e Arm Mo v e m e n t Met h o d of R a p i d Wri t i n g a re th e

re s ul t o f m a ny y e a rs o f s tud y o b s e rv a t i o n e x p e ri m e nt a n d p ra c t i c e Th e y c o m b i n e i n t h e h i gh e s t d e g re e th e e s s e n
-
, , , .

B e i n g s i m p l e th e y a re ea s y to a c q ui re a n d e a s y to e x e c ute B e i n g g ra c e ful a s w e l l
‘

ti a l s o f l e gi b i l i ty a n d ra p i d i t y
.
, .

a s p l a i n , t h e y a re ra p i d a s w e ll a s p l e a s i n g
.

T h e s l a n t i s n a tura l , b e i n g n e i t h e r s ti ff n o r e x tre m e a n d th e t urn s a re ro un d i n g w i th o ut b e i n g c l um s y

, T he
.

f o r m s a re s c ri p t ra th e r t h a n p ri n t l i k e i n c h a ra c te r a n d a re i n te n d e d to b e w ri tte n f re e l y a n d n ot d ra w n s l o w l y
’
-
, .

O PT I O N A L FO RMS FO R A DVA N C E D PUPI LS

.

C w

As p eo p l ed i ff e r i n ta s te s i n o th e r t h i n gs i t i s re a s o n a b l e to e x p e c t d i ffe re n c e s i n h a n d w ri t i n g T h e fo rm s gi ve n
,
.

a bo v e a re s l i gh t m o d i fi c a t i o n s o f th o s e gi v e n fo r p ra c t i c e i n th e m a n ua l . Th e s e m a y b e s u b s t i t ute d fo r t h e o n e s
t h e re i n gi v e n b y t h o s e w h o p re f e r a n d c a n m a k e t h e m b e t te r
. Sty l e i s o f l e s s i m p o rta n ce th a n e x c e l l e n c e i n e x e c u
.

ti o n. T h e re fo re s t ri v e fo r e x c e l l e n c e ra t h e r t h a n p e c ul i a ri ty St i c k to o ne fo rm un ti l yo u m a s te r i t an d th e n i f yo u
.
, ,

d o n o t l i k e i t o th e rs w i l l b e e a s y to a c q u i re
,
.

14
 TE C H N I C A L AND D E S C R I PT I V E Y
A N A L SI S .

Letters h a ve l i k e a n d unl i k e q ua l i t i e s L i k e q ua l i ti e s m a k e t h e m e a s y a n d ra p i d i n e x e c ut io n a n d unl ik e q ua l i ti e s

.
~

m ak e th e m l e gi bl e a n d e a s y t o re a d .

A n al y s i s e m p h a s i z e s t h e s e l i k es a n d un l i k e s a n d a c q u a i nt s us w i th th e c o n s t ruc t i o n o f l e tt e rs a n d t h e re fo re
,

w i t h t h e i r f orm a n d e x e c ut i o n . No a n a l y s i s m ea n s s upe rfi c i a l a n d t h e re fore i n a d e q ua t e k no w l e d g e o f fo rm w h i l e too

m uc h a n a l y s i s i nte rfe re s w i t h p ra c t i ce a n d ro b s th e l e s s o n o f i n t e re s t a n d e n t h us i a s m .

Pri n c i p l e s a re form s c o m m o n to a n um b e r o f l e tte rs ; t h e t h i rte e n p ri n c i p l e s c on s ti tute t h e m a i n po rt i o n o f a ll o f

th e s m al l a n d c a p i ta l l e tte rs . Stud y th e s e p ri n c i pl e s c ri ti c a l l y a n d l ea rn t h e m b y n um b e r fo r c o n v e n i e n c e i n s tud y
,

i ng a n a l y z i n g a n d t ea c h i n g th e l e tt e rs
, ,
.

T h e grea ter n um b e r o f p ri n c i p l es a s y s te m c o nta i n s , t h e e as i e r i s th e an al y s i s o f th e l e tte rs a s t h e re a re f e w e r

, ,

m o d i fi c a t i on s
.

T h e l e tt e r i conta i n s on e an gl e o n e turn o n e d o t an d th re e
, . , s trok es , a n d it i s a b out a ga i n a s w id e as h i g h w i th o ut
,

cons i d eri ng th e d ot I t i s a l s o c o m pos e d o f p ri n c i p l e s 2 a n d 4

. .

T h e l e tt e r u c o n ta i n s t w o tw o turns
a n gl e s , , and fi ve s t ro k e s , b e in g s h a rp at th e to p and ro un d n gi at th e b a s e .

I t i s co m p os e d o f p ri n c i p l e s 2 , 4 a nd 4
,
.

x T h e l e tt e r n c o nta i n s on e a n g l e t h ree t urn s

, , an d fi ve s trok es . I t is c om po s e d o f p ri n c i pl e s 5 and 6 . I t is a l so th e
s a m e a s u i n h e i gh t a n d w i d th
’
.

T h e l e tte r m c o n ta i n s tw o a n g l e s f o ur t urn s a n d
, , s eve n s t rok e s , a n d i s l i k e th e 1 e x c e pt th a t i t con ta i n s o n e m ore
p ri n c i p l e
. I t i s c o m pos e d o f p ri n c i p l e s 5 , 5 , a n d 6 .

T he l ett e r x c on ta i n s t w o turn s , tw o a n g l e s a n d four s trok e s , . I t is c o m p os e d of p ri n c i p l e s 5 a n d 4 . I t is co n

s truc t e d b y re tra c i n g a p ort i o n o f t h e fi rs t p a rt w i t h th e se co n d .

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

/ 4 4 07 7 2 3 5 a

626 6 49 PG /P V h’

Q
Me [f ife/J a re Cofi jff a a ‘ed

15
 T h e l e tt e r r c o n ta n s o n e i tu rn a re t ra c e a n d a fi n i s h i n th e fo rm o f a s m a l l l o o p
. . I t i s c o m p os e d o f p ri n c i pl e s .

5 a nd 1 I t is. .
c o n s t ruc t e d b y re t ra c i n g t h e d o w n w a rd s t ro k e o f p ri n c i p l e 5 w i th th a t o f 1 w i th o ut ra i s i n g th e p e n .

T h e l e tt e r v c o n ta n s i t w o turn s a nd a fi ni s h th e sa m e as r . I t is c o m po s e d o f p ri n c i p l e ( 5 a n d a fin i sh .

T h e l e tt e r w c o n ta n s i t w o a n gl e s , t w o t urn s , and a fini sh as in v . I t is c o m po s e d o f p ri n c i p l e s 2 ,

4, an d 4.

T h e l e tt e r e c o n ta i ns a loo p , and is c o m p os e d o f p ri n c i p l e s 2 and 4 j o i ne d b y a turn .

T h e l e tt e r 0 i s c o m po s e d o f p ri n c i pl e 4 w i th a d ot and turn to th e r i gh t of th e t o p .

T h e l e tt e r 0 i s a n e l l i p s e I t i s c o m p o s e d o f p ri n c i pl e s 3
. and 2 , and a fi n is h as in w . T h e p ri n c i p l e s a re m o d i fied
b y b e i n g s h o rte n e d , m o re c u rvi n g a n d l e s s s l a n t i n g , .

T h e l e tt e r a c o n t a i n s a n o va l o n e a n g l e, o n e turn , . and fo ur s tro k e s I t i s c o m po s e d o f p ri n c i p l e s 3

.
, 2, an d 4 .

Pri n c i p l e 3 i s m o d i fi e d b y b e i n g m a d e d o w n w a rd I t is . an i w i th o ut t h e d o t a n d w i th p ri nc i p l e 3 a d d e d .

T h e l e tt e r r c o n ta i n s o n e a c ute a n d o n e o btus e a n g l e . and turn I t is

o ne . c om pose d of p ri n c i p l e s 2 a nd 4 . B o th
a re m o d i fie d s l i gh t l y It . re s e m bl e s i w i th a s h oul d e r o r b u m p i n th e b a c k .

T he l e t t e r 3 is c o m po s e d o f p ri n c i p l es 2 a n d 2 , th e l a s t b e i n g m a d e d o w n w a rd an d m o re c urv i n g .

T h e l e t t e r t c o n ta i n s a n a ngl e , a turn , a n d a re tra c e ; a l so a l e tte r i . I t i s c o m po s e d of pri n c i p l e s 2 , 1 , a nd 4, an d

a h o ri z o n ta l s tra i gh t l i n e .

T h e l e tt e r d c o n ta i n s o n e a n g l e a n d o n e turn , a nd a n i, a , a n d un c ro s s e d t I t i s c o m po se d of p ri n c i pl e s 3 2 , 1
.
, , a nd 4 .

T h e l e tt e r p c o n ta i n s a n i n ve rte d d w i th t w o a ng l e s . I t is c o m po se d o f p ri n c i pl e s 2 , 1 , 3 , a nd 4. Pri n c i pl e s 2 an d
1 a re m o d i fi e d b y b e i n g m a d e m uc h l o n g e r .

T h e l e t te r 1 c o n ta i n s a l oo p an d t urn , a nd a n i . I t is co m pos e d o f p ri n c i pl e s 7 and 2 .

T h e l e t t e r b b e gi n s th e s am e as I an d fi n i s h e s th e s am e a s w I t is
. com pos e d o f pri n c i p l e s 7 a nd 2 , an d fin i sh as v .

T h e l e tt e r h c o n ta i n s a l oo p , o n e an gl e , an d tw o turns . I t b e gi n s as I an d e n d s a s n . I t is c o m po s e d o f p ri n c i pl e s
7 a nd 6 .

T h e l e t t e r k c o n ta i n s a l oo p, a n o p e n o v a l a n d , o n e an g l e, a nd o ne turn . I t b e gi n s and en d s th e sa m e as h , and is

c o m po s e d o f p ri nc i p l e s 7 3 2 , a n d 4 Pri n c i p l e s 2
, , . and 3 a re mod i fied .

T h e l e tt e r j b e gi n s th e sa m e as i, a nd c o n ta i n s a n a n g l e , l oo p a nd d ot . I t is c o m p os e d o f p ri n c i pl e s 2 a n d 8 .

T h e l e tt e r y b e gi n s as n fi ni sh es , and e nds as j . I t is com pos e d of p ri n c i p l e s 6 a n d 8 , a n d c o n ta i n s tw o turn s , o ne

a ng l e a n d a l o o p
,
.

T h e l e tt e r 2 b e g i n s l i k e n a n d e n d s l i k e y , a n d c o n ta i n s one t urn , o ne angl e, and a l oo p . I t is co m po se d of

p ri n c i p l e s 5 a n d 8 th e l a tt e r b e i n g m o d i fi e d a t th e b e gi n n i n g
, .

T h e l e tt e r 9 b e gi ns a s a an d e n d s a s j. It c o n ta i n s a n o v a l , a n gl e , l oo p a nd turn . I t is c o m pos e d of p ri n c i pl e s
3 , 2, and S .

T h e l e tte r q c o n ta i n s a c o m p l e te a a n d i, a nd a l oo p . I t is c o m p o se d o f p ri n c i p l e s 3 a n d 2 1 a nd 2 m o d i fi ed , and 2 .

T h e l e tt e r f c o n ta i n s an I and i, a nd b e gi ns l i k e th e fo rm e r a nd e nd s l ike q . I t is c o m pos e d o f pri n c i p l e s 7 , 1 and

2 m od i fied a nd 2 , .

T h e l e tt e r 0 is a n e l l i ps e an d is c o m po s e d o f p ri n c i p l e 9 w i th a l a te ra l c urve .

T h e l e tt e r A i s m uc h l i ke an e nl a r ge d s m all a, and i s c o m po s e d of p ri n c i pl e s 9 , 1 , and 3 m o d i fi e d i n d i re c ti o n

a nd l e n g th .

T h e l e tt e r C i s c o m po s e d o f p ri n c i p l e 9 mod i fie d , a n d re s e m b l e s th e s m a l l 0, b ut i s m o re ro un d i n g .

T h e l e tt e r E b e gi n s a nd e n d s a s C, and is c o m po s e d o f p ri n c i pl e 9 w i th a l oo p i n t h e c e n te r .

T h e l e tt e r D b e gi n s w i t h p ri n c i p l e 1 a nd e n d s a s th e 0 I t is
. com po s e d of p ri n c i pl e s 1 and 3 , a nd 9 m o d i fi e d w i th
a l a te ra l c u rve a t ta c h e d .

16
 PLA N OF

TH E A RM MO V E ME N T ME T H O D OF R A PI D W RI T I N G .

Fo rm a nd m o v e m e nt a re p re s e n t e d to g e th e r, a n d s h o ul d go h a n d i n h a n d un ti l a g o od h an d w ri t i n g fo l l o ws .

Ca p it a l
'

a nd s m a ll l e tt e rs a re a l te rna te d th ro ugh out th e s e ri e s , th e o n e to t h e b e n e fi t o f th e o th e r, an d a s t h e y

oc c ur in a c t ua l w ri t i n g .

T h e Fo rm s o r s ty l e s of l e tt e rs are s i m p l e a n d y e t no t s l o w o r l a b o red . T he y a re th e e m bo d i m e nt of p l a i nn es s ,
e a s e a nd ra p i d i ty ; s uc h a s t he b us i n es s w o rl d n e e d s a n d d e m a n d s .

T he éo pi e s w e re w ri tt e n f re e ly an d re pre s e n t p ra c ti c a l ra th er th an s tud i e d s k i l l . T h ey s h ow w hat c a n ac tua l l y

be d o n e w i th a free a rm m ove m e n t .

Ea c h a nd e v e ry c o py is a c c o m pa n i e d by c l ea r, co n c i s e , p ra c t i c a l , h el p f ul , n e e d ful i n s truc ti on t h e, re s ul t o f y e ars

of e x pe ri e n c e , e x pe ri m en t , a n d
p ra c t i c e .

Ev e ry t h i rd Co py i n Pa rt s Fi v e Si x a n d Se v e n i s , s e pa ra te d in t h e c e n t e r, a nd is i nt e n d e d to b e w ri tte n c ro ss w i s e
o ve r t h e p ra c t i c e up o n th e t w o p re c e d i n g c o p i e s .

PA R T S FI V E, S I X , SEV E N A ND E G H I T .

Pa rt Fi v e c om p rise s th i rtee n s m al l a nd tw el v e c a p i ta l l e tte rs th e fi g ure s m ov e m en t e x e rc i se s an d p ri nc i pl e s

, .
.

Th i s i s i nt e n d ed fo r p up i l s t en ye a rs o f a ge a n d up wa rd a n d fo r al l w ho h a ve no t m a s te re d fo rm a n d m o ve m en t
, .

Pa rt Six c o m p ri s e s th i rt e e n e x t en d e d s ma l l l e tters fo urte en c a p i ta l s the fi g ure s , e x e rc i s e s p ri n c i p l es a n d s en

, . ,
~

te n c e s. I t i s i n te nd e d Uo f o l l o w Pa rt Fi ve an d to c om p l e t e th e e l em e nt a ry fo un d a t i o n o f fo rm an d m o ve me n t
,
.

Pa rt Se v e n c om pri s e s a l l o f th e l ette rs a nd fi g ure s"e x e rc i se s a n d s e n ten c e s I t s ho ul d fo l lo w Part Si x and c arry

, ,
.
,

th e w o rk o n t o a m o re a d v an c e d s ta g e .

Pa rt Ei gh t c o m p ri s e s l e tte rs e x erc is e s s ent e n c es n am e s a n d a d d re ss e s p a ra g ra ph s B us i n e ss Fo rm s l e tit e r e tc

, , , , , , , .

I t s h o ul d fo l l o w Pa rt Se ve n a n d ca rry t h e wo rk to a p ra c ti c a l b us i n e ss l i k e e n d ; a n e as y ra p i d l e gi bl e h a n d-wri ti n g
.
,
-
, , .

FI N A L WOR DS WOR T H H EEDI N G .

Eac h Co py s h oul d b e p ra c t i c e d un ti l i m pro v e m e n t i s o b s e rve d , an d , b e tt e r s ti l l , unt i l th e w ork i s sa ti s fa c tory in

b o t h f o rm a n d m o ve m e n t .

T h e Ma s t e ry o f e a c h c o p y m a k e s e a c h s uc c e e d i n g o n e e a s i e r a n d th e w h o l e a rt a n e a s y a n d a ss ure d posse s s i o n
, .

T h e f a i l ure to m a s te r fi rs t p ri n c i pl e s m ea n s f a i l ure a l l a l o n g th e l i n e un t i l yo u re turn an d m a s te r th e m .

G oo d W ri t i n g i s n o s l i gh t tas k , n or i s i t a n i n d i f e re nt a c co m pl i s h m e nt I ts w orth m a k e s i t h i gh l y d e s i ra bl e a n d
.
,

i t s a c q ui re m e n t d e p e n d s u po n th e f a i t h f ul n e s s w i t h w h i c h y ou p urs ue en th us i a s t i c a l l y a n d p ra c ti c e i nte l l i ge l y t h e
nt
w o rk s o ca re ful l y p l a n n e d h ere i n .

Aft e r a l l , i t i s i nte re s t i n a n d l ov e fo r goo d w rit i n g t h a t m ake s it eas y o f a c q ui re m e n t, a n d i ts pos s es s i o n a s o urc e

o f s a t i s f ac t i o n a n d c o n t i n ua l p ro fit .

18
 PA R T FIV E O R BO O K F I V E
C o m p ri ses m ov em en t e xerc i s e s p ri nc i pl e s thi rte e n s m a l l l e tte rs tw e l v e c a p i ta l s w o rd s a n d fi gure s ; a l l gra d e d
, , , , .

a n d a rra n g e d s p e c i a l l y fo r e a s y s pe e d y a n d c o rre c t l e a rn i n g
, ,w i t h d e t a i l e d i n s t ruc t i o n s a cco m pa n y i n g e a c h c o py
, ,

tog e th e r w i t h a m o d e rn d e s c ri pt i v e n o n t ec h n i c a l s i m p l e s y s te m o f a n a l y s i s
, ,
-
, .

E ve ry t h i rd c o p y i s i n te n d e d to b e w ri t t e n c ros s w i s e o n th e p a p e r ov e r pra c ti c e of p re v i o us c o p i es th e re by uti l i z ,

i ng pa pe r a n d a t th e s a m e t i m e l ea rn i n g to w ri te i n a s t ra i gh t l i n e w i t h o ut a g ui d e ot h e r t h a n th e e y e .

L e tt e rs a re gi v e n i n g ro up s a c c o rd i n g to s i m i l a ri ty t h e e a s i e s t on es b e i ng gi ve n fi rs t e a c h l e a d i n g to so m e th i n g
, ,

m ore a n d m o re d i ffi c ul t t h us p utt i ng i nto p ra c t i ce a n d rea l i z i n g th e t rue w o rth o f t h e o l d e d uc a ti on a l m a x i m : f ro m “

,

th e s i m p l e to t h e c o m p l e x .

Form a n d m o ve m e n t fo r th e fi rs t t i m e h av e b e en p res e n te d upo n a p ar ; n e i th e r h a v i n g b ee n s a c ri fi c e d b ut b o t h

, , ,

m a d e rea d y s e rva nt s f ro m th e s ta rt i n th e a rt o f l e a rn i n g t o w ri te w e l l .

C a p i ta l a n d s m al l l e tte rs a re p re s e n te d al te rn a te l y e a c h to th e b e n e fi t o f th e o t h e r ; th e c a p i t a l s to m a ke th e
,

s m a l l l e t te rs f re e a n d t h e s m a l l l e tte rs to m a k e t h e c a p i t a l s l e s s s c ra w l i n g
, .

Mo ve m en t h a s b e e n i ns e p a ra bl y c o nn e c te d w i th form an d n ot d i vorc e d f ro m i t a s h a s h e reto fore too f re q ue n tl y

,

b een th e c a s e . L e a rn i n g c o rre c tl y f ro m th e b e gi n n i n g i s h e re m a d e so eas y a n d p l a i n t h at n o o n e n e e d fa i l to a c q ui re

a goo d h a n d w ri t i n g a s t h eo ry a n d p rac t i ce
, s c i e n c e a n d a rt form a n d m o ve m e n t h a ve b ee n s o c o m b i n e d t h a t t he
, ,
”
roa d to g oo d w ri t i n g i s a s p l a i n a s t h e p ro v e rb i a l ro a d to m arke t .

Use m movement
a rap id ar . Keep the fing ers from ac ting . Make about 2 00 down strokes a min ute . Work carefully at all i fmes .

I N ST R UCT I ON S FOR PR A CT I CE .

Wi th th e b od y i n a h e al th ful a tt i tud e a n d th e f ore-a rm res t i n g u p o n th e t a bl e yo u a re re a d y to b e gi n p ra c t i c e upo n

, ,

th e c o m pa c t ov a l e x erc i s e Us e p ure a rm m o ve m e n t a n d m ak e a b o ut 2 00 d o w n s t ro k e s to th e m i n ute

.
, Ra i s e th e p en .

e v e ry c o up l e o f i n c h e s a n d a d j us t t h e p a p e r a n d e l b o w s o t h a t t h e m o ve m e n t d o e s n o t b e c o m e c ra m p e d Ma k e t h e e x .

e rc i s e b e t w ee n tw o b l ue l i n e s a b o ut t h re e e i gh t h s o f a n i n c h a p a rt a n d a v o i d o p e n s p a c e s o r b l o t s
’
,
-
Fi l l l i n e a ft e r l i n e
, .

a n d p a g e a ft e r p a g e o f t h i s fo rm un t i l yo u c a n m a k e i t re g ul a r i n h e i gh t a n d s p a c i n g K e e p i n g c o n s t a nt l y a t i t w i l l .

re wa rd yo u w i t h a p l e a s i n g e x e rc i s e an d ul t i m a t e l y w i t h a goo d h an d w ri t i n g Ma s te r t h i s e x e rc i s e a n d th e f ol l o w i n g
-
.

w i l l t h e n b e w i t h i n your gra s p Work l i vel y at a l l t i m es , c o unt i n g 1 , 2 3 , 4 1 , 2 3 4, 1 2 3 4 e tc a t th e a b ove rate

.
, , , , , , , , .

o f s p ee d .

See that the arm works fi eely ’

on the muscl e in f ront o f the elbow . Sleeve shoul d be l oos e . Count I 2 . 3 , 4 . 5 . 5 for each oval .

I N ST R UCT I ON S FOR PRACT l CE .

Re v i e w fi rs t b e fore b e g i n n i n g t h i s
e x e rc i s e Afte i yo u h a v e g oo d c o n tro l o f th e a rm b e gi n up o n t h e se o va l s a n d
i
.
, ,

s e e h ow un i fo rm i n s i z e a n d s p a c n g y o u c a n m a k e t h e m Re tra c e e a c h o va l f1 o n1 s i x to t en t i m e s c o un t i n g a t t h e ra t e ,

o f a b o ut 2 0 0 re vo l ut i o n s to th e m i n ute Th e s l e e ve s h o ul d b e l oos e e n o ugh to a l l o w t h e a rm to ro l l f 1 e e l y w i t h i n

.

it. T h e l i t tl e fi n g e r s h o ul d g l i d e f re e l y a n d e a s i l y up o n t h e s i d e o f th e fi rs t j o i nt a n d upo n t h e bl o t te r K e e p t h e pe n .

i n g oo d c o n d i t i on a n d u s e i t c are f ul l y c h a n gi n g w h e n e ve r i t b e gi n s to s c ra tc h o r m a k e a c o a rs e l i n e
, Sto p p ra c t i c i n g .

no w a n d t h e n t o e x a m i n e y our w o rk a n d to c o m pa re i t w i t h th e c o py Le arn to c ri t i c is e i nt e l l i g e n tl y a n d you w i l l

.

i m prov e m uch f as ter .

19
 L tf l ike hinge at elbow
ore a r m ac t
.

00 strokes a minute e
ght ( he rate of about 1
.

Count n ghz l e
.
f
t
. r ght,
i lefl . fi , l eft
. at

l i k e a h i n g e at t
fo re a rm
-
actin g
x rc i s e s s h o ul d
t t h e e l b ow T h e s e e e
w i t h o ut a ru
c e n te r a .

t h e p a g e
f w i t i n g s t ra i gh t a c ro s s
c ul ti va te th e
h ab i t o r
h oul d m a
t l t a c ti o n T h e p e n s
w i th q ui c k s
,
u r e , y e i gh .

MODEL PR A CT I CE .

and to d o so w i th o ut
h v i o u s w o rk w el l as d i rec
w i s e o ve r t e p re
W i g b e t w e en l nes i as
T h i s s h o w s h o w to p ra c ti c
e c ro s s at c h s p a c n
u a re p ra c t i c i n g u p o n .

i l l m es o n l y th ro ugh tra i n i n g ;
t h ve o n e o n t h e p a p e r y o
th en s l ow y l S k c o
u gh o a d ggi n g e p
.

f o rtun a t e e n o
m d ra w i n g o r r a
v e r re s ul ts
t i o n of l i ne Wo rk f r e e l y a t a l l t i e s ,
n e
h i m a n y t i m e s b e fo r e p ro fi c i e n c y .

s a ry t o d o a t
n g
.

I t i n e c e s
t h rough a c t i v i ty
s
t h k e y t o s uc c e s s
et i ti on is
.

e
R
.

a nd it i s t rue i n
w r t n
i i g e p
in
.

g .

20
 See how unfiorm in he ht ig , s lant, and spac ing you can make this e ercis e
x . Drive the arm quickly in and out the sleeve .

I N ST R UCT I ON S FOR PR A CT I CE .

T h i s s tra i gh t l i n e e x e rc i s e i s m ad e w i th an i n a n d o ut o r p us h a n d pul l a c t i on o f th e arm no fin g er or w ri s t ac ti on

- - - - -
,

b ein g n ec e s s a ry Mak e i t b e tw een two b l ue l i n e s a nd en d e a vor to s e c ure un i f o rm s l an t Ma k e a bo ut 2 00 d o w n s tro k e s

. .

to th e m i n ute Se e h o w e v e n y ou c a n get th e s pac i n g Arm m o ve m en t l i k e m o s t g oo d t h i n g s i s n o t g o tte n w i th o ut

. .
, ,

p e rs i st e nt e ff ort b ut i t i s s ure to y i e l d to p a i n s tak i ng i n te l l i g e n t pra c ti c e a n d i t i s th e s e c ret o f g oo d p e n m a n s h i p

, , , .

Do n o t l e t th e fi n g e rs ac t i n fo rm i n g t h e up a n d d o w n s trok e s T h e i r f unc ti o n i s to h o l d th e p e n w h i l e t h e a rm p ro p e l s
.

it. T h es e e x e rc i s es a re gi ven to a i d you t o ga i n co n trol of th e arm m us c l e s so th at you c a n e ve n tua l l y w ri t e w i th

th em a nd w ri te w el l a nd eas i l y too
, .

Use c ircular movement on oval and p ush and p ull

- —
movement on the s traight line . Retrace about s ix times . 2 00 down strokes to the min ute .

I N ST R UCT I ON S FOR PR A CT I CE .

Mak e th e o va l a n d th e n s tra i g ht l i n e T h i s go i n g from o n e t o th e o t h e r q ui c kl y p re p a re s o n e to go f ro m o n e l etter

.

to a no th e r w i t h o ut h e s i ta t i o n ; a very n ec e s s a ry t h i n g i n a c tua l b u s i n es s w ri t i ng Us e p ure a rm m ov e m e n t Ho l d th e . .

p e n fi rm l y b ut d o n o t g ri p i t Ai m to p res e rv e a n e at a pp e a ra n c e o f th e p a g e f ree f ro m bl o t s a n d s ys te m a t i c i n
. , ,

a rra n ge m e nt Do not b e s a t i s fi e d w i t h f a i r re s ul ts s tri v e for e x ce l l en c e

.
I f yo u a re s i n c e re a n d p e rs e ve ri n g y o u
—
.
,

w i l l ge t w h at yo u go a f te r T ra c i n g ra p i d l y o ve r th e c opy w i t h a d rv p e n w i l l gi ve a b e tte r i d ea o f form a n d s i z e

. ,

a n d i t m a y h a v e a t e nd e n c y to rel i e v e n e rvo us t e n s i o n as w e ll C ri t i c i s e eac h l i n e Se e th a t s l a n t i s u ni fo rm a n d

. .

s p a c i n g re gul ar Se e a l s o th at o va l s a re ab out two thi rd s a s w i d e a s l on g

.
, ,
-
.

Let the fo re— ar m s wing freely from the elbow in making thes e exercises . 771 e l ower curve wil l require al so some in-and— out motion .

I N ST R UCT I ON S FOR PR A CT I CE .

Sw i n g ri g h t, l e f t ri gh t l eft ri gh t l e f t ab o ut 1 0
,
0 stro k es to th e m i n ute Le t th e s trok e s b e a s re gul a r a s th a t
,
.

Ma k e t h e s e c ro s s w i s e o ve r
, ,

o f a p e n d ul um a n d a s c l e a r c ut as th e c o py
,
No fi n g e r or w ri s t a c ti on s h o ul d b e a l l o w e d
. .

th e pra c t i c e o n t h e o va l s a n d s tra i gh t l i n e s o f t h e pre v i o us c o p y Re v e rs e t h e m o t i on a t a gi v e n p l a c e e a c h t i m e

.

s o a s to k e e p th e m a rgi n s p e rp e n d i c ul a r Arm m o ve m e n t i s ea s y a fte r i t i s on c e un d e r c o n t ro l

. T h e s e e x e rc i s e s a i d .

i n g e tt i n g co n t ro l Th e b e tt e r th e e x e rc i s e s th e b e tte r t h e con tro l

.
Li ghtn ess o f s tro k e a n d q ui c k n e s s a re d e s i ra bl e
.
. .

How w e l l a n d h o w ea s i l y s h o ul d b e your m o tto .

21
 See that little fing er gl ides eas ily and f
reel
y with the pen . Time . I , 2 , 3 . 4 , 5 , 6 , fini h
s , I , 2 , 3 , 4 5
, , 6 fini h
s , 1 . 2 , 3 , 4 5 , , 6 ,
finish .

I N ST R UCT I ON S FOR PR ACT CE I .

Se e th at th e m ov e m e n t i s re g ul ar e l a s t i c a n d f re e , A vo i d s pa s m o d i c s ta rts a n d s to ps b ut l e t th e m o ti on ro l l on
, .

Mot i o n s h oul d p re c e d e p l a c i n g th e p e n o n th e pa pe r a n d co n t i nue a fte r i t h a s b ee n ra i s e d Con

,

f ro m f orm to fo rm .
.

c e n tra t e th e m i n d u pon th e fi n i s h o r yo u m a y h a v e d i ffi c ul ty to c h a n g e f rom th e l a rge o va l to t h e s m a l l

, Ai m a t .

p e rf e c t ea s e i n e x ec ut i o n, a s t h at s e c ure s th e b e s t res ul ts i n fo rm G ra c e a n d a c c ura c y a re th e re s ul t of ea s e a n d .

f re ed om .

Arm movement . Rolling motion . About 7 0 to the minute . Finish with c urve pointing upward . No finger movement .

F ORM S T U D Y
The O i s c o m pos e d o fp ri n c i pl e 9 a n d a l ate ra l c urve I t c o m p ri s es a n e l l i p s e an d a . ,

l oo p w h i c h s h o ul d an d up w a rd Th e s e con d f orm re s e m b l e s A , a n d th e l a s t l oo k s l i k e I
. .

I N ST R UCT I ON S FOR PR A CT I CE .

Us e ma rm m l l m k l f s , s to p a n d l oo k th e m
’
an eas y , rol l i n g o v e e n t C urv e b o t h s i.d es e q ua y A f t e r a i n g a i n e o o .

ov er c are f ul l y See w h e re i n th ey a re g oo d a n d w h ere i n t h e y a re po or

. , h e n e n d e a vo r to i m pro v e t h e m Re m e m b e r . T .

t h at q ua l i ty i s e s s e n t i a l a s w e l l a s q ua n t i ty One c a n p ra c t i c e too m uc h a s w e l l a s too l i ttl e

. C a re ful i nte l l i gent, .
,

c ri ti c a l pra c ti c e b ri ngs th e b es t re s ul ts a n d i n t h e l ea s t ti m e
, .

Swing back and forth f reely in making fi st form M k

r . a e second e ercise x with a ~ rapid up and- —
down action . Glide f reel
y on up strokes .

I N ST R UCT I ON S FO R PR A CT I CE .

Us e gl id i n g m ove m e n t o n th e l on g up s tro k es Li ttl e fi n g e r s h o ul d s l i p f ree l y to w a rd th e ri g h t i n m ak i n g th e m

. .

T h e s tra i gh t l i n e o r p ri n c i pl e o n e i s m a d e d o w n wa rd w i t h l i ttl e fi n g e r s l i p p i n g b ut l i ttl e Ma ke i t fi rm l y ra th er t h an .

ra p i d l y
, a n d w i th o ut m uc h i f a ny fi n ger m o ve m ent T i m e g l i d e 1 , gl i d e 1 , g l i d e 1 , g l i d e
. A b out s i x ty d o w n s trok e s
, .

to th e m i n ute .

22
 See that arm s wings f re ely from the elbow . Keep down s troke straight .

I N ST R UCT I O N S FOR PR A CT I CE .

An e a s y, g ra ce f ul g l i d i n g o f th e p e n a n d h an d i s n e ce s s a ry n o t o n l y fo r th ese e x e rc i s e s b ut fo r s uc c e s s f ul w ri t
, ,

in g a s w e l l T h e s e e x e rc i s e s a re of a tw o fo l d val ue a s t h e y b re a k up a n d o ve rco m e e x c e ss i ve fi n ge r ac t i o n a n d
'

"
-
.

cul t i v a t e a t th e s a m e t i m e th e co rre c t a c ti o n o f t h e a rm Do no t h e s i t ate t h e re fore to fi l l m a n y pa g e s o f s uc h fo rm s

.
,

an d to re v i e w th e m f re q u en t l y I n s t ea d o f b uy i n g p a pe r b y t h e n i c k e l s wo rth g e t a q ua rte r rea m ( 2 5 0 s h ee ts a t a

‘
.
,

ti m e
'

. I t ta kes p ap e r as w el l as e ff ort to l ea rn to w ri te correc tl y but i t i s a pa yi ng i nv es tm ent , .

Angle at tap , turn at bottom . Little finger glides f reely in makin g all upward strokes . Place dot f
care ul ly .

F ORM S T U D Y .

Th e i i s c o m po s e d o f p ri n c i pl e s 2 a n d 4 w i th a d ot a b ov e I t con ta i n s o n e an g l e on e tur n a n d .
, ,

t h re e s trok e s , a n d i s m a d e w i t h o ut ra i s i n g th e p e n e x ce pt to m ak e th e d o t The l o w er l i ne s how s .

t h re e c o m m on te n d e n c i e s or errors , w h i c h s h oul d b e a vo i d e d T h e fi rs t re s e m b l e s c b ec a us e th e .

d o w n s trok e i s c urv e d ; t h e s e c o n d re se m b l e s e b ecause i t i s l oop e d i n st ea d o f b e i n g s h a rp ; a n d

th e t hi rd re s e m b l e s r b e c a use i t i s s h a rp a t th e b a s e an d fin i s h e s w i th a l e f t i n st e a d o f a ri gh t
c urve .

I N ST R UCT I ON S FOR PR A CT I CE .

th e s a m e gl i d i n g m ot i o n d es c ri b e d i n th e prev io us copy
Us e See th at th e m ove m e n t c e n te rs a t a n d pro ce d e s
.

from th e el b ow i n m a k i n g s uc h l e tte rs as i , u, m , w , etc T i m e , 1 , 2 3 d o t ; 1 , 2 3 , d o t 1 2 3 d o t for t h e i : 1 a n d 3

.
, , , , , , ,

fo r th e up s trok e s a n d 2 for th e d o w n s tro k e

,
A b o ut 5 0t o the m i n ute Not t h a t m a n y ea c h m i nute but a t th a t rate
. .
,

of s pee d w h en th e p en is on th e pa pe r .

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

I N ST R UCT I ON S FOR PR A CT I CE .

Mak e ea ch e x erc i se w i th o ut ra i s i ng th e p e n . Learn to b e q ui c k a n d l i gh t i n a ctio n an d c o n ti nuo us Stre n gth a n d , .

” i s c o m pl et e d
s co pe c o m e b y
‘ h “
i
ol d n g o n un t i l th e e x e rc i s e I t en c oura ge s th re e th i n g s :
. up a n d d o w n a c t io n f re e - -
,

d o m f rom l e ft to ri ght an d cont i n ui ty o f e ff o rt

,
. Al l are n e cess ary fo r go o d l e gi bl e ra p i d w ri ti n g , , .

23
 Keep a good pos ition . Take good care o f pen . Watch slant . Make oval and then s traight lin e . Keep fingers fr m
o ac ti
ng
.

I N ST R UCT I ON S FOR PR AC T I CE .

Al w a ys re a d and re re a d
-
h ead l i ne o f c o py . T h en s t ud y th e c o py ; i ts s h a pe , s i z e , a n d m e th o d of m ak i n g. N ext
re a d in i
s t ruc t o ns . Y o u a re t h e n re a d y i n te l l i ge n tl y
to p ra c t i c e , and m a ke i m p ro v e m e nt i n a c c o rd a n ce w i t h y our
m e n ta l a nd ph y s i c al e f
f o rt. Ma k e o va l a nd s tra i gh t l i ne tra c e rs at t h e ra te o f a b o ut 2 0 0d ow n s tro k e s to th e m i nute .

MODE L PR ACT I CE .

This p ra c t i c e s h o w s h o w e v e ry th i rd c o py c a n b e w ri tt e n a c ros s th a t w h i c h
h a s b e e n w ri tte n o ve r o n c e Be .

w a t c h fu l a b o ut s p a c i n g b e t w e e n t h e d o w n s t ro k e s a s w e l l a s b e tw ee n l i n e s Se e h o w o rd e rl y y o u c a n k e e p y o ur p ra c
.

t i c e s h e e ts .Sy s t e m a t i c pra c t i c e e n c o ura g e s i m pro ve m e n t m o re t h a n a n y o t h e r o n e t h i n g Th e b us i n e s s m an a d .

m i re s o rd e r a n d n ea tn e s s , t h e re f ore d e ve l o p t h e m Se e th e fo l l o w i ng p a g e
. .

24
 Study quality of l ine in the up s trokes . See how smooth and shar
p . A free movement is nec es sary to s ecure them .

I N ST R U CT I ON S FOR PR AC I CE T .

C ul ti v a te l i gh t l i v e l y a c ti o n a n d th e q ua l i ty o f l i n e i n y o ur w ri t i n g w i l l i m p ro v e g re a tl y
a ,
N e rvo us b ro k e n l i n e s .
,

a re t h e re s ul t o f s l o w n e s s a n d c ra m p t n e s s ra t h e r th a n o f re a l n e rvo us ne s s a s i s g e n e ra l l y s up p o s e d Sw i n g e a s i l y .
,

g ra c e f ul l y a n d l i gh t l y f ro m o n e b l ue l i n e to t h e o n e b e ne a t h i n m a k i n g th e d o ubl e l i n e i a e x e rc i s e s
,
Ea s e i n w ri t i n g
-
.

c o m e s b y l ea rn i n g to m a k e e x e rc i s e s f re e l y a n d g ra c e f ul l y A vo i d fi n g e r a c t i o n a s n one i s n ec e s s a ry i n s uc h w ork
.

a s th i s .

Use a rolling, f i ly
a r rapid arm movement . End 0 upward and A downward . Make f
the orme r more rounding than the latter .

I N ST R UCT I ON S FOR PR A CT I CE .

G o f ro m o n e l e tte r to th e o th e r w i th o ut c h e ck i n g th e m o ve m e n t s i m p l y c h a n g e it s l i gh tl y i n th e fi n i s h i n g of th e
,

l e tte rs Stud y th e d i ff e re n c e b e t w e e n th e l e tte rs i n t h e c o py a n d t h e n t h e d i ff e re nc e b e tw e e n yo urs

. Us e n o fi n g e r .

a c ti o n . N o t h i n g b ut p ure a rm m o ve m e n t i s n e c es sa ry Se e h o w g rac e f ul a s w e l l a s h o w ac c urate y o u c a n m a k e

.

the m .

Arrows show which diw ection to make the princ iples . Al l are same in h gh i . Up strokes slant more than down strokes . Count 7 2 3
, , , 1 , 2 , 3 .

I N ST R U CT I ON S FO R PR ACT I CE .

Ma k e th e up s trok e s m o re f re e l y th a n th e d o w n s t ro k e ; a l so m a k e th e m m ore s l a n t i n g Se e th a t th e l i ttl e .

fi n g e r s l i p s f re e l y t o w a rd th e ri gh t i n m a k i n g t h e u p s tro k e s Do no t s h a d e th e d o w n s tro k e o r fi n i s h th e up s tro k e s

" "
.

w i t h a d ot Ra i s e t h e p e n w h i l e i n m o t i o n , i n m a k i n g t h e up s tro k e s T
h e s e l i t tl e fo rm s a re t h e e l e m e nts o f w ri t i n g

"
. .

a n d w e h a v e n a m e d t h e m p ri nc i p l e s T h e fi rs t i s p ri n c i p l e 3 ( l e f t c urve ; t h e s e c o n d pri n c i pl e 1 ( s t ra i gh t l i n e ;
. ,

a n d th e t h i rd p ri n c i pl e 2 ( ri g h t c urv e
,
1 R e m e m be r th e i r n am e s
. .

26
 Us e an easy , f
grace ul gliding motion at all times
, . Make turns rounding and angles sha rp . Pure arm movement . No finger i
ac t on neces sary

I N ST R UCT I ON S FOR PR ACT CE I .

T h e se pri n c i pl e s 5 4 a n d 6 o r upp e r turn l o w e r t urn , a n d d oub l e turn

a re , , , , I f y o u c a n m ake t h e m f ree l y a n d .

w e l l , yo u w i l l h ave b ut l i ttl e d i fii c ul ty i n m a k i n g m o s t o f t h e l e tt e rs a s t h e y c o m pri s e t h e m a i n p o rt i o n o f a m aj o ri ty

of th e m . Se e th a t th e l i tt l e fi n g e r s l i p s f ree l y to w ard th e ri gh t a n d t h a t th e m o t i o n c o m es f ro m t h e e l b o w a n d no t
f rom t h e fi n g e rs .

Pri n c i p l e 5 i s m a d e o n th i s t i m e 1 2 ; 1 2 ; 1 2 ; a c c e n t o n t h e 2 Pri n c i pl e 4 o n th i s t i m e 1 2 : 1 2 ; 1 , 2 ; a c c e n t
, , , , .
, , ,

o n th e 1 Pri n c i pl e 6 o n th i s t i m e 1 , 2 3 ; 1 2 3 ; 1 , 2 , 3 ; e q ua l e m p h a s i s
. , , , a k e a bo ut 7 5 to t h e m i nute
, . M .

77te n contains one angle and three turns . The wide spac ing develops a f ree movement ac ross the page . Push on the up strokes .

F O RM S T U D Y .

Th e n is c o m p os e d o f p ri n c i p l e s Th e c o m m o n f a ul ts a re fo un d b e n ea t h t h e
5 and 6 .

c o rre c t f o rm s T h e fi rs t re s e m bl e s u
. T h e s e c on d m i gh t b e m i s ta k e n fo r re b e c a us e i t c on
.

t a i n s t w o a n g l e s i n s te a d o f o n e , a n d t w o tu rn s i n s te a d o f t h ree T h e t h i rd re s e m b l e s a n r .
-

b e c a us e t he l a s t p a rt l oo k s l i k e a fl o uri s h a n d i s on a d i ff e re n t s l a nt t h an t h e fi rs t
, .

I N ST R UCT I ON S FOR PR A CT I CE .

K ee p th e d o w n s tro k es p aral l e l a n d al l turn s e q ua l l y roun d i n g T h e t e n d e n c y i s to s h arp e n th e se co n d upp e r turn

.

a n d to m a k e t h e l a s t o n e too roun d i n g Av o i d t h e se i f yo u wo ul d w ri te un m i s ta k a b l y p l a i n a t a l l t i m e s
. A vo i d .

s pa s m o d i c m ot i on s b y c ul t i va t i n g a s tron g s te a d y fre e a rm m o ve m e n t. Wi d e s pa c i n g i s goo d t o d i s c o ura g e fi n g e r

, .

a c t i o n b y m a k i n g i t po s s i b l e a n d e a s i e r to us e a rm m o v e m e n t i n s te a d T h e o va l th row n f re e l y a ro un d th e l a s t n w i t h .

pure a rm m o ve m e n t i n s ure s p e rf e c t f ree d om f ro m s ta rt to fi n i s h Be s ure to m a k e i t grac e f ul b y us i n g a grace ful

.

m ot i on .

Make all turns equally rounding and all angl es equally sharp . Connec t the exerc ises gracefit lly by us ing a grace ulf arm movement .

I N ST R UCT I ON S FORPR ACT I CE .

Th e s o on er you g i ve w i th a h e a v y l a z y l i k e m o t i o n th e b e tte r fo r yo u a n d yo ur
up d ra gg i n g th e p en s l ug gi s h l y .
-
,

w ri t i n g T h e s o on e r y o u a b a n d o n a l l fi n g e r a n d w ri s t m o v e m e n t o n s uc h fo rm s a n d e x e rc i s e s a s t h e a b o ve t h e b e t t e r
. ,

for y ou a n d y o ur p e n m a ns h i p Y ou c a nn o t s e rv e t w o m a s t e rs s uc c e s s ful l y
. T h e re f ore s tri k e o ut b o l d l y a n d ke e p . .

s tri k i n g a n d s uc ce s s w i l l f o l l o w
,
K e e p a goo d p os i t i o n of b o d y a rm h a n d a n d p ap e r
. Do n o t l et p a l m o f h a n d re s t
, , , .

on p a pe r K e e p e l b o w j us t o ff th e e d ge o f th e ta b l e
.
See i l l us tra t i o n s . .

27
 77te m contains two angles and and jbur turns . See that the l ittle inger f as wel l as the pen j
ogs ge ntly toward the right and ac ross the page .

F ORM S T U D Y .

T h e m i s c o m p o s e d o f pri n c i p l e s 5 5 a n d 6 I t h a s s e ve n s t ro k e s th re e s h o rt a n d
, , . ,

fo ur l o n g o ne s T h e fi rs t i m p ro p e rl y form e d m i s too an g ul a r a n d i rre g ul a r i n s pa c m g ;

.

T h e s e c o n d re s e m b l e s n o, a n d t h e t h i rd l oo k s l i k e rn b e c a us e o f i rre gul a r s l a n t o f t h e
d o w n s tro k e s .

I N ST R UCT I ON S FOR PR A CT I CE .

A i m to u s e pure a rm m o v e m e nt o n th i s fo rm a n d to s e c ure un i f orm s l a n t i n th e d o w n s t ro ke s Pus h i n m a k i n g .

th e l o n g up s t ro k e s a n d s w i n g g ra c e f ul l y f ro m on e b l ue l i n e to t h e ot h e r T o d o t h s s uc c e s s f ul l y , th e s l e e ve n e e d s i ‘

i
.

to b e l oo s e a t t h e e l b o w so a s to a l l o w th e a rm to a c t f re e l y w i t h i n i t T h e a rm s h oul d n o t s l p o n th e ta b l e, but a c t .

"
upo n a n d w i t h i n th e b un c h o f m us c l e j us t f o rw a rd o f th e e l b o w .

About 2 5 m s minute
'

About 4 0 m minute Time I 2 3 circle; I 2 3 circle

‘

Time , I , 2 , 3 , s winging l , 2 . 3 . s a . , . . , , . . a .

I N ST R UCT I ON S FO R PR ACT I CE .

Sit q u i t e e re c t t o m a k e e x e rc i s e s I t e n a b l e s yo u to s e e th e fo rm a n d it l oos e n s th e m o ve m en t
. A c c ura c y a t th i s .

s ta g e o f p ro g re s s i s n o t a s e s s e n t i a l a s f re e d o m a n d a s g ra c e f ul ne s s i n fo rm a n d m o t i o n
, T h e re i s b ut o n e s a f e s ure .
, ,

s uc c e s s f ul w a y a n d t h a t i s t h ro ugh a g ra c e f ul a rm m o v e m e n t
, B e gi n a ri gh t a n d yo u w i l l e n d ri gh t b e c a us e o n c e on
.
,

t h e ri gh t roa d t h e tra ve l i n g w i l l b e d e l i gh t f ul
, .

Use a rolling. circ ular arm movement on the capital . and a gliding . f
ore- arm action in the s mall letters .

I N ST R U CT I ON S FO R PR A C T I CE .

Th e c h a n g e f ro m c a p i ta l s to s m a l l l e tte rs a n d f ro m s m a l l l e tte rs to c a p i ta l s i s a t fi rs t so m e w h a t d i ffi c ul t a s i t ,

i n vo l v e s c h a ngi n g f ro m o v a l to g l i d i n g m o t i o n s a n d b a c k a g a i n t o o va l s b u t a l i tt l e p ra c t i c e w i l l s o o n o ve rc o m e th e ,

d i ffi c ul t y
. Spa c i n g b e tw e e n th e s m a l l l e t te rs i s m uc h w i d e r t h a n i n t h e m K e e p t h e s p a c i n g i n l e tt e rs no rm a l . .

28
 Watch turns and angles c l osely in the word Annum . Keep spac ing wide between the letters . Use a f
ree.
’

easy arm movement .

I N ST R UCT I O N S FOR PR ACT I CE .

A l i gh t , fine , s m
l i n e i s d e s i ra b l e a n d un l e s s y o u h a ve i t yo ur m o v e m e nt i s no t wh a t i t s h o ul d b e
o o th , Ma k e th e
, .

ca p i ta l A w i t h a l i gh t e a s y f o rc e f ul s w i n g o f t h e h a n d a n d a rm w a tc h i n g c ri t i c a l l y t he s l a n t o f o va l w i d t h o f s a m e
, , ,

Be c a re ful b ut n o t s l o w o r s l uggi s h Wa tc h s pa c i ng be t we e n l e tte rs a n d k ee p i t un i fo rm

, ,

re trac e , a n d fi n i s h . .
.

The tracer is good to d evelop sureness . Make it bris kly without the aid of the fingers . Make about 2 5 i a
retraced oval s n min ute .

I N ST R UCT I ON S FOR PR A CT I CE .

I n m ak i n g t h e A tra c e r e n d ea vo r to k e e p th e l i n es c l os e to ge th e r a n d re trac e eac h form a bout s i x ti m es

, T i me , .
,

1 , 2 1 2 1 2 ; 1 for th e fi rs t d o w n s trok e a n d 2 for th e s e c o n d

, , , , T h e m o t i o n s h o ul d b e f re e f ro m j e rk s re gul a r f re e
.
, , ,

a n d f a i rl y ra p i d T h e re tra c e o va l s h o ul d b e m a d e a t ri fl e fa s t e r t h a n th e A tra ce r a n d th e s pa c i n g un i fo rm A b o ut
.
. .

20 0 d o w n s tro k e s to th e m i n ute m ak es a l i ve l y a c t i on but no t too l i ve l y i f w e l l m o d ul a te d , .

Place the pen quickly and firmly upon the pape r and then make the C w ith a strong, fr ee, circular arm movement .

F ORM S T U D Y .

T h e C i s c o m pos e d o f p ri n c i p l e 9 I t b e gi n s a n d e n d s th e s a m e th e s m a l l l e tte r c , b ut h a s
‘

. as
a m o re ro un d i n g b a c k a n d a s h orte r fi n i s h T h e s e c o n d f o rm l a c k s . ro t un d i t y a n d s uffi c i e n t b oo k

at t h e to p .

I N ST R UCT I ON S FO R PR A CT I CE .

Pl a c eth e p e n fi rm l y a n d q ui c k l y o n th e p a pe r an d gi ve t h e h an d a n d p e n a f re e fo rc e f ul w h i rl to th e l e f t a n d
, ,

d o wn w a rd to m a k e a g oo d C Al m o s t s t ri k e th e p a pe r to c re at e a d e c i d e d d o t i n b e gi n n i ng t h e l e tte r, an d m a k e a t
. .

l e a s t (50 to t h e m i n ute DO no t g ri p o r p i n c h t h e h Ol d e r, y e t h o l d i t fi rm l y A c e rta i n t e ns e n e s s o f g ra s p a n d o f m us c l e

. .

i s n ec e s s a ry for a g oo d q ua l i ty o f m o t i o n Cra m ptn e s s i s o ne e x tre m e a nd l oose ne s s i s t h e o th e r A vo i d bo th

. . .

Fause s l htly ig at the begi nning of each C. Use a f

ree.
‘

fi
fOt Cé t l , rolling . arm movement . Make about 7 5 in a minute .

I N ST R UCT I ON S FOR PR ACT I CE .

Em ph a s i z e th e d ot l e tte r a n d i f you p re f e r a s m a l l l o o p i ns te a d o f t h e d o t t h e re i s no re a s o n w h y yo u
o f eac h , ,

s h oul d no t b e a l l o w e d to a d o p t a n d us e i t But m a k e i t a n un m i s ta ka b l e C, an d m a k e i t f ree l y

. E x c e l l e n c e d o e s no t .

c o m e a t th e fi rs t b i d d i n g L i k e a f a i r m a i d e n a g o o d h a n d w ri ti ng m u s t b e w o o e d a n d w o n b y pe rs i s t e n t f a i t h f ul
. . .

e ff o rt .On c e w o n l i k e a good w i f e i t i s a s e rv i c ea b l e l i f e c o m pa n i o n
, , . .
 A good pos ition is neces sary for good heal th and a good hand writing . Space shoul d be uni orm f .

I N ST R U CT I O N S FOR PR A CT I CE .

Ma k e f ro m fo ur to fi ve to th e m i n ute
e x e rc i s e s K e e p t h e c o m po un d c urve m i d w ay b e t we e n t h e b l ue l i n e s
.
Sw in g .

l e f t w a rd w i t h fo rc e but n o t w i th o ut g ra c e Pra c t i c e e ac h e x e rc i s e by i ts e l f, fi l l i n g p a g e upo n pa g e o f

c o n s i d e ra b l e .

eac h . I t i s a g oo d e x e rc i s e t o p ra c t i c e c ros s w i s e o n t h e p a p e r o v e r p re v i ous p ra c t i c e I n t h i s w a y p a p e r m ay b e e co n .

o m i z e d a n d , w h a t i s s t i l l m o re i m po rta n t, th e e y e a n d h a n d tra i ne d to w ri t e s tra i gh t w i t h o ut l i ne s t o w r

, i te upo n .

The x c ontains two turns and a retra c e . Ra is e pen in eac h l etter .

Finis h f
o rms below with a s weep ing a rm movement .

F O RM ST U D Y .

T h e x i s c o m po s e d o f p ri n c i pl e s 5 a n d 4 m a d e c l os e to g e t h e r T h e fi rs t p art of fi rs t i m pe rf e c t
, .

T h e l a s t form re s e m bl e s v b e c a use th e
'

l ette r i s to o s l a n t i n g a n d the s e c o n d p art too c u rv i n g .

s e c o n d p a rt d o e s no t c o m e to th e b as e l i n e Be c a re ful to re ta i n th e e s s e nti a l c h ara c te ri s t i c s

.

o f e a c h l e tt e r .

I N ST R UC T I ON S FOR PR A CT I CE .

”
Th i s s ty l e o f x is fi n i sh e dth e s p ot w i th o ut g o i n g b a c k to c ros s i t
on Th i nk o f pri n c i p l e s 5 a n d 4 i n m ak i n g i t
.
,

a n d re tra c e th e d o w n s t ro k e s n e a t l y I f d e s i re d , th e l e tt e r m a y b e m a d e w i th o ut ra i s i n g th e p e n b y re tra c i n g t h e
.

fi rs t d o w n s tro ke th e s a m e a s i n t h e s m a l l l e t te r v Ma n y p re f e r to m a k e i t i n th i s m a nn er C h o os e your m e th o d , a n d
_
. .

t h e n p e rf e c t i t E x c e l l e n ce i s th e t h i n g d e s i re d a nd i n d e m a n d
. .

Be mindful of corres i
t on . Watch 55 k 1 mg in and between letters . Use a f
ree. gl iding arm movement .

I N ST R U CT I ON S FOR PR A CT I CE .

Se e th a t th e l i ttl e fi n g e r g l i d e s f re e l y f ro m l e tte r to l e t te r Be c a re ful to p l a c e d o t . of i a b o ve

th e l ette r a n d n o t to
th e ri gh t o f i t Fi n i s h x a s c a re f ul l y a s yo u b e gi n m
.
K e e p a l l turn s e q ua l l y ro und i n g
. a n d a l l a n gl es e q ua l l y s h a rp
.

30
 See how gradually you can approach the c enter and how fi eely
’
. Use a f ree rolling arm movement in the E tracer . Study fo m r .

I N ST R UCT I ON S FOR PR AC T I CE .

T h i s d i m i n i s h i n g tra c e r i s a fi n e e x e rc i s e to a s s i s t o ne to ga i n c o n t ro l t h e m o ve m e n t
o ve r I t o ve rc o m e s s p a s
.

m od i c ac t i o n a n d c ul t i va te s p at i e n c e . Ma ke t h e E t ra c e r w i t h a n e a s y, ro l l i n g a rm m o ve m e n t k ee p i n g t h e l o o p s m a l l
, .

Place the pen firmly upon the paper and two , c irc ular impul ses will make the E . and about 5 0 to the minute .

F O RM S T U D Y .

Th e E b e gi n s a n d e n d s l i k e C T h e l oo p s h oul d b e m a d e n e a r th e ce nt e r
. T he s e c ond .

l e tt e r l oo k s l i k e 0 w i t h a l i ttl e e x tra t w i rl i n th e b e gi nn i n g T h e l o o p i n th e l a s t fo rm i s
.

too l a rg e .

I N ST R UCT I ON S FOR PR ACT I CE .

K ee p th e s m al l l oo p th e c e nt e r a n d po i n t i n g d ow n w a rd
n ear . K e e p th e m o t io n rol l i n g f ro m o ne l ette r to th e
h er a n d h i t t h e p a p e r q u i c kl y w i t h t h e p e n a s yo u s ta t t e E
r h L ea rn to b e q ui c k a n d s ure a n d y our w ri ti ng w i l l
ot ,

be in d e m a nd . Ra p i d w ri t i n g i s a v al ua bl e ac qui s i ti o n .

Write the word without rais ing the pen . B egin with a rolling and end with a gliding motion . Write 1 5 words a minute .

I N ST R UCT I ON S FOR PR ACT I CE .

Start th e E fre e l y b ut no t re c k l e s s l y o r yo u w i l l h a ve d i ffi c ul ty to c o n n e c t s uc c e s s ful l y to th e n , a s i t re q ui re s

c h a n gi n g f ro m a ro l l i n g to a g l i d i n g m ot i o n K e e p a l l turn s th e s a m e i n t h e s m a l l l e tte rs a n d m a i nt a i n w i d e s pa c i n g
.
.

b et w e e n t h e l e tte rs Wa tc h f ul ne s s o f d eta i l s i s th e s e c ret o f s uperi o r pe n m a n s h i p An d i f yo u a re c a re ful o f d e ta i l s

. .

i n w ri t i n g yo u w i l l b e c are ful w i t h th e d e ta i l s of ot h er arts a n d a c ts .

Make the c ompound c urve with a graceful _

motion . The tracer s hould be made quic kly without little inger sl ipping f ve ry much .

I N ST R UCT I ON S FOR PR A CT I CE .

Do not ra i s e th e p e n un ti l eac h e x e rc i s e i s c o m pl e te d R e tra c e th e c o m pa c t e x e rc i s e s w i th ca re s o a s to s e c ure

.

uni f o r m s pa c i n g a n d co l o r . Muc h
t i m e c an b e s p e nt v e ry p ro fi t a b l y upo n t h e s e e x e rc i s es Th e y a re m o re v a l ua bl e
.

th a n t h e y a pp e a r .
Th e re fo re i n v e s t i n th e m . Th e y w i l l p ay h a n d s o m e d i v i d e n d s l a te r o n a n d a l l t h ro ugh l i fe . .

31
 The r c ontains a turn, a retrace and a , fini hing l
s oop . Make the c ircl e with a quick , free movement . Be care ul f . Be perseveti ng .

F O RM S T U D Y .

. The i s co m p o s e d o f p ri n c i p l e s 5 a n d 1
r and a fi n i s h i n th e form of a s m a l l l oo p a n d a l a te ra l
T h e fi rs t i m p e rf e c t l e t te r l oo k s l i k e a n d th e s e c o n d l i k e x A vo id th e se e rrors
“

c urve . v, . .

I N ST R UCT I ON S FOR PR ACT I CE .

B e gi n th e r th e d o w n w a rd s tro k e c a re f ul l y w i th th e up w a rd a n d fi n i s h w i th a
l ike n , re t ra c e ,

s m a l l l o o p o r d o t, p a us i n g s l i gh tl y b e f o re s t a rt i n g t o w a rd t h e ri gh t A l i tt l e fi n g e r a c t i o n i s .

a l l o w a bl e , b ut n o t m uc h i s n e c e s s ary o r d e s i ra b l e Be c a re f ul to re t ra c e a l l o f th e w a y up C i rc l e the r w i t h f re e d o m
. .

a nd c a re , d o in g s o g ra c e f ul l y .

Make the long c onnec ting l ines with a s trong , f ree a r m movement . Finish the r with care . Swing grace ul ly f f rom one
'

line to the othe r

.

I N ST RUCT I ON S FOR PR ACT I CE .

I t i s s a i d t h a t t ri fl e s m a k e perf e c ti o n a n d t h a t p e rf e c t i o n i s n o t ri fl e T ri fl e s m a k e w ri t i n g goo d or b a d a n d
'

"
.
,

s ure l y g oo d w ri t i n g i s n o t ri fl e W a t c h th e l i t tl e th i n g s a nd e re l o ng yo ur w ri t i n g w i l l b e a gl o ri o us suc c e ss W h a t
. .

”
a g oo d rec o m m e n d a t i o n i t i s to h a v e p eo p l e s a y h o w w e l l yo u w rit e

Make about 2 00 down s trokes to the minute and about 6 0 0s

’

. See how f reely and eas il

y as well as how pla inly you can write .

I N ST R UCT I ON S FOR PR AC T I CE .

En t h us i a s m m a k e s th i n g s I f y o u a re i n te re s te d y o u w i l l e n j o y th e w ri t i n g h our
ea sy . ri t i n g i s n o t s o m uc h . W
ta l e n t a s i t i s a c q ui s i t i o n Al l m us t l e arn i t So m e l e a rn m o re e a s i l y t h a n o th e rs b e c a us e t h e y a re m ore i n t e re s te d
. .

a n d a m b i t i o us St a rt to w o rk e n t h us i a s t i c a l l y up o n t h e t ra c e rs a n d o s an d s e e h o w e a s i l y you c a n c o n q ue r th a t ri gh t
’
.

a rm Of y o urs Suc c e ss to y ou
. .

Begin with a s traight line and f nish like 0 . Watch spacing between letters . Time , 1 . 2 , 3 ; l 2 . 3 ; 1 , 2 , 3 . About 5 0 to the minute .
 Put vim in your p ractic e watch ulness in your eye
. f . and perseverance in your ej
fort and a good handwriting will f ll
o ow .

I N ST R UCT I ON S FOR PR ACT I CE .

B e gi n th e w o rd w i th a n upw a rd c urve a n d turn a n d e n d i t w i th a l ow e r turn a n d c urve . Fi n i s h v ca re f ul l y a nd

p l ac e d o t o ve r i n o t to t h e ri gh t Of i t a s i s a c o m m o n ten d e n c y
, Se e h o w g ra c e f ul l y yo u c a n . s w l ng f ro m o ne wo rd to
a n ot h e r b e n ea t h i t Wa tc h po s i ti o n a s w e l l a s s p a c i n g
. .

f
Secure uni ormity in heIght , spac ing and s lant without sacr ifi i g
c n f
either reedom or arm movement . Pers evere and you will win a good handwriting .

Pra c ti c e p ra c ti c e , p ra c t ic e ; s tud y , s tud y , s tu d y ; c a re , c a re , c a re , a re th e p ri c e o ne m us t p a y for a g oo d h a n d wri t

,

i ng. Mone y c a nno t b uy i t ne i t h e r c a n m on e y ta k e i t a wa y I t i s a n a c c o m pl i s h m e n t a ll a d m i re a n d a n e c e s s i ty m a n y

,
.

”
b us i n e s s m e n d e m a n d , a s e v i d e n c e d i n th e re q ue s t f o un d i n w a nt a d ve rt i s e m e n ts a n d e l s e w h e re a p p l y i n own
h a n d w ri t i n g T h a t te l l s t h e ta l e , a n d y o ur h a n d m ay e i t h e r w i n o r l o s e y o u a g ood pos i t i o n , d e p e n d i n g upo n i ts
.

e x ce l l e n c e o r poorne s s B e tte r re s o l ve no w to w ri te w e l l a n d yo u w i l l
. .

Make the P without raising the pen . Retrace quickly and make the oval with a f
ree , f
orc e ul , s wingf . Pause may
'

be made at bottom .

F O RM S T U D Y .

T he P is c o m pos e d o f p ri nc i p l e 1 re tra c e a n d p ri n c i p l e 9
, . T h e p ri nc i pl e s a re m o d i fi e d
.

in si ze and d i re c t i o n . T h e s econ d f o rm i s too n a rro w, a n d th e l as t too ro un d i n g a n d t h e

fi n i s h i s too low .

I N ST R UCT I ON S FOR PR A CT I CE .

Re v i e w th e b e fore th i s a n d th e n s ee h o w w e l l y o u c a n m a k e t h e P
c o py o te t h e f a c t th a t th e s e con d p art of . N
o va l s l a nts m o re t h a n th e fi rs t o r re tra c e pa rt B e gi n w i t h a n i n a n d o ut m o ti o n a n d e n d w i t h a c i rc ul a r o n e
.
- -
Mak e .

a b out 5 0to th e m i n ute Ti m e 1 2 ; 1 , 2 ; 1 , 2

.
, Co un t 1 fo r t h e fi rs t p a rt a n d 2 fo r t h e o va l
,
. .

Study spac ing . See how P ends and u begins . Down s trokes in s mal l l etters should be the same s lant as the capital . Write freely at all times .

I N ST R UCT I O N S FOR PR ACT I CE .

See t h a t fi rs t s trok e o f u i s p a ra l l e l w i t h l a s t s tro k e o f P K e e p u Sh a rp a t th e to p a n d n ro un d i n g

. N e ve r h ave .

th e m a pp ea r th e s a m e a n d y o ur w ri t i n g w i l l a t l e a s t b e l e g i b l e T h e re i s too m uc h i l l e gi bl e s c ra w l i n g s c ri bbl i n g
. , ,

w ri t i n g i n t h e w orl d R e s o l v e th a t th e re s h a l l b e o n e l e s s po o r pe n m a n i n t h e w o rl d b y i m p ro v i n g your p e n m a n s h i p
.
.

I f y o u a re a t e a c h e r re s o l ve t h a t t h e re s h a l l b e m a n y l e s s b y te a c h i n g w ri t i n g ra t i o n a l l y a n d e n th us i a s ti c al l y
,
.

84
 Use a f
ree . late ral gliding
, ac tion in f
the irst e ercise, and a
x glidin g and circ ular motion in the second .

I N ST R UCT I ON S FOR PR ACT I CE .

Prac t i c e t h e s e e x e rc i s e s c ros s w i se o v e r pre v i o us p rac t i c e . Ma ke ad o w n w a rd s tro k e i n th e fi rs t e x e rc i s e , o n e a c h

”
b l ue l i n e c ro s s e d a n d i n t h e s e co n d a l e tte r o n e a c h c ro s s l i n e
;

, . Th is w i l l t e a c h yo u to h i t th e m ark a n d ge t w h a t
y ou go a f te r a goo d h an d w ri t i n g
—
.

The w is a u with a finish lik e v . Do not i

grp the holder . Sit erect . Use arm movement . Study f
orm . Think form .

F O RM S T U D Y .

T h e w i s c o m po se d o f p ri n c i p l es 2 4 a n d 4, an d a fi n i s h a s v, ,I t c o nta i n s t w o a ng l e s . .

tw o turn s fi v e s tro k e s a n d a fi n i s h
, Se e t h a t y o ur l e tte r c o n ta i n s th e s a m e
. T h e fi rs t .

i
c o m m o n f a ul t l oo k s l k e io ; th e s eco n d l i k e a n a n g ul a r m ; a n d t h e t h i rd l i k e ue
, Wri te , .

pl a i nl y b y a vo i d i n g th e s e e rro rs .

I N ST R UCT I ON S FOR PR A CT I CE .

Pa us e g e n tl y i n fi n i s h i n gth e w , a n d s e e th at th e fi rs t p a rt re s e m b l e s Th e w u e x e rc i s e a i d s i n d e v e l o p i n g th e
u.
-

fi rst pa rt, a n d th e w v e x e rc i s e a i d s i n d e ve l o p i n g th e fi n i s h
-
. Pus h t h e p e n ra th e r t h a n d ra g i t R e m e m be r th at a .

goo d h a n d w ri t i n g i s no t a c q ui re d i n a d a y n o r w i t h out s pe c i a l
, e ff ort But i t i s po s s i bl e to a l l w ho a re w o rt h y o f i t
.

a n d w h o a re w i l l i n g t o p a y i t s p ri c e i n t o i l .

If you would win a good hand writing you mus t work for it
. . 77te copy will help you .

I N ST R UCT I ON S FOR PR A CT I CE .

An eas y , gl i d i n g f re e m ove m e nt f ro m l e tte r to l e tte r i s n ec e s s a ry fo r go o d w ri t i n g a n d e a s y w ri ti ng

, T h e l i tt l e fin ge r .

n ee d n ot s l i p m uc h i n t h e l e tte r b ut i t s h o ul d s l i p f ree l y i n g o i ng f ro m o n e l e t t e r t o a n o t h e r
, An e a s y g l i d i n g a c t i o n . .

o f th e l i tt l e fi n g e r t o w a rd th e ri gh t w h i l e w ri t i n g is i n i t s e l f a g ua ra n t y o f go o d w ri ti n g n i n e ca s e s o ut o f te n
.
, Th e re .

fo re ge t i t a n d g e t i t q ui c k C i rc l e th e n i n th e w o rd w i n f re e l y a n d e a s i l y
,
. .

35
 Do your best each time . Master movement by mastering the exercises . Then you can mas ter writing . Use a roll ing m ti n i
o o n the B trac er.

I N ST R U CT I ON S FOR PR ACT I CE .

Se e h o w re g ul a r i n h e i gh t s l a n t a n d . , s pa c i n g yo u c a n m a k e the i gh t l i n e e x erc i s e w i th o ut th e a i d
s t ra of th e
i
f ng e rs a n d a t th e ra te Of a b o ut 2 00d o w n
,
s t ro k e s to t h e m i nute . Pra c ti ce f re e l y a n d free w ri ti n g w i l l re s ul t .

Make the B without rais ing the pen . Retrace f

care ully but quickly , and finish with a rolling motion , s topping with the pen on the p per
g .

F ORM ST U D Y .

T h e B i s c o m po s e d o f t h e P w i th a n o va l a d ded . T h e l i ttl e l o o p s h o ul d p o i n t up wa rd ,

a n d b e n e a r t h e c e n te r o f t h e l e t te r . T h e to p of t he s e co n d l e t te r is to o s m a l l a n d th e ,

l oo p i n th e l as t i s too l a rg e .

I N ST R UCT I ON S FOR PR ACT CE I .

Us e a q ui c k l i gh t e l a sti c i n an d o ut o r pu s h an d pul l m o ve m e n t i n th e fi rs t o r re tra c e p a rt o f th e l e tte r a n d two

, ,
- - - -
,

re v e rs e o v a l m o t i o n s in t h e s e c o n d p a rt o f th e 8 K e e p y o ur m o v e m e n t un d e r t h e c o n t ro l o f t h e w i l l b y t h i n k i n g
.

i nt e nt l y o f th e l e tt e r a s y o u a re a bo ut to m a k e i t Be q u i c k m e n ta l l y a s w e l l a s p h y s i c a l l y
. T h i n k go o d w ri ti ng an d .

yo u w i l l s o o n p ro d uc e go o d w ri t i n g .

Write halfway a c ross page without rais ing pen . Then ra ise the pen each word either at ending or base of fi rs t
part fB
o .

I NST RUCT Z ONS Ff R PR A CT I CE .

By s o d o i n g y o u w i l l d e v e l o p f re e d o m a n d e a s e Sl a n t u a n d n th e s a m e
'

Stri ve to w ri te w i th c o ns i d e ra b l e fo rc e . .

as th e fi rs t p a rt o f 8 . K e e p to p o f u s h a rp a n d n ro un d i n g Do n o t fo rg e t a b o ut p os i t i o n I t i s n e c e s s a ry fo r h e a l t h
. .

as w e l l a s pe n m a ns h i p .

Us e a f
ree . s mall . roll in
g motion . Swing grac e/id ly f
rom one line to the other, us ing no fing er or wrist action .

r
f ’
p
 I N ST R UCT I O N S FOR PR A CT I CE .

Le t t h e m o t i o n b e a l i ve l y o n e f ro m s ta rt to fi n i s h K e e p t h e l oo p s f ul l b y us i n g a c i rc ul a r a c t i o n
.
T h e l i ttl e .

fi n g e r n e e d s to jo g to w a rd th e ri gh t f re e l y a n d eas i l y I t i s be s t to l e t t h e l i tt l e fi n g e r re s t o n t h e fl e s h ra t h e r t h a n
i
.

o n th e n a l , a n d t o us e a b l ott e r to l e t i t s l i p up o n T h e b l o tt e r p ro te c t s t h e pa pe r f ro m p e rs p i ra t i o n a n d o il a n d k ee ps
.

th e fi nge r d ry . Ho l d th e bl ott e r w i th th e l e f t h a n d a n d k e e p i t a bo ut a n i nc h b e l o w th e l i ne yo u a re w ri ti ng upo n

, .

Al ways l oop the e and dot the i . Form and freedom shoul d
go hand in hand . Keep a good pos ition . Watc h spac ing . Be systematic .

, Z/ W
F ORM S T U D Y .

T he e is c o m po s e d o f
p ri n c i p l e s 2 a n d 4 b y b e i n g j o i n e d a t th e to p b y a c urve i ns tea d o f a n
a n gl e a s i n i I t co n ta i n s o n e l oop , o n e t urn a n d th re e s tro k e s
.
, T h e fi rs t t en d e nc y i s to d i m i n i s h
.

o r o m i t th e l o o p a n d i t t h e n re s e m b l e s i, a n d th e o t h e r t e n d e nc y i s to m a k e i t l i k e a s m a l l c a p i ta l E
a n d i t th e n l o ok s l i k e r .

I N ST R UCT I ON S FOR PR A CT I CE .

T h e l oo p i s th e c h a ra c te ri s ti c o f th e e , th e re fo re b e s ure to m a k e i t f ul l e nough to b e eas i l y re c o gn i z e d f ro m i .

Us e a n e a s y, rol l i n g m ot i on c urv i n g th e up s trok e m o re t h a n th e d o w n s tro k e Th e e w ith a c i rc l e a ro un d i t m a ke s

, .

a p l eas i n g f o rm fo r p ra c t i c e .Se e h o w un l i k e y o u c a n m a k e i a n d e w i t h out c urv i n g t h e b a c k o f t h e e o r m ak i ng th e

l o w er turn of e m ore roun d i n g th an th e i .

Pause in finishing v t o avoid loop ing it , and to be s ure to l oop the l as t e . Watch the turns .

I N ST R UCT I ON S FOR PR A CT I CE .

Fi n i s h th e w ord a s c are f ul l y a s yo u b e gi n i t ; e ve n m o re c a re f ul l y Mak e up your m i n d to e n d ri g h t Wh ethe r y ou

.

be gi n ri gh t o r no t . Ma k e th e e l l i ps e a bo ut th e w o rd w i t h a q ui c k e a s y s w i ng o f t h e h a n d a nd a rm No w ri s t m o ve
, .
,

m e nt See th at th e e nt i re m o t ion c e nte rs a t a n d p ro ce d e s f ro m th e e l bo w

. Be c a re ful to n o t l o o p t h e fi n i s h o f v o r
.

d ro p to t h e b a s e l i ne w i th i t .

77te dimin tshmg oval exercise aids one to control movement . and thereby to write a large or s mall hand . Watch your position .
 I N ST R UCT I O N S FOR PR A C T I CE .

Se e t h a t t h c a rm f re e l y u po n th e m us c l e i n f ro n t o f th e e l bo w i n m a k i n g th e s e o va l fo rm s
ro l l s Le t th e
i
.

m ot on i
O

b e n e th e r h u rr e d no r s l uggi s h s ure b ut no t s t i ff a n d l i gh t b ut no t w e a k E a s e o f e x e c ut i o n i s th e k e y to
é
, , .

g oo w ri ti n g.

Retrac e R carefully but quickly and finish with a v ertical compound c urve M
ake the three R s without rais ing the pen Loop should be s mall
'

. . .

F OR M S T U D Y .

T h e R i s c o m po s e d o f th e P w i t h a v e rti c a l c o m p o un d urve a d d e d T h e l oo p s h o u l d c .

p o i n t up w a rd a n d b e n e a r th e c e n te r o f th e l e tte r Th e s e c on d R res e m b l e s K, a n d th e
.

l a s t o n e i s to p h e a vy .

I N ST R U CT I ON S FOR PR ACT I CE .

Ma k e l a rg e o va l o f R n e a rl yh o ri z o n ta l a n d s e e th a t l i ttl e l o o p p o i n ts u p w a rd T h e l e tte r fi n i s h e s d o w n w a rd a n d
.

to w a rd t h e ri gh t th e s a m e a s A a n d w i th a s d e l i c a te a c urve
, Se e h o w e a s i l y t h e y m a y b e j o i ne d
. Be s ure t o d ro p .

to b as e l i n e w i t h fi n i s h o r i t m a y re s e m bl e P w h e n t h e y a re j o i n e d .

Use an easy , gl dii

ng
-
toward the — -
nght f
ore- arm movement . Spac ing is wide between the l etters
-
. not in them .

I N ST R UCT I ON S FO R PR A CT I CE .

Ma k e th e l e tte rs s m a l l a n d t h e s pa c i n g b e tw e e n th e m w i d e K e e p th e d o w n
‘

R u nne r i s a n i c e w o rd to p ra c t i c e .
.

k t i gh t d t h m i n l n t T h e us e d a t t h e e n d o f t h e w o rd s h o ul d n e v e r b e us e d e x c e p t as a fi n a l l e tte r
st o n e s a e s a r .

r e s s ra a .

F i n i s h t h e c a p i ta l w i th a ve rti c a l c o m p o un d c urv e e n d i n g t o w a rd t h e ri gh t .

Maintain a good position Watch angl e of paper Review previous exercises Us e arm movement
“

. Keep good pens .

. . .

T h e s e e x e rc i s e s a re goo d to d e ve l o p s p e e d a n d co n tro l ; tw o ve ry d e s i ra b l e es s e n ti a l s of a p ra c t i c a l h a n d w ri t i n g .

Se e h o w g ra d ua l l y yo u c a n m erg e f ro m t h e c o m p a c t to t h e o p e n e x e rc i s e a n d h o w ra p i d l y A l te rn a te th e o v a l a n d
,
.

s t ra i gh t l i n e e x e rc i s e s
.
A f te r w o rki n g f a i th f ul l y a n d s t re n uo us l y upo n t h e e x e rc i s e s to th e l e f t b e gi n p rac t i c i n g ,

r m e x e rc i s e to e x e rc i s e
s o m e w h a t m o re l e i s ure l y up o n t h e o n e to th e ri gh t s w i n gi n g w i th a l i ve l y g ra c e f o
.
.

38
 The c has one dot and one turn . Make the dot firmly and finish the letter f reel
y . Do not raise the oining the
pen in j c .

F O RM S T U D Y .

Th e i s c o m po s e d of p ri n c i p l e 4 a n d a d o t a nd turn to th e ri gh t
c a t th e to p . T h e fi rs t i m p e rfe c t
f o rm re s e m bl e s i b e c a us e th e t urn a n d d o t a re t o o s m a l l a n d t he , s econd l o o k s l i ke a c a p i t a l .

I l l e gi b l e w ri t i n g i s d ue to t h e s e com m on te n d e n c i e s w h i c h t h e re fore , , s h o ul d be g ua rd e d a g a i ns t .

I N ST R UCT I ON S FOR PR A C T I CE .

Pl ac e th e
p e n fi rm l y u po n th e pa pe r a n d m a k e up p e r turn m o re ro un d i n g th a n l o w e r turn Ke e p .

th e d o t s tro n g a n d w e l l to th e ri gh t o f t h e d o w n s tro k e Ma k e th e e x e rc i s e s w i t h o ut ra i s i n g th e pe n , a nd us e a f re e
.

a rm m o ve m e n t e x ce p t i n th e d o t w h e re a s l i gh t fi n g e r alc t i on m a y b e e m p l o y e d .

Keep each letter distinc t in form and spac ing . Count i , , c , e , c ircle; i . c , e , c irc l e, making about twenty a minute .

I N ST R UCT I ON S FOR PR A CT I CE .

Th e turn s on th e b a s e l i ne s h o ul d a l l b e th e s a m e i n b o t h w o rd s B e gi n c w i t h a d e c i d e d d o t a n d e n d e w i t h a n
.

un m i s ta k a bl e l o o p . T h e l e tte rs i n t h e w o rd i c e e a c h c o n ta i n t wo s tro k e s a n d tw o o f t h e m c o n t a i n d o ts Sw i ng a ro un d
. .

e a s i l y w i t h th e e l l i p s e n e i t h e r s l uggi s h l y n o r w i t h a j e rk
. Re m e m b e r t h a t i t i s no t p ra c t i c e a l o ne t h a t i s n e c e s s a ry
.

to l ea rn to w ri te w e l l b ut s tud y a n d p ra c t i c e c o m b i n e d
, I
n t e l l i ge n t
.
p ra c t i c e m a k e s p e rf e c t
“ ”
a n d n ot m e re p ra c t i c e , .

Pause at base l ine in the pointed oval . Make down stroke nearly s tra ight . Begin Princip le 1 1 with a dot and end with pen res tin
g on base l in e .

I N ST R UCT I ON S FO R PR A CT CE I
"
.

Are you s ure yo u a re o n th e ri gh t t ra c k

"
H a ve y ou e x a m i n e d c a re fu l l y t he fo rm e a c h t i m e yo u b e ga n w o rk upo n
a n e w o ne , o r up o n o n e n o t m a s t e re d
w h e th e r y ou a re real l y us i n g a rm m ov e m e n t o r n o t "
H a ve y o u o b s e rve d w i th c a re t h e m o ve m e n t yo u a re us i n g to d i s co ve r
I n ve s ti g a t i o n m a y l e a d yo u to d i s c o v e r s o m e n e e d fu l h e l p fu l
Ma s te r t h e e x e rc i s e a n d p ri n c i pl e gi ve n b e fo re
.

th i n g s
. T ry i t a n v h o w ; i t c an d o n o h a rm a n d m a y d o m u c h g oo d .

go i n g a n y f urt h e r a s t h e f o rm i s fo un d i n a n um b e r o f l e t t e rs w h i c h fo l l o w a n d s uc c e s s d e p e n d s upo n i t s m a s te ry
, . .

39
 Time 1 , 2 , 3 , 4; l 2 , 3 , 4; 1 , 2 , 3 , 4; about thirty to the minute . Join the l etter with a f ree and easy s win in
g g movement .

F ORM S T U D Y .

T he H i s p ri n c i p l e s 1 1 3 a n d 1 a n d a fi n i s h l i k e 0, b ut w i th a s m a l l e r
c o m po s e d o f , ,

l oop . Do w n s tro k e o f p ri nc i p l e 1 1 i s s tra i gh t a n d n o t c urve d a s i n t h e s e c o n d fo rm T h e .

l a s t f o rm i s n a rro w a n d re ve a l s a c ra m pe d m o ve m e nt .

I N ST R UCT I ON S FOR PR A C T I CE .

Fi n i s h b o t h p a rts o f H o n th e b a s e l i n e I n c o n ne c ti n g th e l e tte rs c urve t h e l o n g u p w a rd s tro k e c o n s i d e ra b l y

.
, .

K e e p d o w n s tro k e s pa ra l l e l a n d q ui te s tra i gh t T h e s e c o n d pa rt s h o ul d c urve g ra c e f ul l y to th e ri gh t a t th e top

. .

T h e re fore to m a k e i t s ta rt i t w i th a l e ft w a rd s w i ng o f t h e h a n d a n d a rm
'

.
,

Make all downward s trokes on the same slant . Give equal spacing between letters . Finish the word fully with p in ip l
care r c e 3 .

7M

Let hand res t and rol l or roc k on f

l ittle inger in making these little ovals . Connect the wide spac e forms gracefully
-
.

I N ST R UCT I ON S FOR PR A CT I CE .

By m o t io n y o u w i l l b e a bl e to m a s te r th e s m al l l e tte rs 0 a n d a q ui t e e a s i l y
c ul t i va ti n g a c i rc ul a r , Ci rc u l a r fo rm s .

d e m a nd c i rc ul a r m o ve m e n ts ; s t ra i gh t f o rm s s tra i gh t o r d i re c t m o ve m e n t s Th e re fo re l e a rn to c h a n ge s uc c e s s ful l y
.

"
.

f o m o n e to th e o th e by l ea r i n g to m o d i f y s h i ft a d c h a n g e m o t i o n no w th i s w a y a n d no w th t
r r n n , a ,
.

Make the a quickly with a c irc ular movement , c losing it at the top, and c urving the down stroke c ons iderably .
 I N ST R UCT I ON S FOR PR A C T I CE .

Co m e to t h e b a s e l i n e fi rm l y w i th th e fi rs t p a rt o f K a n d b e gi n t h e s e c o n d p a rt w i th a f re e a nd e a s y s w i n g
, . B e gi n
a n d e n d s e c o n d p a rt w i t h c urve s po i nt i n g to w a rd t h e ri gh t t h e o n e s l i gh tl y up wa rd a n d t h e o t h e r d o w n w a rd
, .

End e as c are/id ly as you begin K . Dot i care/i dly and s ee that n ha s three turns . Use arm movement .

I N ST R UCT I ON S FOR PR ACT I CE .

En d e a s y o u b e gi n i .Use a g l i d i n g m o ve m e n t i n th e s m a l l l e t te rs I n j o i n i n g K to i , c h e c k th e m ove m e nt a t
.

b a s e o f K s o .a s to m a k e th e turn n a rro w a n d i n h a rm on y w i t h s m a l l l e tte r turn s Jo i n i n g c a p i ta l s a n d s m a l l l e tte rs

.

a s i n t h e s e c o n d p a rt of c o py m a k e s a fi ne e x e rc i s e fo r p ra c ti ce I t un i fi e s th e l a rg e a n d s m a l l m o ve m e n ts a nd t h e re
.

b y un i f o rm s t h e w ri t i n g .

f
77te l ittle inge r need not glide while making the s mall retrace ovals . I t s hould glide f
ree l
y in f u th p in i l
o r r x
c o e e erc ise .

I N ST R UCT I ON S FOR PR A CT I CE .

T h e l i tt l e re t ra c e o v al e x e rc i s e s tra i n th e h a n d to a c t i n a c i rc ul a r m a nn e r so a s to e x ec ute w e l l s uc h l e tte rs a s

o a n d a , w h i c h c o n ta i n o v a l s . Pra c ti c e t h e m f re e l y a n d c a re f ul l y T h e s e con d e x e rc i se a i d s o n e to m a k e s tra i gh t a n d
.

c urve d l i n e s, a n g l e s a n d turn s a l te rn a t el y Wri t i n g i s m a d e up l a rge l y o f turn s a n d a n g l e s s t ra i gh t a n d c urve d l i nes ;

.
,

h e n c e th e ne e d of l earn i n g to m ak e th e m w el l .

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

F O RM S T U D Y .

The i s c o m po s e d o f p ri n c i p l e s 3 , 2 a n d 4
a I t c o n ta i n s o ne ova l , an g l e , a nd turn , a nd f our
, .

s tro k e s . T h e fi rs t i l l e gi b l e l e tte r re s e m b l e s u, b e c a us e i t i s no t c l os e d a t t h e to p , a n d t h e s e c o n d
l o o k s l i k e 0 b e c a us e th e l a s t d o wn w a rd s trok e i s c urve d L e tte rs s h o ul d be un l i k e or t h e y
.

b e c o m e d o ub tf ul .

42
 I N ST R U CT I ON S FO R PR ACT I C E .

B e g i n th e a to w a rd th e l e ft ra th e r th a n e i t h e r u p w a rd o r d o w n w a rd Curve t h e d o w n s t ro k e m o re t h a n t h e up
.

w a rd a n d s l an t t h e o va l m o re t h a n th e 0 Cl os e t h e a c a re f ul l y a t th e to p a n d d ro p to th e b a se l i n e w i t h a s t ra i gh t
, ,
. .

s tro k e i n fi n i s h i n g t h e l e t e r . Be c are f ul to fi n i s h th e l e tt e r c a re f ul l y b e fo re th ro w i n g t h e c i rc l e a bo ut i t
.
St ud y .

t h i s l ette r c ri t i c a l l y a s th e fi rs t p a rt i s d i ff e re n t t h a n a n y w e h a ve h a d
, .

Write the word freely with but l ittle finger ac tion and without rais ing the p en . Learn to write s traight between l in es .

I N ST R UCT I ON S FOR PR ACT I CE .

Re m e m b e r t h e l a s t d ow n w a rd s tro k e i n a s h o u l d b e a s t ra i gh t l i n e
,
T h e t w o t urn s o n t h e b a s e l i ne s h o ul d b e
.

th e s a m e —
“
a l i k e a s t wo p e a s A b o u t t w e l v e o f t h e s e w o rd s c a n b e w ri tte n i n a m i n ut e
. T h a t i s to s a y t h e pe n .
,

s h o ul d m o v e a t a b o ut th a t ra t e of s p e e d w h e n o n th e p a p e r Of fi
f rs e i t w o ul d b e th e h e i gh t o f f o l l y to w ri t e
u .

tw e l v e w ord s ea c h m i n ut e , a s t h a t w o ul d l e a v e n o t i m e fo r t h ough t f ul c ri t i c i s m c a ref l o b s e rva t i o n a nd d e te rm i n a

g , ,

t i o n a s to w h a t to d o to i m prov e .

Y
See that ar m works f
reely at elbow . Make 1 5 0 down s trokes a i
m nute . Paus e o veen l in es i
to exam ne and c ri ti a se your work .

I N ST R UCT I ON S FOR PR A CT I CE .

Se e h o w ro un d i n g o n to p t h e b a s e y o u c a n m ak e t h e s e e x e rc i s e s
a n d s h a rp a t . Di m i n i s h th e s e c on d fo rm g ra d
ua l l y m a i n ta i n i n g un i fo rm s p a c i n g t h rough o ut
,
T h e s m a l l e r th e f o rm th e m o re
.
, s t ro k e s c an be m a d e i n a gi v e n
t i m e , th ough t h e p e n w i l l tra ve l l e s s ra p i d l y T ry t o e q u a l o r e x c e l th e co py
. .

Sit erec t. Us e arm movement . Retrace first part of l etter half the height . Make 4 0 to the minute . Time . 1 . 2 : 1 . 2 : l . 2 .

F ORM S T U D Y .

N
The is
i n d i v i d ua l i ty ,
c o m po s e d o f p ri nc i p l es 1 1 a n d 5 th e l a tte r be i n g m o d i fi e d
, Th e s e c o n d l e tte r l a c k s
a n d t h e l a s t h a s a m i s t a k e n i d e nt i ty a s i t res e m bl e s h Wh a t d o e s yours l oo k l i k e .
.

"
I N ST R UCT I ON S FOR PR ACT I CE .

q ui c k fi rm f ree m o v e m e n t m a i n l y i h a n d o ut a n d re v e rs e t h e m o t i o n q ui c k l y a t t h e
Us e a , , .
- -
.

b otto m w i t h o ut p a us i n g re t rac i n g a t l e a s t h a l f w a y to th e t o p Jo i n t h e l e t te r i n to g ro ups o f t h re e m a k i ng e a c h

-
. .

Ma k e a t t h e ra t e o f
,

w i th o ut ra i s i n g th e pe n o r w i th o ut c h e c k i n g t h e m o t io n t o a n y g re a t e x te nt a t a n y o n e p l a c e
,
.

a b o ut o n e a s e c on d w h e n j o i n i ng in t hi s m a n n er .

43
 Us e a f
ree . gl iding . f ore arm or
—
hinge l ike movement in this
-
s entenc e , beginning and endin
g each word grace ully f .

I N ST R UCT I ON S FOR PR ACT I CE .

T he run n i n g h a n d h a s l o n g s i n c e b e e n a f a vo ri te s ty l e a m o n g pe n m e n fo r c o rre s po n d e n c e p urp os e s b e c a us e o f

i ts e a s e i n e x e c ut i o n re d uc i n g a s i t d o e s e ff o rt to t h e m i n i m um b y i ts s h o rt d o w n wa rd s t ro k e s
i

, . ,
”
B y i ts l o n g s l e n d e r .
, ,

a n d g ra c e f ul up w a rd c urve s i t e a s i l y b e c o m es
, a t h i n g o f b e a ut y a nd to th e o ne po s s e s s i n g i t a j oy fo re v e r ”
, , .

Po s s e s s i t a n d y o u too w i l l b e h a ppy
, , .

Watch clos ely turn and angle, s tra ight and c urved lines in these x
e erc ises . Do not use the finge rs . Maintain uniform slant .

Study vertical stroke in r

. Pause at the s houl der o f the l etter . Finish like i . Make c irc le with rap id arm movement .

F O RM S T U D Y .

Th e r i s c o m p os e d o f p ri n c i p l e s 2 a n d 4 w i th a s h o rt n e a rl y v e rt i cal , con n e c t i n g l i ne It ,
.

c o n ta i n s o n e a c ute a n d o n e o b tus e a n g l e o n e t urn a n d f o ur s trok e s

, T h e fi rs t d e f e c t i ve l e tte r
, .

re s e m bl e s t o r i , a n d th e s e c o n d l oo k s l i k e o n e s ty l e o f e .

I N ST R UCT I ON S FOR PR ACT I CE .

Be you h a v e a c l e a r p e rc e p t o f th e l e tte r r b e fo re a tte m p t i n g to m a k e i t

s u re Th e n us e .

pre c i s e l y th e s a m e m o ve m e nt a s i n s uc h l e tt e rs a s i e x c e pt t h a t y o u p a us e a t t h e s h o ul d e r o f t h e Je tt e r i th o ut . W
t h i s p a us e y o u a re a p t to s h a rp e n th e s h o ul d e r too m uc h o r to f a i l to m a k e i t a t a l l o r to m ak e i t w e l l
, , T h e re fo re .

s tu d y i t c ri t i c a l l y a n d t h e n m a k e i t c a re f ul l y T h us p ra c t i c e d i t m a y b e q u i te e a s y a n d b ea ut i ful
.
, I t i s us u a l l y m a d e .

a l i ttl e h i gh e r t h a n th e o t h e r s h ort s m a l l l e t t ers , I n c i rc l i n g th e r, t h e p a us e a t th e s h oul d e r or o b t us e a n g l e w i l l

.

n e e d to b e s t i l l m o re pronoun ce d th a n i n the l e tte r a s us ua l l y m a d e .

See how eas ily the littl e fi gn er can j

og to the ight in th
r e word runne r . Finish the word as care/i dly as you begin it .

A W
44
 I N ST R UCT I ON S FOR PR ACT I CE .

T h i s i s a no th e r n i c e w ord to p ra c t i c e Se e h ow e a s i l y th e p e n c a n b e ta ugh t to
. run ri g h t a l o n g to w a rd t h e
ri gh t p a us i n g o n l y to f o rm th e s h o ul d e r o f th e r n i c e l y
, Wa tc h po s i ti o n Stud y a n d h e e d h e a d l i ne of e a c h copy
. . .

Make these tall m

’
s at the rate of one a second . Pure arm movement . No finger ac tion . Diminish the exerc ise gradually .

I N ST R UCT I ON S FOR PR ACT I CE .

Dri v e th e a rm ra p i d l y e l a s ti c a l l y a n d f o rc e ful l y i n an d o ut t h e s l e e ve to m a k e th e ta l l s m a l l m e x e rc i s e m a k i n g
, ,
- -
, ,

s eve n w i t h o ut c h e c k i n g th e m o t i o n o r ra i s i n g t h e p e n Se e h o w ro un d i n g y o u c a n m a k e t h e turn s a n d h o w s h a rp
.

a n d re tra c i n g t h e a n g l e s Di m i n i s h th e s e c o n d e x e rc i s e v e ry g ra d ua l l y to n i ng a n d tra i n i n g t h e re b y th e m o ve m e n t
.
,

so th a t c a p i ta l s a nd s m a l l l e tt e rs m a y b e m a d e a t w i l l e q ua l l y w e l l .

Time 1 , 2 , 3; 1 , 2 , 3; 1 . 2 . 3 . One count for each down stroke . About 3 5 a minute . Join the M s gracefully
'

. Drive arm n
i and out sl eeve .

F ORM S T U D Y .

The M is c o m pos e d o f p ri n c i pl e s 1 1 5 a n d 5 Pri n c i pl e 5 i s m o d i fi e d b y b e i n g m a d e

, , .

Wh i c h "
ta l l e r
. Avo i d l oo p i n g a s i n t h e s e c o n d f o rm , a n d th e l a s t l o o k s a s t h o ugh i t w e re s c a re d
o r h a d i t s bac k b ro k e n .

I N ST R UCT I ON S FOR PR A C T I C E .

Re v e rse th e m o t i o n q ui c kl y a t th e b a s e a n d re tra c e a s fa r to w a rd th e to p a s y ou c a n A v o i d l oo p s o r turn s a t t h e .

b a s e a n d a n g l e s a t t h e to p B e gi n a n d e n d a s i n K a n d
. N
Us e pure a rm m o v e m e n t a n d d o no t ra i s e th e pe n i n th e
.

l e tte r
. Jo i n t h re e M '
s w i t h o ut ra i s i n g th e p e n o r c h e c k i ng th e m o t i o n .

Move on and move freely is a good motto in l earning to write well . Finish v care fully . c l os e the o. and loop the e .

I N ST R UCT I ON S FOR PR A CT I CE .

Ma k e the c o n n ec t i n g s tro k e s th e fo re a rm
w i th a th e e l b o w s e rv i n g a s th e c e nte r o f p i v o t
f re e sw n i g of -
, No .

fi n g e r a ct i o n to s p e a k o f i s n e c e s s a ry o r a d vi s a b l e a n d n o w ri s t m o v e m e n t i s re q ui re d un d e r o rd i na ry c i rc um s t a nc e s
. .

Sh i f t th e e l b o w b e t we e n w o rd s w h e n t h e m o v e m e n t o f th e f o re a rm beco m e s c ra m p e d a t t h e e l bo w -
.

45
 Make ovals lively with pure a rm movement . Us e roc king ac tion in the s —
l ike e erc ise
x . Get power fro m and above elbow .

I N ST R UCT I ON S FOR PR A CT I CE .

T h e va ri o us e x e rc i s e s gi ve n a b o v e a re so m e w h at un l i k e th o s e gi ve n h e re to fo re Th e y re q ui re m ore o f th e .

l a te ra l c i rc ul a r m o t i o n , a n d m o re o f th e ro c k i n g o r un d e r ac t i o n a s i n th e e x e rc i s e s to th e ri gh t
,
-
Le t th e h a n d a n d .

p e n s w i n g a n d ro c k f re e l y to a n d fro i n th e l a s t fo rm g i v e n An d i n th e s l i k e c h a rac te r, s ta rt w i t h t h e roc k i n g

.
-

a c t i o n a n d e n d w i t h th e l a t e ra l , o va l m o ve me nt .

Curve the down s troke more than the up s troke . Make it with a s wing s o as to c l os e it . Pause in finishing /

F O RM S T U D Y .

T he s is c o m po s e d o f
p ri n c i pl e s 2 a n d 2 t h e l a tte r b e i n g m o d i fi e d b y m a k i n g i t d o w n wa rd a nd
,

c urv i n g i t m o re T h e fi rs t c o m m o n f a u l t l oo k s l i k e th e un c ros s e d t , a n d th e l a s t res e m bl e s r

. .

C urve th e d o w n w a rd s tro k e w e l l an d c l os e th e l e tte r a t th e b ase .

I N ST R UCT I O N S FOR PR ACT I CE .

Us e a q ui c k l a te ra l ro c k i n g l i k e m o ve m e n t c urv i n g t h e d o w n s trok e m uc h m o re t h a n th e up
, ,
-

w a rd , a nd fi n i s h i n g w i th a d o t i f T h e s w h e n m a d e f re e l y w i th th e a rm m o ve m e nt w e l l un d e r c o n tro l i s
, ,

o n e of th e m o s t g ra c e ful o f l e tt ers a n d o n e of th e m os t q ui c kl y m a d e
, Stud y i t c l os e l y a n d t h e n p rac t i c e i t f a i t h f ul l y
. .

Write the word f reel

y and without rais ing the pen . Curve down s troke in 5 . make u sharp . and n rounding .

Pa use at the shoul der of r and bottom of 5 . Do not pause at top . Make c irc le with a f
ree s wing but care/id ly .
 f
Little inger may rest in making guresfi . Make them quickly . Be s ure to make them unmistakable . About 7 5 a minute .

42 42 4 44 44 4 4 42 44 4 4 4 4 b e 7 7
47 4 4 4 42 2 2 4 47 44d b é é é é
7 7 7 7

I N ST R UCT I ON S FOR PR A CT I CE
é é éé é é éé
.
2 225 5;
Mak e 1 w i th a fi rm th o ugh quic k a c t i o n of th e h a n d a n d f o re a rm T h e l i tt l e fin g e r m a y re s t i n m a k i ng fi g ure s
-
.
,

t h o ugh i t s h o ul d s l i p f ro m fi g ure to fi g ure Mak e s e c on d p a rt o f 4 a tri fl e h i gh e r t h a n fi rs t pa rt B e gi n 6 w i t h pri n c i p l e

. .

1 a n d e n d i t w i t h a q u i c k s m a l l ova l
, T h e 9 b e gi n s l i k e a a n d e n d s b e l o w l i n e l i k e a n a b b re v i a te d g
. N e a t ne s s a n d .

p l a i nn es s a re tw o ve ry i m p o rta nt e s s e n ti a l s i n fi gure m ak i n g .

Neatness plainness
, , and quicknes s are essential . The 7 e xtends below l ine . The 2 and 3 begin alike , and 5 ends l ike 3 . Study as well as p rac tice .

777 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 N ST R UCT I O N S FOR PR A CT I CE .

T h e 7 b e gi n s w i th a s m a l l d o t an d i s c om pos e d o f o n e ho ri z o n t a l a n d o ne s l a n ti n g s tra i gh t l i n e 2 b e gi n s t h e .

s a m e a s 7 a n d e n d s th e s a m e a s a n i n ve rte d 7 3 b e gi n s th e s a m e a s 2 a n d i s c o m pos e d o f tw o s m a l l o va l s
. 5 b e gi n s .

w i t h a s h o rt s l a n t i n g s tra i gh t l i n e a n d e n d s l i k e 3 ’T h e h o ri z on ta l s tra i gh t l i n e i s m a d e l a s t
, . Ma ke a l l t h e fi gure s .

q u i c k l y, fi rm l y , a n d p l a i n T h e 7 e x ten d s be l ow th e l i n e th e s a m e a s 9
. .

Grouped according to s hnilan ty

'

. Watch spacing in as well as between letters . Retrace r and finish w f

care ully .

Use a quic k twist like motion in this double loop

,
-
exerc ise . The 8 is an inverted 5 . Make up stroke nearly straig ht .

W W W
WW W
w e e s s es a/ e

w af fi x Y fi f
/ /
f fi Xfi
/
g a
y

I N ST R UCT I ON S FOR PR A CT I CE .

C urve th e d ow n s trok e o f 8 c o n s id erab l y Co unt 1 2 ; 1 2 ; 1 2

.
, , Ma k e a b o ut 6 0 to th e m i n ute T h e 4 6 a n d 8
, , . . . .

e x te n d a b o ve th e o th e r fi g ure s , a nd th e 7 a n d 9 e x te n d b e l o w Be ne a t be p l a i n b e q ui c k a re th e t h re e c a rd i n a l
. , , ,

i nj un c t i o n s i n fi gure m ak i n g .

47
 fi
Firs t prac tice the gures according to s imilan ty ; then in their natural order
'

. Make one figure direc tly beneath another in vertical col umns .

/ 4é 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 5r e
fi re 50 4 4 7 2 3 5 9 0 2 4 5 4 5/
4 5/
77
2 3 5
7 3
7 7 / 2 3 4 5
7 7
I N ST R UCT I O N S FOR PR A CT I CE .

Mak e eac h fi gure d i s t i n c t a n d un m i s ta k a bl e Fi gu re s a re unre l a te d a s a re l e tte rs a n d th e y m us t t h e re f o re s ta n d

.
.

a l one . E a c h i s c o m p l e t e i n i ts e l f T h e y a re t h e re fo re m o re i m porta nt t h a n i nd i v i d ua l l e tte rs an d unl e s s th ey a re

.
,

un m i s ta k a b l e s e ri ous tro ub l e m a y a ri s e a s t h e y a re th e re p re s e n t a t i ve s s o m e ti m e s o f l a rg e va l ue s
, , On e fi gure so m e .

t i m e s m e a n s f o rtune s . Ho w e ss e n ti a l th e n th a t a l l s h o ul d m a k e fi guge s un m i s ta k a bl y pl a i n .

Note s imilarity of l etters . Use a f m movement in all

ree, a r . Watch s iz e , s lant, ana spac ing . Learn to be s ure .

I N ST R UCT I ON S FOR PR A CT I CE .

T h i s i s a re vi e w o f a l l c a p i ta l l ette rs th us fa r gi ve n Y o u w i l l d o ub tl e s s d i sc o v e r t h a t i t i s m o re d i ffi c ul t to m ak e
.

th e m o ne a f te r th e o t h e r th a n to re p e a t th e s a m e l e tte r a s i n th e u s ua l pra c ti ce
, T h e rea so n th a t t h e y a re m o re d iffi
.

c ul t i s t h a t t h e m o t i o n o r m o v e m e n t m us t c h a n g e to s ui t t h e f o rm a n d c o n s t ru c t i o n o f th e d i ff e re n t l e tte rs Prac t i c e .

a n d p e rs e ve re n c e w i l l w i n , h o w eve r a n d a go o d h a n d w ri t i n g fo l l o w
, Suc c e ss a w a i t s th e p l u c k y
. .

48
 Us e a grace ul f f
,
fl
orc e u , regular movement in this e xe rc ise . Paus e s l ightly f
in inishing the V . About 7 5 a minute .

I N ST R U CT I O N S FO R PR ACT I CE .

This d o u b l e turn o r c o m p o un d c urve fo rm i s th e b e s t e x e rc i s e to e n c oura g e a g ra c e f ul no n s p a s m o d i c m o v e m e n t

- - -

i
, .

Y o u w i l l t h e re fo re d o w e l l to p ra c t i c e i t e n t h us i a s ti c a l l y w i th a l gh t e l a s t i c un i f orm a rm m o ve m e n t T h e ta l l v
i
, , .

e x e rc i s e i s a l s o a g race f ul f o rm a n d d e s e rv e s y our f a t h f ul e ff ort .

Us e a springy . . f
quick grac e ul motion . and fini h
s care/id ly . B egin exerc ise withcapital and end with s mall v
. Be watchful of position .

F O RM S T U D Y .

T h e V i s c o m p o s e d o f p ri n c i pl e s 1 2 a n d 2 w i t h a fi n i s h l i k e th e s m a l l v . Th e s e c on d fo rm
l a c k s s ta b i l i ty , a n d th e l a s t o n e l oo k s l i k e U Fi n i s h e a c h l e tte r c a re f ul l y
. .

I N ST R UCT I ON S FOR PR A CT I CE .

I f y ou h a v e m a s te re d th e p re v i o us e x e rc i s e s th e l e tte r V a n d th e V e x e rc i s e s w i l l b e a ,

d e l i gh t to m a k e I f yo u h a ve n o t p ra c t i c e d th e fo rm e r e x e rc i s e s s uffi c i e n tl y y o u w i l l b e h an d i c a pp e d u n t i l yo u d o gi ve
.
,

m o ve m e n t i ts s h a re o f a tt e n t i o n a s i t i s th ro ugh o rd e rl y a c t i on t h a t g o o d f o rm s a re p o s s i bl e
, R e m e m b e r th a t f o rm s .

a re b ut p i c t ure s of m o t io ns .

The V s hould have a rounding turn at the top and bottom . Dot i
‘
s and fini h b th v
s o
‘
f
s care ully . Use a free movement .

a“

I N ST R UCT I ON S FOR PR ACT I CE .

g ra c e ful m o v e m e n t i n m ak i n g th e V i f you w i s h i t to b e gra c e ful f R i gh tl y m a d e th e V i s one

'

Us e a n ea s y - l i k e , ,

o f th e m o s t g ra c e f ul o f l e tt e rs Wa tc h s pa c i ng b e t w e e n l e tte rs to s e e th a t i t i s un i fo rm a n d w i d e r th a n i n t h e l e tte rs
.
, .

E a c h V s h oul d con ta i n tw o turn s an d a fi n i s h p o i n t i n g to w a rd t h e ri gh t .

Drive arm rapidly in and out the s leeve to make retrac e e erc is e x . Retrace upper half o f d iminishing exercise ; turns at bottom .

I N ST R UCT I ON S FO R PR ACT I CE .

Th e s e e x e rc i s e s fo r t w o p urpo s e s ; to a i d i n e s ta b l i s h i n g
a re n e c e s s ary a un i for m s l a nt , a n d to c ul t i va te e no ugh
up a n d d o w n a c t i o n to e n a b l e o n e t o m a k e w i t h e as e a n d p ro fi c i e n c y t h e ta l l
- -
sm al l l e tte rs s uc h a s t a n d
, I . Ma s ter th e
c o py ,t h e re f o re i f yo u wo ul d w ri te a l l o f th e s m a l l l e tte rs w e l l
,
.

50
 MODE L PR A CT I CE .

T h i s i l l us tra t i o n s h o w s h o w ev ery th i rd Co py m ay b e w ri tte n a c ros s fo rm e r p ra c ti ce th e re b y e co no m i z i n g p a p e r

,

a n d t ra i n i n g th e e y e a n d h a n d to w ri t e i n a s t ra i gh t l i n e a n d to s pa c e un i fo rm l y b e tw e e n l i n e s T h i s p l a te s h o w s

"
.

a c t ua l p ra c t i c e
. Wh a t o th e rs h a ve d o ne c a n b e d o ne a ga i n a nd yo u c a n d o a s w e l l o r b e tte r b y p rope r e ffo rt See
, .

h o w s y s te m a ti c al l y you c a n fil l yo ur p a ge s N oth i n g s o e n c o ura g es i m pro v e m e n t as s y s te m ati c p ra ct ic e .

Begin and end like i . Never loop t

. Cross it fi
ca re t lly . Chec k motion in forming tur n at base . Retrace f
top care ully .

F O RM S T U D Y .

T h e t i s c om po se d o f p ri nc i p l e s 2 1 a n d 4 a n d a h ori z o n ta l s tra i gh t l i n e
, , , It . c o n ta i n s o n e a ng l e .

re tra c e , turn , an d c ro s s , a l s o a n i T h e fi rs t e rro r i s i n l oo p i n g t h e l e tte r

.
, and the s e co n d in
p l a c i n g th e c ros s a f t e r i n s te a d of a c ros s th e l e tte r .

I N ST R UCT I ON S FOR PR A CT I CE .

Ma k e th e t w i th o ut ra i s i n g t h e pe n e x c e p t to c ros s i t A l i ttl e fi n ge r a c ti on i s a n a d va nta g e

.

i n th i s l ette r, b ut th e p ri m a ry or c h i e f m o v e m e n t i s t h a t o f t h e a rm A s l i gh t pa us e a t t h e to p b e fo re s t a rt i n g t h e
.

d o w n wa rd re t rac e w i l l a i d i n re t ra c i n g s uc c e s s f ul l y a n d a s l i gh t c h e c k i n t h e a c t i o n i s n e ce s s a ry a s
. n ea r t he b a s e
l i ne to a i d i n fo rm i n g a s h o rt turn s uc h a s i n i a n d u, a n d ot h e r s i m i l a r s m a l l l e tte r turn s
-
.

51
 want shoul d be unifom z . All turns on base line shoul d be the sa me . i
Flour sh is added to encourage f
reedom in ending as we ll in beginntn

I N ST R U CT I O N S FOR PR A CT CE I .

K e e p a l l d o w n s trok e s n e a rl y s tra i gh t a n d t h e s a m e i n s l a n t Se e t h a t t h e l i ttl e fi n g e r s l i ps f re e l y to wa rd t h e

T
.

ri g h t f ro m l e tte r to l e tte r h i s l a t e ra l m ove m e n t s h o ul d b e fi rm a s w e l l a s f re e

. Stre n g th i s o n e o f th e d i s ti n .

g uis h i n g q ua l i t i e s b e t w e e n m a ture o r b us i n e s s w ri t i n g a n d t h e i m m at u re s c h oo l b o y h a n d
- Cul t i va te s t re n gth a nd ,
-
.

t h e re b y a c q u i re a b us i n e s s l i k e s ty l e of p e n m a n s h i p
—
.

Drive arm quic kly in and out the s l eeve with a Springy motion . Fi nish l ette r with a pause . Use grac e/4] movement in " compound c urve exerczse .

I N ST R UCT I ON S FOR PR A CT I CE .

T h i s ta l l s m a l l w e x e rc i s e n e e d s to b e m a d e w i th m o re v i m a n d m ore i h an d o ut m o ve m en t of t h e a rm th an t h e
,
- -

s m a l l w e x e rc i s e Re t ra c e c e n te r o f l e tte r a s fa r d o w n w a rd a s yo u c a n a n d k e e p turn s n a rro w o n b a s e l i ne

. T he , .

d o ub l e t urn e x e rc i s e n e e d s to b e p ra c t i c e d f re q ue n t l y w i t h p e rf e c t f re e d o m a n d e a s e
-
.

Begin and fini h

s W l ike if . Retrace ce nte r
. Use quic k . elas tic arm action . No wn s t
’

or fing er movement necessary . Finish with care .

F ORM ST U D Y .

T h e W i s c o m p os e d o f p ri n c i pl e 1 2 a n d p ri n c i pl e s 2 1 , and, 2 m od i fi e d I t re s e m bl e s
.

a s m a l l w g ro w n t a l l T h e s e co n d f o rm l o o k s l i k e U o r C,
. a n d t h e l as t o n e l o o k s l i k e M .

A vo i d t h e s e e rro rs .

I N ST R UCT I ON S FOR PR ACT CE I .

I n m a k i n g th i s l e tte r us e a g ra c e f ul m o v e m e n t i n t h e b e gi nn i n g p a rt a n d fi n i s h th e l e t te r q u i te h i gh s o a s to
. .

k e e p i t f ro m re s e m b l i n g U o r M Fi ni s h i t w i t h a d o t o r b l i n d l oo p T h e t h re e l e t te rs j o i n e d m a k e a v e ry p l ea s i ng an d
. .

h e l p f ul e x e rc i s e . Se e w i t h w h a t rea l f re e d o m a n d g ra c e y o u c a n m a k e t h e m us i n g p ure a rm m o v e m e n t , .

Ar m movement . Correc t pos ition . Watchful/l ess of turns and ang es

l
. Care in dot of i and c ross o f1 .
End well

52
 See how s tra ht ig and uni orm f in s lant you can make the e xercise . A little fing e r action is allowabl e in t like
-
f rm
o .

I N ST R UCT I ON S FOR PR A C I CE T .

T ry to p ro d uce a gra y l i k e e ff ec t i n c o m p ac t o r trac i n g e x e rc i s e s

-
Wi d e o pe n o r bl ac k s pa c e s sh o ul d b e a vo i d e d .
,
.

A b o ut 2 00 d o w n s tro k e s s h o ul d b e m a d e i n a m i n ute Pe n s h o ul d n o t b e ra i s e d t h ro ugh o ut t h e e x e rc i s e K e e p t urn

. .

narro w a t b a se o f t l i ke fo rm -
C l ose a a n d m a ke b o th turn s t h e s a m e i n s i z e a n d re s t i n g o n t h e b a s e l i ne
. .

Begin d with a and end with unc rossed I . Make without raising p en . Clos e a pa rt and retrac e top c a re ully f .

F ORM S T U D Y .

T h e d i s c o m p os e d o f pri n c i p l e s 3 2 1 a n d 4 I t c o n ta i n s o n e ov a l a n g l e re tra c e a n d tu rn
, , , . . , , ,

as w e l l a s th e l e tte r a T h e fi rs t d e fe c t i ve form re s e m bl e s c t o r c l , w h i l e th e l atte r l oo k s l i k e a ,

.

or a n 0 w i t h a fl o uri s h .

I N ST R UC T I ON S FOR PR A C T I C E .

Us e e no ugh a rm m o v e m e n t to m a k e e x e c ut i o n e a s y a n d un re s tri c t e d o r c ra m p e d . a n d e n o ugh

ha n d a nd fi n ger acti on to m a k e t h e f o rm p re c i s e a n d p l a i n . T h e l i ttl e fi n g e r n ee d n o t s l i p m uc h , if at a l l . in m aki ng
any p a rt of th e d e x c e p t th e fin i s h i n g s tro k e T h e d a and d t . e x e rc i s es a re g o o d f o rm s fo r p ra c t i c e .

Each d should c ontain a good a . Close a part fd

o . f
See that little inger s l ips f reel
y and eas ily toward the r ht ig .

Make 70 ta ll us
'

a minute . Keep down s trokes s traight . Second f

orm at rate o f l 00down s trokes a m inute .

I N ST R UCT I O N S FOR PR A C T I CE .

Use f re e fo rc e ful i n an d o ut m o v e m e n t i n th e s e fo rm s
a - -
T h e s e c o n d e x e rc i s e w i l l d e m a n d m o re g ra c e f ul n e s s
.

Wa t c h
, ,

o f m o t i o n t h a n t h e fi rs t a n d a tri fl e l e s s s p ee d
. Re a l g ra ce ra th e r t h a n a h i gh ra te o f s p e e d i s ne e d e d
. .

s p ac i n g s l a n t a n d h e i gh t a s w e l l a s q ua l i t y o f l i n e
, , , T h e l a tte r t e l l s m a ny s e c re ts a s to k i n d o f m o v e m e n t yo u a re
.

us i n g a n d w h e th e r y o ur to uc h i s to o h e a v y o r l i gh t
,
.
 MODEL PR ACT I CE
T h i s is an e x a m p l e o f c ros s - l i n ep ra c t i c e o f p ra c t i c i n g c ro s s w i s e o ve r th a t w h i c h h a d b e e n w ri tte n
—
Suc h p ra o .

t i c e s a v e s pa pe r, e n c o ura g e s w ri t i ng i n a d i re c t l i n e , a n d a i d s o n e to s p a c e re g ul a rl y a n d pra c t i ce s y s t e m a t i c a l l y Fi rs t .

t h e w o rd d id w a s w ri tt e n a n d t h e n t h e u e x e rc i s e w as p ra c t i c e d c ros s w i s e o ve r i t At l ea s t e ve ry t h i rd c o py i n th i s
.

b oo k c a n b e p ra c t i c e d a d va n t a g e o us l y t h i s w a y .

The U begins like W and e nds like A . oin to s mall l e tte rs

Second s tyl e is us e d to j . Us e an easy movement .

F ORM ST U D Y .

The U is c o m pos e d of p ri n c i pl e s 1 2 , 2 , 1 , and 3 . T h e s e c o n d f o rm l oo k s l i k e I w i th a fan cy

finish ,
a nd th e l a s t one i s to o n a rro w a n d h oo k l i k e -
i n th e b e gi nn i n g .

I N ST R UCT I ON S FOR PR A CT I CE .

Cul t i va t e a l i gh t, s m oo t h , un i fo rm to uc h o f t h e p e n to th e p a p e r
I t e n c o ura g e s f re e d o m .

a n d grac e i n m o v e m e n t L a s t t urn i n s e co n d s ty l e U fi rs t Ch e c k t h e m o t i o n
s h o u l d n o t b e m o re ro un d i n g t h a n t h e
Y
. .

s l i gh t l y i n m a k i n g i t a n d i n j o i n i n g t w o s m a l l l e t t e rs
,
E n d t h e fi rs t s ty l e to w a rd th e ri gh t s o i t w i l l n o t re s e m b l e
. .

R e tra c e s e c o n d p a rt a t to p a n d b e gi n i t a n d s i m i l a r l e tte rs w i th a fi rm e m p h a t i c d o t o r s m a l l l o o p
, , .
 End U with a gen /e c urve pointing downward toward the fi ght , or oin ca re
j fully to sm ll la ette r . Us e an easy . glidin gm ovement .

f
Sit health ully . Keep pen in good condition . Make e e rc ises
x with a quic k , sp ringy motion . Study f orm care fully . and c r i ic is e c los ely.

I N ST R UCT I ON S FOR PR A CT I CE .

Us e pu s h a n d p ul l m o v e m e n t i n th e firs t e x e rc i s e a n d a q ui c k re v e rs e o v a l m oti o n i n s ec o n d a n d t h i rd
- —
, ,
L i ttl e
-
.

fi n g e r s h o ul d g l i d e fre e l y i n t h e s tra i gh t l i n e fo rm jo g g e n tl y to w a rd t h e ri gh t i n th e s econ d a n d re st i n fo rm i n g e a c h

-
, .

ov a l i n t h e t h i rd T h i s re ve rs e o va l m o ve m en t n e e d s c a re f ul a tte n t i o n a s w e h a ve no t h a d m uc h prac ti c e thus f a r

.

upo n i t . Be p a t i e nt perse ve ri n g a n d s y s te m a t i c i n yo ur p ra c t i c e
, , .

Make first part of p with a forceful , in

-
and- out arm movement . Second part res embl es revers ed d . Retrace lowe r part care/id ly .

F O RM S T U D Y .

Th e p i s c o m po s e d of p ri n c i pl e s 2 1 , 3 a n d 2 th e t wo fi rs t o f w h i c h a re m o d i fi e d b y b e i n g
, , ,

l on ge r .Th e l e tt e r c on ta i n s a n i n v e rt e d d w i th a p ro j e c te d a n g l e i n s te a d o f a t urn T h e fi rs t .

c o m m o n f aul t res e m b l e s j s , w h i l e th e l a tte r m i gh t b e m i s t a ke n fo r f .

I N ST R UCT I ON S FOR PR A C T I CE .

Us e p l e nty o f f ore a rm or h i n g e a c t i o n i n m a k i n g fi rs t a n d s e c o n d s trok e s of p

-
Ma k e th e .

l e tte r w i t h out ra i s i n g th e p e n an d fi n i s h th e s a m e a s 5 Ma k e th e s econ d p a rt w i t h a q ui c k c i r

.
,

c ul a r a c t i on , p a us i n g a s th e l e tte r i s co m p l e te d b e fo re j o i ni n g to t h e n e x t as i n t h e P e x e rc i s e .

Us e l i ttl e or no fi nge r a c t i o n, a n d d o n o t h i n g w i th a s l o w, d ra g gi ng m ot i o n .

Write the word without raising pen . Compare s iz e of ovals in p and d; also shape . Use an easy . arm movement .

Us e a f
grac e ul movement in making fi s t ex
r erc is e . Paus e s l ightly at top of s econd e xercis e and keep l oop ull f .
 I N ST R UCT I O N S FOR PR A CT I CE .

p ure a rm m o v e m e n t i n t h e s e e x e rc i s e s Avo i d s pa s m o d i c a c ti o n a n d e nd e a vo r to d e v e l o p a s m oo th re g l a r u
v v

e . , ,

fi rm y e t f re e a rm a c t i o n K e e p t h e c ros s i n g h i gh i n t h e s e co n d e x e rc i s e t h e to p s h a rp a nd t h e b o tto m ro un d n g
.
, i .

See t h a t t h e f o re a rm a c t s d i a g o n a l l y i h a n d o ut t h e s l e e v e i n m a k i n g t h e l o w e r l oo p fo rm
- - -
.

B egi n l i ke U anrl and like s mall y . Cross on bas e line . Retrace s econd part at top . Use ar m movement .

F O RM S T U D Y .

T he Y re s e m b l es i s c o m po s e d o f U a nd y c o m b i n e d
U and . Avo i d th e e rro rs s h o w n i n
th e s e c o n d fo rm b y k e e p i n g d o w n s t ro k e s un i f orm i n s l a n t . T h e l a s t fo rm l ac k s w i d th o

a n d g ra c e , h a v i n g b e e n e x ec ut e d w i t h a c ra m p e d m ove m e n t .

I N ST R UCT I ON S ,FOR PR A CT I CE .

Us e i n a n d o ut m o v e m e n t o f th e f o re a rm
f re e up a n d d o w n th e e l b o w to c aus i n g
“

a - -
or - - -

Y
,

a ct so m e w h at l i k e a h i n ge
T he c o n t a i n s t w o t urn s an a ngl e a n d a l oo p
. C ro s s i n g , ,
.

s h o u l d b e o n th e b a s e l i n e a n d n o t b e l o w a s i s t h e t e n d e n c y T h ere i s n o n ee d o f a n y fi ng e r a c t i o n i n t h i s l e tte r
.
.

Us e a s p ri n g y g ra c e ful a rm m o ve m e n t a t a l l t i m e s a n d y o u w i l l s o m et i m e k n o w f ro m e x p e ri e nc e w h a t re a l e as e a n d
,

g ra c e i n w ri ti n g a re .

Us e arm movement . Watch spacing between words . Keep s hort le tters f

uni o rm in he ht ig . Keep down s trokes on same s lant .

I N ST R UCT I ON S FOR PR A CT I CE .

Se e t h a t th e l i ttl e fi n g e r s l i p s g e n tl y to w a rd th e ri gh t i n s e nte n c e w ri ti n g As a rul e w ri te e a c h w o rd w i th out

i i
.
,

ra s n g th e p en . Th i n k o f s p a c i n g s l a n t turn s a n g l e s l oo p s
. , . , , re tra c e s , e t c w h i l e w ri t i n g
. I n o th e r w o rd s t h i n k go od
. ,

w ri t i n g a n d g oo d w ri ti n g w i l l b e t h e re s ul t .

Us e an easy . rap id . rolling a r mmoveme nt f

in the irs t e xercis e , and a s emi rolling -
movement in the s ec ond .

Us e an n movement . Keep c ross ing low by c urving up stroke . Chec k motion , near bas e line s o as to keep turn narrow .

50
 Joining words s tre ngthens movement . See spac ing between words . Push on the p en in making the up s rokes
. .

Le t movement come dire ct f rom elbow or f the l . Finish v care ully f and make lower turn in l the same as in v
.

I N ST R UCT I ON S FOR PR A CT I CE .

K e e p t h e l oo p f u l l a n d th e c ros s i n g l o w b y us i n g a f re e s e m i ro l l i n g m o ve m e n t
, C h e c k th e m o t i o n a s yo u n e ar
-
.

t h e b a s e l i n e or yo u w i l l h a v e d i ffi c ul ty i n k e e p i n g l o w e r tu rn n a rro w See t h a t th e fo re a rm c ros s e s t h e p a p e r d i a g

.
-

o n a l l y a s i l l u s t ra t e d i n t h e f o re p a rt o f t h i s b oo k Ma k e f ro m 7 5 t o 1 00 l 's j o i n e d i n a m i n ute a n d a bout th e s a m e

.
,
’
n um b e r of I v s .

B egin b l ike I and end like v. Paus e in finishing the l etter . Use l ittle or no fing er movement .

F O RM S T U D Y .

T h e b i s c o m po s e d o f p ri n c i pl es 7 a n d 2 a n d , a fi ni s h l i k e v T h e fi rs t c o m m o n f a ul t
.

re s e m bl e s h , t i, o r t e ; a n d t h e s e c on d l oo k s l i k e I e . T h e fi n i s h o f th e b i s i t s c h i e f c h a rac te r
i s t i c a n d s h o ul d t h e re fo re b e m a d e w i t h g re a t c a re
, .

I N ST R UCT I ON S FO R PR A CT CE I .

Us e af re e h a l f ro l l i n g fo re a rm m o t i o n th e e l b o w a c t i n g a s a h i n g e i n m a k i n g th e l oo p
,
-
,
-
,
.

K e e p th e c ro s s i n g l o w th e d o w n s t ro k e n e a rl y s t ra i gh t a n d t h e fi n i s h s m a l l a n d h i gh
, Ch ec k , .

th e m o t i on n e a r t h e b a s e l i n e s o a s to form a s m a l l t urn i n s te a d o f a n a n g l e .

Use a f
ree arm moveme nt and but l ittle inger ac tion f . Write word without rais ing pen . Make all turns alike .

Check action at bas e of b and in finish of b and w . Use rolling motion in reverse oval loop e ercise
x .
 7he I begins like j and ends like 5 and p rina ple 1 3 . Le t a rm roll f reely in the trace r . 7hin k clearly .

FORM STU D Y .

T h e I i s c o m pos e d o f p ri n c i p l e s 3 a n d 1 3 m o d i fi e d Th e . s e co n d fo rm re s e m b l es Q, a nd
th e l a s t l oo k s l i k e d Lea rn to b e p l a i n a n d un m i s ta k a b l e
. .

I N ST R UCT I ON S FOR PR A CT I CE .

E m pl o y a f re e s e m i ro l l i n g a rm m o ve m en t i n th e
,
-
“

Pa use w i th pe n fi rm l y o n pa p e r I .

i n fi n i s h i n g th e l e tt e r K ee p d o w nw a rd s tro k e n e a rl y s tra i gh t a n d p us h t h e fo re a rm d i re c tl y fo rw a rd i n th e s l e e ve
.
,
-

i n s t a rti ng th e l e tte r . Use a l i gh t e l as t i c a rm m o v e m e n t i n th e t ra c e s

, Se e h o w s p ri n g y th e f ore a rm re s t n ea r t h e
.
-

e l b o w ca n b e c o m e b y p ro pe r re l a x a t i on a nd te n s i o n w h i l e
p ra c t i c i n g t h i s d e l i gh t f ul l y ea s y a n d g ra c e f ul e x e rc i s e .

R aforth your most intell igent and f

e nthusias tic ef ort each time and improvement will f llow
o .

I N ST R UCT I ON S FOR PR A CT I CE .

Ye s i m p ro v e m e nt f o l l o w s e v e ry h on es t e ff ort Y o u m a y n o t s e e it a t th e t i m e b ut i t h a s b e e n m a d e ei t h e r in

" "
, .
. .

th e m i n d i n t h e m us c l e o r o n th e pa p e r
. , I m p ro v e m e nt co n s i s ts o f th re e k i n d s : s ub j e c t i v e m us c ul ar a n d
.
, , o b j e c t i ve .

Ri gh t e ffo rt ( thi nk i n g cre ate s ri gh t a c t i o n ( m us c l e , a n d r i gh t ac t i o n c rea te s goo d w ri t i n g .

PrinCiple 7 is composed o f right curve and straight l ine . Time I , 2 ; 1 , 2; 1 , 2 . About 7 5 in a minute . Arm movement .

I N ST R UCT I ON S FOR PR A C T I CE .

Th i s i s goo d fo rm to p ra c ti c e c ro s s w i s e o v e r p re v i o us c o p y
a Un i fo rm s l a n t a n d s p a c i n g a re t w o e s s e n ti a l s
.

wh i c h n e e d a t te nt i o n unt i l t h e y b ec o m e h a b i tua l K e e p c ro s s i n g l o w a n d d o w n w a rd s t ro ke n e a rl y s t ra i gh t
. Ma i n ta i n .

turn at to p a n d a f re e a rm m o v e m e n t
, Sl i gh t fi n g e r a c ti o n i s h e l p f ul
. I t i s e x c e s s i ve fi n g e r a c t i o n t h at i s t i ri n g
.

a n d d etri m e n t a l to g rac e f ul w ri t i n g .

The h begins l ike I and ends like n. Keep down s trokes parallel . Begi n and end quic kly but pause . at angle .

59
 F O RM S T U D Y .

T h e h i s c o m p o s e d o f p ri n c i p l e s 7 a n d 6 I t c o n ta i n s t w o a n g l e s o n e l oo p a n d t w o
.
, ,

t u rn s . T h e fi rs t c o m m o n f a ul t re s e m b l e s I c a n d t h e s ec o n d I i T h e l a s t i s too c ro w d e d b y .

th e s e c on d p a rt b e i n g m a d e to o c l o s e t o th e fi rs t .

I N ST R UCT I ON S FOR PR A CT I CE .

Mak e l oo p w i th a q u i c k , e l a s t i c a rm a c t i o n , p a us e a t b a s e a n d th e n fi n i s h w i th a g ra c e f ul ,
,

g l i d i ng , l a t e ra l m ot i o n
. Be c a re f ul to m a k e u pp e r t urn i n s e c o n d pa rt of h a s ro un d i n g a s
t h e l o w e r turn .

Re trace
'

r s c are fully . Clos e a . The h has one angle and two turns . Begin and end word f reely . Check ac tion at shoulde r o f7

See how eas ily un , if ormly , and lightly you can make these oval e erc ises
x . Use p ure arm movement . 2 00ovals a minute .

'

The X res emble H both pa rts beginning the

, same . Use s econd s tyle oining to s mall l e tters
whe n j . Keep l as t turn narrow .

F O RM S T U D Y .

T h e X i s c o m p o s e d o f p ri n c i p l e s 1 1 and 3 m od i fi e d . T he s e co n d pa rt b e gi n s l i k e th e
s e c o n d p a rt o f H a n d e n d s t h e s a m e a s A . T h e s ec on d fo rm res e m b l e s I
m a d e w i t h tw o
s tro k e s a n d t h e l a s t l o o k s l i k e H
, .

I N ST R UCT I ON S FOR PR A CT I CE .

Use —
m o v e m e n t i n m a k i n g th e X
a s e m i ro l l i n g T ry t o h a v e th e tw o p arts m e re l y touc h
. See w i th w h at rea l .

e a s e a n d g ra c e y o u c a n m a k e th e l e tte r Yo u m us t l e a rn t o re l a x m us c l e s u fii c i e n tl y fo r re a l f re e d o m a n d y e t to
.

t e n s i o n i t e n o u gh fo r p e rf e c t c o n tro l So m e w h e re b etw e e n a c ra m p e d c o n d i t i o n a n d l oo s e n e s s th e t rue c o n d i t io n

.

e x i s ts
. Fi n d i t .

Two quick hal

. f ci
—
rc ular imp ulses make the X . f
See that the l ittl e inger glide s toward the right in s mall letters .

60
 Keep down stroke nearly s traight and crossing l ow . Use but littl e finger action; mainly arm movement . Turn at top .

The k beg ns i and ends like h . Second part res embles cap ital R . Make small oval horizontal . Time . 1 , 2; 3 4; 1 , 2; 3 , 4 . Pa use at angle .

FORM STU D Y .

T h e k i s co m p o s e d o f p ri n c i p l e s 7 3 2 a n d 4; th e 3 a n d 2 b e i n g m o d i fi e d T h e fi rs t
'

.
, , ,

d e f e c t i v e f orm l oo k s t o o m uc h l i k e h , b ec a us e t h e l i ttl e o va l i s too s m a l l T h e s e c o n d fo rm .

i s too c row d e d , a n d th e l a st re s e m bl e s th e ca p i tal R .

I N ST R UCT I ON S FOR PR A CT I CE .

Pa us e t h e b a s e l i n e a f te r m a k i n g l o o p b ut d o n o t r
at a i s e th e pe n Th e l a s t d o w n s t ro k e
. .

i n k s houl d b e t h e s a m e s l a nt a s d ow n s t ro k e i n l oo p Ma k e e a c h pa rt w i t h a q ui c k s p ri ngy.
,

a c ti o n us i n g th e fi n g e rs a ve ry l i t tl e i f d e s i re d
, Se co n d p a rt i s m a d e s a m e h e i gh t a s r a n d
.

s, w h i ch i s a b out o n e -
fo urt h h i gh e r th a n s uc h l e tte rs a s i, n, a n d w .

See that elbow ac ts like hinge in making the loop . Finish k with na rrow turn . Littl e inger f should gl ide from letter to l etter .

Neatness . s ureness quic knes s are a l l des irabl e

. . Acquire them . Keep a good p osition . Sec ure regula r spac ing . Avoid angles .

I N ST R UCT I ON S FOR PR A CT I CE .

Us e
'
a fre e ,
f ul l c i rc ul a r m o t i on i n t h e re tra c e , re v e rs e o v a l e x e rc i s e , re tra c i n g e a c h o n e f ro mt o te n t i m e s
s ix .

Ma k e the re ve rs e l oo p e x e rc i s e w i th a f re e un i fo rm
, , s e m i - ro l l i n g m o v e m e nt . Ai m to h a ve s pa c e b e t w ee n l oo p s a b o ut
th e sa m e as i n th em .

Use an easy s emi roll ing

-
moveme nt. Keep c ross ing on bas e line , and little l oop narrow . Elbow s hould be free .

61
 F O RM ST U D Y .

T h e Z b e gi n s as X a n d e n d s a s J I t c o n ta i n s a l oo p l i k e D a n d up s i d e d o w n i t l oo k s l i k e
i
.

E .T h e s e c o n d f o rm l o o k s l k e a bi g fi g ure 3 , a n d t h e l a s t l oo k s a bout a s m uc h l i ke as 2 N .

One l o o p i s too l a rg e a n d t h e o t h e r too s m a l l .

I N ST R UCT I ON S FO R PR A CT I CE .

L i gh tn e s s a n d f re e d o m o f m o v e m e n t a re e s s e n t i a l to p e rm a ne n t i m p ro ve m e nt T h e c o py .

boo k m e th o d o f d ra w i ng t h e l e t te rs s l o w l y w i t h t h e fi n g e r m o ve m e n t i s a l l l os t w h e n ra p i d w ri t i n g i s a tte m pte d .

Th e re fo re w a s te no t i m e w i t h s l o w w ri t i n g but p e rs e ve re w i t h f re e d o m a n d fo rm a t o n e a n d th e s a m e t i m e Pra c t i c e .

f re e l y b ut e n d e a vo r to c o n tro l t h e m o ti o n
, Ea c h s uc c e s s i ve e a rn e s t e ff o rt m a ke s c o ntro l t h a t m uc h th e e a s i e r
.
,
-
.

Pe rs i s te nc e i n th e ri gh t d i re c t i o n a l w a y s w i n s I n w ri t i n g i t i s a s t rue as i n o th e r t h in g s T h e re fo re pe rs e v e re
. . .

Small loop in Z same s iz e and slant as e . Write word without raising p en . Loop c ross es on base line .

l oops j
oined a minute . Let elbow ac t like hinge . Keep c ross ing ig
h h . Make turn at base . Down s troke

The jis composed o f the reversed loop dot same as i . Join the letters with a s trong, gliding motion .

FO R M ST UD Y AND PR ACT I CE .

T h e j i s c o m po s e d o f p ri n c i pl e s 2 a n d 8 a n d c o n ta i n s a n a n g l e a l oo p a n d a d o t
,
Th e fi rs t , , .

us ua l e rro r c o n s i s t s i n m a k i n g i t rou n d i n g a t th e to p a n d th e s e co n d fo rm i s too s l a n t i n g a

, ,

fa ul t co m m o n to a l l l o w e r l oo ps Wh e n j fo l l o w s n i t res e m bl e s y , i f th e s p a c i n g b e tw een th e
.
,

t w o l e t t e rs i s n a rro w Us e a fre e a rm m o v e m e n t a l m o s t f re e f ro m fi n g e r a c ti o n w i th e no ugh

. , ,

c i rc ul a r m o t i o n to m a k e l oo p f ull w i th a turn a t t h e b ottom .

Keep down s trokes pa rall el . Us e a f

ree a rm movement . Dot jand finish p c a re ully f . All turns should be s imil ar .
 See how neatly you can retrace the reverse ovals
. . Let the hand s wing eas ily f om left to ight in th
r r e compound c urve e erc ise x .

Make small l oop and horizonta l curve with c are and gracefiulness . First s tyl e join s to s mall l etters . Avoid carelessness .

F O RM S T U D Y .

Th e Q i s c o m p os e d o f p rin c i p l e s 1 0, 3 a nd 2 . Th e l oo p i n th e s e c o n d fo rm i s too l a rg e ,

a n d th e l a s t o n e re s e m b l e s a n L or a n h . T he s m a l l l o o p s ho ul d b e h o ri z o nt a l .

I N ST R UCT I ON S FOR PR A CT I CE .

Us e a f re e a rm
m o v e m e n t b ut c h e c k o r re s t ra i n th e m ot i o n w h i l e fo rm i n g t h e l oo p o r ,

i t m a y b ec o m e s o l a rg e as to re s e m b l e S
-
T h e fi rs t s ty l e i s i n te n d e d to j o i n to s m a l l l e tte rs b ut th e s e c o n d i s n o t s o
.
,

i n t en d e d
. B e gi n w i th a d e fi n i t e d o t o f s m al l l oo p a n d e n d w i t h a l a t e ra l c urve T h e s p a c e b e t w e e n t h e d o w n s tro k e .

a n d th e fi n i s h i n fi rs t s ty l e i s n ot a s w i d e a s you m i gh t s up po s e T h e te n d e n c y i s t h ere fo re to m a ke i t to o w i d e
. .

Q uality and quic kness are in de mand . Watch detail . Think good writing . The pen wil l soon p roduc e it .

This l ittle doubl e turn exercise

-
needs to be made with free gliding graceful
. . ac tion . without pauses . Keep loops ull f .

B egin y like v and end like j Cross

. on line . Maintain two turns . an angle . and a loop .

F OR M S T U D Y .

T h e l e tte r y i s c o m po s e d o f p ri nc i p l e s 6 a n d 8 I t b e gi n s as n fi n i s h e s a n d e n d s l i k e j
.
. .

T h e fi rs t d e fe ct i ve fo rm r e s e m bl e s g a n d t h e s e c o n d l oo k s l i k e a c a p i t a l
‘

I t i s a n i n v e rte d h .
,

Y . B e gi n th e l e tt e r w i t h a g ra c e f ul gl i d i n g m o ve m en t a n d e n d i t w i t h a l m o s t p ure h i n g e
.

m o ti o n a t th e e l bo w L i ttl e o r n o fi n g e r m o v e m e n t i s n ee d e d
.
Jo i n t h e f o ur y ’s w i t h o ut .

ra i s i n g t h e p e n a n d e n d w i t h a g ra c e f ul fl o uri s h .

63
 Use enough a rm moveme nt to write eas ily depending upon f
ca re ulnes s for control . Watch turns , angles , and loops .

I N ST R UCT I ON S FOR PR A C T I CE .

T h i s i s a n e x c e l l e n t w o rd for p ra c ti c e Ai m to m a k e a l l l oo ps s a m e s i z e a n d s l a nt Th e
. .

e l b o w s h o ul d a c t l i k e a h i n g e i n m a k i n g l oo ps a n d e s p e c i a l l y i n m a k i n g t h e l o n g d o u b l e c urve f ro m b o tto m o f y to
,
-

to p of I . K e e p d o w n s t ro k e s n e a rl y s t ra i gh t a n d s l a n t l o w e r l o o p s no m o re th a n u p p e r l o o p s
,
.

Us e a free , lateral a rm movement in fi tf

rs orm . Let a rm a ct quickly in las t x
e erc ise . Keep upper and lowe r loops same s iz e .

Begin L like C and end i

l k e 62. Curve down s troke nicely by us ing a f
grace ul movement . Keep loop s mall .

F ORM S T U D Y .

Th e L i s c o m p o s e d of p ri n c i pl e s 1 3 3 a n d 2 T he , , . s e con d fo rm re s e m b i es S, and th e
l as t l ook s l i ke h Th e l oo p s h o ul d b e a b o ut h ori z o n ta l
. .

I N ST R UCT I O N S FOR PR A CT I CE .

T h e L b e i n g c o m pos e d o f t wo c o m p o un d c urve s i s th e e m b o d i m e n t of g ra c e f ul n e s s
-
T o e x ec ute i t s uc c e ss f ul l y a .
,

g ra c e f ul m o ve m e n t i s n e c e s s a ry G ra c e f ul n es s o f a c t i o n i s t h e re s ul t o f a w e l l tra i n e d m us c l e w h i c h i n turn i s t h e
.
-

, , ,

p ro d uc t o f rh y t h m i c a l t h o ugh t an d tra i n i n g T h e e x e rc i s es p re c e d i n g t h e L a re c a l c u l a te d to d e v e l o p a s y m m e tri c a l

.

a c t i o n a n d a re th e re f ore w o rt h y o f f a i th f ul p ra c ti c e Se e h o w g ra c e f u l l y y o u c a n c a us e th e p e n to c a p e r o v e r th e
.

pa pe r . e L w i l l t e l l t h e ta l e Se e th a t i t te l l s n ot h i n g b ut g oo d t a l es
. t a l e s o f p a t i e n t p ra c t i c e a n d g ra c e f u l a c t i o n
—
.

how eas ily and how well be your motto . Write eac h word without raising the p en . Obs erve sp ac ing . Sit health/tal ly .

Check motion at top to keep turn narrow . See how well you can now make the 5 1 h p rinc iol e exercise .

64
Think now and then o f c orrect pos ition .
,
f
ogs toward the ti ght
See that little inge r j . Use s trong , conne c tive ar m moveme nt .

f
Littl e inger s hould sl ipf reely in l oop , and from a to a . Make down s trokes s tra ight . Close oval o
fa .

The g is c omp os ed o fa and j. Start ca re/i d ly and end freely . Start l etter toward lefi . not up wa rd or downwa rd .

F O RM S T U D Y .

T h e 9 i s c o m pos e d o f p ri n c i p l e s 3 2 a n d 8 T h e fir s t c o m m o n e rro r c on s i s ts i n l e tt i n g i t
. , .
, o pe n
a t t h e t o p a n d i t t h e n re s e m b l e s y T h e l a s t l e tt e r s l a n t s too m uc h b e l ow th e l i n e
. .

I N ST R UCT I ON S FOR PR A CT I CE .

Make th e l e tte r w i tho ut ra i s i n g t h e p e n Li ttl e fi n ger n ee d n o t s l i p i n m ak i n g fi rs t s tro k e

.
,

b ut i t s h o ul d s l i p f re e l y i n t h e l oo p Ma k e t h e e x e rc i s e w i th o ut ra i s i n g th e p e n Cro s s i n g s h o ul d
. .

b e on the ba s e l i n e Cl os e a p a rt a n d a vo i d a n g l e a t b o tto m o f l oo p
. See t h a t th e a r m a c ts .

f re e l y o n t h e m us c l e a t t h e e l b o w i n m a k i n g th e l oo p .

Write word without rais ing the p en . Close oval o fg and a . Down strokes s hould be p arallel , x
e cept fi rs t stroke in a and g .

Us e i ngy
a spr . hinge l ike
-
arm movement . Make 1 5 0 loop s a minute; 7 5 , s eparated . Be care ul f . Act s killfixlly .

Begin l ike 1 , End fi rs t like I second l ike 5 . Keep c ross ing law . No finger ac tion . End firs t irmly f , sec ond f
grace ully .

66
 F O RM S T U D Y .

T h e C is c o m po s e d of p ri nc i pl e s 7 , 2 , and 1 . Se co n d G i s too w i d e , an d th e l a s t i s to o
n a rro w .

I N ST R UCT I ON S FOR PR A CT I CE .

Ma k e
l o o p l o n g b y k e e p i n g c ro s s i n g l o w Ma k e bo th d o w n w a rd s tro k e s i n . c o n d s tyl e

p a ra l l e l
. St art th e l e tte r w i t h a g rac e f ul fo rc e ful up wa rd fo re a rm s w i n g
, ,
NO fi n g er a c t i o n i s n e c e s s ary
-
L e a rn t o
. .

b e q ui c k w i t h o ut b e i n acr h urri e d a n d s ure w i th o ut b e i n g c ra m Ine d

, E x e rc i s e s w i l l a i d y o u to d o i t
. Pra c t i c e t h e m .

f a i th f ul l y
.

Us e a f
re e
gi iding motion from l e tter to letter . Spacing is wide between l etters . not in them . End g and y grace ully f .

Make tall s mall a e xerc is e with sp ringy in .

-
and- out arm movement . Close f
a ca re ully and make las t dawn s troke s traight .

The q is compos ed o fa and lower , reve rs e loop . Make loop with quick ir ,
-
and— out a rm move ment .

F OR M S T U D Y .

T h e q i s c o m p os e d of p ri n c i p l e s 3 , 2 ,
1 , 2 , and 2 . T h e fi rs t d e f e c t i ve q i s too ro un d n i g . a nd
th e l a s t too a n g ul a r .

I N ST R UCT I ON S FOR PR A CT I CE .

Th e l i ttl e fi n g e r m a y re st w h i l e m a k i n g fi rs t p a rt o f q , b ut it m a y s l i p i n th e l oo p p a rt Cl os e .

l o o p on b a s e l i n e a n d fi n i s h l i k e a Jo i n t h e l e t te rs w i t h o ut ra i s i n g t h e p e n
. A s l i gh t p a us e .

m ay b e m a d e i n fi n i s h i n g l oo p i f d e s i re d A vo i d b ro k e n k i n k y l i n e s
. K e e p th e fi n g e rs f ro m , .

a c ti n g e x c e s s i v e l y A l i t tl e fi n g e r m o ti o n i s a d va n ta g e o us to g o o d f orm a n d e x a c tn e s s o f d e t a i l
.
.

b ut too m uc h i s d e s truc t i v e o f e a s e i n e x e c ut i o n a n d g rac e i n fo rm .

Q ue/i . control movement . Loops should be same s i e z . Turn should be the same . Do not raise pen i n word .
 Use a f
grace ul . elas tic arm move ment . Make all loops s a me s i e z . Count I . . 2; l 2; l 2 for s te m; 5 0 a minute .

Stop lateral motion s uddenly at angl e , and make s tem with sp ringy arm movement pausing at dot , . Spac e regular y l .

F O RM S T U D Y .

The T is com p os e d o f p ri n c i pl e s 1 a n d 1 3 T h e s e c o n d l e tt e r . res e m bl e s J a nd th e l as t

l o o k s l i ke I . Avo i d the s e a n d o t h e r e rro rs Stu d y fo rm c ri t i c a l l y
. .

I N ST R U CT I ON S FOR PR A C T I CE .

Sta rt f re e l y to w a rd th e ri gh t w i th s tra i gh t l i n e i n m a k i n g th e T Pa us e b ut l i ttl e . at

an gl e , a nd m ake s te m w i th a d o w n w a rd a n d th e n l e f tw a rd s w e e p o f t h e p e n us i n g p ure a rm m o v e m e n t , .

Goad writing is irs t f a matter of correc t training , and then of habit . Good writing is a val uable habit .

See that a rm ac ts l ike hinge at elbow in making loop . Use springy in .

-
and out arm
—
movement in tall 0 e xe rc is e .

Make f without raising pen . Begin a nd end as l wi h lo

wer l oop es in q . Looos s houl d be same siz e .

F O RM S T U D Y .

Th e f i s c o m p os e d o fp ri n c i p l e s 7 , 1 2 a n d 2 I t c o n ta i n s a n
, , a n d i a n d t h e l o w er p art o f q
. I .

T h e fi rs t c o m m o n e rro r c a us e s i t to l o o k l i k e b , a n d t h e l a s t c o nt a i n s a fl o uri s h Be a s c a re f ul .

a b o ut fi n i s h i n g l e tte rs a s b e gi n n i n g t h e m , a n d y o ur w ri t i n g w i l l b e l e gi b l e .

I N ST R UCT I ON S FOR PR A CT I CE .

Se e th a t fo re a rm a c t s l i k e h i n g e a t e l b o w i n m a k i n g th e f
-
Cl os e l o w e r l oo p a s y o u c o m e to .

Ma k e a t l e a s t s i x t e j o i n e d
‘

th e b a s e l i n e f ro m b e l o w B e gi n a n d e n d th e l e tt e r w i t h p ri n c i pl e 2
. .

w i t h o ut ra i s i n g th e p en p aus i n g s l i gh t l y i n fi n i s h i n g a t t h e b a s e l i n e
. Us e a q ui c k l i gh t ye t fi rm . ,

a rm m o ve m e n t w i t h a l i tt l e fi ng e i a c t i o n i f d e s i re d .

08
 771 e /our loops , and f
the our turns on base line , shoul d be the s a me . Us e pl enty of push and p ull— -
arm move ment .

Us e grac eful Curve fi mly

’
Curve up and down s trokes equally . . twist l ike arm
-
moveme nt . s te m s ightly and end r .

top hori z ontal . Cross neatly . Curve down s troke gently . Us e easy ar m movement . Keep a good pos iti vn .

F O RM ST U D Y .

Th e F i s c o m p o s e d o f p ri n c i p l e s 1 1 3 a n d 1 ; a l s o o f th e T w i th a c ro s s
, .
T h e l a s t fo rm .

re s e m b l e s l o r T
, a n d th e s e c o n
d l a c k s w i d t h a n d w i t h o ut t h e c ro s s l oo k s l i k e th e l o n g 5 .

L e a rn to b e p rec i se aii o ut d e ta i l Be p art i c ul a r w i th l i ttl e t h i n g s

.
A g o o d b a n d w i l l fo l l o w .
.

ca re is the s ec ret of good writing . Watchfulnes s 0/ details : and ca re in e xe c ution cons titute nine- te nths o f al l good wri ting .

Time . I 2 . 3 . 4; l 2 . 3 . 4: about 8 0 to the minute . Pure arm movement . Drop wizh connec ting s troke . and end with louris h f .

I N ST R UCT I ON S FOR PR ACT I CE .

T h is is e x c e l l e n t, ol d -ti m e w e l l t ri e d e x e rc i s e I t i s fi n e fo r d e ve l o p i n g a g ra c e f ul m o ve m e n t a n d g a i n i n g
"
-
an .
. .

a nd th en s o m e Se e h o w e x pe rt yo u
“

th e p e n Prac ti c e i t f re q ue n t l y I t i s
c o n t ro l o f .
. w o rt h i ts w e i gh t i n d i a m o n d s ,
.

No o t h e r o n e e x e rc i s e pl eas i n g a rra n g e m e n t o f l i ne s
c a n b e c o m e p ra c ti c i n g i t p erh a p s , c o n ta i n s s uc h a .
. .

'

69
 f
Let little inger res : in making thes e charac ters . Us e a
quic k combined movement f
o the fing ers , hand . and fore- arm .

I N ST R UCT I ON S FOR PR AC T I CE .

Ma k e th e l o n g s t ra i gh t s t ro k e fi rs t w i th a fi rm q ui ck d o w n w a rd m o t i o n
,
. Mak e th e w i th a q ui c k c i rc ul a r m o
c ,

t i o n c u rvi ng t h e d o w n w a rd s tro k e c o ns i d e ra b l y
,
T he i n t h e d o l l a rs s i gn i s
. m ad e w i th a q ui c k t w i s t l i ke h a n d
,
-

a c t i o n w i t h t h e l i tt l e fi n g e r s e rv i n g a s a p i vo t u po n w h i c h t h e h a n d a c ts

The p er c ent and in care o f c harac ters res e mble s mal l 0 and c combined with s tem o fp , and are ma de in like manner .

Be quic k and s ure . Hand s hould roll o r roc k on f

little inger . Fingers may ac t s ome but p ower comes f rom elbow .

Q Q Q Q CZ Q r Q C e Mé a ké a se é a ic e a ga

Account c ha racter is comp os ed o fa , s te m o fp . and c . At s ign is made fa

o with a c ircl e thrown over .

Pl ainness . s ureness . quic kness , neatnes s , sys tematic a rra ngement a re e s s entials in f ures ig . Si t ive to acq
uire the m .

0 / 2 #5 6 Y
7 fl / 2 3 4 5 4
7
3

I N ST R UCT I O N S F OR PR A C T I CE .

L i ttl e fi n g e r s h o u l d re s t i n m a k i n g fig ure s b ut s l i p i n g o i n g f ro m o n e to a n o t h e r
, B e gi n 1 4 a n d G a l i k e a nd e n d .
, , ,

7 and 9 t he s a m e St a rt 2 a n d 3 i n t h e s a m e m an n e r a n d fi n i s h 3 a n d 5 a l i k e t h e fi g ure 8 i s a n S i n ve rte d T he 6 an d

"
i
. . .

8 e tex n d a b o ve th e o t h e rs a n,d t h e a n d 9 e x te n d b e l o w th e l i ne Ma k e e a c h fi g ure un m i s ta k a b l y Fi g ure s un l i k e

. .
,

l e t te rs
. a re unre l a te d b y c o n t e x t Ea c h m us t s t a n d o n i ts o w n fo o t i n g
. He n c e t h e n e e d o f un m i s ta k a b l en e s s
. .

Keep cap ital s s mall and s impl e . f

Little inger shoul d res t and s e rve a s c enter o f c ontrol . Use either style of r .
 Keep a good pos ition . Us e good p ens and pape r
. Study as we ll as p rac tic e . Little le tters s hould i
be unform in height .

I N ST R UCT I ON S FOR PR A CT I CE .

I s yo u r w ri t i n g ea s i e r "
A f te r w ri t i n g th e a b o v e s e n te n c e c o m p are i t w i t h s o m e o f y o ur w ri t i n g b e f ore b e gi nn i n g th i s s e ri es o f l e s s o n
,

I t c e rta i n l y i s un l e s s y o u h a ve i g no re d t h e i n s t ruc ti o n s
, I s y o ur w ri t i n g m ore u n i f o rm
. If "
y o u h a v e s tu d i e d a n d c ri t i c i s e d a s w e l l a s p ra c t i c e d i t ce rt a i n l y i s
,
A fte r e x a m i n i n g c a re ful l y your w ri t i n g a t t l
.

p res e nt s ta g e re vi e w s uc h p ort i o n s o f th e w ork yo u a re n e e d i n g be fore p ro c e e d i n g to t h e n e x t p a rt

, .

good writing
'

7771 s and the p revi ous s entence contain the s ec re ts of l earning to write well . They c ontain in a nutshell the essentials of .

non spas me dic arm

-
mc l
-
nent in these e xerc ises . Keep elbow near edge or table .

71
 PA R T S EV E N OR BO O K S E V E N
Co m p ri s es a l l o f th e c a p i ta l s . s m al l fi g ure s ; m o ve m e n t a n d l e tte r e x e rc i s e s ; a l l g ra d e d a n d a rra n ge d
l e tte rs , and
to f a c i l i t a te t h e l e a rn i n g of a p ra c t i c a l g ra c e f ul e a s y ra p i d h a nd
,
w i th s p e c i fi c i n s truc t i o ns fo r p up i l a n d te ac h e r
, , ,

a c c o m p a ny i n g ea c h c o py .

Pa rt Se v e n o r Bo o k Se v e n s h o ul d no t b e a tte m p te d or prac ti c e d unt i l Pa rts Fi ve and Si x ha ve b ee n fa it h ful l y

s t ud i e d a n d p ra c t i c e d o n t h e p a rt o f b o th te a c h e r a n d pup i l a s t h e w o rk t h e re i n i s m o re s i m p l e t h a n a n d l e a d s to , , ,

t h a t w h i c h i s p re s e n t e d i n Pa rt Se ve n .

Ev e ry th i rd c o py is a re v i e w , o r a p re l ud e to th a t w h i c h fo l l o w s . I t is al so i n te n d e d to b e p ra c t i c e d a c ro s s p re
v i o ns p ra c t i c e .

Ca p i ta l l e tte rs a re p re s e n t e d a cc ord i n g to th e i r a pp ea ra n c e th e e a s i e s t o n e s firs t Th e s m a l l l e t te rs a c c o m p a n y

, .

t h e c a p i t a l s m a n y o f w h i c h a re s i m i l a r i n a p p e a ra n c e a n d c o n s truc t i o n T h e d i m i n i s h i n g fo rm o f th e c a p i t a l s no t o n l y
. .

l e a d s to m o re p ra c t i c a l s k i l l i n c a p i ta l s b ut i t l e a d s a l s o to e x c e l l e n c e i n s m a l l l e tte rs
, .

Fo rm a nd m o ve m e n t a re p re s e n te d to g e th e r ; th e tw o s o i n te rw o ve n th a t o n e c an s c o rc e l y a vo i d a goo d h a n d
w ri ti n g . T he w a y i s s o c l e a r th e g u i d e bo a rd s s o n um e ro us t h a t t h e ro a d to g oo d w ri ti n g i s a b o ut a s p l a i n a n d e a s y
,

a s e x p e ri e n c e a n d e ffo rt c a n m a ke i t .

Mov e m e nt h a s b e e n p re s e nt e d i n i t s s i m p l e s t an d m os t p ra c ti c a l g a rb Al l i n tri c a te . a nd i m p ra c ti c a l e x e rc i s es
a nd fo rm s h a ve b e e n e l i m i na te d a n d o nl y t h e p ra c t i c a l a n d pro g re ss i v e p re s e n te d
,
.

Th e s e n te n c e s a re no t o n l y m o d e l s o f pra c t i c a b i l i t y b ut t h e y c o n ta i n th e e s s e n c e o f c o m m o n s e n s e i n s truc t i o n
, ,

a nd i n fo rm a t i o n re l a t i n g to p e n m a n s h i p a n d n o t to s o m e fo re i g n a n d un re l a t e d t h o ugh t a n d w o rk
, T h e s e ns e i n t h e .

b y k ee p i n g h i s m i n d upo n i t a n d no t b y ta k i n g i t a w a y a n d i n to o th e r
“
s e n te n c e h e l p s t h e p up i l to s t i c k to h i s t a s k , ,

c h a nn e l s .

Sit health ully f . Watch angle of paper . Us e a rm movement and rol ling . ra id .
p c ontinuous motion .
2 00down strokes a minute .

I N ST R UCT I O N S FOR PR A CT I CE .

Ai m to s e c ure un i fo rm i ty i n h e i gh t i n s p a c i n g b e tw e e n d o w n s tro k e s i n s l a n t Ai m a l s o to s e c ure a un i fo rm ,

.

T h e re fo re s e e th a t th e l i n e i s s m oo th
,

to uc h o f t h e p e n to t h e p a p e r Q u a l i t y o f l i n e re v e a l s q ua l i t y o f m o ve m e n t
. .

a n d g ra c e f ul re ve a l i n g l i gh t n e s s a n d y e t fi rm n e s s o f to uc h an d a f ree f a i rl y ra p i d a rm m o v e m e n t
.
Sl uggi s h n e s s o f
. ,
.

m o t i o n is a s ba d a s fi nge r m o ti o n St ri k e o ut b o l d l y f ro m t h e s t a rt a n d c o n ti n u e un t i l y o u s ub d ue t h e m o t i o n b y
.

t i ri n g a n d s u b d ui n g t h e m us c l e Fi l l p a g e u po n p a g e o f e a c h e x e rc i s e un ti l yo u c a n m a k e i t un i fo rm l y w e l l
.
.

Count 1 . . 2 ; l 2; l . 2 : a bout 8 0 a m inute , or 60 if an e xtra motion is made betwee n m

each or f . Curve s ides equally .
 I N ST R UCT I ON S FOR PR A CT I CE .

Us e pure a rm m o ve m e nt i n th e s e l e tt e rs E m pl o y a ro un d , g ra c e f ul fo rc e f ul f ree , f a i rl y ra p i d m o ti o n
.
, ,
L i ttl e
.

fi n g e r m a y re s t i n s m a l l 0 b ut i t s h o ul d s li p f ree l y f ro m l e t ter to l e tter C urve b o th s i d es o f l e tters e q ua l l y a n d s ee

.

t h a t s l a n t a n d s p a c i n g a re un i form .

K e e p a go od p o s i t i o n a t al l ti m e s Do no t l ea n a ga i n s t c h a i r b ac k n or a g a i ns t th e ta bl e
.
. .

MODE L PR A CT I CE .

Ri gh t p ra c ti c e o nl y p ro d uc e s i m p ro ve m e nt T h e re fo re b e ca re ful a b o ut th e m etho d of y our p ra c t i c e s o a s to

.

no t us e t i m e a n d pa p e r w i th o ut p ro fi t Sy s te m a ti c p ra c t i ce m ean s c a re f ul p ra c t i c e a n d e ye j ud g m en t
. G ood w ri t i n g
.

i s m o re a m a t te r o f e y e t ra i n i n g a n d c a re i n e x e c u t i o n t h a n a n y th i n g e l s e Th e re fo re b e c a re f ul h o w you p rac ti c e
. .

T h i s i l l us trat i on i s gi v e n to s h ow h o w .

Think o f each letter as you are about to make it . Think good writing until good writing becomes a habit
. As you think so will you act.

74
 Retrace A c arefully and s wing freely over the top wit h p ure a rm movement . Make down s troke s traight i
in d minis hing exerc is e .

Start l etters leftward . not downward . Slant oval of s mall a more than f cap ital
o . Do not rai se p en in s mall l ette r .

I N ST R UCT I ON S FOR PR A CT I CE .

Start th e w ith a free fo rc e ful a rm m o ve m e n t t h e m o t i o n p ro c e e d i n g f ro m a n d c e n te ri n g at e l bo w

c a p i ta l , , Th e .

b e gi nn i n g p art o f c a p i ta l s h o ul d e x te n d to t h e ri g h t o f th e s e con d p a rt o f t h e l e tte r R e t ra c e s e co n d p art a n d fi n i s h .

w i th a g e ntl e c urve tow ard th e ri gh t T h e s m a l l a n e e d s to b e b e gun m o re d e l i b e ra te l y t h a n th e ca p i ta l w i t h th e

.
,

l i ttl e fi nge r s l i pp i n g l e s s f ree l y t h an us ua l C l os e th e s m al l l e tt e r c are f ul l y a n d m a k e t h e s e co n d d o w nw ard s trok e

.
,

s tra i gh t .

Good writing can be l earned . Care is the secret . Toil is the tool . I ntelligent p rac tice is the means . Pers everance wins .

Make about 2 00 down strokes a minute . Pure arm movement . Diminish oval gradual ly f
and there ore care fully .

Begin the letters with an e mphatic dot; c urve down s troke in s mall letter les s than in capital . Use arm movement .

I N ST R UCT I ON S FOR PR A CT I CE .

Us e a q ui c k b ut no t s p a s m o d i c arm m o ve m en t L et th e l i ttl e fin g er s l i p fre e l y i n th e c a p ital a n d f ro m

c i rc ul ar, . ,

l etter to l e tte r i n t h e s m a l l c Do n o t ra i s e p e n i n t h e s m a l l l e tte rs nor i n j o i n i n g th e c a p i ta l to th e s m a l l l e tt e rs

.
,
.

Di m i n i s h c a p i ta l s un i fo rm l y a nd k ee p s m a l l l e tte rs s a m e h e i gh t E n d c are ful l y t h o ugh q ui c k l y Be s ure to m a k e d o t

. ,
.

of s m a l l l ette r w e l l to th e ri gh t o f t h e d o w n w a rd s tro k e s o as to k e e p i t d i s t i n c t f ro m i Be f re e b ut b e ca re ful a t a l l .

t i m es
. Us e a rm m ove m e n t .

75
 Forc e little ingerf to s l ip f reel
y toward the right in
going f om l
r ette r to l etter . Use fingers but little .

Let the movement continue from O to 0 without stopp ing when p en is off paper . Diminish oval exerc ise gradually .

fi o v r
o t

Begin D by p ulling p en toward body and end with a free , rollin

g motion. Retrace stem o f d carefully , and c los e oval .

I N ST R UCT I O N S FOR PR ACT I CE .

B e gi n b o th l e tte rs m o re d e l i b e ra t e l y th a n yo u fi n i s h t h e m E n d c a p i ta l to w a rd th e ri gh t s o a s to j o i n e a s i l y to
.

s m a l l l e tt e rs
. Re l a x m us c l e s o f th e a rm to ge t f re e d o m b ut re s tra i n t h e m at th e s a m e t i m e to g et fo rm
, Le a rn i n g .

to w ri t e i s t h e re f o re b o th a m a t te r of re l a x a t i o n a n d re s tra i n t T oo m uc h re l a x a t i on l ea d s to l oo s e ne s s a n d too
.
,

m uc h re s t ra i nt l e a d s to c ra m p tn e s s A vo i d th e two e x tre m es
. .

77tinking be f
ore you act leads to x l
e ce lenc e . Watchflt lness of sp ac ing between letters is an essential quality in l earning .

Diminish oval exe rc ise un ormlyif . See that arm roll s freely in the E tracer . Use pure ar m movement .

Make E with two , quick , c ircular motions without pa us ing at l oop . Keep loop fe
o op en by c urving up stroke considerably .

I N ST R UCT I ON S FOR PR A CT I C E .

Us e a pure rol l i n g m o ve m e n t i n t h e c a p i ta l a n d a s e m i ro l l i n g m o t i o n i n th e s m al l l e tter K ee p s m al l l oop o f

-
, , .

c a p i t a l po i n t i n g d o w n w a rd a n d m i d w a y b e tw e e n t h e to p a n d b o tto m o f th e l e tte r
, Mak e c a p i tal a n d s m al l l e tters .

w i th o ut ra i s i n g p e n . A l w a y s l oo p th e s m a l l e , a n d n e ve r f a i l to b eg i n th e ca p i ta l w i t h d ot or s m a l l l oop See how .

ge ntl y a n d s m oo th l y t h e l i t tl e fi n g e r c a n j o g to w a rd th e ri gh t i n m a k i ng th e s m a l l l e tte rs .

76
 Look think, , act . Study the f rmo , determine what should be done p ractice until you can do it
, and d o it wel l
.

Keep a good pos ition . 771 ink clearly in advance what you wis h to accomplish . Make P trace r in two parts .

77tese letters res embl e reve rs ed d . Retrace both ca refully , and end with revers e oval c losed . Join l etters without raisi
ng pen .

I N ST R UCT I ON S FOR PR A CT I CE .

Mak e ca p i tal w i th l n -
m o v e m e n t o f fo re a rm a n d e n d w i t h a f re e re v e rs e o v a l m ot i o n
a n d -o ut -
T h e fi rs t p a rt o f ,
—
.

s m a l l l e tt e r i s m a d e w i th th e pus h a n d p ul l m o t i o n e n d i n g w i th a s m a l l re ve rs e ova l m o t i on ; b o t h l e tt e rs b e i n g m a d e
- -
,
-

m uc h th e s a m e e x c e p t t h e c a p i ta l b e gi n s w i t h th e p ul l an d th e s m a l l l e tte r w i t h th e p us h m o t i o n Pa us e w i th pe n .

on p a p e r a t e n d i n g of th e s m a l l l ette r Mak e w i th out rai s i n g t h e p en

. .

Use a f
ree arm movement; watch turns , angles , loop s , and spac ing; and employ an elas tic ac tion . Be sys tematic .

Us e p ure arm movement . Make B tracer in three p arts , the s trai ght lin fi
e rs t . Study p roportion . Be free and be e as
y in ac tion .

Begin cap ital with in -

and out arm
—
movement; end with revers e oval motion . Pause at finish of b and m ake l oop f reel .
y

I N ST R UCT I ON S FOR PR A CT I CE .

B l ook s l ike Et re vers ed K e e p s m a l l l oo p n e a r c e nt e r o f l e tte r a n d e n d w i t h d o t

. R e trac e fi rs t pa rt a t l e as t
, .

h a l f th e h e i gh t of th e l e tte r a n d k e e p l oo p s m a l l
, C urve up s tro k e o f b c o n s i d e ra b l y m a k e l oo p f ul l k e e p c ro s s i n g
. , ,

l o w ; fi n i s h w i t h d o t o r s m a l l bl i n d l oo p ; a n d e n d t o w ard t h e ri gh t n o t d o w n w a rd Us e a s te a d y n o n s pa s m o d i c
, . .
-

a c ti o n a n d d e ve l o p a l i gh t s m o o t h g rac e f ul l i ne
, ,
R e m e m be r th a t q ua l i ty o f l i n e s h o w s q ua l i t y o f m o ve m e n t
, .
.

77
 Heed the thought and s tudy f
the orms in the c opy . Us e a free arm move ment . Push on the ups trokes . f ers e vere .

Diminishing e xerc ises tone movement and inc rease s kill . Think c l ea rly and quic kly concerning fini h
s f R trace r
o . Be care ul f .

Mka e R without rais ing the pen . Slant loop upwa rd . Retrac e firs t r c a re fully , and p ause at s houlder o f s econd r .

I N ST R UCT I ON S FOR PR ACT I CE .

See h o w c l e a n a n d s h a rp a n d s m oo th a n d g ra c e f ul yo u c a n m a k e th e l i n e s Go o d p e n s i n k a n d p a p e r ; a f re e
.
, ,

a rm m o ve m e n t ; a nd a l i gh t to u c h a re n e c e s s a ry Se e t h a t yo u h a ve th e fi rs t a n d t h at you d e ve l o p th e s e c o n d an d
.

t h i rd
. Mo ve m e n t e x e rc i s e s d e ve l o p l i gh t n es s o f to uc h a nd re tra c i n g form s d e ve l o p s ure ne s s a nd e ve n ne ss Mo ve
,
.

m e n t e x e rc i s e s a re a s n e c e s s a ry to goo d pe n m a n s h i p a s g y m n a s t i c o r c a l i s th e n i c e x e rc i s e s a re to ath l e t i c s a n d h e a l th .

We l earn by i
repe tit on . Write a nd re - write until progress is s hown . Think how to prac tice advantageous ly .

Curve up s troke . Check motion at base without rais ing pe n . Space f

care ully in fi st r f
e erc is e and re trac e c are ully
x in tracer .

End K same as R
. Sec ond hal f f K should point toward
o the right . Do not raise pen in s mall letter .
 I NST R UCT I ON S FOR PR A CT I CE .

K ee p fi rs t d o w n s trok e o f K q ui te s tra i gh t Start s e co n d p a rt l e ft w ard n o t d o w n w a rd a n d e n d to w a rd th e ri g h t

.
, .

Ch e c k th e m o t i o n n ear t h e b ase l i ne o f t h e ca p i ta l i n j o i n i n g to t h e s m a l l l ett ers s o a s to k ee p th e turn n a rro w a s i n

th e s m a l l k Sm a l l l oo p o r to p of s e con d p art of k s h oul d b e q u i te h ori z o nt a l
. K ee p l a s t d ow n s tro k e p a ra l l e l to t he
.

fi rs t a n d m ak e na rrow e r th a n h Us e a f ree a rm m ove m e n t a t a l l t i m e s w i th s l i gh t fi nge r a c t i on i n l oo ps

. .

Writing requires f
s kill , there ore training, mental and physic al . Ar m move ment is difficult to acquire but easy when learned .

Stop fi mly r on base line with fi rs t part of H . Begin s econd part with a free swing toward the lefi .

Begin both parts of H the same as K. Make down strokes parallel in both cap ital and s mall letters . Us e arm movement .

I N ST R UCT I ON S FOR PR A CT I CE .

K ee p a bl ott er un d er th e h an d s o a s to k e e p th e p ap e r c l e a n a n d to p rovid e a n i ce p l a c e fo r th e l i ttl e fi nger to

g l i d e u pon . Re m e m b er th e l i ttl e fi n ge r s h o ul d gl i d e g ent l y tow ard th e ri gh t i n go i n g f rom l e tte r to l e tte r I t s h o ul d
, .

a l so s l i p up a n d d o w n i n m a k i n g l o o p o f h , un l es s t h e fi n gers a s s i s t i n fo rm i n g t h e l oo p Wa tc h s pa c i n g a n d s l a nt .

i n m a k i n g t h ese l e tte rs Fin i sh s m a l l h w i t h c a re so as to h a v e tw o t urn s i n t h e s e co n d part b oth of w h i c h s houl d

.
,

b e th e s a m e i n s i z e .

Plainness , rapidit
y . ease , neatness are the es sentials o f good writing . See how p erfectly you can acquire and p ractice them .

Make about 7 0N 3 a minute . Keep top roundi

ng . Retrace bottom . Diminish exercise gradually . Use arm move ment .

79
 Make N without rais in
g pen . Keep down s trokes parallel in both l etters . Fin sh capita
i l with a grace/il l turn p ointing toward the nght .

I N ST R UCT I ON S FOR PR A CT I CE .

Em p l o y a g ra c e ful a rm m o v e m e n t up o n t h e s e l e tte rs g ra c e ful w h e n m a d e w e l l a n d th ey a re c o m para

. T hey a re ,

t i ve l y e a s y to m a k e . N a rro w e r t h e y c o n ta i n th e p ri n c i p l es th at a re us e d i n a grc a t m a n y l e tte rs a n d n e e d t h e re fo re

,
-

t o b e m a s te re d Sto p. n o w a n d t h e n to o b s e rve yo ur po s i t i o n to e x a m i n e th e f orm s yo u h a ve m a d e a n d to d e te rm i ne

, ,

w h a t to d o to i m p ro ve . Stud y a s w e l l a s p ra c ti c e i s n e c e ss a ry fo r t h e b e s t re s ul ts i n th e s hortes t ti me .

To day -
, not to marrow is the time to use
, arm movement . Watch down strokes . Fi t words care/i d ly.

Us e a rapid push and

— —

p ull motion making down stroke

, straight and retrac ing nearly half the he ht ig . Watch spacing .

Time I , 2 , 3 ; 1 , 2 , 3 ; f
one count or each down stroke . i
Th rty five -
cap itals to the min ute ; s ixty s mall letters to the minute .

I N ST R UCT I ON S FOR PR A CT I CE .

Fo re -
a rm s h o ul d d i a g on a l l y i n a n d o ut o f th e s l e e ve i n m a k i ng th e c a p i ta l s
ac t - -
R e tra c e c a p i ta l s h a l f th e h e i gh t . .

T h e l i tt l e fi n g e r s h o ul d s l i p f re e l y u p a n d d o w n i n m a k i n g th e c a p i ta l s
- -
an d to w a rd th e ri gh t i n th e s m a ll l e tte rs ,
- -
.

Ma k e d o w n s t ro k e s s tra i gh t i n b o t h l e tte rs a n d s e e t h a t e ac h m c o n ta i ns f o ur t urns a n d tw o a ngl e s

,
.

Unform ac tion m eans if

un orm p enmanshp i . Movement exerc is es re duce unruly motio
ns to orderly action. Wide spacin g also aid s .

Keep p en moving grace ully in this f e erc is e

x . Push and pull
— -
, twis t like
-
.
p ure arm movement . Diminish gradually .
 Begin U same as N; end s ame as A . Make second part sharp . Keep u sharp at top; rounding at base : Use easy ac tion .

I N ST R UCT I ON S FOR PRACT I CE .

Sl a n t d o w n s tro k e s o f b o th l e tte rs th e s a m e Us e a n e a s y g ra c e f ul s e m i rol l i n g a rm m o v e m e n t i n b o th c a p ita l

.
, ,
-

a n d s m a l l l e t te r . Ea s e o f a c t i o n ne i th e r s l uggi s h n or s p a s m o d i c i s t h e/ true m e t h o d of prac t i c e

— —
Sl o w w ri t i n g i s . .

l i f e l e s s a n d e x h a us t i n g i n p a t i e n c e ; re c kl e s s un co ntro l l e d s p e e d i s d e m o ra l i z i n g to f o rm
, A h ap py m e d i um i s b e s t . .

Think and watch f

orm while writing . Emp loy head as well as hand . Use eye as well as muscl e .

both exerc is es sharp at top , rounding at bas e , down s trokes straight, up strokes c urved . Arm movement .

Each l etter s houl d contain two turns , one angl e , and one loop . Cros s on base line . Us e a f
ree, f orc e ful arm
'

movement .

I N ST R UCT I ON S FOR PR ACT I CE .

The l e tt e rs a re m uc h th e s a m e i n c o n s truc t i o n
c a p i ta l a n d s m a l l and th ere f o re i n m o v e m e n t . Se e th a t th e a rm
a c ts l i k ea p i vo t o r h i n g e i n m a k i n g t h e l o n g d i a go n a l d o w n s tro k e
, ,
a n d i n th e l a s t u p s tro k e . Lo o p s h o u l d b e
c ro s s e d on b a s e l i n e n o t b e l o w , w i t h t urn a t b o tto m
,
.

Poor writing is like muttering speech —

a disgrace . Be unmistakable . You shoul d als o be neat and sys tematic . Be free in moveme nt .

82
 Time 1 , 2; 1 , 2; l . 2; one form a s e cond . Acc ent 2 in firs t and 1 in s e cond fo m
r . Down s troke s traight .

Drive a m out sl eeve to start J; push and p ull movement

- —
. Make down stroke nearly s traight in both letters .

I NST R UCT I ON S FOR PR A CT I CE .

T h e J i s a l on g l e tte r b ut n o t a d i ffi c ul t o n e
, C ros s i n g s s h o ul d b e on th e b a s e l i n e
. Lo w e r l o o p s h oul d b e .

s m a l l e r t h a n th e up p e r K e e p c ro s s i n gs o f s m a l l j o n t h e l i n e a l s o
. Be c are fu l t o p l a c e d o t j us t a b o v e t h e l e t te r
. .

Us e fore a rm m o t i o n ; th e e l b o w ac t i n g l i k e h i n g e
-
L i ttl e o r n o fi n g e r m o ve m e n t i s n e c e s s a ry
. Us e a l i v e l y g ra c e f ul .
,

a c t i o n a n d th e f orm s w i l l b e d ra c e fu l a n d goo d .

Up s troke s are l onge r and more grac efit l tha re f

reely . Equal spacing between all le tters .

Swing f
reely f om th
r e s tart, checking movement only f
a ter having retraced each from s ix to ten times . Keep f or mc learly in mind .

Start 1 with f
ree outward movement of arm . Make i sha rp at top; rounding at base . Dot it ca refully .

I N ST R UCT I ON S FOR PR A CT I CE .

Use s e m i -ro l l i ngm o ti on i n m a k i n g th e c a p i ta l K e e p to p o f 1 n a rro w or i t m a y res e m b l e L w h e n j o i n e d to s m a l l

.

l e tte rs
. K e e p d o w n s t ro k e of i s t ra i gh t Us e a f ree g l i d i n g m o ve m e n t i n s m a l l l e tte rs K e e p a go o d pos i t i o n s i t t i ng
.
, ,

Watc h an g l e o f p en a n d p ap er an d us e goo d m a te ri a l s pe ns i n k an d p a p er
.

ne a rl y e re c t w i t h s p i n e s tra i gh t .
,
—
, ,
.

83
 Watchfulness of details , and , i
p ractice upon movement exe rc is es will p roduce mp rovement and make you a good p enman .

Learn to make ovals equally well eithe r way around . Use gracefi d compound movement in X exerc ise .

Make X with s emi -

roll ing arm motion; c urving s ides equally . Small x c urved les s than capital , but much like it .

I N ST R U CT I ON S FOR PR ACT I CE .

Re v i e w d i re c t a n d i n d i re c t o v a l e x e rc i s e s p re l i m i n ary t o th e p ra c ti c e o n th e c a p i ta l X, us i n g a f re e g ra c e ful a c ti o n ,

th ro ugh o ut . Di m i n i s h t h e l e tte r g ra d ua l l y b e g i n n i n g q u i te l a rg e Re vi e w p ri n c i p l e s 5 a n d 4 b e f ore be gi n n i n g pra c

, ,
.

t i c e upo n t h e s m a l l x B o th p a rt s i n bo th l e t te rs s h o ul d tou c h g e nt l y a n d re t ra c e a t l e a s t a s h o rt d i s t a n c e
. .

Gene rate e nough p ower to ca rry the p en from word to word a c ross the p age with ea s e and reedom f . Be watchful , too .

Notic e tha t the ova l e xerc ise ends with a reve rs e l oop . Use l ively motion in the retrac ed Z .

The c apital and s mall 2 a re nearly alike . What is the dif f ere nc e " Small 2 has but one loop . Us ei a rm movement .

84
 I N ST R UCT I ON S FOR PR A CT I C E .

Do w n i n c a p i ta l a re c urve d th e s am e
s t ro k e s Loo p i n s m a l l l ette r i s th e s a m e a s 1 1 . c a p i t a l e x c e pt a tri fl e s m a l l e r
.
.

Fi rs t d o w n s tro k e i n s m a l l 2 s h oul d be s t rai gh t th e s a m e a s i n n , Cros s i n g i n b o t h l e tte rs s h o ul d b e o n b a s e l i ne

. .

M ak e th e c a p i t a l a n d s m a l l l e tte rs f ree l y a n d w i th out ra i s i n g t h e p e n .

Enthusiasm and love f x

or e cellence , make p ractice p l eas ant and work p rofitable . Use free arm movement and s it f
health ully .

Practice large and small compound c urve tracers with a f ree ,

gra ceful arm movement , cros s ing in the center .

f 0 shoul d be horiz ontal

'

This cap ital res embl es Z and L The small rese mble s a and Loop in Both end the same
.
q . . .

I N ST R UCT I ON S FOR PR A C T I C E .

B egi n c a p i ta l Q w i th m o t i on b ut m e rg e i t i nt o a re s tri c te d h o ri z o n ta l gl i d i n g m o ve m e n t
a ro l l i n g , B e gi n th e .

s m a l l q c a re f ul l y w i t h a res t ri c te d arm a n d h a n d m o t i on b ut e n d i t f re e l y t h e s a m e a s t h e c a p i t a l
, Th e l i t tl e fi n g e r .

nee d n ot s l i p i n th e a p a rt o f q Di m i n i s h c a p i t a l g ra d ua l l y e n d i n g w i th a goo d Q o r fi gu re 2
.
,
.

Movement e xerc is es and wide spac ing be tween l ette rs aid in overcoming unruly and uncontroll ed a c tion.

Us e a free and twis t like

-
or diagonal ar mmovement . Make loop s mall and horizonta l in L .

Employ a f
grace ul movement in L and a slightly roll ing action in the s mall I . Keep loop of capital s mall .
 I N ST R UCT I ON S FO R PR A CT I CE .

T o m a k e th e L s uc c e s s f ul l y o n e m us t p e rc e i ve i t c l earl y
,
I t i s c o m po s e d of tw o c o m p o un d c u rve s an d th e y d e
.
-

I
,

m a n d g race o f a c t i o n to e x e c ute s uc c e s s f ul l y B e gi n th e l e tte r l i k e C a n d E a n d e nd l i k e Q

. T he s m al l n ee d s to b e .

m a d e f ul l w i t h t h e c ros s i n g l o w ; t h e re fo re c urv e up s tro k e c o n s i d era b l y a n d d o wn s tro k e b ut l i ttl e Lo o p o f c a p i ta l .

n e e d s to b e s m a l l o r i t re s e m bl e s S .

Rapid l egibl e writing is in demand

,
. Meet it by prac ticing faith/i dly up on e xe rc is es and watching turns and angl es .

Use a ful
grace , twis t like arm
—
movement in double l oop e erc is e
x . Keep i
c ros s ng l ow in S and divide oval e qually .

See how gra dually you can diminish the capita ls , and me rge them in to s mall letters , as they are much the sa me.

I N ST R UCT I ON S FOR PR A CT I CE .

B o th l e tt e rs b e gi n an d e n d th e s a m e Us e a roc k i n g l i k e m o t i o n fo r th e l o w er p a rt o f th e c a p i ta l a n d fo r th e s m a l l
.
-

l e tte r
. B e gi n a n d m a k e th e u p pe r p a rt o f th e c a p i ta l th e s a m e a s s m a l l I e n d i n g l i k e c a p i ta l I , T h e l i ttl e fi n g e r .

s h ou l d s l i p o r g l i d e m o re f re e l y i n t h e s m a l l l e t te r s t h a n i n m os t s m a l l l e tte rs Us e a g ra c e ful a rm m o v e m e nt i n bo t h
“

. .

Simpl e forms , easy movements , and movement exe rc is es de ve lop spee d and plainnes s . Use a gliding i
ac t on in s ente nces .

Us e semi- rolling movement in exercis e . Make down strokes of G para ll e l . Keep c ros s ing low . Us e easy motion .

Begin G like 1 and S and end on bas e l ine with s traight l ine . Begin g like a and end like j . Use an easy , arm motion .

86
 I N ST R U CT I O N S FO R PR A CT I CE .

Le t th e fo re arm s w i n g f re e l y f ro m th e el b o w i n b e g in n i n g th e c a p i ta l a n d i n e n d i n g t h e s m al l l e tte r
-
Loo p o f .

ca p i t a l i s a tri fl e m o re roun d i n g t h a n t h a t o f th e s m a l l l e t t e r C l os e s m a l l 9 a t to p a n d c ro s s l oo p o n b a s e l i n e Lo w e r
. .

l oop s to b e a ttrac ti v e a n d h arm o n i o us s h oul d b e th e s a m e s i z e a s upp e r l o o p s b ut fo r m e re l e gi b i l i t y t h e y m a y b e

,

s m al l.

Earn a good ba nd wri ting and it will earn for you in return a good pos ition , and help you to keep it .

Make s tem e xerc is e at rate of one a second . Paus e at f

the dot or inish of the stem, and c urve down s troke nice/
y .

Make top of Thoriz ontal . Do not rais e p en at angle, Retrace top of t f

care ully . Each t c ontai
n s an i .

J J J J J J
I N ST R UCT I ON S FOR PR A CT I CE .

A vo i d i
c urv n g to p o f T m uc h o r l oo p i n g it a t th e a n gl e Mak e fi rs t s tro k e l o n g or i t m ay re s e m b l e J o r
. I . Ma ke
s m a l l l e tt er w i t h o ut ra i s i n g p e n e x c e pt to c ros s i t So m e fi n g e r a c t i o n i s a d m i s s a b l e i n th e s m a l l l e tte r b ut
.
, onl y in
a m i n o r m ann er . Se e t h a t l i tt l e fi n g er g l i d e s t o t h e ri gh t i n go i n g f ro m l e t t e r to l e t t e r .

Gaod writing is the res ult o

f toil . I t takes true worth to get it . Movement exerc ises help to acquire it .

Make 1 00 down strokes a minute , and 6 0 s tems . Us e grac e/id , arm move ment at all times .

Make hori zontal

"
s trokes parall el and s tra ight . Keep both loops in f same siz e and s ee that each f contains an i
.

f t

87
 I N ST R UCT I ON S FOR PR A CT I CE .

Th e F i s th e sam e as T
w i th a c ro s s a t th e c e n t e r Se e h o w g rac e f ul y o u c a n m ak e th e d o w n s t ro k e
. T he s m al l .

I
f I S a c o m b i na t i o n o f a n d q T h e up pe r l oo p s h o ul d c ro s s a t h e i gh t o f i a n d th e l o w e r o ne s h o ul d c l os e a t th e b as e
.

l i ne Us e h i n g e a n d i h a n d o ut m o v e m e n t fo r t h i s l e tte r So m e fi n g e r m o ve m e nt i s not o b j e c t i o na bl e , but fi nge r

’
- -
. .

a c t i o n s h o ul d n e v e r b e t h e p ri m a ry m o t i o n .

Firmnes s and s urenes s make writing bus ine ss like . Learn to pus h rather than drag the pen .

Think quickly in the E exerc ise making about 8 0a minute , . Keep central loop small .

Make down s trokes irmly f . Little fing

e r nee d not s lip . Fingers may aid a rm . 7 and 9 e xtend below line .

é é é é é é é
7 7 7 7 7 7 7 7 7 7 7 7 7 ]
I N ST R UCT I ON S FOR PR A CT I CE .

T h e l i tt l e fi n g e r s h o ul d s e rve a s th e c e n te r o f c o n tro l i n th e e x e c ut i on of fi g ure s Be s ure

. . Be fi rm . Be q ui c k .

Be n e a t Be s y s te m a t i c Fi g ure s a re us e d m o re a n d m o re a n d , e ac h ye a r i n t h i s co m m e rc i a l e ra , th e y m e a n m o re
Me e t
. .

a n d m o re G re a t a c c ura c y i n th e i r u s e a n d m e a n i n g i s t h e re fo re
.
n e c e s s a ry . th e n ee d by d o i n g g oo d w o rk
q u i c k l y No w i s t h e t i m e to l e arn
. .

Study and i
p rac t ce a re the keys which unl oc k the door to good writing . Be enthusiastic and persevering .

Notice s imilan ty
'

. The 8 is a re vers ed S , and f

its inish may extend above as 6 . Be s ure . Be plain Be quic k
. .

‘ ’ /
2 2 2 2 5 5 5 5 5 3 3 5 5 5 5 5 5 5 e s
r
sr s e s
r
e e e e a e o
2 2

Be in love with your work . Us e your brain to direc t your hand . Succes s will follow . Use arm movement .

JW
88
 PA R T E IG HT OR BO O K E I G HT
'

Co m p ri s e s e x e rc i s e s s en te n c e s p ro pe r n a m e s a n d a d d re s s e s j o i n i n g o f c a p i ta l s rul e s forf s pa c i n g v ari ety o f

, , . , ,

h a n d s b us i n e s s fo rm s a c o m p l e te l e tte r a n d p ra c ti c a l l e tt e ri n g a l p h a be ts Ea c h c o py i s a c co m pa n i e d b y te rs e pra c
. , , .
,

t i c a l i ns t ruc t i o n s fo r p up i l a n d t e a c h e r .

Pa rt Ei gh t o r Boo k Ei gh t s h o ul d no t b e a tte m pte d o r p ra c ti c e d un t i l Pa rts Fi v e Si x a nd Se v e n h a v e b e e n th o r , .

o ugh l y s t ud i e d a n d p ra c t i c e d b y b o t h t e a c h e r a n d p up i l a s t h e w o rk t h e re i n l e a d s up to t h a t c o n ta i n e d i n t h i s p a rt
, .

T h e wo rk i n Pa rt E i gh t i s i n p a rt a re v i e w a n d re s um e o f p re v i o us w o rk a s w e l l a s , a n a d va n c e i n th e d i re c ti o n
o f ac t ua l b us i ne s s w ri t i n g, e n d i n g a s i t d o es w i t h b us i n e s s f o rm s a nd l ette r w ri t i n g
, ,
.

T h e e x a m p l e s o f l e tte ri n g a re th e e m b o d i m e n t o f s i m p l i c i ty p l a i nn e s s ea s e rap i d i ty a n d p ra c t i c a b i l i ty
, , , , . No o ne
n ee d to d e s pa i r o f l e tt e ri n g p l a i n l y n e a tl y a n d ra p i d l y i f t h e y w i l l b ut f o l l o w c a re f ul l y t h e i n s t ruc t i o n s
, , .

T h e w o rk i n t h i s a n d th e p re v i o us pa rts h as b ee n s o t h oro u gh l y p l a nn e d a n d e x p l i c i tl y p re s e n te d i n c o p i e s a nd
i n s t ruc t i o n s t h at n o on e n ee d go f urth e r fo r a goo d h a n d w ri t i n g Fol l o w th e i ns truc ti o ns a nd a l l w i l l b e w e l l
. .

Us e p ure arm move ment . Make about 2 00 down strokes a min ute . Watch spac ing between down s trokes only .

Us e a f
ree motion but watch f orm c l os ely by watching turns , angles , retra ces , loops , s lant, spac ing ,height , and up and down s trokes .

Us e a rap id . s emi roll ing

—
.
p ure arm moveme nt . Make turns rounding. ang e s s ha rp , and
.
'

down s trokes s traight .

Movement , movement moveme nt

,
[5 the key to good writing . Form , f rm f rm i
o , o s the key to good writing .

Dimini sh exercise c are fully —

patiently
-
fully
s kil l —

gradually . I t give s quantity and quality o f action , as well as control .

90
 Us e an easy , gliding arm movement at all times . Watch height , spac ing, s lant and quality f line
o . Watch pos ition .

Begin second part ofK

“

with a f
ree , f f
orc e ul s wing, s tarting toward the left . Keep turn narrow at base l ine .

Know good writing p rac tice, f ithfully

a read good books think good thoughts
, , and your services will be in de mand .

W
This is the pe nman
'

s f v rit
a o e e xerc ise . See how gracefixlly and well you can exec ute it . Space widely for the H .

a f
quick grace ul , c irc ular and gl iding arm movement in firs t
part fH
o . I t makes a good e xercise for p rac tice .

Use the fingers but little eve n in e xtended l etters . Make loo s s a me in si e roundin a t ends and s hort
p . g z , .

I N ST R UCT I ON S FOR PR A CT I CE .

The s l ant of th e e x ten d ed l e tters i s m ore i m po rt an t th an th e i r h e i gh t I f th e y va ry in s l a n t i t i s m uc h m o re

.

no t i c e a b l e t h a n i f t h e y va ry i n h e i gh t Sh ort l e tt e rs s h o ul d c on fo rm to l on g o nes i n s l an t
. T h e re fo re m a k e t h e .

s h ort l e t te rs o n t h e s a m e s l a n t a s t h e t a l l o n e s a n d t h e re s ul t w i l l b e pl ea s i n g a s w e l l a s p ra c t i c a l .

91
 Paus e in finishing B . Retrac e o r ra is e p en as you may p re f
er and c an do be s t . eas ie s t and
quickest.

Aore dij
' ‘

yere nc e in p roportion of letters , Change the motion to suit. One s tyl e a ids in acquiri ng another . Which do you ’ike best "

I N ST R UCT I O N S FOR PR A CT I CE .

On e h a n d o r s t y l e n a tura l l y a i ds L e a rn o n e h a n d a n d y o u w i l l h a v e th e k e y to a n y o th e r
a n o th e r . As i t i s s o m e .

t i m e s n e c e s s a ry to w ri t e a l o n g n a m e i n a s h o rt s p a c e i t b e h oo ve s o n e to b e a b l e to w ri te a c o n d e n s e d o r n a rro w
,

h an d . At o th e r t i m e s t h e rul i n g m a y b e n a rro w a n d th e s p a c e l o n g i n wh i c h c a s e a w i d e o r run n i n g h a n d i s d e s i ra b l e

.

T
.

h e n to o s o m e p e o p l e n a t ura l l y w ri t e t a l l a n d o t h e rs w i d e a n d e a c h th e b e tte r b y s uc h v a ri a t i o n
, , , , G oo d w ri t i n g .

d o e s n o t n e c e s s a ri l y m e a n a n y o n e p a rti c ul a r h a n d .

Uniformity in letters is s ec ured f

by uni ormity f motion and c lose observation
o . Movement exercises lead to un if
orm ac tion .

M
I N ST R UCT I ON S FOR PR A C T I CE .

An e a s y a rm th e h e i gh t l e tte rs a n d g i ve s th e m g ra c e
a c t i o n u n i f orm s Do n o t m ak e a n gul a r turn s i n o n e l e tter
.

a n d ro un d i n g t urn s e l s e w h e re i n t h e s a m e l e tte r o r i n a n o t h e r o n t he s a m e p a g e Al l turn s s h o ul d b e e q ua l l y ro un d i n g.

a n d a l l a n g l e s e q u a l l y s h a rp o r a c ute Un i fo rm i ty i n a c t i o n i n s ure s un i fo rm i ty i n w ri ti n g
. E x e rc i s e s d e ve l o p un i .

fo rm . n o n- s pa s m o d i c a c t i on .

Pa us e at top of C and E . Use graceful , arm movement in g . Finish A with c urve pointing toward the right .

f
Keep irs t l oop o f D s mall and on bas e /ine . Finish D quic kly with a c irc ular arm movement .
 Watchfulness of details of c ommon errors
, , and o f movement us e d , l eads to e xcellence . Study the thought as well as f
the orm of the sentence .

I N ST R UCT I ON S FOR PR A CT I CE .

Th e b e tw ee n w ord s s h oul d n ot b e s o c l o s e th a t tw o w o rd s w i l l a pp e a r a s on e n o r s o w i d e t h a t a l e tte r

s p ac i n g ,

or w ord a p p e ars to h a ve b ee n o m i tt e d L et t h e e y e l e a rn t o s pa c e a n d t h e n y o u w i l l a l w a y s h a v e a rul e w it h yo u

.
, .

Be a s c a re f ul a bo ut th e e nd i n g o f w o rd s a s a b o ut th e b e g i n n i n g Watc h d eta i l s a n d d e f e c ts w i l l d i s ap pe ar Us e a
.
, .

fre e m ov e m e n t a t a l l t i m e s .

Use an easy , f
grace ul arm movement in V and W and a gliding arm motion in the s mall l etters
, . Watch spac ing .

If pre f erred, p en may be rais ed in R ins tead f retracing

o . f
Keep inish of Phigh so it does not res embl e R .

Learn to be yours elf . Be s el f reliant. I mp rove your writing by taking p ride in it , and by making it your own .

I N ST R UCT I ON S FOR PR A CT I CE .

Be p a rt i c ul a r a b o ut th e d e ta i l s o f y o ur w ri t i n g No ot h e r o n e t h i n g w i l l c a us e i t to i m p ro ve a s m uc h
. C o nc e rn .

y ours e l f w i t h e x c e l l e n ce ra t h e r t h a n w i t h p e c ul i a ri ty or i n d i v i d ua l i ty a s t h e l a tt e r w i l l a s s e rt i t s e l f a l l u nc o n s c i o us l y
.

in d ue cours e o f t i m e K e e p d ow n s tro k e s n e a rl y s t ra i gh t an d pa ra l l e l
. Us e a rm m o v e m e n t to s e c u re g ra c e a n d
.

f re e d o m . Re v i e w m o ve m e n t e x e rc i s e s f re q ue n tl y K e e p a h e a l th f ul po s i t i o n
. .

98
 Us e in -
and out a rm
-
movement in M s;
‘

gliding , f
ore- arm movement i ns mall letters . Watch sp ac ing be tween l etters .

P aus e at fini h
s f
o C but do
, not ra is e p en in writing the names . U s e roc ki
ng —
like arm ac tion in the G
'
s .

Keep s l eeve loos e at elbow . Watch spac ing between words . Us e gliding motion and arm movement .

I N ST R UCT I ON S FOR PR A CT I CE .

Be s ure y o u a i m ri gh t i n yo ur p ra c t i c e H a v e so m e th i n g i n m i n d th a t y o u d e s i re to a c c o m p l i s h , a n d s ti c k to it
.

un ti l y o u s uc c e e d . I f yo ur w ri t i n g l a c k s e a s e a n d f re e d o m ; t h e n t h i n k f re e d o m a nd e a s e a n d w i n t h e m b y p e rs i s ten t
re v i e w u po n e x e rc i s e s I f i t i s fo rm th a t yo u n ee d ; t h e n t h i nk f o rm , c ri t i c i s e c l o s e l y , a n d o b s e rv e d e ta i l s Be e n
'

. .

t h us i a s t i c o v e r w ri t i n g b e c a us e o f i ts ut i l i t y o r b ea uty T h e n w o rk w i l l s e e m l i k e pl a y
. .

Watch sl ant of down strokes to keep them uni or m f . Us e an eas

y movement at a ll times . Be f
c are ul and sys tematic .

Use a f ree, f f f
orc e ul , o re- arm movement to c onnec t l etters , a nd to p rop el the pen ac ros s the page . Watch spacing .

Keep l etters if
un orm in he ight by us ing a f ree , f
gra ce ul , gl iding m movement
ar —
f f ree ro m l eft to right
.

94
 I N ST R UCT I ON S FOR PR A CT I CE .

N e v e r b e fore h a s g o o d w ri t i n g b e e n s o m uc h i n d e m a n d N o o th e r o n e th i n g s e rv e s s o w e l l a s a s t e p p i n g s to ne
.

to s o m e t h i n g be t t e r Co up l e d w i t h s p e l l i n g a n d fi g ure s g oo d w ri t i n g i s a v a l ua bl e a c q ui s i t i o n a n d e a s i l y w i t h i n t h e
.
, ,

re a c h of a l l w h o w i l l b ut s tu d y a n d p ra c t i c e i n t h e ri gh t m a nn e r a s h e re i n i l l us tra te d a n d e x p l a i ne d
—
.

"
Rapid writing is valuable slow writing is dead . f
See how much li e you can p ut into your writing by us ing arm movement .

Daintiness in wn ting means

’

fi
a re ned quality not a ba d thing to poss ess for occ asional needs . See how f
reel
y and daintily you can write .

Let the hand and arm rock or roll s l ightly in this round in s t l e
g y . Curve the up s trokes cons iderably . Us e a rm movement .

I N ST R UCT I ON S FOR PR A CT I CE .

Peo pl e . d i ffe r i n o th e r t h i n g s , w h y n ot i n p en m an s hi p "

Th e re i s n o o b j ec ti o n to th i s s l i g ht d i ff e re nc e s o l o n g a s
th e w ri t i n g i s p e rf e c tl y p l a i n to a l l ra p i d a n d e a s y i n e x ec ut i o n
, I nd i vi d ua l i ty c a nno t b e t a ugh t b ut i t m a y b e g u i d e d
. ,

i n to p ro pe r c h a nn e l s a s i t m a n i f est s i ts e l f un con sc i o us l y t o t h e p up i l I t i s b e tte r to t h us m o d i f y i t un d e r i n te l l i g e n t

.

c ri t i c i s m t h a n to a l l o w i t to de ve l o p i n to s tra n g e a n d p ec ul i a r s ty l e s T h e n too b y p rac t i c i n g t h e d i ff e re n t s t y l e s h e re

.
, ,

gi ve n t h e h an d i s c a us e d to a c t s o m e w h at out o f a c c us to m e d c h a nn e l s a n d i n s o d o i n g ac q ui re s s k i l l n o t po s s i b l e i n
,

any ot h er w ay . T h e w ri t er a fte r p ra c t i c i n g t h us for a s h o rt t i m e c a n re s um e h i s re gul a r s ty l e w i th i n c re a s e d s k i l l

a n d e ff ec t i v e ne s s ,
w ri t i n g i t b e tte r a n d e a s i er
.

Push the p en firmly toward the right in making the up s trokes . Make turns narrow . Watch Spacing . Wri te freely .

95
 Note l ocation of sal utation . School the eye to spacing . Acc ustom the hand to grac e ul f action
. Re view exercis es frequently .

4, / 7 a é .

I N ST R UCT I ON S FOR PR A CT I CE .

Se e th a t th e g e n e ra l e ff e c t o f y o ur w ri ti n g i s g oo d b y s e e i n g l s t th a t it i s n ea t i n a pp e ara n c e 2 n d t h a t i t i s
, , , ,

o rd e rl y i n a rra n g e m e n t a n d 3 rd t h a t it i s g ra c e f ul
, . T h e fi rs t c om e s b y c a re ; t h e s e co n d b y o b s e rva t i o n : a n d th e
.
.

th i rd b y s k i l l f ul p ra c t i c e
,
. Us e a rm m o ve m e n t a s a b as i s o f e x e c uti o n a s i t i s t h e s e c re t a n d s o urc e o f g ra c e f ul e a s y ,
Wa tc h s pa c i n g b e t we e n l e tters a n d w o rd s a n d k e e p m a rgi n s s tra i gh t
,

ra p i d, s uc c e s s f ul w ri t i n g
.
, .

One of many forms o f closing a l etter . Be f

c are ul in all f your writing
o . Us e arm movement . Practice exerc ises often .

I N ST R U CT I O N S FOR PR A CT I CE .

I t h a s b e e n s a i d th a t o rd e r i s He av e n ’s fi rs t l a w I f th i s b e s o w e h a v e o n e g oo d re a s o n to b e l i e ve th a t o rd er
.
,

i n w ri t i n g i s a v i rtue n o t to b e i g nore d We d o k no w , h o w e v e r t h a t s y s te m i s t h e fi rs t l a w o f d o i n g a n d re c o rd i n g
.
,

b us i n e s s a s i t i s d o ne to d a y . Yo u w i l l t h e re fo re d o w e l l t o b e gi n no w to f o rm h a b i ts th a t are s y s te m a t i c Wri ti n g i s .

s uc c e e d"T
a n e x c e l l e n t a rt to d i s l a
p y s u c h a b i l i ty I t p l e a s e s th e b us i n es s m a n to s e e a n o rd e rl y h a nd w ri t i ng
.

h e n l ea rn to b e s y s te m a t i c i n y o ur w ri t i n g .
Do yo u w i s h to .

96
 i NST RUCT I ONS FOR PR A CT I CE .

Le tte r w riti ng i s a n a rt n o o n e s ho ul d b e i gn o ra n t of Mo re l e tte rs a re w ri tte n to d a y t h a n e ve r i n th e w o rl d s

’
.

h i s to ry . Le tte rs a re o f m o re i m po rta n c e th a n t h e y h a ve e ve r b e e n c o n ta i n i n g a s th e y d o m o re i m po rtan t o rd e rs fo r

,

g oo d s m ore e x p l i c i t i n s truc t i o n s fo r va ri ous l i n e s o f e n d e a v o r i n a rt i n s c i e nc e i n c o m m e rc e a n d i n m a tt e rs pe rta i n

, , . ,

i n g to p ea c e a n d w a r . Yo u w i ll th e re fo re m a k e no m i s ta k e b y s tud y i ng t h e a rt o f w ri t i n g l e tte rs T h e fi rs t re q ui s i t e
.

i n l e t te r w ri t i n g i s to s a y e x a c t l y w h a t y ou w i s h a n d i n go o d E n g l i s h
, T h e s e c o n d re q u i s i te i s g ood form w h i c h i n
.

vo l ve s a rra n g e m e n t a n d p e n m a n s h i p .

T o s e c ure g oo d a rra n g e m e nt a n d goo d w ri ti n g yo u m us t s t ud y s pac es a n d us e a f ree m ov e m e n t

, .

Study arrangement . Note p unctuation , c apitaliz ation, and abbreviation . Us e a f

ree a r m move ment at all times .

I N ST R UCT I ON S FOR PR A CT I C E .

Al l c a p i ta l s s h oul d b e th e s a m e i n h e i gh t Al l l oo p l e tte rs s h o ul d b e un i form i n s l a nt

. Th e m i n i m um l e tte rs
.

s h oul d b e re gul a r i n s i z e . T h i n k o f t h e pri n c i pl e s c o n ta i n e d i n e a c h l e t te r a s y o u a re a b out to e x e c ute i t Wa t c h .

s p a c i n g b e tw e e n l e tte rs a n d w o rd s Be c a re ful to m a k e a d i s ti n c t i o n b e t wee n c o m m a s a n d p e ri o d s

. See h o w n e a tl y .

a n d h o w ord e rl y y o u c a n w ri te t h e b e gi n n i n g o f t h e a c c o m pa n y i n g l ett e r .

A common Form of Receipt . Study its arrangement. Punctuate care fully . Use arm
°
movement . Watch spacing between letters and words .

/z ,
/ 7 04

98
 Common Form of Note . Us e the eye and e xercise the judgment in s uch writing . Be f
ca re ul and s ure , yet f
ree in execution.

é
-
/a
4/ / 7 a .

A Due Bi l . There are many kinds . Learn to write this one well . Use a grace/id movrment . Practice upon exercises .

99
 A Simpl e Form of Account . Learn to rule neatly and acc uratel
y . Make all figures p lain . Use an easy movement at all times .

Common For m of Chec k . Note difi erence in s iz e of

’

scr ipt . See h0

' "W "
ec ute it . Pe rs eve re .

4/ 72 / m 3
/ 7 ef

I N ST R UCT I ON S FOR PR A CT I CE .

R e v i e w e x e rci s e s f re q ue n tl y T h e y m a k e w ri ti n g b e tt e r a n d e a s i e r Watc h d e ta i l s H av e s o m eo ne cri ti c i s e

i
.
. .

y o ur p e n m ans h i p . Oth e rs w i l l s e e fa ul ts w h i c h e s c a pe y o u E x e rc i s e c a re a t a l l t i m e s N e v e r s c r bb l e A l w a ys d o
yo ur b e s t Wri t i n g i s too va l ua b l e a n a rt to b e n e g l e c t f ul o f
. . .

.
. I t i s a l w a y s s p ea k i n g f o r o r a ga i ns t yo u Mak e i t o f
.

s uc h c h a ra c te r t h a t i t w i l l a l wa y s be for a n d no t a g a i ns t
y ou .

1 00
 PR ACT I CA L MA R K I N G A LPHA BET .

T h i s i s th e o l d e ve r n e w v a l ua b l e a va i l a b l e s t y l e o f l e tte ri n g t h a t i s a t o nc e e a s y a rti s t i c a n d p ra c ti c a l Pe rh a ps
,
-
, , , , .

n o o th e r s ty l e o f l e t te r e m b o d i e s i n a s l a rg e a m e a s ure a l l o f t h e s e q ua l i t i e s .

T h e s e c re t o f i ts tri n i ty o f va l ue s l i e s i n th e f a c t th a t t h e s tro k e s a re s i m i l a r i n c on s truc ti o n un i fo rm i n s l a n t a n d , ,

g en tl y c urve d w th a s w e l l s h a d e T h e c o m po un d c urve o r l i n e o f b e a uty re c urri n g s o o f te n a d d s to i ts rh y th m i c

.
,

g ra c e f ul fi n e a rt q ua l i ti e s
,
.

T o m a k e i t h o l d th e p a p e r s tra i g ht w i t h th e d e s k l et th e h ol d e r po i n t to w a rd th e e l bo w a n d us e a fl e x i b l e pe n
, , ,

s uc h a s t h e Z a n e ri a n Fi n e Wri te r .

Pra c t i c e upo n th e p ri n c i pl e s a t th e b o tto m o f th e pl a te n e x t up o n th e s m a l l l e tte rs th e n upo n th e c a p i ta l s a n d

, , ,

l a s t t h e fig ure s a s t h e y a re th e mo s t d ifli c ul t
,
.

Us e a s te a d y s ure c o m b i ne d m o ve m e n t a i m i n g to s e c ure a g ra c e ful i n c rea s i n g a n d d i m i n i s h i n g s h a de w i th th e

, , ,

h ea v i e s t pa rt n e a r t h e c e n te r .

Be p a t i e n t o b s e rva n t c ri t i c a l a n d p e rs e v e ri n g a n d a s ucc e s s ful s ty l e of l e tteri n g i s y ours

, , , ,

ECLECT I C T EXT .

T h i s is a c o m p o s i te a l p h a b e t, h a vi n g b e e n m a d e u p o f t h e p ri n c i p l e s o f a n u m b e r of st a n d ard fo rm s . Stud y c a re
f ul l y t h e p ro p o rt i o n a n d s h a p e o f l e tte rs a s w e l l a s t h e s p a c i n g i n a n d b e tw e e n l e tte rs
. .

Us e a b ro a d p o i n t e d p e n F Soe n n e c k e r is b e s t a n d h o l d th e p e n m o re n e a rl y ve rt i c a l th a n i n w ri t i n g K e e p th e
-
, .
,
.

e d g e o f t h e p o i n t a t a n a n g l e o f fo rt y fi v e d e g re e s t h rough o ut th e w o rk
-
.

Di p i n k s p a ri n g l y c a re ful l y a n d f re q ue n tl y
, , Wa tc h s pa c i n g Us e a p e n c i l h e a d a n d b a s e l i n e for th e s m a l l
. .

l e tte rs w h i c h m a y b e e ra s e d a f te r l e tte ri n g i s c o m p l e te Ma k e th e l e f t s i d e o f l e tte rs fi rs t a n d t h e n th e ri gh t s i d e

, .
.

St ud y c a re f ul l y t h e t urn s a t t h e to p a n d b o tto m o f l e tte rs .

Us e a s l o w fi rm s ure c o m b i n e d m o v e m en t i n e x e c ut i n g t h i s k i n d o f l e tte rs Spe e d i s n ot so e s s en ti al as a c c ura c y

, ,
.

T h e l i ttl e fi n g e r a n d 1 i g h t s i d e o f p a l m o f h a n d s h o ul d re s t fi rm l y upo n th e p a p e r .

Un i fo rm i ty i n h e i gh t w i d th s p a c i n g a n d th i c k n e s s of s tro k e i s e s s e n t i a l
. .

Be p a t i e n t o b s e rv a n t a n d c a re ful a n d yo u w i l l w i n a g oo d b a n d a t l e tte ri n g
, , , .

1 02
 3 ms t 7 /7 a

FI N E A R T PE N MA N SH I P AND HOW TO A CQ U I R E I T .

Th e fo rm s g i ven h ere w i t h a re th e s a m e a s gi v e n i n t h e p rec e d i ng p a g e s w i t h s l i gh t m o d i fi c a tions i n con s truc tion

a n d q ua l i ty o f l i n e

see m
.

w h a t a b i g d i ff e re n c e a l i tt l e s h a d e p ro p e rl y m a d e m a k e s i n th e g e n e ra l a ppea ra nce
s h e re to b e t h e d o m i n a n t f c tor h
a , e n c e th e te rm fi n e a rt,
" a s a pp l i e d.
"
T h e form s h a v e b e e n b e a ut i fi e d b y th e a d d i t i o n of s h a d e a n d a n o cc as i o n a l gra c e f ul l i n e . And
B e a uty ra th er th a n b us i n e s s
’
T o a c q ui re a n d e x e c ut e s ucce s s f ul l y t h i s p e rf e c te d a n d b e a ut ifi e d h a n d use A rn ol d s Ja pa n or d i l uted I n d i a i nk
, ,

fi ne fl e x i b l e pe n s good p a pe r a n d a p ro p e rl y a d j us t e d o b l i q ue p e n h o l d e r
, , , .

Us e a b out t h e s am e m o ve m en t a s h e re to fo re p re s c ri b e d b ut l e s s s p ee d e s p e c i a l l y i n th e s m a l l l e tte rs
, . . Ra i s e
th e p e n o f te n e r a n d p a us e l o n g e r w h e n i t i s o ff th e p a p er, th a n i n t h e b us i n e s s s t y l e R eto uc h th e t, d , a n d p, a n d
‘

, .

ra i se th e p e n i n B, M, N , P, R , a n d W , a l so i n j o i n i n g to s uc h l e tte rs a s a , c , a n d o .T h e p e n m a y a l s o b e ra i s e d i n L
a n d 2 a f t e r m a k i n g th e s h a d e
.

Ho w g ra c e ful h o w ac c urate a n d h o w b e a ut i ful s h oul d b e yo ur ai m ra th e r t h a n h ow ra pi d a n d l egibl e a s i n th e

, , ,

b us i n e s s
.

See h o w un i form l y th e c a p i ta l s h av e b e e n s pa c e d i n t h e n a m e s a n d co m b i n a ti on s Stud y e ffec t o f l i gh t a n d

.

s h a d e a i m i n g to h a ve h a i r l i ne s a n d s h a d es a l t e rn a te a s o f t e n a s po s s i b l e
.
.

T h e s h a d e s o n th e c a p i ta l s i n d e e d th e l e tte rs th e m s e l ves n e e d to b e m a d e q ui te q ui c kl y ; s n a p pe d o ff as i t w e re
, , .

Dash a n d d a i nti ness are two e ss e nt i a l s i n t h i s w ork Do a n d d a re a n d you w i l l w i n

. .
 COMME R CI A L OR COPPE R PLA T E SCR I PT -
.

T h is i s a noth er m o d i fi catio n of th e s ty l e o f w ri t i n g gi ve n h e re to fo re i n th i s c o m pe nd i um The c h i e f c h a n ge i n

.

th i s s ty l e h a s b e e n b ro ugh t a bo ut b y h e a v i l y s h a d i n g t h e d o w n s tro k e s .

Fo r th i s k i n d of w ri t i n g o n e n e e d s a fi n e fl e x i bl e p en a n o b l i q ue hol d e r d i l uted I n d ia i n k a n d fi rm h i gh g ra d e
, , , , ,
-

pa p er .

T o e x e c ute t h e s e s tro n g s m oo th l o n g s h a d es o n e n ee d s to go m uc h m ore s l ow l y th a n i n th e p re vious s ty l e a nd

, , ,
,

m o re fi n g e r a c t i o n i s n e c e s s a ry
. Th e l i tt l e fi n g e r s h o u l d n o t s l i p for s uc h w o rk , b ut s h oul d s e rve a s th e c e n te r o f
c o n t ro l . I n f a c t , th i s re p re s e nts d ra w i n g ra t h e r t h a n w ri t i n g a s n o ne o f th e w o rk i s d o n e o ff h a n d a n d th e p e n i s
,
-

ra i s e d a fte r e v e ry s h a d e d s t ro k e i n t h e s m a l l l e tte rs B o t h s i d e s o f th e l o op i n I , e tc a re m a d e d o w n w a rd a n d th e
. .
,

n r s ty l e
up l i n e s i n n, m , e tc a re no t a s s l a n t i n g a s i n t e o d i a y
.
h r .

G re a t c a re a n d s ure n e s s are th e f o rc e s w h i c h p l o d d i n g l y p ro d uc e t h i s h a n d . I t i s us e d i n e n g ros s i ng re so l ut i o n s

,

m em ori a l s fa m il y re co rd s , d i p l o m a s , e tc a n d i s q ui te va l ua bl e a n d c o m para ti v el y ea s i l y a c q ui re d
’

.
,
 T h e pro gre s s o f e ve n ts b y 1 8 5 0 w e re p re g na n t w i th f ree d o m no t o n l y f re e d o m fo r th e b l a c k m a n , b ut fo r th e
'

w h i te m a n s h a n d w ri t i n g, as i t wa s s ti l l s o m e w ha t l ab ore d a n d s l o w T h e Se m i a n g ula r o r Spe n ce ri a n s tyl e w as c re a te d

’
- '
.

to s e rv e t h e d o ub l e s t a n da rd o f b e a uty a n d b us i n e ss , w h i c h i t un q ue s t i o n ab l y d i d a s w el l a s o n e se rv a nt can s e rve

two m a s te rs .

Th e l a s t d e c a d e o f th e n i n e te e n th c e n tury s a w th e Sp ence ri a n m e rge g ra d ua l l y i nto a s l i gh tl y s m a l l e r, m o re s l ant

i ng a n d runn i n g a s w e l l a s s o m e w h a t s w i f te r h a n d
v
, I ts l o n g l oo ps we re d i ffi c ul t a n d
. c um b ers o m e a nd i ts angul a r
turn s s o m e w h a t il l e gi b l e , b ut i t w a s a s te p i n a d van c e o f i ts pre d e c e s so rs .

T h e te ac h i n g o f w ri ti ng to c h i l d re n n e c e s s i tate d s o m et h i ng s i m pl e an d pl a i n . Th e v e rti c al
,
m e t th a t d e m a n d ,

b ut f a i l e d to s ati s f y o r m e e t th e d e m a n d s of bus i n e ss . I t w as s ui t e d to c h i l d h oo d ra t h e r th a n to co m m e rc e and ,

t h e re b y fai l e d i n ge n e ra l us a g e a t th e h an d s o f a d ul ts .

I W4 I I0
C

To d a y th e w orl d d e m an d s w ri ti n g th at i s p l a i n ra p i d an d e a s y
, I t m us t b e e as y to l ea rn e as y to w ri te a nd
, . , ,

e a s y to re a d To b e al l o f t h e s e i t m us t b e s i m pl e a n d s e m i ro un d a s wel l a s s e m i s l a n t i n g
.
,
-
I t m us t a l so b e ra pi d -
.

a n d ca pa b l e o f b e i n g w ri tte n wi t h t h e a rm m o ve m e n t i n s te a d of th e fi nge rs Suc h i s th e fo l l o w i n g : .

As w i l l b e see n b y a gl a n c e a t th e fore go i ng h i s to ri c s ty l e s w h e n e ve r the w o rl d d e ma n d e d f a s te r w ri t i n g th e

,

form s w e re c h a n g e d to a d m i t o f f ree d o m an d s pe e d Th e y di d no t a d d m o re s p e e d to th e o l d h a n d s b ut m o d i fi e d
. ,

th e st y l e so as to a l l o w s pee d to b e a pp l i e d w i th o ut d e s troy i n g th e f orm Jus t a s i n s ai l i n g th e s e as

. Fo r a w h i l e th e .

s a i l s s u ffi c e d b ut th e t i m e c a m e w h e n m ore s a i l s b e c a m e b urd e nso m e a n d t h e n th e y w e re a b a n d on e d a n d a n e w s h i p

,

w a s i n v e n te d So i t w a s o n l an d
. . T h e s ta g e c oa c h a n d rel a y o f h o rs e s d i d fo r a t i m e b ut e ve nt ua l l y n e w co a c h es ,

a n d n e w fo rc e s re p l a c e d t h e o l d I t i s th e o l d ol d s tory o f n e c e s s i ty b e i n g th e m o th e r o f i nve nt i o n
“
.
.
,

A g l a n c e a t th e va ri o us s ty l e s a n d d at e s d e m o ns tra te s t h a t th e re h a s b e e n p ro gre ss i n th e a rt o f w ri ti ng m o re a n d
m ore ra p i d l y . No t m ore pl a i n l y b ut m o re s p e e d i l y. Th i s p ro g re s s w i l l do ubtl e ss co n ti nue Ch a n g e i s th e l a w o f .

g ro w th i n th e W( rl d o f a rt a n d w ri ti n g i s n o e x c e pti o n to th e rul e
, .

T od a y th e v mrl d d e m a n d s p l a i n ra p i d w ri ti n g
, T h e h an d c o m b i n i n g p l a i n n e s s a n d e a s e of e x e cuti on i n th e
.

h i gh e st d e g ree i s th e o n e to a do pt a n d t e a c h . Suc h i s th e l a s t o ne i l l us tra te d a s n e arl y a s w e c a n now po rt ra y i t ,

a n d s uc h is th e w ork i n th i s m a nua l .

10
63
 TH E PH Y S I O L O G Y OF TH E A RM
'

OR T H E

ST U DY OF T H E MA C H I N E RY OF WRIT I NG .

N OT E — T hi s c h a pt e r is i nt e nd e d f or prof e s s i o n a l pe n m e n, a n d fo r t h os e w h o w i s h t o p re p a re a s s uc h T he w o rk .

is t e c h ni c a l a nd t e d i o us , b ut i m b e d d e d t h e re i n a re f a c t s w h i c h t e a c h e rs w h o as p i re t o o r p ro f e s s t o be p ro f es s i o na l s
s h o uld k now .

T H E BON ES .

Co m pos i t i o n : A n i m al T h e f orm e r
an d Mi n eral m a tt er . Ul na : Jo i n s i n te rn al c o n d yl e— a rt i c ul a te s l ik e h i n geh
p re d o m i n at es i n yo uth ; th e l a tte r i n o l d a ge , . ro t a t e s wr st
a g a i n s t ra d i us a t i .

Func t i o n : Sup port t o t h e b o d y a s a f ra m e w o rk , -

Fu nc t i o ns : T o m o v e e l b o w l i ke h i n g e ; to turn
a nd to s erve a s l e ve rs to pro d uce a n d i n c re a s e or tw i s t : th e form e r to e a t t h e l a tte r to fa n , .

m oti o n
H L HAN D
.

T HE S OU D E R . T HE .

Cl av i c l e —
c o l l ar b on e : Sh a p e of i ta l i c s, j oi ns s te rn um Wri s t .

an d a c ro m i o n h i gh e s t p o i n t proce ss of th e
Ca rpa l : 1 n n um b e r ;

"
E 1 gh t ro w s o f

"
tw ofo ur e a c h ; up
s c a p ul a .

p er s c a p h o i d s e m i l un ar c un e i fo rm a n d p i s i form ;
-

Sc a p u l a s h o ul d e r b l a d e : Fl a t l i k e t ro w e l o r s p a d e

"
, , , ,
—

l ow er t ra p e zi um ( m a j or t ra p e z i um ( m i nor
.
,

G l e no i d c a v i ty s oc k e t fo r h um erus , a c ro m i o n a n d
, , ,

’
,
m a gn um un c i f o rm
cora c o i d ( c ro w s be a k
, .

p ro c e s s e s .

Fun c t i o n ; to o p e ra te th e w ri s t i n al l d i re c t i o n s
Func t i o n : T o m ov e s h o ul d e r, a n d a tta c h m us c l e s
.

"
th ereto
Pa l m
.

U PPE R A RM
.

Hum e rus : C a p ut h um e ri h e a d Ex tern al a n d i nte rna l

—
. Me t ac a rpa l : Fi ve i n n um b e r ( on e t h um b , fo ur fi n ge r .

con d y l e ; Form e r j o i n s w i th ra d i us ; l a tte r, w i t h Func t i o n ; to m o ve th e h a n d —

to p arti a l l y c l o s e i t,
ul n a . a n d to o p e n i t .

Func t i o n : T o m o ve a rm i n al l d i re c t i o n s .

A RM F O RE - .
F i nge rs .

R a d i us : Jo i n s e x te rn a l c o n d y l e rota te s a g ai n s t ul n a —
Ph a l a nge s : Fo urtee n i n n um b er .

i t p ron a t e s o r t urn s p a l m d o w n a n d i t s up i n a tes , l s t p h a l a n g es fi v e i n n um b e r

, .

o r turn s b a c k o f h a n d d o w n A rti cul ate s w i th . 2 md p h a l a n g e s fi v e i n n um b e r

, .

s c a p h o i d a n d s e m i l una r b o ne s o f t h e w ri s t
-
b ack —
La s t p h a l a n g e s f o ur i n n um b e r
, .

o f t h um b . Func t i o n ; o p e n a n d c l os e th e h a nd .

1 07
 MUSCL ES .

S H OU L D E R . T i
r c e ps b ra c h i i :T h re e h e a d ed m us c l e s i tua ted b ac k
-

o f h um e ru s b e t we e n s h o ul d e r a n d e l b o w .

T h e m us c l e s a re fi rs t n a m e d Th e i r h e a d o r o ri gi n
Ori gi n ; b y i t s m i d d l e o r l o n g h e a d b e l o w g l e no i d
.

i s th e n d e s c ri b e d a n d t h e i r o ute r e x t re m i t y e nd , or ,
,
c a v i ty ; b y i ts out e r h e a d t o t h e o ute r e d g e o f
.

i ns e rt i o n i s t h e n l oc a te d
h um e rus ; a n d b y i ts i nn e r h e a d to i nn e r e d ge of
.

h um e rus

"
Pe c to ra l i s m a j o r: B ro a d fl a t m us c l e s i tua te d i mm e
.

d i atel y b e n e a th s k i n of b re a s t .
I ns e rt i o n ; o l e c ra no n p ro c e s s o f ul n a a t el bo w :
c ra z y b o ne ( s top s e x te n d i n g fore a rm -
.

Ori gi n ; c l a v i c l e , s t e rn um , a n d ri b s
Fu nc t i o n ; e x te n d s f ore a rm
.

In
.

s e rt o n ;i a n te ri o r l i p o f th e b i c i p i ta l g ro ve of
Bra c h i a l i s a nt i c us : A b roa d fl a t m us c l e b e n eath a nd
th e h um e rus a b o ut t w o i n c h e s b e l o w t h e h ea d
,
.

o n e i th e r s i d e o f b i c e p s m usc l e
,
.

Fu nc t i o n ; d ra w s a rm forw a rd a c ro ss th e b reas t, Ori gi n ; l ow e r h a l f i n n e r h um e rus an d a d j ace nt

and ro ta t e s it s l i gh tl y i n w a rd .
m us c ul a r t i s s ue .

B roa d , tri a n g ul ar m us c l e o f th e I ns e rt i o n ; c o ron o i d p ro c e s s o f ul n a w h i c h s to p s

La t i s s i m us d o rs i :
b a c k c o ve ri n g l o w e r p art o f s h oul d e r b l a d e .
b en d i n g o f f o re a rm -
.

Fu n c t i o n ; fl e x e s fore a rm i n -
c o nn e c ti o n w i th
Ori gi n ; s p i n o us p roc e s s e s , l o we r r ibs e tc
b i c e ps
, .

I ns e rt i o n ; b o tto m b i c i p i ta l g rov e of h um e rus ,

A nc o ne us : B e tw ee n oute r c on d y l e a n d o l ec ra no n
tw o i nc h e s f ro m h e a d
.

a b o ut .

Ori gi n ; e x te rna l c o n d y l e o f h um e rus .

Fun c t i o n ; d ra w s a rm b a c k w a rd an d rota tes it

I ns e rt i o n ; oute r s i d e ol e c ra no n a n d tri a n gul a r
s l i gh t l y i n w a rd
s urf a c e o f ul n a
.

T h e Pe c to ra l i s m a j o r a n d La t i s s i m us d o rs i a re
th e l a rg e s t m us c l e s us e d i n w ri t i n g T h e y m o ve .

th e fo re a rm i n a n d o ut t h e s l e e v e w h e n t h e a rm
-
BACK V I EW OF RI GHT ARM
re s ts a t t h e e l b o w h e y a re t h e s e a t o f t h e a rm
”
. T
or s o c a l l e d
-
m u s c ul a r m o ve m e n t as w e l l as o f ,

t h e w h ol e a rm m o ve m e n t
-
.

De lt o i d : Th e s h oul d e r c a p -
m usc l e .

Ori gi n ; s p i n o u s p ro c e s s o f s c a p ul a , ac ro m i o n , a n d

o ut e r t h i rd o f c l a vi c l e .

FRON
TVE I
WOFRGHT ARM I
I ns e
.

rt o n ;i d el to i d i m pre s s i o n j us t . a bo ve th e m i d
dle of th e o ute r s h a f t o f h u m e ru s .

Fun c t i o n ; ra i s e s th e a rm f ro m t h e s i d e to a h ori
z o n ta l p os i t i o n T h i s i s t h e s e a t o f w h o l e arm
.
-

m o v e m en t T h i s m us c l e s us p e n d s t h e e l bo w
.

w h i l e t h e p e c to ra l i s m a j or a n d l a t i s s i m us d o rs i
m us c l es p ro p e l t h e a rm i n w ri t i n g Re s t i n g th e
A A N
.

a rm o n th e ta b l e re l a x e s t h e d e l to i d m us c l e ACKW RD Q TERES MAJ OR ROT TES AR”I WARDAN

B DDRAV SARI I BA( KWARO E TERESHI N
A
'
’ ' ‘
. . .
.
,

R ROTATES ARH OUTW RDANDDRAWSARM

z

0
_
. FLE XES FORE ARMANDSUP ‘

U PPE R A R M .

Bi c e ps b ra c h i i : T w o h e a d e d m us c l e i n fro n t o f h um e rus
-
.

Ori g i n ; b y i ts i nn e r o r s h o rt h e a d to t h e a p e x ,

o f th e c o ra c o i d p roc e s s ; b y i t s o ut e r o r l o n g e r
h e a d to t h e u ppe r p a rt o f g l e n o i d c a v i ty o v er
h e a d o f h um e rus d escend i ng al o ng ,b i c i p i ta l
g roo v e T h e t w o un i te a n d fo rm fl e s h y p art
. .

I
ns e rt i o n ; b i c i p i t a l t ub e ro s i t y o f t h e ra d i us ; a l s o
w i n d s a b out b e t w e e n ul n a a n d ra d i us
N "N N A
.

Fu n c t i o n ; fl e x e s f o re a rm a n d turn s o r ro l l s i t -
é
'
ANNULA R LI GA MEET HOLDS DOW . ANDPROTECT TE DO S OF FORE RM AND HAND
'

out w a rd .

1 0
 A P PL I E D PH Y S I O L O G Y
A K now l e d ge b o ne s a n d m us c l e s i s o f va l ue to th e
of h and Th e l on g e r th e l e ve r th e m ore unc o n tro l
.
.

p e n m a n a n d t e a c h e r, i n a s m uc h a s i t e n a bl e s th e m a b l e a n d t h e l a rg e r t h e m us c l e t h e m o re un m a n
, ,

to w e i gh m e a s ure , a n d d e te rm i n e e ffo rt i n l ea rn
, a g ea bl e as c o n c e rn s
, th e e x e c uti o n o f s m a l l
i ng a n d i n d o i n g . fo rm s .

T h e Att a c h m e nt o f m us c l e s to b o n e s i s o f s uc h c h ara c te r Arm Mo v e m e nt i n w ri t i n g i s th e re f o re m o re d i ffi c ul t to

a s to m ul t i p l y m o t i o n m a ny t i m e s t h e re b y re , c o nt ro l th a n fi n g e r m o ve m e n t b e c a s s e t h e l e v e rs.

d uc i ng m us c ul a r a c t i v i ty to th e m i n i m um . a re l o n g e r a n d t h e m us c l e s l a rg e r Fi n g e r m o v e .

T h e p ri n c i p l e of a n i m a l m e c h an i c s i s t h us d i s c l o s e d an d m e nt i s m ore t i ri n g t h a n a rm m o ve m e nt b e ca us e ,

to be b a s i c p ri n c i p l e
th e of th i s a c t i v i ty , an d T h e Fu nc t i o ns o f t h e a rm m us c l e s a n d l e ve rs i n w ri ti n g
co m pa ri s o n w i th i ts th re e d i v i s i o n s , th epow e r , a re to c re ate s uffi c i e n t q ua n t i ty o f m o t i o n to m a k e
th e f ul c rum a n d th e w e i gh t s e e m a pp ro p ri a te h e re . i t e a s y to p ro pe l t h e p e n a n d o f t h e h a nd a n d ,

T he Pow e r i s b y th e a ttac h m en t of th e
re p re se n te d fi ngers to s e c ure q ual i ty , an d c on trol to m a k e it
m us c l e a t i ts h e a d or o ri gi n b y m ea n s o f te n d o n s a °
y to m a n a g e
“
.

to b on e s l i g a m e n ts o r o th e r m us c l e s a n d b y i ts
, , ,
In w ri t i n g a nd in s i m i l a r a rts ,
i s m ul ti r d "
co n tra c t i n g q ua l i t i es
, .

H fi rm
a c o n s e rva t i ve a ve ra g e o f a b o ut e i g
.

T h e Ful c rum i s re pre s e nt e d b y th e j o i n ts b e c a us e t h e y , i s to s a y , i f th e m us c l e p ro d uc i ng

s e rve a s t h e c en t e r o f a c t i v i ty Th e m us c l e b e i n g m o ve s o ne i n c h t h e e x tre m i ty 01 i n

i
.

i n s e rte d i n to th e b o n e n e a r th e f ul c rum a s i s m e m be r a c te d upo n w o u l d m o ve e i gh t n c h e s

"
, Or .

c us to m a ry th e re s ul ta n t m o t i o n p ro d uc e d a t th e
, to re ve rs e t h e p ro bl e m ( for i t i s a poor rul e t h a t
e x tre m i ty o f th e l e ve r i s m uc h g re a te r t h a n a t w i l l n o t w o rk b o t h w a y s i f a l e tte r w e re m a d e
,

th e f ul c rum .
o n e i n c h h i gh t h e m us c ul a r c o n t ra c t i o n o r ex p an
,

T he We i gh t is b y th e h a n d i n w ri ti n g a n d
re p re s e n te d s i o n w o ul d b e b ut a b o ut o n e e i gh t h a s g rea t .

b y t h e pe n w h i c h i t h o l d s a n d w i e l d s T h e w e i gh t
T he i
ra t o b e t w e e n m us c ul a r c o n trac t i o n o n th e i n s i d e
.

i n t h i s c l a s s o f l e v e rs i s m uc h l i gh t e r t h a n th e
and re sul t i n g ou t w a rd m o t i o n v a ri e s w i th t h e
po w e r b ut m o t i o n i s m uc h g rea te r i n v o l um e
,
.

m e m b e rs e m pl o y e d a n d a rt p e rfo rm e d T h us t h e .

T h e Ob j e c t i n a n i m a l m e c h a n i c s i s s i m i l a r to th e c ra n e l e v e rs o f t h e fi n g e rs b e i n g c o m pa ra t i v e l y s h ort ,

i n p ri n c i p l e o f l e v e ra g e to m ul t i p l y m o t i o n
—

t h e y m us t a c t r e l a t i v e l y m o re th an th e l e v e rs of
ra th e r t h a n to m ul t i p l y p o w e r a s i n t h e c o m m o n , th e a rm As m uc h m ore a s t h e y a re s h orte r Or
. .

l e ve r . Stre n g th i n th e fo rm o f l a rg e s tro n g , to re v e rs e t h e p ro p o s i t i o n a g a i n th e l ev e rs of th e ,

m us c l e s i s ut i l i z e d to p ro d uc e a va s t n um b e r o f a rm b e i n g l o n g e r t h an t h o s e o f t h e fi n g e rs and ,

sm a l l ra p i d m o t i o n s
,
.
fa rth e r re m o v e d f ro m th e p e n w i l l i n p ro d uc i n g , ,

Sk i l l i s th e re s ul t of th i s s av i n g o f e ff o rt o n th e o n e a gi ve n fo rm m o v e o r a c t a s m uc h l e s s t h a n th e
,

hand a nd m ul t i p l i c a t i o n o f m o t i o n o n th e o th e r fi n g e rs a s t h e y a re l o n g e r .

1 10
N a t ure th us e con o m i z es e ffo rt
b y us i n g s tre n g th to s e Mo v e m e nt is d i ffi c ul t to a c q u i re b e c a use
re l a t i ve l y

c ure a ct i v i ty By a c o m pa ra t i v e l y s m a l l m us c ul a r th e l e ve rs a re c o m p a ra t i v e l y l o n g a n d th e po w e r

"
.

c o n tra ct i o n a l a rg e o ut w a rd m o ve m e nt i s p ro fa r re m o ve d f ro m th e w e i gh t th e c o n tra c t i o n of —

d uc e d I t i s t h e re b y a n e x c h a n g e o f s tre n g t h for
. m us c l e ( th e so urc e o f m o t i o n s o m e w h a t d i s ta n t
v o l um e I p re s um e t h a t w h e n w e a c tua l l y tra v e l
. f ro m t h e p e n Th e m a n a ge m e n t o f t h e pe n t h e re b y
.

o v e r e i gh t m i l e s o f s p a c e w i t h o ur f ee t, w e tra ve l b eco m es grea te r th a n th e m o ve m e nt or p ro pul s i o n

b ut o n e m i l e i n m us c ul a r c o nt ra ct i o n .
o f th e s a m e T h e re a so n b e c o m e s a pp a re n t w h e n
.

you e n d eavor to w ri te o n th e b l a c k board w i t h t h e

~
w e v e r i s of a tw o fo l d n a tu re i t i s p ut fo rth - —

c ra y on a tt a c h e d to th e e n d o f a y a rd s t i c k
,
or -

to c re a t e m o t i o n a n d i t i s put f o rt h to c o nt ro l
,

w h e n y ou a tte m pt to w ri te w i t h p en o r p e n c i l b y
m o ti o n So m e art s re q ui re m ore e ff ort to c reate
h ol d i n g i t fo ur o r fi ve i nc h e s f ro m th e po i n t
.

w h i l e ot h e r a rts re q ui re m o re e ff ort to c o ntro l

.

L a rg e a rts , s uc h a s w a l k i n g c h o p p i n g s wee p i n g
re q ui re m o re c re a t i v e t h a n
, , ,
Co m b ine d Mov e m e nt or c c -o pe ra t i on s ee m s m ost
s a w i n g p o un d i n g e t c
ra t i on a l l o gi c al an d n a tura l i n a s m uc h a s t h e
. .
, ,

contro l l i n g e ff o rt T h i s i s d ue to th e f a c t t h a t m uc h
, ,

l a rg e r m e m b e rs m a y s e rve i n th e l arger f o rm s an d
.

s t ren gt h a s w e l l as m uc h m o ti o n i s d e m a n d e d b o th ,
th e s m a l l e r m e m b e rs i n th e s m a l l er f orm s T h en
q ua n t i ta t i v e c h a rac te r ; th e m a x i m u m o f
.
,
of a
too t h e fi n g e rs ca n as s i s t th e a rm i n t h o s e fo rm s
,
s t re n gth an d a c t i v i ty
i t f a i l s to p e rfo rm a d va n ta g e o us l y w h i l e th e a rm
.

Sm a l l a rts s u c h a s w ri ti n g, w a tc h m a k i n g eu
,
-
, ,
i n re turn c a n a s s i s t th e fi n g e rs i n t h o s e l e tte rs
g rav i n g e m b ro i d e ry e t c re q u i re m ore c o n trol l i n g
, ,
t h e y f a i l to p ro d uc e e a s i l y or q ui c kl y e no ugh
.
,

t h a n c re atun g e ffo rt
.

Th i s i s d ue to t h e f a c t t h a t
.

q ua l i ty o f m o t i on i s d em a n d e d ra t h e r t h a n q ua n
t i ty . T h e e ffo rt i s e x p e n d e d i n m a n a gi n g i n The Fi n ge rs a re so c o n s tru c te d as to c o n trac t m o re
,

l i m i t i n g a n d i n re d uc i n g a c t i v i ty
, .
e asi l y and po w erf ul l y t h a n t h e y e x ten d . Th ei r
c h i e f f un c t i o n i s to gri p a n d n o t to o p e n a n d c l o s e
T h e Art of W ri t i n g bein g o n e o f o ur s m al l e s t a n d s w i ft -
to h o l d th e i m pl e m e nt w h i l e th e a rm p e rfo rm s
es t a rt s , is th e m os t d i ffi c ul t
c o n s e q ue n tl y o n e o f
th e l a b o r T h i s , a l so e x pl a i n s w h y fi n ge r m ove
to a c q u i re a n d p e rfo rm
.
,
T o s e c ure s p ee d th e
m ent i s m ore t i ri n g t h an a rm m ov e m en t
.
,

a rm ra t h e r t h a n t h e fi n g e rs m us t b e e m p l oy e d
.

a n d to s e c ure l e gi b i l i ty , e i t h e r th e fi n g e rs m us t
El b ow i s th e c e n te r o f a c t i v i ty fo r n e a rl y a l l p e r

"
a s s i s t , o r t h e m us c l e s o f t h e a rm b e t ra i n e d to ac t
form a n c e s of th e h an d a n d a rm I t be i ng m i d wa y

"
m i n ute l y a n d o rd e rl y e n ough to p ro d uc e goo d
.

b etw e e n th e La n d ( t h e s m a l l e s t a n d th e s h o ul d e r
w ri t i n g a s w e l l a s ra p i d w ri t i n g i t i s t h e re f o re a h a ppy m e d i u m o r
t he l a rg e s t
.

,
T h e l atte r m e t h od , i f re d uc e d to a w ork i n g b a s i s ,
go l d en m e a n b e t w ee n th e tw o e x tre m es a c t i n g
re d uc e s e ffort t o t h e m i n i m um
. .

Fe w , h o w e v e r,
a s i t d o e s a t a l l t i m e s i n c o n j un c t i o n w i t h o ne o r
.

s e e m c a p a b l e o f t hus wri t i n g
,
a s t h e s k i l l i s of ,
th e o t h e r a n d us ua l l y w i t h b o t h
,
.

s uc h a h i gh ord e r b e c a us e o f t h e l o n g l e v e rs a n d
T h e fi n g e rs a c t forw ard a n d b a c k w a rd o utw a rd
th e s m al l fo rm s , th a t t h e tra i n i n g i s too t a x i n g
,

a n d i nw ard o n a l i n e w i t h th e f o re a rm T he -
.

a n d e x t en d e d t o a d m i t o f th e n e c e s s ary t i m e a n d
m o ve m e n t e m a n a ti n g fro m th e s h oul d er a c t s i n
en e rg y o n t h e p a rt o f th e ave ra g e c i t i z e n w h o
th e s am e d i re c t i on a s th e fi n g e rs d ri v i n g t h e fo re
d oe s n ot a s p i re to b e c o m e a p ro f e s s i on a l p e n m an
a rm i n a n d o ut th e s l ee v e T h e e l b o w ac ts not
.

T h e f orm e r m e th o d th e c o o pe ra t i o n o f t h e fi n g e rs
. .

-
,
i n th e s a m e d i rec t i on b ut i n o ppo s i t i on to th e
w i t h th e a rm to s e c ure fo rm s e e m s t h e o n e m os t
.

t wo f o rm e r I t th e re fo re cc o p e ra tes w ith b o t h -

in a c co rd w i t h n a ture a n d con s e q ue n tl y th e one

. .

,
a n d w i th o ut w h i c h n e i t h e r t h e fi n g e rs no r th e
m os t c o m m o n l y e m p l o ye d
upp e r a rm c oul d w ri te a t a l l fre e l y o r w e l l A
.

Mo v e m e nt
.

Fi n ge r is c o m p a ra t i v e l y e a sy to a c q ui re be s t i ff e l b o w w oul d b e a s e ri ous b a rri e r to g oo d

c a use th e l e ve rs a re re l a t i v e l y s h ort a n d th e w ri t i n g .

pow e r c l os e to th e w e i gh t th e c o n tra c t i o n n e a r —

th e p e n T h i s re fe rs to s l ow w ri ti n g ra th er th a n
.
T he Lo gi c a l Co nc l us i o n i s th at a rm m o v e m e n t i s n e c e s
'

to ra p i d w ri t i n g a s th e l a tte r i s d i ffi c ul t to ac
, s a ry fo r ra p i d w ri t i n g a s w e l l a s fo r g ra c e f ul
. .

q ui re n o m a tte r w h e th e r th e fi n g e rs o r t h e a rm
,
p ro f e s s i o na l w ri t i n g T h e f un c t i o n o f t h e fi n g e rs
.

a re e m p l o y e d Fi n g e r m o v e m e n t w ri t i n g m a y b e
.
-
i s t o h o l d ra t h e r th a n to p rop e l t h e p e n to a ss i s t —

s a i d to b e t i ri ng ; a rm m o ve m e n t w ri ti n g d i ffi c ul t -
i n m i n or d e ta i l s ra t h e r th a n to c re a te m ot i o n
, . .

111
 T H I S BEA UT I FU L C ER T I FI C A T E,

Fo m t i m es a s l arg e a s h e re s h o w n i s gi v e n to a l l w h o p ur c h ase t h i s b oo k a n d w h o m ak e su ffi c i e n t i m pro v e m en t i

‘

t h e i r W i t i n g b y fo l l o w i n g i n s t ru c t io n s
. Fur t h er i nf orm a t io n i s g iv e n o n pa ge 8 .

Re m em b er th a t t h es e c e rti fi c a te s w il l m e a n so m e th i n g , a s th ey w il l n o t b e g iv en i n d i sc rim i n a tel y b u t onl y to

t h o se w h o e a rn t h e m b y im p ro v e m e n t a n d sk il l Su c h a c e rti fi ca te o ugh t to b e w orth .
to a n y y o un g m a n o r
i i
.

w om a n ,
as a h a n d w r t n g i s w ort h d o ub l e th a t a m o u n t i f i t i s w ort h a c e n t
.
.

A c h a rge o f 5 0 c e n ts i s m a d e fo r
.
i
e n gr o s s n g th e n a m e. t h ereo n , and m a il i n g se c urel y in a stron g tub e .

Wh y not w i n t he tw o p ri z es —
a goo d h a n d wri ti n g and th i s b ea u tif ul c ertifi ca te w h i ch w a s m ad e en tir el y w i th a
a u tho r , Mr Z a n er
pe n b y th e . .
Tfie n d by

St a b b y No Se c t
. cw by .

Sc o re St rip Se c t
i n i Li
b o u d by Pa c fic in in
n i i in Li
Th b s b ra ry B d g

i n
pun y .L os A g e l es . s pec a l st s b ra ry B

in ni i in
Our w ork a nd m a te r a l s a re g ua ra te e d tr

in in i i
d e fi tel y to s a t s f a c t o of p urc h a ser. ax

iin n
d e fe c ts a p p ear g e th e r w l l be m a d e goo :
out a d d t o al c h arge
“
.
"
Bo u d to w e a r .