MATERIALS ADAPTED TO FINE ARTISTIC PEN WORK.

Use a fine quality of Bristol Board, or Whatman's hot-pressed drawing paper, and a fine
quality of black India-ink, freshly ground from a stick, in a tray cuntaining rain-water. Ink of any
desired shade may thus be made. If work is intended for reproduction by any of the photographic
processes, the ink must be ground until jet black, and then the pencil guide-lines must be removed
with a soft gum or sponge rubber, so as to remove as little of the ink as possible. Hard rubber
will not only remove much of the ink, but will tear up the fibre of the paper, and thus break or
make ragged the delicate hair lines, which will, therefore, fail of a good result when photo-
engraved. It should be specially noted that all lines to reproduce must be clear, continuous and
black ; if so, no matter how fin e, they will answer the purpose.

PENS.
For script wntmg, use Gillott's "303," or Spencerian Artistic No. 14. For fine drawing or
tinting, use the "303," or Crow Quill. For flourishing, use Spencerian. No. 1, or Ames's
Penm,an's Favorite. For lettering, especially Old English, German and Church text, the
Sonnecken Pen, both broad and double pointed, may be used to advantage.
To · those who may be unable to procure these articles, or are uncertain respecting their
quality, we will forward them by mail from this office, as follows:
Extra fine three-ply Bristol Board, Spencerian Artistic, per g ross, - - $I. 25
22x28, per board, $0.50 " No. 1, - 1.25
Per Yz dozen, by express, - - 2.00 Ames'.s Penman's Favorite, 1.00
India Ink, per 'stick, - - 1.00 Sonnecken broad-pointed, per set of
Crow Quill Pens, per dozen, - o. 75 5 Pens, o. 25
Gillott's "303," per gross, 1.25 Double-pointed, per set of 3 Pens, 0.20
 HINTS ON- DESIGNS) &c.
Whatever the purpose of any work, much of its success depends upon the skill and artistic
effect of the design.
No amount of work, however carefully and skillfully performed, can produce a good or ·
satisfactory result from a design awkward or inappropriate.
After selecting the paper or material upon which the work is to be executed, fasten it with
thumb-tacks or glue to a drawing board; then draw with a pencil border and centre lines; then
sketch lightly with a pencil the design, having care to give due prominence to the several parts
according to their importance in the work, with a proper intermingling of lights and shades.
When designs are to be copie~ there are numerous methods for making transfers.
The most common is by means of thin transparent paper or cloth, which is placed over the
design to be copied and traced over with a pencil, after which the opposite side of the tracing is
penciled over with a soft black pencil; then the tracing is placed upon the paper to which the
transfer is to be made, when the lines upon the tracing are retraced with a pencil or any smooth-
pointed instrument which will give a distinct outline upon the paper underneath. ·
Transfer or blackened paper is often placed under the tracing before retracing it, instead of
. penciling its reverse side, which is objectionable from the liability of blackening or soiling the
paper upon which the dr;nving is to be made.
Of course, this method can be used only wh ere the desired reproduction is the same size as
the original. If it is to be enlarged or diminished, other methods must be sought.
This may be accomplished by marking the copy to be transferred into squares, and · the
paper upon which the reproduction is to be made into corresponding squares, enlarged or
diminished .according to the change desired from the size of the original .copy. .
The same change is accomplished very readily by the use of proportional dividers, with which
every draughtsman should be provided, or by use of the pantograph.
the feet level on the floor. Place the right arm tions maintained as in the right and front.
parallel to the edge of the desk, resting on the This position is advocated o~ the ground of its
muscles just forward of the elbow, and rest the relieving the right arm from being burdened
hand on the nails of the third and fourth fingers, with any support of the body while writing,
not permitting the wrist to touch the paper:- and thus giving a more free, rapid, and less
Let the hands be at right angles to each other, tiresome action to the hand and arm. This'. ar-
and rest on the book, gument has considerable
keeping the book parailel force where the forearm
to the side. of the desk. FRONT POSITION. or muscular movement .is
This position is advo- practiced.
cated as furnishing the best sup- It is also the most convenient,
port for the hand and arm while if not a necessity, in the counting-
writing, and, we think, not with- room, where numerous and large
out justice in school or class- books are required to remain in a
rooms, where the desk is often position at right angles with the
sloping and narrow. desk, and also iri the execution of
FRONT POSITION.-In this the large drawings or specimens of
same relative position of hand, penmanship which necessari-
RIGHT POSITION. · 1 RIGHT OBLIQUE POSITION,
pen and papers h ou ld be main- 1y, or most convement y, oc-
tained as described in the former one. In commer- cupy positions directly in front of the artist.
cial colleges and writing academies, where more spa- Another position at the desk, sometimes advo-
cious desks or tables are used than in the common , cated by authors and teachers, is the right oblique,
schoolroom, this position is permissible, and is fre- which is a position between the front and side.
quently adopted. RIGHT OBLIQUE POSITION. - In our opinion,
LEFT POSITION. - In this position the left side is ~ which of these positions is to be adopted is not
presented to the desk, and the same relative posi- LEFT po'N, of such vit~l importance as that the proper relative
 GOOD, EASY HANDWRITING is of the utmost importance to all classes

of persons. No other one attainment assists an equal .number of young ladies

and gentlemen to positions of profit arid advancement, or affords more satisfac-

as an accomp~ishment; and we believe it to be an acquirement within the

reach of all persons having common sense and one good hand.

!POSITION.
First in importance to the pupil in writing is a COR- It is also important that a proper position be main-
RECT POSITION. As in logic an error in the premises tained at · the table or desk, as well as the relative posi-
must lead to false conclusions, so a bad position, while tions of the pen, hand, paper, desk and body.
learning to write, mu.s t lead to failure. It is only when Each of three positions at the desk have more or
in a correct position that the pen, even in the hand of less advocates, and each, in our opinion, is commend-
its skillful master, is capable of producing the smooth, able according to the circumstances of the writer. We
graceful line, shade and curve so essential to good writ- give each position, with the reasons urged in their
ing; if such is the fact when in a master's hand, how favor. / ·
doubly so it is in the undisCiplined and struggling hand RIGHT POSITION.-Turn the right side near to the
of the learner! desk, but not in contact with it. Keep the body erect,
position of pen, hand and paper should be maintained, movement., as it admits of th e greatest freedom and fa ..
and that the arm should be perfectly free from th e cility of action of the fingers; but among writers using
weight of the body while writing. th e muscular movement, where less depends - upon the
POSITION OF PEN AND ARM . - Take the pen between
action of the fingers, it is common, and we thinkwell,
the first and second fingers and thumb, letting it cross to allow the holder to fall back and below the knuckle
the forefinger just forward of the knuckle, and the sec- joint; it is more easily held, and from its forming a
ond finger at the root of the nail, three-fourths of an more acute angle with the paper, moves more readily
inch from the pen's point. Bring the point squarely to and smoothly over its surface.
the paper, and let the tip of the hold er point toward
MOVEMENTS.
the right shoulder.
The thumb should be bent outward at the first joint, Finger Movement is the combined action of the first
and second fingers and thumb.
Forearm. Movement is th e action of the forearm slid-
ing the hand on the nails of the third and fourth
fingers.
POSITION. OF PEN AND ARM.
Combined Movement is that which is most used in
and touch the holder opposite the first joint of the business penmansltip. It is a union of th e forearm with
forefinger. the finger movement, and possesses great advantage
The first and second fingers should touch each other over th e other movements in the greater rapidity and
as far as the first joint of the first finger; the third and ease with which it is employed.
fourth must b e slightly curved and separate from the Wlzo!earm Movement is the action of the wholearm
others at the middle joint, and rest upon the paper at from tlfe shoulder with the elbow slightly raised, and
the tips of the nails. The wrist must always be ele- the hand sliding on the nails of the third and fourth
vated a little above the d esk. This position of the pen fingers ; and is used with facility in striking capital
is, undoubtedly, the best for all writers using the finger letters and in off-hand flourishing. ·
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not to practice than to do so carelessly; one. might as beauty in design and finish that delighted the eye of the
well seek to win a race by occasionally taking a turn m beholder when completed into the most exquisite work
the opposite direction. of art? The hand can never excel the conception of
Good or well-constructed writing is no more essential the mind that educates and directs its action. If Spen-
than that it should be executed with facility and ease; cer or Flickinger excel others in the perfection and
yet a learner should never fall into the mistaken idea beauty of penmanship, is it not because of their superior
that he is to give special attention to speed before conception of that in which superior penmanship con-
having acquired, by deliberate study and p:-2,ctice, cor- sists? The student who would have success must see
rect forms and proportions in writing-first, accuracy; that his practice is preceded by, and .always attended
then, speed. Rapid and thoughtless practice is worse . with, thoughtful study and criticism.
than useless. The mind must be educated before the · After having once written the copy, study and criti-
hand. The hand and pen are only the servants of the cise your effort before the next trial. Your faults noted,
mind, and as such can hever surpass the mind's concep- and ~ thought as to how they may be best corrected,
tion and power to guide and direct in any performance. will enable you to make an intelligent and successful
If upon the tablets of the mind there is presented effort for improvement. Remember that un,known faults
constantly to our mental vision a perfect copy of the can never be avoided or corrected. First study to dis-
letters and their varied combinations into graceful writ- cover, and then to mend. Short exercises-or copies-
ing, the hand will strike for the single and definite pur- if rightly practiced, are much more favorable for im-
pose of reproducing the same, and will progress steadily provement than long ones, inasmuch as they are re-
to the attainment of skill requisite for the reproduction peated at intervals so short as to keep faults and criti-
of the most perfect conceptions of the mind. The hand cisms fresh in mind, while oft-repeated efforts for
of the greatest sculptor or artist has no cunning not im- correction will be correspondingly effective. Faults
parted by a skillful brain. Michael Angelo was the chief ob5erved by ourselves or pointed out by others at the
of artists, because of his superior mental conception of beginning of a long copy are very likely to be out of
art; and may we not suppose that the untouche.d can- mind before that portion of the copy in which they
vas presented to his mental vision all the grandeur and occur is repeated.
 WRITING NOT A SPECIAL GIFT.
It is often said that good writing is a "special gift."
This idea is not only fallacious, but is exceedingly per-
nicious as regards the acquisitio n of good writing, inas-
Example of wntmg m which there has b een more
much as it tends to discourage pupils who write badly,
practice than study-
by leadin g them to believe that, not having "the gift,"
they are debarred from becoming good writers.
Good writing is no more a gift than is good readin g,
spelling, grammar, or any other attainment, and in th e
same way it is and can be acquired, viz., by patient and
studious effort. Writing, the result of study properly combined with
practice-
' The correct form . and construction of writing must
be learned by study, while practice must give the man-
ual dexterity for its easy and graceful execution. Many
persons fail to become good writers from not properly
uniting study and practice. Careful study with too lit-
tle practice will give writing comparatively accurate in
its form and manner of construction, but labored, stiff
and awkward in its execution; while, upon the other
hand, much practice with little study imparts a more
easy and flowing style, but with much less accuracy as undoubtedly, many of our patrons will see forcibly
regards th e forms of letters and general proportion and illustrated in one of these examples their own experi-
construction of th e writing, which will commonly have ence. So manifest is the effect of these different modes
a loose and sprawly appearance. of practice that we have only to glance at a piece of
Example of writing which has resulted more from writing to discern the extent in which a.writer h as com-
study than practice- bined study with practice while learning to write.
 UNITY AND SIMPLICITY OF FORM.
cuting a short piece of writing, would for many of the
letters make use of forms as varied ·and numerous as
It is an old but true saying that a "jack of all trades follows:
is good at none." This is so from the fact that, work-
ing at many things, neither the hand nor brain can at-
tain to a high order of proficiency or skill. It is the
specialist that advances the standard of progress in all
the directions of human discovery. Concentration of and use more or less variety in all of the letters, thus
thought and action makes the great masters of th e requiring study and practice upon about one hundred dif-
world, while by a diffusion of the same the greatest ferent and unnecessarily complicated forms for the al-
genius is dissipated and fails to attain to a marked phabet, in place of twenty-six. Thus the labor and
degree of eminence. , uncertainty of becoming a skillful writer is magnified
So, in learning to write, .the pupil who vacillates be- fourfold. A single and simple form for each letter, cap-
tween many systems and multitudinous forms of letters ital and small, should be adopted, and, with a few ex-
must inevitably fail of becoming an expert and skillful ceptions, which we shall hereafter explain, should be
writer. He has too much to learn to learn it well, and, invariably practiced. Their frequent and uniform repe-
like the "jack of many trades," must fail. tition will impart that accuracy of form, grace, and
It is a matter of frequeut observation that persons · facility of execution which constitutes good writing.
learning or practicing writing vacillate between from The simple forms are not only more easily acquired
two to six different forms of the capitals, and as many and more rapidly executed, but they are more easily
as are possible in the small letters, apparently in the read than the more ornate styles; in fact, those forms
belief that variety is the chief element of good writing, that cost the most are worth the least. It is as if a
· which is a double mistake, as it detracts from the good merchant should constantly purchase an inferior class
appearance of the writing at the same time that it en- of merchandise and pay the high price of the best; his
hances the difficulty of learning and executing it. chances for success certainly would not be very promis-
For example, we have known writers who, in exe- ing.
 ECONOMY OF FORM. balancing or harmonizing with sonie other line, and re-
quires to be made with much greater care and skill than
Labor, whether of the clerk or mechanic, is rewarded the more simple form, so that the disadva!1tage is even
according to the results it can produce. greater than indi.c ated by the simple proportion be.tween
The copyist or clerk who can write one hundred eleven and four.
words equally as well in the same time that another The practice of these complex forms of the alphabet
writes fifty, will certainly, other things bei'ng equal, com- will be fatal to rapid and legible business writing._
mand twice as much pay. The rapidity with which These remarks are intended to apply more especially
writing can be executed depends largely upon the sim- to business and unprofessional writing. ·where show
plicity of the forms of letters used and the size of the ·and beauty are of greater consideration than dispatch,
writing. A medium or small hand is written with much variety and complexity of forms are quite proper, and
more ease and rapidity than a large hand, from the fact even necessary.
that the pen can be carried over short spaces in less CORRECT PROPORTIONS ESSENTIAL TO GOOD WRITING.
time and with greater ease than over long ones, and
One might be able to execute faultlessly each single
can execute simple forms more easily and rapidly than
letter of the alphabet, and yet be a most miserable
complicated ones. To illustrate: Suppose one writer
writer. Writing, to be really good, must be harmonious
were to habitually make the capital R thus-
in all its parts ~ letters must be proportionate to · each
which requires eleven motions of the hand •
other, properly connected, spaced, have a uniform slope
to execute; and that another were to uni-
and degree of pen-pressure, etc., as well as an ea's y and
formly make it thus- •
graceful movement. The following example will illus-
/;J requiring only four motions of the hand. It is trate the bad effect of disproportion of letters :
(A apparent that the difference of time acquired to
make each cannot be less than the proportion of eleven
to four. That is not all. The complicated form con-
sists of many lines, some of which are required to run
pa,rallel to each other, and all made with reference to It will be seen that each letter, taken by itself, is
 creditably accurate in form, and yet when associated ing from the preceding letter to the point of the ovals ;
with each other in a word, they present an appearance between words there should be two spaces.
as ungainly as would an ox yoked with an elephant. Example of correct spacing:
We have often seen writing in which the letters were
really badly formed, yet so harmonious in their combi-
. nations and easy in their construction as to present an
attractive, not to say an elegant, effect; while, upon the
other hand; we have often seen writing in which the Incorrect spacing :
letters were well formed, and yet so awkward in their
combinations and labored in their execut:on as fo be
really painful to the sight of persons having a refined
and correct taste regarding writing.
SLANT OF WRITING.
CORRECT AND INCORRECT SPACING.
Another important factor of good writing is the The degree of slant now adopted by the leading
proper spacing and connecting of letters and words; authors, and one which we approve, is at an angle of
upon these very much depends, as in many instances 52° from the horizontal, as per diagram on another
the connecting lines alone impart the distinctive char- page.
acter to letters. The relative effects of incorrect and correct slope
In determining the proper spacing of writing, the may be, seen in the following examples:
distance between the straight lines of the small u may
be taken as a space in width. The distance between
the parts of letters having more than one downward
stroke should be c;ine space; between 'the letters, one
and one-fourth spaces, measured at the head line, except The variation in the slope of different letters and
a, d, g, and q, which should occupy two spaces, measur- their parts will be rendered much more perceptible by
drawing straight extended lines through their parts, and superscription upon the envelope much greater li-
thus: cense, as regards size and style, may be taken than in the
body of the writing. Nor is it practical at all times to
maintain a uniform size for body writing. It may with
propriety be written larger upon wide than narrow. ruled
paper. Care should always be taken to gauge the size
One of the most common faults in slope occurs on of the writing according to the space in and purpose for
the last part of letters m, n, u, Ii and p, which are made which it is to be written. This should be done by vary-
thu" ~/JV,M/A,jv ing the scale rather than the proportions of the writing.
When writing upon ruled- paper we should always im-
agine the space between the lines to be divided into four
equal spaces, three of which may be occupied by the
Example of correct slant, space, proportion, etc.:
writing; the fourth must not be touched, save by the
downward extended letters from the line above. This
open space between the lines separates them, and en-
ables the eye more readily to follow and distinguish be-
tween the lines when reading. A small or medium hand
is the b est, both as regards the readiness with which it
SIZE OF WRITING. is read, or ease and rapidity of its execution.
In its practical application to the affairs of life, In a large hand the writing is apt to be more or less
writing must be greatly varied in its size, according to intermingled and confused, the loops of one line often
the place in and purpose for which it is used. cutting into and obscuring the writing upon other lines,
It would be obviously bad taste to use the same size while the more extended sweeps of the pen in the large
and style of writing for the headings of a ledger and writing are proportionately slow and t edious.
other books of account or record that would be em- For legibility, ease and rapidity of execution, small,
ployed on the body of a page. In the address of a letter unshaded writing is decidedly the best.
 .HOTV TO LEARN AND TEACH WRITING.
flourishes and superfluous lines ; we say inexcusable, be-
CONSPICUOUS FAULTS IN WRITING. cause, at best, they mix and confuse the writing, and,
when hurriedly and carelessly made, they frequently
To note and indicate all the faults liable to occur in take forms which are liable to be mistaken by the reader
writing, or to prescribe a cure-all remedy, is more than for letters or parts of letters, and thereby puzzle and
we presume to undertake. They are as numerous and annoy, if not entirely change, the intent of the writer.
varied as are the circumstances, habits, tastes and ac- Another frequent fault is the personal eccentricity,
complishments of the writers; but it is quite safe to say which leads writers to adopt, as their style, forms for
that a very large porportion of all the "on pleasantness" letters, and especially capitals and in autographs, which
in wrjting comes from sheer carelessness on the part of are entirely outside the pale of any known system qf
the writers which is manifest in the awkward, nonde- writing, and whose identity can only be guessed at. by .
script or uncertain forms which are employed-forms those unfamiliar with their style
often rµost easy and graceful, but which, taken separate- While, as we have stated, it is quite impossible to
ly, represent no intelligible character, and, apart from name all the sources of bad writing, or to formulate
the. context, are liable to be mistaken for any one of sev- rules for its prevention or correction, we do believe that
eral letters that are similar in their construction. This there are many of the most common faults -among
fault is specially grievous where it occurs as an initial which are those enumerated above- that with a littl.e
letter, in short names, abbrevi.ations arid cipher writing, thought and care may be avoided.
as in su·ch cases the context furnishes the reader little To aid our patrons so far as is possible by negative
or no aid. instruction, to avoid some of the more common and in-
Another prolific source of annQyance, and not infre- excusable faults, we have formulated a few rules, with
quently illegibility, arises from the inexcusable use of examples illustrative, whicn we h ere present.
 RULES. A telegraph dispatch signed as in Example 6 was
Rule First.-All unne.cessary, superfluous or flour- copied and sent to Ha-Hi-E, who was not known at the
ished lines, as shown in Fig. I on opposite page, should street and number to which it was directed, and it was
be omitted. consequently returned; and when th e error was discov-
Rule Second.-No capital letters or words should be ered, and traced to the operator who made it, he was
joined together. (See Fig. 2.) asked how he came to make such a mistake, and whom
he supposed Ha-Hi-E to be. The operator replied,
Rule Three.-Capital letters should not be joined to
"Some Indian chief or Chinese"- a very natural sup-
the smaller letters, or be of doubtful form. (See Fig. 3.)
position in such a city of all peoples as is New York.
Rule Four.- The capital T should never b e looped at
the top. (See Fig, 4.) Rule Seven.-The capital I should always be made
above the line, while th~ J should extend below. Other-
We have been informed by a manager of the West-
wise, when used as initials or in cipher-writing, they
ern Union Telegraph that several expensive litigations
cannot be distinguished with certainty.
have grown out of the delivery of messages haviii.g the
latter combination, as Seventy when it was written for Rule Eight.-The small s should never be mad ~ with
Twenty, or vice versa, by the sender of the dispatch. the loop below the line, as it is liable to be mistaken for
We are not informed respecting the precise circumstan- a p or f, as in Fig. 7.
ces of any of the cases; but suppose the error to have Rule Nine.-Letters should be connected in their
been in orders to buy twenty thousand bushels of grain, parts, and with other. letters, by the prope:- and charac-
shares of stock, or other thing of similar value, the con- t eristic curved or straight -lines. It is a very common
sequences might have been serious. ·and grievous fault in writing that a straight line or the
Rule Five.-A capital H should never be so made as wrong curve is employed in the construction and con-
to be mistaken for an A or other combination._ (See nection of letters, thus leaving them without distinctive
Fig. 5.) character, or imparting one which is false and mislead-
Rule Sixth.-Cross all t's with a single horizontal line ing. As, for instance, a form made thus~may be
at the top. (See Fig. 6.) taken for an /JV, a A-£/, and, possibly, for a At/.
 . Fi g. 7.

Fig. 8.

Fig. 1.

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Fig. 5.
In cases where the context does not determine, its iden- Writers should remember that short names and in-
tity becomes a mere matter of guess, and when ex- itial letters, when carelessly written, are very liable to
tended thus ~ its significance, as will be seen, is be misread, from the fact that no aid can be derived
still more vague and uncertain, as it might be intended from the context.
for either of the seven combinations given in Fig. 8 on A large propo~rtion of letters which miscarry through
the preceding page. the mails do s6 from the careless manner in which they
With a properly-trained hand, no .more time o!' effort are superscribed. As an example, let' us suppose that a
is required to impart the true and unmistakable charac- writer desires to address an important communication to
teristics to each letter than to make forms whose ident- J. H. Howell,
ity is open to doubt and conjecture. Sherman, Cal.,
Rule Ten.-No letter should have a doubtful form, but he hurriedly and carelessly superscribes it thus-
such as may be mistaken for one of . several letters, as
in Fig. 9 on preceding page.
Rule Eleven.-All eccentric forms and conspicuous
personal oddities, which so often render writing, and es-
pecially autographs, illegible, should be avoided, as-'-

The abbreviation for the name' of the State (Cal.) is

so indefinite that the letter goes first to Colorado, but
there being . no Herman or Sherman in that State, it is
finally re-directed to Herman, Cal., the inital "S" and
following letter "h" being of so indefinite and doubtful
a character, they together were naturally mistaken for
an H ; but there being no Herman P. 0 . in Cal., the
mistake is finally ·discovered by a distributing agent, and·
the letter is again re-di_rected to Sherman, Cal.; here the
H in Howell is read St, and, accordingly, the letter is It is just such errors as those above described that
placi::d ·in S box for general delivery; not being called cause a large percentage of the miscarriages of mail
for, it is at length advertised in the list of undelivered matter. We present this article in the hope that by
letters, thus: I. A. Stowell. The J having been made thus calling the attention of our many readers to these
above the line is mistaken for an I, while the initial H faults, they may be led to avoid them, and to that
is so nearly closed at the top that it is mistaken for an extent be benefited by our labor and research.
A. After being duly advertised, the letter is sent to the
MOVEME NT EXERCISES.
Dead Letter Office at Washington, and from there re-
turned, after several weeks, to the writer. J. H. Howell, Much practice should be devoted by the learner to
in the meantime, has inquired daily for letters at the movement e~ercises, for the purpose of disciplining
Sherman Post-office, when the delivery clerk has looked and bringing under perfect control the motions of
in the H box and answered," Nothing." Mr. Howell the hand and arm.
has also carefully scanned every list of advertised letters, The following will serve a good purpose, which, with
but never could he have imagined that the letter adver- the copies annexed, will answer well as a guide to a
tised for I. A. Stowell was the one he had so long and course of twenty lessons, with or without the aid of a
anxiously looked for. teacher.
.EXERCISES AND COPIES FOR PRACTICE.

MOVEMENT EXERCISES.
 PTUNCIPALS. LINE OF SLANT. PRINCIPALf'.

I .// C// {) 0
 CoPv EXERCISES.

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R ouND H AND WRITING FOR L EDGER HEADINGS, S uPERSCRIPTIONS, Ere.
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 SCALE OF SLANT. a ppears at the top of a letter, it is called an upper turn;
Main Slant.-A straight line slanting when at the base, it is called a lower turn.
to the right of the vertical, forming an MOVEMENT EXERCISE.-All instruction in penman-
angle of 52 ° with the horizonta~ gives ship should be initiated with liberal use of movement
the main slant for all written letters. exercises, which should be arranged and practiced with
Connective Slant.-Curves which con- the view of facilitating upward and downward as well as
nect straight lines in small letters, in a lateral movement of the hand, and each and every lesson
medium style of writing, are usually made on an angle should be preceded with more or less practice upon
of 30°. This is called the connective slant. See diagram. movement exercises.
Base Line.- The horizontal line on which the writ- CARE IN PRACTICE.
ing. rests is cal!ed the base lz'ne. In practicing upon movements and writing, it should
Head Line.- The horizontal line to which the short be constantly borne in mind that it is not the amount
letters extend is called the head lz'ne. of practice, .so much as the careful and thoughtful ef-
Top Line.- The horizontal line to which the loop fort to acquire precision and certainty, that determines
and capital letters extend is called the top lz'ne. the success of the writer.
A Space in H eight is the height of small i. It is often said that "practice makes perfect." This
is true if the term practice implies thoughtful, patient
A Space in Width is the width of small u.
and persistent effort for improvement; otherwise it may
The distance between the small letters is r ?{ spaces, be quite untru e.
measun;:d at head line, except in the a, d, g and q. The Thoughtless scribbling tends rather to retard than to
top of the pointed oval in these letters should be two enhance the acquisition of good writing'. Each time .a
spac<es to the right of a preceding letter. copy has been carelessly repeated, incorrect or bad hab-
Upper and Lower Turns.- In the analysis of small its have been confirmed rather than corrected-a move
letters, short curves occur as connecting links between backward instead of forward. This is a fact not .suffi-
the principles. These curves we call turns. When one ciently apprecia-ted by teachers or pupils. Better far
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