,,the ,,palmer ,,method of ,,business ,,writing ,a ,series of ,self-teaching ,lessons in ,rapid1 ,plain1 ,unshaded1 ,coarse-pen1 ,muscular ,movement ,writing for ,use in ,all ,schools1 ,public or ,private1 ,where an ,easy and ,legible ,handwriting is the ,object ,sought2 ,also for the ,home ,learner ,,by ,a4 ,n4 ,,palmer1 ,,editor ,,of ,,the ,,american ,,penman ,published by ,,the ,a4 ,n4 ,,palmer ,,company ,,new ,,york ,,boston ,,chicago ,,cedar ,,rapids1 ,,iowa ,,copyright1 #aija1 ,,copyright1 #aijh1 ,,copyright1 #aiac1 ,,copyright1 #aiae1 ,,by ,a4 ,n4 ,,palmer ,,by ,a4 ,n4 ,,palmer ,,by ,a4 ,n4 ,,palmer ,,by ,a4 ,n4 ,,palmer ,illustration ,an explanation4--,the object of this book is to teach rapid1 easily-executed1 business writing4 ,it has not been written to exploit any one's skill as a pen artist4 ,it aims to be of use to those who are ambitious to become good1 practical business writers4 ,the lessons it contains are not experimental1 but have been the means of guiding millions of boys and girls1 young men and women to a good business style of writing4 ,as will be seen at a glance1 the ,palmer ,method of ,business ,writing has nothing in common with copy-books which have been so largely used in public schools for more than half a century4 ,if they are right1 this book is wrong4 ,the two methods of teaching writing are absolutely antagonistic4 ,in teaching writing1 as in other subjects1 the final result should be the criterion4 ,pupils who follow absolutely the ,palmer ,method plan never fail to become good penmen4 ,on the other hand1 no one ever learned to write a good1 free1 rapid1 easy1 and legible hand from any copy-book that was ever made4 ,the copy-book has but one purpose--to secure absolute mechanical accuracy4 ,the copy-book headline is usually first carefully penciled by a skilled penman after a given model1 and shows none of the individuality of the penman employed in its construction4 ,the penciled copy is given to a skilled script-engraver1 who engraves it by hand and further perfects it wherever possible4 ,this impossible and lifeless ideal the child is required to imitate through long1 dreary pages of copying4 ,no wonder he fails6 ,it has been proved1 through at least two generations1 that the copy-book kills individuality and makes freedom of movement impossible4 ,it compels slow finger-action in the formation of letters1 giving a fair degree of accuracy where only slow writing is required2 but the pupil's work inevitably becomes scribbling when the least speed is attempted4 ,in the ,palmer ,method1 freedom of movement is the foundation1 and1 through a constantly repeated series of rapid drills1 the application of movement becomes a fixed habit of the learner4 ,under this plan the pupil's first attempt is naturally crude1 but every drill practiced in strict accord with the printed instructions tends to add grace and accuracy to his work4 ,the sure result is a handwriting that embodies these four essentials--legibility1 rapidity1 ease1 and endurance4 ,the drills and copies in this book are actual writing1 executed with a rapid1 easy1 muscular movement1 and then photo-engraved1 thus retaining the individuality of the writer4 ,pupils practicing from these lessons acquire the general style of the copies1 but1 at the same time1 there is left to them the possibility of developing their own individuality4 ,,some ,,palmer ,,method ,,facts--,a ,,personal ,,talk ,read and ,carefully ,consider ,everything on ,these ,three ,pages ,before ,beginning the ,study and ,practice of the ,lessons4 ,failing to follow ,these ,simple ,suggestions1 ,you are ,likely to ,waste ,many ,hours1 ,weeks1 and ,months in ,useless ,practice4 ,the ,palmer ,method is a text-book on practical writing and should be studied as such--not treated as a copy-book4 ,the printed instructions are the author's direct personal talks to pupils--the same things he would say to you from day to day were he personally to teach you4 ,these instructions are of more importance than the copies4 ,they tell you how to develop and use the muscular movement in writing4 ,if you do not follow the instructions1 you will fail4 ,pupils who followed absolutely the ,palmer ,method plan have always learned to write well4 ,pupils who have not first studied the plainly printed directions and followed them absolutely1 have partly or completely failed4 ,failure is unnecessary4 ,thousands of young men and women have made the ,palmer ,method of ,business ,writing the stepping-stone to positions in business offices1 where commercial advancement rewarded faithful service4 ,in hundreds of classes where the ,palmer ,method has been faithfully studied and completely mastered1 periods devoted to written spelling1 composition1 examinations1 and other written work have been reduced more than half4 ,time thus saved has been put to very good use in other directions4 ,in the beginning stages of the work1 until good position1 muscular relaxation1 correct and comfortable penholding1 and muscular movement as a habit in writing have been acquired1 extra practice may be necessary2 but the extra time will be saved many times over in all written work later4 ,muscular movement writing means good1 healthful posture1 straight spinal columns1 eyes far enough away from the paper for safety1 and both shoulders of equal height4 ,these features alone should be sufficient to encourage boys and girls to master a physical training system of writing such as is presented in the following pages1 remembering that it is impossible to do good muscular movement writing in twisted1 unhealthful positions1 or with stiff and rigid muscles4 ,straight line and oval drills are of no value except as they lead to writing4 ,they are the means through which to gain the muscular control that will enable pupils to master an ideal permanent style of rapid1 plain-as-print writing4 ,when pupils have learned good posture1 correct penholding1 and how to use muscular movement in making a good two-space compact oval1 they are ready to begin to learn how to write well4 ,too many pupils think they have really learned how to write well when they are able to make some of the very simple drills in correct posture at the right speed and in correct rhythm4 ,that is really the starting-point toward good penmanship1 and should be followed immediately by the practice of words1 and1 indeed1 by the use of the movement in all written work4 ,study and practice go hand in hand in securing the best results in the shortest possible time4 ,keep the ,manual open before you as you practice2 study and make frequent and careful comparisons of your work with the drills if you wish to make rapid progress4 ,your letters1 words1 and sentences should occupy the same amount of space they do in the ,manual4 ,always1 before beginning practice1 the drill should be studied in every little detail until the correct picture is in your mind4 ,just how and where does the first line in a letter begin2 is it made with an upward or downward stroke2 how high is the letter2 how wide is each part2 how much running space does it occupy2 in what direction should the pen move in beginning1 continuing1 and completing the letter2 and at what rate of speed should the letter or word be written8 ,these are questions that should constantly occupy you as soon as automatic muscular movement has been established4 ,in fact1 as was said before1 study and practice must go hand in hand1 if good results are to be the outcome4 ,blackboard copies1 though written by expert penmen1 are seen at many different angles1 and at different distances1 and do not give correct mental impressions4 ,it is highly important not only that pupils have copies of the ,manual1 but that they study the printed instructions and drills1 closely and constantly4 ,the plainly printed instructions in the ,palmer ,method tell you step by step exactly what to do and how to do it1 in order to progress steadily and surely toward the desired end4 ,millions of ,american boys and girls have learned a permanent style of rapid1 easy1 legible1 and beautiful writing by carefully and patiently following the printed directions found in the ,palmer ,method of ,business ,writing4 ,final results have then been delightful to pupils1 teachers1 parents1 and school officials4 ,the first step is a correct understanding of the required position4 ,study the pictures on pages twelve1 fourteen1 and fifteen1 of a pupil who has learned how to sit so as to use the large tireless muscles of his arms to the best possible advantage4 ,study every little detail of these pictures from the crown of the head to the shoes4 ,study particularly and closely the arms1 the relation of one arm to the other1 the position at the desk1 the distance of the body from the desk1 and the positions of the fingers preparatory to taking the penholder4 ,as progress is made in the more advanced lessons1 you should refer frequently to these pictures and try to sit as this pupil sat when his photographs were taken for the ,palmer ,method4 ,when writing1 he always sits as shown in these photographs1 and he knows that it would be physically impossible to use muscular movement writing in a cramped1 unhealthful position4 ,there is an old saying1 8,practice makes perfect40 ,that is only partly true in relation to writing4 ,practice of the right kind leads toward perfection1 but the wrong kind of practice leads just as surely in the opposite direction4 ,it is not so much the exercise that is practiced as the manner in which it is practiced4 ,millions of pupils have wasted the time given to movement exercises because they thought it was the exercise that counted and not the manner in which it was made4 ,there is no value in any penmanship drill ever invented unless it is practiced with correct positions of body1 arms1 fingers1 penholders1 paper1 and with exactly the right movement1 and at exactly the right rate of speed4 ,if you study the instructions in the ,palmer ,method1 and follow them absolutely in daily practice1 you will make steady progress and1 within a short time1 become a splendid penman4 ,but1 even should you spend a great deal of time practicing the drills in a poor position with cramped muscles and with the wrong movement1 you not only will make no progress toward good writing1 but will contract bad habits1 or firmly fix those already established1 and1 under such conditions1 the possibility of learning to write well will constantly become more and more remote4 ,it is a fact1 that among the thousands of men and women employed in business offices who do longhand writing constantly1 rapidly1 and well1 none can be found who do not use muscular movement1 because it is the only movement through which penmanship embracing in the highest degree legibility1 rapidity1 ease1 and endurance can be developed4 ,it is now generally conceded that systems of copy-books have inevitably resulted in a poor finished product of penmanship4 ,public school officials and teachers were satisfied with copy-books so long as they did not consider good posture1 muscular relaxation1 easy1 tireless movement and reasonable speed1 as important factors4 ,then the discovery was made that pupils were able to draw the letters slowly and very accurately in close imitation of mechanically engraved copies1 but that when rapid1 continuous writing was required in the penmanship employed in written spelling1 compositions1 examinations1 etc41 the letter forms became dissipated in appearance and soon approached the stage of scribbling4 ,it must be conceded by everyone that any system of writing which does not lead to an automatic style embodying legibility1 rapidity1 ease1 and endurance is a failure4 ,the term 8,copy-book0 has been applied for many years to sheets of paper bound together with a cover1 containing at the top of each page1 a line of writing or an exercise to be imitated by the pupils on the lines below4 ,sometimes the headlines are made from carefully penciled copies1 mechanically perfected through a system of hand engraving4 ,there are also bound books1 with copies at the top of the pages that were really written with some show of muscular movement and afterward photo-engraved1 but the copy-book principles are involved in the publication of such books--principles which preclude the teaching of good writing through their use4 ,the mental attitude of pupils who see before them the immaculate page upon which they must make reproductions1 as nearly facsimile as possible of the copies at the top1 is wholly unfavorable to the process4 ,another recent copy-book system is the pad with the copy at the top1 and sometimes at the top and center of each page1 there being blank lines below for practice purposes4 ,these modified copy-books are probably doing just as much harm to the cause of practical writing as the former kind4 ,unless the mental attitude is right1 physical conditions will be wrong4 ,sincerely1 ,illustration3 ,a4 ,n4 ,palmer ,,first ,,specimens ,beginning pupils should write three sets of first specimens on paper about #haj inches4 ,one set should be kept by the teacher1 another retained by the pupil1 and one set sent to the nearest office of ,the ,a4 ,n4 ,palmer ,company4 ,the value of these first specimens will be clearly apparent as the work of muscular movement development and application progresses and comparisons are made4 ,those sent to the publication office are alphabetically arranged and kept for future reference4 ,when pupils have mastered the movement and become good business writers1 their second specimens should be sent to be filed with the first4 ,the improvement is often so great that the first and second specimens may be engraved and published with great credit to the schools1 the pupils1 and the ,palmer ,method4 ,in these specimens the following form should be followed3 ,on the first line write the name1 the age1 and the grade2 on the second line1 the name of the school1 city or town1 and the date4 ,skip one line and make a set of capitals2 skip a line and make two lines of miscellaneous figures2 skip a line and write1 8,a specimen of my best writing before ,i began to practice muscular movement writing from the lessons in the ,palmer ,method of ,business ,writing40 ,the above was written in 444444444444 minutes and 444444444444 seconds4 ,,clothing ,,for ,,the ,,right ,,forearm ,as the muscles of the right forearm play an important part in the movement1 it is necessary that they should be so clothed as to permit1 at all times1 unrestricted action4 ,many good writers consider this of such importance that they cut off the right undersleeve at the elbow4 ,to the ,teacher3 ,see that pupils' arms are free of heavy clothing4 ,,writing ,,materials ,not much progress can be made with poor paper1 poor pens1 or poor ink4 ,good materials are a necessity4 ,do not use a penholder covered with metal where the fingers rest if another can be procured4 ,never use an oblique penholder in business writing4 ,it is out of place and of no advantage whatever4 ,nothing equals an oblique holder for ornamental writing1 but there its utility ends4 ,use paper of generous size for your practice1 a medium coarse pen1 and ink that flows well4 ,blue-black writing fluid is the best4 ,study the instructions2 they are of more importance than the copies4 ,,lesson #a ,,correct ,,positions ,,for ,,class ,,room ,,writing ,in the following pages are reproduced photographs of a class of students who are experts in the ,palmer ,method writing4 ,while they knew that their photographs were to be taken1 they did not change their every-day penmanship positions in the least particular4 ,it was not necessary1 because they had all acquired the habit of sitting in positions that are comfortable and which at the same time permit muscular freedom and control4 ,in elementary schools in cities1 space is so limited that the use of tables or desks large enough to permit the square front position for writing is usually impossible4 ,if the desks are too small for the square front position the half-right side position may be used4 ,study these pictures closely2 it will pay4 ,in the first picture1 notice that the right elbow rests on or near the lower right corner of the desk4 ,this position may be occasionally modified to suit the needs of pupils4 ,as an example1 a very fat boy or girl may find it necessary to let the right arm rest over on the desk a little farther4 ,a good rule to follow in finding the correct position of the right arm on the desk for writing is as follows3 ,place the body at the desk in the correct square front position1 raise the entire right arm a few inches1 and withdrawing control1 let it drop4 ,wherever it strikes the desk it should remain4 ,to draw the arm toward the side would force the right shoulder upward into an uncomfortable1 unhealthful position1 or would force the pupil to lean backward4 ,on the other hand1 to place the right arm farther over on the desk would force the body too far forward4 ,these photographs show that the pupils sit comfortably in the seats2 that the upper ends of their penholders point a little to the right of their right shoulders--usually half way between the elbow and the shoulder2 that the ,palmer ,method is placed at the upper left corner of the desk--being held open at the required drill with a rubber band2 that the left forearm is on the desk in such a position as will keep the body upright1 the left shoulder from drooping1 reserving the free use of the left hand for changing the positions of the ,manual and the paper as required4 ,in this position it is easy to push the sheet of paper forward as progress is made toward the bottom of the page2 also to move the paper to the left when the writing has reached a third or half the distance across a line1 and back into the first position for a new line4 ,the exact position of the body at the desk and the relative positions of the left and right arms in writing are very clearly shown in illustration two1 while the position of the left arm in its relation to desk1 ,manual1 and paper1 is best shown in illustration three4 ,no student who fails in the matter of position will master muscular movement writing4 ,correct position is of the greatest importance1 and it should be studied and thoroughly mastered before the writing itself is considered4 ,to the ,teacher3 ,at this point1 pupils should be required to close their ,methods and show their familiarity with the preceding discussion of position by answering questions relating to it1 and also to assume the position described several times1 to prove their working knowledge of it4 ,illustration3 ,position illustration number #a4 ,read page #g for instructions4 ,illustration3 ,position illustration number #b4 ,read page #g for instructions4 ,illustration3 ,position illustration number #c4 ,read page #g for instructions4 ,,lesson #b ,,physical ,,training ,,in ,,penmanship ,,practice ,correct ,posture1 ,relaxing ,exercises1 ,movement ,practice1 and ,penholding1 ,taught in ,pictures ,no progress can be made in mastering good muscular movement writing until there is a correct understanding of the important steps and the order in which they must be taken4 ,no written or spoken words can explain these more fully and plainly than the fifteen accompanying pictures given as models4 ,they tell all that could be told about the important beginning steps1 and they should be studied with thoroughness now1 and often during future practice periods4 ,step one1 illustration four3 ,position in seat with arms hanging limply at the sides4 ,step two1 number five3 ,body turned a little to the left and arms extended above the desk1 wrists and fingers limp4 ,step three1 number six3 ,after permitting both arms to drop to the desk1 raise right arm as shown in the picture1 withdraw control and let it drop1 repeating the operation until the arm drops comfortably into the writing position1 with a square turn at the elbow and fingers bent naturally4 ,step four1 number seven3 ,learn to run the writing machine4 ,notice the closed fingers making a fist1 and the absorbed interest with which this boy studies his arm near the elbow4 ,the arm is the machine1 and the engine that moves it is above the elbow4 ,with the arm lying on the desk in that position1 it requires but little effort to drive the wrist forward out of1 and to pull it backward into1 the sleeve2 this is 8muscular movement40 ,fix in your mind the following facts3 ,in muscular movement writing the arm is never raised above1 but lies on the desk all the time in a perfectly natural1 comfortable position2 the sleeve remains in one place on the desk at all times1 and the flesh on the arm moves1 the action being inside the sleeve4 ,careful study of illustrations nine and ten at this point will be helpful4 ,the arrow points to the main rest1 which should always be the larger part of the forearm near the elbow4 ,in writing1 the wrist and side of the hand should never touch the paper4 ,there are only two rests1 the muscle near the elbow1 as explained1 and the third and fourth fingers1 those fingers supplying a movable rest1 and gliding over the paper in the various directions in which the pen moves4 ,do not think of writing or penholding at this point1 but give all your attention to position1 muscular relaxation1 and the running of the writing machine1 until good position and easy movement have become natural4 ,it often pays primary grade pupils to practice on position1 relaxing exercises1 and movement1 from three to six weeks before taking writing instruments4 ,it is best that all beginners on muscular movement practice should devote several periods to these things before thinking of penholding or writing4 ,future progress depends upon present understanding of these first important steps4 ,even after beginning the movement drills1 and when muscular movement is used in all writing1 parts of practice periods should be devoted to the study of the writing machine1 and to the calisthenic exercises suggested4 ,illustration number eight is worthy of close study and imitation4 ,this boy was looking at some object at a distance4 ,in this position you should practice the movement4 ,test the movement here1 and see if you can feel the action of the muscle of the forearm as it rests on the desk4 ,illustration3 ,no4 #d ,no4 #e ,no4 #f ,no4 #g ,no4 #h ,,definition ,,of ,,movement ,muscular movement as applied to writing1 is the movement of the muscles of the arm from the shoulder to the wrist1 with the larger part of the arm below the elbow on the desk1 the fingers not being held rigid1 but remaining passive1 and neither extended nor contracted in the formation of letters4 ,in this movement the driving power is located above the elbow in the upper muscles of the arm4 ,examine your right arm4 ,notice the increasing size from the wrist to the elbow4 ,note particularly the elasticity of the muscles4 ,on the elasticity and development of those muscles depends your success in learning a good style of writing4 7,reread this and make sure that you thoroughly understand what muscular movement means before going ahead1 because your success depends upon it47 ,,how ,,to ,,develop ,,muscular ,,action ,place your arm on the desk and close the fingers of the right hand tightly4 7,number nine47 ,see how far you can move the hand forward and backward without slipping the sleeve or without any motion of the wrist or fingers4 ,can you move that hand through space a sufficient distance to make any capital8 ,could you make a capital through two or three lines of the paper1 two or three times larger than necessary1 without any action of the fingers8 ,to the ,teacher3 ,you should again examine your students on lesson one and also on this lesson4 ,illustration3 ,no4 #i ,illustration3 ,no4 #aj ,on page fourteen are five pictures of a boy who sits in a splendid position for writing4 ,he is never found in a cramped or poor position4 ,in number eleven1 the right elbow is placed on the lower right corner1 the hand pointed toward the upper left corner1 of the desk4 ,the arm may then be lowered until it rests in a writing position4 ,in number twelve1 the left arm is placed on the desk as shown in pictures one1 two1 and three1 and then the exercise of the muscles begins4 ,the entire right arm is on the desk1 and this is the best position1 except when the arm is so thin that the bone of the elbow grates on the desk4 ,then the elbow may be extended off the desk enough to relieve the discomfort4 ,in no case will it be necessary to extend the elbow more than an inch2 and not one pupil in a hundred will need to take advantage of this exception to the rule1 that the entire right arm should be on the desk4 ,in number thirteen1 make a special study of the upper part of the penholder4 ,it does not point toward the right shoulder1 and never will1 if the arm1 wrist1 and hand are allowed to retain natural positions1 providing pupil and desk are fitted to each other4 ,in number fourteen1 again study the right arm1 and1 in particular1 notice its distance from the right side1 also look at the portion of the penholder in sight4 ,in number fifteen1 notice carefully the distance between the boy and the desk4 ,you should always sit well back in your seat1 so far back that the body will not touch the desk4 ,this boy is none too far back2 his writing is well in front of the eyes1 and it is easy for him to retain the very important square turn at the right elbow4 ,you should follow his good example in the matter of position1 and if you practice faithfully you can soon become an expert penman4 ,number sixteen shows the position in which many good business penmen carry the penholder when writing4 ,others who write just as well let the holder drop below the knuckle joint1 as shown in illustrations twenty-four and twenty-five1 page seventeen4 ,the best position is determined by the length of the fingers and the shape of the hand4 ,it is not necessary that the pupil with a long1 slim hand and long1 tapering fingers1 should carry his penholder in exactly the same position as the pupil with the short1 thick hand and short1 stubby fingers4 ,illustration3 ,no4 #aa ,no4 #ab ,no4 #ac ,no4 #ad ,no4 #ae ,illustration3 ,no4 #af ,illustration3 ,no4 #ag ,no4 #ah ,no4 #ai ,no4 #bj ,no4 #ba ,,lesson #c ,here are additional pictures from which you are expected to learn more about the best position for muscular movement writing4 ,see the right 7square7 turn of his right arm at the elbow2 the position in the seat2 the position of the back2 the distance between the boy and the desk2 the positions of the left arm and the left hand2 and the distance between the eyes and the paper4 ,in this lesson you should review all that was said in lessons one and two about important beginning steps1 position1 muscular relaxation1 and penholding4 ,practice movement 7running the writing machine7 a few minutes without the penholder1 then slip the penholder into the right hand from the left1 and practice the movement without touching the pen to the paper1 still watching the arm closely1 and giving more attention to correct position and movement than to anything else4 ,are you comfortable in your seat2 do your arms feel comfortable2 and are you holding the penholder lightly in the hand without pinching it8 ,give close attention to these things4 ,in the next lesson more particular attention will be given to penholding4 ,,time ,,required ,,to ,,learn ,the process of learning a good style of muscular movement writing may be made easy or difficult1 short or long1 possible or impossible1 according to the mental attitudes of teacher and pupil1 and the exactness with which directions in this ,manual are followed4 ,pupils who constantly practice the movement drills in poor positions with incorrect movement never even get started1 and pupils who practice from fifteen to thirty minutes a day in good positions with correct movement1 but who fall back into the old bad cramped positions and finger movement habits in all other writing1 do not get beyond the beginning stages1 no matter how many years they may practice4 ,the pupil who becomes the absolute master of a finished style of muscular movement writing within the limits of six months or one school year is he who gives the closest attention to every detail relating to the beginning steps1 who follows the printed instructions closely1 who sits in correct position at all times1 and uses muscular movement throughout the writing lessons1 and in all his written work within a month from the time he begins to study the ,palmer ,method4 ,without conflicting with other subjects it is possible to lay the foundation for an excellent handwriting in one school year1 with but fifteen to thirty minutes daily study and practice1 and the employment of muscular movement in all written work just as soon as possible4 ,as progress is made in the grades the use of muscular movement can be permanently established4 ,the boy becomes an expert ball-player by playing ball4 ,at first he is awkward and uncertain1 but1 as he studies the methods of those who have become experts1 and continues to practice1 he takes on self-confidence1 and finally develops into an expert1 even though he could not hit a single ball during his first few games4 ,boys and girls who learn to skate with almost consummate grace must pass through the awkward stages1 when they sit down instead of standing up as they had planned1 and when their feet take possession and run away with them4 ,in instrumental music of any kind one does not become an expert without first learning how to practice and then practicing in exactly the right way according to methods prescribed by master teachers4 ,it is the same in penmanship3 first1 learn how to practice and then practice faithfully4 ,acquire elasticity1 lightness1 and freedom1 and do not mind if the pen runs away at first and makes some awkward letters4 ,this is to be expected4 ,but stick to the right plan1 and gradually you will gain control of the writing muscles of the arm1 and with close attention to general form1 size1 slant1 spacing1 and correct movement application1 you will become a splendid muscular movement penman in a few short months4 ,,hand1 ,,finger1 ,,and ,,penholder ,,studies ,illustration3 ,no4 #bb ,illustration3 ,no4 #bc ,study closely the illustrations on this page4 ,in number #bb1 the fingers bend naturally as in repose1 and their positions should remain the same when the penholder is in the hand4 ,illustration3 ,no4 #bd ,illustration3 ,no4 #be ,in numbers twenty-four and twenty-five1 you should study the relation of the penholder to the hand4 ,as you see1 it is a little below the knuckle joint4 ,the first finger bends naturally1 and rests on top of the holder about one inch from the point of the pen2 the thumb rests on the holder nearly opposite the first joint of the first finger1 and the third and fourth fingers are bent1 touching the paper and forming a movable rest4 ,whether these fingers bend exactly as the illustrations show will depend upon their shape and length4 ,it does not matter whether they rest on the nails or sides1 if they are comfortable and can be used easily as the movable rest4 ,illustration3 ,no4 #bf ,illustration3 ,no4 #bg ,these diagrams are intended to show clearly the position of the writing paper on the desk1 the relative positions of arms1 paper and desk1 and the direction in which the pen moves to secure uniform slant4 ,number twenty-six is the half-side position mostly used in public schools and best adapted to them1 because of the character of the desks4 ,number twenty-seven is the square front position4 ,in both diagrams1 ,a represents the square turn at the right elbow and its position on the desk1 ,b is the muscular rest of the forearm1 ,c the position of the left hand in its relation to the paper and the right hand1 ,d the penholder1 and ,e ,e the imaginary line between the eyes along which the pen should travel in upward and downward strokes4 ,with the right forearm crossing the lower edge of the paper a little to the right of the center1 the pen should progress one-fourth or one-third of the distance across a sheet of paper eight inches wide1 before the position of the paper is changed4 ,always use the left hand to move the paper4 ,paper #haj inches in width should be moved three or four times in the progress of the pen across it4 ,when the end of the line has been reached1 the paper should be returned to its original position1 and should be moved up on the desk the width of one line4 ,lift the pen before moving the paper4 ,it is not ,palmer ,method if the lines are tremulous4 ,study instructions for speed requirements4 ,,lesson #d ,now the serious work of using and applying the correct movement begins4 ,before attempting to make any part of drill one1 review lessons one1 two1 and three1 and give the closest possible attention to position1 muscular relaxation1 and penholding4 ,don't practice before you know how4 ,with the left hand1 move the paper to the left three times at equal intervals1 in the progress of the pen across it4 ,drill #a ,illustration ,letting the distance between the two ruled lines1 three-eighths of an inch apart1 represent one space in height1 any part of this drill should be two spaces high4 ,look at these drills until you have a good mental picture of the height1 proportions1 and general appearance4 ,in connection with the straight line part of the drill1 study closely diagrams twenty-six and twenty-seven on page eighteen4 ,there is no value in this straight line exercise unless practiced with a forward and backward motion1 from and toward the center of the body1 with the paper held in the correct position4 ,if you cannot make the several parts of drill one high enough at first with pure muscular movement1 practice without touching the pen to the paper until you have developed more muscular freedom4 ,in the second line of drill one1 the traced oval should first contain six1 and later1 as a lighter movement is developed1 ten revolutions4 ,in this drill it will be well to make first the straight line on the correct slant1 and then the oval enclosing it4 ,this order may be changed frequently and the ovals made first4 ,this is an important drill as it has a very specific bearing upon slant4 ,to the ,teacher3 ,it may be profitable for third1 fourth1 and fifth year pupils to spend the practice periods of one week in studying and practicing the two movement drills given in this lesson1 reviewing each day everything that has gone before4 ,pupils in the sixth1 seventh1 and eighth years1 and in high schools classes should be able to progress more rapidly4 ,it is not safe to say how rapidly1 as that depends upon the knowledge of the teacher1 the mental caliber of the pupils1 their interest in the work1 the length of the daily lessons1 and the amount of the right kind of outside practicing that pupils do4 ,illustration3 ,no4 #bh ,study the accompanying illustration1 number twenty-eight4 ,notice the direction in which the upper part of the penholder points1 the distance between the elbow and the side1 the self-supporting position of the body in the chair1 and the distance of the eyes from the paper4 ,do not forget that the force that moves the hand and carries the pen along without bending the fingers is above the elbow4 ,it is not located in the fingers1 hand1 wrist1 or forearm4 ,the fingers hold the pen easily and firmly without pinching2 the third and fourth fingers are bent backward and form the movable rest under the hand2 neither the wrist nor side of the hand touches the paper1 and the arm should rest all the time on the largest portion in front of and near the elbow4 ,if the paper you are using has lines eight inches long1 divide the page in the center from left to right with a dot2 then divide the halves in the center with other dots4 ,beginning at the left for the straight line drill1 make one hundred downward strokes to the first quarter mark1 and continue in the same manner for each quarter4 ,thus1 four hundred downward strokes and1 of course1 an equal number of upward strokes should be made in the four sections extending across a line4 ,see drill one2 page nineteen4 ,,counting ,,to ,,regulate ,,motion ,in developing light1 uniform motion in class penmanship practice1 counting is important4 ,it makes the work more interesting1 tones down the movement of the naturally nervous pupil1 acts as a constant spur to the habitually slow boy or girl1 and keeps the indolent student busy4 ,in the oblique straight line and the oval exercises given in drill one1 the downward strokes only should be counted4 ,the other parts of the drills1 being what are termed connective lines1 are not counted4 ,,about ,,speed ,speed is so important in the development of good writing that it should receive close attention in all practice work until correct speed has become a habit4 ,too much speed is just as bad as too little4 ,correct speed forces a light1 firm line2 too little speed results in shaky tremulous lines2 while excessive speed means irregular letter formation4 ,if you develop a light1 firm1 elastic motion1 and the proper degree of speed in straight line and oval making1 you will find the work of the following lessons comparatively easy4 ,the straight line and oval exercises in drills one1 two1 and three should be made at a speed of two hundred downward strokes to a minute2 one hundred in one-half a minute2 and then move the paper4 ,the most convenient count for continuous straight line or oval exercises as given in drill two is #a1 #b1 #c1 #d1 #e1 #f1 #g1 #h1 #i1 #aj--a1 #b1 #c1 #d1 #e1 #f1 #g1 #h1 #i1 #bj--a1 #b1 #c1 #d1 #e1 #f1 #g1 #h1 #i1 #cj--a1 #b1 #c1 #d1 #e1 #f1 #g1 #h1 #i1 #dj--a1 #b1 #c1 #d1 #e1 #f1 #g1 #h1 #i1 #ej1 continuing until two hundred has been reached4 ,until correct speed habits have been developed1 the second hand of a watch should be used as a guide4 ,a few minutes in the right way are worth more than hours of practice in the wrong way4 ,,lesson #e ,drill #b ,illustration ,begin this lesson with a review of position and movement1 without the penholder4 ,at least five minutes should be devoted to energetic practice of the straight line and oval drills in this way4 ,do you see the dotted lines at the left in drill two8 ,they are to show you the general direction in which the pen moves in making the downward strokes4 ,,about ,,slant ,slant needs no special study1 but will take care of itself if the instructions have been studied and heeded4 ,especially is this true in relation to the position at the desk1 the position of the paper and arms on the desk1 the relation of each to the other1 and the changing of the paper with the left hand1 to keep it in the right position in regard to the desk1 body1 and arms4 ,see diagrams--page eighteen4 ,if the position is correct1 and if all downward strokes are made toward the center of the body1 each pupil will develop uniform slant1 though different pupils may develop individual slants4 ,following the same rules1 and practicing at the same time under similar conditions1 different slants result1 because of the variations in length of arms1 and other physical conditions4 ,the degree of slant is not a matter of grave importance so long as each writer develops uniform slant in his own writing4 ,in drill two1 see how many compact ovals you can make with one dip of ink1 and try to develop a motion so light and elastic that you will soon be able to make from five hundred to a thousand1 and one thousand or more on a line eight inches long4 ,many young pupils have developed such control of muscular movement that they have made more than two thousand ovals with one dip of ink1 in a space not more than eight inches long4 ,indeed1 one boy of twelve made three thousand within the limits of a page eight inches across1 maintaining a uniform speed of two hundred to a minute4 ,the pen used was of the ordinary large1 business variety4 ,skill in oval making should be developed gradually from day to day1 as two or three minutes at the beginning of each practice period are devoted to ovals4 ,never make ovals on the 8back slant40 ,avoid this by pulling the strokes toward the center of the body4 ,,lesson #f ,each practice period should begin with a review of position1 careful study of the arm1 fingers1 and penholding1 and practice of the preceding movements without touching the pen to the paper4 ,while going through these preliminary drills1 the eyes should travel up and down the arm from finger-tips to elbow1 and the pupils should be sure that the writing machine has been carefully adjusted1 and is in perfect working order before the pen touches the paper4 ,see that the arm is perfectly relaxed and that the wrist does not touch the desk4 ,,preparatory ,,motion ,read the following carefully until thoroughly understood4 ,it is of especial value to beginners4 ,before making the oval drill or attempting any part of it1 move the pen in the air rapidly over the path of the first oval several times4 ,while doing this1 watch closely the movement of the muscles of the arm4 ,while the pen is moving rapidly1 and without checking its motion1 let it strike the paper4 ,the force thus gathered will compel light1 quick action1 break up finger motion1 give smooth lines1 and aid form building4 ,,form ,,building ,the compact oval is the repeated form of a large capital ,o4 ,keep this constantly in mind1 and learn at once to criticise it with special reference to the slant1 width1 and general formation of a capital ,o a little more than twice the size used in writing4 ,mind and muscle must work in perfect harmony to secure the best results4 ,before beginning the practice of any drill or letter1 study its form closely1 part by part1 and as a complete whole4 ,in what direction does the pen move to make the first line8 ,see that the pen moves in that direction before coming in contact with the paper4 ,be sure that the speed is neither too fast nor too slow1 but such as will make two hundred complete ovals to a minute4 ,do not guess about the speed1 but use a watch4 ,if the oval is too wide1 it is because of too nearly circular motion1 and you should use more of the forward and backward motion of the straight line exercise4 ,if too narrow1 it is because too much of the straight line motion was used1 and the movement should be more nearly circular4 ,remember the connection between mind1 muscle1 and motion4 ,when the oval is too narrow1 repeat to yourself1 8,wider1 wider1 rounder1 rounder1 rounder1 rounder10 until it is wide enough4 ,if the oval presents a back slant appearance when finished1 it is because the downward strokes were made toward the right elbow instead of the center of the body4 ,on the other hand1 if the oval slants too much1 it is because the downward strokes were made toward the left shoulder instead of the center of the body--always providing that instructions relating to position have been strictly followed4 ,drill #c ,illustration ,when pupils make the ovals fairly well1 they are ready to begin to apply muscular movement to words and sentences4 ,the ovals given above are twelve-sixteenths of an inch high1 and the letters in the word 8mine0 7called minimum letters7 are about one-twelfth as high1 or one-sixteenth of an inch4 ,thus1 these ovals are twelve times as high as the minimum letters2 therefore little force is required to make a minimum letter1 compared with the muscular effort used in making ovals4 ,to make the m and n round at the top1 the over-motion must be used1 while to make the connective lines of the i and e the use of the under-motion is necessary4 ,in the words 8uses0 and 8sell0 the under-motion is used in forming the first lines in all letters as well as in connective lines4 ,the speed should be such as will permit good formation1 and produce sharp1 clear-cut lines4 ,good practice speed for these words is 8mine10 eighteen2 8uses10 twenty2 and 8sell10 twenty-two1 to the minute4 ,these words should be practiced now until they can be written well1 and should be reviewed frequently4 ,practicing them at this stage with muscular movement will give students confidence and should encourage them to use1 constantly1 muscular movement in all written work4 ,other easy words may be selected from the ,manual and practiced occasionally4 ,it is a distinct advantage to study frequently at this stage lessons #ae1 #af1 #ag1 #ai1 #bj1 and #cb1 and to practice drills #ac1 #ad1 #ae1 #ag1 #ah1 and #cc4 ,,lesson #g ,drill #d ,illustration ,begin1 as usual1 with careful study of the writing machine1 adjust it carefully and test the movement4 ,then practice the two-space compact oval in drill three4 ,in drill four the special object is to develop a uniform1 continuous motion4 ,preparatory to the first oval1 the movement should be tested by carrying the pen rapidly in the air1 the arm resting1 and the hand in a good writing position4 ,without checking the motion1 the pen should be brought to the paper1 thus forcing it to make sharp1 clean-cut lines4 ,in passing from one oval to another1 the pen should be lifted from the paper at the base line without checking the motion1 should swing below the base line to the right and to the beginning of the next oval1 a uniform speed being maintained throughout4 ,thus1 the motion is continuous and no shaky lines are possible4 ,finish the final oval in each group with an upward right curve as shown in the drill4 ,move the paper with the left hand after each group of six4 ,pupils should study the above instructions in connection with the oval practice until fully understood4 ,these instructions are important1 having a direct bearing upon the practice of capital letters4 ,drill #e ,illustration ,drill five is what we term a forcing movement drill1 and is one of the best for the beginner to practice4 ,in the direct traced oval make six revolutions to a count of 8#a1 #b1 #c1 #d1 #e1 #f10 lifting the pen at the base line on the sixth count without checking the motion and swinging it in the air to the beginning stroke of the capital ,a4 ,thus the pupil will be impelled from a slow1 lagging movement to one that is elastic and rapid4 ,the form may not be entirely satisfactory at first1 but it will improve rapidly if this process is continued long enough and frequently repeated4 ,the rate of speed should be about twenty complete traced ovals1 and as many capitals to the minute4 ,before beginning to practice1 count the ovals and letters4 ,there are seven of each4 ,you are expected to make the same number on a line of equal length4 ,,lesson #h ,drill #f ,assume correct position2 practice the movement without1 and then with1 the penholder4 ,be sure that you are using exactly the right movement1 and practice the two-space compact ovals two or three minutes at the rate of two hundred to a minute4 7,drill three47 ,illustration ,when two lines are connected in an angle1 a positive stop at the point of connection is necessary4 ,this principle applies to the top of capital ,a where the upward and the last downward strokes are joined4 ,this stop is such a small fraction of a second in duration that it can hardly be detected4 ,without the stop at the top of capital ,a1 a loop will be made4 ,to emphasize this stop in connection with capital ,a1 the following conversational count has been developed4 8,you stop1 you stop1 at the top1 you stop1 every time1 at the top4 ,how long do you stop at the top8 ,not long1 but you stop1 every time1 at the top4 ,what for1 what for1 what for8 ,oh6 ,to close them up1 to close them up1 to close them up10 and repeat4 ,other conversational counts that may be used with capital ,a are1 8,roll the arm1 on the muscle2 see it roll1 on the muscle2 slide the hand1 on the fingers1 see them slide1 over the paper1 make them glide40 ,make your letters the same size as in the drill1 and begin each letter as the pen moves downward4 ,make capital ,a in groups of five1 and move the paper a little to the left after each of the first two groups as indicated by the check mark4 ,when the third group of five has been finished1 move the paper to the right to its correct position for beginning a line4 ,learning to move the paper in this and in other drills is very important4 ,there are three groups of five1 making fifteen letters to a line in drill six1 and five lines1 seventy-five letters1 should be made in a minute4 ,the dotted line between the first and second letters shows the path over which the pen should move without touching the paper1 in passing from one letter to the next4 ,a count of ten should be used in each group of five1 and the count for each line should be #a-b1 #c-d1 #e-f1 #g-h1 #i-aj1 move the paper1 #a-b1 #c-d1 #e-f1 #g-h1 #i-aj1 move the paper1 #a-b1 #c-d1 #e-f1 #g-h1 #i-aj1 move the paper4 ,in beginning every practice period hereafter1 your program should be the two-space compact oval1 one minute--two hundred ovals1 and capital ,a1 at a speed that will produce at least sixty-five and very soon seventy-five in a minute4 ,for the present1 three minutes could very profitably be spent in repeating the capital ,a with an easy1 swinging1 rhythmic motion4 ,select your best capital and compare it with the models giving close attention to size1 slant1 width1 distance between letters1 and the beginning and finishing lines4 ,if muscular movement is taught to pupils of the first and second year primary classes according to the ,palmer ,method plan1 they will enter the third year of their school life well prepared to use the movement in all their writing4 ,if pupils in classes from the third to the eighth year inclusive have copies of this ,manual1 study it closely1 and follow it absolutely in daily practice under teachers who have mastered the lessons before attempting to teach them1 rapid improvement will be evident from week to week1 and the ideal in rapid1 easy1 legible writing will soon be attained4 ,,lesson #i ,drill #g ,illustration ,do not neglect the compact oval practice2 one line across the paper will no doubt be enough if very compact4 ,the method of practice in drill seven should be the same as in capital ,a1 drill five4 ,after each traced oval1 lift the pen while in motion1 swinging it below the base line and around to the beginning point of capital ,o without checking it4 ,drive the pen rapidly and bring the muscles of the arm into active play4 ,first make ten revolutions for the traced oval1 gradually decreasing the number to six2 count six for the ovals and two for each capital ,o4 ,drill #h ,illustration ,this capital ,o is very popular with many excellent business penman and teachers of modern writing4 ,study the letter and make a mental photograph of it4 ,note particularly the curves of the left and the right sides2 also the loop at the top1 its general direction and size4 ,in finishing ,o the final stroke should be pushed upward4 ,if it is pulled downward it will too nearly resemble ,a4 ,capital ,o should be made at the rate of seventy or more to a minute4 ,count #a-b for each ,o4 ,,lesson #aj ,devote the time of this lesson to a general review of the preceding lessons4 ,,lesson #aa ,drill #i ,illustration ,the plan of practice for drill nine should be the same as for drills five and seven4 ,the count should be #a1 #b1 #c1 #d1 #e1 #f1--a1 #b1 and repeat4 ,no matter what may precede capital ,c1 when the pen comes in contact with the paper in the beginning line it must move downward in the direction of a left curve4 ,drill #aj ,illustration ,how many are there on a line8 ,count them4 ,swing the pen in the path of a ,c several times before making the first letter2 in fact1 aim before you shoot4 ,lift the pen from the paper while in motion in finishing a capital2 continue the motion with the pen in the air and bring it to the paper to begin the next capital--all without checking the motion4 ,make about seventy letters to the minute4 ,count #a-b for each ,c4 ,,lesson #ab ,drill #aa ,illustration ,see instructions for drill eleven on following page4 ,hereafter1 each lesson should begin with practice of the compact two-space oval1 drill three1 drill six1 and drill eleven1 and there should be frequent reviews of the other drills so far practiced4 ,in the large oval drill and its modifications in capitals ,a1 ,o1 and ,c1 the motion has been mainly forward and backward1 while that used in the connected small o drill is mainly toward the right1 developing the lateral movement4 ,if too much driving force from above the elbow is used1 the letter will be too large4 ,if the position is just right1 the least possible force will drive the hand far enough to form the o4 ,the line connecting the letters should be as nearly straight as is possible to make it at the required speed4 ,if too pronounced an under-curve is used in the connective lines the result will be a form more nearly resembling small a than o4 ,in this style of writing1 small o and letters in its class should be one-sixteenth of an inch high4 ,the letter in this drill is of that height1 and it should be used as a basis of comparison in determining the height of the other minimum letters a1 c1 e1 i1 m1 n1 r1 s1 u1 v1 w1 and x4 ,small r and s may be made one-fourth higher than the other letters in the minimum class4 ,wherever there is an angular connection as in closing small o at the top1 there must be a checking of the motion at that point2 in fact1 a stop4 ,the closing of o is so quickly done that the stop can hardly be seen even by the closest observer4 ,to the ,teacher3 ,in connection with this drill we urge teachers to use a conversational count4 ,in passing from desk to desk1 criticise the work in correct rhythm4 ,suppose one student is making o too large1 another not closing it at the top1 another using a slow1 dragging movement1 another making a narrow1 flat letter1 and still another bending over his desk too far4 ,the criticisms would be as follows3 8,make it smaller1 make it smaller2 close it up1 close it up2 you stop1 at the top1 you stop1 you stop1 every time1 at the top4 ,how long8 ,not long2 but you stop1 every time1 at the top4 ,slide along1 slide along2 round o1 round o2 sit up1 sit up40 ,each criticism or admonition may be repeated until the error has in a measure been corrected4 ,the influence will not be lost upon the rest of the pupils1 but those who have been making the same errors will almost unconsciously show marked improvement4 ,a speed of ninety or more to a minute should be developed and maintained4 ,ninety in a minute is by no means fast1 but1 while permitting good form1 it is fast enough to force light motion4 ,in drill eleven1 there are three groups of five letters in a line1 and there are six lines in the drill1 making ninety letters4 ,these should be made in a minute1 and that should be the practice speed4 ,as in capital ,a1 the plan is to make each group to a count of ten1 and then move the paper4 ,for an entire line the count would be #a-b1 #c-d1 #e-f1 #g-h1 #i-aj1 move the paper1 #a-b1 #c-d1 #e-f1 #g-h1 #i-aj1 move the paper1 #a-b1 #c-d1 #e-f1 #g-h1 #i-aj1 move the paper4 ,the conversational count may be fitted nicely to the rhythm of the count of ten4 ,hereafter1 drill eleven should be practiced with the two-space compact oval1 and drill six at the beginning of each practice period4 ,,lesson #ac ,make this a general review lesson4 ,the ,palmer ,method is a text-book on practical writing4 ,the instructions should be studied and followed4 ,,special ,,studies ,,of ,,the ,,capitals1 ,,small ,,letters1 ,,and ,,figures ,illustration ,pupils who have studied and followed the explanations1 suggestions1 and instructions so far1 will have sufficient control of the muscular movement to master easily the letters on this page4 ,those who have not been thorough in studying the instruction and practicing the drills should review4 ,nothing less than failure can follow superficial study4 ,the capitals1 small letters1 and figures are given at this point for convenient reference1 and an effort should be made hereafter to employ these forms in all the written work4 ,one lesson each week should be devoted to special study and practice of the capitals until they are mastered4 ,capitals1 small letters1 and figures will all be taught thoroughly in the following lessons4 ,a few minutes in the right way are worth more than hours of practice in the wrong way4 ,,lesson #ad ,drill #ab ,illustration ,cross line practice is very helpful in developing light1 elastic1 gliding motion4 ,first make the letters on the lines2 then turn the paper and make them across4 ,,lesson #ae ,,more ,,about ,,counting ,in writing1 as in music1 regularity of movement is an important factor4 ,a jerky1 spasmodic motion is to be avoided1 and successful teachers of writing have found that some method to mark the time of making parts of letters is helpful4 ,some use a metronome1 some a chalk box and a ruler1 others musical instruments2 but we prefer that wonderful machine1 the human voice1 and a process of counting to fit the letters4 ,in individual home practice the counting process is of as much value as in the school-room1 and pupils should learn to use it4 ,when a letter is poorly made1 it may be due to one or all of four causes--first1 the position may be poor2 second1 the muscles may be rigid1 preventing easy action2 third1 the mind may not have a good picture of the form2 and fourth1 movement direction may be wrong4 ,as an example1 when small m and n are made too sharp at the top1 it is because there is not enough over-motion4 ,the special object of drill thirteen is to develop the over-motion for m and n4 ,as you practice this drill1 count #a1 #b1 #c1 #d1 #e1 #f1 #g1 #h1 #i1 #aj1 for each section1 or use a verbal count as follows3 ,over1 over1 over1 over1 over1 light1 light1 light1 light1 light4 ,in the first line the exercise should occupy one-half the space between ruled lines2 and in the second1 the height should be the same as small o1 one-sixteenth of an inch4 ,drill #ac ,illustration ,remember that the larger part of the right arm just in front of the elbow1 should rest on the desk1 and the third and fourth fingers of the right hand be bent well under2 that the position of the pen in the hand must be comfortable and the right arm well out from the side4 ,now push the hand forward and backward to test the freedom and movement power4 ,if the muscles move easily1 let the pen touch the paper1 moving lightly and rapidly4 ,about fourteen completed sections of the first line should be made in a minute and sixteen of the second4 ,,lesson #af ,drill #ad ,illustration ,test the movement by tracing the first stroke in the air4 ,start the motion below the base line1 and as the pen moves rapidly upward let it strike the paper at the beginning point4 ,drive the pen through the exercise rapidly and lightly4 ,make four connected m's before lifting the pen1 and three such groups across a line4 ,you will make the letters too large1 irregular1 and awkward at first1 and will have trouble with the union 7connecting lines71 but keep right on4 ,make the four lines in a minute and move the paper after each group4 ,as taught in drill thirteen1 lesson fifteen1 the parts of small m are made with over-motion1 but to use an over-motion between letters would give no connective line and hence no dividing line between the letters4 ,keep in mind as you practice1 that the over-motion makes the parts of m1 and that the opposite or under-motion forms the connecting lines4 ,you may count #a1 #b1 #c2 or slide1 #b1 #c2 or over1 over1 under4 ,drill fourteen should be practiced a minute or more at the beginning of each practice period4 ,four drills have now been suggested for use at the beginning of every practice period4 ,they should be practiced1 not only in the beginning stages1 but until the entire course has been mastered4 ,these drills furnish the very best movement exercises1 and at the same time give the right kind of practice in form building4 ,students who thoroughly master them in size1 form1 and speed application will find the remaining drills easy4 ,as it teaches the correct use of the under-motion in connecting letters1 small m is perhaps the most important of the four4 ,,lesson #ag ,from this point each lesson should start with the compact two-space oval2 drill eleven1 small o2 and drill fourteen1 small m4 ,it will pay to devote from three to five minutes of each practice period to these three drills4 ,drill #ae ,illustration ,for small m1 a count of three is used2 and in n1 a count of two4 ,thus1 the count for drill fifteen will be #a1 #b1 #a1 #b1 #a1 #b1 #a1 #b1 etc41 or for five connected letters1 #a-b1 #c-d1 #e-f1 #g-h1 #i-aj4 ,the speed should be the same relatively as in the small m drill4 ,,lesson #ah ,drill #af ,illustration ,make the small m in groups of four1 three groups to a line1 and five or more rows2 then turn the paper and make groups of small n4 ,make frequent comparisons with the drill as you practice4 ,,lesson #ai ,drill #ag ,illustration ,small i being made entirely with an under-motion1 has a sharp point at the top4 ,count #a1 #b1 #c1 #d1 #e1 for each group2 make the downward as light as the upward strokes and try to make them equal distances apart4 ,drill #ah ,illustration ,a space in width is the distance between the points of small u4 ,this is sometimes called a lateral space4 ,for each group of four connected letters1 count #a-b1 #c-d1 #e-f1 #g-h4 ,drill #ai ,illustration ,extend small i about two and one-half times its height1 cross with a short horizontal line1 and the result will be small t4 ,an effort should be made to bring the upward and downward strokes of small t together at the top1 but if a very short narrow loop is sometimes made as a result of rapid movement1 it will not conflict with legibility4 ,the small t should always be a little shorter than the small l and its companions1 b1 h1 k1 and f4 ,the practice speed for t in groups of five is twenty groups1 or one hundred letters1 to the minute4 ,there is no special value in this letter as a movement drill1 but a little practice of it in group formation will be an aid to its mastery4 ,as you gain more control of the muscular movement1 you should become more skillful in its application1 and the result should be constant improvement in form1 spacing1 and uniformity of size4 ,use your eyes constantly1 comparing your letters with the drills you are trying to imitate2 do your best1 and rapid improvement is sure to follow4 ,,lesson #bj ,after the usual practice of the compact two-space oval and the small m and n review lesson nineteen4 ,drill #bj ,illustration ,the count for small e in groups of five1 is #a1 #b1 #c1 #d1 #e4 ,try to make the letter but one-sixteenth of an inch high4 ,for purposes of comparison1 it would be well occasionally to make rows of small o's and m's on lines close to your small e drills4 ,the three letters should be of the same height4 ,making small e in groups of five1 twenty-eight groups1 or one hundred and forty letters1 should be made in a minute4 ,,lesson #ba ,drill #ba ,illustration ,wrong practice will lead you in the wrong direction6 ,the instructions tell you how to practice4 ,number twenty-one is our first word drill with a capital4 ,do not neglect the study of the motion and its applications to form4 ,write fourteen or more words to a minute1 and do not let them occupy more space than the copies4 ,in drill six the final line in capital ,a drops below the base line4 ,this is done to give a rhythmic movement drill4 ,in writing words beginning with capital ,a it is better to connect the last line with the small letters following1 as in the second line in drill twenty-one4 ,,lesson #bb ,drill #bb ,illustration ,write fourteen words in a minute4 ,write a few lines and then compare your work with the drill4 ,review often4 ,,lesson #bc ,drill #bc ,illustration ,be sure that the motion is oval in starting capital ,o4 ,trace the letter with the pen in the air4 ,let the pen strike the paper when moving rapidly downward4 ,if all conditions are favorable and the movement is free1 about sixteen of these should be written in a minute4 ,,lesson #bd ,drills #bd and #be ,illustration ,study the upper line closely1 and notice particularly that the nine exercises at the right are the enlarged form of an inverted figure six4 ,fix clearly in your mind the direction of the moving pen as it comes into contact with the paper in making the beginning loop4 ,do not make this loop larger than it is in the drill4 ,for business writing it would be better to make a dot than a large loop4 ,energetic practice of the drill at the left in the first line will help to develop the right motion4 ,in that part of the drill a count of #a1 #b1 #c1 #d1 #e1 should be used4 ,in the nine forms at the right in the first line1 the count may be #a-b1 down over2 or down1 over2 or one stop for each2 but each form should stop abruptly at the base line in a blunt stroke4 ,as this form is used for the beginning of twelve capitals1 it should be thoroughly studied and practiced now1 and frequently reviewed4 ,in the lower line1 observe that five drills extend across the page1 with ten parts in each drill2 with the paper held in the right position1 the downward strokes should be made toward the center of the body1 and the over-motion is applied in making the turns at the top4 ,the count should be #a1 #b1 #c1 #d1 #e1 #f1 #g1 #h1 #i1 #aj1 and sixteen completed exercises should be made to the minute4 ,turn to page twenty-nine and pick out the twelve capitals in which the inverted figure six is used4 ,use this style hereafter in beginning those capitals4 ,this is a lesson that should be reviewed frequently4 ,,lesson #be ,you should not forget the usual three to five minute practice period devoted to the compact oval1 and the small o and m drills4 ,drills #bf and #bg ,illustration ,study capitals ,m and ,n closely before trying to make them4 ,compare their parts in relation to slant1 height1 and width4 ,your attention is particularly directed to the finishing lines in ,m and ,n4 ,dropping this line below the base1 and lifting the pen without stopping the motion1 forces freedom1 continues the rotary motion and develops an automatic movement preceding and following each letter1 so that the motion is continued1 even when you are not actually forming the letters4 ,the capital ,m should be made in a count of #a1 #b1 #c1 #d1 at the rate of thirty a minute1 and capital ,n in a count of #a1 #b1 #c1 at the rate of forty a minute4 ,,lesson #bf ,review lessons twenty-four and twenty-five4 ,,lesson #bg ,perhaps you have forgotten something2 perhaps you were about to begin your practice of drill twenty-eight without the review of the compact oval1 and small o and m4 ,if so1 do not forget again4 ,drill #bh ,illustration ,in penmanship1 constant repetition is essential1 and in connection with drill twenty-eight the best results will be secured by practicing the word several minutes4 ,we prefer to have pupils at first use the style of capital given in the first line1 in which the finishing stroke is carried below the base1 and the pen lifted from the paper before the small letters are made4 ,later the final stroke in capital ,m may be connected directly with any small letters following1 as in the second line4 ,you are expected to write six words on a line1 as in the copy1 writing from fourteen to seventeen a minute4 ,to the ,teacher3 ,if you have studied the lessons in advance1 have practiced the different drills and mastered them before giving them to your pupils1 a good plan to follow in word-practice is sometimes to sit at your desk1 or a pupil's desk writing the words with them and spelling as you write4 ,thus3 ,m-o-o-n1 ,m-o-o-n4 ,this will enable you to help your boys and girls to master the correct speed1 and to secure uniform motion4 ,never attempt to use the count for individual letters when practicing words2 it is confusing4 ,,lesson #bh ,drill #bi ,illustration ,make a few lines of capital ,n as a movement drill before practicing the word ,noon4 ,repeated letters and words should always be considered movement drills4 ,strive for a firmer1 lighter motion constantly4 ,examine all letters and words practiced with special reference to firm1 smooth lines1 their direction1 size1 distances between letters1 height and width of the different parts1 connecting lines1 the finishing lines in the final letters1 and every little detail4 ,write from fifteen to eighteen words a minute4 ,,lesson #bi ,,for ,,study ,,and ,,comparison ,illustration ,small a is1 in the main1 a reduced copy of capital ,a1 and the first parts of small d1 g1 and q are identical with it4 ,fix the resemblance in the mind2 it will help you4 ,in business writing it is best to make the looped small d4 ,it is just as legible as the stem and can be made more rapidly4 ,the loop below the base line in small g should be made without finger motion4 ,we favor the blunt style of small g and y at the end of words1 and this ending should be shorter than the loop4 ,fix in your mind the length of this abbreviated g4 ,small q is a little shorter below the base line than g4 ,the g ending bluntly below the base line1 is just like the figure nine4 ,drill #cj ,illustration ,it will pay you to practice the small a drill a great deal4 ,try to make a half-dozen or more lines of letters as small and as uniform as the copy4 ,students should not forget to study the copy constantly and to make frequent comparisons of their work with it4 ,a count of #a1 #b1 should be used for each small a1 and in connecting five letters it is a good plan to count #a-b1 #c-d1 #e-f1 #g-h1 #i-aj4 ,small a in groups of five should be made at the rate of seventy a minute4 ,,lesson #cj ,drill #ca ,illustration ,reckoning small o1 one-sixteenth of an inch high1 as one space1 small g should extend three spaces1 or three-sixteenths of an inch below the base line1 while the loop of q and abbreviated g should extend two spaces below4 ,the loop of d extends about two and one-half spaces above the base4 ,writing which is good in other respects is often spoiled in the written page because the loops are too long1 extending into the lines above and below4 ,the count for each letter in groups of five should be #a-b1 #c-d1 #e-f1 #g-h1 #i-aj1 and the speed should be3 small d1 from sixty-five to seventy2 g1 from sixty to sixty-five2 and q1 about fifty to the minute4 ,are you studying the instructions8 ,they tell you just how to succeed4 ,,lesson #ca ,drill #cb ,illustration ,review lesson thirty before you study and practice this drill4 ,if you use your eyes to good advantage1 you will see that the first g begins one space above the base line1 there being no initial line starting from the base2 also that the first parts of small g and d are of the same height as a1 o1 m1 and n1 to which special reference has already been made4 ,practice speed1 twelve words in a minute4 ,,lesson #cb ,the basis of the extended loop letters1 b1 f1 h1 and k1 is small l4 ,these five letters should extend the same distance above the base line4 ,the practice of small l should be thorough now1 and it should be reviewed often4 ,in fact1 it would be well to add it to the group of compact ovals1 and small m's and o's1 to be practiced at the beginning of each lesson4 ,height--,reference has already been made to one-sixteenth of an inch as representing a space in height for the minimum 7one-space7 letters a1 c1 e1 i1 m1 n1 o1 u1 v1 w1 and x4 ,the small r and s are in the same class1 but are made a quarter space higher than the others4 ,these minimum letters should always be used as a standard of one-space measurement to regulate the height of all other small letters4 ,on that basis small l should be four spaces--four-sixteenths1 or one-fourth of an inch high4 ,as there are six-sixteenths of an inch between the ruled lines in the practice paper generally used1 and in all the ,palmer ,method practice paper1 there should be two-sixteenths 7one-eighth7 of an inch between the top of the loop and the ruled line above4 ,it should be remembered that a space in height is the height of the minimum letters in the style you are practicing4 ,as an example1 in copy-books used in former years1 the one-space letters were one-eighth of an inch1 or twice as high as in these lessons4 ,the loop letters were three spaces1 or three-eighths of an inch high1 which is two-sixteenths of an inch higher than the loops in these lessons4 ,movement ,used--,in business writing1 all loops below the line should be made with pure muscular movement4 ,in making those above the line1 the fingers should be relaxed1 and as the arm slides forward1 a slight extension of the fingers will help to make the upper part of the loop4 ,the combination of the two movements is perfectly natural to most hands1 and little encouragement need be given to the use of the fingers4 ,the student must guard against using much of it4 ,keep an eye on your wrist to see that it moves forward and backward in unison with the other movements4 ,under no circumstances allow the fleshy part of the hand in front of the wrist to touch the paper4 ,cautions--,you will find your first difficulty in getting enough curve on the upward stroke4 ,a half hour's determined practice will do much to overcome this4 ,keep the paper at such an angle as will make the downward strokes straight toward the middle of the body4 ,above all1 preserve unity in height1 in slant and in spacing4 ,do not shade4 ,drill #cc ,illustration ,there is a slight check in the motion on the downward strokes1 but no pause at the base line4 ,after a little practice1 loops as good as the above should be made at the rate of from one hundred to one hundred and twenty-five to the minute4 ,the count in groups of five is #a1 #b1 #c1 #d1 #e--one for each letter4 ,,lesson #cc ,drill #cd ,illustration ,more study1 more practice4 ,study and practice should be constant companions in developing good writing4 ,one without the other will lead to one-sided results4 ,don't be one-sided4 ,drill thirty-four offers good movement practice4 ,close observation will indicate just how it is done4 ,the small traced oval is about one-half the capital in height1 and the upper loop is also one-half the entire height of the letter4 ,if you have a sharp eye and a responsive mind1 you have been able to grasp these details without any suggestions1 and you have gone further4 ,you have noted the curve in the main downward stroke1 the flatness of the lower loop on the base line1 and the dropping of the finishing stroke below the base4 ,six is the count for the traced oval and two for ,l1 as follows1 #a-b-c-d-e-f1 #a-b4 ,the count of #a-b1 for the capital ,l should be a little slower than for the ovals4 ,this exercise should be made ten times on a line1 in groups of five1 and two lines1 or twenty exercises a minute4 ,a few minutes in the right way are worth hours of practice in the wrong way4 ,drill #ce ,illustration ,swing for the ,l1 swing for the ,l1 swing for the ,l4 ,in other words1 study the letter closely1 and swing the pen in its direction a few times before making it4 ,the first line starts about one-half the distance from the base to the top1 and dips under2 the upper loop is one-half the entire length of the letter2 the lower loop rests on the base line2 and the finishing line is carried below the base4 ,this letter makes one of the best movement drills so far given4 ,after each group of five the paper should be moved4 ,the count is #a-b1 for each letter1 or slide two1 or slide ,l1 or swing ,l4 ,from fifty to fifty-five should be made in a minute4 ,,lesson #cd ,review lesson thirty-three4 ,drill #cf ,illustration ,study1 practice1 and compare4 ,begin small a at the top just as it is in drill thirty2 make the abbreviated g short below the base line1 and be sure to write four words to a line4 ,practice speed1 ten to twelve words a minute4 ,,lesson #ce ,drill #cg ,illustration ,write two lines and then make careful comparisons with the models4 ,are your small l's shorter than the capitals2 are both l's the same height2 and do they cross one space above the base8 ,compare slant1 the parts of letters and letters complete4 ,study the spacings between the letters1 and try to show improvement in each line4 ,practice speed1 the same as for drill thirty-six4 ,you cannot fail1 if you study the instructions and follow them4 ,,lesson #cf ,drill #ch ,illustration ,small a should be reviewed frequently as a movement drill4 ,drill #ci ,illustration ,the first part of small a serves as the foundation of small c4 ,in making connective lines1 an over-motion must be used4 ,if an under-motion is used from the ending of one c to the dot at the top of the next1 there will be a loop1 and the letter will be too large4 ,after making a few lines1 compare the height of c with o1 a1 m1 and n4 ,you will1 of course1 frequently compare with the copy4 ,the count is #a-b1 #c-d1 #e-f1 #g-h1 #i-aj2 or dot over1 dot over1 dot over1 dot over1 dot over1 for each group of five4 ,the speed should be sixteen groups of five1 or eighty letters a minute4 ,,lesson #cg ,drill #dj ,illustration ,the small r given in the first line in drill forty cannot be made at a high rate of speed1 as the form requires a checking of movement at the top to form the shoulder4 ,study the parts of the letter shown before the first completed form4 ,the form in the second line can be made at much higher speed1 and1 while somewhat difficult to learn1 is much easier in execution when mastered4 ,the first part of it is just like the first part of small m or n4 ,the downward stroke is retraced to a point about one-fourth of a space above the first part2 a stop 7hardly noticeable7 and a dot are made before the swinging curve to the next letter4 ,if the connective lines between letters of this style are made with too much under-curve1 perhaps touching the base line1 they will more nearly resemble small x than r4 ,guard against this fault4 ,close study of the form while practicing will be necessary4 ,after its mastery1 ninety connected letters to the minute will be a good rate of speed4 ,unquestionably1 the first few trials will be discouraging1 but faithful practice will be rewarded4 ,stick to it4 ,eighteen groups of five should be made to the minute4 ,drill #da ,illustration ,the count for this small r in drill forty-one for each group of five is #a-b1 #c-d1 #e-f1 #g-h1 #i-aj2 or one-dot1 two-dot1 three-dot1 four-dot1 five-dot2 or one-stop1 two-stop1 three-stop1 four-stop1 five-stop4 ,a conversational count similar to that in small o1 drill eleven1 may be used to advantage in small r1 thus--,you-stop1 you-stop1 you-stop1 you-stop1 at-the-top4 ,how long1 do you stop1 at the top8 ,not long1 but you stop1 every time at the top4 ,what for1 what for1 what for8 ,to make a dot1 to make a dot1 to make a dot1 etc4 ,drill #db ,illustration ,the rate of practice speed in this drill should be twenty or more words to the minute4 ,drill #dc ,illustration ,there is no initial line before small o2 it begins at the top4 ,,lesson #ch ,as before mentioned1 small r and s are companion letters1 and both may be made one-fourth higher than other letters of the minimum class2 not because of any technical rule1 but rather because it generally is agreed that they look better so made4 ,small s should be pointed1 not looped1 at the top1 and entirely closed on the base line4 ,be sure to use just the right amount of under-curve in the beginning stroke1 and the width will depend upon the amount of curve in the last part4 ,practice1 study1 and compare4 ,drill #dd ,illustration ,the count for each group of five is #a-b1 #c-d1 #e-f1 #g-h1 #i-aj4 ,a conversational count similar to that given in the small o drill could be used to advantage2 thus1 swing one1 swing two1 swing three1 swing four1 swing five2 or curve one1 curve two1 curve three1 curve four1 curve five4 ,nearly or quite seventeen groups of five should be made to the minute4 ,,lessons #ci1 #dj1 #da1 #db1 ,,and #dc ,at least five lessons at this point should be devoted to reviewing all the lessons that have gone before4 ,,the ,,frequency ,,of ,,reviews ,to ,teachers3 ,assuming that teachers of the ,palmer ,method master the lessons in their order before attempting to teach them1 they are to decide when lessons and drills have not been mastered and need reviewing4 ,without knowing the pupils and seeing their daily work in penmanship1 it would hardly be possible for the author to decide with unerring accuracy1 when they should review4 ,,lesson #dd ,drill #de ,illustration ,the first two parts of small w form u4 ,as explained in lesson nineteen1 the distance between the points in small u represents a lateral 7running7 space4 ,keeping this space in mind1 carry the third or finishing part of small w one-half space to the right of the second1 or finishing point in small u4 ,the connecting stroke is slightly curved4 ,eighteen or twenty groups of three should be made to the minute and the count for each letter is #a1 #b1 #c2 #a1 #b1 #c2 #a1 #b1 #c2 or one1 two1 dot2 one1 two1 dot2 one1 two1 dot4 ,drill #df ,illustration ,,lesson #de ,drill #dg ,small x is simple in construction4 ,study closely before practicing it4 ,the crossing may be made either upward or downward4 ,in writing a word containing it1 complete the word before crossing the letter4 ,make the crossing short4 ,illustration ,drill #dh ,illustration ,,lesson #df ,drill #di ,illustration ,the first part of small v is the same as the first part of small x1 and it is ended with the form used in finishing small w4 ,don't close this letter at the top4 ,it must be left open4 ,count #a-b1 #c-d1 #e-f1 #g-h1 #i-aj1 for each group of five letters4 ,drill #ej ,illustration ,,lesson #dg ,drill #ea ,illustration ,the loop in h is small l1 brought to the base in a straight line on the main slant1 the second part is one section of small m4 ,notice that the first and last parts of small h meet on the base in a point4 ,study until you see just how it is done4 ,a count of #a-b1 should be used for one h1 and a count of #a-b1 #c-d1 #e-f1 #g-h1 #i-aj1 for a group of five4 ,from fourteen to fifteen groups of five should be made in a minute4 ,study an inverted h1 and if correctly made you will see that in that position it is small y4 ,at this point it would be well to study and practice small y4 ,count #a-b1 #c-d1 #e-f1 #g-h1 #i-aj1 for each group of five4 ,drill #eb ,illustration ,,lesson #dh ,review lessons forty-seven and forty-eight1 and then give attention to the following4 ,drill #ec ,illustration ,the practice speed should be twenty or more of the first two words and sixteen or more of the third word to the minute4 ,guard against making h higher than l4 ,all loop letters above the base should be the same length4 ,,lesson #di ,,the ,,reverse ,,oval ,,and ,,its ,,application ,an application of the reverse oval motion is made in forming capital ,j4 ,the reverse oval1 it must be understood1 begins with an upward stroke on the left side4 ,before attempting capital ,j1 make reverse ovals four or five minutes1 and if the movement is then light and uniform1 the copy may be safely practiced4 ,the oval is used as the developing and driving force4 ,drill #ed ,illustration ,make the oval to a count of six1 lift the pen from the paper at the top1 and without checking the motion swing the pen in its natural course above the paper1 to the right and below the base to the point of contact with the paper in starting the letter4 ,do not stop the motion1 but strike the paper in an upward course at full speed for the beginning stroke of ,j4 ,if the explanation of applied motion is not fully understood1 study until it is1 and then fill at least a half page with the copy4 ,do not neglect the form1 but note carefully the following points3 ,j should begin with an upward stroke from a point just below the base line2 the turn at the top should be round2 the upper part should be a little longer than the lower part1 and twice its width4 ,,lesson #ej ,drill #ee ,illustration ,if slant is troublesome1 study and practice this drill faithfully4 ,drill #ef ,illustration ,this copy is given as a drill on both movement and form4 ,from the beginning stroke of ,j to the finishing of small s the pen should not be lifted4 ,write the word from beginning to end with a steady1 light and uniform movement4 ,eighteen or twenty words to the minute will be a fair rate of speed for practice4 ,,lesson #ea ,drill #eg ,illustration ,make capital ,i1 and continue with the reverse oval4 ,the count should be two for ,i and six for the oval1 as follows3 #a1 #b2 #c1 #d1 #e1 #f1 #g1 #h4 ,apply enough speed to make the lines smooth and clear-cut4 ,drill #eh ,illustration ,question3 ,where and how does capital ,i begin8 ,answer3 ,below the base line with upward motion4 ,question3 ,how wide is the upper part8 ,answer3 ,a little less than half the width of the lower part4 ,question3 ,how is it finished8 ,answer3 ,with a full left curve and a dot at the end4 ,question3 ,where do the first upward and the first downward lines cross8 ,answer3 ,at the height of small o4 ,question3 ,what part of the space between the ruled lines is occupied by ,i8 ,answer3 ,about three-fourths4 ,you should analyze every letter you practice just as completely as is done in these questions and answers4 ,then you will have good mental pictures of the letters1 will see at once when they are poorly made1 and will make them well as soon as you have good control of the movement4 ,without the good mental picture1 you will never write well1 no matter how perfect your control of motive power may be4 ,with a count of #a1 #b1 for each letter1 make forty-five or more to a minute4 ,drill #ei ,illustration ,to form the angle at the left1 there must be a full stop in this style of capital ,i4 ,it is hoped that you have remembered and tried to apply the instructions of an earlier lesson about stops in making all angular connections4 ,this is a particularly good style of capital ,i to use in beginning a word1 as shown in the following drill4 ,count #a1 #b1 #c2 or #a1 #b1 swing4 ,drill #fj ,illustration ,,movement ,,drill ,,design ,illustration ,it is often a good plan to encourage students to give full play to their inventive and constructive ability in adapting the drills to different designs4 ,such work1 however1 should be done largely out of school hours4 ,a great variety of such designs from schools where the ,palmer ,method is in use may be seen on the walls of the author's offices4 ,in the drills mentioned are mainly used the straight line2 compact1 open and interlaced ovals1 large and small2 small m1 n1 e1 o1 c1 l1 h1 and b4 ,among these designs are houses1 carriages1 crosses1 battleships1 and many curious designs for which we do not find names4 ,many are worked out in colored inks and the effect1 on the whole1 is pleasing4 ,herewith we give a drill that is a favorite exercise with many teachers4 ,let the student use pencil outlines to indicate length of lines and width of ovals4 ,,you ,,cannot ,,fail1 ,,if ,,you ,,study ,,the ,,instructions ,,and ,,follow ,,them ,,lessons #eb ,,and #ec ,illustration ,not forgetting or neglecting the two-space compact oval drill with which each lesson should start1 the practice periods of two days might well be spent in study and practice of the letters on page #eb4 ,,lesson #ed ,drill #fa ,illustration ,this copy furnishes all the movement drill necessary in beginning this lesson4 ,count ten for each drill1 two for capital ,s1 and eight for the reverse traced oval4 ,about sixteen complete drills should be made to the minute4 ,this drill is especially recommended to those who find the development of a light1 quick movement difficult4 ,drill #fb ,illustration ,study the curve of the first stroke2 study the loop at the top1 and give especial attention to the fact that the loop 7upper part of ,s7 is one-half the entire length of the letter4 ,with an easy1 light movement make from forty-five to fifty letters to the minute4 ,count #a1 #b1 for each letter4 ,drill #fc ,illustration ,the angular finishing stroke shown in drill sixty-three is very popular with many excellent teachers of business writing4 ,almost the same number of letters should be made in a minute as in drill sixty-two4 ,its practical feature is the direction taken by the finishing stroke1 which may be joined to any letter following4 ,count #a1 #b1 swing2 or #a1 #b1 #c1 for each letter4 ,,lesson #ee ,drill #fd ,illustration ,write a page of this copy2 more if you have sufficient time4 ,a continuous steady movement should be used4 ,do not lift the pen from the beginning to the ending of the word4 ,,lesson #ef ,drill #fe ,illustration ,in this drill1 capital ,g is made first to a count of three1 and then1 without lifting the pen1 followed with six revolutions of the reverse traced oval4 ,make seventeen completed exercises in a minute4 ,count as follows3 #a1 #b-c1 #d1 #e1 #f1 #g1 #h1 #i4 ,drill #ff ,illustration ,study the form of capital ,g closely before attempting to make it2 be sure that you not only know when you make a poor letter1 but that you know why it is poor4 ,one bad stroke may spoil an otherwise good letter4 ,learn to locate the bad strokes4 ,make from forty to fifty letters to the minute4 ,count #a1 #b1 #c2 or #a1 stop1 #c1 for each letter4 ,drill #fg ,illustration ,this is a good business form4 ,special instruction is unnecessary4 ,use your eyes4 ,make as many as fifty in a minute4 ,drill #fh ,illustration ,the angular finishing stroke gives a connective line for any letter that may follow1 and admits of joining the capitals for an extended drill as well4 ,count #a1 #b1 for each letter1 or #a-b1 #c-d1 #e-f1 for each group of three4 ,make eighteen groups in a minute4 ,you aim before you shoot4 ,you should study the instructions before you practice the drills4 ,,lesson #eg ,drill #fi ,illustration ,nothing can be better at this stage of the work than easy words constantly repeated4 ,through a series of repetitions1 strength in movement is developed1 and faults are seen4 ,twelve or fourteen words to a minute should be the practice speed4 ,,lesson #eh ,,caution ,,to ,,the ,,student ,never begin to practice until you are sure you know how4 ,languid1 thoughtless practice should be avoided4 ,put ambition1 put energy1 put the fire of determined will behind your practice1 and the results will be astonishing4 ,take advantage of all favorable conditions4 ,not only keep the muscles of the right arm in a relaxed condition1 but guard against tension in any part of the body4 ,keep the side of the hand and the wrist free from the desk2 keep the right arm well out from the side2 keep the right hand in front of the eyes2 keep a right angle at the right elbow1 and remember that the propelling power is located above the right elbow4 ,if you think you are in a good position for writing1 test the movement without touching the pen to the paper1 and study the conditions under which you are trying to work4 ,be sure you are right before you go ahead4 ,drill #gj ,illustration ,not much movement drill of a special character is necessary in opening this lesson1 the connected small p affording an excellent exercise4 ,study the form with care4 ,note particularly the point at the top1 the loop below the base line1 the length above and below the base1 and the point where the left curve from below the base crosses the main line4 ,sixty connected letters should be made to the minute4 ,make frequent comparisons and write a page4 ,the count for each group is #a-b1 #c-d1 #e-f1 #g-h1 #i-aj4 ,drill #ga ,illustration ,average rate of speed1 twenty words to the minute4 ,if small l is difficult1 turn to drill thirty-three1 study the instructions1 and practice small l as there presented4 ,drill #gb ,illustration ,the practice speed should be fourteen words to a minute4 ,,lesson #ei ,drill #gc ,illustration ,make a few imaginary letters as a preliminary movement drill before beginning active work4 ,as will be seen1 nearly all the main oval part is at the left of the beginning stroke4 ,count #a1 #b1 and repeat2 or #a-b1 #c-d1 #e-f1 #g-h1 #i-aj for each group of five4 ,move the paper after each group of five4 ,from fifty to sixty letters should be made to the minute4 ,make a full page and practice steadily1 not spasmodically4 ,this letter lends itself readily to a light1 easy1 swinging1 and rhythmic movement4 ,for that reason1 it is an excellent movement drill1 and the best style of capital ,p to adopt4 ,drill #gd ,illustration ,also make a page of this letter4 ,it is a good movement drill4 ,count three and be sure to join the last part to the first with a loop a little above the center of the letter4 ,forty-five good letters should be made to the minute4 ,count #a1 #b1 #c4 ,drill #ge ,illustration ,count #a-b1 #c-d1 #e-f1 #g-h1 #i-aj1 for each group of five1 and make twelve groups or sixty letters to the minute4 ,,lesson #fj ,review lessons fifty-eight and fifty-nine4 ,drill #gf ,illustration ,write from ten to twelve words a minute1 four to a line1 eight inches long4 ,this is a good movement drill if properly practiced4 ,,lesson #fa ,,business ,,figures ,nothing is more important to the average bookkeeper or office clerk than good figures4 ,in many lines of accounting1 thousands of business figures are made without the writing of a single word4 ,this1 in a measure1 is true in many branches of statistical work connected with railroad bookkeeping where headings are printed and page after page is filled with figures4 ,the first requisite is legibility1 and its importance cannot be emphasized too much4 ,letters in a word may be known by the context1 but each figure must depend upon itself for legibility4 ,it is very important1 then1 that each figure should be so formed that its value1 in groups or by itself1 cannot be mistaken4 ,,an ,,object-,,lesson1 ,,for ,,study ,illustration ,through the adoption of the ,palmer ,method figures1 made small and well within the spaces1 the ,new ,england ,telephone ,co4 has reduced errors of its employes to a minimum1 and saved thousands of dollars a year4 ,figures should be made small2 students sometimes think that large figures are necessarily plainer1 but such is not the case4 ,examine carefully the diagram4 ,at the left are figures that are absolutely plain2 one could not be mistaken for another1 and yet their extreme size in the small spaces makes them difficult to read4 ,at the right are the same figures1 no more perfect1 but not so large4 ,please note carefully that these1 surrounded by white paper1 and much smaller1 are more legible1 even at a distance1 than the large figures at the left4 ,students who have practiced in copy-books almost invariably make figures three or four times too large4 ,our models are large enough for ordinary use4 ,if occasion demands1 it will be easy to make them larger4 ,one-eighth of an inch is perhaps high enough for ordinary figures1 while in some places it will be an advantage to make them even smaller4 ,,for ,,study ,illustration ,,how ,,to ,,practice ,in making figure one1 draw the hand toward you with a quick light motion1 sliding on the third and fourth fingers4 ,uniformity in the height and slant are the two important points to observe4 ,the development and application of a lateral oval motion will aid in the construction of figure two4 ,in making it in class drill a count of three should be used1 thus--one1 two1 three1 one1 two1 three1 etc41 or dot1 two1 three4 ,notice the exercise preceding figure three in lesson sixty-five4 ,the motion used in that exercise will produce a good figure if properly applied4 ,one1 two1 three1 or dot1 two1 three1 is the count used4 ,a count of three is used in figures four and five also1 but for figures six1 seven1 and nine1 use a count of two4 ,several lessons should be given to drilling on the figures singly before grouping them1 but as soon as the forms are mastered and the student can make them at a fair rate of speed1 it is best to drill in miscellaneous order somewhat as follows3 #a1 #j1 #b1 #f1 #i1 #h1 #e1 #d1 #c1 #j1 #i1 #f1 #g1 #b1 #b1 #h1 #i1 #c1 #e1 #f1 #i1 #a1 #e1 #h1 #f1 #i1 #e1 #d1 #f1 #i1 #c1 #g1 #h1 etc4 ,no particular order is necessary1 but the aim should be to repeat one as often as another4 ,,lesson #fb ,drill #gg ,illustration ,,lesson #fc ,drill #gh ,illustration ,it is truly interesting to watch the development and improvement in figure practice in a class where the work is well and systematically done4 ,two weeks should be devoted to this practice and there should be frequent reviews4 ,some teachers place great emphasis upon the order of simplicity1 but as a matter of fact1 no two students will be able to agree on this and1 since we are going to devote some time to drilling on each figure during a period of two weeks1 there is little use in attempting any arrangement on such a basis4 ,if there is a difference1 the difficult figures should be given most practice4 ,,lesson #fd ,drill #gi ,illustration ,as soon as fair progress has been made in making figure two1 an effort should be made to bring the rate of speed to seventy-five a minute4 ,count one1 two1 three1 or dot1 two1 three1 for each figure made in class practice4 ,,lesson #fe ,drill #hj ,illustration ,in the author's classes the method here presented of teaching figure #c has proved more satisfactory than any other that he has tested4 ,the motion produces the figure2 learn this motion thoroughly4 ,count one1 two1 three1 or dot1 two1 three1 and make seventy figures a minute4 ,the ,palmer ,method is a text-book on practical writing4 ,the ,instructions should be studied1 and followed4 ,,lesson #ff ,drill #ha ,illustration ,figure five is in a large measure dependent upon the horizontal stroke at the top for its legibility4 ,this horizontal line should be made last4 ,study the form as well as practice it4 ,about seventy good figures should be made to the minute4 ,this speed may be increased later4 ,count one1 two1 three4 ,,lesson #fg ,drill #hb ,illustration ,seven extends below the base4 ,make this figure in a count of one1 two1 at the rate of about eighty-five to the minute4 ,,lesson #fh ,drill #hc ,illustration ,four rests on the base line1 and usually the last part extends above the first4 ,count one1 two1 three1 and make from sixty to seventy a minute4 ,,lesson #fi ,drill #hd ,illustration ,the compound curve at the left on the first line in drill #hd1 and the arrow in the first figure show how #h begins4 ,after a few minutes' drill on figure eight at a speed of sixty to seventy a minute1 miscellaneous figures should be introduced4 ,in class work these figures should be made from the dictation of the teacher1 and the practice speed should be from ninety to one hundred figures to the minute4 ,the author usually makes the figures on the blackboard as they are dictated to the class4 ,a fairly rapid penman can make from one hundred to one hundred and twenty-five of these in a minute4 ,compare your figures with the copies and make all figures small and disconnected4 ,,miscellaneous ,,figures ,,for ,,study ,,and ,,practice ,illustration ,,lesson #gj ,drill #he ,,special ,,points ,,to ,,observe ,capital ,e is made with an application of the oval motion1 as developed in capitals ,o1 ,a and ,c1 the application varying but little4 ,the upper part of capital ,e is about one-third the entire height of the letter4 ,the finishing oval should not exceed one-half the entire height1 and the loop marking two-thirds the height of the letter points downward at about a right angle with the main slant4 ,illustration ,practice the first row as a movement drill4 ,make the small 7upper7 oval first1 and swing into the lower and larger oval without lifting the pen4 ,make five traced ovals for the upper1 and the same for the lower part1 thus permitting a count of ten for each completed exercise4 ,the abbreviated ,e in the second line is used by good business penmen more than any other1 but the form used in the next line1 finished with an oval1 should be practiced and mastered4 ,the count for each should be #a1 #b1 #c1 or dot1 #b1 #c4 ,from forty-five to fifty of the abbreviated form and but few less of the other should be made to the minute4 ,count the number of letters on a line1 and make as many in the same space4 ,the abbreviated capital ,e1 followed with the small e1 may be practiced as a movement drill to good advantage now and during future practice periods4 ,the count for it is #a1 #b1 #c1 #d1 #e1 #f1 #g1 or dot1 #b1 #c1 #d1 #e1 #f1 #g4 ,review this lesson often until you make a good capital ,e4 ,it is not ,palmer ,method if the lines are tremulous4 ,study the instructions for speed requirements4 ,,lesson #ga ,drill #hf ,the framework of capital ,b is clearly shown in the models below4 ,the straight line starting at a point about three-fourths of the distance from the base is purely a guide line1 a prop upon which the remainder rests4 ,without it1 beginners make very feeble letters4 ,although usually lost in the retraced line1 the author considers it a very essential part of the letter4 ,illustration ,definiteness is essential in business writing4 ,there should be a definite starting-point and a definite ending-point in every letter4 ,every curve and every loop should be definite and have a definite place in the plan of construction4 ,in studying the forms of the letters here given1 bear this in mind4 ,capital ,b may end in a dot as shown above1 or it may end in an angular form1 furnishing a connective stroke for the letters following4 ,the count for capital ,b is #a1 #b1 #c1 and a fair practice speed is forty to the minute when the letters are disconnected1 and a little higher rate when the letters are connected as in drill eighty-seven4 ,drill #hg ,illustration ,,lesson #gb ,drill #hh ,illustration ,study small b4 ,the lower part of the letter should be as wide as the loop through the widest part1 and some good penmen make it a little wider than this4 ,do not make your letters larger than those in the copy4 ,make line after line until you are able to make the letters easily and at a fair rate of speed4 ,sixteen groups or eighty letters to the minute is not a high rate for this drill4 ,the count for each group is #a-b1 #c-d1 #e-f1 #g-h1 #i-aj1 with the emphasis on the finishing point in each letter4 ,the connective stroke is slightly curved4 ,,lesson #gc ,drill #hi ,illustration ,students are expected to practice the above words as movement drills4 ,the speed in the first two lines should be from twenty to twenty-five words a minute4 ,at this rate1 form can be improved while movement is being developed4 ,the word 8billing0 may be practiced at from twelve to fourteen a minute4 ,,lesson #gd ,drill #ij ,illustration ,study the form before attempting the drill4 ,make ten sets of five each1 or fifty small k's to the minute4 ,keep the letters down to the size of the copies4 ,count #a1 #b1 #c1 for each letter with a slight check on the #b4 ,,lesson #ge ,drill #ia ,this writing is large enough4 ,in studying size1 students should make frequent comparisons4 ,the practice speed should be1 for the first word1 twenty1 and for the word 8killing0 twelve to the minute4 ,see the following page4 ,illustration ,,lesson #gf ,,to ,,relieve ,,muscular ,,tension ,it is often advantageous to go over the path of the letter1 or exercise1 with a dry pen4 ,this method is especially helpful to a student whose muscles are hard1 and who finds difficulty in overcoming the tendency to keep the muscles of the arm and body in a rigid condition4 ,this plan has been suggested in former lessons1 and we consider it of sufficient importance to receive emphasis here4 ,another plan which the author has found helpful to students who write with strained muscles1 is to place a weight on the paper1 and write with the left arm hanging down4 ,the tension of the right arm is relieved at once4 ,still another plan to relieve this tension1 so common among beginners1 is to select some easy drill like o or m1 and make it across the ruled lines with the eyes fixed upon some object at a distance on a level with them when the body is fairly erect4 ,drill #ib ,illustration ,small f is a little shorter below than above the base line1 and is closed on the base line4 ,a fair rate of practice speed is fourteen groups of five letters each1 or seventy letters to the minute4 ,count #a-b1 #c-d1 #e-f1 #g-h1 #i-aj1 for each group4 ,,lesson #gg ,drill #ic ,illustration ,write several lines of the first word before changing to the second4 ,write twenty or more words in a minute4 ,,lesson #gh ,drill #id ,illustration ,rate of practice speed1 fourteen words to the minute4 ,good movement leads to good writing2 good position leads to good movement4 ,watch the position2 watch the movement4 ,,lesson #gi ,let us emphasize the statement made in a preceding lesson that constant repetition is necessary in developing a good style of writing for business4 ,another thing for the student to bear in mind is the fact that the only way to learn to execute business writing is to practice business writing4 ,review as many lessons as time permits4 ,,lesson #hj ,drill #ie ,illustration ,compare the oval of capital ,d with capital ,o4 ,do not neglect to make a careful study of ,d1 each part by itself1 and the letter as a whole4 ,do not drag the hand over the paper1 but keep it well up in front of the eyes1 and drive it along firmly but lightly4 ,it takes a little time1 energy1 and enthusiastic practice to make a good business penman1 but it is encouraging to know that under the muscular movement plan there are no failures when favorable conditions prevail4 ,practice capital ,d until you can make forty-five fairly good letters to the minute4 ,count #a1 #b1 #c1 for each letter4 ,in writing the word 8,drumming0 do not lift the pen from the beginning stroke in small r to the ending stroke of small g4 ,regularity and continuity of motion are very essential4 ,keep the pen on the paper4 ,the word should be practiced at a rate of nine to a minute4 ,,lesson #ha ,drill #if ,illustration ,do not make the beginning part of capital ,t too high2 it should be but little more than two-thirds the entire height of the letter4 ,note particularly that the last part curves over the top of the main 7first7 part without touching it4 ,time and hard work will be important factors in developing this letter4 ,be earnest1 be faithful4 ,the count is #a1 #b1 #c1 #d1 and about forty letters should be made to the minute4 ,drill #ig ,illustration ,you will see that this capital ,f is a copy of capital ,t1 with the crossing added4 ,this is not recommended as a business form1 since it cannot be made rapidly4 ,many of the forms in this book are not given for their beauty1 but because ninety per cent4 of our best business penmen use them4 ,,lesson #hb ,drill #ih ,illustration ,in twelve of the business capitals we have the small loop beginning4 ,turn it up-side-down and you will see that it is the inverted figure six4 ,most pupils find this style of starting capital letters somewhat difficult at first1 but when mastered it becomes a favorite4 ,it is of sufficient importance to be given considerable study and practice4 ,a careful study and comparison of these capitals will show that in ,f1 ,q1 ,w1 ,x and ,z the main downward strokes are curved much more than in ,h1 ,k1 ,m and ,n1 while compound curves are used in the main strokes of ,u1 ,v and ,y4 ,practice the first part at the left of the line4 ,,lesson #hc ,drill #ii ,illustration ,capital ,q1 as shown above1 is the enlarged form of figure two preceded by a movement drill4 ,curve the main downward strokes liberally4 ,make the lower loop flat on the base line and drop the finishing curve below4 ,students should frequently compare their writing with the copies4 ,drill #ajj ,illustration ,the mind directs1 the arm and hand perform2 both mind and muscle must work in harmony4 ,no matter how perfectly the muscles of the arm are trained1 good letters cannot be made unless a good conception of form is in the mind4 ,capital ,q should be made well at the rate of sixty to the minute1 and the figure two faster4 ,the count in each case is #a1 #b1 #c4 ,drill #aja ,illustration ,in the style of writing here presented the loop of small g extends three spaces below the base line4 ,the paper should be held in such a position that the downward strokes are pulled toward the center of the body1 the paper being changed from time to time with the left hand to keep its position relatively the same4 ,the motion should be purely muscular throughout1 and the movement in making the loop particularly quick and elastic4 ,study the form closely and note the crossing of the loop with a left curve on the base4 ,pull the loops toward the center of the body and not toward the left elbow4 ,in groups of five connected letters a speed of sixty-five letters to the minute should be attained4 ,a count of ten for each group of five will aid in regulating the movement4 ,drill #ajb ,illustration ,by comparison it will be seen that q is a little shorter below the base than g2 that the turn at the bottom is made to the right1 instead of1 to the left2 and that the lower part connects on the base line with the first4 ,on account of the check at the connective point1 fewer letters are made to the minute than of small g1 but the movement should be quick4 ,,lesson #hd ,drill #ajc ,illustration ,see suggestions at the top of the following page4 ,the inverted small e preceding capital ,h in page sixty-nine will not only aid in developing the small loop beginning but will insure freedom of movement and lightness of stroke4 ,count #a1 #b1 #c1 #d1 for the drill and first part of capital ,h1 and #a1 #b1 for the last part4 ,in making the last part1 swing the hand to the same direction as for the beginning of capital ,o1 but straighten the stroke from its center to its base4 ,let nothing escape you2 observe closely every stroke1 no matter how minute or unimportant it may appear4 ,drill #ajd ,illustration ,with an easy1 swinging movement1 make thirty-five or more capitals of the above form to the minute with a count of #a1 #b1 #c1 #d4 ,the beginning loop may be made smaller than in the copy1 but no larger in business writing4 ,capital ,k is a natural companion to capital ,h4 ,the beginning strokes in both letters are identical in size and shape4 ,,lesson #he ,drill #aje ,illustration ,careful study of the last part of ,k will be very much to the advantage of every student4 ,study it with the first part covered with a piece of paper4 ,turn the copy upside down and study it in that position4 ,notice particularly that the loop grasps the first part a little above the center4 ,drill #ajf ,illustration ,thirty-five to forty to the minute will be a fair rate of speed4 ,compare your capitals frequently with the copy4 ,are you studying the instructions8 ,they tell you just how to succeed4 ,,lesson #hf ,drill #ajg ,illustration ,this is a most excellent word to practice at this stage of the work4 ,it is a good movement-developer4 ,give close attention to size1 general appearance1 and space between letters1 and guard against irregular movement4 ,keep the hand well up in front of the eyes and drive the pen lightly4 ,write a half page of the copy and then make a careful study of your work4 ,try to write each line better than the preceding4 ,three words should be written to the line4 ,,lesson #hg ,drill #ajh ,a ,,review ,illustration ,work faithfully on every letter4 ,repeat the forms over and over until decided improvement can be seen4 ,make frequent comparisons4 ,study length1 breadth1 curves1 and connections closely4 ,rate of speed to the minute3 ,f1 fifty2 ,h1 thirty-five2 ,k1 thirty-five2 ,m1 thirty-five2 ,n1 forty4 ,,lesson #hh ,drill #aji ,illustration ,a ,,review ,rate of practice speed3 ,q1 sixty2 ,u1 forty-five2 ,v1 fifty-five2 ,w1 forty to the minute4 ,points to ,observe--,capital ,q is the enlarged form of figure two4 ,the last parts of ,u1 ,v1 and ,w are shorter than the other parts1 and the first strokes in ,u and ,v are exactly alike4 ,in capital ,w1 check the motion a little at the base line in the first main downward stroke1 as this will aid in the construction of the last part4 ,,lesson #hi ,drill #aaj ,illustration ,practice this compact oval as a beginning drill4 ,make it between two ruled lines1 carry the pen lightly and see how many you can make in one row1 with one dip of ink4 ,study and compare as you practice4 ,drill speed to the minute in the following capitals3 ,x1 thirty-five2 ,y1 forty2 ,z1 fifty4 ,drill #aaa ,illustration ,,review ,,work ,at this point it would be a good plan to review all the essential work of the preceding lessons4 ,from one to two weeks should be spent in such practice4 ,,lesson #ij ,drill #aab ,illustration ,some authors make the loop of j and z shorter below the base than small y and g1 but we make no distinction4 ,the j begins like a small i and ends with a loop4 ,small z should receive careful attention4 ,,lesson #ia ,,something ,,more ,,about ,,size ,in these lessons is presented a style of writing that is easily and rapidly executed1 and though large enough to be perfectly legible it is small enough for general use4 ,examine the writing of the best business penmen in the large mercantile centers and it will be seen that this is true4 ,it is a grave error to present for practice models larger than the pupils are expected to employ in their ordinary writing4 ,and yet many professional penmen continue to present models not only two or three times larger than good business writing is expected to be1 but forms that cannot possibly be executed at commercial speed4 ,,capital ,,and ,,word ,,practice ,,as ,,movement ,,drills ,in the following copies the capital and word practice is intended to encourage free movement1 continuity in execution1 and better control of the writing muscles than has1 perhaps1 been gained4 ,the plan is to repeat the capital until it can be made at the speed designated1 and to follow with word practice4 ,in the word drills the value of a continuous movement must not be lost sight of1 and the pen should remain on the paper from the beginning to the ending of the small letters4 ,in fact1 all the copies should be treated as movement drills4 ,words ending in 8ing0 have been purposely selected and their value will not be questioned if they are rightly practiced4 ,drill #aac ,illustration ,the rate of speed for capital ,a is from seventy-five to eighty-five to the minute and for the word 8,alling01 about fifteen to the minute4 ,,lesson #ib ,drill #aad ,illustration ,practice the word 8,calling0 at fifteen or more a minute1 and 8,chiming0 at the same rate4 ,,lesson #ic ,drill #aae ,illustration ,,lesson #id ,drill #aaf ,illustration ,open the lesson with a drill on capital ,o1 making fully sixty to the minute1 and write the word 8,oiling0 at the rate of fourteen to the minute4 ,watch position2 watch movement4 ,capital ,l1 rightly practiced1 is always an excellent movement drill4 ,questions you should be able to answer intelligently3 ,where and how does the beginning stroke start8 ,how long is the upper loop1 compared with the length of the letter8 ,is the downward stroke a straight line or a curve8 ,is the lower loop round or flat1 and what part rests on the base line8 ,is the final stroke finished on or below the base line8 ,compare your work with the copy in reference to these questions4 ,practice speed1 sixty letters to the minute4 ,write the word 8,lanning0 with a very light motion at a speed not less than twelve to the minute4 ,,lesson #ie ,drill #aag ,illustration ,do not overlook the proportions of capital ,m4 ,it should fill a square4 ,practice speed for ,m1 about forty to the minute1 and of the word 8,milling01 fourteen words a minute2 a higher rate of speed may be applied by some pupils4 ,,lesson #if ,special ,notice--,pupils who cannot use and apply the muscular movement fairly well1 should return to the beginning lessons and review them1 studying carefully all the instructions regarding position1 penholding1 and methods of developing movement4 ,drill #aah ,illustration ,capital ,n should be made at the rate of fifty-five a minute4 ,practice speed for 8,nulling01 fourteen or sixteen to the minute4 ,,lesson #ig ,drill #aai ,illustration ,capital ,h should be made at the rate of thirty-five or forty a minute1 and the word 8,hauling0 about fifteen to the minute4 ,,lesson #ih ,drill #abj ,illustration ,forty capital ,k's to the minute is a fair rate4 ,pupils should not lose sight of the fact that motion determines form4 ,take care of the motion and the forms of the letters will develop easily and naturally4 ,a careful study of the movement as applied to capital ,k will be helpful4 ,after making the first part of the letter1 the hand 7with the pen in the air7 should swing below the base line1 describing an oval and returning upward to the beginning point of the last part of the letter4 ,be sure to connect the parts with a loop1 as shown in the copy4 ,drop the finishing part below the base line4 ,don't forget the word practice2 about twelve words to the minute is a fair rate of speed4 ,,lesson #ii ,drill #aba ,illustration ,practice capital ,p at the rate of fifty to sixty letters a minute2 the word 8,pulling01 twelve words a minute4 ,some pupils will be able to write the word at higher speed and still do good work4 ,,lesson #ajj ,be sure to fix in mind the image of the letter before attempting it4 ,study closely the proportions and the direction of every stroke4 ,make about fifty capital ,r's to the minute1 as given in the next page4 ,do not forget that your advancement depends upon movement1 and that movement depends much upon position4 ,the body should be self-supporting1 with the feet resting squarely on the floor1 and should not crowd against the desk2 the right arm should be well out from the side2 the right hand well in front of the eyes2 and the paper twelve or fourteen inches from the eyes4 ,if the wrist or side of the hand rests on the paper1 all motion coming from the muscles of the arm will stop at the wrist and it will be an impossibility to use muscular movement4 ,watch the wrist and the side of the hand closely4 ,remember that the propelling power is above the elbow1 in the upper arm and shoulder4 ,write line after line of the word 8,running0 with a light1 quick motion1 and compare with the copy frequently4 ,twelve to fourteen words should be written to the minute4 ,drill #abb ,illustration ,,lesson #aja ,drill #abc ,illustration ,turn to lesson fifty-four and practice and study capital ,s in accordance with the instructions4 ,enough time should be reserved to write at least one page of the word 8,swelling04 ,,lesson #ajb ,drill #abd ,pupils who cannot make good loop letters should make a special study of lesson thirty-two4 ,illustration ,,lesson #ajc ,drill #abe ,illustration ,as explained in a former lesson1 capital ,q is simply a large figure two4 ,it is a good movement drill4 ,practice it as such4 ,in all your word practice a special effort should be made to space the letters evenly4 ,study your written lines with that in mind4 ,,lesson #ajd ,pupils should give particular attention to the appearance of their finished pages1 making letters and words conform to spaces4 ,the capitals should occupy only from two-thirds to three-fourths the distance between the ruled lines1 assuming that they are about three-eighths of an inch apart4 ,from fifteen to twenty capitals should be made to a line4 ,if the forms are well made1 a page of capitals written in accordance with these suggestions will present a very pleasing appearance4 ,see drill #abf4 ,the crossing of capital ,f at the top of the following page is above the center1 and the final stroke at the crossing is small4 ,in practice1 write the full word every time the capital is made4 ,do not let your practice work approach scribbling4 ,do the very best you can1 not part of the time1 but all the time4 ,you aim before you shoot4 ,you should study the instructions before you practice the drills4 ,drill #abf ,illustration ,,lesson #aje ,drill #abg ,illustration ,always start capital ,i with an upward stroke from below the base line4 ,the upper part should be about one-half the width of the lower4 ,the crossing of the beginning with the main downward stroke should be one space above the base line4 ,practice the detached capital as well as the word until there is an improvement in the movement and its application4 ,,lesson #ajf ,drill #abh ,illustration ,practice and compare1 and then practice again4 ,capital ,j is twice as wide above as below the base1 and the lower part is a little shorter than upper part4 ,pupils who find the letter troublesome should review lessons forty-nine and fifty4 ,,lesson #ajg ,drill #abi ,illustration ,write a page of capital ,e's and another page of the words4 ,,lesson #ajh ,drill #acj ,illustration ,capital ,b was discussed at considerable length in lesson seventy-one1 and students who have failed to master the letter should turn to that lesson for review4 ,,lesson #aji ,drill #aca ,illustration ,make your letters no larger than the copies4 ,write line after line of the detached capitals before writing the word4 ,rate of speed for practice1 fifty to fifty-five capitals and fourteen words in a minute4 ,,lesson #aaj ,drill #acb ,illustration ,the first part of capital ,t should be no more than two-thirds the height of the entire letter4 ,give attention to the abrupt stop on the base line in the first part of the letter4 ,carry the last part up and over the first part in a graceful curve4 ,practice the word as well as the detached capital4 ,,lesson #aaa ,drill #acc ,illustration ,capital ,w should be very closely studied4 ,the tendency is to slant the last part too much1 tipping it away from the first part4 ,the upward stroke beginning the second part is a right curve1 and the construction of the last part and the appearance of the entire letter are to a considerable extent dependent upon that line4 ,in making the first part there should be a stop at the base line4 ,this will aid very much in the construction of the last part of the letter4 ,the last line in the letter1 it will be noticed1 is shorter than the two center strokes4 ,it is unlikely that students who fail to study its construction closely will learn to make a good capital ,w4 ,the rate should be between forty and fifty letters to a minute4 ,do not neglect the word practice4 ,write about sixteen words to the minute4 ,,lesson #aab ,drill #acd ,the last part of capital ,u is shorter than the first part4 ,study the letter until you have a good mental picture of it4 ,make ,u at the rate of forty-five to a minute1 and do not neglect the word practice4 ,illustration ,,lesson #aac ,drill #ace ,illustration ,an otherwise good capital ,v will be spoiled if the finishing line is too long4 ,notice its length4 ,study and practice should go hand in hand4 ,do not neglect either4 ,,caution ,,to ,,teachers ,,and ,,pupils ,the development of good business writing is dependent1 first1 upon proper clothing of the writing arm2 second1 upon a substantial desk or table of the right height2 third1 upon a good position at the desk2 fourth1 upon a relaxed condition of the writing muscles2 fifth1 upon the freedom of the wrist and the side of the hand from the paper2 and sixth1 upon concentration1 determination1 and constantly repeated effort4 ,teachers who cannot maintain enthusiasm throughout the writing period1 and who do not realize the necessity of constantly repeated cautions and admonitions1 must never expect to secure flattering results4 ,teachers1 see that your pupils are alert1 watchful1 and practicing under the most favorable conditions4 ,force upon the inner consciousness of every pupil the harmfulness of careless practice and the necessity for making every stroke according to instructions and in the right direction4 ,pupils1 do not vehemently assert that you are very anxious to become good penmen1 and then abuse the opportunities within your reach4 ,learning to write well is not difficult to the earnest1 careful1 hard-working pupil2 and with such1 results almost immediately follow correct methods of practice4 ,finger movement and muscular movement are antagonistic1 and the student who makes an effort to use muscular movement in the writing class only1 need not hope for success4 ,home students1 not having the advantage of the directing counsel of good teachers1 should frequently review the beginning lessons4 ,you cannot fail if you follow the instructions4 ,drill #acf ,illustration ,practice the above copy in sections4 ,repeat capital ,i until the form is good when made rapidly1 follow with several lines of the word 8am10 and continue to practice each word in the copy until uniformity in spacing1 height1 and slant have been developed4 ,then write a page of the complete copy and criticise it4 ,as simple as it looks1 there is material for several hours' practice in this copy4 ,,lesson #aad ,drill #acg ,illustration ,the same method of practice should be followed in this drill as in the preceding one4 ,,lesson #aae ,drill #ach ,begin this lesson with your usual movement drills4 ,illustration ,first practice drill one hundred and thirty-eight in sections1 word by word4 ,follow with a full page of the completed copy1 and do not neglect to criticise results4 ,height1 spacing1 and slant should receive special attention4 ,in the following lessons are given copies in line-writing from which pages should be written4 ,it may be easy for some students who cannot maintain uniform excellence throughout a page to write one or two lines well4 ,the object of your practice should be attractive work and commercial speed4 ,to attain this end1 study the appearance of the finished line and page from time to time1 and always try to harmonize the writing with the space it occupies4 ,,lesson #aaf ,drill #aci ,illustration ,practice this copy as given4 ,write each word over and over1 until the motion used is almost automatic and a marked improvement is shown in the general appearance4 ,then write a few lines of the drill complete1 and study the appearance4 ,,lesson #aag ,drill #adj ,illustration ,do not rest a moment until you have filled one page with this copy2 then judge the appearance as a whole4 ,do not write larger than the copy4 ,,lesson #aah ,drill #ada ,illustration ,make a few lines of capital ,d before writing the line4 ,do not lose sight of the fact that position at the desk has much to do with the development of writing4 ,position refers to feet1 body1 arms1 wrist1 fingers1 pen1 head1 and paper4 ,in preceding lessons enough has been said about these to make extended instructions here unnecessary4 ,,lesson #aai ,drill #adb ,illustration ,uniformity may be hard to maintain in this copy4 ,after writing a few lines pick out the faults and endeavor to correct them4 ,,lesson #abj ,drill #adc ,illustration ,solid pages are wanted2 not haphazard writing4 ,,lesson #aba ,drill #add ,illustration ,practice capital ,h as a movement drill a few minutes before writing the complete line4 ,maintain equal distances1 not only between letters1 but between the words4 ,,lesson #abb ,drill #ade ,illustration ,,lesson #abc ,drill #adf ,illustration ,,lesson #abd ,drill #adg ,illustration ,,lesson #abe ,drill #adh ,illustration ,drill #adi ,illustration ,,lesson #abf ,drill #aej ,illustration ,practice capital ,o as a movement drill for a few minutes and then do your best on the entire copy4 ,,lesson #abg ,drill #aea ,illustration ,,lesson #abh ,drill #aeb ,illustration ,this drill is difficult enough to merit careful practice for a full writing period4 ,it will be best first to practice capital ,q as a movement drill4 ,,lesson #abi ,drill #aec ,illustration ,,lesson #acj ,drill #aed ,illustration ,,lesson #aca ,drill #aee ,illustration ,,lesson #acb ,drill #aef ,illustration ,,lesson #acc ,drill #aeg ,illustration ,it is always a good plan1 where time permits1 to practice each capital at the beginning of the line as a drill4 ,,lesson #acd ,drill #aeh ,illustration ,do not neglect the movement drills1 although they are not specially mentioned in every lesson4 ,,lesson #ace ,drill #aei ,illustration ,,lesson #acf ,drill #afj ,illustration ,capital ,x is made with a figure six inverted1 and a figure six right side up4 ,keep this in mind when making it4 ,,lesson #acg ,drill #afa ,illustration ,,lesson #ach ,drill #afb ,illustration ,,lesson #aci ,drill #afc ,illustration ,,lesson #adj ,drill #afd ,illustration ,work up to the complete copy by a systematic practice on the capitals and words separately4 ,,lesson #ada ,drill #afe ,illustration ,the author1 in common with many teachers of business writing1 has found the practice of combinations of capitals very helpful in developing accuracy and freedom4 ,this is an excellent part of the course in which to introduce such drills1 but tangled and difficult combinations should be avoided4 ,drill one hundred and sixty-five1 if rightly practiced1 will insure light movement and develop constructive ability4 ,about twenty-two of this combination should be made to a minute4 ,it will be profitable to devote a full session to it4 ,,lesson #adb ,drills #aff and #afg ,practice the combinations of capitals several minutes before practicing the small letters4 ,a perfect mastery of the following combinations will help students in the work that follows4 ,a few scattered lines will not meet the requirements4 ,write a full page4 ,illustration ,,lesson #adc ,drill #afh ,illustration ,use uniform motion from beginning to end1 and make about twenty-five to a minute4 ,illustration ,,lesson #add ,drill #afi ,illustration ,this affords a good drill and a good test of accuracy in applying movement4 ,the last downward stroke in capital ,h is a left curve1 is it not8 ,study the direction of the pen in making it1 and then strike boldly4 ,this will be a good drill to practice frequently at the beginning of a lesson4 ,drill #agj ,illustration ,use your eyes1 focus your mind upon your work1 study and practice earnestly1 and you will be pleased with the results4 ,,lesson #ade ,movement drills for a few minutes and then the following3 ,drill #aga ,illustration ,practice the combination of capitals several times before making the small letters4 ,such repeated effort will be helpful4 ,,lesson #adf ,drill #agb ,illustration 99 99 99 99 99 ,illustration ,illustration ,illustration ,count ,number per ,minute ,script3 ,a #a-b #ge ,script3 ,b #a-b-c #dj ,script3 ,c #a-b #gj ,script3 ,d #a-b-c #de ,script3 ,e #a-b-c #de to #ej ,script3 ,f #a-b-c #ej ,script3 ,g #a-b-c #dj to #ej ,script3 ,h #a-b-c-d #ce ,script3 ,i #a-b-c #de ,script3 ,j #a-b #fj to #gj ,script3 ,k #a-b-c-d #ce to #dj ,script3 ,l #a-b #ej to #ee ,script3 ,m #a-b-c-d #cj to #ce ,script3 ,n #a-b-c #dj ,script3 ,o #a-b #gj ,script3 ,p #a-b #ej to #fj ,script3 ,q #a-b-c #fj ,script3 ,r #a-b-c #de ,script3 ,s #a-b #de to #ej ,script3 ,t #a-b-c-d #dj ,script3 ,u #a-b-c #de ,script3 ,v #a-b #ee ,script3 ,w #a-b-c-d #dj ,script3 ,x #a-b-c #ce ,script3 ,y #a-b-c-d #dj ,script3 ,z #a-b-c #ej ,script3 a #a-b #ad groups of #e or #gj ,script3 b #a-b #af groups of #e or #hj ,script3 c #a-b #af groups of #e or #hj ,script3 d #a-b #ac groups of #e or #fe ,script3 e #a #bh groups of #e or #adj ,script3 f #a-b #ad groups of #e or #gj ,script3 g #a-b #ac groups of #e or #fe ,script3 h #a-b #ad groups of #e or #gj ,script3 i #a #aj groups of #e or #ej ,script3 j #a-b #ad groups of #e or #gj ,script3 k #a-b-c #aj groups of #e or #ej ,script3 l #a #be groups of #e or #abe ,script3 m #a-b-c #ab groups of #d or #dh ,script3 n #a-b #ah groups of #e or #ij ,script3 o #a-b #ah groups of #e or #ij ,script3 p #a-b #ab groups of #e or #fj ,script3 q #a-b #aj groups of #e or #ej ,script3 r #a-b #ah groups of #e or #ij ,script3 s #a-b #ag groups of #e or #he ,script3 t #a #bj groups of #e or #ajj ,script3 u #a-b #ab groups of #d or #dh ,script3 v #a-b #ab groups of #e or #fj ,script3 w #a-b-c #ab groups of #e or #fj ,script3 x #a #ah groups of #e or #ij ,script3 y #a-b #ad groups of #e or #gj ,script3 z #a-b #ad groups of #e or #gj ,,pupil',s ,,certificate1 ,,known ,,as ,,the ,,diploma ,illustration3 ,,this ,,has ,,been ,,greatly ,,reduced4 ,,original ,,size1 #adag ,,inches ---------------------------------------- -------------------------------- ,,transcriber',s ,,notes #a4 ,silently corrected obvious typographical errors and variations in spelling4 #b4 ,retained archaic1 non-standard1 and uncertain spellings as printed4 #c4 ,enclosed italics font in underscores4 #d4 ,enclosed bold font in equals4