Published by D. L. MUSSELMAN. Quincy. III.

LESSONS IN

INTRODUCTION

In publishing this text on the subject of Busi-
ness Penmanship we make no claims to originality
of forms or of the movement used in the production
of good penmanship, but we do claim some original-
ity in presenting the subject.

We sincerely believe that anyone who will de-
vote part of his time to conscientious and regular
practice of the art as presented in this book, will not
fail to learn to write a good, free, legible hand.

Most people labor under the mistaken impres-
sion that only the naturally gifted may acquire any
degree of skill in penmanship. We can not all be-
come artist penmen yet any person can become skill-
ful through practice, and every one owes it to him-
self to become proficient enough to write legibly.

If we succeed in our efforts to inspire the young
men and women of this countrv so that thev become
better writers, we feel that the mission of our little
book has been accomplished.

PENMANSHIP

3

GOOD WORKING MATERIALS

Good materials are a necessity if you expect to
do good work. It is advisable that one use a good
quality of paper, size 8" by 11" with standard ruling.

A free flowing ink, either black or blue black, is
best. If it should thicken, add a little rain water to
improve it.

Steel pens, medium sized and smooth pointed,
should be used. Avoid the heavy, coarse pen as well
as the very fine pointed steel pen for practicing bus-
iness penmanship. The very fine pointed pen is
used by the pen artist for flourishing and work
needing a fine delicate line. Fountain pens are made
for convenience, not for penmanship practice.

A blotter, to prevent soiling the paper, may be
used to rest your hand on in writing. The use of
a penwiper will help keep your pen in good working
order.

LESSONS IN PRACTICAL PENMANSHIP

THE ESSENTIAL POINTS ARE STUDY

AND PRACTICE

The system of instruction upon which these
copies arc based, is recognized as standard wher-
ever good penmanship is in use.

In the study of penmanship, you should have a
clear conception of the form of the letter in order to
produce it properly. Study each form until you can
picture it in your mind so clearly that you can detect
the slightest error as soon as you. see the letter. We
can only correct our faults in penmanship when
they are plain to the eye. The study of form is an
excellent niental drill for training the mind in pro-
portion, spacing and relation of forms.

"Mechanical habit of motion cannot compensate
for this want of knowledge, nor can accident accom-
plish what should be acquired by design. As well
might it be expected that a manufacturer should de-
pend upon the movements of his fingers and posi-
tion of his tools without any knowledge of the forms
he is making."

— Rembrandt Peale.

POSITION

Sit erect facing the desk, your feet firmly on
the floor, your elbows on the desk. In this position
the arm rests on the muscle or fleshy part of the

LESSONS IN PRACTICAL PENMANSHIP

forearm. Close your hand by drawing in the fin-
gers. Now open slowly, and raise the right hand
until the nails of the ring and the little finger are
resting on the paper. Place your penholder be-
tween the thumb, index and middle fingers. Hold
the penholder firmly but do not grip it Hold

the penholder so that it points over the right
shoulder. Move the arm by rolling on the muscle,
being careful that no part of the hand rests on the
paper except the nails of the fingers before men-
tioned. See illustration. Do not permit the hand
to roll or turn over on the side, which allows the
fleshy part to come in contact with the paper. This
interferes with free movement.

5

Muscular movement is the only correct move-
ment to use when learning to write. This is es-
pecially true in perfecting the capital letters. We
sometimes use the fingers slightly in connection
with the muscular movement in the execution of
some of the smaller letters.

The muscles of the arm, hand and fingers are
under control of your mind, and while you may not
be able to make them follow the dictates of the mind
at the beginning, you will find they can be trained
to readily serve your will if thoroughly drilled on
suitable exercises. This matter will be given to
you on the next few pages. By learning all forms
you simplify your future work.

6

LESSONS IN

The long line represents the edge of the desk.
L. & R. represent the left and right arms. The up-
per right and lower left corners of the sheet should
be on a direct line with the edge of desk or body for
paper Syi by 11 inches.

The elbow may extend over the edge of the
desk. Place it even with the middle of the lower
edge of the paper ; for from such a position one may
easily roll the arm on the large muscle, reaching
from left to right as is required in writing words.
As we advance down a page, we shift the paper up-
ward rather than displace the position of the arm
and body. Never change the angle of the paper.

PENMANSHIP

90 /

X " /

1

/ y\

SLANT

The position of the paper, to a great extent, de-
termines the slant of your writing if you use the
correct muscular movement.

Personally, we prefer a 52 degree slant on 'main
down strokes and a 30 degree slant on connecting
strokes.

Uniformity of slant is one of the greatest fea-
tures in legible writing. Keep all straight down
strokes parallel and slant them at 52 degrees.

Let your hand slide on the nail of the third and
little finger. Keep your wrist above the desk, you
will quickly develop finger motion as this point of
contact becomes the pivot and the motion develops
beyond it.

LESSONS IN .

Do not separate the fingers. Notice in the first
illustration abbve, how the fingers are held together
to support each other. In writing, avoid using the
fingers; for thi muscles therein which control the
motion, are small, and weak, and capable of produc-
ing only short iiregular lines of different degrees of
shade. Roll the\arm on the arm muscle which you
can scarcely tiri and which is large and flexible
enough to develop a clear, even line, without great
difficulty. Thus \he penman can write from side to
side of his paper by using his elbow as a pivot.

Should you have trouble breaking yourself of
the' use of the fingers, close your hand as in the
second illustration above, brace the penholder be-
tween the thumb and second knuckle of the index
finger. Practicing in this way makes it impossible
to use the fingers and is also a sure cure for turning
the hand too far to the right. This exercise will aid
you greatly in securing a free muscular movement.

The penholder should be held about an inch
from the point of the pen. This allows perfect con-
trol, yet protects one from soiling his fingers. Grasp

LESSONS IN PRAC

the holder firmly, but do not grip. Both the thumb
and first finger should be slightly bent. Never place
the holder between the first and second finger. Let
the pen holder rest on the principal knuckle of the
hand and point between the elbow and the right
shoulder as in the picture on page four.

All exercises should be practiced faithfully each
day until they are thoroughly mastered. Never
write more than a line or two at most, without care-
fully examining your work to detect any faults in
form, slant, proportion, etc. Cultivate the utmost
care in all your work. Remember that your muscles
should be relaxed and that your movement musts
be free and easy. If your movement is jerky and
your muscles feel bound, you need more practice
on the exercises. Practice the large exercises for
freedom of movement; the small exercises, for con-
trol of movement.

Avoid careless and aimless practice. If you find
that you are beginning* to tire, rest a few minutes,
or take up some other work, returning to the copy
when you are rested. By practicing carelessly, you
form habits which you will find hard to correct later.
Let your practice be systematic. After analyzing
your copy, start your practice and continue until
you have produced commendable results, then con-
tinue to practice the copies which follow, as they
are logically arranged to insure proper advancement.

:al penmanship

THE OVAL
The oval is the foundation upon which the cap-
itals are constructed. Careful study of the oval and
its relation to the different capital letters, will help
focus the mental picture one must acquire, before
he is able to write the capitals accurately. These
mental pictures precede correct execution of the
various forms. In studying the fotms, look to the
height, width, slant, spacing, etc., fiom every angle;
note carefully the position of the paper, the holding
of the pen, and the position of the body; as all of
these things contribute largely to your success.
Follow all the instructions given and correct your
own mistakes carefully.

LESSONS IN PRACTICAL PENMANSHIP

Costs /s/&2> OrAt. (ySROVjP

COPIES

Follow the copies closely, study them in detail,
notice the height, width, slant, spacing, etc. Com-
pare each capital letter with the oval on which the
letter is based. If you are practicing small letters,
give special thought and care to the spacing, size of

turns, height and curvature of all up strokes, and
the slant and straightness of all down strokes.

Notice the dotted lines in the last group above,,
indicating optional beginnings and terminal strokes.
These forms are enlarged upon on page 44.

10

LESSONS IN PRACTICAL PENMANSHIP

P/

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VPP/rP l OOP J

LOWfP L0OPJ

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LESSONS IN PRACTICAL PENMANSHIP

II

Exercises are the most essential part of a pen-
man's daily duties. No matter how expert the pen-
men may be, he continues to rely upon practicing
exercises to retain his control. Therefore, more im-
portant is this practice to the beginner. He must
think and make mental pictures as he writes. He
must study his forms and compare them with the
forms given herein. He must read carefully our
suggestions and cautions and our advice must be in
his mind as he carries on his practice. He must be
his own critic. He must practice in order to make
the correct forms a habit.

As the oval is the basis upon which the capitals
are formed, the student should give the direct oval a
half hour's practice each day. The ovals should be
made rapidly to count or to the music of a phono-
graph. In the use of the phonograph be sure the
rhythm is such as can be followed. A march, one step
or two step is best for exercise practice. Play rap-
idly and keep your motion in time with the rhythm.

If your lines are wavy, you are writing* too
slowly. If the lines vary in color, you are using the
fingers. If your letters are not uniform, you are
probably writing too rapidly.

12

LESSONS IN PRACTICAL PENMANSHIP

Practice the different straight and curved line
exercises. They stimulate free motion. After you
have begun to master the simple forms go to the dif-
ferent forms, such as those on the second line on
page eleven.

As you write, see that each down stroke touches
the base line. Feed little ink. Wipe the pen on the
edge of the bottle neck to rid it of excess ink. L'se
the arm for writing; the fingers are used merely to
hold the pen.

Make ovals, not circles.

Watch the down stroke only, for the arm will

work more rapidly than the eye.

Jn the straight line exercise, use a pulling mo-
tion in the down stroke. Do not shade. Make the
lines light and uniform.

Speed for ovals of straight lines, 100 to 200 to
the minute.

THE DIRECT OVAL
Perfect this oval as the following capital letters
are based almost entirely upon it for form. Learn
each part of the work as you come to it, for the per-
fection of a few principal strokes will give you the
basis upon which all letters are formed.

LESSONS IN

PRACTICE WITH A PURPOSE.

CONTROL

GAIN

In the small letters, we have about three exer-
cises which are commonly used in all the letters.
We call these the "M" exercise because of the con-
tinuance of the form used in the writing of the small
letter "m." Similarly we have the "u M exercise, and
the small or one space oval exercise, called the small

"o" exercise.

As the largest part of one's writing is composed

of small letters, rather than capitals, the practice of
these exercises is very important as it furnishes the
foundation for most of our writing. After learning
thoroughly these general forms, the application of
them to the letter is rather simple.

Keep the following constantly in mind: prac-
tice often on exercises, think, criticize, make light

. PENMANSHIP

13

lines, be uniform, use the arm and not the fingers,
and your future as a good business penman is as-
sured.

If you will notice the first example on page 10,
you will see all of the strokes needed in writing the
small letter alphabet. There are four lines to prac-
tice on most carefully; the "m" stroke, the "u"
stroke, the straight line, and the small oval. Watch
for uniformity of height, slant, width, and color of
stroke, and you will quickly improve the quality of
vour work.

Practice the first exercise above. Follow with
the straight line exercise. Combine into what we
shall call the "m" exercise which is the last one on
the line. Each day make at least half a page of this
exercise. Keep all up strokes curved and all down
strokes straight being careful to make each kind
parallel.

14

LESSONS IN PRACTICAL PENMANSHIP

CAPITAL 0. It is the same form as the oval
exercise and is made with the same motion, being
one revolution instead of many. See that the second
down stroke is parallel to the first. Strike the pa-
per while in full swing and lift your pen while in

full motion. Make each letter about 2/3 as wide as
high. Count one, two; crowd the letters close to-
gether, making the lines light and uniform. Be sure
to use the same motion in making the O as in the
oval. Write 90 to 100 letters a minute.

a

'Capital A. — The first part of the letter A is
half oval, not a thin oval. Keep the width uniform
and remember to start the letter with plenty of curve
at the top. Make your upward stroke as straight as
you can without checking your motion too much at
the bottom of the loop. If you hesitate too long you

will make the turn too sharp or if you hurry you will
make the turn too round. Keep the upstroke on the
given line of slant. The terminal stroke is the same
as the first curved downward stroke and retraces
the upstroke slightly. It differs only in the slant.
Count one, two. Make 80 to 90 letters a minute.

LESSONS IN

Make the "m" exercise. Separate it into series
of three strokes with a long intermediate connecting
line. Repeat the same exercise, separating it into
two down strokes. This will develop the letter "n."
Count one, two; one, two. etc.

Make just one full stroke of the "m" exercise
and add a terminal or finish stroke. A letter X is
made from this by crossing the straight line at a 30
degree slant, crossing the down stroke half way.
Make this in series to develop movement. Count
1 orWptwo, three, etc.

For the small letter "v" make the first full

PENMANSHIP

15

stroke of the "m" exercise. Bring the third stroke
up to the one space line and connect with an extend-
ed check mark to the next letter. This check as a
finish stroke is characteristic of the "v," "w," "b"
and one style of the letter "r"

In the small "o" exercise be sure to use a long
light line between letters as it develops reach which
is of value in writing long words. Count one, two,
three.

It would be well to write a page of each of the
above exercises, being sure to make each letter one
space in height, and uniform. Practice these daily
until perfected, as many of the advanced letters are
composed of these letters either as a whole or a part.

16 ; LESSONS IN PRACTICAL PENMANSHIP

000000^ O&&0000@0&^

CAPITAL O. This style of capital "O" is easily
developed from the direct oval exercise. As the up-
stroke connects at the top, turn to the right with a
small curve as in the above model. Do not drop this
line too far. Lift the pen while it is in motion.

The "ii exercise is another fundamental exer-
cise. Practice it faithfully.

One full stroke of this exercise with a terminal
makes the letter "ii" Be sure to dot the "i" on the
second space line, or one full space above the top of
the letter. See that this dot is on the line of slant.

Make the "i" in series. Count the upstroke,
single, one, two; series, one, two, three, four, five.

We advise the preceding form, rather than this

lorm. as it carries the stroke directly into the small

letters which follow. Count one, two. Speed about
00 to a minute.

Make the "u" in series. Count, the upstrokes,
one, two, three.

The "w" is similar to the letter "u," the third
upstroke, however, is but half the width of the space
between the first two straight lines. Finish this let-
ter by checking as in the "v." Count one, two, three,
four. 'Make the "w" in series. Count one, two
three; etc.

LESSONS IN PRACTICAL PENMANSHIP

17

CAPITAL C. Note the outline within the oval,
particularly the slant of the upper loop to prevent
tipping too far to the right. Observe that we be-
gin the letter above the base line. Use a full curve
on the up or introductory stroke. Let the clown
stroke cut the introductory stroke one space above
the base line. The final* stroke of this letter is

similar to the figure 6 in form, but larger. The
terminal loop is about one space high or 1/3 the to-
tal height of the letter. Keep all the loops in the
same slant. Lines drawn from tip to tip of these
loops should be parallel.

Finish the letter with the loop. Count one, two,
three. Make 70 to 75 a minute.

Practice the small "m." See that the upward or and words the spacing is different. Use more space

overstroke is not too sharp. The down stroke is between the finished letters than in the strokes em-

straigfit. Write the "m" in series. Combine the ployed to make those letters. A still wider space

letters forming the word "mum." separates the words. For comparative spacing, no-

In order to distinguish between strokes, letters tice the series of three 4< m's" above.

18

lESSONS IN

<3d

T7-

Capital C. Practice the first exercise until the
full swing is developed. The small introductory loop
is from a third to two thirds the length of the letter
and half as wide as long. Be sure to give a good full

LETTER r. Practice the "m" exercise. On
the finish of some down strokes, make a short up-
ward straight stroke a trifle above the first space
line which will retrace the down stroke nearly its
entire length. Finish with a check as in "v" or "w."
This last form will develop a very simple "r." Make
this letter "r" in series. Be careful not to confuse

PENMANSHIP

curve at the top and do not run from the small oval
directly into the down stroke. Notice that the prin-
cipal part of the letter is a direct oval. Make to the
count one, two. Make 100 letters a minute.

-7

this letter with the letter "v." Notice that in the
"i" the up strokes retraces the down stroke. In the
"v" there is a circle at the bottom and the lines do
not retrace. Connect the "0" with the "r" as in the
model exercise on the top line. Connect "r" and
"v." Count for single letter, one, two, three; for
series, one, two ; one, two.

LESSONS IN PRACTICAL PENMANSHIP

19

CAPITAL D. This letter is a combination of a
straight line which is 2j/i spaces long, a small in-
direct oval one space high, and a large direct oval
three spaces high. Practice each one of these forms
separately. Then combine into a letter "D" by using
the above exercises. A common fault lies in get-
ting the first line too long and curved. See that the

small oval is parallel in slant to the down stroke.
Be sure the base of the final oval touches the base
line. The width of this letter is that of capital O.
Relax, make the letter freely with light lines. Re-
member, use no finger movement. Use a free mus-
cular movement. Count one, two, three. Make CO
to 70 a minute.

LETTER C. Make a curved stroke as in the finish as we do the small letter "i." The result is

small letter "m;" stop just as the line begins its the letter "c." Notice the first exercise, second line

downward course with a dot or a hook. Retrace a for similarity of "i" and "c." For single letter, count

fraction or lift the pen to the proper position and one, two. three. In series, count one, two, etc.

»

20

LESSONS IN PRACTICAL PENMANSHIP

CAPITAL D. This form of the letter differs
from that on the former page. The first stroke is
slightly curved which gives the small oval a slant of
about thirty degrees or less.

The large oval finishes with a short upward

77-

curvc rather than the full turn as in. the former.
The size of this curve may vary as in the above ex-
amples. This letter finishes as the letter "O," page
1C>; and if one is used, to be consistent the other
should be used, also. Count one, two, threq. -Make
60 to 70 a minute.

IP

77

-p

-P V — 77

-V — Z7

Practice the "o" exercise. Make a series of
v perfect little ovals one space high, connecting them.
\ The smaller letter "a" begins with the same stroke
as the small "o," with this difference, the first down
stroke should be carried at least y 2 space to the left
tracing the first or upward stroke. The up stroke

is a straight or slightly curved line connecting the
ends of the second curve. When this line touches
the top, we finish the letter as the small letter "i."
is finished, and the letter "a" is complete. Make
"a" in the series as in the second line. Count one,
two, three. Make 70 a minute.

LESSONS IN

CAPITAL E. This letter is a combination of
the movements used to make two overlapping cir-
cles or ovals, one above the other on the given slant.
Notice that the small loop made by the overlapping,
points downward and extends, at least, half way
into the letter.

I he small letter "e" starts as the small letter
"i" starts, except the curve deepens a trifle. There
is a decided backward turn at the top and the down
stroke is as nearly straight as is practical. The
down stroke and terminal stroke are like the "i."
• Count one, two.

The letter 'V starts with a curved line similar

PENMANSHIP

21

The letter may be started with a dot or may be
introduced by a number of different introductory
strokes as above. Begin the letter with a full round-
ed top and finish it, maintaining the perfect slant.
Count one, two, three. Make 65 to 70 a minute.

to that which introduces the "u" but extends a
trifle higher. Retracing this stroke slightly, curve
outward and well around, returning to, but not
through the introductory stroke at a point a trifle
above the baseline. Finish with the regular term-
inal stroke. Count one, two, three for single letters ;
one, two, for series.

22

LESSONS IN

Many students are too dependent upon the text,
and their advancement is slow because they do not
do enough original thinking in connection with their

practice.

It is a good plan to practice shadow motion or $
imaginary letters. Use a dry pen, and picture the
letter in your mind before starting. Outline with
a dry pen the image which is in the mind. Com-
mence boldly with relaxed muscles and a free dash-
ing movement. Study the forms herein, until you
can picture perfectly each one without reference to
the models. After practicing with a dry pen a short
time, resume your regular practice and try to use
as much freedom of motion when writing with ink
as you did with the dry pen. For those who lack
confidence or those who use a slow dragging mo-
tion, this method brings excellent results.

:al penmanship

The tracing of these copies with a dry pen is
good practice.- Whenever you make an unusually
good letter, retrace it many times in ink, making
the lines light and regular.

THE INDIRECT OVAL

The letters we have just finished are based
upon the direct oval. We now leave this series and
start our study of a large series of other letters
which are based on the indirect oval. There are
many modifications of this oval form but practically
every capital letter will use some part of the exer-
cise/ consequently, the faithful practice of the indi-
rect oval is absolutely essential. After learning this
oval one should perfect the most important 'of its
modifications; namely, the capital loop.

LESSONS IN

CAPITAL LOOP. Practice the first exercise
until you can make perfectly the capital loop. This
capital loop is the introductory stroke for the W,
M. N, H t K, Z, Q, X, V, U, and Y. Once it is per-
fected, these capitals are easily learned. The loop
is from to $4 pie length of the oval. The down
stroke may either be straight as in the first five
mentioned aboveAright curved as in the next three,
or compound cur*e as in the last three. See that
there is a space between the loop and down stroke,
and that the stroke is well rounded at the top. The
stroke introducing khe small loop is not a straight
line but curves from the left. Count one two.
Make 90 to 100 a minute.

CAPITAL W. IMake the capital loop. Follow
it with the straight line exercise, seeing that the up
strokes are slightly\higher than the introductory

PENMANSHIP

23

loop. Keep these straight lines spread apart slightly
rather than retraced. This develops the motion
necessary to the writing of the capital "W." Try
. • the "W," making the capital loop with straight
stem, joined to one up stroke and one down stroke
of the straight line exercise. Finish with the curved
line two and one-half spaces high, curved the most
at the end. Keep lines close together without re-
tracing. A capital "H" may easily be made by join-
ing the last stroke of the "W" to the first stroke by
means of an ampersand. If that "H" is too broad,
your letter "W" is too broad. Notice that the mid-
dle strokes are slightly higher than the beginning
and terminal strokes. Be sure to maintain a uni-
formity of distance between all the lines. The let-
ter "W" is a tall, slender letter, rather than a short,
broad one. Count one, two 3 three, four. Make
about 60 a minute.

24

LESSONS IN PRACTICAL PENMANSHIP

CAPITAL M. Start with the straight stem cap-
ital loop. Follow with the second or "M" exercise,
making the upper turns rounded. Notice how far
the clown stroke is retraced by the up stroke. Keep
the down strokes straight and parallel. The letter

"M" must be a narrow letter. Bring each down
stroke carefully to the base line. Finish with a ter-
minal stroke such as is used in the capital "A."
Count one, two, three, four. Make 60 a minute.

This style of "R" is popular. It starts as the
small letter "s" starts, the up stroke passing slightly
beyond the one space line. The short down stroke
is made toward the right, joining by means of an

angle to the downward straight line which, with the
terminal stroke, is like the latter part of small "i."
Use either this or the form on page 18 to suit your
taste. Count one, two, three. Make 85 to 90 a minute.

LESSONS IN PRACTICAL PENMANSHIP

25

Capital N. Practice the exercise as for the
letter "M." This letter, however, has one less down
stroke. See that the rounded up stroke does not ex-

LETTER x. Make the first part of the "x" the
same as the last part of "m'' or "n." Finish by
crossing the down stroke with an up stroke, begin-

tend quite so high as the top of the loop. Avoid
making the letter too broad. Count one, two, three.
Make about 70 a minute.

ning on the base line and making the crossing half
way up at the same angle as beginning and ending
stroke. Count. one, two, three.

26

LESSONS IN PRACTICAL PENMANSHIP

CAPITAL H. The introductory stroke is the
same as in the W. M, and N. See that the down
stroke is straight or is but very slightly curved.
The up stroke finishes similarly to the "W," being
Y the height of the introductory loop, making the
letter the width of the capital "W." The last stroke
may be started either from above or below. The

connecting stroke may either be a check, or a loop,
such as the ampersand. This connection does not
extend higher than the middle of the letter. If
the check mark is used, it should extend just to
the capital loop. If the ampersand is used, it ex-
tends through the down stroke. Count one, two,
three, four. Make about 50 a minute.

LETTER 1. Practice the direct running oval
exercise. Gradually develop the running loop, finally
making the up stroke curved and the down stroke
straight. Thus the "1" is developed. Check slightly
at the bottom, making the turn at the base line

neatly rounded. See that the down stroke crosses
the up stroke one-third of its height or on the one
space line. Write 100 to 120 of these loops a minute
to the count of one, two, three, four, five, six, etc.
Write them freely.

LESSONS IN PRACTICAL PENMANSHIP

27

CAPITAL K. Use the regular capital loop
with a straight stem. The next stroke is a compound
curve, such as we employ in making the figure 8.
Start the first of this stroke even with the top of the
capital loop, well to the right. Let it intersect the
capital loop stem more than half way above the base
line. Be sure this little connecting loop points up-

ward, otherwise you are apt to develop a hump as
you start downward on the last stroke. Finish with
a simple compound curve. The last two strokes of
this letter are similar to a bracket but with the
curves slanting more to the right. Count one, two,
three, four. Make about 50 a minute.

LETTER b. Practice the "1" loop exercise. As
you come to the base line, finish as you do .the small
letter "v." You will then have a perfect letter "b."
Combine the "I" and "b," as an exercise. Have no

angle at the base line, but round the stroke as in
small "o." See that the sides of the bowl of the "b"
are parallel. Combine the "b" and "v." Count one,
two, three.

28 LESSONS IN PRACTICAL PENMANSHIP

plenty of top to the next stroke as though you were
making a large oval. Carry this stroke two spaces
below the base line and return, crossing the down
stroke on the base line. See that the lower loop
does not extend to the right of the upper loop.
Count one, two, three. Make 70 to 75 a minute.

last part of the letter "n." The result is the letter two, three.

CAPITAL Z. Here we employ the capital loop •
with a curved or oval down stroke. Practice the
first exercise. In making the "Z" notice that the
second loop is parallel with the beginning loop.
This loop does not rest on the base line as in the
"Q" and "L," but is made at an angle of 32 degrees
or more. Following this small loop, be sure to give

LESSONS IN PRACTICAL PENMANSHIP

19

CAPITAL Q. The introduction of the letters
,( Z" and "Q" are the same until the down stroke
touches the base line. See the last example on the
first line of the preceding page. The loop in the
"Z" starts upward at once. In the "Q" the down
stroke is continued until we make the small loop

parallel to the base line. Finish the stroke with a
curve, swinging it well below the line. The stroke
may either turn upward or downward as shown in
the above examples. This letter is simple if you have
perfected your capital loop and the oval exercises.
Count one, two, three. Make TO to 75 a minute.

LETTER k. This combines the loop of the
letter "1" and a small form similar to the small letter
Finish with a very small horizontal loop, made

"c."

at the same height as the crossing of the main loop.
Keep both down strokes parallel. End as small "i"
ends. Count one, two, three.

LESSONS IN PRACTICAL PENMANSHIP

CAPITAL X. Combine the capital loop with
the curved clown stroke as in the capital letters "Z"
and "Q," to the finish stroke of the capital "C,"
which is a large figure 6. Start the letter three
spaces in height. The right side should start well
to the right and develop a full rounded curve. The
two down strokes should touch at the middle, how-

ever, should they not touch, it is well to draw a
short straight line at point of nearest contact. See
that your small introductory and terminal loops are
parallel. By adding an introductory stroke to the
right side of' the "X" a perfect letter "C" is devel-
oped. See the third model above. Count one, two,
three, four. Make about 50 a minute.

LETTERf. The small "f" combines the 'T to
a lower line loop. Continue the straight down
stroke of the "1" until it is two spaces below the
base line. Turn to the right, and return, touching

the down stroke at the base line thus forming a
loop. Finish with the regular terminal stroke. Make
the bottom of the loop well rounded.
Count one, two, three.

*

LESSONS IN PRACTICAL PENMANSHIP

31

CAPITAL V. Use the regular capital loop "V" is half as wide as the body of the letter "U."

with the compound downward stroke. The space See first form, page 32. The letter should not be

between the curves in the introductory stroke is pointed at the bottom but should be well rounded,

straight. Make a rounded turn and finish the letter See that the finish stroke does not extend so far as

with the same stroke employed in the "W." Keep the top of your capital loop. Count one, two, three,

it narrow and the sides parallel. The bodv of the Make about 80 a minute.

LETTER j. Make the small letter "i " except ing a loop. Dot the letter just as in the letter V'

the terminal stroke. Continue the straight down Count for the single letter, one, two, three, third

stroke two spaces below the base line.. Turn to the. count for the dot; for the series, one, two, three,

left and cross the down stroke on the base line form- four, five.

32

LESSONS IN PRACTICAL PENMANSHIP

^^^^

CAPITAL U. Follow the capital loop as used
in the letter "V." Make a full rounded turn, follow-
ed by a straight line slanting more than the slant of
the letter. This is extended not quite so high as the

top of the loop. Finish with a stroke the same as em-
ployed in the capital "A." See the third "U" above,
which shows the similarity between the "A" and
"U." Count one, two, three. Make 70 to 75 a minute.

"a."

LETTER g. The small letter "g" starts like an
To this letter add the loop as employed in the
J. The result is the letter "g." Count one, two,
three; series one, two.

LETTER y. Make the letter "x" without the

cross stroke. Join to it, the loop employed in the "j"
or "g," which gives us the perfect letter "y." In
rapid writing, some finish the terminal "y" with a
straight down stroke instead of the loop.

Count one, two, three; series one, two. .

LESSONS IN PRACTICAL PENMANSHIP

3t

CAPITAL Y. This letter is the same as the
"U" until the final down stroke. This is a straight
line, extended along the line of slant two spaces be-
low the base line. After making a rounded turn, the
up stroke crosses the downward straight line on the

base line. The loop has the same slant as the main
part of the letter. Be careful not to make this loop
too fat. The loop in both the capital and small let-
ter "y" is the same. Count one, two, three, four.
Make 60 to 65 a minute.

LETTER z. The small letter "z" starts like the
first full stroke of the small letter "m." After ar-
riving at the base line, start the loop by making a
small shoulder connecting the first part to the loop.

This loop differs from all other lower loops in that it
has the same amount of curve on both sides. For
parts of letter, see second model on second line.
Count one, two, three. Make about 70 a minute.

34

LESSONS IN PRACTICAL PENMANSHIP

CAPITAL I. Make some indirect ovals. Re-
trace the straight line exercise through these ovals
to overcome the tendency to curve the down stroke.
Follow this with the retraced base line oval exercise.
To make the letter, use the same up stroke employ-
ed in the first oval, making it a trifle more upright

in slant. Round the top of the loop and follow with
a straight line on the main slant. Just before arriv-
ing at the base line, curve the stroke and finish with
a base line oval. The upper loop of this letter is
about twice as wide as the loop in the small letter
"1." Count one, two, three. Make about 70 a minute.

LETTER t. The small letter "t" is made by
extending the small letter "i" two spaces high.
Avoid making a loop in the upper part of the letter.
Cross the "t" slightly above the one space line with
a straight stroke parallel to the base line. Some

writers finish a terminal "t" without crossing by
supplying an overstroke finish. There is enough
criticism of this form that we do not advise its gen-
eral use. Count, single letter, one, two, three; third
count for crossing.

LESSONS IN PRACTICAL PENMANSHIP

33

CAPITAL J. The letter "J" starts similarly to
the letter except that it commences slightly be-
low the line. The slant to the left on the up stroke
is greater in the '*T M making the upper loop twice as
wide as in the "I." Continue the straight down

stroke for two spaces below the base line. I urn and
finish as you do the small letter "j." Be sure that
all three strokes cross one another upon the base
line. Watch length and width of lower loop. Count
one. two, three. Make about 90 a minute.

LETTER d. The letter "d" is easily made
from the letter "a" by extending the straight line
two spaces above the base line and finishing the

same as the letter 'V Some writers loop the "d"
but we do not advise it generally. See page Gl.
Count one, two, one, two.

36

LESSONS IN PRACTICAL PENMANSHIP

CAPITAL L. Write the first exercise above,
then modify it as in the second exercise, developing
the figure 8 exercise. Start with a dot, and make
the first half of the figure 8 exercise and as you ar-
rive on the base line complete the letter just as vou
did the letter "Q." The result will be the letter "L."

Be sure the small oval is parallel to the base line
or slightly pointed* upward to the left. Instead of
starting with a dot, one may start the letter with
a curved stroke such as is used to introduce the cap-
ital letter "C." Count one, two, three. Make about
TO a minute.

LETTER q. This letter starts as a small letter
"a" starts. The straight down stroke, however, ex-
tends for one and a half to two spaces below the base
line, then returns as in the "f M to the base line.
Notice that the letters "p" and "q" extend but one

and one-half space below the base line, while all oth-
er loop letters extend a full two spaces below. Many
advise carrying the "p" and "q" loops two spaces be-
low the line. Use the form which you like better.
Count one, two, three, four. Make about 55 a minute.

LESSONS IN PRACTICAL PENMANSHIP

CAPITAL S. The introductory stroke is a
right curved line three spaces in height, similar to
that introducing the small letter "1." The down
stroke is a compound curve or figure 8 stroke. This
crosses the up stroke half way to the base line. No-
tice the slant and form of this compound curve.

Finish with horizontal oval resting on base line.
Many a good letter is spoiled by finishing with a cir-
cle. 'Make the letter "S" and retrace the oval mak-
ing the base line oval exercise. The base line oval is
one and one-half spaces high and longer than wide.
Count one. two, three. Make about 70 a minute.

The loop "p" starts similarly to the "t " The
straight down stroke extends from two spaces above
to a space and a half below the base line, thenioops
similarly to the "g." "y" or "j," crossing slightly

above the base line. Finish the letter with the loop
like form shown above. Use the straight retraced
line below, if preferred. Count one, two, three, four.
Make 50 to 60 a minute.

38

LESSONS IN PRACTICAL PENMANSHIP

CAPITAL G. The introductory stroke is the
same as in letter "S." After this stroke, turn to the
left and form a loop about two-thirds the length of
the letter, using the left side of a smaller oval as
one side of the loop. Continue this curve to the
right and upward to one-half the height of the let-

ter, making the space between the introductory
stroke and the end of the curve just described the
same as the width of the loop. See form preceding
the first "G." Finish with a horizontal oval cne-half
the height of letter. Count one, two, three, four.
Make 40 a minute.

LliTTKR p. Make this style of "p" just as the
preceding. However, do not loop the stroke below
the base line. Rather retrace or lift the pen and re-
place it on the base line, touching the down stroke

and finish above the line with the full stroke such as
is employed in writing the curves of the letter "X."
Count one, two, three, four.

IS IN PRACTICAL PENMANSHIP

39

CAPITAL P. This letter begins with the fig-
ure 8 stroke and finishes with the indirect oval
stroke. See that the up stroke has plenty of top to
it and that the left hand side of the letter does not
dip in too quickly at the top but maintains an equal
distance from the figure 8 stroke. Learn this let-

ter well as the letters and "B" are dependent
upon it for their structure. In finishing the last
curve, see that it points upward. Count one, two.
If you terminate the letter with a dot, count one,
two, three. Make about 70 a minute with dot fin-
ish, about 75 without.

Write each line five times, imitating the copy
as nearly as possible. Continue until the page is fin-

ished. Notice how uniform in weight or shade are
the lines.

40 LESSONS IN PRACTICAL PENMANSHIP

LETTER R. Duplicate the letter ending This keeps the letter from having enough width at

the letter like "K." See that the small loop points the top. Practice the exercises as they perfect the

upward. A common fault with the letters "P " "R" form and give one freedom, ease, and speed. Count

and "B" lies in the narrowing of the up stroke. one, two, three. Make about 70 a minute.

You have finished the small letter study. Now letters. There is a larger distance between the words,

make every conceivable combination of small letters After writing a line, study it, criticize it and then

by writing these letters in sentences. Study each rewrite it, making the corrections. Thus you will

word before writing. Keep uniform distance between eliminate your faults and perfect your handwriting.

LESSONS IN PRACTICAL PENMANSHIP

41

Write the capital "P." Turn back, forming a two right hand curves must be narrow and about

small loop as in "R" but finish with regular or mod- equal in width. Notice where the small upturned

ified oval as illustrated above. See that the base of loop intersects the figure 8 stroke. Count one, two,

this oval extends a trifle below the base line. The three. .Make about 80 a minute.

These are common business sentences. Write See how easily the capital T and I are connect-

them freely. Notice the use of the hyphen in the ed to the small letters which follow. This is done

second line. Practically all down strokes are by using the straight line finish. These forms are

straight and parallel. enlarged upon on page 44.

42 LESSONS IN PRACTICAL PENMANSHIP

CAPITAL T. Practice the figure 8 exercise. which lies parallel to the base line. This top stroke

Start as you would the figure 8 exercise and upon should not touch the rest of the letter but should

arriving at the base line, finish with a base line oval. be above the stem and should start about as much

The top is merely the small introductory capital to the left of it as it is above. Count one, two, three,

loop, running immediately into the figure 8 exercise four. Make about 60 a minute.

-* Many begin a letter of application as above. Be "\\" Dot your "i's" carefully and cross your "t's"
sure to place' the comma after Tribune. Notice the with lines parallel to the base line. Care in the
use of the loop "p's" and the straight stem "g" and small details make the finished penman.

LESSONS IN PRACTICAL PENMANSHIP

n

CAPITAL F. This letter is similar to the let-
ter "T." Finish with an upward line drawn from
the center of the base line oval stroke through the

middle of the down stroke. The top may turn up-
ward or downward according to choice. Count one,
two, three, four, five, six. Make 50 a minute.

. In this exercise we call your attention to the
capitals. These are formed according to the prin-
cipals shown in the second alphabet, page 55.

Again notice the use of the.-; straight stroke in the
terminal "g" This should not occur in the body
of the word but at the end.

44

LESSONS IN PRACTICAL PENMANSHIP

OPTIONAL FORMS.

This page shows many allowable forms of cap-
itals which are not used in our model alphabet but
are accepted generally as good forms. It is well to
familiarize oneself with these forms.

Choose one style and be consistent throughout
your writing.

The straight line finish of capitals is used by
those wishing to join these capitals to the small let-
ters as above. This is a rapid style and is used by
many business men in preference to the more ar-
tistic forms.

LESSONS IN PRACTICAL PENMANSHIP

45

FIGURES

Figures are the most important forms in pen-
manship as they represent money value. There is
nothing in what follows or precedes as in other
writing to help one to determine what the figure is.
Carelessly written figures are not only hard to read,
but are dangerous, for a misread figure quickly
throws one off trial balance, makes a check or draft

ficulty of business in general. The figures in the
illustrations on this page are practically perfect, in
so far as form is* concerned. One is very legible,
the other is not so legible because the figures are
too large. Keep the figures small. The lines of the
large figures are so closely allied to the guide, or
column lines that it becomes hard to distinguish
them. If the figures are made small there is a space
like a border which sets off each figure, making it
distinctive and easily read.

3

Z

/

r

a.

/

\3

(7

!-2_

7-

7

t

/

/

0

5"

7-

'/

7

¥.

/ o

¥

J _ ■

?

3

7.

i3

0

'A

'<f

?

/

7

o

/

2

0

fir

r

J

,=?

cz.

<?

/

(£_

■

<?

/

f

/

/

7

7

¥

c

7\r

XOT LEGIBLE.

LEGIBLE.

Practice making the figures small and perfect.

. These figures are the rapid business type, being

Figures too large for space. legible and easily made Study forms one tQ ten Figures well proportioned

For height of figures and order of study based upon For the space,

structure, see page ten.

46

LESSONS IN PRACTICAL PENMANSHIP

I

X ?~^^7,

/ / / / / a a <? 0 o

2- 2- 2- 2- 2-

■-3 ^ ^ .3 _i?

7 7 7 7 7 f <r<r<r'<r f <7 <7 f <? y

\

0 vj5~" 0 kJT~<7

& & £ & £ &

7< £ '7'<?/ ro 7 r &

The figure one is a firm straight line on the
given slant, one space high.

The figure four is similar, having two straight
downward parallel lines. Notice that the first line
extends from the one space line almost to the base
•Hne. • Tfrefjoining stroke is a -'Straight, line. This is.
written- aBoiit a space and a half 'in length, parallel
to the base line, and the long down stroke cuts it

^ & ^ & ^ & tp? O C?

0

in half. Make the figure about square. Too many
make it thin.

Make a squatty figure of the four, and do not
run the last line through the base line. Count one,
two, three, a count to each straight stroke.

The naught -is a one space direct oval. Many
hankefs prefer- a circle.

The figure six starts slightly above the first

4 * •*

LESSONS IN PRACTICAL PENMANSHIP 47

space line (at the height of the second down stroke
of the four). It is a downward straight line written
nearly to the base line where it merges into a curve
and is finished as a small oval about one-third the
height of the figure, and a trifle to the right of the
straight line. Some make this little oval parallel
to the down stroke while others place it at an
angle, of thirty degrees. Count one, two. Make
loop very small.

The figure nine starts with a thin, direct oval,
one space in height, similar to the oval part of the
small "a." Notice the terminal straight line extends
along the given slant below the base line. (See
models). Count one, two.

The figure seven starts one space high with an
irregular curve parallel to the base line. This stroke
is only one-half the length of the downward straight
line. The straight line extends below the base line
the same as in the figure nine. Count one, two,
three.

The figure two starts like an indirect oval. Be-
gin with a dot. As the curved down stroke touches
the base line, finish like a check mark, the line run-
ning slightly upward. This finish is similar to a

check mark. One may make a small loop instead
of the check style. However, this latter style is the
more quickly and more easily made. Count one,
two, three.

The figure five starts on the one space line with
a down stroke. This extends about half a space.
Follow this with an indirect oval stroke, similar to
the curve in a small letter "s," which rounds on the
base line and finishes with a dot slightly above the
base line and to the left. At the top, place a ter-
minal straight stroke parallel to the base line. This
finish stroke is the same length as the introductory
down stroke and should be joined thereto. Count
one, two, three.

The figure three is made similarly to the cap-
ital "Z." Finish on the base line with a good full
stroke extending to the left. Practice the first ex-
ercise, page "27, making it small. After developing
the swing, make the figure three. Finish the three
and five similarly.

Count one, two, three.

The figure eight is a compound curve, finishing
with an upward stroke similar to, but smaller than
that employed in finishing the small letter "j."
Count one, two.

48 LESSONS IN PRACTICAL PENMANSHIP

This short letter is a good exercise to copy. should be written, then the figures should appear

Notice that the colon follows the salutation. In any in marks of parenthesis. In such case, make it your

letter which acts as a contract or has the function rule to write amounts of money in tl.is way, to avoid

of a legal instrument of any kind, sums of money any chance of misunderstanding.

LESSONS IN PRACTICAL PENMANSHIP 49

i

*

This model receipt gives good practice on writ- corner, how we distinguish the dollars from the
ing amounts of money properly. Notice both in the cents. Start the word "twenty" close to the margin,
writing and in the figures in the lower left hand and keep the $ close to the 7.

50

LESSONS IN PRACTICAL PENMANSHIP

*

This time draft illustrates the now popular
method of separating the dollars from the cents
by means of a bold line. Notice the figure in the
upper left hand corner of the draft. Practice should
be made of the wave line as it appears here; for it

is very convenient to use in filling lines which are

not otherwise filled, thus preventing anyone from

inserting material other than intended. Notice the
apostrophe after "days."

LESSONS IN PRACTICAL PENMANSHIP

51

This sight draft makes a good copy for practice ures. Follow this form carefully as it is standard,
as it embodies a number of different exercises, such Notice particularly the punctuation of the signa-
as the use of capitals, small letters, and use of fig- ture, countersigned by the officer.

52

LESSONS IN PRACTICAL PENMANSHIP

f he check usually has the amount in figures on
the same line with the name. On the next line the
amount is written in full. Legally the amount writ-
ten in full holds; as figures are easily changed. An
automatic writing and perforating machine reduces

this danger. Should you write the amount with ink,
be sure to use some good carbon or other water-
proof ink, which resists the action of acid erad-
icators. One rarely uses a written check as all
banks have lithographed forms for convenience.

LES30NS IN PRACTICAL PENMANSHIP

53

■ This promissory note acts as a contract. If the "Bearing no interest." In which case only the prin-
I rate of interest is not mentioned, the note bears the cipal is due at the maturity of the note.

■ legal rate. Occasionally we use instead, the words

LESSONS IN PRACTICAL PENMANSHIP 55

The above is the standard style used in these lessons.

This practical business alphabet is based ypon the capital stem and the straight line finish. J

This is a good simplified alphabet. The ten- This alphabet is given to supply a simplified alpha-
dency is to start or finish the letters with dots. bet but is not recommended for general use.

56

1 his lettering is done with an ordinary pen. box many penman to insert names on certificates, di-
marker, or brush. It is commonly employed com- plomas, or other documents where the names must
mercially in marking boxes, and also is used by stand out prominently.

LESSONS IN PRACTICAL PENMANSHIP

This lettering is used by many architects to abbreviations which are useful. These are standard,

mark plans. Engineers employ it on their drawings. so learn them and make them always according to

It may be used for heading, for any lettering where these forms. The figures are more ornate than

a small neat design is necessary. Below are a few those described on page. 36-37.

58

■

We have used here a number of sentences forms are other than those employed in our model
which will give you. practice in every capital and all alphabet, thus showing- their proper use, and plac-
the small letters. Notice that many of the capital ing these additional forms at the student's disposal.

LESSONS IN PRACTICAL PENMANSHIP

59

To duplicate the above you must study your your straight lines the same, and see that the spac-
copy carefully. Make light lines. Keep the slant of • ing between letters and between words is uniform.

LESSONS I

ICAL PENMANSHIP

ms page illustrates a number of unusual
forms. You will notice the straight and curved fin-
ish, letter "y" However, we advise the loop *y 1 '

except in ornamental writing where such a form
often adds a certain effect desired. Select one form
and be consistent in its use.

LESSONS IN PRACTICAL PENMANSHIP

The straight line and loop letter "d" are both writers desiring speed, while on page 35, we have
d on this page. The loop form is used by many the form advised and used generally by the author.

Two forms of small "r" have been used on this perfecting of one form and the regular use of this
page. Both forms are in good use. We advise the one form in all your work.

LESSONS IN PRACTICAL PENMANSHIP 63

Having finished these copies and suggestions, velop your handwriting to the point where you will,

you have but started. Upon your review of this be known and honored because of your superior

book, you will gain many points overlooked in the handwork, and in seeking positions, you will be

first study. Practice and uniformity will soon de- given preference because of it.

64

LESSONS IN PRACTICAL PENMANSHIP

After finishing your course write the above supply city address and date. This may be used as
specimen as best you can. Use your own name, and a comparison with your first or entrance specimen.