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INTRODUCTION. year aibter The object of this littlo Manual ig to furnish to teachers a practical hand-book on the art of teach, ing penmanship. The plan of instruction is especially adapted to Beatty's Series of Head-line Copy Books, now almost universally used throughout Canada. ' We trust the work will be found sufficiently comprehensive to meet the requirements of teachers who feel the want of a brief and practical text book on the subject. The system here advocated is very simple, and while it differs in many important points from others now before the public, the underlying prin- ciples are not claimed to be original. On the con- trary, we have carefully exar , ; ed over twenty dif- ferent works on the subject, and by availing our- selves of the experience of past and present educators, beheve we have produced a work wo-thv of public patronage. It is becoming more apparent to educators that penmanship, as a special branch, should be better taught. That the results obtained in most of our w. INTRODUCTION. ■"any who readiiy acquiesce n ,1. i"' ^"' ««« clcrly the n,„a,„ to IZZyfa " W ' '^ ""' «'mply suffffest fhnf ie.u ™^'^^^^- We would ar.„r::::i^r„7z::t^z'"'r-'^^ h'gher Kmaes will havo LZ '""<"''•<'»■ ""e upon. Let the vory fi 1 IT TT"' '° '»'"'' Primary <.epa,,„.;^t"" He^^ s UT'^' '°*'"' movement and vidcK, n,r„; '^''''le■■o cramped « whcr« the odToXrV,™ ':'•''''■'''■''*'• ""d'-ofo allow p,.p,„ to at:nZ;nrndZ' "^f"- "^^ system durinK the mo=f ""'^'" " ■""" •■emedy this false ed„ca«o' dl' T^ '"'""• *" -ay of the pupil, ligS thet:rof'tr'r'\"'« nor produce satisfactory results "'' SYSTEM OF Practical pr«lt„^,L° "' ^^^^^'^''' m accordance with the grad ^'Tth^ ol '"'■ and the directions of thif Iittir„:ld\oor-''°°'^' at tl^'hJ^IoaZ^t*: ^"■"' "«>"««Phed copies It eeono„,i.e e'^^me ! 77 «-«' advantages, correct n.odels or mltT "''*'''' ^^^^""'^ hand should tLtaZtcLaCT*' T'''" °' better syste.n, the resHt of af " *^""'' ' varied exnerien^» result of a larger and more expenence than « possible to an individual. ^Id bo, ie erl- naiion papers Schools. But ' need, do not We would nstruction be J-Jneiplea, the olid to build rected to the 5re cramped >te, and here ^Qg:in. To under a bad 'hool period, »d labor to Hmooth the the teacher, the results f Beatty's carried out, ^opy-books )k. )hed copies i vantages. ; presents change of id gives a and more idividual. iMA^TAL OF PO>IAi\SIIlP. TABLE OF CONTENTS. hilroduclion • * • • • • Materials Dcscnptioii of Pentty's Series of Copy Hooks. .. Organizing Classes, Distribution and Collection of Materials Opening ami Closing Kxcrcises, l^ositions, I'enholdinjj, Rests and Movements, • • • • ■ • I'reparation for Lessons Time for Writing and Length of Lessons, How to instruct Primary Classes Method of Marking Lessons, Klements of Letters, Clas.sification and Scale of Lengths of Minimum* Stem, and Loop Letters Counting and Drill, Movement Exercises, Formation, Analysis, and Criticism of Small Letters, Capital Letters and their Classification, . . Lesson introducing Capitals, . . Formation, Analysis, and Criticism of Capital i'ig^res Combination of Letters, , . , . Topics * .. i>i2e. Shape, Slant, Space, and Shade, .. i.iodel Lesson, Reviewing Exercises, and Spacing, Hints to Teachers, s, Page III & IV I 7 9 II 12 15 i6 16 »7 22 3» 34 36 38 41 44 62 64 66 80 84 86 87 90 94 95 TEACHERS' MANUAL OF PENMANSHIP. MATERIALS. Writing Materials should always be the best that can be procured. They should be of uniform quality throughout the class, that all pupils may have equal advantages, and should be selected in accordance with the teacher's c ctions. Good materials can be had at trifling cost, and, as satis- factory work is impossible without them, the teacher should frequently inspect them and see that they are m proper condition. A child should not be allowed to waste its time and energies in attempting to accomplish th3 impossible task of gottuig go 3d work from poor implements. Paper.— Paper should be of good quality, smooth and firm, and always bound in the form of books. A well graded series of headline copy- books is decidedly the best. Teachers have no time for writing headlines, and but few write sufficiently well that their copies may be taken as perfect models for imitation. Beatty's Headline Copy-Books are now adopted as the standard throughout Canada. The Penman's Art Journal, of New York, in describing these copy-books, says :— " The niUhor has very widely adopted and combined with nis own ideas all the good features, in the best American Copy K..1.. 'j'he result is that the Canadian series now before ua m m books. TEACHERS* MANUAL contains a combination of the best points in the most popular of our series, and is better adapted to all grades of pupils than any of its predecessors. The main points of superiority are: 1. The grading is perfectly adapted to the re- quirements of our public schools. 2. The fewest possible elements are introduced in the analysis of letters. 3. The penmanship is plain, practical, easily written, and of the style adopted by the best pro- fessional penmen. 4. The explanations on covers are clear, con- cise and complete. 6. The paper is of the best quality, and the engraving and printing well executed. Primary Books, Nos. i and 2 contain all the small letters and figures. Their design is to secure correct position and movement, and at the same time impress upon the mind of the pupil the proper formation of letters. While tracing over a letter or word faintly printed in blue or red, with pen and b^'^ck ink, the mind of the child is not dis- tracted by any thought of the shape of the letter while trying to gain a proper * nowledge of pen- holding and a careful use of pen and ink, while at the same time the muscles are being trained in all the movements required to make a properly form- ed letter. Of penmakship. B Ko, 1. Teaches the contracted small letters, viz., i, u. w «, X. n, m, o, c, e, a, r, s, concluding with words formed from hem by combination. The letters are introduced syntheticalK and are family printed on the surface of every page to be traced w.th pen and ink by pupils in primary divisions. The ■etters are of sufficient size to impress their true formation on the mmd of the pupil. No. a. Introduces the extended letters, viz., t, p. d, b, h, •^';'.f.y.J,g,z.q, and the first class of capitals. It also re- views all the contracted or minimum letters given in Book I, ir cin ' "^^^ "T ''*''"'*' ^'"^ '» P""*'^'* ^^ shadow for iracmg, the pupil is gradually introduced to independent work. No. 3. Introduces a method of securing uniform and correct spacing m each letter and word, by means of rulin. "pon every page of the book ; also, a method of exhibiting the .ela ive proportion of the letter, in cvcy copy, and impL! ing the comparative height and length of the letters upon the minds of pupils, by means of a self-instructing engraved scale ' 1- pupils should be instructed to write on the darkles No 4. Teaches Cun-^nf Capitals constructively and affords an excellent practice in the formation of all the small leUer! Ihe size of the writing is that of a standard business hand' The sentences are short, and as there are six on a page, each commencing with a capital ; this book affords Lcellen he mod'" f 'T'"°" °' '°*' ''^"^^ ^"d --" betters and 1 short H I '°"' K "'? *''™ '"^^ "°^^^- The pupil is aided a short distance by the ruling on each page and then thrown on his own resources. . ^os. « and 6. for advanced pupils, embrace the whole Subject withm a small space. I^o. 7^ consists of short Sentences in a reduced hand suitable for correspondence or for ladies hand. It is clear, I teachers' manual open and attractive, and as sentences are printed twice on each page, it furnishes a drill in the fotmation of Capitals. • No. 8 is a book of Commercial forms for boys contain- ing Notes' Drafts, Receipts, etc., in n plain buMhess hand, giving a variety of current capitals. 3Vo. O. A finishing book for girls, containing Notes of Invitation, Answers. Forms, etc., in a neat ladies' hand. TSTos. 1 O and 1 1 • Angular hand for girls. Practice Exercise-Book.-Besides the copy- book, each pupil should be provided with half a quire of large sized letter-paper, or, better still, a spare blank-book, ruled, without copies in which to practice exercises designed to train the hand in acquiring facility of execution for those move- menls which the actual forms of writing reviuire. These exercises should be practised five or ten mm- utes before the regular lesson, and should be written with the same care as those in the copy _ book. A good plan of obtaining regularity of movement is to have these exercises practised in concert at first. Well graded movement exercises develop and strengthen the powers of the fin.3ers, hand and arm, and so train .he muscles that they become completely under the control of the will. Pens— \ pen with smooth, even points, making a uniform and clear mark at all times, not Too shfrp, but fine enough to make the delicate hair Unes, and suflflciently elastic to make the BhTdes ev^n and clear, should be Boleeted, and tl.e teacher should insist upon every pupil in the class '■i OF PENMAN'SniP. e using the same Iciiid of pon. A good pen costs no more than a bad ont, and a toac'.ier should be a better judge in making the selectiou than a pupil. If this is not done, some pupils will bring pons alto- . gether too fine and sharp, and others large, coarse ones, designed only for writing on rough wrapping paper. Gillott's 292 will be found to possess the required qualities, and can be procured from any stationer. In cities and towns it is better for trustees to provide the pens. Now pens being more or less oily, should be wet and wiped dry bafore usln:^^ that the ink may flow from them freely. Pen Holders. "Plain, light wooden holders, about six inches in length, are the best. Avoid those made of ivory, or any heavy material. They should be simple in construction, clasping the pen firmly, holding it immovable while writing, yet capable of being easily removed when worn out or broken. About one third of a pen such as Gillott's 292, should be inserted in the holder. Ink.-Black Ink is best for school purposes. It is of various shades and qualities, but only that which is sufHciently dark when first used to show the pupil how his work will appear, flows freely, and will not change 'ts color or spread under the surface of the paper, should be used. The rapid evaporation of the watevy part of ink soon causes it to thicken. It should then be diluted witli clean soft water. Ink-wells should be covered when not m use, thoroughly cleaned as soon as £^ny sediment 6 TEACHER S MANUAL accumulates, and replenished at least once a week. In taking ink the pupil should be cautioned to dip the pen only to its shoulder, and slowly remove it, not allowing it to touch the inkstand. Or, it is a good plan to dip the pen in the ink twice or three times, and then throw it back into the ink-well or wipe it off before beginning an exercise. If it is removed too rapidly the attraction of the fluid will leave too much ink on the pen. This rule carefully observed, will save blots and inky fingers. Pen Wipers.— The teacher should see that every pupil is provided with a suitable pen wiper. They may be conveniently made of two or three circular pieces of dark cloth, stitched together in the centre. The pen should be wiped between the folds, so that if the pen wiper should happen to fall upon the copy-book, there may be no blot. After the pen is used, it should be wiped dry. Blotting Paper.— Each pupil should be pro- vided with a piece of blotting paper, about four inches wide and six inches long. It may be used not only for absorbing blots, but as a re.st for the right hand to prevent soiling the paper. It should be kept in the writing-book. Black Boards. — It is unnecessary to give hinti on making black-boards, as we trust eveijy school room in the country is well provided with Bucb Q uecessity to successful teaching. They are ,1," OF PENMANSHIP. as eHsentml in teaching penmanship as arithmetic and shou d be freely used in connection with every vri mg esson. Success in the management of writing classes depends almost entirely upon a pro- per use of chalk and blackboard. The intelligent teacher who understands criticising and explaining penmanship, even though he be not a good penman ,nT« n.?"? ^u"^' "P ^^ '''^''''' ^""^ enthusiasm n his pupils by proper use of blackboard illustra- tions, will be able to show more imnrovement in three weeks' time than those adopting the plan of allowing pupils to imitate and practice according to individual fancy, can in as many months. ORGANIZING CLASSES. s.b J^ "^^l^u^ ''^''P^'^ ''' ^^'•S^' evaded, city schools must be entirely different from that of un- graded country schools. In the former, a well- graded series of headline copy-books should be adopted and written in regular order of advance- ment. All pupils in the same room or division should use the same grade of book, and write the same copy at the same time, and under the same general instruction. Ungraded schools, where the teacher has under his supervision pupils ranging from the primer classes up to candidates for teachers' certificates, present a problem far more difficult of solution. feUQh schools may advantageously be divided iut;s Pens 4 Open Inkstands, i a Close Intl.-, i - T^i r. "T" '-'°se Inkstands. 5. rake Pens. S- Pa.s Books. ^. I ake ink and write. 1 6. Mon. collect books, and pa.s t1* TEACIIF. R3* NfAM'Ar, POSITION AND I *KN Holding. The poHitiou <'hos(Mi for writing Kliould bo a convenient one, allowing an easy action of tlio right liand and aim. There are three positionw nHod by writers, known an the " Kight-Hide." "B'ront," and "Leftside" positions. Tiiey are all practieod more or lesH; but for the sake of order and vniiforniity in a class, all the pupil.s should observe the same position. The right-side position is considered most con- venient in school rooms with modern desks. Its advantages arc, that the pupil is less liable to bend over the desk; that, viewing the class from the front, or the sides of the school roitm, the t 'acher sees solid columns of arms, hands, and peii'.iold«irs, and can tell instantly if any pui)il has an incorrect position of either. The front position is, perhaps, more natural. There is less inclination to unduly elevate the right shoulder, while the rests remain the same. Many teachers insist upon having the book placed squarely in front, with the pupils left side to the desk, as beini? the practical buaint "^s position. This left-side position is impracticable, with the present arrangement of school desks. The two illustrated are easier and more convenient for tlie class-room. The relative positions of the boily, u nf:- and book are the snme in all, so that any one 0U ■"' '4 tlic others Whichever position is pre- t"'>s3 desk, hut not in eon- tact with it; the body slightly inclin(':u,,.t 1,- * ""^ lessons already famJiar o h,m, .which he was to teach next day wr::' ^ ^^^'=*"^« I P--«f- that »y pupils shoufd dunk from a runmng brook rather than a stagnant TIME FOR WRITING. enctTf thT f"t° ""^ ""^ '■'^t «»'t^ the conveni- cnce of the teacher niay be selected, except im- mediately after the opening of school, when he hand IS unsteady from walking or the excitem n a e'^^rb \ '"' ''°"'' "' "'^ ^''^' -l'- P»P" a e apt to be too weary to give the subject proper attention. When all freshness glides out of and rzT'^"', '"'r^ «'^''~'--. then i;:: li i i8 "RACWERS" MANUAL LENGTH OF LESSONS. Beginners should write about half an hour every- day ; this 18 probably as long as the interest can be kept up without wearying young pupils, moro advanced classes forty minutes, at least three times a week. now MUCH TO WbilTE. The amount to be written at a lesson must de- pend on the advancement of the pupils. At first it may be only one quarter of a column, but should be gradually increased as proficiency is gained. After a couple of tracing books have been care- fully written through, there will ba little difficulty in writing half a page of the next book in order of progression. When the pupil becomes further advanced, as much should ba written at a time as can be done well. A great deal must depend upon the control the teacher has over his class in en- forcing immodiate and exact obedience and lively attention. HOW TO INSTRUCT PKIMARY CLASSES. The formation of letters should be taught on nlates before the pen and ink are introduced. The first lessons should be as simple as possible ; mere J 01' ^'EN^tA^•sfrIp. 19 our every terest can pils, moro sast three must de- . At first but should i3 gained, been care- I difficulty 1 order of IS further a time as )end upon lass in en- md lively ES. taught on iced. The ble ; mere «erci.es to imitate while loarnin,- .o.itio„, pen- holding and movement. ' On account of the liability of the pencils in con,, mon u»eto break, it i, a matter of economy a"d »nven,ence to use those covered with .rood * they are both cheap and ,l,„-able ' rhe first exercises should be practised on slates unfl po.s,tion and movement arc learned anrM perils become familiar with the fo™: 'tion o ". eis The slates should be ruled on one side w7th ■ght permanent lines, properly spaced Co;' » should be as nearly perfect as possible in o.der eaine. s mmd from the beginning. The fl,-sf mid, indeed, can be termed nothing bnt nencT Omwmgof the letters and wor.'s n.,ed in the copy On account of the tendency ,.r vn,,., J«-eak slates and lose penci";-; trei;- bXf: the teacher to take charge of them. Monitr an pointed as a mark of favor for proficiency or good conduct, to pass slates and pencils, may be taught to look upon the position as a very honorable "ne som'::hirat;^.r m""" "" '^"''"^'^ " -^ ^ '"'^ attei the following order : 1.-l',:p<,n- M ,„.iHn,,: when all other work ii 'JO TEACHERS MANUAL should be laid aside and de^ks cleared. A given .-aignal should then bring up the monitws to pass lilates and pencils. 2.— Write the copy plainly on the board, so that the entire class may see it. Let it be a letter, a succession of letters, or a word, according to the proficiency of the class, 3.— Explain how you require it copied, point out the mistakes likely to be made and explain how they may be avoided. 4._Give the signal Conunence Writing. The teacher should then pass around among the pupils correcting position at desk, pencil holding, mis- takes in formation, &c., until the exercise is about half over, when he should illustrate on the board the principal errors he has observed while pissing around, and call on the pupils to name the differ- 3nt mistakes and tell how they should be corrected. The last five juinutes may be profitably devoted to criticism of the writing by the pupils themselves, permitting them to erase and correct any letter with which they are not satisfied. 5.— The monitors should at the close bring up the slates and pencils and deposit them in their proper places, and when an opportunity is afforded they iihould be carefully examined and marked by the teacher. OF PF.N'Nf.wsilFp. ^^ A certain number of recognized errors in fh. may constitute a perfeet lesson. '^^'^ principal clifficultv at first is .IHlUn. • time during tTe C .tk may i en'™,";"; ,'■'"' '"" and from these conie, T^^ i """"S f-e week. monitors for theS4e\^^tbr ""''',• *"'' wecK may be appointed. sentences shoufd tolW T,? 1"m ""'■'^■'' ^""■* taught to write befo,;" the p™ 1 1 i^k 'I *"": "" (luced. ^ '"^*^ ^"'^ are intro- in'ttsi^h^Mr i-r ttt z "' ''' ■>«" -"^ aB soon as the nLn h! ' ^7^^^^' ^^ introduced '0 use thenJl^SXX-- ^ott'e/-- ?^ i ■5' I ill "Wf 1' a ■ 22 ' Tr.ACHl-rvS' MANUAL Entlnisiaf3m may be awakentxl in a class, especially of primary pupils, where the nxatter is a novelty, by throwing tlie childnm upon their own resources. First explain and illut5trate the simple elements which enter into the construction of a letter, and then require the pupils to givci directions how it should be made ; thus teaohinj? them to see, to compare, and to criticise. Notliin^^ pleases children more than to communicate their knowledge. FIRST LSSSON. -CLAS^^ OF TRIM ARY PUPILS. Experienced teachers of writing usually follow their own well-develop d and well-ar«anged plans for giving effect to their instruction. The fallowing hints, some of which were taken from an article in the Primary Teacher; will serve as a guide to young teachers who have not better plans of their own. Assume this to be the first presentation of the subject to a primary class in one of our public schools. After order and attention arc scoured, commence II OP PENMANSHIP. 23 a class, atter is a on their rate the struction 3 to giv(( teachiiiK Nothin-fj: ate their PUPILS. ly follow ged plans ive taken will serve lot better on of the ur public ;ommence a ocnversational exercise by inquiringof the pupils: "How many of you could tell your friends at home what you have done in the school to-day ?" All raise their hands. "Could you tell this to your friends if they were along distance away ? " All answer. "No sir.- " Would you like to be able to tell fi-iends away from heme about how you are getting on at school, and about what is taking j3laco at home during their absence ?"' All answer. •' Yes sir." Well I am going to teach you how to do this ; but, we shall talk over the matter first. "What IS this I hold in my hand ?" "A ruler." "Who will tell mo something about it?" John pays, "It is large," Jamps says, "It is round " Mary says, " It is black," You have told me, I have a large, roimd, black ruler. When you said "ruler," 'Qarge," "round" and hiack, you made sounds that had a meaning which we all understood. I will now make some signs on the blackboard and see how many will know what they mean. I write in Roman letters. ru^r -What do you see on the black-board ? " h !J of; ./J^ *^'^ *^'^ ^^"^« *hing I held in my H^"^ , . v' '^'•" "^"^^ '^ "^^^^ the same thing ?' " Yes sir." Now if I write this word be fere It (writing in Roman letters the word blacl:: what will It mean ? " Black ruler." I next wnt« alargeandrmmd, before it in the same char acters : "What does it now mean ?" "a lar^ro round black ruler." Then the words on the black- board have the same meaning as those you have j.ust ■ h :';«! 24 TF.ACIIMU S MAN'fAL spoken. You learn from this tliat thero aro two ways of using words,— speaking them, and writing them. "William, please spell tho word black." He spells, "B 1-a-p-k." "How many sounds did William use in spelling black ? " " Five." " How many letters did I use in writing it V " Five." You see from this that spoken words are made up of single letters. Speaking, then, is telling what we thnik by the use of certain sounds ; and writing, is telling what we think by the use of letters. These letters are signs of the spoken sounds. I will now ask you to give me some short words to write on the blackboard? ''Horse.' ''Dog,'' ''Boy,"' d'C, are given faster than they can he written. " Did you think of these things before you spoke them ? " " Yes sir." I then write the v/ords in Roman letters, and after the pupils read them. I add a short word or two to each, and call upon the pupils to read the phrases aloud. They read, "A large horse." "The black dog." "A good boy." "Did I think of these words before I wrote them?" "Yes sir." Then children, you spoke what you thought, and I wrote what I thought,— so what we think can be either spoken or written. You already know how to speak what you think. You must now learn to write what you thinic. In the next lesson I will teach you how to sit when writing, how to hold your pencil, how to place your slate on the desk, and begin to teach you how jl or PE.NMAN'sniP, ro aro two nd writing 3rd black." sounds did ." "How ' " Five." made up nk by the lling what etters aro \ort wordp .' ''Dogr \ey can be before you i the v/ords ead them. call upon rhey read, "A good »re I wrote ^ou spoke thought, — )r written, y^ou think, thinjr. ;o sit when T to place 1 you how 25 to makn letters. The teacher should, before clo.. ing dcHcrilm the kind of slate an,l n.n.cil each pupil should bnng. * " BEOOND LESSON. The previous le.son should first bo reviewed condensing ,t and giving the pith in a few Zpui sentences after which the next lesson may be pro ^eeded with somewhat after the following n'an- PiriiTn ""'" *^''' '^''"'^' ^^ 'otters in common use up y^our reading books ;-thcse ' letters stand ur ~le th:T'' ^'^ r-^^^ ''^''^ iette^r^io resemble the Roman, but lean over to the ri-ht the r Lht T"'" '''''''^ '''''''' ^'^^ 1-n ov"r to he right and are much like the Italics. All these i.fferent kinds of letters are made up of lines to nah-pr"''^'? *'°"' "'" ^^'^^^^^^ I^^'^^an letters to Italics and from these to the script form, can he has the severe task of learning whollv new taHc fn.^ jecognize the known Roman a^d Italic forms m the written letters. "How many can read Italic letters' All cin Then you can soon learn to read writtenlettT^ ietter is this ? a few can tell. I erase all of the 26 TF.AriiF,n«; mwum. li: first lino, and noirly all of tho last, loavins ihr srcojid line or down stroke, and make the toj) just like the base of the letter, only reversed. " What does it look like now?" All say, " /." As it stands r , it is Italie small /. I will make the v.ritten letter brside it. so that you can look at both. Now elicit from the pupils, by means of apt questions, that there is a short bend, or turn, at tho base of each Irtter. that the Italie has a short bend or turn at the top, while the written one is sharp and pointed at the top ;that the Italic begins and ends with very short lines, while the written letter begins and ends with long lines ; that the middle line of either is straight, except where the turn is added at the top or base ; and b.-ith are dotted above the top. This will teach the children to re- solve the written letter into parts, and to compare it with, and build it up from, the Italic. After the written form is fully pictured in the mind of the child, we proceed to analysis. The riucstion niay here arise, can the primary classes in writing be taught analysis ? The ele- mentary analysis of the script alphabet is so sim- ple that it can be easily understood by the young- est pupils. The entire script alphaT>et is derived from the straight line, and the oval. The parts of the oval used separately in writing are the sides, top, and base. These, together with the straight line, make up the elements from which is formed every script letter. The followmg diagram illus- trates the analysis of the lin«s in the oval, and the combination of the oval elements with the straight ^^ p^,N^fAS•slllP. 27 Living thf [» toj) Just "What r." As it \iako tlio ,n look at ans of apt r turn, at IS a short ten one is lie begins e written that the rhere the ire dotted ren to re- • compare After the ind of the ! pr unary The ele- is so sim- ile young- 8 derived e parts of the sides. 3 straight is formed ram illus- l, and the e straight lino, showing t^ e .'erivation «f th^ turn. fr*ni the top and base of Lb.' ovni. EIrnient T. is the straight line ; EI. 11,. the Kigbt Curve, or the right , ^ side of the oval; El. HI, the Loft Curve, or the loft side of the oval; the upper and lower turns are shown at the' top nnd battoiu of tho oval. The pupils will ervsily earn to know the straight lino, and the right and left curves. The two oval turns are more dif- fieult. But if wo expect children to write those turns m the letters, it is logical to teach thorn to see the turns in the same. There is as much indi- viduality to those lesser, as to the greater p.-irts of the letters Young pupils just passing over the threshold of the art, should not have a single steu to unlearn. ^ ''How many lines are tavo in written smaH / ." - Ihree I will write the lines soparatelv. What can you toll me about these lines > " Sonie say, "They are crooked ; " others, "They lern over. ' '-What is a crooked line?" The answers come, 'Oae that is bent ; •' "One that is not; straight. ^'; Is this penholder (holding it upright) straight .-' ^es. Suppose that I let it lean a little to the i;,t*' u^!'-^''\ ''' ^^'^ penholder straight or crook- ed^ straight.- I p-avo it mv^iJol to the middle ■ r\ 1/ ( i 28 TEACHERS MANUAL line of ?', and show the pupils that this last is a straight line as far as the short turn at base. " Are the first and last lines of i, like the penholder ?' "No."' ''Why not?"' "Because they are crooked, "" They are what you call crooked; that is, they bend a little, so that the ends of the lines run away from the penholder, when I placed it b?side them on the right. "Do these lines bend evenly?"' "Yes."" " A line that bends evenly is a. curve; what do you call these lines ?" " Curves.*' " When a line bends to the right, thus it is a right' curve; when it bends to the left, thus it is a left curve. Are the curves in i right or left curves ?" "Right curve?.'" "You have told me that the lines of / lean over. Whe 1 a line leans to one side, it is slanted. The straight line^and the curves of / are all slanted. Do they slant alike ? that is, do they all lean over equally ?"' "No." " W^hich slants the least ?"' "The middle one." " The curves in ? slant more than the middle or straight lines, as you can see that the penholdei- leans over farther when I place it opposite these lines. Written letters and Italics are made up mostly of slanted lines. The upper part of a line, or of a letter, is the top ; the lov/er part is the base. I wish you to look carefully at the middle line of /, and see whether it is the same at top and base. Is the line straight all the way down, like the penholder, or does it bend a little, either at the top or at the base?" "It bends a little." "Where?" "At the base." "How many can see this sh'.^'t bend ?"' All can. OF PENMANSHIP. is last is a 29 " A short bend in a letter is a turn ; if a downward bend, thus it is the lower turn; if an upward bend, thus, the upper turn. Have you a name, now, for the short bend at base of middle line of i ?" " Yes ; a turn." " Is it an upper, or a lower turn ?" "A lower turn." "How many parts have you found in i r "Four." "Name them in oi-der, as I point to them. " ' ' The right curve ; the straight line ; the lower turn; the right curve." "Can you see any other part to the letter ?" Some answer. " The dot." "Now how many parts are there in if "Five." " The dot is the siAillest mark that can be made." Position and pencil holding should now bo taught, as explained on pagas 12, 13 and li. Position and penholding are most trying parts of a writing exercise. To induce fifty or more pupils, whose physical organizations are almost as varied as their number, to sit in the same position, and to hold their pens uniformly, requires great care and judgment on the part of the teacher. A little corps of assistants, enlisted from among the pupils, will be of great aid. Those who are apt and ciuick can help the slow and timid, until all have learned. Let patience have her perfect work while training nervous little fingers to wield the pencil and pen. ii The first exercise should be as simple as possible. 30 teachers' manual The slanted straight lines, about twice the size of an ordinary comiBercial hand, and presented some- thing: after the following plan, is probably the simplest and best exercise for the fiust lesson: Begin at the top and come down to the lower line thus, do npt go above the upper line nor belo w the lower line. "Have you all made one ?" " Is it straight like mine?" It should be perfectly straight. You can all stop now. (Children stop and wonder what's up.) "Did you ever see a letter that looked like this?" ' "No." Well, it is no letter, but we call it the first element, and it is found in twenty- three out of the twenty-six letters of our alphabet. We can make none of those letters correctly till we can make this "slanting straight line.'" Now it is not going to take long to learn how to make this little line, is it ?" "No." I believe you can learn to make it in half an hour. They think so. Hold on John don't take the start of us; (here the teacher must be on his guard to prevent "scribbling.") Now watch me (be sure every one does it) make the first element— make it correctly on the board in groups of 4 lines equidistant. Now make them just as I have. The teacher now leaves the board and goes to each pupil, and, where there is a group made wrong, makes one right along side, but giving more particular attention to the poorest writers, and praising effort only, bat being cheerful. A few personal rounds will give the class a proper idea of OF PRNMAXSHIP. 31 le size of ted some- lably the ion: -he lower lOr balo w r "Is it straight. i wonder at looked V, but we L twenty- alphabet, ily till we Now it is nake thiiii n learn to Hold on e teacher ibbiing.") make the board in ike them ihe board s a group ut giving iters, and . A few er idea of the first element. The second copy should fee the straight line and right curve, or second element. For the third copy, join the right curve, straight line, and right curve, and lo, the small / stands before them almost perfect. They have learned to build it up line by line, are astonished and de- lighted, and have all the tim' been quietly working at high tension. Copies for practice should be continued in the regular order of development, as given in " Beatty Vj System of Penmanship." Small initial capitals may be employed for this purpose, and as red ink shows readily by contra^^t, renders the marks clear, pi-ominent, and inefface- able, it is best for this purpose. A few moment's time before the close of the exercise, will suffice to record in each book the sta^iding of the pupil for the d.iy. A scale of ten may be adopted, or any other that may be pro- ferred. An effective and satisfactory method of marking is to give each pupil the same number, say 5 or 10, as a credit for writing the tlvst page as well as he can. The figure should be placed at the middle of the lowe*' margin of the page. Explain to the class that you treat them alike on the first page, and that their ms^rks on succeeding pages will depend fin III hi n m [I 'I \l \ ik \ 32 teachers' manual upon how they compare with the preceding one, and that if every page is written carefully, with- out blots, and shows progress, the mark Ai'ill be one higher. Thus, if ten is given for the first, the second would be 11, the third 12, etc., making the maximum number of credit marks m a book of 24 pages, 33. If the second or any other page does not * compare favorably with the preceding page, it should be indicated by repeating the mark of the previous page, and considered as owe lost. Op- portunity shouid be given to recover, by extm exertion, the lost mark on the following page, which will bring them up to the grade again. For no other reason should an increase or decrease of more than one be alio wed. The marking should be done at regular periods, and in the presence of the pupil, that any needed instructions or warning may be given. This plan is founded on the principle of relative progress of a pupil as compared with himself. By it, the best writer in the class gets no more credit than the poorest, if he makes no more real ad- vancement. It is also incentive in every way, to the pupil himself, between pupils, and to ele^»ate the standaM of the class. It can also be used with effer^ in preventing the unnecessju-y accumulation of back pages, and a puni^ment for blots. It is of the utmost importance that each pupil or-- PEXMAXStilP. 33 b3 held responsible for everything connected with h.. writing book. In no other way can neatness and care be secured. ne„H ''°"1\^ ''°" '" ''''™ these li„e» perma- nently rXed or painted on a blackboard in the class room. The line (1) i,pon wh:ch the letters rest is called tne Ba.so I^iuo. The line (2) to which the top of the short letters reach is called the Ilo«a Liuo. The line (4, to which the top of the long lettora such as /, reach is called the Top Li„cf use^o/ thf^'^^"'^ '^ ''""'' ^^ ^^^'-^^ ^^^^'^ «^-J^« use of the terms one space, two spaces, &c. The sinall letter u may be taken as a standard of measurement for the height and width of small letters. In the foregoing diagram the short lettci-a are to be written m the middle space. f^^ f l^--^^^ i« WiUtk is the distance be- tween two slanting straight lines in small u. nil w! """"''^'T ^'""'"^'^ ^" "^'^^'^"^^ ^« the basis of all letters. From it we derive the three el^mopts or strokes, from combinations of which all tho letters are formed. i I !•■ I \m ! l! I '1:: 34 teachers' maxual The First Element is the ol)liquo straight line. This is the fun- damental line in writing. It forms the main sti-oke, in whole or in part, in twenty-two out of the twenty-six small letters; in all, except c% e, o, s. As soon as pupils can make it fine, sfmir/hf, and with uniform slant, their writing begins to look well. The teacher's attention should therefore bo especially directed to these three points. The Second Element is the concave curve, or the right side of an oval, and may be known by its presenting to the eye the concave or hollowing sur- face. It is written both upwards and downwards, and is generally a connecting line, but sometimes the whole or part of a main line, as in O, S. The Third Element is the convex curve, or left side of an oval, and may be known by its pre- senting the convex or rounding surface to the eye. This curve is written both upwards and downwards, and is generally a connecting line, but sometimes the whole or part of a main line, as in C, E, O. Most persons fail in the proper formation of the SHORT HALF-OVAL TURNS. They are usually looked up- on as the most diflicult points in writing. The first is OP fE\MA.VSHiP. 35 .1 ronibination of the first and .ocoiul ele- ments, passing throuMli one space iinF PENMANSHIP. 37 Thoy aro so callotl hocauso thoy arc niado with a loop. Extend theso lettors above or below the lino on which you write, so as make them just three spaces m height, or three tim'is the length of the mmmium letters, except in ladies' hand, when they should bo four times the height of small letters They should generally correspond with the length of the capitals above or oolovv the lino, as the casQ may be. ^ All letters commence with the second or third e.ement, moving upward from the baseline, except when united to a previous letter. A combinatioi, of them is then used. The small letter? may be classified in three diirerent ways, viz. : I.— A classification based upon length will give three classes, a^ explained. 1. The shortest, or body letters, usually called minimum, such as a, c, m, n &c. 2. .The extension letters, with a main stem, such as d, p, t and g, called the stem letters 3 The LOOP LETTER?, such as fo, /, h, y, z, &c. The latter might be subdivided into-upper extension, such as h, h, k, and /,- lower exten.sion, such asg,J. yandz; and double extension, such as /and long s. 11.— A classification based upon form will give three classes: those pointed at the top like i and u • those rounded at the top liky n and m; and such as ^xj3and mto loops, like b or i^. ! i, 38 TEAChcKa' MANUAL III.— .4 rkiHfii fired ion fxisrd on mnremciif in for mation will giv(? throo classes. t. Such as bc,^ir with a concave curve, like /, u and c. 2. Those that begin with a convex curve, like 711, u, &c. 3. Such as are formed by the extended looped mjvo mont, like h, f, &c. The former plan of classifi'*ation, based up »n length, is the simplest, and all that is needed for practical purposes. COrXTTNa. The introduction of counting in connection with writing lessons will do much towards secuiring un- divided attention. Some pupils move too rapidly, without taking sufficient p lins to make t'.ie letters well: others move too slowly, with an irregular, tremulous motion. It is, therefore, well to retard the form-^r and urge forward Che latter, so that each pupil shall not only make the same letter, but the same part of the letter at the same time. J^or these ends, no n^ethod has yet been found OF PKNMANSIIIP. 35 superior to counting. It .'hocks the sudden jerks with which bef,niiuors strike oir the final i)arts of letters, and (ioiiHtrains them t.) such a ratcof pro^nvss •s gives time for thouglit and care. Besides this It urges the very slow to a proper speed, and checks the hurried rate of tno nervous ; while it exercises a peculiarly beneficial influence on the irritable. In conducting an exercise by counting, the class should first take proper position for writing. The directions here given are applicable, either to tracing the copy with a dry pen, or to writing in the exercise, or i opy -book. When letters are connecteJ, the lines are enumerated in the ord(u- in which they occur, ex- cept the laf-t line of a letter, which, like the first, is numbered one, because it is also the first of the follot^'ing letter. The general method adopted is to count the odd numbers for the upstrokes, and the even numbers for the down-strokes. Thus in 71, we count one, up ; two, down ; three, up ; four, down ; five, up. In a combination, we would count one,' for the last stroke, as it would be the first line of the next letter. If writing the letter i, wo should count, "one," "two," "three," "dot ;" if the word ■ill, we should count " one," " two," " one " "two " "three," "four," "five," "dot." '' Readij," moans eyes upon the work, and pen at the point of be-inning, that all may commence promptly at the signal " one.'' i' I 40 TliACIIliRS MANUAL After a little practice, one pupil may count for the class. In this case, the pupil should be selected who keeps the beat medium time. All may count silently, and a single pupil may give the number of the line. For instance, having practiced upon the copy until all are familiar with the time and move- ment, we will suppose the class to have completed four lines. The pupil announces " Lino fifth, liemh/ one.'" The class continue to count silently and write until the line is completed, .vlion the pupil again announces ''Line sixth, Heady-one,'' when they continue writing as before. This method has the advantage of securing the desired result quietly, while the teacher's entire attention may be devoted to the supervision of the class. Names and words may be used in place of num- bers, remembering to keep perfect time ; thus :~ "up," "down," "up," "down," "light," "quick," "quick," "light," "left curve," "straight line," "left curve," "straight line," " right cnrve,"&c., omittmg the nouns, when the adjectives are perfectly under- stood ; as, "left," "straight," "left," "straight," "right," «&c. None but those who have practiced conducting exercises by these methods, can understand the excellent effect produced, not only in reducing the writing to system, but in cultivating a general habit of order and precision. Let those who have doubts, instead of speculating on its probable re- sults subject it to the tc:stof expr-rieiice, and a w.'ye decision <;an soon be arrived at. OK PEN^fA^•smp. MU V EM KNT lOXEKCiSES. 41 Excrcisoa sliould be dcsi^'nod, }ift(>r a (l«.fiiiitf> method, to tmm the hand in af^quirin-,' facility of oxet'ution for thoso movornenta whic^i the actual forms of wnti»if,MV(iuire. TheyHhouldbefmiucntly nnd extensively practised, and a short exercise sliould precede the regular practice of ev(»ry lesson Their object is threefold. Fimt, to secure a free' >,'raceful and rapid general movement to the finders' musflea and fore-arm. Second, a special' up- ward and downward motion ; and thirdlu, a latteral n 10 vement of the hand . The three stan- dard movements in writing are the Straight-lino movement, the Direct-oval move- ment, and the I nverse-o val movement. These three include every written form, and are the groundwork of practice. The child's hand should be educa- ted on the stan- dard, or O, oval in both Direct and Inverse movement. And in the earlier stages of his prac- tice he should not be given any merecurrent, off hand, or business forms. \ y Arm (J Hes^ m 4- Tl'VCriERb' MAXUAU For business writing large curves are admirable lit for young pupils they present extraordinary difficulties, and are seldom executed with any de J?ree of success. The standard oval, whether U.rect or Inverse, gives more play to the muscles a more natural movement, and better training for the hand than any modification of it. The shorter curves require less scope, and the pupil is better able to approximate a true curve. The practice in writing the^e curves parallel is a fine educating process tor both eye and hand. ^ Each lesson should be conducted with a view to miprovement in some special feature, and should be practiced in the regular exercise book and not on loose paper. When large movement exercises are given for •Isciphne, the pupils should be required to gradu- a.ly diminish the size of the form until it is brought wUhmhelimitsofordinary writing. Forexample, i. i. nell to give as an exercise a capital principle voquiringtheclasstobegiaby making its heighi .ee spaces, or three times the height of ordinary commercial writing. *^ Having pmctised upon it in this way for a time u should be diminished to two spaces, and then to one, which IS nearly the practical form. Bv this coui-se, pupils will not only obtain povvez- and reedom in the use of the pen, but they will also lear to concentrate them, so as to make availahir writing the regular size. The following exercises, calculated to develope JVC movements, should be practised in the order of the numbers until perfected, using the movements appropriate to each, ^menifi ( . r, If rii J F n 44 teachers' manual • i ^1 1 ^i^ rOK:\f ATION OF SMALL LETTEKS. In no way can the theory of correct form be better impressed upon the learner's mind than bv pointing out the mistakes he is most likely to make and giving illustratiors of the common errors into which he is most likely to fall, as a negative en- forcement of the laws of symmetry. The principal errors which should be pointed out by the teacher and carefully guarded a^^^ainst by the pupil, are: l' 0/ form; 2. Of direction; 3. Of shade. Errors of form arise: 1. From a disproportion in the parts of a letter. part. ^ ''''"' ^ *'''' ^'^""^ curvature of the curved 3. From a too little curvature of the curved 1!Xl is, JZ\7s. '"'"'"^^ '""'^"^"^^ «^^^-'«^^ ^-es These errors destroy the symmetry of the letter. vJr""^^ T DiRECTiox have reference mainly to t-V3 degree of slant of the downward stroke- which may mclme cither too n.u.h to iho perpend irula QV too much to the hon;ioutal, OF PRNMAXSHIP. 45 These errors destroy the harmony of letters and the un,fonnity of the writing as a ^4olo toolTv'v '2 Tv' '''"'''"•■ '■ ^^^-1-ng the shade coo heavy; 2. Making it too hght; 3. Placin^r it rough and ragged instead of smooth and even 5 ctrdlLt'"^ ^""^"^"^^ ^"^ diminishing! 'oi r order tL"! "" '" '^«"""' ="Ph«l>etical oiaer. ihey ar. auged on the plan of rrounii,,- hem accordin: , their predominant fom a^ o r,r°J """^ ,"'■ '"°™»™'- An cxcellenT^rd" r ot introducng the letters is given in the elemen arv numbers ot Beatty's Head-line Copy.bocjrwWh we cannot do better than follow. ' An analysis of the letters whereby only three elements are used can bo easily understood by Z youngest pupils. "^ ed ?ithV' f rr"^ '"'"' 'P^^^'^^ ^^^^^^^ connect- ed with each letter wherein failure is particularly to be expected : These are termed critical poTnt. of on^thr'T ^"^'^^^"^ ^^ '' «^-P^-^^^d by the use stonH h )l '""'"^^ *^"* '^ ^^n ^^ «««% under- stood by the youngest pupils. ^ ^ncnt.. B.gm on bar^eline with concave \l ' '\ \l ■'^ i' 46 TEACHERS' MAXttAL ill With h r:™,":™ :: '-^^r"' ■^'"""' "-" •■""<■■ »l„v.i ' flnishmg concave curve wh.c passes upward to the height of the Jette ' from r,::™. ^'"'""'. "^ P--"«' -d e,p,i-dista„t ine dot, which ispeeuliar to this letter should be -'l-iin/j/j/s.— Elements 2, ], 2. Jow^'sZte ^°""'r'' '■ ■'"'"'"e the up-stroke and to hel ? " " '"'"'■ """ '^'"'P'"* t'^'' »Kle open o the po:„t. (i). straishtness and slant of down trok ,,^ ^;,„,„^. ^^^_^__^^^ ^^^^^^^^ own hand, nor pointed on the other. .'■i) How many have it vvrong ? r3) In w J^ ^ ^. ^* '^ '""^'^^ ' CZZ^ The Small n contains a right curve ind Til::: '"7," "' "" ■^^^"""^^ or'itisS:::, « ^t the top, two turns at the base, two straigh line, of the same height and reaular slanf, and thre; 2" curves of the same length and ;ia„t. t one space wide, one space high, and comprises five .mple movements. It is one space highT>d i usedas thest-andardof n-,.-, . / ofthesmaUletteis ™''^""™''«"' '"'' ""^ width 1 i h tl Ei ne( « 111 anc base-line nd unite, e curve, le letter, li- distant S points, hould be bove the iuiniuni. 3ke and :le open down on one questions, is riphtt ■ong? (4; ve and e same points it lines three It is es five and is width OP PENMAN'S Hi p. 47 . lo make thi. letter, pl.e.^ the point of the pen tTna^hn 1 ''^"^^' '''^""'' "^^'^« ^^ narrow £^lenients2, 1, 2, 1 2. ^^nuiy.sif,,— Critical Points. Observe th^ •.• , alluded to in connection .il,,, "' '"'"'"''' P"'"'« -^F,,?'™;''' ''"""'''™ """^ '^''■■"-•«- do".n«-a,.d "..,«„„ upward concave, downward straight ud ward concave, horizontal concave final. '^^ ft It may be termed a modified u. To change „ ng than before, and is finished with a dot and ho .on al r,ght curve one-halt a space long The rtX:t:r'^^^--"-->'^--*hirS: E,e!^:rri, 2^;;?r"- "'""""*• ^"'"^■'-- NoTK.-Observe the distance between t) e r art« «« .. m nection at top and bottom Nn .«v. r "^ ® ^ '^' ^^' as also the con- .nd .straight Ii,,esaUerrt; H.. f '"" *''^"'^^''= the curves Critical Points. Ah in u except the carrying 48 teachers' manual B: up of the fifth line closer and making the dot small bt'foi-e the short curve to the right is made. ~/^//' Small v. Commence on base-line with convex curve, carry upward one space, join with half-oval turn to straight down-stroke on the regu- lar slant, turn on base-line and pass upward with concave curve through one space, ending with small dot and sagging curve carried to the right, similar to finishing part of u\ Minimum. One space. No shade. NoTE.-Itis to be remembered, that, by previous practice, the pupls have formed the habit of writing the up-s'-okes witls a cer- tain slant. Fix on their niincis that a special habii, is lo be formed in writing this up-stroke for v and ir, that these letters may be made carrower as required. The dot begins even with the upper turn, and is formed by re- tracing the curves by a very short distance without pressing on the The levtl curve is carried from the bottom of the dot to the top line. Whrtii I (s followed by another letter, the level curve s'lpersedeg the first coi'iieccuig-line of the letter fuUowir.g, and joins the main Jine either in a point or turn. J.n«/^,s/s.— Elements 3, !, 2, 2. /y/y^^ Small n. Upward convex one space, downward straight, upward convex, downward straight, upward concave final. Minimum; one space. No shade. A>iaZ^6/s.— Elements 3, 1, 3, 1, 2. Note.— The corii'ect example gives the proper OF PEN.NfANSHlP. 45 union ot the c .-ves to the do vvn-strokns Tho i • touch atapo.nt nearly on th^Zv "^^^^'"^^ mediately sWarato whi.r ^''■^'"' ^"^^ ""• the nninf ^f ^ . &tioko, and chang ju- tnt point of departure \^ < h,c ,-„ „ u f-U ia forcing tl.ia c.al To ^ aTnr'" th.« particularly callcl to it. ' ™''°" '^ Chitical Points fu n„ stroke ,ve,l over :t ^ ^'';^ J^T f^ "I- Htraightnes^ofthe TEACHER-j' MANUAL diverging continue to base line ; turn short and /unish like 21. Width, two spaces. -A)ia/?/.s/s.— Elements 3, 2, ;j, ;?, 2. 'id: — ,Thk Small o. Beginning on baseline ascend with left curve on connective slant one space ; join angularly and descend with left curve on main slant to base ; turn short and ascend with right curve meeting the others at top ; finish with hori- zontal right curve one-half space to right. Width of oval, one-half space. Minimum. Oiu^ space. No shade. Anal I/sis. —memvnts '.i, 3, 2, 2. Critical Points. (D- -Running back a little on the upstroke. (2) Curves down stroke. (3) Paral- lelism of the two sides. (4) Closing at top. ..^_ The Small a is begun at the base with a convex curve, carried u, on an increased slant to the height of the letter- one space. The first down- ward stroke returns on this upward curve through about one-third of the space, where it departs in a more direct curve to the base line, and returns m the form of an oval, uniting at the top. The second downward stroke on the regular slant is brought to the base line, and the letter in finished with the upward moving concave curve, which OF PKNMANSHIF. 51 passes to the heig'nt of the letter. Be careful to make the turn on the bane line short. The shade on the first downward curve shoula be nlaged with care. 3//n/..o. class. On. space. OneslTdl an. eh;:^^JS^'::;.r t ;w's ? '"^^ - "- ^^^ '^-^ andfo wardtotho seco.^d poim th..! J '""■''^'"^ '' *^^"' force of an illustration rf.h. ^''™""^ "• " "^l^^ ^^^ 'he . ed Chalk and r^e'LSc;:^^ '' ''^ «-t letter is .nade of ^««Z?/.s/s.— Elements 3 3 '> 1 '> CRiTiCALPoiNTS.--(l.)Carryingtheup-strokeover of tne first down stroke, that the letter in which it (.3.) The straightness of the second down-stroke base line '^"''' """"^ ""'f^^^^^ty of the turn at ^^ The Small e occupies one space, and is very J^iutpie ,n Its construction. It starts from the base ^ine with a concave curve of more than usual slant earned well to the right, turning into a loop at the top and coming down to the base line with a slight convex curve ; a half-oval turn at the base jTtfer TT '"T '^'''''' '' *^^ ^^^^«ht of th^ etter, fitnshes it. The loop occupies three-fourths the length of the letter. Mini mil HI dutin. No tihmle. A7iali/sis.~-E,lements 2, S, ^, ' ' H II I I If I I: i if i» ill 52 teachers' NfANHAL Critical Points. -d.) Slanting low, and lossen ing the slant at one-third the height of letter. {2. ) Making down-.stroke with a slight curve, and not turning too soon. CI) Finishing with a concave up stroke height of letter. Xorit. - If another « follows, slant low. and then slant up as bp- foie. The low slant must he carried lowenou.-h to plaof t >f st-cond f one space from the flrsf. A good illustiatioii of the low, increased slant and sUsht curve c.f the bjcks of the l«tters, in douljle <■. may he given hy first drawing the letter ii on the hoard, with red chalk, and making doulj'e f over it with white chalk . .The small c is on»> space in height. It begins with a concave curve starting at the base line, and passing to three-fourths the heigut of the letter, where it joins a short down-stroke on the proper slant of writing, this stroke is turned at the base, and with continuous curve, the line passes to the proper height of the letter and around the short down-stroke, coming down to the baeo line with a slight convex curve ; it turns shortly on the base line, and ends with a concave curve car- ried to the height of the letter. The curves on either side of the down-stroke should be equidistant from it, and of equal curvature. This letter is a modilied e. The width of the head of c is one third of a space. Minimnm ehtss. One space. No shade. ^1« a ///,s/s. ^Elements 2, .'5, 2, o, 2. Critical Points.— (1.) Narrow top. (2.; Rlight- ly-curved down-stroke, not turned too soon. (3.) Narrow lower turn. It OP PENMANSHIP, r' 53 one space. Mnunium. No shade. ^'-naIi/sis.~FJem?.ntH 2, 3, j, 2. 1^ Small ,,. Co.un.enco on base-line with eon- ca>„ curve carried upward one and one-fonrTv, ^naZ^s/s.— Elements; 9 q o ll 1 ^^ 54 TKACHFRS- MANUAL lower turn. (3.) Turning down the lino so that dot may be on first up stroke. * P . Small t. The movements of this letter — -2: — are identical with those of small i, the Z^£3I difference being in the height—^ occupy- ing two spaces, and * one. Begin on baseline with concave curve, and pass upward to height of one space ; then change the slant to that of the down stroke, and carry it up another space ; Avith an abrupt square shade at top, return to base line on the regular slant, covering the upward curve through half the distance, separating therefrom at the height of one space from base line. Turn short on base line, and finish with concave curve carried up through one space. The shade which commences abruptly at the top of the letter, gradually decreases to base line. The cross which is made one half space from the top, should be light, short, and run parallel with base line. Ex- tended steiti' Two spaces. One shade. -A wa/ysi.9. —Elements 2, 1, 2. Critical Points.— (1.) Changing slant of up stroke from height of one space upward. (2.) Gradually decreasing shade from top downwards. (3). Making turn same as lower turn in other letters. (4.) Crossing level by moving whole hand. (5.) Proper height. OF PF-NMANSHIP. 55 The Small d is two spaces high, formed ^ of a pointed oval and stem. The part ^^ measured by the first space is an exact small n, the only difference in the two letters being the stem part of the d which passes up through the second space. The stem is shi^^.^m abruptly at the top, the shade gradually de reasing to the base- line. Extended stem cIcish. : 'u , :^;ace . One shade. ^wa7//.s-/».— Elements 3, 3, 2, 1, ^ Chitual Points. -For first part same as n. Spreading pen at height of letter to make shade abrupt at top, gradually diminishing shade. Small p begin on base-line and ascend with right curve a little to the left of con- nective slant two spaces; unite angularly ^ and descend with straight line on main -_.« slant, crossing base-line one apace to right of beginning, and terminating one and one half spaces below crossing; retrace to base-line, and there diverging to right, complete like last half of n. Extended stem. Three and one-half spaces, —two above, and one and one-half below base-line.' One shade. \ i\ ^na/?/.9/.s.— Elements 2, 1, 3, 1, 2. Critical Points, (l.) Lessening slant of up- stroke from ba.«eline. (2.) Increasing shade of t F 56 teachers' manual stem from centre. (3.) Proper length. ,1) Raising pen at the termination ol stem, and beginning agam on base-line. Small q differs from a small g only in the position and form of the terminating curve. Instead of a loop formation of the extended part, as in g, the main down-stroke passes li spaces below the base-line, and with a short turn to the right, the letter is finished with an up- ward convex curve, running, in the main, parallel with the stem as far as the base-line, and thence more positively to the right, ending at the height of one space. The first or oval part is formed exactly like the first part of a, d, and g. Ej,'fended stem ; two and a-half spaces. One shade. A«a///s/s.— Elements '6, 3, 2, 1, 2. CriticaI Points. -Same as g, for first part. Carrying the lower part of last up stroke parallel to the stem. . Small I w, three spaces higli. Begin ^^i<^h the right curve, as in /, then?e yiZ. lessening the slant as in up stroke of f; carry it. up two spaces above the head-line; turn roundly to the left with a narrow turn and pass down upon the regular slant, crossi-.g the upper curve exactly o.. the headline; finish with the slanting straight line. Extended loop. Three Spaces. One shad . b^ <^P PF-N'MA\SHip, ^»«///.s/.s. -Elenionts 2, 1, 2. 57 Critical Pot\t« n, t J"y ^"'^'r'; '' '*« ^mall t, start,, .„ ba.seO,ne wHh a concave curve carried ,, , - "f """<' «P^<''^s, tun,., at top with con. ^""'■'/•■*«- -Elements 8, ], 3, 1, 2. CRmoAL Po,NTs.--Those of/, andlastparts ot». // Thk Small 6 is three spaces high. It bcg.ns with an upward moving concave curve, which turns roundly at top ", d P..ss,ng down upon the regular slant, c^ore, tl upper curve at the height of one snace from tt base-me forming a loop which occupies of cZrso two thirds the length of the letter. The 'second 1' stroke, which is a concave t„r„ ;= „"«"," direction parallel with the down 'stroll: Sd ^^ the .leightof one space from hase-line, finishes with { : i 5S teachers' manual a dot and concave curve carried to the right and upward. When joined to a succeeding letter, this finishing curve takes direction accordingly. The main down-stroke is shaded from the middle to tlio base-line. Extended loop. Three fqmcei. One uhade^ on down stroke near base. A»a///.s/.9.— P]lements2, 1, 2, 2. Critical Points.— (1) Lessening the slant of the upstroke from one space in height upwards as in /, in order to give proper width to the loop. (2) Crossing exactly one third the height of the letter. (3) Making first down stroke a slanting straight line. (4) The carrying up of the third, or finishing line sufficiently close. The First Part of Small k is form- ed precisely like that of /i, being composed of a concave curve, passing from base line upward through three spaces, turn- ing into a loop and descending to base line on the regular slant, with a gradually increasing shade. The second part joins the main stroke at the centre of the lower space n'ith the convex curve which passes a lictle above the height of the space, and turning well to the right, forms a reverse oval, connecting just below the height of the space with a small up-pninting loop, i.hpnce returning to base- line with the first element, united by half ovaHurn OP PENMANSHIP. 59 to torininatin^; concave curve carried up through one^space. Krf.ulecl loop. Tkree spLs. ot ^«r on the boaiil i : Si i 'i i } I 6o TEACIIF.RS MANUAL P Small,/, it will be observed is the same an first part ol // inverted and reversed. Begin- ninj;- on base line ascend vvitli right curve on ■" connective silant one space; unite angularly and descend with straight line on main slant three spaces : turn short and ascend with left curve crossing last stroke at base-line, and continue above on connective slant one si)ace. Finish with light dot i>laced as in L Ex-tended loop tltree spaces. Ko shade. yl;//f^?/.s'/,s.— Elements 2, 1. .",. • Critical Points.— (1.) Keepinj.;; the same slant throughout. (2.) Makingnarrowtu-.Ds. (3.) Crossing on bas3-line. (J.) Proper length. -t\, Small y occiipies tlreo spaees- below the base-line, and one above. It is in form exactly the reverse of small li. or small h inverted. The shade, however, is usually thrown on the contracted part, while in h it is located on the main portion, or stem, gradually increasing from the centre to the bottom, or base^ line. Begin on base-line with convex curve; carry upward through one space, and, with half- oval turn, return to base-line; then unite through a corresponding turn to a concave curve carried up- Avard one space; join with acute angle to a down stroke on the usual slant, which pass<^s tb rough tliree spaces, turning at bottom, aiid with upward moving convex curve form a graceful loop. OF PF.NMAXSHIP. 6l The up^curvc crosses down-stroke at base-line and con in,u.s to the height of the letter. E.tencleU foop. One ,S/Hi;lr, Atui/ijsis.-FAemcnts'.l 1 •> i •; The FIRST PAHT OK SMALL <, is fomft.l precisely like small a; the second partis .» loop which unites with tlie final up-curve-u-hi^.h ^xt'lin? *^':j'^^«^;-"-<^««i»g the down-stroke at the base-hne and continuing to the height of the letter E^vtemled hop r/as.. Three spaccJ:^ One .ha<^ ' ^4»«//y.s/,v.- ElementsS, J5. :>, i ;]. CR.T,«,, Po,NTs -(,.) K«.i,i„« ,..,.ope,. slnnt. lo instance should thpivirtc t,^,„i " "' i ^ mt last jnit. lu rhisi9secumlb7o.vTnrt H^^^^ / ^' *''^ *'^P ^^ the ova). onlinaryoonca .r ' ^ ' ''' ^"""' of -nnection with the ! ^^ lias letter occupies three spaces, one I// above and two below the base-line Coni- -__ mence on ba.se-Iine with convex curve ontmue to base-line with an increasing slope ornnng hereon a small loop; continu. dofvnXi through two spaces, and with a leftward loop- u 62 teachers' manual M at bottom, pass up on a sligut cotive.v curve, ^toss ins the down-stroke at baseline; and finishing at height of letter. The dimen-iions of the lower loop are the same as loop of small g an.i small y. Extended loop. One shade. ^inalysis.—Klement^' ',], 2, 2, '3. Critical Points.— (1.) Makiiig down-stroke • first part— straiw-'ht and slatiting. (2.) Being sure to let it rest on base ii no. Note. -The r is tiit-, only smRll letter in which the straight line or first princiijle is not used. Thi?c'oses the ins ructions in regard to the formation of ti'; small letters. Care viiu?t be taken, that thefupils do not neglect the small in tters, when they begin the capitals They must be care fully watched and constantly criticised, 7)1 CAPHAL LETTE?v3. The capital letters give clearness, strength, diversity, and artistic character to writing. Thoy introduce broader movement, fuller curves, greater breadth of design, and more marked distribution of light and shade, than we find in the small letters New features are introduced into the architectu^ of the capitals, and hence their classification -« Di ^l' I'ENMAN'SHIP. 63 d.flFerent from that of the s.nall letters. Mnny of curves take their place. The grace and beautv of writing are lar^^ely centred in the ca pitals. ^ The standard Capitals are uniform in hoii-h^ oxfPnL , ^ ' ^' """'^ ^' ^^^'^^ ^'''^ch a lower ox ention loop similar to the corresponding small letter; all the rest are of uniform length A classification based either on form or mov^ "'^/^i gives three classes of capitals. 1. The following sixteen contain, ingthe compound curve or Capital ^^TJ' ^' ^' F' (>. n, I, J, K, f^- M, N, P, K, H, T. Cap Stem Direct <^val Caji L<><)|). 2. Those that contain the Direct O al' 0, D, E, a .'?. Those that contain the Reversed O val, or Capital Loop. This principle 1-5 fo.rnd in the following letters Q ^\ y, w. X, Y, z. \ C4 TLKCIIERS' MAN'UAL It will be observed that D contains Uoth the Capital Stem and Oval. Before proceeding to explain the construction of the capitals, we shall ^ive a short lesson illus tratin^ a plan of Teaching the formation of the 'japital stem to a class of beginners. LESSON INTKODUcINCi CAl'lTALS. "Well, children, we have gone through with all the small letters, and we have now come to ihe large letters, or capitals. Capitals are the largest letters we have in writing. Let us talk a little about their use before we learn how to make them. If you will look at your reading-books, you will see that every sentence begins with a capital ; and that the words i and O are written Avith capitals, and that some other words have' capitals. Is not this much better than to have all small letters in your books ? How much easier it is to see where sentences begin. How much better the pages look to have some capitals sprinkled in among the smaller letters. How it would look to begin your name, or the name of the place where you live with a small letter ; for instance: John, Monday, Ottawa, —writing them on the board with and without capitals. " Which looks the better ?" " Would you like to know why these big letters are calld capitals r It is because they stand at the head (' every sentence, just as a Captain stands the OF PENMANSHIP. 65 at the head of a company of soldiers. We expect a great deal of a Captain. Ho should be a capital soldier, or he is not fit to be a Captain. J ust so wo expect a great deal of these big letters. They should be made in a capital manner; that is, very good indeed, or they are not fit to be capital letters." "If a man was going to build a house or barn, he would want to make a framework first, and then he could finish it off just as he liked. Now, in making capitals, we want to have first a frame- work, and then we can build up each letter. I am now going to give you a framework from which sixteen capitals may be formed." Draw the Capital Stem on the board and make the sixteen letters formed on this element. After pointing out the fact, that the Stem is the main stroke in each letter, rub them out and devote special attention to its formation, assuring the pupils that if they can make it well they will have little difficulty in making all these sixteen letters well. I want you to observe the Capital Stem closely. It is only a long curve and an oval. But these, together, make one of the most beautiful forms that we have in writing. You know that an oval is shaped like an egg. This base-oval rests on Its right side. I wish now to cut off this oval finish of the Capital Stem, r,c ^,hat we can study the long curve. Tell me if it ; .he same curve ail the way hr' 66 TEACHIiRs' MANUAL down ?" Some say that it is,— somo that it is not. "I will chan^'e it a little, so that you can tell better" intensifying the curves. " What do vou say now? Is it the right or left curve ?" luMiy oxighteyoscan see bo:h curves. ' 'Kight both those curves unite to make a single line." I now draw a horizontal line throu.!; Carrying the third line a little over at the top. (3) Narmw half oval turn at the bottom of the fourth line. (4) Proper spacing between the different strokes. Capital T is chiefly formed of the Capital Stem, which is a little more — curved, both at top and bottom, than in the Capital A. Begin Capital Stem two and one- half spaces above base, making its first curve a lit- tle fuller than in A, JV, and M, but finish oval as in these letters. Begin the cap two spaces from base and one space to left of stem ; ascend with left curve on main slant one space ; turn short and descend on main slant with right curve one space ; turn short and ascend with another left curve,' crossing right near top, and continuing to full height of letter, three-quarters of a space to right ; then merge into horizontal right curve, terminating two spaces to right of stem. Width of small loop, one-third space. Analysis. -Elements 3, 2, 3, for stem and 3, 2, 3, 3, 2, for cap. ^ OF PENMANSHIP. gg Capital FdifTers froin.eai)itfil 7'only ill the oontinuatit)n of tlie finishing part of the oval. Therefore, form Stem and cap aH in T, without stopping morgo upper curve of oval into right curve, continuing horizon- tally across the stem one-third of a space at middle height of letter, and attach a slight left curve on main slant. Analysis.— Eh^ments same as in capital T, ex- cept compound curve on finishing stroke. Capital ^.— Begin au base line, ascend with right curve on con- nective slant two and one-half spaces -, unite angularly with Capital Stem, resting upon base line with oval same size and proportions as in A, Nand M, and divided a little below its middle by first line. From top line two spaces to right of stem, descend with left curve, nearly straight at lower end, to base one and two-thirds spaces to right of oval. Finish like A. Annhjsis.—Elementa 2, 2, 3,-3, 3, 2. Capital A".— Form first part likeiT. From top line two spaces to right of stem, descend with left and right curve one and one-half spaces, form small loop about stem at right angles to main slant, and descend with slight right and left curve, touching base one and two-thirds spaces to right of steal ; turn short and finish with concave curve, one space high, ' 4 /i«///s/s.- Elements 2, 2, 3,-3, 2, 2, 3. 2. I ^7(7 teachers' manual Capital I begins on the base line with a left curve and ascends on main slant three spaces ; at this point it turns short and unites with a regular capital stem, which passes down through three spaces te rminating in the usual oval, nearly touching the stem at its shaded point. Avahjsis.-ElementsS, 2, 3. Beginning on the base line, ascend with left curve three spaces same as first part of Capital I ; turn short and descend with right curve on main slant, crossing first curve one third space above base line, and continuing two spaces below it ; turn short and ascend with left curve, crossing right curve one-third space above base and terminate one space to right. Width of Oval, one space. Width of loop, one-half space, full. Anahjfiis.—S.\oments 3, 2, 3. Capital S begins at base line with a right curve and ascends three spaces, then turns short and descends with a left curve one and one-half spaces, thus completing a loop ; here the down stroke crosses the first curve and the letter is completed with the Capital Stem Oral, divided a little below its middle by first curve. Width of loop, one-half space. Analysis.— Elements 2, S, 2, 3, OF PENMANSHIP. 71 Capital L commences on base-line with ^ concave curve, which passes upward - three spaces, turning at the top into a loop formed on the left by the upper curve of the capital stem, which forms the body of the letter The stem which is greatly curved at top and bot- tom, crosses the upstroke at its centre, coming down to base line with fuli, i-ound, shaded curve, passmg to left and returning with compound curve, which, crossing the down curve on base-line, forms a loop, running almost parallel with the line,' and continues, ending witJa a concavo curve pass- ing one space high. Anal u sis. ~-^\QmQntB 2, '1 4 8, c; Capital (V.^-This is one of the most substantial and graceful of the capitals, if well made. Its curves and proportions should be carefully noted. Commence on base-line w-rj'. full concave curve running to the height of the letter : turn into a loop at top, descending with a slight convex curve through two spaces, and, with an oval turn, rise again one-half space, and end with a single curve capital stem, turning roundly at base, and terminating in a full oval 1^ spaces high, stopping just before touching the stem. The stem part should be properly shaded on lower curve. Analysis.—Elementa 2, 3, 2, 2, 3. -«c. 72 TEACHERS MANUAL Capital P,— The capital stem in this let- ter, though comprising the compound curve, as in Capital A, is both more curv- ed at top and bottom, and stands more nearly per- pendicular. Begin two and one-half spaces above base and descend by left and right curve on main slant to base ; then in an oval turn unite with and ascend by a left curve on main slant three spaces ; here in top oval turn, unite with and descend by right curve, crossing stem near top and continuing downward recross it at middle height of letter, and finish one quarter space to left. Shade lower curve of Stem. Width at middle height, one and one-half spaces. Width to right of Stem at top, one-half space. A??a??/s/j.- Elements 3, 3, 3, 2, Capital B.— Commence at top a little below height of letter and forming an oval turn at base, ascend with convex curve, maintaining a uniform distance from first stroke, three spaces turning roundly at its height over the top of the stem, and entwining stem at centre with an upward pointing loop and finishing with a down- ward oval movement, dropping just below the base line ; and with the upward convex curve nearly joining the stem again at the middb, forming an almost perfect oval, with the lower curve of the stem running through its centre. Throw^ the shade entirely on tho lower curve of the stem. * '1 ! «1 OF PENMANSHIP. 73 Note.— Th'. letter constitutes one of the best exercises for practice that could possibly be given. It should invariably be made without lifting ihe pen. Carefully observe its propor- tions ; and notice specially the fulness of the curve on the kft of the stem. Analysis.— Elements 3, 2, 3, 2, 2, 3. r Capital R.— Make like B to completion of smalUoop ; thence descend w'.th slight right and left curve touching babe one and one-half spaces to right of stem, turn short and finish with short concave curve one space high, shade lower curve of stem. Afiahjsis.-Sume as B, except 1st and 2nd Ele- ments in finishing part. The following style of d is given here on account of its being naturally classed with the Stem letters. It is easy of construction and largely used in business writing. The more common form is explained further on, f ith tbo oval letters. Capital D. -Begin two and one-half spaces above base, descend with left and right curve on main slant to base ; turn short and ascend with left curve three-quarters space, crossing stem ; then descend obliquely with /ight and left curve touching base line one and 74 tkaciii;ks' manuat, t\vo-thirds spaces to right of loop ; unite in oval turn and ascend with right oval curve on main slant three spaces ; unite in oval turn, descend with left curve on main slant, and finish like O. Main width, two spaces. Width of small loop, one-third of space. Distance between left curves, one -third space. Analysis.— Elements 3, 2, 3, 2, 3. THE OVAL LETTERS. The parts of the direct cval aro the l«ft, right and left curves. It is subject to some modifica- tions which will be noticed under the letters where they occur. Capital O is a direct ©val, occupying three spaces, the width being one-half the slanting length. Begin at top of third space, and with full convex curve, come down to base-line, turning roundly thereon and rising with a corresponding concave curve ; turn at top just below the starting-point, and finish with a second downward convex curve running parallel with the first, and at a distance therefrom of one-fifth the width of the letter ending near the base line. The shade may be thrown on either of the downward strokes, but probably looks better on the first. Analysis.— Klenients 3, 2, 3, t] t] fi si t inawwiiiiiiiiiii Tii OF PENMANSHIP. 75 In order to illustrato this type of letter, place a simple oval on th.) board, having the required propor- tions. Draw its long diameter, and then a harizontai line through its centre. Point out the character of the curves thus separated. Fig. i is long, and comparatively slight ; Fig. 2, short, fully curved, and forming the bend of the turn ; Fig. 3, corresponds with Fig. 2, and Fig. 4, with Fig. 1. The two great difficulties are, moving out to the left at the beginning to get the curvature of the first stroke, and turning soon enough in the lower curve to get a broad turn. Capital D is hegun one space from the top and carried downward with increas- ed slant ; at the base-line make a hori- zontal loop as in L, touch the base-line again on the right side, ascend with the right curve, going well over to the left to reach the full height on the left side of the stem, and finish with the direct oval slightly modified in size. Anal i/sis.— Elements ^, 2, 3, 2, 3, 2, 3. The CAriTAi, E is formed of an oval curve one space in ( n^th, joined by a short des- --^- — cending loop lo q, regular Capital 0, two 76 teachers' manual spaces in length. The proportions of the letter and the position of the loop should be carefully preserved. The location of the shade in the example given is the best for ordinary work. Sometimes the first stroke in short oval is also shaded and looks well if properly executed. Analysis.~E\ements 3, 2, 3, 3, 2, 3. NoT3.— Before attempting the execution of this letter, the learner should practice upon the continuous O movement until he is able to form an ellipse with perfect ease. The movement of this letter is what is known as the direct oval, the second part of the letter being an exact oval of half the height of the letter. Com- mence with concave curve, give it full slant, and at one space in height lessen the slant, as directed for /, carry it upward through three spaces, with a loop turn at top ; the downward movement, being slightly curved, crosses the up- ward curve at the height of one space from base line forming a loop two spaces in height. Finish with direct oval one half the height of the letter. Shade on centre of first downward stroke with gradual increase and diminution. ^naJf/sfs, — Elements 2, 3. 2, 3. OF PENMANSHIP. REVERSED OVAL, OR CAPITAL LOOP. 11 The Inverted Oval is formed with the left, riL^ht eft and right curves. It is subject to modifica^ tions, which will be noticed as they occur. As already observed the Inverted Oval is found m seven letters.— X, W, Q, Z, V, U, Y. In business writing, where rapidity is the great desideratum, a simple Convex Curve is substituted tor the Reversed Oval. Begin Reversed Oval, or Capital Loop at half the height of the letter ; make the left curve upwards a little above the height of the main part of the letter ; turn to the right and descend with the right curve two spaces, and turn to the left a space above the base-Lne ; ascend with the left curve two-thirds of the distance across the oval ; turn to the right, and cross a httle below the top of the first oval ; and descend with the right curve, ending on the base-line The spaces between the two right, and the two left curves, should be equal to each other, and each equal to one-half the width of the loop. The shade is thrown on second down-curve is heaviest in the centre and gradually decreases trom the centre either wav % ^' Analysis. —Elements 3, 2, 3, 2. r teachers' manual The parts of X are the Capital Loop, V-y/ .. ^"^ *^^6 third and second elements modi- ^~^-- fied, the two parts touching at the middle. In forming this letter make the Capital Stem as before directed. Next begin well out to the right at the top, and coming down with a left curve touch the Capital Stem near its centre, thence con- tinue with a slight right curve to base-hne; turn short and make the final curve as in small i. Ana7?/sjs.— Elements first part as in Ca ntal Loop, Pecond part.— 3, 2. Capital W commences with the Cap- ital Loop. A right curve is joined angu- larly to its base, and is continued upward three spaces, then joins angularly with a slight left curve, descending to the base-line. At its base, It is united to a left cunr^, which rises two spaces, and turning a little tc the right, terminates one space to the right of preceding line. Measured at one-half the height of the letter, the three spaces on the right of the Capital Loop are equal. Analysis.— marnQnis first as in Stem ; then 2, 3, 3. Capital Q commences with the Capital Loop, which isslightly modified by drawing its terminating curve toward the loft, to a OF PENMANSHIP. ^•q point directly under the oval. A horizontal loop is then formed, similar to the one in the base of the Capital A and the letter is finished with a com- pound curve, rising to the height of one space to the right of the main portion of the letter. This letter touches the base-lme at the middle of the horizontal loop, and also at a point in the finishing curve. The crossing of the lower loop is midway between these two points. A line drawn on the regular slant through the middle of the Capital Loop, will divide the horizon- tal loop into two equal parts-shade the same as capital loop. Anahjsis.-Elemonts as in stem ; then 3, 2. ^ The first or ripper portion of Capital /^i8 identical in form and shade with the first part of Capital W. From the point of contact with the base-line, a full convex curve passes upward crossing the main downstroke at the height of a half-space, forming a neat small loop; and r^on- tmuingdown two spaces below the base-line united through a loopturn with an upward convex curve which crosses the down-stroke at the base-line' forming a loop, and ends at the height of first 2,3. Anali/sis.-Elements as in Capital loop ; then 3, 8o teachers' manual — The first part v)f Capital Fis tlni Oapi- ^'' tal Loop, turned roundly on the base-line. The letter is finished with a graceful com- pound curve two spaces high, which terminates one space to the right of oval. Ana72/.. 81 Uio in.portanco of exhibiting clearly correct results in all business transactions, renders it ne- cessary that the characters which represent these results, should be made perfectly legible. The distinctive features of eacn figure sho a be 80 preserved, that no liability of mistaking one for another need ever occur. They should be made neatly, and when shaded care should be taken to make the shades uniform! Careful attention to proper slant, and equal spacing, will tend to secure neatness of appearance, and the convenience of the accountant in reading and adding long columns, will depend very much upon both these points. The figures are one nnd one-half spaces in height except the (5, which extends two spaces above base me and 7 and 9, which commence one and one half spaces above base line and finish one half space below. Wklth.-AM the figures except 1 and are about one space wide, u is one-half space wide. ^ Ail the figures receive alight shade. slant, one The figure 1 is taken as a standard for the measurement of hf^ight or length. It cen- ts simply of a straight line, on the regular space and one-half high, ^-^ IMAGE EVALUATION TEST TARGET (MT-3) ^ // y. ^^^^ 1.0 I.I 11.25 i^ IIIIM 2.2 1^ 1^ If lis iio M 111.6 V <^ /: Photographic Sciences Corporation 23 WEST MAIN STREET WEBSTER, N.Y. 14580 (716) 872-4503 iV iV \ \ 'f*^. % 9) V^-/^^ % 82 teachers' manual r—^ The FIGURE 2 begins a space and a half above "^ the base line, and descends with right curve to half the height of the figure, ascends with left curve forming a small oval, then descends with shaded right curve, and is finished like the letter Q. The figure 3 begins like 2 ; but its head occupies one -third instead of half the figure. A small loop is formed.projectinga little to the left ; and it is finished with the shaded right curve and the left curve. The general form of the lower part is oval. ! The figure 4 beghisone and one-half space high, with a slanting curved line to one- fourth of a space from the base-line ; then a hori- zontal curved line is projected one space to the right. The latter is crossed by a slight left curve one space high. The first line has a decreasing shade. =^g The figure 5 is like 3, except that the top is a straight line instead of an inverted oval. It has also a small curve from the top of this upper straight line carried to the right. Its height is one space and a half. : / : The figure 6 b?gins one half space above Z^I the other figures, with a slight left curve, extending to the base line, where it unites 1 OF I'ENMANSHIP. g^ %vith a right curve, drawn upward to one-half the height of the figure. It here unites with a secord left curve, and terminates near the base line The space between the first and second left curves is equal to one third the width of the oval This figure resembles the Capital O, the oval beinr? somewhat narrower. ^/^ ^"^ ^^«UKE 7 begins about one space and a =2^ quarter in height with a short and slight right curve ; having a decreasing shade ; from the bottom of this starts a wave line ; and the figure IS finished with the first element having an increas- ing shade extending half a space below the base- line. =^ ^''^ ^^«^^RE 8 begins at the height of one space, with the right curve carried over to the left to the height of half a space, then a double curve shaded in the lower half, and is finished with mlddle."'"^' "'""'''"^ '^' ^'"*'^' '"'^" *^^^"S^ ^^« i ~g^ ^"^ FIGURE 9 consists of pointed oval, as ^2== in a, extending from one space and a third to a third of a space from the base-line ; and is finished with a straight line, having an increasing shade, to half a space below the base-line. The is a small direct pointed oval, mada .^ on the regular slant. Its width is one-third of its height. 84 teachers' manual COMDINATION. In addition to the separate formation of letters, already treated, their union into words is a very important feature in giving instruction in penman- ship. This should be gradually introduced in review exercises as the pupils proceed, and as some difficult combinations occur, it may be well to give them special attention. All letters begin with either a concave, or a convex curve, while their terminating curves are uniformly concave. These terminating curves, while of the same form and nature, are not in the same position; some being attached to the top, and others to the bottom of the final body stroke. Fo instance, the i, n, etc., terminate from the base, while o, V, b, etc., terminate from the top. Hence there are manifestly two contrary condi- tions to be harmonized in securing the union of letters possessing these differences. There is obviously no difficulty in combining letters of the first type— those commencing with a concave curve— with each other, as i, u, w, etc., or with loop letters, as /, b, h, k, etc, for the initial curve of the succeeding letter harmoni-es directly with the final curve of all of the others. "1 OF PFNMAMSIlrp. 85 joined to letters starting from the bottom • while f endme from th^» iTvi^^T. • ''^^'", wniie/, Which beein'titut'f.^ ::;::: r .tt" '^"^^^ i^edes the former from tV-,1 '"P"''- following 3. "'" '^'■'''^'"^' '^^ i» '» ore :To write e after the level curve-fl„;sh of i or n the curve mu.t be dro„ped half a space, a^.th™ 86 teachers' manual carried up with the down-slant to form the loop of e; which is, therefore, a little shortened for accom- modation. In combinations like or, o«, care must be taken to make the level curve very short, and not to carry it too high for the r and s. The curve must be made short, and the slant changed, when t or p follow this curve, as in ot, op. When a follows, the curve must be carried far enough for- ward to make the pointed projection of the oval. The do'ible letters hh, U, ff, will require much care, in accordance with the instructions already laid down. TOPICS. vithough the operations of writing arc numerous the essential topics may be reduced to five, some- times designated the five's. They are arranged in the order of their unportance 1. Size, which must be neither larger nor smaller than the copy. 2. Shape, which must be neither more nor less curved nor angular than the copy. OF PENMANSHIP, ^7 3. Slant, which must be neither greater nor less than the copy. 4. Space, which must be neither wider no- narrower than the copy. 5. Shade, which must be neither tliickor nor thinner than the copy. Each of these five essentials will afford us a fopw for illustrating in a general way, how to teach and explain them to a class or iHdividual. 1.— SIZE. The pupil must first understand of what size consists; the name and application of its qualities, as length, breadth, etc. He can then readily com- prehend the force of your criticism upon his work, and will shortly become sensitive to differences. 2. shape. He must know of what shape consists, and its qualities; also, how shape or form is produced— its importance in writing as affecting Legibility, Beauty, etc. Practice will then develope the ability to produce not only the forms of the copy, but his own mental conceptions. o.— slant. To comprehend the meaning of slant, he must tl 88 teachers' manual III know the meaning of perpendicular, horizontal, etc., and its application to writing. The slant best adapted to business writing is fifty-two degrees (52^) from the horizontal. Curves which connect straight lines in small let- ters called CONNECTIVE CURVES, are usually made on an angle of 30°. This is called the Connective Slant. 4.- -SPACE. A A /i^/\/ ^^ combining letters so .^''Ty?^?^^^'^^/' y *^ ^^ ^^^"^ words, it can y^^/^^:^-t>ty/^^ not be expected that a A .. i| A\ A -ii ••■' ^^P^^ business penman will ^y-^'T^'y/'yTy?' y ^*^P ^^ calculate all the nice y^ /^ C^cyy ^-C^ variations of lines and ' /^ / spaces between letters / "^z ^^^^ Many leading business writers are guided by one simple rule, namely : to make the space be- tween the letters equal to the distance between the straight lines in the n or it, and between words twice this distance. For variation in spacing ex- amine illustrations. i i± 5. —SHADE, Though shade is least in importance of all the * OF PENMANSHIP, 89 essontials, yot the beginner is almost certain to regard it as the most. Great care must bo exer- cised and it is as well to prohibit it altogether until the other essentials, size, shape, etc., are acquired m teaching it, the pupils should bo first required to examine their pens-learn the moaning and use of the J nibs" which form the point, how by pressing It they separate, and allow the ink to run down upon the paper, and the general law that the size of the mark is directly in proportion to the pressure as well as size of point. Explain that the hole above the nibs acts as a reservoir for supplying the ink-and last and most important, that a good pen will make a mark the size of the point' icithout pressure, and that in shading, both nibs must bear upon the paper equally. Probable Faults in Shading. -Beginning- or terminating too abruptly ; shading every down- ward line, causing the writing to look heavy, and impeding rapidity of execution. The tendency in shading is toward a straight line ; hence, care must be taken in forming ovals, not to make them too narrow, or the shaded curve less than its op- posite. The advantage of giving beginners light forms for models thus becomes apparent. Credit Marks. In addition to the oral instructions given and the corrections made during the writing exorcise It IS well to examine the copy-books daily, and' go B TEACIIRRS* MANUAL pupils, during tho tollowinglos on tnvn'V'"*' "'" a special vioiv to their correction P '^ "™ ""'"' '■" lo-Sth, width, incite «« IT ""T'' •■urve, loft curve unno.-t,„.„ i ""'S^'" '">«. "Klit may be too heavy. No avsfem .f / ''"^'^ writinc, is complete wUhout o ? / '"'^t'-uction in plan for inaiLin, u^^^^^^ from page to page. ^ ^^''^'"^^ Progress be taught to ewrcis» hi ' V" P"?" "''""W simplf callin ' h,^ aL„H 7 J»-lS"^™'. so that fault has occurred w U a " *"" P'*'"'« ^''^''^ ^^ and the correction ' '"°S''' "^ "»""•«. MODEL LESSON. -LETTER U. can te aSon^-" t^'e "cL s^^L t^ '■^' ^^ form of the letter -th^t if -vf . *''® K^^ral tl.e dots ; that ft kastha , "„'fe: "■"" ' 7'"°"' -Midip angles ai cop, and short OF PENMANSIIIP. Ot turns at base. From their pr( ^ r--vioii!» drill, they easily recognize the different lines which compose curves, and the two the letter, --the thi 'ee straight lines with the short turns at base. Toll them that these simple parts of the letter mv elements. Fully illustrate the lines, pointing out that the right-curves e.xtend from base to top • that the straight lines extend from top nearly to base ; that the short bends or turns begin a little above, and end at base; that if the straight line should run clear to base, there would be no room left for the turn ; that if the turn was left out, and the straight line carried to base, there would be a point, the same as at top. Then draw the main Ime with the short turn at base, united to the right- curve, and show them a compound part of the letter. This, tell them, is called the lower turn. Then illustrate, by means of longer straight lines the slant of the main lines and thaj; of the curves,' and incite comparison. The points of connection at top are noted, and they are led to see how the right curve and straight line form a sharp upper- angle; also that thesh^rt ■ m at base connects the straight line with the ri^ht curve. (i^ "Now children" (erasing the letter), "can you tell me how to make small uV "Yes," unani- mously. "Well, what is the first line?" Ail answer, "A curved line." "Like this ?" making a wrong curve. All hands are up in an instant, and on enquiry, a universal "No" ia respond^^d H^r^ you observe the dawn of criticism. The children 93 TEACHERS' ^fA^•lrAL tho wrong vay " ^ h ' .""', !''^^^' ^" '^ ^^ ^'"'•^••- tho right" ' Oh- :f"^:^"^'>^' 't «"rver' '.To t'"^- Oh! It IS tho right curve, is it r' ;'yp./'<.W..Il,.vhcnIa.kwhat ;; IS, what should you say r - Tl 'All rigl It; now wo have atartod tho first lino of i(^ right curve." Hffl.t curve on the bo.xrd, not making tlu the hand slanting rightly. All JO up again excitedly. "What th matter HKht r nakirt^r i7 .7" '-T"' '''^''*-" "I« this "^es." /^wh.f. I ^^'' ^'S^»t slant. A satisfied Btraight lin^ ''LLn-T'^ ''"' ^'^ ^' ^" "A "Nnr,>^ Like this? making it vertical . -NO! It does not slant." "Then if mn«f L V »ng s^aight line." -Yes " ''ni 1 Ti ,^ "" ''^"*- it to coincidP wif h f K , ^'® ^^"^^ making ''No~vhr ^'^'r^^'^ ""^' P'-^^'* ^^^>^ down "• ^^»y IS It not right now ?" "Tfoi,^i. not touch the other line " - u T i ,|*^ should at the top " -TilTt f ° P^'^^^ ^ "0"'y curved liner '^^o^/V.^^iV^^ "^^ «^'^»t like th. ^>o. Is this right ?" "Yes." i( I room (or the turn " ■■w^^'"'Tu ^°" '""^' '<'<"« answer, "A turn" ..^.''''"■^'he net line r All broad. "No* "™i t I *""'" """""« " t"" All answer "It uf u '. """ ""'""""''e made. " right r "It is " "1^1'"'" '"'"■'^'••" " I« 'his base r " Yo8 •• "(t ' ^'"' '"'■" ""^''^ « « '"■" at can " "Wi,„f' • *" ^°^ *'^'' t'"' turn ?" " We can. What is a turn r" "A oh^^f i , . letter." "Well i„'t tiVj . ' '"""^ "> " wui, i.,nt the turn oart of the ne.vt «>i' im;nmansjiip. "No." -Why not, my y^ "Becauso the turn ends at base, and begin', at base." " If you should line "^3 the next line leave out the tii vn. what »M(l make the straight line an far as base would you have r - A point." 'l am glad you ''•» urKler.stand the tur.i." '^ VVliere does the tu ^^ very httle above the basolim e tuniejid?" "Just at the ba 1 X^glM 'Where does th rn ine. nie nght-curve What is the next line little teachers se- Like this ? It slant? 'Like the first." "Then the last of u IS like the first r An A general "No.'' lid part ,• , ^gei" "Yes." "What lines slant alike in « r 'The straight lines have oiie slant, and the right curves have another." What are the parts of small ur "The riirht ot Imes are there in small u ?" "Three " '• Nimo them, in concert." " Straight line, lower u'.rn nght curve " "What do you call these taken separately" "Elements." "What are elements?" The simplest parts of letters." "What do you '^WK .'!, '^"^'^''^ ^^"'•" ''^'^^ fi^-«t element." What do you call the right curve?" "The second element." "What other letter is made up fr;m the same parts as te r "Small z" How does it differ fromj?" It has the first element only once, and comround'r'^'''' ^?'""" "" ^^"^^' ^^^"^^"t^' ^"d compound forms can be made exceedino-h. mt-iTRt inis when the child sees that he is truly Vorking on 94 teachers' MANUAL mnd, then trying w,th unskilled but pliant finder, to execute the plan. "-'^ers EEVIEV/ING EXERCISES. ^inT-Theihr-ho^tt^:.:^:?"^^^^^ SPACING. cd^n^ '" "f '' *"' '°°P ■''"<'" =''°"1^ be master- ed, and practice given upon short words combining OF I'JiNMANSHIP. 95 both long and short letters, attention also beins givi-n to spacing, and the details of joining tho letters. It will now be necessary to take into consider- ation the comparative height of letters. As there are short, partially extended, fully extended, and capital letters, there must be some definite scale of proportion if they are to be roade respectively of uniform size. If we draw four parallel, horizontal lines at equal distances apart so as t© include three spar-es we shall have a scale for regulating the height of the various letters above the line on which they rest. By drawing two additional lines beneath these we shall secure two additional spaces for regulating the depth of the descending letters Our space wiU thus require six lines, enclosing five spaces for measuring the tuH length of tho longest letters. ^ HINTS TO TEACHERS. To those teachers who distrust their own abili- ties, a few words of advice before closing, may not be inappropriate. • > 96 TEACHKRS' MANUAL To understand a subject does not necessarilv oTu nt ifl ''rr '^ '"'^''' - ^'ke understanding ol that subject to others. So the ability to writ! writin. "T"^"^^ '"^^'y ^^- ability to trch tLd ef ;;:: '^^ ^''^ '' f°"<>- that a^successt^l teacher of writing must of necessity bo an evnprf Sb; tT" '^'.'-^"^ ^"* - - uXn' out characteristic fauUa """ '^^"^"'■""y t° PO"'t ~sr;''SJt;:f.%::n~^^^^ in}^ryi- 4. ^*^Hii"es the greatest amount of tact anatSXfeoraml'^ ''^'"°" "toaaefinite and s""" ^"°""' -^^ °^ '- ''inds-Genora, .1 OP PENMANSHIP. 97 General Instruction consists of all thoge general Rules, Principles, and Illustrations which can be imparted to the whole class at once by the aid of the Blackboard, as effectually as to an indi- vidual. Herein lies the great power of the teacher to instruct large numbers; for all the general feat- ures of the lesson can be imparted by this moans to a whole school as effectually as to a dozen. This advantage can only be obtained when the whole class write the same copy at the gamo time. Hence the great importance of the plan. To give this in- struction forcibly will require a little previous practice in writing with chalk upon the Blackboard There is a knack in blackboard writing which any intelligent person sufficiently desirous may readily acquire. The writer should be careful to stand directly in front of his work, and to keep pace with it by moving his body as rapidly as the line progresses. Let him be careful to keep his right shoulder directly opposite the crayon in its con- tact with the board. Let the crayon be held firmly in the hand, and the marks be positive, do. cided and smooth. It is usually necessary to' re- touch the shaded parts of the line; and any deficiencies in form may be remedied by after- touching. Those who have charge cf the writing classes will find the ability to write well upon the blackboard of the greatest possible aid in producing 98 TEACHERS* MANUAL General Instruction should, if possible, be given immediately after openinp: the books. It is well however, to interrupt the class after writing a few moments, and. direct attention to the important points of the copy, common errors creeping into the work, etc., as it is then most likely to be com- prehended and assimilated by the pupils. Before beginning a new copy the whole, or most important part of it, should be written upon the Blackboard, and the attefttionof the entire class directed to it while you explain the lesson it is intended to convey, analyze the new or difficult letters, refer- ring each to its proper class, and illustrating the manner of its formation, dwelling particularly upon its characteristic portion and anticipating the common err6rs pupils are likely to run into; the whole interspersed with frequent interrogations reviewing previous instruction. ^ No teacher who prizes success should allow the interest of the writing exercise to flag for one moment, for when the interest in any exercise is gone, all benefit is likewise gone. Life and energy should characterize the writing hour, and the teacher should throw into it extra exertion to re- lieve it from the monotony which is apt to characterize it. Special Instruction. -Yet there stiU remains a most important part of the teacher's task to per- 1 4 i ' OF PENMANSHIP. Art form— that of examining into the results of the general instruction, and administci-ing that advice and assistance required in each individual case. Many teachers are at as great a loss to know hovj to teach, as the pupils are how to ivrite, and the sight of such a teacher roving among listless pupils is a pitiful one indeed, but common to behold. In imparting special instructiov you should: 1. See that every pupil is writing in the right place, copy, column, word, and if guide-lines are ruled as in Beatty's copy-books, on the right lines, spaces, etc. 2. See that the pen is held correctly and the writing position of the body, fingers, etc., is main tained by each pupil. 3. See that every pupil clearly comprehends what is to he done, and how to do it as directed. Experience will enable you to do all things at a glance, and administer the necessary instruction readily where needed. It will thus be apparent that faithful, conscien- tious teachers will not allow their attention to be diverted from the writing, or to be divided between teaching and other subjects, such as writing up records, footing up registers, gossiping, etc. The ruling in the copy book should be explained, 100 TEACHERS* MANUAL OP PENMANSHIP, and the pupils should be instructed to fill the space with the letters, touching upper and lower lines. This explanation will be required in using numbers 3, 4 and 5 of Beatty's Series of Headline COPY-BoOKS. The copy should be written in columns, instead of from left to right. In writing the copy the first time. It will be well to name the lines, turns, and angular joinings, as they occur. After writing the first copy, the pupils should pause and criticise their own work, in regard to curves, turns, straight hnes, angles, spaces, slant, height, and lightness ot line. This will call their powers of discrimina- tion into exercise, and render them quick to observe ev. ry fault. Having written an entire column they should each be directed to make a slight pencil mark under the letter whicli the writer re- gards as the best. fEl END. IIP. ^ the space er lines. in using Headline J, instead y the first Lirns, and riting the criticise }, straight lightness scrimina- observe column, a slight 'writer re- ,U^^ J If ' ■ fv I- w^^^^m^^r^tmrmmfm mmm ^m .**«■*»»■ a MM