Part 2

On page fourteen are five pictures of a boy who sits in a splendid position for writing. He is never found in a cramped or poor position. In number eleven, the right elbow is placed on the lower right corner, the hand pointed toward the upper left corner, of the desk. The arm may then be lowered until it rests in a writing position. In number twelve, the left arm is placed on the desk as shown in pictures one, two, and three, and then the exercise of the muscles begins. The entire right arm is on the desk, and this is the best position, except when the arm is so thin that the bone of the elbow grates on the desk. Then the elbow may be extended off the desk enough to relieve the discomfort.

In no case will it be necessary to extend the elbow more than an inch; and not one pupil in a hundred will need to take advantage of this exception to the rule, that the entire right arm should be on the desk.

In number thirteen, make a special study of the upper part of the penholder. It does not point toward the right shoulder, and never will, if the arm, wrist, and hand are allowed to retain natural positions, providing pupil and desk are fitted to each other. In number fourteen, again study the right arm, and, in particular, notice its distance from the right side, also look at the portion of the penholder in sight.

In number fifteen, notice carefully the distance between the boy and the desk. You should always sit well back in your seat, so far back that the body will not touch the desk. This boy is none too far back; his writing is well in front of the eyes, and it is easy for him to retain the very important square turn at the right elbow. You should follow his good example in the matter of position, and if you practice faithfully you can soon become an expert penman.

Number sixteen shows the position in which many good business penmen carry the penholder when writing. Others who write just as well let the holder drop below the knuckle joint, as shown in illustrations twenty-four and twenty-five, page seventeen. The best position is determined by the length of the fingers and the shape of the hand. It is not necessary that the pupil with a long, slim hand and long, tapering fingers, should carry his penholder in exactly the same position as the pupil with the short, thick hand and short, stubby fingers.

LESSON 3

Here are additional pictures from which you are expected to learn more about the best position for muscular movement writing. See the right (square) turn of his right arm at the elbow; the position in the seat; the position of the back; the distance between the boy and the desk; the positions of the left arm and the left hand; and the distance between the eyes and the paper.

In this lesson you should review all that was said in lessons one and two about important beginning steps, position, muscular relaxation, and penholding. Practice movement (running the writing machine) a few minutes without the penholder, then slip the penholder into the right hand from the left, and practice the movement without touching the pen to the paper, still watching the arm closely, and giving more attention to correct position and movement than to anything else.

Are you comfortable in your seat; do your arms feel comfortable; and are you holding the penholder lightly in the hand without pinching it? Give close attention to these things.

In the next lesson more particular attention will be given to penholding.

TIME REQUIRED TO LEARN

The process of learning a good style of muscular movement writing may be made easy or difficult, short or long, possible or impossible, according to the mental attitudes of teacher and pupil, and the exactness with which directions in this Manual are followed.

Pupils who constantly practice the movement drills in poor positions with incorrect movement never even get started, and pupils who practice from fifteen to thirty minutes a day in good positions with correct movement, but who fall back into the old bad cramped positions and finger movement habits in all other writing, do not get beyond the beginning stages, no matter how many years they may practice.

The pupil who becomes the absolute master of a finished style of muscular movement writing within the limits of six months or one school year is he who gives the closest attention to every detail relating to the beginning steps, who follows the printed instructions closely, who sits in correct position at all times, and uses muscular movement throughout the writing lessons, and in all his written work within a month from the time he begins to study the Palmer Method.

Without conflicting with other subjects it is possible to lay the foundation for an excellent handwriting in one school year, with but fifteen to thirty minutes daily study and practice, and the employment of muscular movement in all written work just as soon as possible. As progress is made in the grades the use of muscular movement can be permanently established.

The boy becomes an expert ball-player by playing ball. At first he is awkward and uncertain, but, as he studies the methods of those who have become experts, and continues to practice, he takes on self-confidence, and finally develops into an expert, even though he could not hit a single ball during his first few games. Boys and girls who learn to skate with almost consummate grace must pass through the awkward stages, when they sit down instead of standing up as they had planned, and when their feet take possession and run away with them. In instrumental music of any kind one does not become an expert without first learning how to practice and then practicing in exactly the right way according to methods prescribed by master teachers. It is the same in penmanship: first, learn how to practice and then practice faithfully. Acquire elasticity, lightness, and freedom, and do not mind if the pen runs away at first and makes some awkward letters. This is to be expected. But stick to the right plan, and gradually you will gain control of the writing muscles of the arm, and with close attention to general form, size, slant, spacing, and correct movement application, you will become a splendid muscular movement penman in a few short months.

HAND, FINGER, AND PENHOLDER STUDIES

Study closely the illustrations on this page. In number 22, the fingers bend naturally as in repose, and their positions should remain the same when the penholder is in the hand.

In numbers twenty-four and twenty-five, you should study the relation of the penholder to the hand. As you see, it is a little below the knuckle joint. The first finger bends naturally, and rests on top of the holder about one inch from the point of the pen; the thumb rests on the holder nearly opposite the first joint of the first finger, and the third and fourth fingers are bent, touching the paper and forming a movable rest. Whether these fingers bend exactly as the illustrations show will depend upon their shape and length. It does not matter whether they rest on the nails or sides, if they are comfortable and can be used easily as the movable rest.

These diagrams are intended to show clearly the position of the writing paper on the desk, the relative positions of arms, paper and desk, and the direction in which the pen moves to secure uniform slant. Number twenty-six is the half-side position mostly used in public schools and best adapted to them, because of the character of the desks. Number twenty-seven is the square front position.

In both diagrams, A represents the square turn at the right elbow and its position on the desk, B is the muscular rest of the forearm, C the position of the left hand in its relation to the paper and the right hand, D the penholder, and E E the imaginary line between the eyes along which the pen should travel in upward and downward strokes.

With the right forearm crossing the lower edge of the paper a little to the right of the center, the pen should progress one-fourth or one-third of the distance across a sheet of paper eight inches wide, before the position of the paper is changed. Always use the left hand to move the paper. Paper 8×10½ inches in width should be moved three or four times in the progress of the pen across it. When the end of the line has been reached, the paper should be returned to its original position, and should be moved up on the desk the width of one line. Lift the pen before moving the paper.

=It is not Palmer Method if the lines are tremulous. Study instructions for speed requirements.=

LESSON 4

Now the serious work of using and applying the correct movement begins. Before attempting to make any part of drill one, review lessons one, two, and three, and give the closest possible attention to position, muscular relaxation, and penholding. Don’t practice before you know how. With the left hand, move the paper to the left three times at equal intervals, in the progress of the pen across it.

=Drill 1=

Letting the distance between the two ruled lines, three-eighths of an inch apart, represent one space in height, any part of this drill should be two spaces high. Look at these drills until you have a good mental picture of the height, proportions, and general appearance.

In connection with the straight line part of the drill, study closely diagrams twenty-six and twenty-seven on page eighteen. There is no value in this straight line exercise unless practiced with a forward and backward motion, from and toward the center of the body, with the paper held in the correct position.

If you cannot make the several parts of drill one high enough at first with pure muscular movement, practice without touching the pen to the paper until you have developed more muscular freedom.

In the second line of drill one, the traced oval should first contain six, and later, as a lighter movement is developed, ten revolutions. In this drill it will be well to make first the straight line on the correct slant, and then the oval enclosing it. This order may be changed frequently and the ovals made first. This is an important drill as it has a very specific bearing upon slant.

=To the Teacher=: It may be profitable for third, fourth, and fifth year pupils to spend the practice periods of one week in studying and practicing the two movement drills given in this lesson, reviewing each day everything that has gone before. Pupils in the sixth, seventh, and eighth years, and in high schools classes should be able to progress more rapidly. It is not safe to say how rapidly, as that depends upon the knowledge of the teacher, the mental caliber of the pupils, their interest in the work, the length of the daily lessons, and the amount of the right kind of outside practicing that pupils do.

Study the accompanying illustration, number twenty-eight. Notice the direction in which the upper part of the penholder points, the distance between the elbow and the side, the self-supporting position of the body in the chair, and the distance of the eyes from the paper. Do not forget that the force that moves the hand and carries the pen along without bending the fingers is above the elbow. It is not located in the fingers, hand, wrist, or forearm.

The fingers hold the pen easily and firmly without pinching; the third and fourth fingers are bent backward and form the movable rest under the hand; neither the wrist nor side of the hand touches the paper, and the arm should rest all the time on the largest portion in front of and near the elbow.

If the paper you are using has lines eight inches long, divide the page in the center from left to right with a dot; then divide the halves in the center with other dots. Beginning at the left for the straight line drill, make one hundred downward strokes to the first quarter mark, and continue in the same manner for each quarter. Thus, four hundred downward strokes and, of course, an equal number of upward strokes should be made in the four sections extending across a line. See drill one; page nineteen.

COUNTING TO REGULATE MOTION

In developing light, uniform motion in class penmanship practice, counting is important. It makes the work more interesting, tones down the movement of the naturally nervous pupil, acts as a constant spur to the habitually slow boy or girl, and keeps the indolent student busy. In the oblique straight line and the oval exercises given in drill one, the downward strokes only should be counted. The other parts of the drills, being what are termed connective lines, are not counted.

ABOUT SPEED

Speed is so important in the development of good writing that it should receive close attention in all practice work until correct speed has become a habit. Too much speed is just as bad as too little. Correct speed forces a light, firm line; too little speed results in shaky tremulous lines; while excessive speed means irregular letter formation. If you develop a light, firm, elastic motion, and the proper degree of speed in straight line and oval making, you will find the work of the following lessons comparatively easy.

=The straight line and oval exercises in drills one, two, and three should be made at a speed of two hundred downward strokes to a minute; one hundred in one-half a minute; and then move the paper.=

The most convenient count for continuous straight line or oval exercises as given in drill two is 1, 2, 3, 4, 5, 6, 7, 8, 9, 10—1, 2, 3, 4, 5, 6, 7, 8, 9, 20—1, 2, 3, 4, 5, 6, 7, 8, 9, 30—1, 2, 3, 4, 5, 6, 7, 8, 9, 40—1, 2, 3, 4, 5, 6, 7, 8, 9, 50, continuing until two hundred has been reached. Until correct speed habits have been developed, the second hand of a watch should be used as a guide.

=A few minutes in the right way are worth more than hours of practice in the wrong way.=

LESSON 5

=Drill 2=

Begin this lesson with a review of position and movement, without the penholder. At least five minutes should be devoted to energetic practice of the straight line and oval drills in this way.

Do you see the dotted lines at the left in drill two? They are to show you the general direction in which the pen moves in making the downward strokes.

ABOUT SLANT

Slant needs no special study, but will take care of itself if the instructions have been studied and heeded. Especially is this true in relation to the position at the desk, the position of the paper and arms on the desk, the relation of each to the other, and the changing of the paper with the left hand, to keep it in the right position in regard to the desk, body, and arms. See diagrams—page eighteen.

If the position is correct, and if all downward strokes are made toward the center of the body, each pupil will develop uniform slant, though different pupils may develop individual slants. Following the same rules, and practicing at the same time under similar conditions, different slants result, because of the variations in length of arms, and other physical conditions. The degree of slant is not a matter of grave importance so long as each writer develops uniform slant in his own writing.

In drill two, see how many compact ovals you can make with one dip of ink, and try to develop a motion so light and elastic that you will soon be able to make from five hundred to a thousand, and one thousand or more on a line eight inches long.

Many young pupils have developed such control of muscular movement that they have made more than two thousand ovals with one dip of ink, in a space not more than eight inches long. Indeed, one boy of twelve made three thousand within the limits of a page eight inches across, maintaining a uniform speed of two hundred to a minute. The pen used was of the ordinary large, business variety.

Skill in oval making should be developed gradually from day to day, as two or three minutes at the beginning of each practice period are devoted to ovals. Never make ovals on the “back slant.” Avoid this by pulling the strokes toward the center of the body.

LESSON 6

Each practice period should begin with a review of position, careful study of the arm, fingers, and penholding, and practice of the preceding movements without touching the pen to the paper. While going through these preliminary drills, the eyes should travel up and down the arm from finger-tips to elbow, and the pupils should be sure that the writing machine has been carefully adjusted, and is in perfect working order before the pen touches the paper. See that the arm is perfectly relaxed and that the wrist does not touch the desk.

PREPARATORY MOTION

Read the following carefully until thoroughly understood. It is of especial value to beginners. Before making the oval drill or attempting any part of it, move the pen in the air rapidly over the path of the first oval several times. While doing this, watch closely the movement of the muscles of the arm. While the pen is moving rapidly, and without checking its motion, let it strike the paper. The force thus gathered will compel light, quick action, break up finger motion, give smooth lines, and aid form building.

FORM BUILDING

The compact oval is the repeated form of a large capital O. Keep this constantly in mind, and learn at once to criticise it with special reference to the slant, width, and general formation of a capital O a little more than twice the size used in writing.

Mind and muscle must work in perfect harmony to secure the best results.

Before beginning the practice of any drill or letter, study its form closely, part by part, and as a complete whole. In what direction does the pen move to make the first line? See that the pen moves in that direction before coming in contact with the paper. Be sure that the speed is neither too fast nor too slow, but such as will make two hundred complete ovals to a minute. Do not guess about the speed, but use a watch.

If the oval is too wide, it is because of too nearly circular motion, and you should use more of the forward and backward motion of the straight line exercise. If too narrow, it is because too much of the straight line motion was used, and the movement should be more nearly circular. Remember the connection between mind, muscle, and motion.

When the oval is too narrow, repeat to yourself, “Wider, wider, rounder, rounder, rounder, rounder,” until it is wide enough. If the oval presents a back slant appearance when finished, it is because the downward strokes were made toward the right elbow instead of the center of the body.

On the other hand, if the oval slants too much, it is because the downward strokes were made toward the left shoulder instead of the center of the body—always providing that instructions relating to position have been strictly followed.

=Drill 3=

When pupils make the ovals fairly well, they are ready to begin to apply muscular movement to words and sentences. The ovals given above are twelve-sixteenths of an inch high, and the letters in the word “mine” (called minimum letters) are about one-twelfth as high, or one-sixteenth of an inch. Thus, these ovals are twelve times as high as the minimum letters; therefore little force is required to make a minimum letter, compared with the muscular effort used in making ovals. To make the m and n round at the top, the over-motion must be used, while to make the connective lines of the i and e the use of the under-motion is necessary. In the words “uses” and “sell” the under-motion is used in forming the first lines in all letters as well as in connective lines. The speed should be such as will permit good formation, and produce sharp, clear-cut lines.

Good practice speed for these words is “mine,” eighteen; “uses,” twenty; and “sell,” twenty-two, to the minute. These words should be practiced now until they can be written well, and should be reviewed frequently. Practicing them at this stage with muscular movement will give students confidence and should encourage them to use, constantly, muscular movement in all written work. Other easy words may be selected from the Manual and practiced occasionally. It is a distinct advantage to study frequently at this stage lessons 15, 16, 17, 19, 20, and 32, and to practice drills 13, 14, 15, 17, 18, and 33.

LESSON 7

=Drill 4=

Begin, as usual, with careful study of the writing machine, adjust it carefully and test the movement. Then practice the two-space compact oval in drill three.

In drill four the special object is to develop a uniform, continuous motion. Preparatory to the first oval, the movement should be tested by carrying the pen rapidly in the air, the arm resting, and the hand in a good writing position. Without checking the motion, the pen should be brought to the paper, thus forcing it to make sharp, clean-cut lines. In passing from one oval to another, the pen should be lifted from the paper at the base line without checking the motion, should swing below the base line to the right and to the beginning of the next oval, a uniform speed being maintained throughout. Thus, the motion is continuous and no shaky lines are possible. Finish the final oval in each group with an upward right curve as shown in the drill. Move the paper with the left hand after each group of six.

Pupils should study the above instructions in connection with the oval practice until fully understood. These instructions are important, having a direct bearing upon the practice of capital letters.

=Drill 5=

Drill five is what we term a forcing movement drill, and is one of the best for the beginner to practice.

In the direct traced oval make six revolutions to a count of “1, 2, 3, 4, 5, 6,” lifting the pen at the base line on the sixth count without checking the motion and swinging it in the air to the beginning stroke of the capital A. Thus the pupil will be impelled from a slow, lagging movement to one that is elastic and rapid. The form may not be entirely satisfactory at first, but it will improve rapidly if this process is continued long enough and frequently repeated.

The rate of speed should be about twenty complete traced ovals, and as many capitals to the minute.

Before beginning to practice, count the ovals and letters. There are seven of each. You are expected to make the same number on a line of equal length.

LESSON 8

=Drill 6=

Assume correct position; practice the movement without, and then with, the penholder. Be sure that you are using exactly the right movement, and practice the two-space compact ovals two or three minutes at the rate of two hundred to a minute. (Drill three.)