Part 4

The basis of the extended loop letters, b, f, h, and k, is small l. These five letters should extend the same distance above the base line. The practice of small l should be thorough now, and it should be reviewed often. In fact, it would be well to add it to the group of compact ovals, and small m’s and o’s, to be practiced at the beginning of each lesson.

=Height=—Reference has already been made to one-sixteenth of an inch as representing a space in height for the minimum (one-space) letters a, c, e, i, m, n, o, u, v, w, and x. The small r and s are in the same class, but are made a quarter space higher than the others.

These minimum letters should always be used as a standard of one-space measurement to regulate the height of all other small letters. On that basis small l should be four spaces—four-sixteenths, or one-fourth of an inch high. As there are six-sixteenths of an inch between the ruled lines in the practice paper generally used, and in all the Palmer Method practice paper, there should be two-sixteenths (one-eighth) of an inch between the top of the loop and the ruled line above.

It should be remembered that a space in height is the height of the minimum letters in the style you are practicing. As an example, in copy-books used in former years, the one-space letters were one-eighth of an inch, or twice as high as in these lessons. The loop letters were three spaces, or three-eighths of an inch high, which is two-sixteenths of an inch higher than the loops in these lessons.

=Movement Used=—In business writing, all loops below the line should be made with pure muscular movement. In making those above the line, the fingers should be relaxed, and as the arm slides forward, a slight extension of the fingers will help to make the upper part of the loop. The combination of the two movements is perfectly natural to most hands, and little encouragement need be given to the use of the fingers. The student must guard against using much of it. Keep an eye on your wrist to see that it moves forward and backward in unison with the other movements. Under no circumstances allow the fleshy part of the hand in front of the wrist to touch the paper.

=Cautions=—You will find your first difficulty in getting enough curve on the upward stroke. A half hour’s determined practice will do much to overcome this. Keep the paper at such an angle as will make the downward strokes straight toward the middle of the body. Above all, preserve unity in height, in slant and in spacing. Do not shade.

=Drill 33=

There is a slight check in the motion on the downward strokes, but no pause at the base line. After a little practice, loops as good as the above should be made at the rate of from one hundred to one hundred and twenty-five to the minute. The count in groups of five is 1, 2, 3, 4, 5—one for each letter.

LESSON 33

=Drill 34=

More study, more practice. Study and practice should be constant companions in developing good writing. One without the other will lead to one-sided results. Don’t be one-sided.

Drill thirty-four offers good movement practice. Close observation will indicate just how it is done. The small traced oval is about one-half the capital in height, and the upper loop is also one-half the entire height of the letter. If you have a sharp eye and a responsive mind, you have been able to grasp these details without any suggestions, and you have gone further. You have noted the curve in the main downward stroke, the flatness of the lower loop on the base line, and the dropping of the finishing stroke below the base.

Six is the count for the traced oval and two for L, as follows, 1–2–3–4–5–6, 1–2. The count of 1–2, for the capital L should be a little slower than for the ovals. This exercise should be made ten times on a line, in groups of five, and two lines, or twenty exercises a minute.

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

=Drill 35=

Swing for the L, swing for the L, swing for the L. In other words, study the letter closely, and swing the pen in its direction a few times before making it. The first line starts about one-half the distance from the base to the top, and dips under; the upper loop is one-half the entire length of the letter; the lower loop rests on the base line; and the finishing line is carried below the base. This letter makes one of the best movement drills so far given. After each group of five the paper should be moved.

The count is 1–2, for each letter, or slide two, or slide L, or swing L. From fifty to fifty-five should be made in a minute.

LESSON 34

Review lesson thirty-three.

=Drill 36=

Study, practice, and compare.

Begin small a at the top just as it is in drill thirty; make the abbreviated g short below the base line, and be sure to write four words to a line. Practice speed, ten to twelve words a minute.

LESSON 35

=Drill 37=

Write two lines and then make careful comparisons with the models. Are your small l’s shorter than the capitals; are both l’s the same height; and do they cross one space above the base? Compare slant, the parts of letters and letters complete. Study the spacings between the letters, and try to show improvement in each line. Practice speed, the same as for drill thirty-six.

=You cannot fail, if you study the instructions and follow them.=

LESSON 36

=Drill 38=

Small a should be reviewed frequently as a movement drill.

=Drill 39=

The first part of small a serves as the foundation of small c. In making connective lines, an over-motion must be used. If an under-motion is used from the ending of one c to the dot at the top of the next, there will be a loop, and the letter will be too large. After making a few lines, compare the height of c with o, a, m, and n. You will, of course, frequently compare with the copy. The count is 1–2, 3–4, 5–6, 7–8, 9–10; or dot over, dot over, dot over, dot over, dot over, for each group of five. The speed should be sixteen groups of five, or eighty letters a minute.

LESSON 37

=Drill 40=

The small r given in the first line in drill forty cannot be made at a high rate of speed, as the form requires a checking of movement at the top to form the shoulder. Study the parts of the letter shown before the first completed form.

The form in the second line can be made at much higher speed, and, while somewhat difficult to learn, is much easier in execution when mastered. The first part of it is just like the first part of small m or n. The downward stroke is retraced to a point about one-fourth of a space above the first part; a stop (hardly noticeable) and a dot are made before the swinging curve to the next letter. If the connective lines between letters of this style are made with too much under-curve, perhaps touching the base line, they will more nearly resemble small x than r. Guard against this fault.

Close study of the form while practicing will be necessary. After its mastery, ninety connected letters to the minute will be a good rate of speed. Unquestionably, the first few trials will be discouraging, but faithful practice will be rewarded. Stick to it.

Eighteen groups of five should be made to the minute.

=Drill 41=

The count for this small r in drill forty-one for each group of five is 1–2, 3–4, 5–6, 7–8, 9–10; or one-dot, two-dot, three-dot, four-dot, five-dot; or one-stop, two-stop, three-stop, four-stop, five-stop. A conversational count similar to that in small o, drill eleven, may be used to advantage in small r, thus—You-stop, you-stop, you-stop, you-stop, at-the-top. How long, do you stop, at the top? Not long, but you stop, every time at the top. What for, what for, what for? To make a dot, to make a dot, to make a dot, etc.

=Drill 42=

The rate of practice speed in this drill should be twenty or more words to the minute.

=Drill 43=

There is no initial line before small o; it begins at the top.

LESSON 38

As before mentioned, small r and s are companion letters, and both may be made one-fourth higher than other letters of the minimum class; not because of any technical rule, but rather because it generally is agreed that they look better so made. Small s should be pointed, not looped, at the top, and entirely closed on the base line. Be sure to use just the right amount of under-curve in the beginning stroke, and the width will depend upon the amount of curve in the last part. Practice, study, and compare.

=Drill 44=

The count for each group of five is 1–2, 3–4, 5–6, 7–8, 9–10. A conversational count similar to that given in the small o drill could be used to advantage; thus, swing one, swing two, swing three, swing four, swing five; or curve one, curve two, curve three, curve four, curve five. Nearly or quite seventeen groups of five should be made to the minute.

LESSONS 39, 40, 41, 42, AND 43

At least five lessons at this point should be devoted to reviewing all the lessons that have gone before.

THE FREQUENCY OF REVIEWS

=To Teachers=: Assuming that teachers of the Palmer Method master the lessons in their order before attempting to teach them, they are to decide when lessons and drills have not been mastered and need reviewing. Without knowing the pupils and seeing their daily work in penmanship, it would hardly be possible for the author to decide with unerring accuracy, when they should review.

LESSON 44

=Drill 45=

The first two parts of small w form u. As explained in lesson nineteen, the distance between the points in small u represents a lateral (running) space. Keeping this space in mind, carry the third or finishing part of small w one-half space to the right of the second, or finishing point in small u. The connecting stroke is slightly curved.

Eighteen or twenty groups of three should be made to the minute and the count for each letter is 1, 2, 3; 1, 2, 3; 1, 2, 3; or one, two, dot; one, two, dot; one, two, dot.

=Drill 46=

LESSON 45

=Drill 47=

Small x is simple in construction. Study closely before practicing it. The crossing may be made either upward or downward. In writing a word containing it, complete the word before crossing the letter. Make the crossing short.

=Drill 48=

LESSON 46

=Drill 49=

The first part of small v is the same as the first part of small x, and it is ended with the form used in finishing small w. Don’t close this letter at the top. It must be left open. Count 1–2, 3–4, 5–6, 7–8, 9–10, for each group of five letters.

=Drill 50=

LESSON 47

=Drill 51=

The loop in h is small l, brought to the base in a straight line on the main slant, the second part is one section of small m. Notice that the first and last parts of small h meet on the base in a point. Study until you see just how it is done.

A count of 1–2, should be used for one h, and a count of 1–2, 3–4, 5–6, 7–8, 9–10, for a group of five. From fourteen to fifteen groups of five should be made in a minute.

Study an inverted h, and if correctly made you will see that in that position it is small y. At this point it would be well to study and practice small y. Count 1–2, 3–4, 5–6, 7–8, 9–10, for each group of five.

=Drill 52=

LESSON 48

Review lessons forty-seven and forty-eight, and then give attention to the following.

=Drill 53=

The practice speed should be twenty or more of the first two words and sixteen or more of the third word to the minute.

Guard against making h higher than l. All loop letters above the base should be the same length.

LESSON 49

THE REVERSE OVAL AND ITS APPLICATION

An application of the reverse oval motion is made in forming capital J. The reverse oval, it must be understood, begins with an upward stroke on the left side. Before attempting capital J, make reverse ovals four or five minutes, and if the movement is then light and uniform, the copy may be safely practiced. The oval is used as the developing and driving force.

=Drill 54=

Make the oval to a count of six, lift the pen from the paper at the top, and without checking the motion swing the pen in its natural course above the paper, to the right and below the base to the point of contact with the paper in starting the letter. Do not stop the motion, but strike the paper in an upward course at full speed for the beginning stroke of J. If the explanation of applied motion is not fully understood, study until it is, and then fill at least a half page with the copy.

Do not neglect the form, but note carefully the following points: J should begin with an upward stroke from a point just below the base line; the turn at the top should be round; the upper part should be a little longer than the lower part, and twice its width.

LESSON 50

=Drill 55=

If slant is troublesome, study and practice this drill faithfully.

=Drill 56=

This copy is given as a drill on both movement and form. From the beginning stroke of J to the finishing of small s the pen should not be lifted. Write the word from beginning to end with a steady, light and uniform movement. Eighteen or twenty words to the minute will be a fair rate of speed for practice.

LESSON 51

=Drill 57=

Make capital I, and continue with the reverse oval. The count should be two for I and six for the oval, as follows: 1, 2; 3, 4, 5, 6, 7, 8. Apply enough speed to make the lines smooth and clear-cut.

=Drill 58=

Question: Where and how does capital I begin? Answer: Below the base line with upward motion. Question: How wide is the upper part? Answer: A little less than half the width of the lower part. Question: How is it finished? Answer: With a full left curve and a dot at the end. Question: Where do the first upward and the first downward lines cross? Answer: At the height of small o. Question: What part of the space between the ruled lines is occupied by I? Answer: About three-fourths. You should analyze every letter you practice just as completely as is done in these questions and answers. Then you will have good mental pictures of the letters, will see at once when they are poorly made, and will make them well as soon as you have good control of the movement. Without the good mental picture, you will never write well, no matter how perfect your control of motive power may be.

With a count of 1, 2, for each letter, make forty-five or more to a minute.

=Drill 59=

To form the angle at the left, there must be a full stop in this style of capital I. It is hoped that you have remembered and tried to apply the instructions of an earlier lesson about stops in making all angular connections.

This is a particularly good style of capital I to use in beginning a word, as shown in the following drill. Count 1, 2, 3; or 1, 2, swing.

=Drill 60=

MOVEMENT DRILL DESIGN

It is often a good plan to encourage students to give full play to their inventive and constructive ability in adapting the drills to different designs. Such work, however, should be done largely out of school hours. A great variety of such designs from schools where the Palmer Method is in use may be seen on the walls of the author’s offices. In the drills mentioned are mainly used the straight line; compact, open and interlaced ovals, large and small; small m, n, e, o, c, l, h, and b. Among these designs are houses, carriages, crosses, battleships, and many curious designs for which we do not find names. Many are worked out in colored inks and the effect, on the whole, is pleasing.

Herewith we give a drill that is a favorite exercise with many teachers. Let the student use pencil outlines to indicate length of lines and width of ovals.

=YOU CANNOT FAIL, IF YOU STUDY THE INSTRUCTIONS AND FOLLOW THEM=

LESSONS 52 AND 53

Not forgetting or neglecting the two-space compact oval drill with which each lesson should start, the practice periods of two days might well be spent in study and practice of the letters on page 52.

LESSON 54

=Drill 61=

This copy furnishes all the movement drill necessary in beginning this lesson. Count ten for each drill, two for capital S, and eight for the reverse traced oval. About sixteen complete drills should be made to the minute. This drill is especially recommended to those who find the development of a light, quick movement difficult.

=Drill 62=

Study the curve of the first stroke; study the loop at the top, and give especial attention to the fact that the loop (upper part of S) is one-half the entire length of the letter. With an easy, light movement make from forty-five to fifty letters to the minute. Count 1, 2, for each letter.

=Drill 63=

The angular finishing stroke shown in drill sixty-three is very popular with many excellent teachers of business writing. Almost the same number of letters should be made in a minute as in drill sixty-two. Its practical feature is the direction taken by the finishing stroke, which may be joined to any letter following. Count 1, 2, swing; or 1, 2, 3, for each letter.

LESSON 55

=Drill 64=

Write a page of this copy; more if you have sufficient time. A continuous steady movement should be used. Do not lift the pen from the beginning to the ending of the word.

LESSON 56

=Drill 65=

In this drill, capital G is made first to a count of three, and then, without lifting the pen, followed with six revolutions of the reverse traced oval. Make seventeen completed exercises in a minute. Count as follows: 1, 2–3, 4, 5, 6, 7, 8, 9.

=Drill 66=

Study the form of capital G closely before attempting to make it; be sure that you not only know when you make a poor letter, but that you know why it is poor. One bad stroke may spoil an otherwise good letter. Learn to locate the bad strokes. Make from forty to fifty letters to the minute. Count 1, 2, 3; or 1, stop, 3, for each letter.

=Drill 67=

This is a good business form. Special instruction is unnecessary. Use your eyes. Make as many as fifty in a minute.

=Drill 68=

The angular finishing stroke gives a connective line for any letter that may follow, and admits of joining the capitals for an extended drill as well. Count 1, 2, for each letter, or 1–2, 3–4, 5–6, for each group of three. Make eighteen groups in a minute.

=You aim before you shoot. You should study the instructions before you practice the drills.=

LESSON 57

=Drill 69=

Nothing can be better at this stage of the work than easy words constantly repeated. Through a series of repetitions, strength in movement is developed, and faults are seen. Twelve or fourteen words to a minute should be the practice speed.

LESSON 58

CAUTION TO THE STUDENT

Never begin to practice until you are sure you know how. Languid, thoughtless practice should be avoided. Put ambition, put energy, put the fire of determined will behind your practice, and the results will be astonishing. Take advantage of all favorable conditions. Not only keep the muscles of the right arm in a relaxed condition, but guard against tension in any part of the body. Keep the side of the hand and the wrist free from the desk; keep the right arm well out from the side; keep the right hand in front of the eyes; keep a right angle at the right elbow, and remember that the propelling power is located above the right elbow. If you think you are in a good position for writing, test the movement without touching the pen to the paper, and study the conditions under which you are trying to work. Be sure you are right before you go ahead.

=Drill 70=

Not much movement drill of a special character is necessary in opening this lesson, the connected small p affording an excellent exercise. Study the form with care. Note particularly the point at the top, the loop below the base line, the length above and below the base, and the point where the left curve from below the base crosses the main line.

Sixty connected letters should be made to the minute. Make frequent comparisons and write a page.

The count for each group is 1–2, 3–4, 5–6, 7–8, 9–10.

=Drill 71=

Average rate of speed, twenty words to the minute. If small l is difficult, turn to drill thirty-three, study the instructions, and practice small l as there presented.

=Drill 72=

The practice speed should be fourteen words to a minute.

LESSON 59

=Drill 73=

Make a few imaginary letters as a preliminary movement drill before beginning active work. As will be seen, nearly all the main oval part is at the left of the beginning stroke. Count 1, 2, and repeat; or 1–2, 3–4, 5–6, 7–8, 9–10 for each group of five. Move the paper after each group of five. From fifty to sixty letters should be made to the minute. Make a full page and practice steadily, not spasmodically. This letter lends itself readily to a light, easy, swinging, and rhythmic movement. For that reason, it is an excellent movement drill, and the best style of capital P to adopt.

=Drill 74=

Also make a page of this letter. It is a good movement drill. Count three and be sure to join the last part to the first with a loop a little above the center of the letter. Forty-five good letters should be made to the minute. Count 1, 2, 3.

=Drill 75=

Count 1–2, 3–4, 5–6, 7–8, 9–10, for each group of five, and make twelve groups or sixty letters to the minute.

LESSON 60

Review lessons fifty-eight and fifty-nine.

=Drill 76=

Write from ten to twelve words a minute, four to a line, eight inches long. This is a good movement drill if properly practiced.

LESSON 61

BUSINESS FIGURES

Nothing is more important to the average bookkeeper or office clerk than good figures. In many lines of accounting, thousands of business figures are made without the writing of a single word.

This, in a measure, is true in many branches of statistical work connected with railroad bookkeeping where headings are printed and page after page is filled with figures. The first requisite is legibility, and its importance cannot be emphasized too much. Letters in a word may be known by the context, but each figure must depend upon itself for legibility. It is very important, then, that each figure should be so formed that its value, in groups or by itself, cannot be mistaken.

AN OBJECT-LESSON, FOR STUDY

Through the adoption of the Palmer Method figures, made small and well within the spaces, the New England Telephone Co. has reduced errors of its employes to a minimum, and saved thousands of dollars a year.

Figures should be made small; students sometimes think that large figures are necessarily plainer, but such is not the case. Examine carefully the diagram. At the left are figures that are absolutely plain; one could not be mistaken for another, and yet their extreme size in the small spaces makes them difficult to read. At the right are the same figures, no more perfect, but not so large. Please note carefully that these, surrounded by white paper, and much smaller, are more legible, even at a distance, than the large figures at the left.