Part 5
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=
[Illustration]
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=
[Illustration]
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=
[Illustration]
The practice speed should be fourteen words to a minute.
LESSON 59
=Drill 73=
[Illustration]
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=
[Illustration]
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=
[Illustration]
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=
[Illustration]
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
[Illustration]
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.
Students who have practiced in copy-books almost invariably make figures three or four times too large. Our models are large enough for ordinary use. If occasion demands, it will be easy to make them larger. One-eighth of an inch is perhaps high enough for ordinary figures, while in some places it will be an advantage to make them even smaller.
FOR STUDY
[Illustration]
HOW TO PRACTICE
In making figure one, draw the hand toward you with a quick light motion, sliding on the third and fourth fingers. Uniformity in the height and slant are the two important points to observe.
The development and application of a lateral oval motion will aid in the construction of figure two. In making it in class drill a count of three should be used, thus—one, two, three, one, two, three, etc., or dot, two, three.
Notice the exercise preceding figure three in lesson sixty-five. The motion used in that exercise will produce a good figure if properly applied. One, two, three, or dot, two, three, is the count used. A count of three is used in figures four and five also, but for figures six, seven, and nine, use a count of two.
Several lessons should be given to drilling on the figures singly before grouping them, but as soon as the forms are mastered and the student can make them at a fair rate of speed, it is best to drill in miscellaneous order somewhat as follows: 1, 0, 2, 6, 9, 8, 5, 4, 3, 0, 9, 6, 7, 2, 2, 8, 9, 3, 5, 6, 9, 1, 5, 8, 6, 9, 5, 4, 6, 9, 3, 7, 8, etc. No particular order is necessary, but the aim should be to repeat one as often as another.
LESSON 62
=Drill 77=
[Illustration]
LESSON 63
=Drill 78=
[Illustration]
It is truly interesting to watch the development and improvement in figure practice in a class where the work is well and systematically done. Two weeks should be devoted to this practice and there should be frequent reviews.
Some teachers place great emphasis upon the order of simplicity, but as a matter of fact, no two students will be able to agree on this and, since we are going to devote some time to drilling on each figure during a period of two weeks, there is little use in attempting any arrangement on such a basis. If there is a difference, the difficult figures should be given most practice.
LESSON 64
=Drill 79=
[Illustration]
As soon as fair progress has been made in making figure two, an effort should be made to bring the rate of speed to seventy-five a minute. Count one, two, three, or dot, two, three, for each figure made in class practice.
LESSON 65
=Drill 80=
[Illustration]
In the author’s classes the method here presented of teaching figure 3 has proved more satisfactory than any other that he has tested. The motion produces the figure; learn this motion thoroughly. Count one, two, three, or dot, two, three, and make seventy figures a minute.
=The Palmer Method is a text-book on practical writing. The Instructions should be studied, and followed.=
LESSON 66
=Drill 81=
[Illustration]
Figure five is in a large measure dependent upon the horizontal stroke at the top for its legibility. This horizontal line should be made last. Study the form as well as practice it. About seventy good figures should be made to the minute. This speed may be increased later. Count one, two, three.
LESSON 67
=Drill 82=
[Illustration]
Seven extends below the base. Make this figure in a count of one, two, at the rate of about eighty-five to the minute.
LESSON 68
=Drill 83=
[Illustration]
Four rests on the base line, and usually the last part extends above the first. Count one, two, three, and make from sixty to seventy a minute.
LESSON 69
=Drill 84=
[Illustration]
The compound curve at the left on the first line in drill 84, and the arrow in the first figure show how 8 begins.
After a few minutes’ drill on figure eight at a speed of sixty to seventy a minute, miscellaneous figures should be introduced. In class work these figures should be made from the dictation of the teacher, and the practice speed should be from ninety to one hundred figures to the minute. The author usually makes the figures on the blackboard as they are dictated to the class. A fairly rapid penman can make from one hundred to one hundred and twenty-five of these in a minute. Compare your figures with the copies and make all figures small and disconnected.
MISCELLANEOUS FIGURES FOR STUDY AND PRACTICE
[Illustration]
LESSON 70
=Drill 85=
SPECIAL POINTS TO OBSERVE
Capital E is made with an application of the oval motion, as developed in capitals O, A and C, the application varying but little.
The upper part of capital E is about one-third the entire height of the letter. The finishing oval should not exceed one-half the entire height, and the loop marking two-thirds the height of the letter points downward at about a right angle with the main slant.
[Illustration]
Practice the first row as a movement drill. Make the small (upper) oval first, and swing into the lower and larger oval without lifting the pen. Make five traced ovals for the upper, and the same for the lower part, thus permitting a count of ten for each completed exercise.
The abbreviated E in the second line is used by good business penmen more than any other, but the form used in the next line, finished with an oval, should be practiced and mastered. The count for each should be 1, 2, 3, or dot, 2, 3. From forty-five to fifty of the abbreviated form and but few less of the other should be made to the minute. Count the number of letters on a line, and make as many in the same space. The abbreviated capital E, followed with the small e, may be practiced as a movement drill to good advantage now and during future practice periods. The count for it is 1, 2, 3, 4, 5, 6, 7, or dot, 2, 3, 4, 5, 6, 7.
Review this lesson often until you make a good capital E.
=It is not Palmer Method if the lines are tremulous. Study the instructions for speed requirements.=
LESSON 71
=Drill 86=
The framework of capital B is clearly shown in the models below. The straight line starting at a point about three-fourths of the distance from the base is purely a guide line, a prop upon which the remainder rests. Without it, beginners make very feeble letters. Although usually lost in the retraced line, the author considers it a very essential part of the letter.
[Illustration]
Definiteness is essential in business writing. There should be a definite starting-point and a definite ending-point in every letter. Every curve and every loop should be definite and have a definite place in the plan of construction. In studying the forms of the letters here given, bear this in mind. Capital B may end in a dot as shown above, or it may end in an angular form, furnishing a connective stroke for the letters following.
The count for capital B is 1, 2, 3, and a fair practice speed is forty to the minute when the letters are disconnected, and a little higher rate when the letters are connected as in drill eighty-seven.
=Drill 87=
[Illustration]
LESSON 72
=Drill 88=
[Illustration]
Study small b. The lower part of the letter should be as wide as the loop through the widest part, and some good penmen make it a little wider than this. Do not make your letters larger than those in the copy. Make line after line until you are able to make the letters easily and at a fair rate of speed. Sixteen groups or eighty letters to the minute is not a high rate for this drill. The count for each group is 1–2, 3–4, 5–6, 7–8, 9–10, with the emphasis on the finishing point in each letter. The connective stroke is slightly curved.
LESSON 73
=Drill 89=
[Illustration]
Students are expected to practice the above words as movement drills. The speed in the first two lines should be from twenty to twenty-five words a minute. At this rate, form can be improved while movement is being developed. The word “billing” may be practiced at from twelve to fourteen a minute.
LESSON 74
=Drill 90=
[Illustration]
Study the form before attempting the drill. Make ten sets of five each, or fifty small k’s to the minute. Keep the letters down to the size of the copies. Count 1, 2, 3, for each letter with a slight check on the 2.
LESSON 75
=Drill 91=
This writing is large enough. In studying size, students should make frequent comparisons. The practice speed should be, for the first word, twenty, and for the word “killing” twelve to the minute. See the following page.
[Illustration]
LESSON 76
TO RELIEVE MUSCULAR TENSION
It is often advantageous to go over the path of the letter, or exercise, with a dry pen. This method is especially helpful to a student whose muscles are hard, and who finds difficulty in overcoming the tendency to keep the muscles of the arm and body in a rigid condition. This plan has been suggested in former lessons, and we consider it of sufficient importance to receive emphasis here.
Another plan which the author has found helpful to students who write with strained muscles, is to place a weight on the paper, and write with the left arm hanging down. The tension of the right arm is relieved at once.
Still another plan to relieve this tension, so common among beginners, is to select some easy drill like o or m, and make it across the ruled lines with the eyes fixed upon some object at a distance on a level with them when the body is fairly erect.
=Drill 92=
[Illustration]
Small f is a little shorter below than above the base line, and is closed on the base line. A fair rate of practice speed is fourteen groups of five letters each, or seventy letters to the minute. Count 1–2, 3–4, 5–6, 7–8, 9–10, for each group.
LESSON 77
=Drill 93=
[Illustration]
Write several lines of the first word before changing to the second. Write twenty or more words in a minute.
LESSON 78
=Drill 94=
[Illustration]
Rate of practice speed, fourteen words to the minute. Good movement leads to good writing; good position leads to good movement. Watch the position; watch the movement.
LESSON 79
Let us emphasize the statement made in a preceding lesson that constant repetition is necessary in developing a good style of writing for business. Another thing for the student to bear in mind is the fact that the only way to learn to execute business writing is to practice business writing. Review as many lessons as time permits.
LESSON 80
=Drill 95=
[Illustration]
Compare the oval of capital D with capital O. Do not neglect to make a careful study of D, each part by itself, and the letter as a whole. Do not drag the hand over the paper, but keep it well up in front of the eyes, and drive it along firmly but lightly. It takes a little time, energy, and enthusiastic practice to make a good business penman, but it is encouraging to know that under the muscular movement plan there are no failures when favorable conditions prevail. Practice capital D until you can make forty-five fairly good letters to the minute. Count 1, 2, 3, for each letter.
In writing the word “Drumming” do not lift the pen from the beginning stroke in small r to the ending stroke of small g. Regularity and continuity of motion are very essential. Keep the pen on the paper. The word should be practiced at a rate of nine to a minute.
LESSON 81
=Drill 96=
[Illustration]
Do not make the beginning part of capital T too high; it should be but little more than two-thirds the entire height of the letter. Note
## particularly that the last part curves over the top of the main (first)
part without touching it. Time and hard work will be important factors in developing this letter. Be earnest, be faithful. The count is 1, 2, 3, 4, and about forty letters should be made to the minute.
=Drill 97=
[Illustration]
You will see that this capital F is a copy of capital T, with the crossing added. This is not recommended as a business form, since it cannot be made rapidly. Many of the forms in this book are not given for their beauty, but because ninety per cent. of our best business penmen use them.
LESSON 82
=Drill 98=
[Illustration]
In twelve of the business capitals we have the small loop beginning. Turn it up-side-down and you will see that it is the inverted figure six. Most pupils find this style of starting capital letters somewhat difficult at first, but when mastered it becomes a favorite. It is of sufficient importance to be given considerable study and practice.
A careful study and comparison of these capitals will show that in F, Q, W, X and Z the main downward strokes are curved much more than in H, K, M and N, while compound curves are used in the main strokes of U, V and Y.
Practice the first part at the left of the line.
LESSON 83
=Drill 99=
[Illustration]
Capital Q, as shown above, is the enlarged form of figure two preceded by a movement drill. Curve the main downward strokes liberally. Make the lower loop flat on the base line and drop the finishing curve below. Students should frequently compare their writing with the copies.
=Drill 100=
[Illustration]
The mind directs, the arm and hand perform; both mind and muscle must work in harmony.
No matter how perfectly the muscles of the arm are trained, good letters cannot be made unless a good conception of form is in the mind. Capital Q should be made well at the rate of sixty to the minute, and the figure two faster. The count in each case is 1, 2, 3.
=Drill 101=
[Illustration]
In the style of writing here presented the loop of small g extends three spaces below the base line. The paper should be held in such a position that the downward strokes are pulled toward the center of the body, the paper being changed from time to time with the left hand to keep its position relatively the same. The motion should be purely muscular throughout, and the movement in making the loop particularly quick and elastic. Study the form closely and note the crossing of the loop with a left curve on the base. Pull the loops toward the center of the body and not toward the left elbow.
In groups of five connected letters a speed of sixty-five letters to the minute should be attained. A count of ten for each group of five will aid in regulating the movement.
=Drill 102=
[Illustration]
By comparison it will be seen that q is a little shorter below the base than g; that the turn at the bottom is made to the right, instead of, to the left; and that the lower part connects on the base line with the first. On account of the check at the connective point, fewer letters are made to the minute than of small g, but the movement should be quick.
LESSON 84
=Drill 103=
[Illustration]
See suggestions at the top of the following page.
The inverted small e preceding capital H in page sixty-nine will not only aid in developing the small loop beginning but will insure freedom of movement and lightness of stroke.
Count 1, 2, 3, 4, for the drill and first part of capital H, and 1, 2, for the last part. In making the last part, swing the hand to the same direction as for the beginning of capital O, but straighten the stroke from its center to its base. Let nothing escape you; observe closely every stroke, no matter how minute or unimportant it may appear.
=Drill 104=
[Illustration]
With an easy, swinging movement, make thirty-five or more capitals of the above form to the minute with a count of 1, 2, 3, 4.
The beginning loop may be made smaller than in the copy, but no larger in business writing.
Capital K is a natural companion to capital H. The beginning strokes in both letters are identical in size and shape.
LESSON 85
=Drill 105=
[Illustration]
Careful study of the last part of K will be very much to the advantage of every student. Study it with the first part covered with a piece of paper. Turn the copy upside down and study it in that position. Notice
## particularly that the loop grasps the first part a little above the
center.
=Drill 106=
[Illustration]
Thirty-five to forty to the minute will be a fair rate of speed. Compare your capitals frequently with the copy.
=Are you studying the instructions? They tell you just how to succeed.=
LESSON 86
=Drill 107=
[Illustration]
This is a most excellent word to practice at this stage of the work. It is a good movement-developer. Give close attention to size, general appearance, and space between letters, and guard against irregular movement. Keep the hand well up in front of the eyes and drive the pen lightly. Write a half page of the copy and then make a careful study of your work. Try to write each line better than the preceding. Three words should be written to the line.
LESSON 87
=Drill 108=
A REVIEW
[Illustration]
Work faithfully on every letter. Repeat the forms over and over until decided improvement can be seen. Make frequent comparisons. Study length, breadth, curves, and connections closely.
Rate of speed to the minute: F, fifty; H, thirty-five; K, thirty-five; M, thirty-five; N, forty.
LESSON 88
=Drill 109=
[Illustration]
A REVIEW
Rate of practice speed: Q, sixty; U, forty-five; V, fifty-five; W, forty to the minute.
=Points to Observe=—Capital Q is the enlarged form of figure two. The last parts of U, V, and W are shorter than the other parts, and the first strokes in U and V are exactly alike. In capital W, check the motion a little at the base line in the first main downward stroke, as this will aid in the construction of the last part.
LESSON 89
=Drill 110=
[Illustration]
Practice this compact oval as a beginning drill. Make it between two ruled lines, carry the pen lightly and see how many you can make in one row, with one dip of ink.
Study and compare as you practice. Drill speed to the minute in the following capitals: X, thirty-five; Y, forty; Z, fifty.
=Drill 111=
[Illustration]
REVIEW WORK
At this point it would be a good plan to review all the essential work of the preceding lessons. From one to two weeks should be spent in such practice.
LESSON 90
=Drill 112=
[Illustration]