F THE IMPORTANCE TO ALL CLASSES OF PERSONS of a good, legible, easy and rapid handwriting, we scarcely need speak. No other one attainment assists an equal number of young ladies and gentlemen to positions of profit and advancement, or affords more satisfaction as an accomplishment ; and we believe it to be an acquirement within the reach of all persons having common sense and one good hand. -^POSITI O THIRST in importance to the pupil in writing is a Correct Position. As in logic an error in the premises must lead to false conclusions, so a bad position, while learning to write, must lead to fail- ure. It is only when in a correct position that the pen, even in the hand of its skill- ful master, is capable of producing the smooth, graceful line, shade and curve so essential to good writing ; if such is the fact when in a master’s hand, how doubly so it is in the undisciplined and struggling hand of the learner ! It is also important that a proper posi- tion be maintained at the table or desk, as well as the relative positions of the pen, hand, paper, desk and body. Each of three positions at the desk have more or less advocates, and each, in our RIGHT POSITION. opinion, is commendable according to the circumstances of the writer. We give each position, with the reasons urged in their favor. Right Position.—Turn the right side near to the desk but not in contact with it. Keep the body erect, the feet level on the floor. Place the right arm parallel to the edge of the desk, resting on the mus- cles just forward of the elbow, and rest FRONT POSITION. the hand- on the nails of the third and fourth fingers, not permitting the wrist to touch the paper. Let the hands be at right angles to each other, and rest on the book, keeping the book parallel to the side of the desk. This position is advocated as furnishing the best support for the hand and arm while writing, and we think not without justice in school or class-rooms, where the desk is often sloping and narrow. Front Position.—In this the same rela- tive position of hand, pen and paper should be maintained as described in the former one In commercial colleges and writing academies, where more spacious desks or tables are used than in the com- mon school-room, this position is permissi- ble and is frequently adopted. Left Position. — Without illustrating this position, we would say that the left side is presented to the desk, and the same relative positions maintained as in the right and front. This position is advo- cated on the ground of its relieving the right arm from being burdened with any support of the body while writing, and thus giving a more free, rapid, and less tiresome action to the hand and arm ; this argument has considerable force where the fore-arm or muscular movement is prac- ticed. It is also the most convenient, if not a necessity, in the counting-room, where nu- merous and large books are required to remain in a position at right angles with the desk, and also in the execution of large drawings or specimens of penmanship which necessarily, or most conveniently, occupy positions directly in front of the artist. Another position at the desk, sometimes advocated by authors and teachers, is the right oblique, which is a position between the front and side, thus : RIGHT OBLIQUE POSITION. Right Ouliquf. Position.—In our opin- ion, which of these positions is to be adopted, is not of such vital importance as that the proper relative position of pen, hand and paper should be maintained, and that the arm should be perfectly free from the weight of the body while writing.Position of Pen and Arm.—Take the pen between the first and second fingers and thumb, letting it cross the forefinger just forward of the knuckle, and the second finger at the root of the nail, three-fourths of an inch from the pen’s point. Bring the point squarely to the paper and let the tip of the holder point toward the right shoulder. The thumb should be bent outward at the first joint, and touch the holder oppo- site the first joint of the forefinger. The first and second fingers should touch each other as far as the first joint of the first finger; the third and fourth must be slightly curved and separate from the others at the middle joint, and rest upon the paper at the tips of the nails. The wrist must always be elevated a lit- tle above the desk. This position of the pen is undoubtedly the best for all writers using the finger movement, as it admits of the greatest freedom and facility of action of the fingers; but among writers using the muscular movement, where less depends upon the action of the fingers, it is common, and we think well, to allow the holder to fall back and below the knuckle joint; it is more easily held, and from its forming a more acute angle with the paper, moves more readily and smoothly over its surface. Finger Movement is the combined action of the first and second fingers and thumb. Fore-Arm Movement is the action of the fore-arm sliding the hand on the nails of the third and fourth fingers. Combined Movement is that which is most used in business penmanship. It is a union of the fore-arm with the finger movement, and possesses great advantage over the other movements in the greater rapidity and ease with which it is employed. Whole-Arm Movement is the action of the whole arm from the shoulder, with the elbow slightly raised, and the hand sliding on the nails of the third and fourth fin- gers, and is used with facility in striking capital letters and in off-hand flourishing. SCALE OF SLANT. Main Slant.—A straight line slanting to the right of the vertical, forming an an- gle of 520 with the hori- zontal, gives the main slant for all written letters. Connective Slant.—Curves which connect straight lines in small letters, in a medium style of writing, are usually made on an angle of 30°. This is called the connective slant. See diagram. Base Line. — The horizontal line on which the writing rests is called the base line. Head Line.—The horizontal line to which the short letters extend is called the head line. Top Line.—The horizontal line to which the loop and capital letters extend is called the top line. A Space in Height is the height of small i. A Space in Width is the width of small u. The distance between the small letters is spaces, measured at head line, except in the a, d, g and q. The top of the pointed oval in these letters should be two spaces to the right of a preceding letter. Upper and I^ower Turns.—In the analysis POSITION OF PEN AND ARM. of small letters, short curves occur as con- necting links between the principles. These curves we call turns. When one ap- pears at the top of a letter, it is called an upper turn; when at the base, it is called a lower turn. Movement Exercise. — All instruction in penmanship should be initiated with a liberal use of movement exercises, which should be arranged and practiced with the view of facilitating upward and downward as well as lateral movement of the hand, and each and every lesson should be pre- ceded with more or less practice upon movement exercises. CARE IN PRACTICE. In practicing upon movements and writ- ing, it should be constantly borne in mind that it is not the amount of practice, so much as the careful and thoughtful effort to acquire precision and certainty, that de- termines the success of the writer. It is often said that “practice makes perfect.” This is true if the term practice implies thoughtful, patient and persistent effort for improvement; otherwise it may be quite untrue. Thoughtless scribbling tends rather to retard than to enhance the acquisition of good writing. Each time a copy has been carelessly repeated, incorrect or bad habits have been confirmed rather than corrected —a move backward instead of forward. This is a fact not sufficiently appreciated by teachers or pupils. Better far not to practice than to do so carelessly; one might as well seek to win a race by occa- sionally taking a turn in the opposite di- rection. Good or well-constructed writing is no more essential than that it should be exe- cuted with facility and ease ; yet we would have no learner fall into the mistaken idea that he is to give special attention to speed before having acquired by deliberate study and practice correct forms and proportions in writing; first, accuracy, then speed. Rapid and thoughtless practice is worse than useless. The mind must be educated before the hand. The hand and pen are only the servants of the mind, and as such can never surpass the mind’s conception and power to guide and direct in any performance. If upon the tablets of the mind there is presented constantly to our mental vision a perfect copy of the letters and their varied combinations into graceful writ- ing, the hand will strike for the single and definite purpose of reproducing the same, and will progress steadily to the attainment of skill requisite for the repro- duction of the most perfect conceptions of the mind. The hand of the greatest sculptor or artist has no cunning not im- parted by a skillful brain. Michael Angelo was the chief of artists, because of his superior mental conception of art, and may we not suppose that the untouched canvas presented to his mental vision all the grandeur and beauty in design and finish that delighted the eye of the be- holder when finished into the most ex- quisite work of art? The hand can never excel the conception of the mind that educates and directs its action. If Spencer or Flickinger excel others in the perfection and beauty of penmanship, is it not because of their superior concep- tion of that in which superior penmanship consists? The student who would have success must see that his practice is pre- ceded and always attended with thought- ful study and criticism. After having once written the copy, study and criticise your effort before the next trial. Your faults noted, and a thought as to how they may be best cor- rected, will enable you to make an intelli- gent and successful effort for improvement. Remember that unknown faults can never be avoided or corrected. First study to discover, and then to mend. Short exer- cises—or copies—if rightly practiced, are much more favorable for improvement than long ones, inasmuch as they are re- peated at intervals so short as to keep faults and criticisms fresh in mind, while oft-repeated efforts for correction will be correspondingly effective. Faults observed by ourselves or pointed out by others at the beginning of a long copy, are very likely to be out of mind before that por- tion of the copy in which they occur is re- peated.WRITING NOT A SPECIAL GIFT. It is often said that good writing is a “special gift.” This idea is not only falla- cious, but is exceedingly pernicious as re- gards the acquisition of good writing, in- asmuch as it tends to discourage pupils who write badly, by leading them to be- lieve that, not having “ the gift,” they are debarred from becoming good writers. Good writing is no more a gift than is good reading, spelling, grammar, or any other attainment, and in the same way it is and can be acquired, viz., by patient and studious effort. The correct form and construction of writing must be learned by study, while practice must give the manual dexterity for its easy and graceful execution. Many persons fail to become good writers from not properly uniting study and practice. Careful study with too little practice will give writing comparatively accurate in its form and manner of construction, but labored, stiff and awkward in its execution; while, upon the other hand, much practice with little study imparts a more easy and flowing style, but with much less accuracy as regards the forms of letters and general proportion and construction of the writ- ing, which will commonly have a loose and sprawly appearance. Example of writing which has resulted more from study than practice— Undoubtedly, many of our patrons will see forcibly illustrated in one of these ex- amples their own experience. So manifest is the effect of these different modes of practice that we have only to glance at a piece of writing to discern the extent in which a writer has combined study with practice while learning to write. UNITY AND SIMPLICITY OF FORM. It is an old but true saying that “a jack of all trades is good at none.” This is so from the fact that, working at many things, neither the hand nor brain can attain to a high order of proficiency or skill. It is the specialist that advances the standard of progress in all the directions of human discovery. Concentration of thought and action makes the great masters of the world, while by a diffusion of the same the greatest genius is dissipated and fails to attain to a marked degree of eminence. So, in learning to write, the pupii who vacillates between many systems and mul- titudinous forms of letters must inevitably fail of becoming an expert and skillful writer. He has too much to learn to learn it well, and, like the “jack of many trades,” must fail. It is a matter of frequent observation that persons learning or practicing writing vacillate between from two to six different forms of the capitals, and as many as are possible in the small letters, apparently in the belief that variety is the chief element of good writing, which is a double mis- take, as it detracts from the good appear- ance of the writing at the same time that it enhances the difficulty of learning and of executing it. For example, we have known writers who, in executing a short piece of writing, would for many of the letters make use of forms as varied and numerous as follows: and use more or less variety in all of the letters, thus requiring study and practice upon about one hundred different and un- necessarily complicated forms for the al- phabet, in place of twenty-six. Thus the labor and uncertainty of becoming a skill- ful writer is magnified fourfold. A single and simple form for each letter, capital and small, should be adopted, and, with a few exceptions, which we shall hereafter ex- plain, should be invariably practiced. Their frequent and uniform repetition will impart that accuracy of form, grace, and facility of execution which constitutes good writing. The simple forms are not only more easily acquired and more rapidly executed, but they are more easily read than the more ornate styles ; in fact, those forms that cost the most are worth the least. It is as if a merchant should constantly pur- chase an inferior class of merchandise and pay the high price of the best ; his chances for success certainly would not be very promising. ECONOMY OF FORM. Labor, whether of the clerk or mechanic, is rewarded according to the results it can produce. The copyist or clerk who can write one hundred words equally as well in the same time that another writes fifty, will cer- tainly, other things being equal, command twice as much pay. The rapidity with which writing can be executed depends largely upon the simplicity of the forms of letters used and the size of the writing A medium or small hand is written with much more ease and rapidity than a large hand, from the fact that the pen can be carried over short spaces in less time and with greater ease than over long ones, and can execute simple forms more easily and rapidly than complicated ones. To illus- trate : Suppose one writer were to habit- ually make the capital R thus— which requires eleven motions of the hand to execute ; and that another were to uniformly make it thus— requiring only four motions of the hand. It is apparent that the difference of time required to make each cannot be less than the propor- tion of eleven to four. That is not all. The complicated form consists of many lines, some of which are required to run parallel to each other, and all made with reference to balancing or harmonizing with some other line, and requires to be made with much greater care and skill than the more simple form, so that the disadvantage is even greater than indicated by the simple proportion between eleven and four. The practice of these complex forms of the alphabet will be fatal to rapid and legible business writing. These remarks are intended to apply more especially to business and unprofes- sional writing. Where show and beauty are of greater consideration than dispatch, variety and complexity of forms are quite proper, and even necessary. We give here the entire alphabet of capi. tals such as we would recommend for all business purposes, as combining simplicity of form and ease of construction. Example of writing in which there has been more practice than study— Writing, the result of study properly combined with practice—We would add as not objectionable the following— CORRECT PROPORTIONS ESSENTIAL TO GOOD WRITING. One might be able to execute faultlessly each single letter of the alphabet, and yet be a most miserable writer. Writing, to be really good, must be harmonious in all its parts ; letters must be proportionate to each other, properly connected, spaced, have a uniform slope and degree of pen- pressure, etc., as well as an easy and grace- ful movement. The following example will illustrate the bad effect of dispropor- tion of letters— It will be seen that each letter, taken by itself, is creditably accurate in form, and yet when associated with each other in a word, they present an appearance as un- gainly as would an ox yoked with an ele- phant. We have often seen writing in which the letters were really badly formed, yet so harmonious in their combinations and easy in their construction as to pre- sent an attractive, not to say an elegant, effect; while, upon the other hand, we have often seen writing in which the letters were well formed, and yet so awkward in their combinations and labored in their execution as to be really painful to the sight of persons having a refined and cor- rect taste regarding writing. CORRECT AND INCORRECT SPACING. Another important factor of good writ- ing is the proper spacing and connecting of letters and words; upon these very much depends, as in many instances the connecting lines alone impart the distinct- ive character to letters. In determining the proper spacing of writing, the distance between the straight lines of the small u may be taken as a space in width. The distance between the parts of letters having more than one downward stroke should be one space; be- tween the letters one and one-fourth spaces, measured at the head line, except a, d, g and q, which should occupy two spaces, measuring from the preceding letter to the point of the ovals: between words there should be two spaces. Example of correct spacing— SLANT OF WRITING. - The degree of slant now adopted by the leading authors, and one which we ap- prove, is at an angle of 520 from the hori- zontal, as per diagram in another column. The relative effects of incorrect and correct slope may be seen in the following examples— The variation in the slope of different letters and their parts will be rendered much more perceptible by drawing straight extended lines through their parts, thus— One of the most common faults in slope occurs on the last part of letters m, «, u, h and /, which are made thus— SIZE OF WRITING. In its practical application to the affairs of life, writing must be greatly varied in its size, according to the place in and pur- pose for which it is used. It would be obviously bad taste to use the same size and style of writing for the headings of a ledger and other books of account or record that would be employed on the body of a page. In the address of a letter and superscription upon the enve- lope much greater license, as regards size and style, may be taken than in the body of the writing. Nor is it practical at all times to maintain a uniform size for body writing. It may with propriety be written larger upon wide than narrow-ruled paper. Care should always be taken to gauge the size of the writing according to the space in and purpose for which it is to be writ- ten. This should be done by varying the scale rather than the proportions of the writing. When writing upon ruled paper we should always imagine the space be- tween the lines to be divided into four equal spaces, three of which may be occu- pied by the writing ; the fourth must not be touched, save by the downward ex- tended letters from the line above. This open space between the lines separates them, and enables the eye more readily to follow and distinguish between the lines when reading. A small or medium hand is the best, both as regards the readiness with which it is read, or ease and rapidity of its execution. In a large hand the writing is apt to be more or less intermingled and confused, the loops of one line often cutting into and obscuring the writing upon other lines, while the more extended sweeps of the pen in the large writing are propor- tionately slow and tedious. For legibility, ease and rapidity of exe- cution, small, unshaded writing is decid- edly the best. HOW TO LEARN AND TEACH WRITING. CONSPICUOUS FAULTS IN WRITING. To note and indicate all the faults liable to occur in writing, or to prescribe a cure- all remedy, is more than we presume to undertake. They are as numerous and varied as are the circumstances, habits, tastes and accomplishments of the writers; but it is quite safe to say that a very large proportion of all the “ onpleasantness ” in writing comes from sheer carelessness on the part of the writers, which is manifest in the awkward, nondescript or uncertain forms which are employed—forms often most easy and graceful, but which, taken separately, represent no intelligible char- acter, and, apart from the context, are lia- ble to be mistaken for any one of several letters that are similar in their construc- tion. This fault is specially grievous" where it occurs as an initial letter, in short names, abbreviations and cipher writing, as in such cases the context furnishes the reader little or no aid. Another prolific source of annoyance, and not infrequently illegibility, arises from the inexcusable use of flourishes and superfluous lines; we say inexcusable, be- cause, at best, they mix and confuse the writing, and, when hurriedly and care- lessly made, they frequently take forms which are liable to be mistaken by the reader for letters or parts of letters, and thereby puzzle and annoy, if not entirely change, the intent of the writer. Another frequent fault is the personal eccentricity which leads writers to adopt, as their style, forms for letters, and especially capitals and in autographs, which are entirely out- side the pale of any known system of writing, and whose identity can only be guessed at by those unfamiliar with their style. While, as we have stated, it is quite im- possible to name all the sources of bad writing, or to formulate rules for its pre- vention or correction, we do believe that there a«*e many of the most common Example of correct slant, space, propor- tion, etc.— Incorrect spacing—faults—among which are those enumerated above—that with a little thought and care may be avoided. To aid our patrons so far as is possible by negative instruction, to avoid some of the more common and inexcusable faults, we have formulated a few rules, with ex- amples illustrative, which we here present. Rule First.— All unnecessary, superflu- ous or flourished lines must be omitted, as— Rule Five.—A capital H should never be so made as to be mistaken for an A or other combination, as— Rule ¿second.—No capital letters or words should be joined together, as— Rule Three.—Capital letters should not be joined to the smaller letters, as— Several expensive litigations have grown out of the delivery of messages having the latter combination, as Seventy when it was written for Twenty, or vice ver.sa, by the sender of the dispatch. We are not in- formed respecting the precise circum- stances of any of the cases; but suppose the error to have been in orders to buy twenty thousand bushels of grain, shares of stock, or other thing of similar value, the consequences might have been serious. Rule Six.—Cross all t’s with a single horizontal line at the top. jbr /¿(dStO jsr oiato A telegraph dispatch signed as above was taken down and sent to Ha-Hi-E, who was not known at the street and number to which it was directed, and it was conse- quently returned ; and when the error was discovered, and traced to the operator who made it, he was asked hew he came to make such a mistake, and whom he sup- posed Ha-Hi-E to be. The operator re- plied, “Some Indian chief or Chinese ”— a very natural supposition in such a city of all peoples as is New York. Rule Seven.—The capital I should always be made above the line, while the J should extend below. Otherwise, when used as initials or in cipher-writing, they cannot be distinguished with certainty. Rule Eight.—The small s should never be made with the loop below the line, as it is liable to be mistaken for a/ or/, as— for/Cfcf' Rule Nine. — Letters should be con- nected in their parts, and with other letters, by the proper and characteristic curved or straight lines. It is a very com mon and grievous fault in writing that a straight line or the wrong curve is em- ployed in the construction and connection of letters, thus leaving them without dis- tinctive character, or imparting one which is false and misleading. As, for instance, a form made thus yFO may be taken for an /TO, a 09/, anc^> possibly, for a sFsf/. In cases where the context does not determine, its identity becomes a mere matter of guess, and when extended thus OFPO its significance, as will be seen, is still more vague and uncertain, as it might be intended for either of the following seven combinations— /moom/omo With a properly-trained hand, no more time or effort is required to impart the true and unmistakable characteristics to each letter than to make forms whose identity is open to doubt and conjecture. Rule Ten.—No letter should have a doubtful form, such as may be mistaken for one of several letters, as— Rule Four.—The capital T should never be looped at the top, as— Rule Eleven.—All eccentric forms and conspicuous personal oddities, which so often render writing, and especially auto- graphs, illegible, should be avoided, as— The latter example was used as an initial letter in a communica-tion recently received at this office. In addressing the author, we could only do as we are often obliged to do with doubtful initials—make a fac simile, and leave it to the postmaster to decipher at the office of delivery. Writers should remember that short names and initial letters, when care- lessly written, are very liable to be mis- read, from the fact that no aid can be derived from the context. A large proportion of letters which mis- carry through the mails do so from the careless manner in which they are super- scribed. As an example, let us suppose that a writer desires to address an impor- tant communication to J. H. Howell, Sherman, Cal., but he hurriedly and carelessly super- scribes it thus— The abbreviation for the name of the State (Cal.) is so indefinite that the letter goes first to Colorado, but there being no Herman or Sherman in that State, it is finally re-directed to Herman, Cal., the in- itial “S” and following letter “h” being of so indefinite and doubtful a character, they together were naturally mistaken for an H, but there being no Herman P. O. in Cal., the mistake is finally discovered by a distributing agent, and the letter is again re-directed to Sherman, Cal.; here the H in Howell is read St, and accordingly the letter is placed in S box for general deliv- ery ; not being called for, it is at length advertised in the list of undelivered letters, thus: I. A. Stowell. The J, having been made above the line, is mistaken for an I, while the initial H is so nearly closed at the top that it is mistaken for an A. After being duly advertised, the letter *s sent to the Dead Letter Office at Washington, and from there returned, after several weeks, to the writer. J. H. Howell, in the mean- time, has inquired daily for letters at the Sherman post-office, when the delivery clerk has looked in the H box and answered, “ Nothing.” Mr. Howell has also carefully scanned every list of advertised letters, but never could he have imagined that the letter advertised for I. A. Stowell was the one he had so long and anxiously looked for. It is just such errors as those above de- scribed that cause a large percentage of the miscarriages of mail matter. We pre- sent this article in the hope that by thus calling the attention of our many readers to these faults, they may be led to avoid them, and to that extent be benefited by our labor and research. MOVEMENT EXERCISES. Much practice should be devoted by the learner to practice upon movement exer- cises, for the purpose of disciplining and bringing under perfect control the motions of the hand and arm. The following will serve a good purpose, which, with the copies following, will serve well as a guide to a course of twenty lessons, with or without the aid of a teacner EXERCISES AND COPIES EOR PRACTICE. MOVEMENT EXERCISES. COPIES. PRINCIPLES.Note.-To those who desire these copies in a still more convenient form, for use in classes or otherwise, we would say that we have had them carefully printed in sheets, together with the following twenty additional copies of half a line each. These copies and exercises can be cut into slips, using one for each lesson-all of which will be mailed to any address for ten cents, in quanti- ties for use in classes at a liberal discount. COPIES FOR SECOND COURSE.PRINCIPLES OP SMALL LETTERS. SCALE OF SLANT. PRINCIPLES OF CAPITAL LETTERS. Standard Hetters, with Scale op Proportion. Standard Hetters. HADISS’ I7AND, Gxtended. Specimens.Abbreviated (Capitals. (Corresponding F^and.'û5hole-arm (Capitals, Flourished. ¡OUhole-arm Capitals, Plain.Cxamples op (Card-writing and Autographs. Opp-hand Italian Capitals.EN EMBELLISHMENT is one of the oldest and most useful of the arts. In ancient times, before the discovery of the art of printing, the pen, save the chisel, was not only the sole recording agent, but the chief implement of art. All manuscript books were the tedious productions of the pen. These were often elaborately embellished with or- nate lettering and various styles of ornament. The more ancient styles of ornamentation were of the scroll and grotesque order, mythical figures of gods, dragons, K<-*nii, and all manner of imaginary forms figured conspicuously in ornamentation. Later, beginning with about the 16th century, m nearly all of the French, English, and American published Works upon penmanship, off-hand flourishing has been the pre- dominant mode of pen embellishment, which also appeared in nil manner of forms, from a simple sweep of the pen to elabo- rate designs representing birds, beasts, dragons, fishes, and all manner of fanciful designs. This order of embellishment, although greatly modified from the masters of a few centuries ago, is still a conspicuous element in the penman’s as well as the engraver’s art, and is, therefore, entitled to consideration in anv work of the present time devoted to artistic penmanship. T he art of flourishing is not only desirable as an accomplish- ment to the pen artist, but its practice tends to discipline the hand and eye, so as to impart greater ease and dexterity in the execution of practical writing. Recently, through the introduction of the various photo- graphic processes for transferring and printing pen drawings, new and different demands have been made upon the penman’s art. The pen artist is now called upon to execute with the perr all manner of designs, which have hitherto been strictly within the province of the engraver, and such designs must be pro- duced not only with a degree of care and perfection, but in ¿l style to meet and rival the various classes of engraving with which they must enter into competition. Through this new and exacting demand, the styles of lettering and ornamentation which were formerly known and recognized as essentially the penman’s art, require modifica- tion and adaptation to these new purposes, as a means of orna- ment. Flourishing is now less abundant and conspicuous . in its place are various other species of ornamentation, such as. floral, scroll, panel and tint work. Each of these several styles of ornamentation, with examples illustrative of their proper appli- cation in artistic pen work, will appear upon the following pages. It has been the earnest endeavor of the author to present the best forms for standard and ornate lettering, together with de- signs covering the entire range of the penman’s art. HINTS ON THE DESIGN AND HINTS ON DESIGNS, &c. \\WHATEVER the purpose of any work, much of its success depends upon the skill and artistic effect of the design ; hence extreme care and thought should be exercised upon the design. No amount of work, however carefully and skillfully performed, can produce a good or satisfactory result from a design awkward or inappropriate. After selecting the paper or material upon which the work is to be executed, fasten it with thumb-tacks or glue to a drawing- board ; draw with a pencil border and center lines ; then sketch lightly with a pencil the design, having care to give due promi- nence to the several parts according to their importance in the Work, with a proper intermingling of lights and shades. When designs are to be copied, there are numerous methods ‘or making transfers. T he most common is by means of thin transparent paper or cl°th, which is placed over the design to be copied, and the outline traced over with a pencil, after which the opposite side the tracing is penciled over with a sott, black pencil ; then place the tracing upon the paper on which the copy is to be made, when the lines upon the tracing are retraced with a pencil °r any smooth-pointed instrument which will give a distinct outline upon the paper underneath.* 1 ransfer or blackened paper is often placed under the tracing before retracing it, instead of penciling its reverse side, which Is objectionable from the liability of blackening or soiling the paper upon which the drawing is to be made ; and then tht transfer lines thus made are not easily removed with a rubber. Of course this method of transfer can be used only where tin desired reproduction is the same size as the original. If it is to be enlarged or diminished, other methods must be sought. EXECUTION OF PEN WORK. This may be accomplished by marking the copy to be trans- ferred into squares, and the paper upon which the reproduction is to be made into corresponding squares, enlarged or dimin- ished according to the change desired from the size of the orig- inal copy. The same change is accomplished very readily by the use of proportional dividers, with which every draughtsman should be provided, or by the use of the pantograph. MATERIALS ADAPTED TO FINE ARTISTIC PEN WORK T T SE a fine quality of Bristol board or Whatman’s hot-pressed ^ drawing-paper, and a fine quality of black India-ink, freshly ground from a stick, in a tray containing rain-water. Ink of any desired shade may thus be made. If work is intended for reproduction by any of the photographic processes, the ink must be ground until jet black, and then the pencil guide-lines, must be removed with a soft gum or sponge rubber, so as to remove as little of the ink as possible. Hard rubber will not only remove much of the ink, but will tear up the fiber of the paper, and thus break or make ragged the delicate hair-lines, which will therefore fail of a good result when photo-engraved. It should be specially noted that all lines to reproduce must be clear smooth, continuous and black ; if so, no matter how fine> they will answer the purpose. Copy should also be made at least twice the dimensions of the desired reproduction. PENS. ITOR script writing, use Gillott’s “303 ” or Spencerian Artistic No. 14. For fine drawing or tinting, use the “303 ” or Crow Quill. For flourishing, use Spencerian No 1 or Ames’s Pen- man’s Favorite. For lettering, especially Old English, German and Church text, the Sonnecken pen, both broad and double- pointed, may be used to advantage.— 17 — THE DAY SPACING OR SHADING T SQUARE. HIS is undoubtedly one of the greatest mechanical aids to the pen artist and draughtsman that has ever been discovered. The following cuts represent the head with a section of the blade of the square, and several specimens of ruling and shading, photo-engraved direct from work done by aid of the square with a common draughting pen, the lines being separated at perfect intervals and made as rapidly as if by free hand. The space between lines may be varied, by turning thumb screw B, from zero to seven-eighths of an inch, lines are made horizontally or upon any desired angle. Much of the shading around the lettering, and the tinting of panels and clouding Sent, securely packed in boards, by express, to any part of the United States or Canada, on receipt of price, subject to express charges. Address: D. T. AMES, Proprietor and Manufacturer, # 205 Broadway, N. Y. The specimens of tinting given herewith are photo-engraved directly from ruling done by the aid of the square, with the rapidity of free hand lines. New York, July 27, 1880. D. T. Ames—Dear Sir: In the great scope and perfection of our designs I have had occasion to put your patent ruling and tinting T sojkare to every possible test, and I find it the most reliable and convenient mechanical aid I have ever seen for the purpose for which it is designed. Respectfully, C. E. SICKELS, Designer ami Draughtsman, Am. Bank Note Co., N. Y. AN INSTRUMENT OF INESTIMABLE VALUE TO EVERY DRAUOHTSMAN. represented in this work has been done by the aid of this instrument. The squares are sold at prices varying, according to finish, length and quality of blade, etc., from $6 to $8, as per following PRICE LIST: INCHES. PRICE. Polished head, nickel mounted, blade of wood, 18 to 24 $7.00 4< a a << 26 to 36 7.50 “ “ “ brass lined 18 to 24 750 11 a n a 26 to 30 8.00 We recommend all who are in need of a good T square to purchase this, which is suited to all ordinary work as well as to spacing. New York, Sept. 9. 18S0. D. T. Ames, Esq.—Z?*ir Sir: One of your patent T squares has been in constant use by me for some time past, and I have found it extremely useful in the various branches of drawing to which I have applied it. Very truly yours, EDWARD E. JONES, Designer and Draughtsman, with D. Appleton & Co. Atlanta, Ga., Sept. 14, 1881. D. T. Ames, Esq., Dear Sir: The squares came to hand safely; and after putting them to the severest tests, we are delighted with the perfection of the work done and the facility with which it can be executed. It is an instrument that should be used by every draughtsman. Yours, very truly, M. J. GOLDSMITH, Moore's Business University.Off-hand Flourishing.— 30 — ROMM, ORIGINAL PEN AND INK COPY FOR AMES' ALPHABETS. i n m wvyivii vm ix x xy xxx c m d MOMtW* ORIGINAL PEN AND INK COPY FOR AMES' ALPHABETS.GOTHrC. ORDINAL PEN AND INK COPY FOR. A MES’ A L PHASE TS .— 33 — itlGDlflEOHL (modified.) UAI^IEIFY (sAPUflALiS. Rangy Script.-•51 — S'ZïOF ORIQINAL Î0X24__________C S . 2 O 5 B^O*.DvvA^___ E Or Original 30xJ8 lN— 50 —SIZE Of THE ORIGINAL 22x28 IN wu v\ow¿y-—61 —GIVEN AS A PREMIUM WITH THE PENMANS ART JOURNAL AMES 205 BROADWAY NY -62-COPYKIOHTED l83í64- —-66 —•67-WILL BE WAITED URON WITH SPECIMENS; 6k: Wr&j WlTF R PbÑ B'j flMCS to; BRPP iow^y-