Frank Overton.

The Business Educator (Volume 12) online

. (page 42 of 99)
Online LibraryFrank OvertonThe Business Educator (Volume 12) → online text (page 42 of 99)
Font size
QR-code for this ebook

O. X. L. Always write your name and
state on each piece of your practice paper;
then you will be sure to have your work
criticised. More curve in the up stroke of s.
Do more practicing on small letters until
you work all the nervous places out of the
lines. A and rneed attention.

G. G. L., N. J. You are doing nice work
and need to feel encouraged over your re-
sults. Watch small e; always have the
requisite amount of light in the middle.
Your figure work shows considerable im-

H. R. L.. Ont. Try to eliminate the nerv-
ous" places in your lines. To do this requires
quite an amount of effort and practice but
it can be accomplished. Send more of your
work; decrease the size nearly half "and
then I will give you some special criticism.
P. M., X. Y. Your efforts are good this
month, but your paper is too soft. Close o
at the top. Have plenty of hook at the top
of c and make the down stroke nearly
straight. Avoid the compound curve at
beginning of n or in. Figures too large.

W. Q., R. I. Upper turns need attention;
try to get them more rounding; v, n and in
are the letters to watch. Do not make a
loop at the top of o.

G. E. K., Ohio. Review movement exer-
cises. The first lesson needs complete
mastery before proceeding. Use wider
paper. Put more curve in the down stroke
of O and do not make it so heavy. Start E

<5^&utin£^£rtiuxt&r &

with a dot. Review figures and do not
shade any of the strokes. Your efforts are
good; stick to it.

H. A. L., N. Y. Your criticisms have been
attended to, and may be the delay was
caused by your work reaching me later than
the 20th of the mouth, as then it would have
to go over until the next month. Small o
needs more light in the middle. Make the
point of o more prominent. The hook at the
top of c should be quite emphatic, as this is
the part that makes it plain.

J. A., R. I. Do not raise your pen before
making a. The dot at the last part of v
should be stronger. Try to get more force
in your lines by speeding up a little.
Figures need to be reviewed.

E. R., Pa. Your forms are good. Use more
speed and have plenty of confidence in
yourself; these two things will strengthen
your lines. Figures are too large.

M. S., Minn. I fail to discover anything
of a saccharine nature about your work;
but at the same time it is very good. You
have too much slant in o and ir. Tone
down the size of your work.

R. D., R. I. The down stroke in c should
be nearly straight. Study the form of r.
Review figures ; they are too large.

P. P., Minn, m and n should be narrower,
and do not raise your pen before a or o. Put
more curve in the up stroke of s. Keep
right at work; you are doing all right.

M. B.,R. I. Your work is'too large; get it
down to a proper size. Be careful of the
turns at the top of n and m; they should all
be rounding.

I. E. S., Mass. Your capitals are too large;
% of a space is high enough for any capitals.
Start E with a dot. Make small letter exer-
cises still smaller. Curve the down strokes
of ostill more. Study the foftn of figures;
some of yours are not good.

W. A. D. C, Mass. A slants too much;
watch this feature closely. Do not put so
much curve in the first stroke of i and u.
Your movement is good. Keep up your
practice on words.

A. H. B., Okla. The work you sent me was
very good but there was not enough of it.
Send some of each plate in every lesson.
Get better paper, and keep right at it.

M. A. C, 111. Your practice work has the
professional swing and by paying attention
to a few details you can become a fine pen-
man, tn is too wide, w is not finished
properly; study the form.

M. N. S., Pa. My advice to you is this:
Keep right at these lessons. There are some
good things coming that you cannot afford
to miss. If you complete these lessons
satisfactorily you should be in line for a
professional certificate.

E. W., R. I. Use more speed; close o at
the top. Make the down stroke of c more
nearly straight. Do quite an amount of
practice on this work. You will succeed.
I. F. W., Pa. Your work shows thought
and care and has the real swing required in
professional writing. You had the best
work of the month as to arrangement and

A. S., 111. Try to get more accuracy in
your movement exercises, as this is one of
the results to be obtained from such prac-
tice. Begin E with a dot and do not make
any capital letter higher than '-' 3 of a space.
More speed on A and O. Small letter work
needs to be reviewed, as there are too many
kinky, weak places in the lines. Study the
form as you review. Figures should be

S. G., 111. Uniformity of slant needs at-
tention for the first thing. Watch this in
all your practice, both in exercises and in
letters and words. Make smaller figures
and study the forms closely. Avoid a loop
in the last part of A. Practice all these
copies as near the same size as the copy in
The Business Educator as you can.
A. S., 111. Use better ink and you can see

your faults better yourself. You have too
much slant on (J. Use the same slope as
you did for E. Work more on small letters.

E. D., 111. Your movement is good. Tone
down the size of your capitals ; they are too
large. Start E with a dot. Study the finish-
ing part of w.

F. B., 111. Good work on exercises, but
your capitals are weak. Do more work on
them. It is thoughtful practice that tells.
Small ir is too wide; correct this fault in //;
and n also.

L. C, 111. The care that you used in mak-
ing exercises stele all your freedom. Try
to combine speed and accuracy in your
work and then it will be much better.

H. D. M., HI. Make an emphatic dot at
the beginning of E. The turn at the bottom
of c and e is too angular. Aim to get half
turns at these points. Put more curve in
the up strokes of r and s.

R. B., 111. Use more speed in O. and E;
this wil! give you better lines. The down
strokes in 7 and 9 should not be so long.
Do more work on capital letters and be sure
you improve the quality of line in all letters
N. M. D., 111. Keep your practice down on
the line. Study the form of capital 25, es-
pecially the little loop in the middle. No
part of figure 4 comes below the line.

E. V. B., 111. Very good work. E needs
some attention; review it carefully and
continue your work on the next lessons the
same as you have done on this one.

M. C. W., 111. Put more speed on capital
letters. At the bottom of i and u there
should be half turns instead of angles.
Strengthen the connecting strokes; they
are too weak.

I. F., 111. Review all movement exercises
and try to get smooth lines. This will ne-
cessitate using more speed. After you have
improved your movement try capital letters
again. Figures are too large.

D. W., III. More curve in the down stroke
of O. Make a dot at the beginning of E.
Reduce the size of figures and study the
forms closely.

R. P. K., Ohio. Beginning and finishing
strokes are important. Throw your pen off
the paper while it is in motion when you
finish words. Close o and a at the top. The
top of i-. rand irare similar. Be sure to get
the projection made just right.

C. L., R. I. You need more practice on
movement exercises. Aim to get your work
accurate as well as free. Review figures

W. E. N., W. Va. Your movement exer-
cises are very good and if you maintain the
same standard of excellence throughout
the course you will learn to write well.
Keep at it.

H. A. B., Mo. Very fine work ; the best all-
around practice of the month. The down
stroke of c should be more nearly straight ;
this will necessitate making the turn at the
top shorter. Do not forget to close o at the
top. You can do better work by using ruled

F. G. A., Pa. Avoid the loop at the top of
-Land both small letters and capitals can
be reduced in size. Study the turns at the
bottom of i, it and w. Your figure work is
very good.

C. W. H., N. Y. Make the dot at the top of
c quite emphatic. The down stroke of u
should have more curve in it. You need
more time on 8 and r. Figures are good.
J. F. S., Pa. . I find it impractical and im-
possible to criticise your work front such
small scraps; send your work arranged on
sheets so it will be accessible and I will be
glad to help you.

P. J. B., Wash. D. C. Make each down
stroke in small letters come to the base line.
Study the lower turns carefully. Yours are
too angular. Avoid the loop at the top of o.
Figure 7 needs some attention; the top is
too wide.
A. H. Bullis. Send more work. I cannot

get a proper idea of your ability until I see
your practice. Come up next month with a
full installment. I do not return work.

F. B.,I11. More speed on your movement
exercises and give some attention to the
slant. Keep right on practicing O and E
until you master them. Better get some
ruled paper; you can do better work.

W. J. S., N. Y. Do not raise your pen in
making the last part of i-. Avoid a loop at
the top of c; make that dot by retracing the
turn. Closer; and a at the top, and watch
uniformity of slant. Very good figures.

M.F..R. I. Your turns at the base line
are too angular. Try to strengthen your
lines; they have shaky, nervous places in
them. More speed will assist. Slant o less
and reduce the size of figures.

W. B., 111. Too much slant on all your work,
it affects its legibility. Plenty of curve in
the upstroke of s and r will improve them.
Review 3; the form is poor.

L. F., Ohio. Your work is all too large.
Reduce the size, at least one-half. The best
way to get the proper size is to write the
same size as the copy.

J. A. X., Pa. Movement work is good; a
little more accuracy will improve it, how-
ever. Capital letter practice is too large. I
would advise you to use a finer pen; you
can get better results.

C. L., R. I. You should make V consider-
ably narrower. Eliminate the loop at the
top of n and keep all your writing down on
the base line.

W. S. S., 111. It all depends on how hard
you work as to the time it will take you to
complete the course. I think, however, that
if you keep earnestly at it you should im-
prove considerably by June. Make the
down stroke of c nearly straight. Put more
curve in the down stroke of o. Make the
little projection more emphatic at the top
of r, w and r. Your figures are too large.

H. E. M.,S. D. Very good work, and the
only special criticism I have is that you
watch the uniformity of size very closely.

E. W. M„ Wis. Practice the lessons just
as they are presented to you in the EDUCA-
TOR. Arrange your best work in a careful
manner and send to me; I will do the rest.

E. L. K , Wis. You are improving nicely
and by continuing your efforts 1 think a
certificate will be the reward, as well as a
good handwriting. Review r and s; they
need careful study and practice.

H. M. H., Ont. Do not deviate from the
copies so much. That random practice you
are doing will not give you much improve-
ment. Stay right by the text.

F. L- F., Mass. Use a finer pen and more
speed. These two things will work wonders
in your results. Watch the finishing stroke
of i, n, in and n. Study the curve in them
and try again. Figure 5 needs attention.

O. P. M., Kans. You have done exceed-
ingly well on movement work. Try to elimi-
nate the hook on the first stroke of capital
(). Observe the slant of the little loop in E.
Figures are much too large. This is the
kind of work that wins. Keep at it.

L. A. P., R. I. Slant should be uniform;
give it some attention. Make .s sharp at the
top and try to get that little point more
prominent at the top of r. Good work on
the whole; continue.

Pittston High School, Pa. Your work on
the whole was very good, especially the
specimens. Do more work on movement
exercises and in doing it, try to improve
the quality of line, as this is one of the
chief faults in nearly all the papers. B. F.
had good strong lines; J. A. P. and J. A. h.
followed with strong work. Keep the size
down to about the size of the copies. Send
some practice from each plate of the les-
son for criticism. I do not return work.

H. H. W., Mo. You have done well. Re-
duce the size of letters. All your writing is
too large. Curve the up stroke of s still
more. Did you get a certificate last year?

^^&utin*&&</iUK&r A

C. O. S., Mo. Take a dry pen and trace
the copy of 8 until yon get the proper form.
Do the same thing with c. Your figures
should be smaller.

C. E. Z., la. Review the first lesson ; your
movement needs brushing up. Use more
speed. Do not make the down strokes any
heavier than the up strokes. I would ad-
vise you to try a finer pen.

D. E. B., la. Figures should be about the
size of the copy; correct this mistake in
your next work. Review and E, but be-
fore doing so, study the form given in the

W.J S.,Vt. I am sorry but I have not
been able to give your work any special at-
tention this month ; however, you are doing
nicely and by just keeping at it you will be-
come a good writer. Send in your work
each month. The down stroke in c should
be more nearly straight. Do not turn the
last part of irand j- toward the left so far.
Make the point at the top of r more em-
phatic, and put more curve in the up stroke
of s.

C. F., Neb. Aim to get the same grade of
work on all the lessons as you did on the
first one. Review small letters; they are
not quite up to the standard. The figures
are very good.

L. V., W. Va. Excellent work. The only
suggestion I have to offer is to write just a
little smaller and keep at it.

S. C. Diver. You have done nice work and
need to be complimented on the appearance
of the pages. Strengthen the connecting
strokes in small letters, and come in next
month. Put the state on your sheet as well
as your name.

A. M. D., Md. Why not send an entire
lesson prepared the same as that one plate?
I am sure you can profit by it. You are
capable of doing very fine work.

A. H., X. Y. I would be glad to give you
personal criticisms, but I can't now on ac-
count of "too busy," but later on when you
need them more I will use sotne red ink for
your benefit. Put more curve in the up
stroke of s and do not get a loop at the top.
Study the form of 4 and then improve it.
Take a dry pen and trace the copies before
practicing; this will help to give you an
idea of form. Make finishing strokes shorter.

M. A. F., R. I. Do not use any finger move-
ment in small letters, even though your
forms are not so good at first; just keep
right at it and you will improve them.
Watch the finishing parts of r, ir and r.

I. G. M., Pa. Do some more practicing on
E. Begin it with a dot and notice the slant
of the small loop in the middle. Your small
letters are very good.

H. M., R. I. Review the small letter move-
ment exercises; you do not seem to be able
to get smooth lines. This is due largely to
poor movement. Do not raise your pen be-
fore o or a.

E. C R. I. Try to strengthen connecting
strokes. Your forms are good, but it looks
as though you had sacrificed speed and
ease for form. Try to get the happy medium
between the two extremes of speed and form.

G. R., R. I. Your finishing strokes are too
long. Aim to have all letters rest on the
base line. You should review r; it is the
poorest letter you have made.

N. C, R. I. Decrease the size of your
writing; it is too large. In writing short,
easy words do not raise your pen until you
finish. Less slant will improve the legibility
of your work.

E. D., 111. Make a decided hook at the top
of c, as this is the part of the letter that
makes it legible. .Notice the curve at the be-
ginning of in or n, and do not compound it.

I. F., 111. Use ink that flows freely and
put more speed on capital letters. Aim to
get half turns at the bottom of i, it and w.
Do not shade the down strokes in letters.

R. O., Wis. Send more of your practice
work and arrange it the same as in the
plates. Try again.

R. W., 111. Good movement work, but when
you tried to apply it to letters and words it
was not so good. Practice more on letters,
and try to use the same speed and confi-
dence that you do in exercises.

N T . M. D., 111. You are working along the
right line. Study the copies closely and try
to get the same strength in connecting
strokes as you find in them.

M. C. W., 111. Use a finer pen. Do not
raise your pen before o and always close
this letter at the top. Finishing strokes
should be curved and thrown outward and
upward. Figures 7 and 9 should extend
below the base line.

S. G., 111. Your writing is too large. The
forms are very good. Better review the
small letters and try to get them about the
proper size.

G. W., 111. Aim to get all strokes smooth.
You are a little timid when making capital
letters. Dash them off boldly and practice
for good forms. Do not shade down strokes.
Figures are too large.

E. V. B., 111. Your work is very good, and
by following closely and working out each
lesson you ought to become a fine writer.
No special criticism.

E. S.,111. Fine effort, especially on exer-
cises. Figures are too large, and you will
find you can do better writing all around by
writing smaller. Try it.

A. S., 111. Your ink did not flow well
enough. Do not raise your pen before a.
Make the dot at the top of r more prominent.
The down stroke in c is straight.



Professional Business Penmanship

Becker's Busir


With Editorial Comment.

Worcester, Massachusetts.


Intelligence, backed by a resolute will, achieves wonders. There is scarcely nothing we cannot do or accomplish if we but go at it
intelligently, and stick to it. You can acquire a fine handwriting if you but will to do so and then back it up by intelligent practice. A
few fitful, disconnected efforts will result in failure, but many determined, connective efforts are sure to succeed.









The thought in the sentence of the copy is so well put and complete that further comment seems unnecessary. Weigh carefully the
meaning of each word and then try to realize the meaning through practice. Note the spacing between letters and words, and see to it
that your position is at once healthful and efficient. Health is even mire valuable than penmanship.

^^^L/", ^£^^£-^z&-

ts^£^L**C*^Z*~4>£^ZS J


3#fa&uA/nedy&dtuM&r <fe



Progressive Lessons in Business Writing



Send Specimen

San Francisco, California, Business College
for Criticism to "Criticism Editor," Care The Business Educator, Columbus, O.



Do You Kcally Want Co Ccarn Co Write?

We need not speak of the value of penmanship. You know its value. You know the ability to write a good hand ifc worth many times
the effort it costs. One man recently told the writer he would be willing to give a check for $10,000 for a good business hand — and that
check would have been honored almost anywhere in theland. Of course you want to learn; of course you are ambitious; of course you
know it will pay you to learn. But have you the will power to live up to your convictions? Have you the power to reduce your ambition
to hearty, earnest, conscientious practice ? One succeeds where another fails not because he is brighter, more apt or more ambitious, but
because he is able to reduce his ambition to hard work, and because he is able to stick to things. Now make up your mind that you will
practice, and practice faithfully and conscientiously all the exercises given in this course of lessons, and that you will stick to your
work until the entire course is finished. We will be responsible for results.

MATERIALS. Get a good quantity of good quality foolscap or letter-size paper, cut into single sheets. Do not use paper on which ink
spreads, nor paper that is smaller than 8 x 10 inches. Use either blue or black ink that flows freely. If it gets muddy, try thinning it.

If that is not successful, throw it away and get a new bottle. Use a medium coarse, soft pen. There is no better pen made
for business writing than the Zanerian business pen, which can be secured from the publishers of THE BUSINESS EDUCATOR. Do not
try to write with a scratchy, sharp pointed pen or a stub. Do not be too economical in the use of pens. As soon as one begins to make a
heavy or muddy line, throw it away. Ordinarily a pen should not be used over three or four hotirs at the most. A cork or rubber tipped
pen holder should be used. Keep a blotter under the hand at all times. Do not try to write on a fancy writing desk or parlor stand. You
should have a good sized solid table. A pine one is much better than a mahogany. Always keep three or four sheets of paper under the
one on which you are writing.

POSITION. Sit squarely facing the desk, with the feet flat on the floor in front. Lean forward from the hips until the eyes are the
proper distance from the paper. Keep the spinal column in its natural position. Place the paper directly in front of the eyes, so that the
down strokes may be drawn toward the center of the body. Place the left hand just below the writing, using it to shift the paper from
left to right as necessary. Allow right arm to rest easily on the table, forming a right angle at the elbow. Raise the right hand and let
it drop naturally to the table, restingon the tips of the 3rd and 4th finger. Take the pen in the left hand. Place it in the right hand so
that the holder crosses the second finger just below the first joint. Fit the ball of the thumb over the pen holder about one inch from the
end of the holder, allowing the first finger to rest against the holder in the natural way. The pen holder should point in the direction of
the right shoulder. The arm should rest on the fleshy part, just in front of the elbow. Do not allow the wrist or the side of the hand to
touch the paper. Make the muscles of the upper arm and shoulder do the work. The muscles of the fingers do little else than hold the
pen. The muscles in front of the elbow serve as a cushion on which the arm rests. You are now ready for practice, but before you begin,
we wish to urge you to use intelligence in your practice. Do not practice blindly, or thoughtlessly. Use observation — use common
sense. Think while you write, but think about the form and execution of the letters, and not about the matter vou are writing.

In this course of lessons we have endeavored in so far as we know, to present the work in a logical manner. The letters are given in
the order of their ease of execution — the aim being also to give letters that are made with similar movements in groups.

In each plate you will note that movement practice precedes the capital and small letter. This gives practice on each part of the let-
ter before the letter is tried. We have studiously avoided bringing in a style of letter that has in it a peculiar, difficult or uncommon
motion, and have striven to make everything as plain and simple as we could, basing all the letters upon few principles. We have also
sought to use the same form for capital and small letters where it is practical and has no disadvantages. We believe much more satis-
factory and permanent benetitcomes from systematic practice on one form of a simple letter than is possible from wandering, careless
work on different styles. The instructions given are brief. By studying the model letters shown, you can get a better idea of the forms
of the letter than we can give you by elaborate instructions.

PLATE 1 Begin with the direct ovalexercise shown in the copy. Let the pen move in the direction indicated by the arrow. Count
;.. yourself, one for each down stroke. Let the arm rest on the muscles below the elbow and the hand on the corners of 3rd and 4th fin-
gers; keep the wrist up. Keep at this exercise for half an hour, or until you can make it fairly well. It should be made about the size as
the copy, and at a rapid rate of speed. Next take the second exercise on the line. This is made by pushing the hand directly to and
from the center of the body, driving it as far as it will go without causing the sleeve to slip on the table, or the skin to slip inside of the
sleeve. The elasticity of the muscle itself should allow you to make this exercise over an inch in height. Count one for each down
stroke. Do not allow the muscles of the fingers to relax and expand. Move the hand rapidly. The arm does the work. After working on
this exercise until you can do it fairly well, take up the third exercise on this line. You will note that it is the same as the first, except-

Online LibraryFrank OvertonThe Business Educator (Volume 12) → online text (page 42 of 99)