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VOL. 2. CHICAGO, DECEMBER, 1885. No. 9. A Monthly Journal Devoted to the Interests of Penmanship. SUBSCRIPTION PRICE, 6oc. PER YEAR. A. N. PALMER, Editor. PALMER & CO., Publishers. HOW TO LEARN. BY PBOF. E. K. ISAACS. Article III. " Paralleliness !" I told you in my last article to observe, among other things, parallelism in writing. The proof reader of the Westebn Penman thought he knew more about penmanship than I did, so he put it "paralleliness." The new word made me angry at first sight, but after all, there may be more chirographic signification in it than in mine; it is certainly easier on the jaws, and then it has sueh a rippling, soothing quality. To see it, or speak it, or hear it spoken, has the same effect on one as does a pleasant moonlight ramble along some gentle stream, listening to the liquid murmur of its waters. No doubt the reason why Webster did not use it was because he was afraid it might put him to sleep, or make him love-sick. But I promised to say something in this article about MOVEMENT. You all know that writing is made up of lines, and a line is usually defined as being the path of amoving point; hence, how and where to move that point becomes the absorbing desideratum in learning to write, In my last article I -spoke about form and how to learn it. I did so before saying anything about movement, because I had to speak of one or the other firsthand although form and movement may in one sense be considered of equal importance, yet it is, a fact that movement is subservient to form. You hear so much about movement from some quarters that it is possible that some of you have been imbued with the idea that movement is the Alpha and Omego of all your practice. You are told to practice movement exercises to develop freedom. You are even told by some not to be so careful about the correct forms, because you lose your freedom of movement. Well, movement is certainly of great importance, but, nevertheless, it is subservient to form. In learning to shoot, do you waste time and powder in firing at random into the air, or do you have some object that you want to hit? Do you. learn to sing by simply making a noise, independent of tones and tunes ? Do you ever eat without eating something ? Movement and movement exercises in learning to write are of value only as they bear a di- reot relation to form, and that relation should be understood and appreciated by the learner. Form is the basis of improvement, and the learner who acquaints himself thoroughly with form, and concerns himself about form while practicing, and then uses the proper movement in his practice, is the one, other things being equal, who comes out the best writer. But the proper movement, there is the rub. I told you in my last to secure all the back numbers of the' Westebn Penman and read up thoroughly what is said about movement. Brother Palmer is administering doses of muscular movement to you every month, and in the November number he gave illustrations and directions on how to acquire it. Now there is no mystery about the muscular movement. Here is my definition: The muscular movement is the combined action of the arm, hand and fingers while writing, the arm-rest being stationary, and the hand-rest moving. It is a very easy matter to adjust the arm and hand in the proper position and to set them going. Any one with but ordinary sense and ability can learn to do that in less than half a minute. But to learn to form the letters well with that movement takes a little more time. In fact, it is somewhat of a job, but you can learn it, and to become good business writers you must learn it. To learn to write with the muscular movement you must practice with the muscular movement. I have said that movement is subservient to form, and that the mechanical part of moving the hand and arm can be learned in less than half a minute, and now remember that it is your business as learner to follow directions: Learn the form, then practice with the muscular movement; learn the what, and the how, then go to work! You say this is cheap advice; that according to this it must be a very simple thing to learn penmanship. As to the advice, it is certainly cheap, for the Westebn Penman costs you only 60 cents a year, and is worth ten times that amount. As to learning penmanship, it may be a simple thing, but to successfully master it require that quality which in itself is the essence of simplicity, namely, pebsevebance. (To be continued.)
Object Description
Title | Western Penman, Vol. 2, No. 9 |
Description | Issue of The Western Penman, a publication of the Western Penmen's Association. |
Subject |
Penmanship -- Periodicals Penmanship -- Study and teaching Western Penman's Association |
Local Tags |
digitized Western Penman Penmanship Journals |
Date Created | 1885-12 |
Decade | 1880-1889 |
Journal | The Western Penman |
Volume and Issue | Vol. 2, No. 9 |
Publisher | Worthington and Palmer |
Place of Publication | Chicago (Ill.) |
Category | Journal issues |
Collection |
Zaner-Bloser, Inc. / Sonya Bloser Monroe Penmanship Collection |
Source |
Helen Gallagher McHugh Special Collections Zaner-Bloser, Inc. / Sonya Bloser Monroe Penmanship Collection |
Rights | Public Domain (United States) |
Access Rights | Public |
Identifier | westernpenman02-09 |
Type | Text |
Format | image/tiff |
Language | eng |
Rights URI | http://rightsstatements.org/vocab/NoC-US/1.0/ |
Date Added | 2018-02-02 |
Description
Title | westernpenman-b01_0177 |
Date Created | 1885-12 |
Decade | 1880-1889 |
Identifier | westernpenman-b01_0177 |
Transcript | VOL. 2. CHICAGO, DECEMBER, 1885. No. 9. A Monthly Journal Devoted to the Interests of Penmanship. SUBSCRIPTION PRICE, 6oc. PER YEAR. A. N. PALMER, Editor. PALMER & CO., Publishers. HOW TO LEARN. BY PBOF. E. K. ISAACS. Article III. " Paralleliness !" I told you in my last article to observe, among other things, parallelism in writing. The proof reader of the Westebn Penman thought he knew more about penmanship than I did, so he put it "paralleliness." The new word made me angry at first sight, but after all, there may be more chirographic signification in it than in mine; it is certainly easier on the jaws, and then it has sueh a rippling, soothing quality. To see it, or speak it, or hear it spoken, has the same effect on one as does a pleasant moonlight ramble along some gentle stream, listening to the liquid murmur of its waters. No doubt the reason why Webster did not use it was because he was afraid it might put him to sleep, or make him love-sick. But I promised to say something in this article about MOVEMENT. You all know that writing is made up of lines, and a line is usually defined as being the path of amoving point; hence, how and where to move that point becomes the absorbing desideratum in learning to write, In my last article I -spoke about form and how to learn it. I did so before saying anything about movement, because I had to speak of one or the other firsthand although form and movement may in one sense be considered of equal importance, yet it is, a fact that movement is subservient to form. You hear so much about movement from some quarters that it is possible that some of you have been imbued with the idea that movement is the Alpha and Omego of all your practice. You are told to practice movement exercises to develop freedom. You are even told by some not to be so careful about the correct forms, because you lose your freedom of movement. Well, movement is certainly of great importance, but, nevertheless, it is subservient to form. In learning to shoot, do you waste time and powder in firing at random into the air, or do you have some object that you want to hit? Do you. learn to sing by simply making a noise, independent of tones and tunes ? Do you ever eat without eating something ? Movement and movement exercises in learning to write are of value only as they bear a di- reot relation to form, and that relation should be understood and appreciated by the learner. Form is the basis of improvement, and the learner who acquaints himself thoroughly with form, and concerns himself about form while practicing, and then uses the proper movement in his practice, is the one, other things being equal, who comes out the best writer. But the proper movement, there is the rub. I told you in my last to secure all the back numbers of the' Westebn Penman and read up thoroughly what is said about movement. Brother Palmer is administering doses of muscular movement to you every month, and in the November number he gave illustrations and directions on how to acquire it. Now there is no mystery about the muscular movement. Here is my definition: The muscular movement is the combined action of the arm, hand and fingers while writing, the arm-rest being stationary, and the hand-rest moving. It is a very easy matter to adjust the arm and hand in the proper position and to set them going. Any one with but ordinary sense and ability can learn to do that in less than half a minute. But to learn to form the letters well with that movement takes a little more time. In fact, it is somewhat of a job, but you can learn it, and to become good business writers you must learn it. To learn to write with the muscular movement you must practice with the muscular movement. I have said that movement is subservient to form, and that the mechanical part of moving the hand and arm can be learned in less than half a minute, and now remember that it is your business as learner to follow directions: Learn the form, then practice with the muscular movement; learn the what, and the how, then go to work! You say this is cheap advice; that according to this it must be a very simple thing to learn penmanship. As to the advice, it is certainly cheap, for the Westebn Penman costs you only 60 cents a year, and is worth ten times that amount. As to learning penmanship, it may be a simple thing, but to successfully master it require that quality which in itself is the essence of simplicity, namely, pebsevebance. (To be continued.) |
Date Added | 2018-02-02 |
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