Part 3

Quick, “jerky” strokes, especially with the pen, are decidedly bad form, and should never be attempted until the student has advanced to the point where it is possible to gain a little speed and yet be neat and accurate.

The instructions on the practice charts, as well as on the following pages, regarding the early lessons are fully explanatory.

There should be absolute silence in the classroom, and students should be so arranged that the instructor and assistants may pass rapidly from one chair to another, watching each student, and making corrections wherever necessary. The instructor should provide himself with a pen or brush as necessary, and use a separate sheet of paper in showing the students the correct method of making certain letters. Students need suggestions particularly on the formation of the letter “C,” the letter “S,” etc. Once the “reason why” is mastered, the rest is easy.

Students should assume an easy, comfortable position. A cramped position is hard on the muscles and nerves, and ruins the eyes. Keep the head well over the work and have the work in front of the body—never too far toward the right.

Don’t be afraid to “bear down” on the pen—pressure will keep the hand from “wobbling.”

Keep the third and fourth fingers “folded in” and permit the hand to rest comfortably upon the table or drawing board. Use the thumb, first and second fingers to hold the pen or brush firmly and do as much of the work as possible with these fingers. In other words, “loosen up” the wrist and fingers.

INSTRUCTIONS—LESSON NO. 1

Fundamentals—See Large Chart.

On the adjoining page is shown the plain speedball alphabet, one of the simplest alphabets that can be formed. The light lines show the direction in which the pen should move in forming the letters, and the numerals indicate the order in which the strokes should be made.

Keep the “foot” of the round speedball pen flat on the surface of the paper or cardboard and press down with considerable force so that the pen makes a full, even stroke.

Do not carry too much ink, as it will run and spoil your work.

Practice slowly and patiently.

Learn to form carefully the “lower case” or small letters, “i,” “l,” and “o.” All of the “lower case” letters containing ovals should be of the same uniform proportion.

In this alphabet the “O” has been formed as a perfect circle, thus giving the student something definite to work from. It will be noticed that a-b-c-d-e-g-o-p and q contain ovals which must be uniform. Also notice that the lower case letter “i” is the first stroke in the letters “m” “n” and “r,” and with a slope, is used in the construction of u-v-w-x and z, and that the letter “l” is the first stroke in the letters “b-h-k and p”; thus the formation of an alphabet requires very few strokes.

It is also well to bear in mind that the experienced showcard writer does not “work” or think in terms of letters, but his mind works in terms of “strokes”; thus he knows when forming the lower case letter “b” that the first stroke will be exactly like or similar to the lower case “l” and then must be added the oval.

The capital letters are made up of uniform strokes, and the same with the numerals. It will also be noticed that wherever there is an oval, it should be as nearly the form of a circle as possible. The “oval” in figure “2” if continued would be a circle. The figure “3” is the same as figure “8” except that in “3” the ovals have openings. The loop of figure “5” should be almost a complete circle, the same as the loop in “6” and the lower loop of the numeral “8” should be the same size as the loop in “9.”

The ovals of the lower case letters should be of a proportion that will occupy the space between cross lines “B” and “C” shown on the chart. After a little practice on the charts, =and in the first lesson omitting the spurs entirely=, this alphabet will be easily mastered.

It will be noticed that the ruled lines on the chart are numbered A-B-C-D. This is for the convenience of the student, with the idea in mind that the ovals of the long stem letters are two-thirds total height. That is—the space from line “A” to line “B” should be one-half the space from “B” to “C” and the space from “A” to “B” should be equal that from “C” to “D.”

This is an excellent proportion for practice work, although the student after he progresses is at liberty to vary these lines as may appeal to his fancy. (See page of speedball “variations” following lessons).

By “spurs” is meant the little cross finishing lines as shown on the chart. Omit these “spurs” during the use of the first two or three charts.

In lesson No. 1 follow on the chart only the lines indicated on the following page.

Then carefully study the layout suggestions—where the “balance” of display comes—and the various arrangements.

i l [symbol] o a a b c d e f g h i j k l m n o p q r r s t u v w x y z 1 2 3 4 5 6 7 8 9 0 A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Cond Exten

Display Should be Well Balanced About This Point—Which is the Optical Center—

Actual Center

Well Balanced Layouts—

Are Essential to Neat Work

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