The Educator (Volume 45) - IAMPETH

18
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Handwriting Lesson
By JAMES T. MAHER,
Marion Business College, Marion, Ind.
This shows how Mr. Maher carefully and systematically develops the lesson at the blackboard where
pupils can see the movement.
Check or rule your paper to provide
two-inch spaces. Sit tall, squarely
in front of the desk, both feet on
the floor, the left a little in advance
of the right; both arms on the desk,
the elbows projecting over the edge;
curl the fingers back under the hand
to elevate the wrist and heel of the
hand from the paper; hold the pen
loosely between the thumb and second
finger, letting the tip of the index
finger rest lightly on the holder.
Keep in mind the three points of
contact—the muscle in front of the
elbow, the last two fingers, and the
pen point. Relax all the muscles of
the body. Test your movement by
seeing that the fingers slide with the
pen.
Now take up the ovals. Begin
with a small loop and continue with
the retraced oval one space in height,
down on the right, up on the left
lines light and the
Put five ovals in a
fingers sliding.
section. Move
the paper at the end of each section,
using the left hand. Continue with
the straight lines, push and pull, fingers
sliding. Are the lines extending
toward the center of the body?
If not, note the position of your
paper. The amount of time spent on
The accompanying lesson was
received from Mr. James T.
Maher. It represents one of
his daily lessons. The Educator
earnestly solicits other teachers
in business co 1 1 e g e s, high
school and grade schools to
submit one of their entire lessons
so that other teachers
may see what they are doing.
These lessons do not have to
be out of the ordinary, but
simply average lessons in which
the average teacher is interested.
warming-up exercises will depend
upon how well you have the funda-
mentals of position and movement
—
they are first conscious eiforts, but
later become automatic. Don't be
too critical of form at first, as it
takes time to bring the large muscles
of the upper arm and shoulder into
use and under control.
Study the form of the large "W"
at the right and left. Note the comparative
height of the parts. The
center of the letter is the tallest;
the finishing stroke is the shortest.
Note the space between the first and
second down strokes of the stem.
Note also that all strokes are slightly
curved, with little retracing. A
slight check in the motion is necessary
at the base, and at the top.
Think a rhythmic count of 1, 2, 3, 4;
or, over, under, down, over. Move
the paper with the left hand as you
write across the line. Get sixteen
letters on a line, keeping them not
taller than % the distance between
the lines. After writing a line, check
the points mentioned above. Draw a
ring around the good letters. Write
several lines.
In writing the words and sentence
watch beginning strokes, spacing
slant, turns, and endings. Let the
swing of the arm carry the hand forward,
but use the thumb and fingers
slightly on the down strokes and
tui-ns. Write as rapidly as you can
write well. As supplementary work,
write the small letters in groups, on
the line, and across the lines.
Don't be discouraged. Keep working.
You won't see all the points
about letters and movement at the
start. It takes time, but it is worth
the efl'ort. Send in a page of your
best work. Good luck.
Mr. Maher passes among the students correcting position and giving individual criticisms and copies like the above.