The Educator (Volume 45) - IAMPETH

28
Ornamental Penmanship a Fine Art
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These letters were made with the idea of using them as working models for students to study. While it is phys-
ically impossible to get everything perfect, we should aim at uniformity. For instance, the slant should be uniform,
the size and proportion should be the same. Beginning and ending ovals should be similar in size. Notice
the final ovals on A, C, D, F, H, K, M, N, O, Q, R, U, and X. The nearer you come to getting these ovals the same
the better your work will be.
Study parallel effects. Notice the parallel effect between the beginning shaded stroke of the A and the final stroke
in the oval. The parallel effect between the last shade on the B and the final oval. You should also study the
parallel effect in T, I, S, and F.
Pick out the similar shades. The A, C, D, E, and O are long shades and all of the same shape. The first shade
of B is the same as the shade in F, H, I, K, L, M, etc. The compound curve and shade on U, V and Y are exactly
the same.
By practicing similar letters in groups you will be able to make your writing more uniform and more of an exact
art. There is a place for every stroke. We should not add a shade on Ornamental Penmanship unless it improves
the letter. All of the letters should be similarly flourished. Avoid one plain unflourished letter next to a highly
flourished letter. A well shaped simple letter is much m ore beautiful than a poorly made highly flourished letter,
especially if the flourishes are made without regard to the laws governing good Ornamental Penmanship.
Send some of your practice work to The Educator. We always are on the lookout for work for publication and
we are always glad to offer suggestions and help to th ose who ask for it.