ACQUIRING A FORMAL HAND: (4) PRACTICE
Practice — Scripts I. & II. — Arranging & Ruling a Single Sheet —
Problem I. (a Sheet of Prose) — Problem II. (a Sheet of Poetry) —
Spacing & Planning Manuscript.
PRACTICE
In acquiring a formal writing the penman should have two paper books
constantly in hand: one for the study of the forms of letters, the
other for both the letters and their arrangement. The first should
contain large and very carefully made writing—with perhaps only one
word to the line; the second [p086] should have smaller and quicker
writing, neatly arranged on the pages, with four or five words to the
line. (See MS. Books, Chap. VI.)
A broad nib is used in preference to a narrow one, so that the
characteristics of true pen-work are brought out and the faults made
clear. A fine, light handwriting is often very pretty, but it is
certain to mislead the novice in penmanship (see p. 324).
Having acquired a formal hand the penman may modify and alter it,
taking care that the changes are compatible, and that they do not
impair its legibility or beauty. Such letters as are obsolete he
replaces by legible forms akin to them in feeling, and, the style of
the selected type becoming very naturally and almost unconsciously
modified by personal use, he at length attains an appropriate and
modern Formal-Handwriting. The process of “forming” a hand requires
time and practice: it resembles the passage of “Copy-book” into
“Running” hand, familiar to us all (see p. 323).
[Illustration: ‹Fig. 58.›]
SCRIPTS I. & II.
Having cut the nib of a reed or large quill to the exact width
required for the thick stroke, copy the component strokes of the
letter @ (Script I.), and [p087] immediately make the complete
letter: go through the whole alphabet in this way several times (fig.
58). Next join the letters together (see p. 73) [p088] to form
words—writing always between ruled lines (fig. 59 & p. 414).
[Illustration: ‹Fig. 59.›]
[Illustration: ‹Fig. 60.›]
Script II. is similarly practised: the letters are _grouped_ (p. 82)
to form words (fig. 60).
Next make a neat page of large writing, and, if possible, write such
a page every day. The more definite and methodical practice is, the
better. “Practising” _anyhow_, on scraps of paper, does more harm
than good.
[Illustration: ‹Fig. 61.›]
ARRANGING & RULING A SINGLE SHEET
The _size_ of an inscription is commonly settled before the
arrangement of the text is planned out, being determined by
considerations of its future position and office, or by custom and
use (see pp. 100–103 & 351). [p089]
The proportions of the writing, spacing, and margins will likewise
properly _settle themselves_ (see pp. 265, 103, 107), but where the
size of the sheet only is fixed, we have, broadly speaking, to decide
between “large” writing with “small” margins (fig. 61), and “small”
writing with “large” margins (fig. 62).
[Illustration: ‹Fig. 62.›]
Generally a compromise is arrived at and the proportions are more
evenly balanced (fig. 63).
_Ruling_ (see also pp. 258, 99).—The mode of ruling _marginal
lines_ and _writing lines_ is shown in fig. 65. The ruling should
be light, but firm and accurate. A fine pen, or hard pencil, or a
blunt point may be used. Where the _writing lines_ are double (as
for _round_ hands, p. 304), it is best to have a double ruling point
(see fig. 77). Two hard pencils firmly [p090] lashed together make
a convenient tool for large work: the distance between the points is
easily adjusted by means of a small wedge.
[Illustration: ‹Fig. 63.›]
PROBLEM I. (A SHEET OF PROSE)
_To write out the Pater noster_ (50 _words_) _in a formal round-hand
(arranged in “mass” of equal lines) on a sheet of “foolscap”_ (i.e.
17 _inches high and_ 13-1/2 _inches wide_).
If the size of the writing be considered of the first importance, a
few words are written out in a script chosen to suit the subject, the
space, &c., and these are measured to find the area which the whole
text so written would occupy (fig. 64). The size of the script is
then modified, if necessary, to suit the available area. [p091]
[Illustration: ‹Fig. 64.›]
[Illustration: ‹Fig. 65.›]
[Illustration: ‹Fig. 66.›]
[p094]
Frequently it is desirable first to determine the sizes of the
margins. These depend on various considerations of the position and
office of the MS., but more particularly on the size of the sheet and
the character of its future environment[14] (see p. 351).
The _top_ and _side margins_ may be of equal width—or the _top_ may
be a little less (see _a_, fig. 70). Ample space should be allowed
for the _foot margin_, which is generally about twice the width of
the _top_, but may vary in different cases, according as the text
falls short of or encroaches upon it (see pp. 352, 342). For a plain
_foolscap_ sheet: _sides_ (each) 2-1/2 inches, _top_ (approx.) 2
inches, and _foot_ (approx.) 4 inches, may be taken as suitable
margins (fig. 65).
The _width of the sheet_ (13-1/2 inches) less the two _side margins_
(2-1/2 inches each) gives _the length of the writing lines_ (13-1/2 –
5 = 8-1/2 inches). One or two such lines are written experimentally
in a suitable script (say, 5/16 inch), and _the average number of
words per line_ (four) is found.
The number of words in the complete text (fifty) will determine the
number of lines: an extra line or so may be allowed for safety (50/4
= 12-1/2, say, _thirteen_). The spacing of these is calculated—
5/16 in. writing requires about 7/8 in. (close) spacing (p. 79):
_Thirteen_ lines at 7/8 in. gives 11-3/8 in. = _depth of text_:
11-3/8 in. from 17 in. leaves 5-5/8 in.[15] for _head_ and _foot
margins_
—and if the space is not sufficient, the writing is made a little
smaller. If, on the other hand, the [p095] marginal depth left over
were excessive, the writing _might_ be made a little larger in order
to fill up the space.
PROBLEM II. (A SHEET OF POETRY)
_To write out_ “_He that is down, needs fear no fall_,” _in a formal
round-hand on a sheet of foolscap_ (i.e. 17 _inches high_ × 13 1/2
_inches wide_).
Here there are three verses of four lines each: these with two space
lines, left between the verses, give a total of fourteen lines (fig.
67).
[Illustration: ‹Fig. 67.›]
A poem has a given number of lines of various lengths, and only very
strong reason or necessity can justify our altering its proper form
(_e.g._ by breaking up the lines) in order to make a mass of equal
lines. Such theoretical margins as are possible in the treatment of
prose can therefore seldom be observed in writing out a poem, and,
unless the height or the width of the sheet can be altered, there is
apt to be an excess of margin in one or the other direction. When
such excess margin is obviously unavoidable, no objection can be
made to its appearance. _Poetry may conveniently be treated as “fine
writing”_ (see p. 263).
If the size of the writing be considered of the first importance,
several of the _longer lines_ (_e.g._ the first and the eleventh
in the poem given) are written on a piece of paper in the size of
writing preferred (say, 1/4 inch). By laying this paper on the given
sheet, it is seen whether such lines would allow of sufficient _side
margins_. (If they would not, the writing may be made smaller.)
The height of the writing (1/4 inch) must allow of the full number
of lines (fourteen) being properly [p097] spaced on the sheet (17
inches) with sufficient _head_ and _foot margins_. This is calculated—
1/4 in. writing requires approximately 3/4 in. spacing (p. 79):
_Fourteen_ lines at 3/4 in. gives 10-1/2 in. = _depth of text_:
10-1/2 in. from 17 in. leaves 6-1/2 in. for _head_ and _foot margins_
—and if the space were not sufficient, the lines might be made a
little closer, or the writing a little smaller (or, if necessary, the
blank lines might be left out between the verses; p. 123).
_The Sizes of the Margins._—It will be seen that the above method
is primarily for settling _a length of line_ which will allow of
sufficient side margins. The process can be reversed; if necessary,
the side margins are made of a given width, thus determining the
exact length of the line, _the size of writing_ which this line
allows being found experimentally.
‹Note.›—The _extra_ long lines may slightly encroach on the
right-hand margin: the effect of this is balanced by the falling
short of other lines.
SPACING & PLANNING MANUSCRIPT
In penmanship great nicety of spacing and arrangement is possible.
The _ascending_ and _descending_ strokes may be shortened or drawn
out, the spaces between letters and words may be slightly increased
or decreased, the lines may be written near or far apart, and the
letters may be written with a broader or narrower nib.
Elaborate spacing and planning, however, should not be attempted at
first, and straightforward, undesigned work is often the best. The
student is apt to waste time writing out an elaborate draft [p098]
in order to ascertain how to space the matter. This is a mistake,
because if written well, it is a waste of good writing on a mere
draft; if written ill, it is bad practice. The briefer experiments
and calculations are, the better, though the simplest problem always
requires for its solution a calculation or _process of guess and
trial_ (such as suggested in the preceding pages). Practice will make
people very good _guessers_, and the best work of all is done when
the worker guesses rightly, and follows his guesses with the actual
work, itself the trial and proof of accuracy.