Consonants

15. Direction Of Strokes

Of the consonants on the opposite page every straight line is written in the direction of one of the lines in the first of the following diagrams, in which the lines are so drawn as to end at a common point. Number 2 is horizontal, number 4 vertical, and number 3 just midway between them. Number I slopes at an angle of 30 degrees, and number 5 at an angle of 60 degrees, from the horizontal base-line upon which phonography is always supposed to be written. The curves are written in the directions shown in the other two diagrams. In both, lines 2 and 4 are horizontal and vertical, respectively, and all remaining lines exactly half way between.

16. Direction Of Writing

All horizontal strokes are written from left to right. All vertical and slanting strokes from top to bottom with the following exceptions : and are invariably written up ; and may be written either up or down.

17. The Base-Line

Upright and slanting phonographic characters are so written as to rest upon a horizontal base-line ; that is, the lowest point of each should exactly touch the line. Horizontal straight strokes should exactly coincide with the base-line, while horizontal curves should be written in such a manner that the base-line will form the chord of the arc formed by the stroke itself, thus .

18. Size Of Strokes

The strokes should not at first be made smaller than on the following page. This size is the one most likely to insure to the learner accuracy and neatness in writing. When all the exercises in this book have been carefully practised, the size of I may with advantage be reduced to one-eighth of an inch.

19. Shade

The heavy curves should not be made heavy throughout, but merely in the middle, tapering toward each end. Let the distinction between light and heavy strokes be made by writing the light strokes very light, not by making the heavy strokes very heavy.

20. Method Of Practise

opposite page, as well as all the shorthand exercises that follow, should be first read (each stroke as it is named being traced with a dry pen), and afterwards written in the copy-book (see " Directions to the Student," page 109), each letter being pronounced aloud as it is written. Rewrite as often as necessary in order to produce absolutely accurate outlines.

Exercise on the Consonants.

Consonants

Continued.

21. Combinations Of Consonants

All the consonants of a combination or word must be written without lifting the pen, the second stroke beginning where the first ends, the third beginning at the end of the second, etc. See lines I to 3.

22. Strokes Of Variable Direction

When consonants are joined to each other they should be written in the same direction as when standing alone, except sh, which when standing alone is written down, but when joined to another stroke may be written either up or down ; and /, which when standing alone is written up, but when joined to another stroke may be written either up or down. Upward is named shay and downward ish ; upward is named lay and downward el.

23. The Base-Line

All phonographic outlines are written with reference to a base-line, either imaginary or, what is much to be preferred, actually ruled on the paper. Various kinds of combinations are written with regard to the line as follows: a. Combinations of horizontal letters should rest upon the line. See line 4.

b. Combinations containing but one descending or ascending stroke rest on the line. See lines 5 to 10.

c. In combinations where a horizontal stroke is followed by a descending one the first stroke should be written sufficiently high to allow the second to rest upon the line. See line II.

d. When two descending strokes are combined, as in lines 12 to 14, the first should be written down to the line and the second below it.

e. When two ascending strokes are combined the first begins upon the line. See line 15.

24. Checks

In every case there is a distinct angle between the consonants as combined on the opposite page. These ingles should be clearly formed in writing and there should be a slight pause or check of the hand at each angle, so that the momentum of the hand acquired in writing the preceding stroke shall not produce any distortion in the form of the stroke which follows.

See directions to the student, page 109. and writing exercises page 112.

Exercise On Joined Consonants

With Angles.

Consonants

Concluded.

25. Continuous Joinings

When there is no angle between two adjacent strokes in a combination, there should be no check or pause of the hand between them and the movement should be smooth and continuous from the beginning of the first stroke to the end of the second. Such joinings are of various kinds according to the relation of the strokes to each other: a. Straight strokes doubled (see line 1); b. Adjacent quadrants (see line 2); c. Tangent joinings of (1) straight strokes with curves (see lines 3 and 4) and (2) opposite curves (see line 5).

26. Modified Shadings

When heavy strokes are joined without angles they often lose or gain shading at some part of their length. a. When a heavy straight stroke is joined to a light stroke it is written wedge-shaped so that there shall be no shade at the point of joining. See lines 6 and 7. b. When a heavy curve joins a heavy stroke it is made heavy throughout the entire half which lies next to the joining. See line 8.

27. Slurs

Certain joinings of and with the curves

and of with strictly require a slight angle at the point of joining. In practise, however, this angle is ignored and the two strokes are written with continuous motion.

See line 9. In like manner the joinings of / and sh with

and with each other are written with continuous motion, eliminating the angle which strictly belongs at the point of joining. See line 10. These modified joinings are called slurs.

28. Utility Of Continuous Joinings

The joinings on the opposite page are usually somewhat difficult for beginners to form. When, however, they have been completely mastered, they impart exceeding grace and fleetness to the movement of the hand, and the outlines in which they occur are among the most rapidly-formed in phonography. They should therefore be carefully practised; but the learner should not try to write them rapidly at first. Extreme care should be taken to get correct proportions. Speed and ease in writing them will come if the outlines are slowly and carefully written many times. This is indeed true of all phonographic outlines, but especially so of those written with continuous motion.

Exercise On Joined Consonants

Without Angles.