Table Of ContentThis volume is presented, in high resolution, by
David Grimes (www.masgrimes.com) with the
expressed written permission of Zaner-Blaser,
Inc. (www.zaner-bloser.com) for the purpose of
historical preservation of the document. All
content contained herein remains protected
under all applicable copyright laws as the sole
property of Zaner-Blaser, Inc.. No part of this
document is permitted to be reproduced or
distributed in any form. The following pages
are presented for self-educational purposes only.
We value your respect and appreciation for the
art of penmanship and the hard work that all
of the numerous individuals who originally
contributed to this volume endured.
CREDIT IS HEREBY CHEERFULLY
AND GRATEFULLY GIVEN TO
THE FOLLOWING ARTISTS WHOSE
WORK APPEARS IN THIS VOL
UMN OF PEN ART AND LETTERING
C. P. ZANER, F. W. MARTIN,
E. A. LUPFER, CLINTON SKILLMAN ,
E. L. BROWN, A. M. GROVE,
P. W. COSTELLO, 0. E. HOVIS,
W. A. BAIRD, F. W. TAMBLYN,
C. V. HOWE STUDIO H. C. RICE,
WM. MILNES, S. D. HOLT,
0 AMES & ROLLINSON Co. H. W. STRICKLAND ,
C. W. NORDER, C. L. COOK,
W. H. ANDERSON, NORMAN TOWER,
THE KINSLEY STUDIO, HARRIS STUDIO,
E. C. MARLATT, W. E. DENNIS STUDIO,
D. W. HOFF, H. G. BURTNER.
THE ZANER-BLOSER COMP ANY,
Publishers,
COLUMB US, OHIO
PREFACE
This work was first published as "Zanerian Alphabets" in 1895. Since that, edition after edition has been pub
lished and sold, indicating a steady demand for a work of this character.
The authors and compilers are instructors in engrossing in the Zanerian College of Penmanship, Columbus,
Ohio, and in addition conduct an engrossing studio in which many pieces of engrossing are executed. They are also
publishers of THE BUSINESS EDUCATOR, a monthly journal presenting many specimens of engrossing from the
best artists in this country. They are, therefore, in a position to improve each edition by presenting the latest and
best in modern engrossing from the leading artists in the profession.
The object of the work is to properly instruct the beginner, assist the amateur, and furnish inspiring and help
ful material which the professi~nal can use in his daily work.
The amount of engrossing done in this country today runs into hundreds of thousands of dollars annually, and
it is rapidly increasing year by year. A large amount of additional work could be secured if there were more
skilled engrossers to secure it.
All whose talents incline toward engrossing will surely make no mistake in mastering this interesting and
fascinating profession, for there is much profitable work to be done. A young man with business and engrossing
ability can establish a studio of his own in any large city and make more than he possibly could on a salary.
It is no uncommon thing for skilled engrossers to receive upward of $5.00 an hour for their efforts. The purchasers
are pleased to get the work at the price for the reason there are so few who can execute work of the high standard
that is in demand.
Persons who make the proper use of this book will find it a money maker.
THE PUBLISHERS.
LESSONS IN ROUNDHAND OR ENGROSSERS' SCRIPT
By E. A. LUPFER, Principal Zanerian College of Penmanship
Columbus, Ohio
No other style of script ( except and no doubt put more enthusiasm cannot expect the best results.
ing business writing for business into your penmanship classes.
purposes) is as practical and beau Any teacher or person interested Position
tiful as roundhand. It has been in penmanship can master round Position for roundhand is similar
used with only slight changes for hand by giving it careful study and to that taught for business writing.
three or four hundred years and practice. We have tried to make Sit well back from the desk, lean
the demand for it is increasing. It the work so simple, plain and in ing forward from the hips with
is appropriate for many occasions. teresting that any one can learn. both elbows evenly on or off the
Persons desiring anything written The object has been to reveal the edge of the desk. Shoulders up.
usually select roundhand for its method of writing. The hand may turn over on the
beauty, reading qualities and ap side more than in ordinary writing.
propriateness. Supplies You Will Need By having it over on the side you
It will pay you financially to Zanerian 6 lb. paper, Zanerian get a firm foundation for the hand,
learn to write roundhand and you India Ink or Arnold's Japan Ink. which is necessary in slow writing
will find it very interesting work. It Zanerian Fine Writer and Gil such as roundhand. Hold the pen
will give teachers a higher stand lott's 303 Pens. Zanerian Expert in such a position that it slants in
ing in the eyes of pupils, and a or Excelsior Obilique Penholder ad the same direction as the shade
higher appreciation of the pen justed for roundhand. A brass which you are making. See below
man's art. You will become more edged ruler and a sharp hard pen in illustration No. 5.
interested in penmanship generally cil. Without good material you
per right hand corner. No. 3 shows in 4 and 5. No. 5 shows the posi
·how the pen is spread apart on tion of the oen when you reach the
the head line by pressure. The base line. -No. 6 shows that the
Instructions right nib of the pen remains sta left nib remains stationary and
The first point which we shall try tionary while the left nib glides that the right nib slides along the
to learn is to cut the top and bot over in a straight line to the left base line until it meets the left nib.
tom strokes off straight with one side. After the pen is spread apart This is exactly opposite the opera
stroke of the pen. No. 1 shows the we then draw the stroke downward tion illustrated in No. 2 and No. 3.
form which we wish to make. No. 2 toward the center of the body, aim You may now develop skill by
shows the starting point at the up- ing to keep the same thickness as making a page or more of the
2
straight line exercise until you are illustrated in No. 6. Avoid wedge Use a slow deliberate movement
able to make square tops and bot shaped, irregular shaded strokes. with hand resting on the side more
toms without retouching. No. 10 is a combination of No. 8 than in free light-line writing. The
The next step is to master the and No. 9. See how well you can pen should be raised often-every
bottom turn. A-s you near the base make it. Turn your paper upside- time at base line. Use paper ruled
line quickly release the pressure, ½ in. Always rule head and base
pulling the pen towards the right down and look at it. lines.
and raising it while in motion. The No. 11 was made with a rule.
success of this stroke depends up- Study it and see where the full System is necessary for success
on a slow deliberate motion on the width of the shade begins and ends. in any work. Let us be as sys
tematic in our practice as possible.
straight line and a quick elastic _ Master these simple strokes and Repeat a simple stroke so many
motion on the turn. Study the the more difficult ones will be easy. times that you can make it in any
copy carefully and learn to correct Even though your efforts at word with ease. Visualize a form
your own work. present may be crude, there is ab before practicing it. When prac
No. 9 is the reverse of No. 8 in solutely no doubt but that you can ticing a form have some particular
form. Use a slow deliberate mo acquire considerable skill by fol part in mind you wish to improve
tion. As soon as you have made lowing these lessons .. You must do and work on one point at a time.
the turn you should have the nibs much intelligently - directed work Compare your work point by point
sprung apart the full width of the and become enthusiastic about it. with the copy.
stroke, which pressure should be Halfheartedness and thoughtless
continued to the base line. End as practice is waste of time.
. Cet shades even 1i1l h/clrness cmd close toqetli.er.
W01fr hr um'rol'!n slanl,and spact'n9' :
q_
No. 1. This form is used in c. Raise pen at base line quickly. equal.
many letters. When you work on c. Watch the slant.
No. 3. The top turn is the same
this under turn exercise you are
in form as No. ·1 except reverse. No. 6 is a repetition of No. 5.
really working on a number of let
Turn your paper upside- down and a. Study shape of hair-lines.
ters. Work on the following points
compare your upper and lower b. Space evenly.
one at a time:
turns. Some things to avoid are: c. Think of what you are doing.
a. Cut tops off square at head a. Tapering, wedge-shape shades.
Nos. 7 and 8.
line. b. Too much connective slant.
a. Make pages of n; then m.
b. Hit head and base line each c. Sharp ungraceful turns.
b. Turns are important .
time. No. 4. Large work improves c. Compare your work with copy.
c. Pull shades towards center percept, and strength and boldness d. Finish with a graceful curve.
of body. of line. One thing at a time as fol e. Make eight n's to the line.
d. Get an even pressure on lows:
shades. a. Light smooth hair-lines. No. 9. If you have mastered the
e. Make turns even and grace b. Uniform shades. Not too preceding exercises the letters will
ful. heavy. be easy. Avoid haphazard practice.
No. 2 is smaller and lighter than c. Get square effect at base line. ba.. GDerat wy ouslra nwt orlkin etso tloo okse ere gwuhlaerr.e
No. 1. It will require more care No. 5. This is a beautiful and your letters are off slant.
and patience. Work on one thing skillful stroke. It is a combination
c. Hit head and base line each
at a time. of Nos. 1 and 3. Work on it sys
time.
a. Slant up strokes same as down tematically.
d. Make eleven n's on line.
strokes. a. Study it before practicing.
b. Get uniform slant and spacing. b. Top and bottom turns are
---/nletl/9ent f!._rac!1ce w/ns - --- rill m loop as you qo/lJ '/or rap;d wor:k.
& R el?t;/ l/2esame--~-----------.--····· ··------------ --- Make loo',a,-I-J(! hen f;/1m. ,f, /'for exacl work.
/JC _._..· r/nn al1?11ds
\ W;7l71/l; fl/
up
5/idd~ 017l e/'! side Of lljJ 5/ro!re - /R£117 /?a;';/-!:i?e.s aloiz7 5/2acles, /JOI /-/2rout7h,
W17¼f'J/1Jfl_fft tifinzmu717Uff
17;}[f}ff nt7DJ1J1Jal1
.., ./ .' : . I I I I 1- I I I - I I I I I - I I I I I I , I \ I I
L1tjl7f .shade ( _/. (5pacil?q between down slro)(es !J equ al except al -
No. 1. The w begins like the u position of the finish before prac b. Get spacing equal, not. too
and finishes with a blind loop on ticing. wide.
the main slant and a hair-line end a. Get dot on w as heavy as c. Round out turns gracefully.
ing upward. Study the shape and shades. No. 2. The v is the same as the
3
last down stroke of n and the finish a. See that crossing is in the cen- black uniform shades. Change pens
of w. Be systematic in practice. ter. as soon as one does not work well.
a. Notice the width. b. Get light shades. The more carefully you study
b. Watch slant of blind loop. c. Compare x with v and n. the copy the more quickly you will
c. Finish carefully.
No. 5. You should not leave a learn to write. Study each letter
No. 3. The r begins like n and letter until you have practiced it in detail before working upon it.
ends same as v and w. Study the in words. Try the ones in the copy Make page after page of each let
dotted lines before practicing. and other simple ones. Think of ter. Work to improve one thing at
a. Do not slant last part away one thing at a time. a time.
from first part. a. Slant. d. Turns. Remember the movement used in
b. Get uniform shades. b. Spacing. e. Endings. / Roundhand is slow and careful, not
c. Hit ruled head and base lines. c. Height. f. Raise pen often. like the free hand type of writing.
No. 4. The new part for you in g. Compare your work with copy. Make the hair-line upward strokes
x is the crossing which should be Make sure that your ink, paper, as careful as you make the shades.
made downward. Notice the dainty pens, etc., are in good shape. You Too much speed destroys accuracy.
shades. should get light hair-lines and In the beginning we want accuracy.
·'if nl/ 1/J c/of o/' C
No. 1. From the oval a great used to make a distinct dot and see if there is a part which you
many letters are made. It is the not to let it come down too far. could improve.
foundation for the letters above. The top of the c and the top of the a. Curve up stroke gracefully.
No. 2. You can see a similarity e are made downward. See that you b. Watch shape of shade.
between the oval and under turns get a dainty light shade at the top c. Make dot carefully.
by studying the dotted lines. of the e. No. 17. After you have succeed
No. 3. Practice upon this exer Nos. 10-11. No. 10 shows you ed in making good letters one-half
cise after you have a mental pic the difference between the first inch high try them one-fourth inch
ture of No. 1 and No. 2. At first part of a and the o. The upward high. Make line after line of a
you can make them a half inch stroke of the a is made rather single letter. Haphazard practice
high, then make them a quarter of straight to fit along the side of the will not benefit your writing. It is
an inch high. Begin the shade with straight second downward stroke. concentrating on one thing at a
a hair-line and do not put on full Make a line of a's watching one time that brings the best results in
pressure until below the center. · thing, and then make another _Jine the quickest possible time. The
Pick the pen up with a quick mo trying to improve some other point. idea which was kept in mind in
tion at the base line. a. Watch inside space of oval. preparing these lessons was to
a. Make a line of this exercise, b. Get turns even. make the student observe, to form
watching the location on the shade. c. Get shades even in heft. good ideals of letters, and practice
b. Get graceful bottoms. systematically.
Nos. 12-13. The shade on the r
No. 4. Study this illustration. is the same as c and e and other Mastering Roundhand may mean
Theo is much like thew. The turn circular letters. many dollars to you. Surely it will
at the bottom and the finish are a. Be particular with the dot. mean much pleasure. It would not
practically the same. b. Get the top straight. be so interesting if anyone could
No. 5. You should study this let c. Do not curve downward stroke master it without considerable in
ter very carefully before trying to too much. telligent and systematic practice
practice it. You should then work Nos. 14-15-16. The s is made and not meet with discouragement.
systematically. from the right side of an oval. It A few poor looking letters which
a. See that sides curve evenly. should make a good inverted c. you are bound to make should not
b. Get top and bottom even. Study the white space on the in be sufficient to give up in discour
c. See that shade is not too high. side of the letter. It should be agement. Have confidence in your
Nos. 6-7-8-9. The c and e are about as wide at the top as it is self.
practically the same with the ex at the bottom. After making one
ception of the top. Care must be line compare it with the copy to
4
No. 1. The t is an extended i, curve. Take one point at a time Nos. 12-13. The b is a combina
not quite two spaces high. Unsys and concentrate upon it. tion of 1 and v. The loops are usu
tembaa.. tiSGct eutd pyru ancsitfhiocarepm e wawinlldi d nthpo rto opwfo rintsi.ho and. es. tthheeNs eo cso. crore6pc-i7et .s bfoBer emsfousr ree inth wamto riknyidon.u g - hOavonene aWolfl ayts chmha daedt hee a nndedao rttl,hy e t htethu rrewnes i.d tshp,a cethse hhigehft.
c. Make beginning and edging letter mastered is better than six Nos. 14-15-16. All loops should
same length. half mastered. be the same in form and size. Com
of Nao sa.n d2 -3t.. The d is a combination fouNnodsa.t io8n- 9-1o0f- 111. .S ee Tthhea t bi othis sidthees tpearrse. thBee hca rinef uflo rman dw tihtho rooutghhe.r let
a. Make both shades same thick curve evenly and that the top is Nos. 17-18. Notice the similarity
ness. as rounding as the bottom. Two of h and k in No. 16. They should
b. Get uniform up strokes. methods of making loops are usEid appear the same in width but in
Nos. 4-5. The n and p are simi by engrossers. Some make them actual measurement k is not as
lar. Do not make the mistake of in sections as shown in Nos. 9 and wide as h. Let the second part
shading the long straight stroke 10, while others make them like touch the first. The little loop
heavier than the short compound No. 11. Try both ways. points downward.
Nos. 19-20. Study the curve in be sharp. Change pens when the to get you to think and study for
the back. Notice the direction of lines become thick. yourself.
the finish. Nos. 22 to 31. The bottom loops The hair lines in lower loops like
No. 21. After making good in should be the same in size and pro in the upper loops can be made up
dividual letters combine them in portion as the upper loops. Study ward or downward. Go slowly and
words. Be sure your ink makes a the similarity of letters. Only a be sure you know exactly what you
fine hair-line. The pen point should few comparisons have been made are trying to make.
This plate is based upon the No. 1 is a compound curve stroke letters. For instance, it is the
capital stem. The object is to show made from two ovals. Start with a same in the first and the second
you how the capital stem stroke is hair-line and gradually add pres part of the K with the exception
the foundation of the majority of ssuhraed e unisti l setchuer edf; ull thwenid thb egoinf thteo oslfi ghthtley smlanotr,e caunrdv edt het halna st theo nfeir sti.s
the capital letters. This plate has diminish into a hair-line.
been made with the idea of en No. 4. So many letters finish
couraging you to study form. See No. 2. Practice the compound with a dot above the base line that
the relation of the capital stem to curve exercise getting a little fine, it is advisable to give it special at
the various letters and the similari graceful bulged shade, curving tention. Study the enlarged copy
gracefully and evenly at both ends. carefully. You will · see that it is
ty of various letters. The average Keep your upper strokes all on the circular and tapers out gradually
roundhand student does not do same slant and parallel. into a hair-line. The dot is up off
enough careful analyzing of form. the base line but be careful not to
Study the work of good roundhand No. 3. Notice the application twist it too much.
writers and compare your work and slight modification of the com
with theirs. pound curved stroke in the various
5
No. 5. Take up the individual Some of the letters may be made a it in sections. See how graceful
letters one at a time. Study the little differently. For instance, the and beautiful you can make these
arrows and as nearly as possible second part of the H may be made capitals.
get your ideals in mind perfect be upward in one stroke, but in the
fore trying to make them with pen. beginning it is well for you to take
~JI ~~~~~ffrb(;;;
;~~~~JI
;;/tJ/tAJ/~J/~-: rud1~~;
,/,,,,/,,_,,A
-Y Jk:. A/£ .A/ .A/J Y: ~/ Jk::ad£uV
~~-:~
In work where the price paid hair-line stroke in the middle. and up off the base line.
necessitates speed and not the Study the slant and shape of it.
highest type of skill the first stroke The more you study detail the bet The M should not have too much
of A, N, M should be made upward . ter results you will secure. curve in shaded strokes. The let
In the most accurate work writers ter should be pointed at the top.
make it downward. Try it both The N begins much like A. The Study the space-between light lines
ways. light lines are parallel, and on and shades, the slant of each stroke
same slant as up strokes. The and shape of shades. The turns at
The first stroke of A should shade begins and ends with a hair the base should be narrow. It is
slant considerably. The second line and has a beautiful bulged important to learn to make good
stroke begins with a hair-line and shade. Notice the slant of this capitals.
gradually widens into a full shade . stroke and the slant of the entire
Study the shape and slant. The letter. You may shift the elbow After mastering the letters work
finish stroke should be a well bal slightly to the right in making the on the words in the copy and simi
anced, full loop, dividing the first shade. Make the dots carefully lar words.
The beginning stroke of V is to the left ending slightly above Make the J in two sections. The I
similar to the last part of n. Keep the base line with a dot. Get the and J begin alike. Place a small .
it up near the head line. Never get dot circular and properly placed. shade on left side of loop.
leiitnn dev e. rtyhG e eltom waa. i nc leBasert- rcosukuter e gwrtoaid thus atal ar,t shwaaienrl dl tThhaen stehceo nfdir st.p arGt et shao uglrda cebfuel , hicgohmer woGrdisv.e Smtuudchy saptatceinntgio, n slantot, atnhde
shade, and curve gracefully . Fin pound curve. The last part re regularity of shades.
ish up at head line with a nice sembles I. There is possibly no style of
curve. Keep above rather than be Get first part of K and H the writing which is more beautiful
low the head line with the finish. same. Study the compound curves, than roundhand, nor is there a
theS eWe .h owSt ugdrya cetfhuel payroaull elciasnm maakned vslearnyt sainmdp les izel etotefr . looP-G. et Tphlee ntIy is oaf pstryialete ly whiinc h as cmana nyb e plaucseesd. appro
the width between shades. If you curve in the stem which is made Do not try to write with too
have mastered the V, you can first. The oval part is made last much speed. Roundhand is written
easily make the W. and should be shaded lighter than slowly and carefully. As a rule
the stem. Before making the J, enough money is paid to justify
The first part of H is about the study it. Unless you get a good writing it very carefully.
same as in -w, but swings around compound curve, it will look stiff.
6
The Z may be started like the H part. Before attempting to make you about the proportion and other
and K. However, a beginning loop any letters, study the copy care things which you may have over
gives it more width. The loop fully. The stem is made first. No looked.
should extend 1 ½ spaces below the tice that the loop in the top part
head line and should swing over, comes down about 2/3 of the way, The beginning loop on the P, B
making a shade the same as the and if continued would make a run and R at the too should be the
last part of the small n, which ning scattered oval exercise. No same size and shape. The R is the
should not be made too large. It tice that the shade on the first same as the B wfth the exception
should be only about 1 space tall. downward stroke of the oval should of the last part. Do not get it too
Draw some slant lines. The body be parallel to the second downward short nor too long. Point the little
stroke of the Z should come down stroke which loops over the stem, loop on the R and B downward.
on a 60° slant. See how gracefully and be the same proportion. It is
Do not attempt words before you
you can curve this stroke, begin a good plan to try the oval part
have practiced the individual let
ning and ending with a hair-line. first without any shade to get the
ters. Make the capital letters with
Study the direction of the small form; then try it with a shade.
a slow careful motion. This is not
loop on the base line, and the oval
The B is similar to the P with free-hand writing, and even if you
in the loop below the line-. It ex
the exception of the last upright do get a few shaky lines at first,
tends two spaces below the base
oval. Give special attention to the you will be able in time to produce
line.
compound curved stroke, the dot, fairly smooth, graceful lines. Prac
The stem of the P is the same the final oval and the top. Measure tice the words faithfully, giving
as the stem of the I. The new and some of yours and the copy. Put special attention to spacing, uni
dirfficult part is the oval or top them in squares . That will show formity, shades, etc.
rrrrr
fKvyucn~a/W%~!f/k
r~ r rrsr~~
~ Jg;;;,
7 ~?y,£
:?C% X' X :Z:% :?£:
!;l;;//A.i/
~ta/~~,d/:?J;;;ed/
~ 2,, !J,,~ :2 :2 2~ff2aua/1~~d~
% °2t °ia&/°Y2ktfel
~ ~ ~ ~ ~ ~HY~~/~~
3/ ':?I' 3/ <y
~ ~ ~
~«o/~ff~,u4& ~///' /
The T and F are the same with make a good oval. The finishing strengthens it.
the exception of the crossing. Get stroke starts at the head line and
a beautiful, compound curve grace swings down with a graceful curve, The loop on the X, Q and U
fully bulged in the center. Swing touching the first stroke and mak should be the same size and pro
the dot up off the base line a little ing a nice turn on the base line. portion. The new part in the U is
-not too high. The loop in the This turn should not be too round a compound curve and the finish.
capital T begins similar to the loop ing in order that it may harmonize Do not drag the shade too far
in other letters in the copy. A with the turn of small letters fol around the turn. The turns at the
slight shade at the end of the top lowing it. bottom should be uniform. The
stroke gives it strength. Notice second part does not start quite as
the direction of the looo and the The Q begins the same as the X high as the first.
but finishes like the L, getting a
compound curve . Let the cap ex
long narrow loop. Give special at The Y is a combination of the U
tend well over the stem.
tention to the comoound curve. Go and the compound curve. The first
The first part of the X is part slowly but carefully. A slight part should not come down to the
of an oval. If completed it would shade on top of the lower loop base line. Study the copy critically.
7
