The vowel signs are used mainly when a vowel stands at the beginning or the end of a word. Vowels in the middle of words are represented symbolically, mainly by varying the position and the impact of the following consonant signs. Contrary to the practice in many English shorthand systems (e.g. Pitman Shorthand), vowels are never entirely omitted. Vowels – A, E, I, O, U In Pitman, consonants are usually shown as strokes, while most vowels are shown as light or heavy dots, or light and heavy dashes, with a smattering of other small squiggles. The same dot has three different meanings, depending on its position. This makes them very fast to write, but a little tricky to memorize.
Description
This section is from the book 'The Manual of Phonography', by Benn Pitman And Jerome B. Howard. Also available from Amazon: The Manual of Phonography.
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.
Visio product activation failed. Exercise on the Consonants.
Consonants
Continued. Ipega wireless controller instructions.
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
How the grinch stole christmas 1966 1080p hd. 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.
Continue to:
- prev: Introduction
- next: Long Vowels
Sir Isaac Pitman (1813–97), an educator who advocated spelling reform, was knighted by Queen Victoria for his contributions to shorthand. Pitman had learned Taylor's method of shorthand but saw its weakness and designed his own system to incorporate writing by sound, the same principle he advocated in phonetic longhand spelling. He published his system in 1837, calling it Stenographic Sound-Hand. It consisted of 25 single consonants, 24 double consonants, and 16 vowel sounds. Similar, related sounds were represented by similar signs, shading was used to eliminate strokes, the shortest signs were used to represent the shortest sounds, and single strokes were used to represent single consonants. At first, the principle of positioning to express omitted vowels—i.e., writing the word above, on, or below the line of writing—was reserved until later lessons, after the theory had been presented. Later, positioning was introduced with the first lesson.
In 1852 Isaac Pitman's brother, Benn Pitman, brought the system to America, where, with several slight modifications, it became the method most extensively used in the United States and Canada. An investigation in 1889 stated that 97 percent of the shorthand writers in America used the Isaac Pitman system or one of its modifications. Pitman shorthand has been adapted to Afrikaans, Arabic, Armenian, Dutch, French, Gaelic, German, Hebrew, Hindi, Italian, Japanese, Persian, Spanish, and other languages.
The Irish-born John Robert Gregg (1867–1948) taught himself at the age of 10 an adaptation of Taylor's shorthand. He then studied Pitman by himself but disliked its angles, shading, and positioning. Later, while in his early teens, he read a history of shorthand by Thomas Anderson, a member of the Shorthand Society of London. Anderson listed the essentials of a good shorthand system, stating that no method then in use possessed them: independent characters for the vowels and consonants, all characters written with the same thickness, all characters written on a single line of writing, and few and consistent abbreviation principles.
Gregg was 18 when he invented his own system and 21 when he published it in the form of a pamphlet, Light-Line Phonography (1888). The Gregg system was predominantly a curve-motion shorthand with circles, hooks, and loops. Based on the ellipse or oval and on the slope of longhand, its motion was curvilinear. Obtuse angles were eliminated by natural blending of lines, vowels were joined, shading was eliminated, and writing was lineal, or in one position.
In 1893 Gregg took his system to the United States, and Light-Line Phonography became Gregg Shorthand. The inventor found that, except for the eastern coastal cities, shorthand was virtually unknown. At that time high schools began teaching shorthand, and Gregg traveled through the Midwest, the West, and the South, selling his system and demonstrating his teaching methods with great success. The Gregg system supplanted Pitman's as the predominant system taught in the United States. It also spread to Canada and to the British Isles. Gregg shorthand has been published in English, French, Spanish, Portuguese, Hebrew, Russian, Italian, Tagalog, Japanese, Thai, Chinese, Scottish Gaelic, Esperanto, Sinhalese, and Polish.
An early German system of importance was the Stolze-Schrey method. Wilhelm Stolze invented his system at about the same time as Gabelsberger and along similar lines. In 1885 Ferdinand Schrey, a Berlin merchant, attempted to simplify the Gabelsberger system. Sometime later the Stolze and Schrey methods were merged and became the leading system in Germany and Switzerland. Stolze-Schrey shorthand was also adapted to other languages, including Danish, Dutch, English, French, Italian, Norwegian, Polish, Russian, and Spanish.
Pitman Shorthand Consonants And Vowels Examples
This section is from the book 'The Manual of Phonography', by Benn Pitman And Jerome B. Howard. Also available from Amazon: The Manual of Phonography.
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.
Visio product activation failed. Exercise on the Consonants.
Consonants
Continued. Ipega wireless controller instructions.
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
How the grinch stole christmas 1966 1080p hd. 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.
Continue to:
- prev: Introduction
- next: Long Vowels
Sir Isaac Pitman (1813–97), an educator who advocated spelling reform, was knighted by Queen Victoria for his contributions to shorthand. Pitman had learned Taylor's method of shorthand but saw its weakness and designed his own system to incorporate writing by sound, the same principle he advocated in phonetic longhand spelling. He published his system in 1837, calling it Stenographic Sound-Hand. It consisted of 25 single consonants, 24 double consonants, and 16 vowel sounds. Similar, related sounds were represented by similar signs, shading was used to eliminate strokes, the shortest signs were used to represent the shortest sounds, and single strokes were used to represent single consonants. At first, the principle of positioning to express omitted vowels—i.e., writing the word above, on, or below the line of writing—was reserved until later lessons, after the theory had been presented. Later, positioning was introduced with the first lesson.
In 1852 Isaac Pitman's brother, Benn Pitman, brought the system to America, where, with several slight modifications, it became the method most extensively used in the United States and Canada. An investigation in 1889 stated that 97 percent of the shorthand writers in America used the Isaac Pitman system or one of its modifications. Pitman shorthand has been adapted to Afrikaans, Arabic, Armenian, Dutch, French, Gaelic, German, Hebrew, Hindi, Italian, Japanese, Persian, Spanish, and other languages.
The Irish-born John Robert Gregg (1867–1948) taught himself at the age of 10 an adaptation of Taylor's shorthand. He then studied Pitman by himself but disliked its angles, shading, and positioning. Later, while in his early teens, he read a history of shorthand by Thomas Anderson, a member of the Shorthand Society of London. Anderson listed the essentials of a good shorthand system, stating that no method then in use possessed them: independent characters for the vowels and consonants, all characters written with the same thickness, all characters written on a single line of writing, and few and consistent abbreviation principles.
Gregg was 18 when he invented his own system and 21 when he published it in the form of a pamphlet, Light-Line Phonography (1888). The Gregg system was predominantly a curve-motion shorthand with circles, hooks, and loops. Based on the ellipse or oval and on the slope of longhand, its motion was curvilinear. Obtuse angles were eliminated by natural blending of lines, vowels were joined, shading was eliminated, and writing was lineal, or in one position.
In 1893 Gregg took his system to the United States, and Light-Line Phonography became Gregg Shorthand. The inventor found that, except for the eastern coastal cities, shorthand was virtually unknown. At that time high schools began teaching shorthand, and Gregg traveled through the Midwest, the West, and the South, selling his system and demonstrating his teaching methods with great success. The Gregg system supplanted Pitman's as the predominant system taught in the United States. It also spread to Canada and to the British Isles. Gregg shorthand has been published in English, French, Spanish, Portuguese, Hebrew, Russian, Italian, Tagalog, Japanese, Thai, Chinese, Scottish Gaelic, Esperanto, Sinhalese, and Polish.
An early German system of importance was the Stolze-Schrey method. Wilhelm Stolze invented his system at about the same time as Gabelsberger and along similar lines. In 1885 Ferdinand Schrey, a Berlin merchant, attempted to simplify the Gabelsberger system. Sometime later the Stolze and Schrey methods were merged and became the leading system in Germany and Switzerland. Stolze-Schrey shorthand was also adapted to other languages, including Danish, Dutch, English, French, Italian, Norwegian, Polish, Russian, and Spanish.
Pitman Shorthand Consonants And Vowels Examples
Pitman Shorthand Consonants And Vowels Practice
In 1924, after two decades of development, a new system based on the Gabelsberger and Stolze-Schrey methods was completed. As revised in 1936 and 1968, the Deutsche Einheitskurzschrift is the principal system now used in Germany and Austria.