-ld Ending

My -ld blend is particularly awful. Any advice?

Unlike other forms, this one doesn’t even seem to improve for me since, aside from “raise the end”, I haven’t found much instruction about it. (Compare Mr. Gregg’s detailed pages on the dn/dm, nd/md blends in Speed Studies, for example.) And checking the examples helps little, since it’s apparently the gesture that varies most from writer to writer, and even page to page.

Has any Gregg writer a good -ld theory to help?

(by routine-sibling
for everyone)

12 comments Add yours
  1. Hi!
    I am sorry I am beginning with gregg shorthand. does anybody have a complete
    manual to learn? there's too little info on the web. can anyone help me find
    any self-teaching shorthand manual or pdf file? thanks.
    >From: "Gregg Shorthand"
    >Reply-To: "Gregg Shorthand"
    >To: "Gregg Shorthand"
    >Subject: -ld Ending
    >Date: Mon, 7 May 2007 17:02:34 -0700
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    > New Message on Gregg Shorthand
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    > -ld Ending
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    > From:
    > routine-sibling
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    > My -ld blend is particularly awful. Any advice?
    >
    >Unlike other forms, this one doesn't even seem to improve for me since,
    >aside from "raise the end", I haven't found much instruction about it.
    >(Compare Mr. Gregg's detailed pages on the dn/dm, nd/md blends in Speed
    >Studies, for example.) And checking the examples helps little, since it's
    >apparently the gesture that varies most from writer to writer, and even
    >page to page.
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    >Has any Gregg writer a good -ld theory to help?
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  2. Yes, I think I do.  You need to think of "swinging up" the stroke at the end.   The most common error is that one tends to end the stroke with a curve to the left.  The problem with that is that while it will definitely makes it distinctive to read (and not a problem with words that end in -ld), it is impossible to connect additional strokes.  The ending should be straight up and end in the middle of the space, as if you were swinging the pen from the time you start writing the "l".   Practice the words "fail" and "failed".  "Fail" ends close to the line, while "failed" ends on the middle of the space, at the same point that the "f" started from.  Also, to avoid the tendency to bend the ending to the left, write the words "fold"and "folder" many times.  The swinging up is what makes this stroke more artistic and easier to execute.       

  3. thanks for your advice. kind regards, Frank

    >From: "sidhetaba"
    >Reply-To: "Gregg Shorthand"
    >To: "Gregg Shorthand"
    >Subject: Re: -ld Ending
    >Date: Tue, 8 May 2007 18:44:12 -0700
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    > From:
    > sidhetaba
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    > Welcome argentinian shorthand   Andrew Owen's site has a
    >full manual for Pre and Anniversary Gregg.   http://gregg.angelfishy.net/  
    >There's also links and information on learning Gregg.   Good luck.
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  4. That's great!

    Other groups of words to work on:

    fill — field — fielder — fielded

    fail — failed — faint — famed

    fold — folder — folder — font

    fuel — fueled — fumed

    I can think of more examples, but these ones will make you distinguish between -l, -ld, -nt, and -md.

  5. I don't know if this will be of any help, but when I started learning -ld (and *especially* rd), something which has always kept mine legible was to think of the "goal" of the stroke.

    To write a pretty r/l, your goal is right at the start, where you make a nice, weighted scoop, then swoosh off.

    To make a pretty rd/ld, your goal is at the end, and you're less concerned about getting that initial scoop as you are ending up at the top of the lift at the end. Though a slight curve is great for penmanship, where you lift will ultimately determine the legibility between ld/mt and rd/nt.

    This has especially helped me keep rd and nd distinct. "nd"'s goal is already finished right at the start (immediately goes up), but rd isn't done until you do your r and are at the top of the lift (which keeps you on the line longer, the major distinction between the two).

    Let me know if that helps! I find aiming for the top of the lift also helps keep the little tail straight so you can add anything your heart desires at the end with no E sneaking in 🙂

  6. From: argentinian_shorthand Sent: 5/9/2007 4:23 PM
    CAN ANYONE TELL ME WITH WHICH SYSTEM CAN ACHIEVE HIGHER SPEEDS? IS THERE ANY
    PROOF FOR WHICH SYSTEM IS BETTER?

    _________________________________________________________________ I think it depends more on the writer.  If you can write longhand fairly fast, you can write shorthand fast.  Someone on here said they write DJS at 175 wpm.  I could barely at 120.  I know Anniversary is faster because of all the brief forms and shortened principles, so that's why I'm learning it, but as I said, there are tons of brief forms to learn.   Shorthand Speed – link with more info on shorthand and speed

  7. Thanks for your info. I was learning a pitman adaptation to spanish but I
    decided to switch to Anniversary following the advice a guy from Chile gave
    me. He has some experience on both systems and recommended me Gregg. Anyway
    I hope I can achieve speed with anniversary.

    >From: "Gregg Shorthand"
    >Reply-To: "Gregg Shorthand"
    >To: "Gregg Shorthand"
    >Subject: Re: GREGG vs. PITMAN
    >Date: Mon, 14 May 2007 14:06:24 -0700
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    > From:
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    > From: argentinian_shorthand Sent: 5/9/2007
    >4:23 PM
    >CAN ANYONE TELL ME WITH WHICH SYSTEM CAN ACHIEVE HIGHER SPEEDS? IS THERE
    >ANY
    >PROOF FOR WHICH SYSTEM IS BETTER?
    >
    >_________________________________________________________________ I think
    >it depends more on the writer.  If you can write longhand fairly fast, you
    >can write shorthand fast.  Someone on here said they write DJS at 175 wpm. 
    >I could barely at 120.  I know Anniversary is faster because of all the
    >brief forms and shortened principles, so that's why I'm learning it, but as
    >I said, there are tons of brief forms to learn.   Shorthand Speed – link
    >with more info on shorthand and speed
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