Benedikt Gröndal

Handwriting
An Icelandic manual, 1883

Models

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B enedikt Gröndal Sveinbjarnarson
(1826–1907) was an Icelandic poet, a
naturalist and literary historian. After a master’s
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Benedikt Gröndal
Handwriting
An Icelandic manual, 1883

Models
With an introduction by
Gunnlaugur SE Briem

Operina
Copyright © 2007 Operina LLC, Emeryville, California. All
Rights Reserved.

Reproduced by kind permission of the Icelandic National

Library.

Library of Congress Cataloging-in-Publication Data

Benedikt Gröndal, 1826–1907.

[Forskriftir]
Handwriting models : an Icelandic manual, 1883 / Benedikt
Gröndal .
p. cm.
Originally published: Forskriftir. Kaupmannahöfn : Kr. Ó.
Þorgrímsson, 1883. With an introduction by Gunnlaugur
S.E. Briem.
ISBN 978-1-934227-19-0 (hardcover)
ISBN 978-1-934227-20-6 (paperback)
ISBN 978-1-934227-21-3 (digital)
1. Copybooks--Iceland. 2. Icelandic language--Alphabet. 3.
Icelandic language--Writing. I. Title.
Z43.B42 2007
745.6’1--dc22
2007032419

Published by
Operina LLC
<operina.com> operina@gmail.com

Printed and bound in the United States of America.

 Gunnlaugur SE Briem

Introduction

I t was a good year for common sense. In 1875, Denmark

changed handwriting models, replacing blackletter
cursive by copperplate. This extended to its Icelandic
dominion, where copybooks and model sheets in the new
style were in short supply. Eight years later, a much needed
handwriting manual by Benedikt Gröndal was published.
The old style and the new are similar in appearance but
have different letterforms.

Before and after

The upper of these samples is
blackletter cursive. The lower is
copperplate. Both were written
with a pointed pen. The two styles
look alike at first glance, although
most of the letterforms are
different.
From Almanak Hins íslenzka
þjóðvinafélags, Copenhagen 1877.

v
k ex KEX
Before 1875 After 1875
The blackletter cursive letters In comparison, the same
K e x don’t look familiar to letters, written in copperplate,
the average reader. are easily recognized.

A new beginning
n the early fifteenth century, Florentine scholars started
I writing a new style that we now call italic. The lower case
letters included elements of Carolingian minuscule. The
capitals were inspired by classical Roman inscriptions, even
including serifs that are hard to write with a broad-edge pen.
For a while it was the handwriting of scholars who
corresponded in Latin, of royalty and diplomats, and the
regular style of the papal chancery. In humbler parts of
society, merchants and lawyers still wrote a blackletter
cursive, the mercantesa.
Italic developed faster than many other styles. In less than
a century and a half, it germinated, flowered, and went to

Late chancery cursive

Even Hugo da Carpi’s excellent
woodcuts cannot reproduce
Ludovico Arrighi’s graceful hand.
At this stage, italic had lost its early
vigor and entered a mannerist
stage of restricted joins and bulb
terminals.
From La Operina, Rome 1522.

vi
Transition
Giovan Francesco Cresci was probably
the most famous writing master of his
time. He led a movement away from
the late, mannerist stages of chancery
italic to early copperplate, a new style
that swept the world.
From Il perfetto scrittore, Rome
1570.

seed. One reason may be that it wasn’t used by a great

number of people. It was fashionable rather than popular.
s time passed, it gained decorative loops and flourishes.
A It slanted more. The letterforms became more curved.
New joins were added. But instead of fading into obscurity
and disuse, it blossomed as a new style, the copperplate.

Flexible
Joseph Champion’s model has Copperplate was the handwriting of the British empire, its
alternative letters. It also offers both administration, commerce and industry. Well-trained clerks
looped and straight ascenders. From produced legible documents, neat in appearance, and fast.
The Universal Penman, London
1733–41.

vii
Unusual variants
Benedikt Gröndal’s handsome copperplate model has a few
singular lettershapes. The letter f has a crossbar, slightly higher
than on the letter t. The letter s is uncommonly tall. The letter ð
is a disgrace.

f F
Eccentric Normal Out of the past
This letter f is not This lettershape is unmis- Since the middle of the seven-
easily recognized takable: a conventional teenth century, the descender
except in context. descender and a loop of the copperplate letter f has
before the exit stroke. turned to the right at the bottom.
Benedikt Gröndal’s descender
turns to the left.

viii
Ðð
Endangered character
The letter ð (eth) is used in
d
Misshapen
The ascender bends in
DCorrect
The ascender has a
Icelandic, Faeroese and old English, the wrong direction. The clean sweep to the left
where it and the letter thorn (Þþ) crossbar is wavy, with in an unbroken curve
were largely interchangeable. terminal bulbs at both ends. from the baseline. The
crossbar is straight.

The eccentric letter ð lasted for a century. The ascender curve

was taught until italic handwriting was introduced in Icelandic
schools.

R asmus Christian Rask, the great Danish philologist, is

best known for much valuable work on the relationship
of Indo-European languages. He was master of at least
twenty-five languages and dialects, and contributed, among
other things, to the decipherment of Persian cuneiform
writing.
He wrote a grammar of the Sami language, Ræsonneret
lappisk sproglære (Copenhagen, 1832) without having met
anyone who knew it. He also discovered the connection
between the languages of the Inuit in Greenland and the
Unangan of the Aleut archipelago.
The Icelanders thank him for his support of the purist
movement that saved the Icelandic language from
extinction.

Mixed blessing
Rasmus Christian Rask encouraged
Icelanders to revive the letter ð after
centuries of disuse.

ix
 Unconventional
The last two pages of the
Handwriting Models show a
disappointing ronde. It may not
have been familiar enough to
Benedikt Gröndal. He wrote it with
a pointed pen. A broad-edge pen
would have been a more suitable
tool.
In styles with rounded lower case
bowls, the letters æ and œ (third
line from the top, third and fourth
letter from the right) often look
too much alike. This example has
a peculiar solution. The two are set
apart by leaving out the exit stroke
of one of them.
The letter ð, however, (top line,
fifth from the left) is impeccable.

Flexible
Copperplate is written with a pointed
pen. A downstroke thickens when slight
pressure separates the two halves of the
split tip.
This unusual pen is designed to help
the writer avoid a strained wrist.

x
Proper
The family likeness to blackletter is
obvious, especially in the capitals
of this very proper Danish ronde.
From Rundskrifts-Bogen; til
Skolebrug og Hjemmeøvelse.
Nyborg, no date, probably around
1880.

L Fixed
A broad edge pen makes thicks and thins without
added pressure. The angle of the nib to the stroke
decides how thick it becomes. This tip is divided in
three, but the splits serve mainly as ink channels.

xi
Excellence
This may well be the most handsome of all Icelandic copperplate
models. It does depart from convention in the letters i, u and y.
They begin with an arch, rather than with the usual entry curve, as
in the letters j and p.
Jón Þórarinsson: Skrifbók með forskriftum, 1. hefti. Reykjavík, no
date, probably around 1896.

Discipline
Here’s how children were taught how to hold a copperplate pen.
Three fingers grip the shaft. All four knuckles point up. The hand
glides on the nails of the third and fourth fingers.
The habit did not always take hold. Many eighteenth and
nineteenth century portraits show people with quill pens. Most are
held the modern way, with the hand resting on its side.

xii
Modern spirit
This model resembles the
American Palmer method in
many respects. It shows a
rare understanding of move-
ment in writing.
The ascender of letter ð
has a proper curve but is
written without a crossbar.
Steingrímur Arason:
Litla skrifbókin. Reykjavík,
1922.

W hat happened to copperplate? Times changed. Long

entry strokes help to get the ink flowing from a dip
pen. Bringing it to a halt and lifting it is actually harder
than ending a stroke with an ornamental loop. Few modern
fountain pens need one.
Copperplate has a narrow movement pattern. Pressure on
an upstroke can stick a pointed nib into the paper and blot
the page. Ballpoint pens can write in any direction.
Copperplate by professional clerks looked elegant. The
style was less suited to ordinary people.

xiii
 Final flourish
Guðmundur I. Guðjónsson’s
handwriting model offered
variants, two versions of the
letter ð among them. His
letter Ö was still written in the
Danish manner, Ø, which had
been abandoned in Icelandic
typewritten documents and
printed matter decades earlier.
Lower case letters from
Skrifbók, Reykjavík, no date,
probably around 1953. Capitals
from Verkefni við skriftarkennslu,
Reykjavík, no date, probably
around 1939.

xiv
New beginning
Handwriting based on copperplate
was largely abandoned in Icelandic
abcðdefghi
jklmnopqrs
schools in 1984. It was replaced by
italic, a modern monoline version
of renaissance handwriting that
owes much to Ludovico Arrighi’s
approach.
A large selection of model
sheets in this style is available for
tuvwxyzþæ
free download from the internet.

ABCDÐEFG
This example shows a typeface,
designed by Gunnlaugur SE Briem.
It is provided free of charge to
teachers who like to make their
own.
HIJKLMNO
PQRSTUVW
XYZÞÆ
Venerable foundation
Arrighi’s letters are based on a
slightly slanting rectangle, 7–8°.
The proportion of width to height
is 3:4. The bowls of the lower case
letters are based on triangles.
From La Operina, Rome 1522.

xv
Benedikt Gröndal’s handwriting advice

K eep a comfortable grip on your pen; do not point it

straight down, but slant it appropriately. Do not give
the letters too much slope, as many models do. Make a habit
of applying suitable pressure to make bold strokes. Do not
use inferior or worn pens, nor too loaded with ink. Do not
hurry, speed comes of its own accord. Remember to draw the
entry strokes. Once you have mastered large letters, written
slowly, make it your custom to write them smaller and
faster. Read the words and the lines before copying them.

B.G.

xvi
D
D
Handwriting models
An Icelandic manual, 1883

B enedikt Gröndal Sveinbjarnarson’s handwriting

booklet offers brief instruction in a new style that was
introduced in Icelandic schools in 1875. Blackletter cursive
had been replaced by the documentary hand of the British
Empire.
Copperplate was written with a pointed nib and an
awkward pen hold. It and the simplified versions that
followed were taught to Icelandic children for over a century.
Italic handwriting succeeded it in 1984.

Handwriting models is a facsimile of the first Icelandic

copperplate copybook.

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