i.—This is an important letter because of the dot, which is made mechanically. After noting whether the shank is spurred as an initial, special attention must be devoted to the dot. Dots are of various forms. They may be a wedge-shaped stroke sloping in any direction, a horizontal dash, a tiny circle or semicircle, a small v, or a perfect dot. Examine them all through the glass, and compare them with the comma, which often partakes of the same character as the dot. Note also its relative position to the shank, whether vertical, to the right or left, and its average height and distance from the shank. Much may be learned from a careful examination of the dot, and its every variation and characteristic should be most carefully noted and classified.
j is important for the same reason that makes the i significant. There are several forms of it, but the dotting offers the most valuable evidence.
k.—This is the most significant and valuable of the small letters, as it offers scope for so much originality and irregularity in its formation. The characteristic features of the small k lie mainly in the body. Few writers form a k alike. Although it may belong to the same class, the number of variations that can be rung on the body is surprisingly large, ranging from the regulation copybook model to the eccentric patterns shown in the examples. Special attention should be devoted to the eye and buckle, for it is at this junction of the two strokes forming the body that most writers exhibit their peculiarities.
l.—The same principles of examination apply to this letter as to the small e. Note carefully the character of the loop and examine the position of the spur.
m and n offer ample material for examination. As an initial the first stroke is sometimes exaggerated, approximating the letter to the capital M or N. Note the formation of the shoulders and their relative heights and width; also, by means of a line touching the tops of the shoulders, note carefully and compare the last shoulder with the first. This letter presents great extremes in formation. The shoulders may be high and well rounded, or even horizontal, or they may be sharp angles, turning the m into in, and the n into u. Note the distance between the shanks and observe whether it is uniform.
o.—This letter owes its main importance to its connecting link. Note whether it is carried low down, making the letter like an a, whether it is joined to the body by an eye, and if the toe is curved or angular. Note, also, the general conformation of the circular body and compare the toe with that in b, f, v, and w.
p.—There are several forms of this letter, and a writer who affects one of them generally repeats it often. The shank may be barred or looped, wholly or in part, especially when used as an initial. The body generally offers ample material for examination.
q is also a letter with which great liberties are taken, and is the subject of several variations. Some writers make no distinction between g and q, and the final stroke often supplies the main characteristic of this letter.
r.—This important letter has two forms—the square, or eyed, and the hooked. Many variants are employed in forming it, as the specimens in the examples show. Many writers unconsciously form a habit of using both r's, but with a certain degree of system. For example, one may use the hook r always as a final, and the eyed r as an initial. The formation of the eye should be specially studied, with the shoulder, which may be formed as a semicircle, an arc, a straight bar or an angular v. The hooked r is equally rich in varying forms, and the letter forms an interesting study.
s.—This is a letter of such frequent recurrence in the English language that it not unnaturally has become the subject of a variety of forms, and this despite the fact that its regulation shape is exceedingly simple and rudimentary. The majority of writers have one favourite form of the letter, which, like the k, becomes characteristic.