4
(2) The characters being based on the elements of the ordinary longhand, the strokes are familiar and the motion uniform. Briefly expressed, Light-Line Phonography is writing, not drawing.
(3) The insertion of the vowels in their natural order without lifting the pen, and in such a manner that they usually increase the speed of execution, whilst their insertion not only imparts to the writing the legibility of print, but is the source of a most powerful, yet extremely simple and legible mode of abbreviation.
(4) The absence of positions or the placing of words on, above or through the line of writing to imply the omission of certain vowels or consonants.
This, one of the chief stumbling blocks to the shorthand student, is nowhere to be found in Light Line Phonography. Like shading, this principle is destructive to lineality and phraseography, and is a constant source of embarassment if applied, and of illegibility if neglected. Light-Line Phonography, like the ordinary long hand, may be written on unruled paper, and in one straight line.
(5) The predominance of curve motion. Curves, the prevailing element of the ordinary penmanship, being much more facile than straight lines, the author has, so far as is compatible with a well-balanced alphabet, assigned to them the representation of the most frequently
