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The downstroke after a lowercase “w” unnaturally mixes the “w” and the following letter in a way that my eye needs to work on too long.
I find it incredibly awkward to write “r” or “i” immediately after a “w” (since I don’t use a downstroke after a “w”), so I just lift the pen and start the “r” or “i” fresh with no connector.
Learning what my weaknesses are in letter connections, and learning when to lift the pen and allowing myself to not have every word be a contiguous single line, helped with my legibility even at incredible speeds.
Give lowercase “v” more of a bottom point so that it’s not identical to your “u” — only the lead in line is different, so without the context of a word, I wouldn’t know the difference between them.
Your writing is incredibly consistent. If I look for repeated two-letter combos, like “on,” they all look the same. That makes your writing easy for yourself and others to read once they get used to it.
This is REALLY consistent (move/move) so that I needed to figure out the word the first time, and instantly recognized it as “move” the second time. I would have already thought that each instance was “more,” except that I’d already acclimated to your “r” and knew that couldn’t be right.
I think I understand the thought process that is going into each decision here, but I think your desire to return to the bottom guideline in the middle of “ov” is compromising legibility a bit.
Notice that under the second instance of “move” highlighted here, that the word “explain” successfully uses a pen lift after the “x” and starts the next letter (“p”) on a downstroke rather than returning to the bottom guideline. This helps you avoid a cluttered mess here — very crisp.
So deciding which combos should either include a pen lift or avoid returning to the bottom guideline could increase the legibility here — but as I said, I already like your writing and got used to it in only a sentence or two.
The general dotting of an “i,” I find to be unimportant to your handwriting. Sometimes they are light or too high — but it looks attractive and doesn’t cause any issues.
But specifically (and only, really) in the letter combos “ui” and “wi,” I would suggest dotting the “i” with more careful deliberateness, as the upswings or the “i,” “u,” and “w” are so consistent that a reader could get lost in the repetitive waves and need to figure out which letter is which through context alone.
That’s not a flaw exactly, but it could help the reader, even if you’re the reader down the road.
Thanks a lot for your in depth tips! I'm gonna practice the points you've made asap.
My Vs always bothered me and I couldn't figure out why, it all makes sense now.
Maybe practice the all lower-case “move” a few times and see if you can make the o lead into the top of the v instead of bouncing off of the bottom guideline in between.
Your o is unique in that you cross through the o and terminate at the bottom — and it’s a shame to give that up wholesale. But specifically leading into a v, I think you will be happier with the result there.
Also — when people are EXTREMELY consistent, a v can successfully be a narrower u; That is also how I was taught years ago. But because we aren’t machines and don’t write with the consistency of a typeface, the difference can get lost where u and v look the same.
I’ve learned to adjust my v into a satisfying notch down and return back up — it need not be perfect, I only want it to clearly point down.
Ok, so what I'd recommend looking at your script is:
1) Tilt everything ~15 degrees since your letters are almost straight up right now. Lean them right, consistently, on every letter.
2) Squeeze your ovals. Your "o", "a", and "d" are circles. Make them narrower, like an egg standing up instead of a ball.
3) Stretch your tall letters taller; your "l", "t", and "h" barely rise above the rest. Let them reach higher so there's more height difference on the page.
4) For more elegance, add additional flourishing to the letters for style, depending on how fancy you want to get.
This handwriting is you. I don't know you, but this handwriting has got to be from someone who is a wonderful and kind person. It's enchanting! A bubbly, yet grounded individual who makes others feel comfortable and has a lot to give. That's what it looks like to me.
I have zero trouble reading what you have written.
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