jmignot Wrote:Would anybody recommend practicing this type of "native looking" script early in the process of learning kanji, i.e. while studying RTK1? Is the "Yamasa" cursive script reproduced in one of the first posts in this thread possibly a good reference for that purpose? Or can someone suggest a better one?From my own experience and that of others speaking specifically of those handwriting examples on the forum, you don't need to study specific examples of handwriting, though you could always study stuff like 行書(?).
To me, the proposed "abbreviated" form of 警 does not look straightforward at all : in particular, it does not seem to follow, even in a subliminal way, the recommended stroke order for the "flower" radical.
That kind of cursive in the Yamasa pictures, I feel, is just the organic product of knowing the kanji and then writing them relatively loosely and quickly. I think deviations from that general handwriting template, then, will not a be non-native deviation but will simply be idiosyncratic/individual, based on their personal style/foci. If you wanted you could probably find patterns to radicals and such, though, that might clue you in faster.
I recommend always trying to balance out speed and legibility with maintaining correct, consistent form when you're using muscle memory in reviews for kanji or words you're fuzzy on, and occasionally writing out entire sentences, if you want decent handwriting. Even within the kanji itself, a given radical section will be more linear than others, and this acts sort of like key frames or markers to parse the kanji.
It probably does matter what sort of templates you're using when first learning kanji and kana, and I think the fonts Heisig used that are more fluid are good templates that balance typewritten and more handwritten styles. An example of a logical element that arises from partial maintaining of the pen on the page, so to speak, is the formation of the り—you'll commonly see in fonts and handwriting that these two lines are connected by writing the left stroke down, then turning that hook into a light line which trails up and curves slightly to the right before writing the right stroke. Likewise the parallel horizontal strokes such as in 囲 get turned into zig-zags in that Yamasa font.
Anyway, in my opinion as long as it's legible and easy for you to write, preferably as a result of muscle memory integration into SRS reviews, which requires only a fraction of the time one might expect, then your handwriting is fine and will look like the average handwriting of anyone else who has followed a similar process, even if it was in a less condensed format. I think any deviation from that I just suggested (despite it being born up in my observations of foreign and native handwriting), will be idiosyncratic or will result from following specific calligraphic templates that can be learned where one wishes, which I'd recommed doing with the SRS. ^_^
Edited: 2011-03-28, 4:05 pm

![[Image: ch2_letter_01.jpg]](http://travel.rakuten.co.jp/special/ryoma/images/ch2_letter_01.jpg)

My personal handwriting is like most, a hybrid of cursive and print. Also, there are less and less elementary schools (primary school for those outside of US) even teaching it anymore. To be quite honest, even people in my age range (early 30s) rarely use it even in personal notes and those that do still use cursive should be shot as it's nigh impossible to read most. Heck, I have a hard time reading even cursive/calligraphic writings from a hundred to two hundred years ago. Seriously, look up some US government documents from the early days and tell me some of that is just plan nuts, and that was what was considerd 'proper' native english handwriting of the time. :'( they'd think we are barbarians if they saw our writing style today....