Cursive Step 4 Rev PDF
Cursive Step 4 Rev PDF
Cursive Step 4 Rev PDF
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does not allow you to distribute copies of this document to others.
The majority of these lesson sheets provide a model for movement training by trac-
ing with the pointer finger. Please do not have children trace the models with a
pencil or crayon. Visit our Information Directory page for a link to a web presenta-
tion that explains why pencil-tracing is not a good idea.
www.peterson-handwriting.com/Info.html
Directed Hand
on
w
Since
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rit
ing
Pet
1908
nia
Gr
ns
ee
yl
va
bu
rg, Penns
Please remember that fluency is the goal. Independent practice of the models on these pages does not include a move-
ment challenge. Directed exercises create a demand for better position and provide regular opportunity to improve
control of the fluent kind of movement needed when using cursive as a tool. These lesson sheets are designed to pro-
vide that opportunity by making it easy for you direct student movement exercises.
It is important that the student know how to hold the paper and writing arm in position for control of lateral move-
ments needed for joining letters as words are formed. The models shown are designed to exaggerate the control
process that will enable automation. The Peterson method is the only one that offers cursive print, an enabling
process used to transfer control skills into applied work. This technique enhances internalization of new words. It is
also diagnostic. You will quickly see where misunderstanding of word-building process is blocking fluent production
in application. As words are automated the student will no longer need to stop or lift the pencil between letters and
adult flow can emerge. When your student asks to use print in applied writing, your answer should be, Yes, but
print the cursive letters.
Our Position Guide Helps Align this edge parallel with desk top
for left-handed sidestroke position
Pet
ti ng Align this edge parallel with desk top for right-hander and for overhand lefties.
erso
96 wri
Cop Dire
19 and
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op ir
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96 ritin
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P ete
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ition
Align
e pos
this edg
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sid
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allel with
is
th
Ho
to
left-ha
ld
el
wri
all
desk
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top for
rp
gp
pe
top for
pa
ap
desk
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right-ha
rit
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with
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Align
nd left
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Models
You will quickly see that the models we provide for training do not look like adult, fluent handwriting. The reason for this is quite simple and
based upon long experience. This approach to instruction is also supported by very recent motor science. The models we show are specifi-
cally designed to exaggerate the movement control process in order to achieve two important objectives. One objective is fluency. The second
is legibility. Other programs only imply fluency as a goal and dont provide a technique for teaching students how to move.
Legibility
It is obvious that legibility is important. However, this goal is not about drawing perfect replications of a model image. One need only
compare models in several different handwriting programs to illustrate this point. The models presented in each program vary in shape. But
the fact is, they are far more similar than they are different. If this were not true, the models would not be legible.
The shapes produced by a child who is learning to control movement can vary considerably from the model shown and still be legible as long
as certain qualities are present. Many handwriting programs describe the product qualities as: Form/Shape, Consistent Slope/Slant, Size/
Proportion, Spacing and Alignment. These qualities can be achieved by learning to control the movement process. Therefore, we focus upon
process skills for training purposes. Understanding these process skills, allows the child to identify specific goals for practice that will result
in improved product quality.
Coaching Process
We use process SUBSKILLS as a coaching tool. If the pupils handwriting is difficult to read, he or she needs to know what to do in order to
fix it. The subskills are; Form, Slant, Size, Spacing, Smoothness/Rhythm and Control. The subskills are artificial because they are all part of
the movement. Focusing to improve one specific target will affect the whole process. This approach makes it easy to correlate a chosen goal
into applied work without overloading the thinking process. We can choose Size or Spacing as an objective for practice and explain specifi-
cally how to improve. The child has one thing to keep in mind during the work day which transforms application into focused practice that
can maximize transfer of learning.
Subskill #1 - Form
We show a specific sequence of movements for creating a letter. The process we show is based upon efficient production and eventual control
of fluent movement. That sequence is not always understood and learned. When a child creates a letter by starting in a different place, or by
moving in a different direction and stroke sequence, he or she may produce a similar shape. But the efficiency or control of the movements
will suffer when the child is thinking about what he or she wants to say and not about the movement process. The stroke sequences we teach
are based upon establishing the best habit for fluent legibility later on. Initially this skill is about how the shape is built more than how closely
the shape matches the model. We address product accuracy with practice after the movement process is internalized.
Subskill #2 - Slant
For a reader the degree of slant is not critical unless the forms lean backwards. Even then, if the slope is consistent and all other qualities are
good, the writing is legible. However, when fluency is the goal, forward slant is desired. We want the student to be able to produce a legible
shape automatically. When the movement sequence is out-right (forward), back-left, one set of muscles can control the shape. If the forward
movement does not travel far enough, another set of muscles is needed to create the shape successfully. It makes sense that control will suffer
in automatic application. Our models exaggerate the forward movement and the resulting slant for that reason. Consistency across the letters
in a sentence is the goal. The degree of slant, isnt problematic as long as letters lean forward.
Subskill #4 - Spacing
Cursive words are produced fluently by lateral movements. This means that joining strokes are very important. Like slant, the forward slide
controls the space between letters. In print writing, the pupil learned to make letters in words close together and leave larger spaces between
words. With cursive the concept is just about opposite. The joining strokes clearly identify word groups. The goal is to create consistent space
between letters in words. Judge letter spacing along the tops of vowel-sized letters. Our models show exaggerated spacing between letters
because learning to control the lateral slides that join letters is critical. And, a finish stroke on the end of a word allows the muscles to space
words in a sentence. Beginning strokes can start where finish strokes end eliminating the need for big spaces between words. Like joining,
the spacing/finish stroke helps to reduce the need for visual feedback and improves fluency.
In A Nutshell
We use the voice to create a beat. The child is therefore, challenged by the rhythm to move smoothly. Recent science has shown clearly that
the automatic process we seek to develop, is able to guide rhythmic movement. That movement is also goal oriented. The goal oriented char-
acteristic will be addressed with Subskill # 6 called Control.
In order to move the pencil with the voice, the writer learns to look ahead to goals. That means that the pupil is no longer watching the pencil
point move as a stroke is created. When the writer is watching the pencil move, the brain is using eye-hand coordination, the visual feedback
system you use to guide precise tasks. Handwriting models show a specific picture to be reproduced. Initially, there is no recording in the
brain to allow the motor system to guide the movements. Visual feedback is the only source of guidance available. That is where Trace &
Copy methods come to fail so many people. The whole approach is based upon use of the visual feedback system. So, the majority of people
do not get regular opportunity to develop good control information that can successfully guide transcription automatically. When they do
write in auto-pilot-mode, the results are usually difficult to read.
The forgotten power of handwriting instruction results from efforts to achieve fluency. During the process of learning to guide smooth, rhyth-
mic movement, changes occur in the brain that result in improved processing. Part of the change is a recording of sorts. The brain records the
movement sequence or internalizes it. The result is that the child no longer needs to look at a picture of the letter to write it. Letters first, then
a steadily increasing number of words can be programmed in the motor system for rapid recall and application as the child learns spelling,
vocabulary and language skills. Conversely, language skills will be more difficult to master when letter patterns are not automated.
When you employ our method of directed practice, you can actually hear which kind of movement the student is practicing. If the pupil is
not able to verbalize with one of the three options provided as a grammar of action, you know that the visual feedback system is in charge of
guidance. Science has shown the visual feedback system is not able to move with rhythm. The voice wont work as a result.
In reality, as patterns are developed, the brain is learning how to use both systems in cooperation - to switch drivers smoothly and rapidly
as writing progresses. People who are able to write legibly and automatically, have less reason to need the visual system as they work. Oth-
ers say something like, I can write neatly when I take my time. They must rely more heavily on the visual feedback system for control of
the movements. In this situation, legibility suffers when the writer does execute fluently.
Subskill #6 - Control
It was mentioned above that automatic movement is goal oriented. For handwriting this movement is called the primary substroke. This is
one of the major reasons for the exaggerated models we show. To move smoothly the child must learn to look ahead to a goal for the move.
The unique concept for presentation of cursive letters we use is based upon the need to control the forward movements that begin and join
cursive letters. Therefore, we show beginning strokes on all lowercase letters and exaggerate the point where each letter ends when it is used
in a word. This concept also allows the unique Peterson technique for correlation of rhythm and control skills called Cursive Print.
When the motor recording contains too many movements for letters, the child cannot rhythmically assemble words with them. This fact is the
main reason so many intermediate students revert to print for applied work. Here is a simple example.
However, the word and does not look like this in cursive:
and
It could look like this: (letters joined)
Or, it could look like this: (Cursive Print)
When a letter is a word (a) it needs a finish stroke to space it in a sentence. When the letter is joined to another (an), a finish stroke on a
is an extra movement that does not fit into the beat of the word. The extra move stifles automatic, rhythmic word production causing the
need for visual guidance instead. Too often text generation (What do I want to say?) is interrupted as well.
The subskill concept allows focus upon one piece of a complex puzzle. The child can better focus on concepts of the applied work when only
one transcription goal is included for practice. Use the Peterson Letter Tops Evaluation technique regularly to assess and choose a sub-
skill for concentration during applied work. A guide to the evaluation technique is available for download from our web site. You will also
find a guide to gathering fluency data and tracking it as an indicator of progress. A guide to assessment of position skills is available as is
an in-depth guide to a process for periodic sample evaluation to help the pupil see progress over time. A rubric for cursive evaluation is also
available. The web URL below will guide your browser to our Coaching Help page where you will find links to download the PDF files.
http://www.peterson-handwriting.com/EndorsementProg/CoachingHelp.html
Live Support
We also maintain an Adobe Connect web meeting space that supports live interaction and collaboration. If you have questions and would
like to talk with a specialist, a meeting can be arranged in response to your e-mail request. There are also links to our meeting room on our
web site. We keep the meeting room open to visitors as often as possible. Please dont hesitate to stop by or request a meeting for individual
or group discussions. We want your effort to be successful and will support your work in any way we can.
Cover the bottom of letters with an index card. If the qualities of the writing are good, the word should
be easy to read. The tops of the letters provide the most information for decoding. Look at the image
and find four basic shapes: Round Tops (h and n), Loop Tops (h, l and e), Roll Tops (a and d) and Sharp
Tops (a and d). Some letters have one top, others have two or three. This basically shows how count is
used as a grammar of action. Tail letters present a slight exception, but one count for each top works
for all others. Tails can create need for another count as in f and q.
While there are a couple of odd top exceptions (r, c and k), the four basic stroke shapes essentially
create all 26 lowercase letterforms. The action words used for pattern development are simply a
name for the shape. The name contains one word for each movement needed and creates the beat
which guides movement when chanted. Our color/rhythm process exaggerates the basic stroke within
each form to enhance the learning of movement goals within multi-part letters. Please explain this
concept to the student so that he or she can understand what the action words mean.
Note that the index card makes it easy to judge subskills like Form, Slant, Size and Spacing. The child
knows the word that was just written and can therefore, read the result. This technique highlights the
distortion you may see. Letter Tops Evaluation helps critical thinking and makes skill-goal selection
understandable for the pupil who needs to improve legibility.
G 3
1
2 of the space
P 1
3
of the space
In the cursive words above, vowel-size parts are only one-third as tall as the capital letters. Notice that capital letters and tall loops are
still one space tall. Compare the width of the word proportion shown below.
The space between the lines on this page is one-half inch. This means that using the lines will result in writing that is a large size. But, no-
tice how much smaller the bottom sample appears. By writing vowel-size letter parts only 1/3 the size of tall parts, many more letters and
words can be written on each baseline.
There is another new size goal. Lowercase letters d, t and p are written with tall sharp tops. In grade-three size the sharp tops are as
tall as capital letters. For adult writing size, we will make them only twice as tall as the vowel-size letters.
2 of the space
3
1 of the space
3
2 of the space
3
1 of the space
3
When you use lines to help you keep the size and proportion of your writing more consistent, there is another thing to think about. Because
tail letters hang below the baseline, writing in the space below mixes strokes with those tails. For that reason, many people like to write
tall letters a bit smaller. Keep in mind that writing can be too small to read easily. You should make tall letter parts no smaller than 3/4
of the space. When you make tall parts smaller, the vowel-size parts need to be smaller also to keep the proportion goal. The space below
contains a box that is 3/4 of the space tall. Notice the size of the vowels is only 1/3 as tall as the capital letter.
H
.
Peterson Directed Handwriting 11
Learn To Use Rocker Curves
The rocker movement will be used to make a basic stroke shape called a Sharp Top. This shape will be used in many cursive letters.
Now lets add a slant to make a Sharp Top Shape. Write & Say, Sharp Top to master control of smooth, rhythmic movement.
Fingertrace &
SaySharp Top.
Giant
Tall
Small
Name Date
1. Loop Top
Tall
Small
Peterson Directed Handwriting 18
Master Four Sharp Top Letters At Advanced Size
Slant
Slant
1 2 3 4 1 2 3 4 5 6 1
2
3 4 5 6 1
2
3 4 5 6
1 2 3 4 5 1
2
3 4 5 6 1
2
3 4 5 6 1
2
3 4 5 6
1 2 3
4 5 6 1 2 3 4 5 1 2 3 4 5 1 2 3 4 5
1 2 3 4 5 1 2 3 4 5 1 2 3 4 1 2 3 4 5 6 7
Round Top
Roll Top
1,2,3 4 5,6 7,8 9 1,2,3 4 5,6 7 8 1 2 3 4
1,2 3 4 5 6 1,2,3 4 5,6 7 8 1,2 3 4,5 6 7
1 2 3,4,5 6 7 1 2 3,4,5 6 7 1,2 3 4 5 6
These words use lots of letters. Try Cursive Print to see how it helps you to control legibility. Then pause and join to eliminate lifts be-
tween letters. You dont need to lift between letters when you know where to pause (or slow down) for control. Practice until you can spell
out loud and write each letter as you say it.
mix men six mud nine add knee put her kit push
name help quiet quit shape quick axe plane handle
little letter kicked catch hard taxes exit sheep aid
1 2 3 4,5 6 1,2 3 4 5 6 1 2 3,4 5 6 1,2 3 4,5 6 7
1 2 3 4,5 6 1 2 3 4 5 1 2,3 4 5,6 7 1 2 3,4 5,6 7
1,2,3 4,5 6 7 8 9 1 2,3 4 5 6 1,2 3 4,5 6 7,8 9
1,2,3 4,5 6,7 8 9 1,2 3,4 5 6,7 8 1 2 3 4 5,6 7
Advanced Size
Name Date
Advanced Size
Cursive Print
Join
Join
Cursive Print
Join
Join
Advanced Size
Cursive Print
Join
Join
Cursive Print
Join
Join
1,2,3 4 5 6 1,2,3 4 5 6 7 1,2 3 4 5 1,2 3 4 5 6
1 2,3 4,5,6 7 1 2,3 4,5 6 7 1,2,3 4,5 6 7 8 1 2,3,4 5,6 7
1,2 3,4 5 6 7 1,2 3 4,5 6,7 8 9 1,2 3,4 5 6
Large Size
Advanced Size
1,2,3 4,5 6,7 8,9 10 1,2,3 4,5 6,7 8 9 1,2 3,4 5 6,7,8 9
1,2 3,4 5,6,7 8,9 10 1,2 3,4 5 6,7 8 1 2,3 4 5 6
1 2,3 4 5,6 7 1,2 3 4,5 6,7,8 9 1,2 3,4 5 6 7
1 2,3 4,5 6 7 1 2,3 4,5 6,7 8 1 2,3 4,5,6 7,8 9
Large Size
Advanced Size
1. Sharp Tail
Roll to Join
or Finish
2. Dot
Advanced Size
1,2 3,4 5 1,2 3,4 5 6 1,2 3 4 5 1,2 3 4 5 1 2,3 4 5
1,2 3,4 5,6 7 1 2,3 4 5 6 1,2 3 4,5 6,7 8 1 2 3,4 5 6
1,2 3 4,5 6,7 8 1 2,3 4,5 6 7 1 2,3 4 5 6
1,2 3,4 5,6 7 8 1 2 3,4 5,6 7 8 1 2 3,4 5,6 7 8
1,2 3 4,5 6,7,8 9 1,2 3 4,5 6,7 8 9 1,2 3 4 5,6 7 8
1 2,3 4,5 6,7 8,9 10 1 2,3 4,5 6,7 8,9 10 1,2 3 4,5 6 7 8
1,2 3 4,5 6,7 8 9 1,2 3 4,5 6,7 8 9
Advanced Size - Counting as you write the strokes programs the word into muscle memory.
1 2 3,4 5,6 7 8 1 2 3,4 5,6 7 8 1,2,3 4 5,6 7,8 9 10
1 2 3,4 5,6 7 8 1,2 3 4 5,6 7,8 9 10 1,2 3 4 5,6 7,8 9 10
The goal is get the word into your muscle memory. Test it by writing to count with your eyes closed. When you can count and write the
word legibly, it is in there. Check letter tops for legibility.
Advanced Size
1 2 3 4,5 6 1,2 3 4 5 6 1 2 3,4 5 6 1,2 3 4,5 6 7
1 2 3 4,5 6 1 2 3 4 5 1 2,3 4 5,6 7 1 2 3,4 5,6 7
1,2,3 4,5 6 7 8 9 1 2,3 4 5 6 1,2 3 4,5 6 7,8 9
1,2,3 4,5 6,7 8 9 1,2 3,4 5 6,7 8 1 2 3 4 5,6 7
1,2 3,4 5 1,2 3 4 1,2 3,4 5 1,2 3 4 1,2 3 4,5 6 1,2 3,4 5,6 7
1,2 3,4 5 6 1,2 3,4 5,6 7 1,2,3 4,5 6,7 8 1,2 3 4 5,6 7
1,2 3,4 5 6 1,2 3 4 5 1,2 3 4 5 1,2 3,4 5 6 1,2 3,4 5,6 7
1 2 3 4 1 2,3 4 5 6 1,2 3,4 5,6 7,8 9 1 2,3 4,5 6 7
1,2 3,4 5 6,7 8 1,2 3,4 5,6 7,8 9 1 2,3 4,5 6 7 8
1,2,3 4,5 6 7,8 9 1,2 3 4,5 6 7 8 1 2 3,4 5,6 7 8
1 2 3,4 5,6 7 8 1 2,3 4,5 6,7 8 9 1,2,3 4 5 6,7 8,9 10
1,2 3 4,5 6,7 8,9 10 1,2,3 4,5 6,7 8,9 10 11 1 2,3 4,5 6 7
1 2 3 4,5 6 1 2,3 4,5 6,7 8 1 2 3,4 5 6,7 8
1,2 3 4,5 6,7 8 1,2 3 4,5 6,7,8 9 1 2,3 4,5 6 7 1 2,3 4,5 6
1,2 3,4 5 6 7 1,2 3 4,5 6,7 8 1 2 3,4 5,6 7
1 2,3 4 5,6 7 1,2 3,4 5 6,7 8 1,2 3 4 5 6,7 8
Hint:
Each word has four letters. If you know how, you can count the number of words and multiply by four to figure out your LPM score. Your
goal is at least 30 LPM. But remember, only legible letters count. If you cant read some of the letters, you should subtract them from the
total. Use the Letter Tops Evaluation to check legibility.
Name Date
Name Date
O
C E
Advanced Size
A
O
C
E
O
Peterson Directed Handwriting 49
These Three Capitals Do Not Join
All three start with a roll and a rock called a Twist.
D
T
F
Advanced Size
D
T
F
FDTDTF
Peterson Directed Handwriting 50
Capital Letters Test
Can you remember how to write the capital letters you have learned to write the names when there is no cursive model?
Name Date
P
B
R
P
B
R
PBB
PBP
Peterson Directed Handwriting 52
New Capital Letters
L
S
G
Advanced Size
L
G
S
LSGLG
Can you write the letters with your eyes closed? Which one of these letters ends below the baseline?
I
J
I
J
IIII
Peterson Directed Handwriting 56
Loop Slant Capitals Roll Clockwise
1. Loop Slant 1. Loop Slant 1. Loop Slant 1. Loop Slant
2, Round Top 2, Round Top 2. Curve Slant 2. Twist Down
Join or Finish 3. Round top 3. Trace Swing 3. Loop Slant
Join or Finish Join or Finish
N
M
H
K
Advanced Size
N
M
H
K
H
H
Peterson Directed Handwriting 57
These Three Capitals Loop and Slant
U
Y
V
Advanced Size
U
Y
V
VV
W
Q
Z
Advanced Size
W
Q
Z
WQW
Peterson Directed Handwriting 59
Capitals In Important Words
T
W T
F S
S
Anne Otto Carl Eric Dana Tate Fred Paul Randy Brooke Libby Sue
Gretchen Isaac John Nate Max Iris Kennedy Quinn Uri Will Yves
Zoey Gina Matt Reed Hanah Sarah Tanner Alexa Jayme Beth Xenia
Name Date
LPM
Name Date