148 SECTION A SECTION B SECTION C SECTION D PREFACE Handuriting serves writing. ‘Honduriting serves writing when studenis can produce legible andumiting fluently and with minimum conscious ejfort, ‘The fundamental purpase of handwenting instruction is to help students develop a legible, fluent handwriting style, Statement of Principles Writing K-12 The Foundation Approach o teaching handuriting has ‘wo major components: Foundation Handwriting Movements and the NSW Foundation Handwriting Style. Itrecognises the importance of handuriting movernents, and not letter shapes alone, in the suecessful development of handwriting skills. ‘The Foundation Approach, with its emphasis on handwriting movements, Is intended to be a caretuily Ss eae drawings of young children and the development legible and fluent personal handwriting styh Serie en peas ao a research carried out in New South Wales involving the ‘students, staffs and parents of some forty schools, CONTENTS Background ‘The NSW Foundation Approach ‘The NSW Foundation Style Teaching Considerations 149-153 14-158, 159-185, 186-200SECTION A: BACKGROUND 1. Why handwrite? TW ner sale urtersts cpasthabahs os paper, srl ea whereby others ean read the writers’ thoughts, and so helps waiters to share meaning. The mock letters Invented by young writers and the scribbles of mature waiters can fulfil their need to make meaning. However, in order to be able ta share this meaning with readers, waiters need to leam to use standard loner shapes. 1.2 Handuriling can give aesthetic and emotional pleasure. It can. provide a sense of creating an artifact. in the same way as do the acts of carving, sculpturing or madelling, 13 Handuriting can produce the most personal of written messages by combining a banduriting style, a writing style and & message, all of which ave personal, 4 Handwriting, by slowing down the weiting process, can allow insights te accus; it can give the wriler time to construct and reconstruct meaning from the writing. [5 Handwriting if 4 convenient, portable and accessible skill. 1.6 Handwriting enables writers Lo express, communicate and record thought, to discover understandings and develop personal Insights, and to eam new information, 2. Processes underlying handwriting 21 The process of physically producing handwriting requires © Visual recall: the ability to farm mental images of the shapings of symbols as well as their shapes. Remembering the appearance of the movement is Important © Kinaesthetic recall: the ability to remember and reproduce the internal physical fecling used to praduce the handwrking movements necessary 10 form symbols ® Visual recognition: the ability to see the similarities and differences between the movements that produce the symbols, o$ weil as berueen the symbols themselves. © Kinnesthetic recognition: the ability 1o feel the similarties and diflerences between the movements tha: produce the symbols and clusters of symbols ® Relating to space: the ability to accurately relate oneself 1o the space of the writing surface and to propery relate symbols to each ather on the writing surface, 149150 3. Definitions of terms [The following definitions apply to these terms as used in relation te the Foundation Approach] Handwriting movements: three movements that, when Combined and repented, form the basis of fiient, legible, automatic handwriting. They are a1 “WU 4] Manuscript handwriting: unjoined letters of any slyle, but here, the letter shopes of the NSW Foundation Style. Cursive handwriting: jained letters af whatever style. Not all lettors need to be joined for the handwriting 10 be cursive, Joining manuscript letters to form cursive handwriting is ‘5 hotural consequence of moving fluently from ane letter to the nexl, The writing implement naturally giles en the page ay above the page, Joining Ines between letters ‘occur naterally and where conventers, ‘Style: letter shapes of the NSW Foundation Style and the uay they are formed. Section C, pp.159-185, for details of the letter shapes Fluency: the smooth, rhythmic mavement af the tip of the writing implement, Fluency implies on easy, eeonomieal, left-to-right progression involving touch and non-touch: In other words, fluency is hindered by not joining any letters in any words as well as by tying to join all letters in all words. Fluency is maximised by joining where convenient at3.6 Legibility: the case with which readers can distingulsh individual lenters and groups of letters. The four major factors thal contribute to legibility axe familiarity, sameness, diflerence and balance. Familiarity: Perconal scribbles might be legible ta the writer but not to ethers, When writing for others writers need to use letters that are distinctive and familiar to other literate people. © Sameness: This takes several forms that can all be related to three spaces and four lines: ————S—S—S—SS SSS gs UPPER SPACE Recess OWER SPACE ine E GASE LINE Line 4 * Letters need to maintain the same size, A letter that spans ane space should continue to span the same space and should be the same size as olher similr letters; for example, Letters need to mainiain the:-same proportion. A letter’s width and height both need to be constant and need to be constant with other similar letters; foc example, Faureing — nn — laura — + Letters need to maintain the same shape. To make the task as easy as possible for the reader, the writer needs to use the same basic shape for leter uathia the one bedy of writing: for example, 151152 » Letters and words need to maintain the same spacing; for example, between letters + Joining lines have an important influence In maintaining even spaces between letters by repeating the basle patient; for example, Io » Letters need to maintain the same slope, that fs, they need to be parallel. handuriting. eo “haerdaretng— ® Letters, words and lines need to maintain the same alignment, Not aligning letters, words and lines vertically dawn a margla oid horizontally across the page can be Useful in presenting ideas artistically, but can make everyday waiting and reading unnecessarily difficult.‘= Difference: Legibility is maximised if the special, distinetive features of letters and ‘groups of letters are preserved; far example, the letter A Is easily recognised, as ls (7. But if this letter is written as ¢f then the distinetive features of the letter are =. Jost and confusion might arise. The context of other letters ean be used ta determine a many letters ( y'##71.), or the mavernent that produces the bottoms af many letters, as fol as any joining ines (+1224) can dso eter shapes and hereone rece legibility, " For example, everemphasising the movement "47% produced this handeniting and overemphasising the movement (» (4447 produced this handwriting 4, Self-expression and communication 4.1 ‘Handwriting contains elements of sell-exoression and communication. It carries a tension and balance between the need freely to express individuality and to conform to social standards. © Overemphasising self-expression can lead to personal squiggles that do not readily coramunleate to a wide reading audience. Signatures that need the name of the signatortes typed beneath provide an example of this. ‘© Overemphasising communication can lead to stereotypical, untiown handuatting that lacks the siamp of personality. 4.2. The balance between selbexpression and communication shifts depending an © the stage of development of the handweiter @ the stage of development of a piece of writing ‘© whether the intended audience is the vaiter aply, or other peaple as well 153SECTION B: THE NSW FOUNDATION APPROACH 1. Aims i 12 to help students master a simple, foundation set of handwriking movements. These movements arise out of the scribbles and drawings of children and are refined and contained to fox the basis, or foundation of the NSW Foundation Style (o help students learn the simple set of lester shapes af the NSW Foundation Style, These letter shapes are based on the Foundation Movements and are the foundallan pon which personal handwriting styles can soundly develop. The Foundation Movements and letter shapes can be used by students wha particlpare in programs for languages other than nee that also use the Roman alphabet to help students develop personal handwriting styles that are automatic, legible and fluent. “These personal handwriting styles arise aut of and are based on the Foundation Movernents and the Foundation Style. 2, Movements and style 21 22 ‘The NSW Foundation Appronch to leaming ad teaching handing hes to maar components, Foundation Mavements and the Foundation Sty! “The relationship of scribbles, Foundation Movements, the Foundation Style and personal styles can be depleted thus The Buccch Bren ox Jumpr ouev (@ iiThe Foundation Movements 2.3 The folowing the Faundation Movements form the basis of legible, ent handwaing. They are the basls af the Faundation Style 2.4 Practising these mavements separately and in combination develops a memory for them. ‘This memary can be developed whether the movements are large or smell, 25 The movements are 1) The slo; Ged . ellipse movement (2) The sloped clockwise ellipse movement 2.6 Each of these movements can be produced by the fingers contracting and releasing. They can also be produced by using the whole arm to make large movements. 155156 2.7 C1) repented while progressing to the : e ‘fight, the following pattems can emerge: B 20 2.8 (112) 1s repeated, these palters G00? cen emerge: af 29° [6(3) is repeated, these HAMA pattems can emerge: 2.11 IFf2) and (3) are combined while progressing the tah, i gegen 01 the inenes meaty + WO] IY ths follautng basic nduriting pattern:2.12. The (ude# pattern is the basis of @ number af the small letters af the Foundation Style: l “8 2.13 The following letters have Inverse curves: Hf ese 2.14 The #17 pattem is also the basis of a number of the small letters of the Foundation Style: 2.15. The follawing small letters are not produced by emphasising either the pattem /Frimor the pattern [Witt but are produced with reliance on a downward stroke. ITHNa 2.16 The obility to produce the downstroke /rli/needs to be cultivated when forming the small letters of the Foundation Siyle. 157158 2.77 By repeating this movement and giving Ita little more ermphasis than the upward and etal mavements, an automasc hythrn can develop, This syn helps Duency and letbilig, 2.18 In addition, 20 of the capital letters of the Foundation Style begin with a straight doumstoke. The 6 others (J 2 ¢@ @ 4) also have an important downstroke component, 2.19 Three other basic movements contribute to the formation of the eapital leners: 2.20) And the overall ledt-te-right movement of the arm influences the progress of handurilinig, eee ag 3. The major characteristics of the NSW Foundation Style Si The siple comprises ane basic set ef leiter shapes that ave the same: {or young students using manuscript handwriting {unjoined letters) and for older students using cursive handwriting (ined letters) 3.2 The letter shapes are joined by sludents when they are individually ready to ds so, net at any prescribed age or grade. 3.2 “The style incorporates a few simple movements that are combiried and repeated to form letter shapes. 3d “These movements arise out of most childran’s scribtles and drawings and are refined and comalaed to become the foundation of the style SL The style can be produced using any of the commonly available vaiting Implements, 2.6 Different appearances result from using different uriting implements, while the style, thal is the letter shanes, ean remain the same, 37 The letters have their own distinctive features, Those fealures inchale shape, relative size and orientation 98 Departures from this model af the letter shapes and their slape: can legitimately be made, particularly when older sludents are developing finency along with their ovm personal styles, provided, however, thal ihe distinctive fentures are preserved along with fluency when required. 4.2 Careful attention needs ta be given jo the direction and sequence of the movements that produce the lenter shapes, sq that the leiler formations become aulomatic and repetitive and the overall lelt-to-right progresslan of wting Is encouraged. 3.10 “The letter shapes have simple proportions and relate simply tn each other; all letlers relate snfply to Raa nts el foe Rees tes roe we? int I—THE BASELINE ne Upper Sp t ialeSpace ower Space 3.1) Each letter and numeral can befarmed within a parallelogram a N li gSECTION C: THE NSW FOUNDATION STYLE 1. An overview 1 ate. 13 14 1.6 “The following pages detail the shape and the shaping of each letter of the Foundation Style, “These letter shapes are grouped according to the basic movements they have in commen. Within each group the letters are ordered so that the shaping of one leller can be seen to arise naturally out of and lead to the shaping of athers. ‘This Is noi to suggest that a child cannot be taught a letier unlil the previous ane has been taught, What it does suggest is that a child, in learning one letter, can benefit by understanding Its relationship to another letter or other letters. ‘The letters of the Foundation Style are members of families and are not simply isolated phenomena. Following is a graphic overview of the letters of this style, followed by a detailed description of each of the letters ‘These descriptions do not indicate absolute sizes of letters but, instend, indicate relative sizes and proportions. If allowed natural development, students begin by producing for themselves letter sizes that best suit their abilities and purposes. 159its uwyvw @ a qq ceo Ais nrmhkh p he xz UCGOO JS s BPRD ILEFHT AV MEN KYXKZ vemos O12 3456784 abcdefy hujklmnop qysturwxyz The quick brown fx Juans over the lazy dog3. Index of letters, numerals and punctuation marks Page: m 170 SSF TA OAT Mao Pie eas F a Overview 1 letters emphasising anti-clockwise and downstroke mavements Overview 2 7 O-re Oe Do OF SFT Be ae Page 166 166 12 168 70 170 172 167 172 167 165 164 169 168 165 164 169 167 letters emphasising elockwise and downstroke movements Overview 3 letters emphasising linear, including downstrake movements Numerals. Punctuation marks SAS SA Se SRS Fe 162 167 1613.1 OVERVIEW 1 Emphastsing anti-clockwise and downstroke movements These hee caine meet eae ‘gospediues becca ey ae oe oY ‘The shape of this letter # found within Pinks tobinta lpernyievi| Redness 9 aac are Teter 5! biit inthe Mowement that bath the fghtasine is spaces and aac pee saat Siaetenee ie SSS T eS ae weed amishacintin> paraoldoonstetcs te a titan ‘The tmp ofthe don. Soentdon gah toe U and terers the H Scinto a paraledograan: Ibage leg Hi nor toa rounded binds fwency te 9. Ut} based cn the proportion of 2:1 aaa sba aay aay Thelewer ‘This letter requires extension and he Ww second contraction of tha fingers, allowng the pen dgunizckwolnededne Goon curve ‘Grave pum ine 2 Ine sores tos ne te tan Uy. Tis euro tha irareapncen Forse, might be et ofthe cuweel F rst but wil be mastered wih practice. 4 “The ability to-extend and corsract the Engen: for all doublespace liters. Ws produced nthe sarne way as for the alta tha te of is eter ge en small eter, except That if begins and ends ae caunterpat, the propartion of 2 ln 1,cohen dorneay near Seer a Pope wosight oomatake, ohana Wecnld hpgen. tithe same as for Ubu repented, is tor eater @ ba wth Gowestroke tat extend tn 1a Yo tine. The fr tlt spovement is ug els anderdsne Wean ook ths: Heverdone, Hola magunentel rosa he en 2 Ax av Sai W writin ia hoped spece be lett under the = a rourrched lettur {ean.C) wall ‘result, This lene, lhe all of the letters cd the NSW Foundation Siyie, is a member al = fomily of shapes, Part of the reason for the arisen ee gertylomed ins ee iad pasicularly the U . Tha aim a complete he Kater ng one conlincaus mavernent, Qe formed as or br wih a ns downsivoke extending fram live 2 9 line @ with a rounded curve os for 163164 q's formed as fe g bt Instead of a producing a gfihape at line, Produced mosieg othe ht snd eleing The quick change of dvetion four nthe miiddespace: 2 4 z we bern for thelr bot les Cc bout halfway up the middle space, 4 = £ = 5 begins ab the midpoint af £ and loops ‘out, up and over quiclly towards and slightly {othe lell of the staring point of ©, The vewial ¢ fas for C The beginning of ths Keer sna. saiphline a @ ox € bs {the bogiaaing of acontimious curse that rove hese aga fe er 2 ‘The leter oan became easily distorted Fhe loop begins too high [eg € ) ar to awe fag. 2 + Begnning with » horizorial movement |@ ) ean also distort this Teter; I anh tere ether fon on clipes. Dis produced i the same auny as the beginning of @. econ become lide rounder but not cheular, Cisetomervenional scall ¢ The dliference les in the capital xextending ver the tap huo-spacesore he ce af he Cat fave complete, mmedately no's Pda nwa fig ate is ceed wt tress bar tine 2 a8 or is produced tthe sume way a5 the small ‘except that lt ypans the lop two-speces, Gis tne mame ase se Oc Bites ugh 2 small straight dia aeeae themefe omen aaa boeoe 165,ir adownstiohe, begiesing ot toe Zand tending 10 tie 4 aed isi wth 3 Atociutse cure s for snag The dot in theop a6 line wilh the dounstroke, fe tile The curve gf the y 18 thataversa ol the cue ofthe 3 166 Sreteds na crossbar (ser) a1 the tpt Giga n. Without the xeril only one nOMEMET is needed, The cunce on bite 3 eanbs Eaghly Baten. Stepins dothe jecans @ and C and This can bea deat ener because of then mnnes wits éaganal connection inanecate change bow a asiloczatse Stroke tothe righ and ruthes Uh curve, movement 1 8 rovereet Tet Snir to tee he lener The ‘Sosemalis paled down ceerh the. rtp tae th eter mowement ti &3 Uf around tad dots placed on isthe i ‘of the: slope, ths: 2 Sis produced in the seme woy os the soll § encep that spans he top co spaces3.2 OVERVIEW 2 Emphasising clockwise and downstroke movements: Nibegina wth 9 fan downstroke that deops kom Ene 2to tne Sand then basnces back tole 2 in o clockwise crwe, certo fa secon douratcks paralll to the fe ‘This should be dane wabout peri. The bounce sorts inet From ne 3 Teg 9 wedge shaped Spc The lemporef tre down up. down rmowement slow, que, slow. Seay nt 2 23 ae Letter shapes ‘This leer pecwider a basic hans together wth is cauaterpart Ut. ‘The doun impulze should be emghasived so thatthe epatroke i felt asa incslental movement betucen the dowrsirokes, The #7 Ison Inverted Pegi fon Fs sop th he care atime? Fargo sth nae icone tne ae aes ee cee ara iota ores pe creeped = keer dale epee fr sgtne same as toe Mt exeeot thot escorts attire 1 and thetlace ‘tension of he Baigers shape: pr slightly mare the wedoe 167168 beet tte. for mos ofthe middle space, ote the wedge shaper Bo iol mustbining the seéond dowmsteoke ae ‘ot flattening the final curve to meot the frst dloumstroke athe 2 not leaving a wedge-shaned space abave the ‘curved upstroke. /pisthe samesas tor & except tthe dowautroke begins of line 2 ad extends to Tine 4 DDsrtins as forthe fining cueve in B can ol occue fo2B begins with a daunetaice tnlizase by 2 ihtard then e canals dale er, een the ane tac and mace in one ‘eetinanus avert tna mopeneaey teaches the aan tine Te Veginnsig en ending af the double curve Should be fat runnag bref aiong ine? bre ne Srepeciay. peal cme on ne Bis the seme az far Ris tha come a: P bovis completed wth « ime stogonal dosmsiroke from line 2, gon ne athe sro with athe he ene and the diagonal are produced uahou pen i Bastien te tnd clockwise came from he L fa {ine 3, The conve begins and uns at for & ‘The une ofthe Disa ide taller than therwidth of the 8 169170 3.3 OVERVIEW 3 Emphasising linear, including downstroke, movements ‘Small letter | and capital | begin a line 1 ‘and end at line 3 Letter shapes This shape serves as a capital asin Italy| or small | asin litle. Words in which these letters are likely to cause confusion are too rare to counter the benefits of simplicity and fluency gained from t begins as forletter | at ine 1 and ends at line 3 Iris completed with across bar through the dounstoke online 2, no wider than one space. The crossbar is Biseced by the dounsroke. 1s produced with 2 downstroke that begins at line 2 and finishes at line 3. I is completed with a dot at the mid point of the top space and in ine with the downstroke. L begins at line 1 with a downstroke to line Sand then, without lifting the pen, makes @ horlzontal line to the right equivalent to half the height.2 E begins estor L . followed ty Cre ta i botiontal lines. op line 1 fest thea oa tie 2. ty “The nich a for Lt ecqaualent to ball the : Feira ut dopnaoh alowed bys ‘pen lito preguce honroenl lines, |B seuvalencte hale hetgh, on ne 1 ras than on line 2. ‘His madi by boning with 20: inl duane the Jeter helghs apr. The H ‘reat be 2 ie ‘eemnpletes tls lets, with a deunstroke, foioued hy a a ensine erie Peace er ant onthe Souk ‘Atrgies wih on obique dawns othe loft tone 3 and Is fallowed by aacthver to target Wein Enished with the ef0ss bar on ‘Aller each sake, Ihe pen 3 wes Tie egonntat Aware mio ae Seperate same slopes lor the a172 V bevins from tine 1 wrth an ebliaue tp fae riahrte line Sand is (allowed tran cbllgue upsrove to lie 1 ‘without ing the pen. The bottom painl of tale veil bf he boo Ia of Wis rade without er lity ww double V. ‘The thres toch pnins on line | need to be squidleante avald undes disteman such a = —! SW Wen produce dale Wrote wan ea E although ean be dj comets ugh ean be narrowed Mi tormedd with swe snaies It healing mths {8 douretaka From lin | fa ine afar ‘Thon there a pen dito the marine point at ling 2 begin the sozend sme that somriters dewn-up-dewn movement. The ddeuin up section = the shave of V ands Tollawed by a downstzabe paral a the fst sdounstoke, The pen is notified during the dounup-down ste. Pred eg ng ein see id Tina tie pen helps the development t ve Tabitof caniinguns lel righ progresicn The thee laocrpolss on Ice & need to be Sauldalent i prevent dblerlansc! Ihe foliontaa oes Wis formed wnh nyo ewobes. Iebesing wich adaunitale from line 119 ine 3a for f ‘Than theres 2 pen io the sing potnt atling 1 to begin the eacend sok chat ‘comprises » doamsup maverment, This down up seerion Begins with an obiave smevement that touches line 3 letter width 4p the rig ofthe firs deownsraks ard Aneto with 2a upward movement parallel to the fret deunercis, The paris not htc ducing the damup ake. A beotns wath a downseoke kom line 1 46 line 3, The second stobe begins on lie 1, “goes in te meat the midpoint ofthe fst oho athe ard han moves amy re Aswith ether lemurs, peraliel daumsienkes fae ernghusized 2a that they can be developed and maineained ws a kasi, confinuaus hendnting rhythm.Ly Degins lth an oblique dnunstoake athe The letter can abo be fonted thus: “ahr, stepping at ins (it would eanieue 10 i line 3 irwere an 26}, The second doansnote beams at line | and ogncnves. haut othe ek, terteng te rt ‘daunsnaia and Bnishing at line 3. X begins with on oblique downstroise to the ‘ght kom Ene | ta ine 3. The secand stake at libe d ard moves obliquely pune tothe rghltoline 1. X fs the some as copttal A bit spens ony The first dovamnstroine encourages the basis thertlddle space. dowesiroke impulse of fut legitle handwaling. The second upyaerd smoke encourages left-to-right continuny werd ih we ond except oe except Zoey wath the honda acoahe shovelert on ne | a thet moves cgi otha et frtina wh fandin mavemeneta te nt on Ie 3. ‘hiss done wif ising ihe pen A biseg IN Eka GeeR the-middiespace. 193174 From manuscript to cursive 4. As students develan confidence. and competence in producing manuscript (thats unjoined) letter shapes, their fluency in moving from letter to letter incaeases. This improvement in fluency means that natural or spantaneous joins-can appear. letter shapes slightly change and thelr size decreases, ‘Although these effects usvall appetite rater , students need careful guidance te boeing shown efficient =o ig Sede of raring te shave ods of sore letters in order to assist agent ean ch guidance helps students develop cursive hanging at is, handumting that has joining lines) that effectively ‘balances fluency and legibility, ‘The time to show students how to join and modify letter shapes is when they ere individually ‘dna iy prscabed age ade, te cllowing cortsersont ‘can help when showing students haw to join and change letter shapes, Joining ‘Using @ quick chonge tn street As students develop the feat feel for the repeated parallel ‘cheractertstic of vent, eit hand tan 96 TSS). a quick change in direction can: nao © [tis worth noting that thls quick change in direction produces jains that conform te the basic pattern. It occurs for those letters that end with a dounstzoke on line 3, namely: au de on he ke le te is © 45 well os an emphasis on dewnstrokes, a deemphasis on joining lines can also help fivency and legibility. When jolning movements are ever- emphasised the following type al poulesous banding eanocrie fe © The anticlockwise mavement is exaggerated here.7.2 Using loops © Loops can effectively occur ‘+ when ting the pen from the end of yg. F andj thus: © witthetetters hk, b and | the loops occur partly because of the influence of retracing; instead of travelling the same path twice, a deviation can occur thus! — © Forall ather letters, however, the influence of retracing needs to be controlled to save readers stom posse confusion whl ot the same Une keeping handuaing movements os simple ss posable: fr ample, ben ihe een ees th long letters the following types ol loops should be Hat wae yy 175176 7.3, Dropping in letters © Anatural consequence af emphasising the baste parallel cdownsiroke of fluent handwriting, together with the Inconvanience of retracing, for example, fs to drop lenpri ania places The following laveer canietectivaly Be dionped Into place: start shift dan GO —ni nage — Ln AG pag stip ice cba day Sa ik a ask ‘© The downstroke of the letter being dropped into place touches the upstrcke of the preceding letter. 7.4 Apia lin is nok necessary veles thee is srneting to join it fr exalt, © joining tine + no joining line 4 Sometimes, however, for sesthese or kinaesthetic reasons a writer might wish to produce a litle Mek 2t the ead of words, thus: —— Pat =a 7.5. doining lines are influenced by the way letters are finished. . Lari Bnshing wath a downs aby going othe ght are neroally easy fo into letters that follow. Letters finishing with an upward movement ing backwards an ay be Ll wot, Nee ales tates eal abel epee en ese726 Joining lines influence spacing benween letters. ° Th patria ee Tasty el Be kates anf melas aed Seay paceiorecangae ee 7.7 Joining lines ere mainly needed for fluency. * oad se eter choos, not ving nes, fo read. distinction can be made beroen letler shapes end joining lines; for 7B Fudan aid Hapeiay oe are stat when the wriler takes as dicect a path as possible from letter to lemer, ining lines te the letters: gp straight tothe rst 7.9 Copital letters can effectively remain unjoined. However, once fluency develops, the following capitals might be joined thus: Ww178 8. Changing the size and shape of letters 8.1 Once the NSW Foundation Style hos been finely established, fluency ean be assisted by © reducing the size of letlers and P © making slight alterations (6 letter shapes; foy example, the following changes ean be made: In addition, in rare circumstances where the capital | might be confused with small J or numeral |” the capital can be changed thus: —— alerts9. Letter finishes and optional joins bee Frotactupstecs | Fee aiy eel 6g. eg.180 10. Optional joins for common letter clusters 1.1 Proet common letter chust standard English: both the 102 Reesor arey String Bosc td gts cad des stsontoa ot bay ts, 10.2 Following are some examples of common letter clusters: ‘Two-letter initia! consonant blends ¢.g. bLbr cl arde fl f ql gr pl pr sc sks ante ‘Tworlatter fnal consonant blends e.g. PE php tn Thee lener initial consonant blends eg. ssar_she-spl-spr sq str Hh Dignaphs eg. Se ea eM Prefixes and suffixes e.g. jst mend. or * drep into position11. Joining to and from small letters Letter Unjolned. Joined * dropped into placePP |p hope yp pun — ! ieee eo via Worn Grape Ft CGS SUAS | as yt thatio—hat het yt that toate12. Numerals. 12.1 The following, tain descriptions af how the numerals of the NSW Foundation Sip are lonmeds Thay deseibu te shape and the theping a esch numer ‘Although the helaht presented is the same aé she copltal letters, this cht change according to circumstances and the personal needs of each student. ‘The fuera 0 ieforred astarthe eapeal heater 0 da 1 dee, begun ot ond 2 serene us for the copiallaes Z bat stem th exupeardmovicg Cure Behe doable cre of te copia tet: B eentites spe tothe igh oneness thismumoral Slopes to the Hight hie all ther lenters an mera, thus umersls, h % eon betweor ne 1 and 3,184 Sipening daca and then, unis ee the pen, 2 = clociwinn curve i.made sxrilar tthe ‘wore cures of B ‘Adar a pen Uf this numeral is completed by: ‘Making 8 Rarlnial stroke tothe sightan . ‘thane tre deranatrclae Vine should be na 7 begins with a honsonta| stole 19 the senate arr ‘wrth an ural at feive pd avis Sul pa ete ee lina of is produced in thesasne way at ard but without toil and I esters om tne tbe 3. The nama, al eis sprained betwoen Ines end 313. Punctuation marks 13.1 The following page indicates altemative ways of producing comman punctuation marks. ‘Example — comma The ca eg ilar ple Th horse Is iameATIONS 1, Teacher intervention 1a bs The overriding and erucial tasks of teachers of banduriting ore » to create a writing environment in which children are encouraged to write, even before they have mastered the letter shapes of the NSW Foundation Style # to identily which handwriting difficulties are impeding each student's attempts to get ideas down on paper and share these ideas with others. Assessment and Evaluction (Page 200) helps teachers in this identification 8 to Intervene by showing each student how to overcome the handwriting diffeuly:for ‘example, how to better form a letter shane or make a beilus joining line, or how to practise & foundation movement. The intervention needs to take place at the student's paint of need, the time when the student has indicated readiness to learn. Where difterem students have the same needs and comparable abililes, whole-class or small-group handwriting lessons are suitable. Where a need Is specific to one student. that aged should be met for that single student. ‘There is good reason to give hendwaiting lessons apart from uniting activities that require concentration on compasing. ‘Teachers must help students progress on the basis of positive selt-image and achievement. They do this by . helping to make explicit for each student those things that they already understand and con de © emphasising their understandings and achievements rather than their rmisunderstandiags end inabilities2. Learning to handwrite 21 22 23 Students leam to handwrke by fe Thuenting marks: they create thelr oun marks and manipulate them, exploring the lis of these marks as well as exploring their curr capabilities « forming hypotheses and testing them: thay make guesses about what might work ard they test their guesces. Inventing their awn marks and testing thase tc sez how well they communicate involves children in comparing their inventions against the teacher's model. As a result, children gradually revise thelr understandings and refine thelr handwriting skills [tis crucial shat teachers show students haw to produce the foundation movements and how to form the letter shapes of the NSW Foundation Style. Also crucial is the teacher's Creation of a whole language environment that makes much of ‘writing and values the ways in which handuniting serves uniting. Once ausre of a vieed 10 ‘write, students reach for the skils of handwriting. 3. Lesson types Bi ‘There are three broad types of handwriting leaming experiences for students. They are '» Selfdiscouery experiences In which students explore and discover for themselves the properties of uniting and crawing Implements, This is ypical of easly scribbling and uniting perlods, © Guided exploration experiences in which teachers direct students’ attention 10 particular features of scribbles, drawings and handwriting. Teachers demonstrate ways of producing and practising the foundation movements and the letter shapes of the NSW Foundation Style, This demonstration can take place while a student is writing, er during special handwriting lessons removed from the composing demands of wring, te esponse to teachers’ demonstrations and directions, students revise their understandings and reflne their handwriting skills and personal discaveries @ Seif-direction experiences in whieh students use these revised understandings and refined skills, and apply them independently in continued writing, 174, Patterns 4.1 Patterns, using the foundation movements, help students develop automatic, fluent, legible: handwriting bye evening recall and recognition (see p.149), and developing ipulative 4.2. Inguided exploroiion lessons there can be three broad types of potter activly: © Students produce and explare various serbles and pattems. Letter shapes con be superimposed on to those pattems. The basic movements required to praduce the le-ter shapes need to correspond to the movements of the patiems, for example: Ree NS Bq, lice Using the patterns found in the exploration scabbles of students, the teacher can demonstrate 2 repeated pattem and then shewr how letter shapes can be fited on to this patter; for example; BRE LUR LL ABA GAGs Gites nan: ppp kkk inns tit) iiili dds cece rare wee FE bb by ‘© Students are shown how ta form a letter shape and then asked to prexiuce pattems based on this fetter shope, On some occasions the teacher can demonstrate patterns: ‘on other occasions students can create their cum pattems. Correct direction and sequence of movement in producing the letter shapes need to be encouraged; for ‘example: ip RIAA, ol Hptihyh eld lg hk anid. ||: did Ibklbk @ Mellieha 1 Combining different letter shopes: Led MP (RL IRL ART TRL IR tg. 60 ai tu ul AMIE ALIN kkkkk kkkhk ws | gDStuders are shoun the Foundation Mavements und asked to produc: based on these movements. The teacher can demonstrate pattems, or students, Producing pattems to the shythm of music or poems can reinforee the rhythm automatic, fluent, legible handvaiting; for example: 00000 & 00,6.8.0,8,8 yay for “O) ceapaie 200900 wut UntALA 0p hy Gk Lt eg. IAAAA UAAAA AAA Add COG 9000 9000 Far @ acand UNNI BABE ARF co OOOO CDOT sarin, sams worm mn PP EDP BES O For | SM NILNHLINM nd — AEA util till hth Nha! Aaptagllaglyly ond for \ WARY WHRAKd Ee Sar oS yy ee d29 022 2 €2 4 teehee * ee NA PO? (AWA HALL A et et en ee Mr rE PE bine pe Bie PE TEE orn SSE OS GE HEE HE 189190 mamas Q Hos S552 Prepare duplicated outlines and let the students decorate them wath suitable handuriting patterns. uaananaau sesso SSSHSGSSHS ELEEELELLLECLLELEL LEE | UALR? OA ¥ ‘poranccoccrcoonnn, CLLR: “temrnentonon TAAAAAAAAMAAAAAA AAAS MZIMZWZINZIUEW a eernipioyp| 919 PL 4 Free creativity using basic movements5, Sequencing 5) Bequeneig addresses the issue of when she letters of the NSW Fourdallon Style shoud he: taught and (hie order in whieh they should be tought Students should be allowed to waite as scon as they fed ihe need, even before they have ingsteced he letters of the Foundation Style. They lea these whih the guidance of thelr teachers along with and as.a result of writing, 54 There cannot be, for all students, a single set sequence of lessons with each lossan being devoted to the shaping of a particlar letter. Individual sludents rake Individual routes to leaming to wie and handurite, © They come to schoo! with diffrent language backgrounds, different undersrandinas, diflerent abilities, and different weiting experiences. © They master individual leter shapes at dilexent rates. la.any ane class there might be -studenis wha are abies to join lethers while others are sill mastering unisined letiers. ‘4 There-can be no alhembrating decision that alther captals or small letters should be taught firs. Instead, teachers should teach those loners that individual studlents ancl groups of scents shew that hay have ® ne fo produce in their wrt and thal ore mii ern trauble. 6, Developing multicultural perspectives to handwriting ‘What follows should be rend in conjunction with the ASW Multicultural Education Poliey (1983). 6.1 Students develop an understanding of the mulkicultifal nature of Australisn socieny thropgh programe (hol acknowledge how this rnulticulturalism expresses jisell jo the varlery of handwriting fenms ic use in our euituraly diverse society, 2 Schools can develop such multicultural perspectives by © identifying the cultural needs of students, the schaal and the community * incanporating a range of cultural perspectives existing wathin the school and the communlly ®© building on the knowledge, vahies, atihudes and practices of different ethnic groups within the schoo! and the wider community © cotuntering cultural biss in schoo! practice, and leaching and leaming materials © ialang into account the cultural role models of schwol and community personnel © imvalving various ethnte groups withie the community in schaabbased activities. 43 Incorporating multicultural petspectives to handwaiting might include the study of 2 Dariclar serpy including the fluences that have corto ott development. Such influences might include historical, sligious, social and technological developments as ‘well as cultural interactions. Understandings gained {rom the examination of ene serapt ‘might well form tho basis for the study of ollier seripts. 7. Handwriting for English as a Second Language students 7 7 Students from nomEnglish-speaking beckgrounds might be unfamiliar with Rosman sexipt conventions and the NSW Foundation Approach. When planning lessons, teachers need to determine whether such students are ® able to veadl and rite in theft first language atalliar with conventions used in written Enalish niliar with words used to describe handwriting in English © familiar with the relationships between the sounds and written symbols of Australian Exiga ® able to use the Foundation Approach when writing in languages other than English. 191192 8. Body position and furniture al 82 ‘Children find it possible to urite In all sorts of positions. The positions that are ta be encouraged, however, are those that can be maintained with minimum tension and fatigque ‘over 6 period lang enough ta complete the handuziting fask. These positions should also allow freedom of movement cf the writing arm, hand and &ngers. REMEMBER @ THE HEAD... @ THE ELBOWS... @ ABACKREST... @ THE THIGHS... @ ASPACE,.. @ THE FEET... @ THE NON-WRITING ARM... The following information can be useful: © To avaid unnecesary strain on the neck and shaulders. the head should not be tilted {00 far forward or sideways. © The elbows should be level with the table. This helps avoid tension between the shoulders, It can also help prevent fatigue, Including ae fatigue caused by the reader ‘being too close to or too far away from the page, Students who write with their heads ‘udnaturally elose to the uniting page might do so because of eyesight problems. © Abackrest, supporting the hollaw of the back, can prevent back fatigue. © The thighs are anetomlcally and physiologically unsuited for supporting the weight of ‘he siting bady. Compression of the thighs affects not only the muscles and their blaad vessels, bul alse the nerves, especialy the sciatic nerve, with consequent discomfart and possiply undesirable effects on soft tissmes. Undue pressure on the lower thigh should, therefore, be avoided. The front of the seat should nat press on the lower thigh; the seat should be hard or firm because a soit scat allows the pelvis to sink Into it, Increasing the fatiguing effect, © A-space is needed between the front of the seat and the eail of the log to avoid leg diseamnfort. ® The feet should rest securely on the floor so that they share the body's welght, The height of the seat, therefore, should not exceed the length of the lower leg, ® The non-uriting arm can tae the weight to allaw the writing arm to glide over the writing surfaceBS ‘There are suitable alternative ways of sitting down to write; for example, © using a sloped citing surlace ‘using & Séat that the writer can hall-kitee!, halé-sit on © kkneeling en the floor, sitting at a. low table ® silting on a chair with a board © Iying.on the floor. This position can be satisfactory if the wyiting arm can move Ireely: for example, if the nan-wmting anm lakes the weight. ‘When sitting left handers with righthanders, a clash of arms and bodies can be avoided by sitting the: leftshander on Hue left of @ double table and the right-hander on the right, “The Iefthander ean have a problem in moving the writing arm left-to-right because the: bord igh black progress. Moving the page io Lie fll of he body can overcome hi problem 193194 9. The nature of the writing implement 8.) The twa most important features of any writing bnplement arets point and lls barrel, 32 ‘The point of the writing implement rionnelly needs to be lavage if the letters are to be large The snialley the handwriting, the finer the paint can be. 93° Pencils and multidirectional pens such as ballpoint pens allow writers to produce the foundetlen movements with ease, and are particularly useful for left-handers who typically push the pen lefeto-right. 24 Students of any grade or age ar elas should not be testrieted te any one type of writing implement; for examale, thickebarzel pencils, Many young students trying to leam the desired peneil hold and movement find lat pencils too difficult. Thinner barrels are usually bener for them, 35 Students benefif from having available a wide selection of waiting finplements thal can be matched to thelr Individual heeds, abilities end wriling purposes, 26 As part of the classroom writing onvkconment teachers might set up @ writing ewntre that provides students with different kinds af writing implements and materials. Part Il, Syllabus for Writing K-6, Section 11, 1.53, on setting up o writing “Bi. euatranment 10, Holding the writing implement 10.1 The method of holding the weting implement can usefully vary from writer to writer, This variation might be caused by factors such as the nature of the uniting implement, the bady Ibulld of the writer and the cultural experiences of the writer. 102 Those students, for example, wife aré fluent writers of 0 script ather than the Roman might hold the writing implement ini way that is complementary to that panticular script. Ifthe hold Impede the flenty and bebliyof ther eaoweting sing the Boman Sea, they need ta be guided to hold the writing implement in the way described here. 103 ‘The basic method of holding commoniy used weting implements is that the thurs, Indes and middle fingers hold Une writing implement either by ® having the thumb end index finger pinch while the writing implement rests ott the middie Finger, oF, © havieg the thumb and middle finger do the pinching with the index finger resting an fop, or, * having the thumb, index finger and middle linger share the lask equally. 104 This method appkes ta both right-handers and lel-handers. 10.5 The fundamental vole of the index finger Is to pull Lhe writing plement tourards the ‘body. The thumb pushes the writing implement awayLOG Wirters can find it comfortable ta point multidirectional pens either aver the shoulder of the siting hand, er to the right oF leit of the shoulder af the writing hand. Sometimes the angle of the writing implement to the page Can be varled thus: 10.7 Balipoint and other multidirectional pens con be used quite effectively at this angle 10.8 ‘The clevation will be determined, not only by the type of writing implement, but by the she of the hand, the length of the fingers and their position on the wriling iruplement. 10.9 Bath the angle of the writing implement to the page-and the angle of the uziting implement to the writing line need to remain constant 6s the writer's hand and anny progress left-tovicht. Maintaining these angles helgs keep the slope and spacing of the handwriting constant. 10.10 For left-handers, the method of ellectively holding the writing implement can essentially be the same as for righthanders, Lelt-handers need 10 push the pen across the page mare. thon right-handérs, and therefore find mulidicectional pens beneficial, Lef-handers often Red that, by holding the pen a liule further from the point than right-handers, they gain a batter view of their writing JO.LL Undue pressure and tension, both of the finger of the writing Implement and of the ‘weiting implement on the page, work against a writer's attempts to he fluent and leglble. A. ‘tense bold looks like this: 195,196 10.12 Causes of undue pressure and tension include the personalicy of the wrier 2s wel 2s the nature of the writing suctare; for example, rough surfaces invite mare pressure. Another cause can be the nature of the writing implement: for example, mare drag comes from a rough point. 10.13 Coniicting muscular tensions can alsa produce undue pressure ond tension. The repeated, thythmic dawnstroke that helps fluent, Iegible handwriting, is produced by a continuous process of contraction and release, The muscles thal produce thee downstroke by contracting are diferent from those char cause the fingers to extend or stretch. 10.14 Fluent, legible handmiting utilises 3 continuaus of contraction and release. When ‘one muscle group contracts, the other should relax; If both are tense at once, fluency and legibility suffer. Contraction and release exerelses can be helptul 10.15 Young writers gradually develop towards an efficient way of holding waiting implements, progressing typically as follows: Holding the pencil like a dagger ‘The index finger is wrapped over the thumb or vice versa SF ‘The ideal relaxed and flexible hold.11. Relating the body to the writing surface 11.1 Away to avrive at a suitable position for the writing page is as {ollows: For left-handers 1 2 3 is) Ne From this to this to this For right handers 1 2 3 oe ls From this ta this to this 12. Moving the writing implement 12.1. Moving the wring implement involves the arm, the hand and the fingers. Put simply, the ‘2imh moves the hand, the hand moves the fingers and the lingers form the letters. 122. The arm should support the hand, leaving the hand free to glide over the page with minimum friction, pressure and tension, end allowing the wrist to flex slightly to the right, a ressuTe whether rightshnded or left-handed. The fingers need (0 contract and release to produce the Foundation Movernents used to produce letter shapes. 12.3 To move the uaiting hand easily across the page. producing clear letter shapes, the arm needs to pivot on the table, allowing minimum or no weight to rest on the hand. CuUu OV TUM 12.4 To counteract the arcing action of the arm's movement the paper can be Uilted in the following ways: a 197198 13. The material being written on (3.1 Different paper can have diflerent (extures. Paper can be coarse or smooth. dull or glossy, absorbent or warer resistant. Il ean be blans-or lined. 132 Handwriting difficulties can arise whan swriting implementis mismaiched with the surface its writing an, for example, gloated paper can cause loss Of control lien a belipeint pen -slides over it. On the other hand, when freedom ef mavement |s required for patterns this ‘cambination can be highly destrable. 14. Blank and lined paper 19.1 11s not recommended that blank: ay lined paper af parlicular spacing be designated to janticular grade Iovels or age. gro\ins, Instead, stidents benefit from having awvellable lo them a variety of paper types and 9 varleny of line specings. Within any one group students’ needs vary, 182 Blank paper can allow unresticted and personalised exploration of chawing aud scribbling movements, The distinetive features of the shapes of the NSW Foundation Style letters can be dreely explored. Such freedom to explore and practise handualiing movernarts ord jo incorporate them into letter shapes of a size that suits each individual student benelils Tanedwriting development ‘13 ‘Lined paper, or paper with lines showing through, can ke used 10 divide the large-space ‘of an othurwisu blank page into smaller, more manageable comidors. Without touching the lines, students can write along the coridars bordered by the Imes. Words ean be vwnitten to touch under dhe Ine, between but nat touching the lines, benseen and lowehing) pfs nificent magnificent schon 15. Slope lines 15.1 The NSW Foundation Approach dees nat specify any particular sumer of degotes far the elope of handwriting kecause, although ie is eomman for handwriting ta slap: slightly to the right, the angle can effectively cary from wriver to writer. 152 Both lefthandery and dght handars typically find a slope to the right effective in maximising Ruency while maintaining leaibiiny and itis this siope that, generally, isto be encouraged, 153 However, i fs important for lewibilly thst the stope be consistent: whether slightly ‘baclowards, upright or slighily to the right. Slope lines can be useful for students to practice producing consistent slope for all letters.16. Calligraphy 16.1 Handwriting can be an art form, However, the artistry of handwriting, for example. calligraphy. is peripheral to the baste intent af the Foundation Appronch, which is to help students develop personal handuniting styles that wall serve them and the writing they will narmally need to produce. 17. Tracing, copying and tracking 171 172 173 A tracing exercise usually looks like this: trace over It con foree students to focus.on the shape and size of the letters at the expense of visualising and fecling the movements that create the leiters. The size af the letters: students are askod to trace over might not suit the size of the movernent that best suits: them at their individual stege ai development A copying exercise usually looks like this: copy: a beneath S addad If the shape alone is presented, the student can practise incorrcet ditection and sequence af movement Tracking is beneficial because It focuses an movement. The movement necessary ta produce a letter is demonstrated to the student who immediately reproduces the movement. This reproduction ean take place during or immediately after the demonstration. Itis of no concer that the student might end up with a letter that is a different sice from the one presented, berause it is the movement that is being emphasised. 199200 18. Assessment and evaluation The purpase of assessment is to gather euldence of stuclents’ achievements 05 writers aid to use this euldence in ways thot will contribute ta thelr further growth os writers, ‘Evaluation is @ judgement based on the evidence goined from ossessment, Not only the of the students should be evaluated, bur alsa teaching programs, and the resources ‘used in teaching witing. ‘Students write for different readece and for aijferent punposes ond thi riius! be considered when ‘aesessing and exahioung thelr writing. Statement of Principles Writing K-12 Part If, Sylabus for Welting K-6, Sectlan 9, yp 12-14, un Assessment ane Evaluation 1S L Assessment and evaluation of stucients’ ability to handwrite should aitend to both the process and the praduct af handwetting. V5.2 When assessing and he prozess of handwriting, the focus shauld be en uency’ wath the produ lve focus should be on fait. '5\8 Assessment and evaluation information should lake eccount of the person, the pumese, the: process and the product * The person Writers’ individual stages of development and their ettitudes towards. handuntting both define what js achieted and deleting whal is achievable. Only within that context should assessors evaluare students’ abilily te handwaite. * The purpose Assessment based on a particular sample of handwriting must take into account & whether the sample is intended for the writer's eves alone or for others to read + the stage of development ol the sample; for example, whether itis a first or final draft. * The process Snidents should be observed while they are handweiting and the uency of their handwriting should be assessed, Factors that Influence Muency include %® visual recall ‘4 Kinnesthetic recall ® sisual recognition ® Kinaesthetic recognition +* body pasition and fuminure % the nature of the writing Implement + holding the uaiting implament + pressure and tension, 3 Moving the writing implement % wlatng the bedy to the wing surface sw the material being wit © The product Ascessing ken roduc sain concerned wi assesng the ley ofthe herding, Lagiily i necessery If wir: are to shore thelr meaning