Why Cursive Writing Is Important

Total Page：16

File Type：pdf, Size：1020Kb

Parents: why is cursive (joined-up) handwriting important? Research has shown that the use of a continuous cursive handwriting style plays a significant role, not only in developing fine motor skills but also in learning spelling patterns. This is particularly important for children who struggle with spelling and find decoding writing patterns challenging. Once this skill has developed, the child should be able to recall spelling patterns with automaticity. The child can then focus on the content and structure of writing rather than the disconnected process of letter recollection. The brain thinks more rapidly and fluently in whole words than in single letters where the pen is lifted off the page much more frequently. Cursive handwriting therefore encourages fluidity of thought processes when writing and is also much quicker. This will be useful for any student in exams where time is limited. Cursive handwriting also develops hand/eye co-ordination and motor skills which can help develop skills in other areas of life and work. How can I help my daughter? Encourage your daughter to keep trying; sometimes the writing is worse before it gets better! With continuous practice using materials and guidance provided by the teacher or Literacy Co-ordinator, all pupils can learn to write cursively. Start small – 2 / 3 letter words. Join up the letters in words like ‘in’, ‘off’, ‘and’ and then progress to longer words which are well known and used frequently, like ‘then’, ‘where’ and ‘went’. Try the website www.teachhandwriting.co.uk for tips and animated examples of cursive writing. After your daughter has got used to these, encourage her to extend the style of cursive writing to all of her writing in all subject areas. It will be slow at first, especially if your daughter’s primary school didn’t enforce this once she had learnt it. However, it is worth working on it now and it will bring the benefits described above. If you have any questions or would like to find out more about any aspect of school literacy provision and developments, please contact the school directly. Thank you for your continued support. D Kelly Literacy Co-ordinator .

Copy Link

Recommended publications

Old Cyrillic in Unicode*
Old Cyrillic in Unicode* Ivan A Derzhanski Institute for Mathematics and Computer Science, Bulgarian Academy of Sciences [email protected] The current version of the Unicode Standard acknowledges the existence of a pre- modern version of the Cyrillic script, but its support thereof is limited to assigning code points to several obsolete letters. Meanwhile mediæval Cyrillic manuscripts and some early printed books feature a plethora of letter shapes, ligatures, diacritic and punctuation marks that want proper representation. (In addition, contemporary editions of mediæval texts employ a variety of annotation signs.) As generally with scripts that predate printing, an obvious problem is the abundance of functional, chronological, regional and decorative variant shapes, the precise details of whose distribution are often unknown. The present contents of the block will need to be interpreted with Old Cyrillic in mind, and decisions to be made as to which remaining characters should be implemented via Unicode’s mechanism of variation selection, as ligatures in the typeface, or as code points in the Private space or the standard Cyrillic block. I discuss the initial stage of this work. The Unicode Standard (Unicode 4.0.1) makes a controversial statement: The historical form of the Cyrillic alphabet is treated as a font style variation of modern Cyrillic because the historical forms are relatively close to the modern appearance, and because some of them are still in modern use in languages other than Russian (for example, U+0406 “I” CYRILLIC CAPITAL LETTER I is used in modern Ukrainian and Byelorussian). Some of the letters in this range were used in modern typefaces in Russian and Bulgarian.
[Show full text]
Carolingian Uncial: a Context for the Lothar Psalter
CAROLINGIAN UNCIAL: A CONTEXT FOR THE LOTHAR PSALTER ROSAMOND McKITTERICK IN his famous identification and dating ofthe Morgan Golden Gospels published in the Festschrift for Belle da Costa Greene, E. A. Lowe was quite explicit in his categorizing of Carolingian uncial as the 'invention of a display artist'.^ He went on to define it as an artificial script beginning to be found in manuscripts of the ninth century and even of the late eighth century. These uncials were reserved for special display purposes, for headings, titles, colophons, opening lines and, exceptionally, as in the case ofthe Morgan Gospels Lowe was discussing, for an entire codex. Lowe acknowledged that uncial had been used in these ways before the end of the eighth century, but then it was * natural' not 'artificial' uncial. One of the problems I wish to address is the degree to which Frankish uncial in the late eighth and the ninth centuries is indeed 'artificial' rather than 'natural'. Can it be regarded as a deliberate recreation of a script type, or is it a refinement and elevation in status of an existing book script? Secondly, to what degree is a particular script type used for a particular text type in the early Middle Ages? The third problem, related at least to the first, if not to the second, is whether Frankish uncial, be it natural or artificial, is sufficiently distinctive when used by a particular scriptorium to enable us to locate a manuscript or fragment to one atelier rather than another. This problem needs, of course, to be set within the context of later Carolingian book production, the notions of 'house' style as opposed to 'regional' style and the criteria for locating manuscript production to particular scriptoria in the Frankish kingdoms under the Carolingians that I have discussed elsewhere." It is also of particular importance when considering the Hofschule atehers ofthe mid-ninth century associated with the Emperor Lothar and with King Charles the Bald.
[Show full text]
Part 1: Introduction to The
PREVIEW OF THE IPA HANDBOOK Handbook of the International Phonetic Association: A guide to the use of the International Phonetic Alphabet PARTI Introduction to the IPA 1. What is the International Phonetic Alphabet? The aim of the International Phonetic Association is to promote the scientific study of phonetics and the various practical applications of that science. For both these it is necessary to have a consistent way of representing the sounds of language in written form. From its foundation in 1886 the Association has been concerned to develop a system of notation which would be convenient to use, but comprehensive enough to cope with the wide variety of sounds found in the languages of the world; and to encourage the use of thjs notation as widely as possible among those concerned with language. The system is generally known as the International Phonetic Alphabet. Both the Association and its Alphabet are widely referred to by the abbreviation IPA, but here 'IPA' will be used only for the Alphabet. The IPA is based on the Roman alphabet, which has the advantage of being widely familiar, but also includes letters and additional symbols from a variety of other sources. These additions are necessary because the variety of sounds in languages is much greater than the number of letters in the Roman alphabet. The use of sequences of phonetic symbols to represent speech is known as transcription. The IPA can be used for many different purposes. For instance, it can be used as a way to show pronunciation in a dictionary, to record a language in linguistic fieldwork, to form the basis of a writing system for a language, or to annotate acoustic and other displays in the analysis of speech.
[Show full text]
JAF Herb Specimen © Just Another Foundry, 2010 Page 1 of 9
JAF Herb specimen © Just Another Foundry, 2010 Page 1 of 9 Designer: Tim Ahrens Format: Cross platform OpenType Styles & weights: Regular, Bold, Condensed & Bold Condensed Purchase options : OpenType complete family €79 Single font €29 JAF Herb Webfont subscription €19 per year Tradition ist die Weitergabe des Feuers und nicht die Anbetung der Asche. Gustav Mahler www.justanotherfoundry.com JAF Herb specimen © Just Another Foundry, 2010 Page 2 of 9 Making of Herb Herb is based on 16th century cursive broken Introducing qualities of blackletter into scripts and printing types. Originally designed roman typefaces has become popular in by Tim Ahrens in the MA Typeface Design recent years. The sources of inspiration range course at the University of Reading, it was from rotunda to textura and fraktur. In order further refined and extended in 2010. to achieve a unique style, other kinds of The idea for Herb was to develop a typeface blackletter were used as a source for Herb. that has the positive properties of blackletter One class of broken script that has never but does not evoke the same negative been implemented as printing fonts is the connotations – a type that has the complex, gothic cursive. Since fraktur type hardly ever humane character of fraktur without looking has an ‘italic’ companion like roman types few conservative, aggressive or intolerant. people even know that cursive blackletter As Rudolf Koch illustrated, roman type exists. The only type of cursive broken script appears as timeless, noble and sophisticated. that has gained a certain awareness level is Fraktur, on the other hand, has different civilité, which was a popular printing type in qualities: it is displayed as unpretentious, the 16th century, especially in the Netherlands.
[Show full text]
Handwriting Toward a Minuscule Alphabet, It Is Written Upright and Is Considered a Majuscule Form
There is much to say about the history of writing. To encapsulate the highlights in an essay by this short essay, it is important to note that the dialectic between formal and informal Jerri-Jo Idarius styles of writing led to periods of degeneration and periods of reform and also to the differentiation between what we refer to as caps and small letters, known technically as majuscules and minuscules. The Roman formal majuscule scripts follow: Although the ascenders and descenders of the half-uncial represent the movement Handwriting toward a minuscule alphabet, it is written upright and is considered a majuscule form. is a craft in which everyone participates, After the fall of Rome, various regional styles developed in Europe but in the 8th yet few people know much about its tradition century King Charlemagne instituted one script throughout the monasteries of Europe or evolution. From the view of a calligrapher* to help unite his empire. This style, known as Carolingian, related to the Roman who has studied and mastered tradi- half uncial and Roman cursive, is the first truly minuscule alphabet. Its beauti- tional forms of handwriting, this lack of ful letters can be written straight or at an angle. A simply drawn form of caps called education is a sign of cultural loss. Most versals appeared in manuscripts of this era. elementary school teachers feel inadequate to teach penmanship, and cannot explain the relationship between the cursive Roman Square Caps (Capitalis Quadrata) handwriting they have to teach and the printed letters they see in books. Since Rustic handwriting is so intimately connected to Uncial self-image, and since most people are (used for Bibles and sacred texts) unhappy with the results of their learning, versals it is common to hear, “I hate my writing!” Carolingian minuscule & or “I never learned to write.” They don’t Medieval scripts are popularly described as blackletter, due to the predomi- know what to do about it.
[Show full text]
Calligraphy Specimens Following Writing
Calligraphy Specimens following Writing Manual by ADOLPH ZUNNER[?] printed by JOHANN CHRISTOPH WEIGEL or CHRISTOPH WEIGEL THE ELDER In German and Latin, manuscript on paper Germany (Nuremberg), c. 1713 20 folios on paper, complete [collation i20], unidentified watermark (bisected with center lacking, crest holding 3? bezants with ornate frame, initials M and F at bottom), foliation in modern pencil in upper recto corners, text written in various calligraphic scripts in black ink on recto only, no visible ruling and varied justification, sketched decorative evergreen boughs on f. 1 and calligraphic scrollwork throughout, minor flecking and staining, some original ink blots. CONTEMPORARY BINDING, brown (once red?) brocade paper with elegant mixed floral design and traces of gold embossing, pasted spine, abrasion and discoloration but wholly intact. Dimensions 150 x 190 mm. Calligraphic sample books from the Renaissance, such as this manuscript, are far less common than their printed exemplars; this charming booklet, designed for teaching writing to the young, appears to be one of a kind. This volume in its fine contemporary binding includes texts that display a scribe’s skill in writing different types of scripts. It is partially copied from writing master Adolph Zunner’s 1709 Kunstrichtige Schreib-Art printed in Nuremberg by famous publisher and engraver [Johann] Christoph Weigel. PROVENANCE 1. Written in Germany, in Nuremberg, in 1713 or shortly thereafter, with a title page reading Gründliche Unterweisung zu Fraktur – Canzley – und Current Schrifften der lieben Jugend zum Anfang des Schreibens und sondern Nuzen gestellet durch A. <A. or Z.?> in Nürnberg Zufinden bey Johann Christoph Weigel (A Thorough Instruction in Fraktur, Chancery, and Cursive Scripts, prepared for the especial utility of dear Youth in beginning to write by A.
[Show full text]
Practice Masters
3 Practice Masters Illustrations by Josh Hara Copyright © Zaner-Bloser, Inc. ISBN 978-0-7367-6949-5 The pages in this book may be duplicated for classroom use. Zaner-Bloser, Inc. Zaner-Bloser, Inc., P.O. Box 16764, Columbus, Ohio 43216-6764 1-800-421-3018 Printed in the United States of America 10 11 12 13 14 13880 5 4 3 2 1 Click entry to go to specific page. Contents Practice Masters School-to-Home Activities Manuscript Review lL, iI, tT ................ 1 i, t.............................. 75 Manuscript Review oO, aA, dD............. 2 u, w ............................ 76 Manuscript Review cC, eE, fF .............. 3 e, l .............................. 77 Manuscript Review gG, jJ, qQ ............. 4 b, h ............................. 78 Manuscript Review uU, sS, bB, pP ........... 5 f, k ............................. 79 Manuscript Review rR, nN, mM, hH.......... 6 r, s ............................. 80 Manuscript Review vV, yY, wW ............. 7 j, p ............................. 8 1 Manuscript Review xX, kK, zZ.............. 8 a, d .............................. 82 g, o .............................. 83 Writing Positions: Left-Handed Writers ........ 9 c, q .............................. 84 Writing Positions: Right-Handed Writers .......10 n, m ............................ 85 Zaner-Bloser Alphabet ................... 11 y, x ............................. 86 Basic Strokes: Undercurve.................12 v, z ............................. 87 Basic Strokes: Downcurve .................13 A, O ............................. 88 Basic Strokes:
[Show full text]
Latin Palaeography 3 2010 °
Latin Palaeography 3 2010 ° Outi Merisalo Århus The Latin scripts of the High Middle Ages (sixth-eighth centuries) Western Europe in the sixth-seventh c. • radical political & cultural changes > radical changes in book production • disappearance of the cultured lay class • Church: responsibility for cultural heritage • political fragmentation after the fall of the Western Empire in 476 • specialisation of scribes according to function/script: e.g. Longobard notaries of the 7th-8th c. competent in New Roman cursive, not book scripts Book production in the High Middle Ages • Christian parish and episcopal libraries from the 3rd c.: autonomous production instead of external commercial workshops • triumph of Christianity 4th c. > autonomous production model adopted by e.g. the Imperial library in Constantinople • book production unit of the monasteries = scriptorium • initial competition of lay workshops and ecclesiastical scriptoria in Late Antiquity > disappearance of lay workshops in the 6th c. • monastic scriptorium main production unit in W Europe until the 13th c. Monasticism 1 • ascetic Zeitgeist 1st-3rd c.: Serapi, Qumran, Nag Hammadi (Gnosticians) • Egypt: Anthony (c.250– c.355) • retires into the desert Nag Hammadi, mss. end 4th c. (gr. eremos > hermit, gr. anakhoresis ’retirement’ > anchorite/anachoret, anchoress f.) • Athanasius: Life of Anthony, Latin translation c. 370 Caves of Qumran Monasticism 2 • Pachomius (d. 346): community (= Gr. koinobion) c. 320 Tabennesis (Egypt) • agriculture • monakhoi: Bible study, prayer, divine office = physical and spiritual work Monasticism 3 • propagation in the Western part of the Empire 3rd-4th c. – Pachomian type • Martin (c.315 – 11 Nov 397): soldier converted to Christianity • founds Ligugé monastery in W Gaul (361), bishop’s seat at Tours (371), monastery of Marmoutier (372) • tomb at Tours: pilgrimages • Lérins (off Cannes): Honoratus (d.
[Show full text]
Latin Palaeography in Central Europe
Hana Patkova — Latin Palaeography in Central Europe Latin Palaeography in Central Europe Contributed by Hana Patkova Foreword: Concerning Czech Palaeography The earliest advanced palaeographical research in Bohemia dates from the late 19th century. In 1898, the first modern palaeographical handbook was published by Gustav Friedrich. Czech membership of the Comité international de paleographie latine since 1957 has ensured that research by Czech scholars has been never fully separated from the development of western palaeography. All the main topics of the Comité’s pro- jects, i.e. nomenclature of writing, catalogue of dated manuscripts (cf. http://www.palaeographia.org/cipl/ cmd.htm), and vocabulary of codicological (http://www.palaeographia.org/cipl/gloss.htm) and palaeograph- ical terms, have been engaged with by Czech researchers. As for the nomenclature project, Jiří Pražák of the Czechoslovak Academy of Sciences prepared a large study concerning the book-hands in the Czech Provinces from 11th to the 16th centuries. He and Pavel Spunar (of the same institution) discussed some more specialised terms, like “bastarda”. Pražák also began to work on a catalogue of dated manuscripts preserved in bohemian Libraries, but it did not progress beyond the preparatory stage. Jidřich Šebánek, professor of the University of Brno, wrote a new handbook at the end of the fifties , which took into account new discoveries and new research into bohemian palaeography. As for the vocabulary of palaeographical and codicological terms, this project was finished until the year 2008. Since 1990, Czech palaeographers have been able to regularly participate in the Congresses of the Comité. The membership has extended, and there are now two members from the Czech Republic, and one member from Slovakia.
[Show full text]
More About NAVLIPI: the World's First (And Only) Truly Phonemic Alphabet
Excerpts from NAVLIPI: The World’ s First (and Only) Truly Phonemic Alphabet | NAVLIPI.com The Specifics MORE ABOUT NAVLIPI What are the requirements or guiding principles for a truly universal phonetic or phonemic alphabet, one that addresses all the world’ s languages? How does NAVLIPI meet them? Navlipi was designed on the following 10 guiding principles, which were thought to be the minimum requirements for a universal world script: (1) Universality and completeness: Universality and the associated property, completeness, imply being able to represent, systematically and scientifically, every single phone and tone found in the world’ s major languages. This is really a minimum requirement for any universal orthography. It implies that the script must above all be a universal and accurate phonetic (phonic) script. (2) Recognizability: Recognizability necessarily means the use of the Roman “”alphabet (script) as a basis, since historical happenstance has rendered this particular orthography ubiquitous in all corners of the world. Thus, for instance, a highly scientific and easily keyboarded orthography based purely on geometric shapes, as presented as an exercise further below, would be useless in terms of recognizability. Lack of recognizability, and distinctiveness are two major deficiencies of the “”alphabet of the International Phonetic Association (IPA, based in London, England). For example, in the IPA, many glyphs (letters) appear to be straight from outer space! And the many very similar IPA glyphs, are highly confusing, even to the expert. Examples among these are the various inverted and rotated e’s and a’s, the inverted/rotated/hooked, etc. variants of r and R used to represent the various alveolar trills, flaps or uvular “’”r s , and the variants of n with inward/outward hooks, etc.
[Show full text]
Fonts for Latin Paleography 
FONTS FOR LATIN PALEOGRAPHY Capitalis elegans, capitalis rustica, uncialis, semiuncialis, antiqua cursiva romana, merovingia, insularis majuscula, insularis minuscula, visigothica, beneventana, carolina minuscula, gothica rotunda, gothica textura prescissa, gothica textura quadrata, gothica cursiva, gothica bastarda, humanistica. User's manual 5th edition 2 January 2017 Juan-José Marcos [email protected] Professor of Classics. Plasencia. (Cáceres). Spain. Designer of fonts for ancient scripts and linguistics ALPHABETUM Unicode font http://guindo.pntic.mec.es/jmag0042/alphabet.html PALEOGRAPHIC fonts http://guindo.pntic.mec.es/jmag0042/palefont.html TABLE OF CONTENTS CHAPTER Page Table of contents 2 Introduction 3 Epigraphy and Paleography 3 The Roman majuscule book-hand 4 Square Capitals ( capitalis elegans ) 5 Rustic Capitals ( capitalis rustica ) 8 Uncial script ( uncialis ) 10 Old Roman cursive ( antiqua cursiva romana ) 13 New Roman cursive ( nova cursiva romana ) 16 Half-uncial or Semi-uncial (semiuncialis ) 19 Post-Roman scripts or national hands 22 Germanic script ( scriptura germanica ) 23 Merovingian minuscule ( merovingia , luxoviensis minuscula ) 24 Visigothic minuscule ( visigothica ) 27 Lombardic and Beneventan scripts ( beneventana ) 30 Insular scripts 33 Insular Half-uncial or Insular majuscule ( insularis majuscula ) 33 Insular minuscule or pointed hand ( insularis minuscula ) 38 Caroline minuscule ( carolingia minuscula ) 45 Gothic script ( gothica prescissa , quadrata , rotunda , cursiva , bastarda ) 51 Humanist writing ( humanistica antiqua ) 77 Epilogue 80 Bibliography and resources in the internet 81 Price of the paleographic set of fonts 82 Paleographic fonts for Latin script 2 Juan-José Marcos: [email protected] INTRODUCTION The following pages will give you short descriptions and visual examples of Latin lettering which can be imitated through my package of "Paleographic fonts", closely based on historical models, and specifically designed to reproduce digitally the main Latin handwritings used from the 3 rd to the 15 th century.
[Show full text]
Benedikt Gröndal Handwriting an Icelandic Manual, 1883 Models
Benedikt Gröndal Handwriting An Icelandic manual, 1883 Models Operina enedikt Gröndal Sveinbjarnarson TERMS OF LICENSE B (1826–1907) was an Icelandic poet, a naturalist and literary historian. After a master’s You are permitted to download and use this Work degree in Scandinavian Studies from the for scholarship, research and your own personal University of Copenhagen in 1863, he taught, uses only. It is NOT shareware. Reverse engineer- wrote, and published a periodical, Gefn. His ing, converting to other formats, reselling, embed- humorous Heljarslóðarorrusta (1861) made his ding all or part of this Work or any part thereof countrymen laugh until their sides ached. into programs or other works that are used, He was also a gifted painter, draftsman and licensed or sold on a “for sale” and / or for a profit calligrapher. basis, are each strictly prohibited. If you are not sure whether your use may be prohibited please send an email to [email protected]. Copyright 2007 Operina LLC. All Rights Reserved. By using this Work you expressly agree that its use and information presented in it is without representation or warranty of any kind, including any representation of accuracy, fitness for use or non-infringement. USE OF ANY MATERIALS, IMAGES OR INFORMATION IN THIS WORK IS EXPRESSLY AT YOUR OWN RISK. Benedikt Gröndal Handwriting An Icelandic manual, 1883 Models With an introduction by Gunnlaugur SE Briem Operina Copyright © 2007 Operina LLC, Emeryville, California. All Rights Reserved. Reproduced by kind permission of the Icelandic National Library. Library of Congress Cataloging-in-Publication Data Benedikt Gröndal, 1826–1907. [Forskriftir] Handwriting models : an Icelandic manual, 1883 / Benedikt Gröndal .
[Show full text]