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Teach Your Child to Read

Print your own sight words flash cards. Create a set of Dolch or Fry sight words flash cards, or use your own custom set of words.

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Follow the sight words teaching techniques. Learn research-validated and classroom-proven ways to introduce words, reinforce learning, and correct mistakes.

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Play sight words games. Make games that create fun opportunities for repetition and reinforcement of the lessons.

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Learn what phonological and phonemic awareness are and why they are the foundations of child literacy. Learn how to teach phonemic awareness to your kids.

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A sequenced curriculum of over 80 simple activities that take children from beginners to high-level phonemic awareness. Each activity includes everything you need to print and an instructional video.

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Teach phoneme and letter sounds in a way that makes blending easier and more intuitive. Includes a demonstration video and a handy reference chart.

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Sightwords.com is a comprehensive sequence of teaching activities, techniques, and materials for one of the building blocks of early child literacy. This collection of resources is designed to help teachers, parents, and caregivers teach a child how to read. We combine the latest literacy research with decades of teaching experience to bring you the best methods of instruction to make teaching easier, more effective, and more fun.

Sight words build speed and fluency when reading. Accuracy, speed, and fluency in reading increase reading comprehension. The sight words are a collection of words that a child should learn to recognize without sounding out the letters. The sight words are both common, frequently used words and foundational words that a child can use to build a vocabulary. Combining sight words with phonics instruction increases a child’s speed and fluency in reading.

This website includes a detailed curriculum outline to give you an overview of how the individual lessons fit together.  It provides detailed instructions and techniques to show you how to teach the material and how to help a child overcome common roadblocks. It also includes free teaching aids, games, and other materials that you can download and use with your lessons.

Many of the teaching techniques and games include variations for making the lesson more challenging for advanced students, easier for new or struggling students, and just different for a bit of variety. There are also plenty of opportunities, built into the lessons and games, to observe and assess the child’s retention of the sight words. We encourage you to use these opportunities to check up on the progress of your student and identify weaknesses before they become real problems.

Help us help you. We want this to be a resource that is constantly improving. So please provide us with your feedback, both the good and the bad. We want to know which lessons worked for your child, and which fell short. We encourage you to contribute your own ideas that have worked well in the home or classroom.  You can communicate with us through email or simply post a response in the comments section of the relevant page.

Sight Words Teaching Strategy | Sight Words: Teach Your Child to Read

A child sees the word on the flash card and says the word while underlining it with her finger.

The child says the word and spells out the letters, then reads the word again.

The child says the word and then spells out the letters while tapping them on her arm.

A child says the word, then writes the letters in the air in front of the flash card.

A child writes the letters on a table, first looking at and then not looking at the flash card.

Correct a child’s mistake by clearly stating and reinforcing the right word several times.

1. Overview
2. Plan a Lesson
3. Teaching Techniques

4. Correcting Mistakes
5. Frequently Asked Questions
6. Questions and Answers

Sight words instruction is an excellent supplement to phonics instruction. Phonics is a method for learning to read in general, while sight words instruction increases a child’s familiarity with the high frequency words he will encounter most often.

Use lesson time to introduce up to three new words, and use game time to practice the new words.

A sight words instruction session should be about 30 minutes long, divided into two components:

• Sight Words Lesson — Use our Teaching Techniques to introduce new words and to review words from previous lessons — 10 minutes
• Sight Words Games — Use our games to provide reinforcement of the lesson and some review of already mastered sight words to help your child develop speed and fluency — 20 minutes

Video: Introduction to Teaching Sight Words

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2.

When first beginning sight words, work on no more than three unfamiliar words at a time to make it manageable for your child. Introduce one word at a time, using the five teaching techniques. Hold up the flash card for the first word, and go through all five techniques, in order. Then introduce the second word, and go through all five teaching techniques, and so on.

This lesson should establish basic familiarity with the new words. This part of a sight words session should be brisk and last no more than ten minutes. As your child gets more advanced, you might increase the number of words you work on in each lesson.

2.2 Review Old Words

Begin each subsequent lesson by reviewing words from the previous lesson. Words often need to be covered a few times for the child to fully internalize them. Remember: solid knowledge of a few words is better than weak knowledge of a lot of words!

Go through the See & Say exercise for each of the review words. If your child struggles to recognize a word, cover that word again in the main lesson, going through all five teaching techniques. If he has trouble with more than two of the review words, then set aside the new words you were planning to introduce and devote that day’s lesson to review.

Note: The child should have a good grasp of — but does not need to have completely mastered — a word before it gets replaced in your lesson plan. Use your game time to provide lots of repetition for these words until the child has thoroughly mastered them.

2.3 Reinforce with Games

Learning sight words takes lots of repetition. We have numerous sight words games that will make that repetition fun and entertaining for you and your child.

The games are of course the most entertaining part of the sight words program, but they need to wait until after the first part of the sight words lesson.

Games reinforce what the lesson teaches.
Do not use games to introduce new words.

NOTE: Be sure the child has a pretty good grasp of a sight word before using it in a game, especially if you are working with a group of children. You do not want one child to be regularly embarrassed in front of his classmates when he struggles with words the others have already mastered!

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Introduce new sight words using this sequence of five teaching techniques:

These techniques work together to activate different parts of the brain. The exercises combine many repetitions of the word (seeing, hearing, speaking, spelling, and writing) with physical movements that focus the child’s attention and cement each word into the child’s long-term memory.

The lessons get the child up to a baseline level of competence that is then reinforced by the games, which take them up to the level of mastery. All you need is a flash card for each of the sight words you are covering in the lesson.

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Of course, every child will make mistakes in the process of learning sight words. They might get confused between similar-looking words or struggle to remember phonetically irregular words.

Use our Corrections Procedure every time your child makes a mistake in a sight words lesson or game. Simple and straightforward, it focuses on reinforcing the correct identification and pronunciation of the word. It can be done quickly without disrupting the flow of the activity.

Do not scold the child for making a mistake or even repeat the incorrect word. Just reinforce the correct word using our script, and then move on.

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Q: Progress is slow. We have been on the same five words for a week!
A: It is not unusual to have to repeat the same set of words several times, especially in the first weeks of sight words instruction. The child is learning how to learn the words and is developing pattern recognition approaches that will speed his progress. Give him time to grow confident with his current set of words, and avoid overwhelming the child with new words when he hasn’t yet become familiar with the old words.

Q: Do I really need to do all five techniques for every word?
A: Start out by using all five techniques with each new word. The techniques use different teaching methods and physical senses to support and reinforce the child’s memorization of the word. After a few weeks of lessons, you will have a sense for how long it takes your child to learn new words and whether all five exercises are necessary. Start by eliminating the last activity, Table Writing, but be sure to review those words at the next lesson to see if the child actually retained them without that last exercise. If the child learns fine without Table Writing, then you can try leaving out the fourth technique, Air Writing. Children who learn quickly may only need to use two or three of the techniques.

Q: How long will it take to get through a whole word list? I want my child to learn ALL the words!!!
A: That depends on a number of factors, including frequency of your lessons as well as your child’s ability to focus. But do not get obsessed with the idea of racing through the word lists to the finish line. It is much, much better for your child to solidly know just 50 words than to “kind of” know 300 words. We are building a foundation here, and we want that foundation to be made of rock, not sand!

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"Your word is a lamp to my feet..." / Pravoslavie.Ru Icon from the Deisis tier. Novgorod. Beginning of the 16th century

Apostle Peter. Icon from the Deisis tier. Novgorod. Early XVI century

So, he pointed to something, meant something.

What?

First of all, one should pay attention to the spiritual problems that troubled Russian people in the last 25 years of the 15th century. Here, the first - everyone will name the Novgorod-Moscow heresy, the adherents of which were called "Judaizers".

For lack of space to enter into the details of the description of the heresy, let's say: it was anti-trinitarian, iconoclastic and anti-hierarchical in nature. “The heresy of the Judaizers was, first of all, a fermentation of minds. “The vacillation appeared in people and in uncomfortable words about the Godhead,” we read in the Nikon Chronicle. tortured, "wrote St. Joseph" ^[1] .

And just as the heresy, having arisen in Novgorod, spread to Moscow, so the aforementioned method first appears among the Novgorod icon painters, then is picked up by the Muscovites.

Its distribution area is quite noticeable.

But if the heretics rejected icons, then, it is clear that the reception should be considered not as support for the "Judaizers", but as an argument directed against them. Icon painters, being members of the Church and part of society, simply could not remain indifferent when "everything about faith was tortured. " They had to have their say, and they did.

Why is this technique limited to a circle, as a rule, of three or four depicted saints? After all, other apostles are placed in the deisis rank, and besides the Archangel Michael, there is also the Archangel Gabriel, on whose himation there are no accents. And vice versa, St. John the Baptist Dionysius in the Ferapontov iconostasis spreads a bright spot on the entire side - from foot to hand, thereby, therefore, highlighting the Baptist of the Lord even from the apostles and archangels.

It is not difficult to guess that the icon painters here raise a hierarchical issue, alluding to the words of the Savior of those born of women did not rise up greater than John the Baptist (Mt. 11:11). In the rest, a bright spot on the himation highlights only the leg. Peter and Paul are included in this circle, of course, because they are the supreme apostles; Archangel Michael - because the leader of the heavenly host, the main of all the Archangels.

Thus, the icon painters reacted to the anti-hierarchical component of the heresy.

It is logical, however, to ask about the reason for focusing attention precisely on the leg. Why is it? And only in the field of himation, not lower. Here, too, there must be a pattern. And she certainly is.

According to the first news of Gennady Novgorodsky about heresy, one can understand that the unrest and doubt began with reading books. Among the motley list of heretical literature discovered by the saint, the "Corpus Areopagiticum" is noticeable. But Dionysius the Areopagite is considered one of the fathers of the Church, and to sacrifice his veneration to heretics would mean giving up the pillar of the Church, which Archbishop Gennady could not afford. The best way out was to speak the language of the Areopagite and react. Apparently, the initiative of the iconic response to the "Judaizers" comes from the Novgorod lord. But other inspirations are also possible. In a similar situation, any other clergyman (and not necessarily an archbishop) would have taken exactly the same steps.

Since in the treatise "On the Heavenly Hierarchy" the Areopagite "from the multitude of our bodily parts" tries to find "a suitable image of the heavenly forces", then the legs, in his opinion, indicate "mobility, speed and suitability for eternal impetuous movement towards the divine<.. .>, nakedness and unshod - to freedom and uncontrollability, purifying from what is brought in from outside, and assimilation, as far as possible, to divine simplicity" ^[2] .

Doesn't the Church call John the Baptist the "Angel of the Desert"? But are the chief apostles, according to the same Areopagite, not considered, on a par with bishops, "Angels of the Church"?

More than...

That is why the circle is limited by three human personalities, who stand above other people in the church hierarchy.

Anticipating the question of the Mother of God, it should be noted that she is not included in the indicated circle, for she is above the heavenly powers: "the most honest cherubim and the most glorious seraphim without comparison." Therefore, this technique was not applied to Her.

The idea of ​​a picturesque accent on the leg could have arisen not only from the "Heavenly Hierarchy" of the Areopagite, but, for example, at least from the troparion: "Prophet and Forerunner of the Coming of Christ", from the gospel WALKING on the waters of Peter, from the prayer of St. Paul, where he is given the epithet "THE AWAYED EARTH". Let's not forget that the foot in Old Russian is called "went".

Rarely, but sometimes, unlike John the Baptist and Peter, ap. Paul was written in Deisis even without this emphasis, giving, probably, the apostolic "palm" to Peter as the stone on which the Lord created his Church. However, the icon painter of the "Praying Novgorodians" preferred to single out Paul more.

The question is why isographers avoided isolating the bodily part of the leg - the foot - with color, but considered it better to focus on the himation?

Only for one reason: then the reception would work in the opposite direction, i.e. derogatory or ahistorical. In the same Dionysius, on the hagiographic icon "Metropolitan Alexy" from the Assumption Cathedral of the Moscow Kremlin, in the final stamp "Healing", the monk Naum is represented with a shrunken leg, which differs in color from a healthy one. At that time, the verb "whole-legged" was used, meaning - walk straight with healthy legs .

At Sts. John the Baptist, Peter and Paul's legs, as we know, were healthy.

The use of the technique most often in Deisis was justified. Insofar as the "Jewish" did not recognize the "representational meaning in the testimonies of the Old Testament," they considered the prophecies not yet fulfilled, but only subject to fulfillment. From which it follows that the heretics did not consider Christ the Messiah and the Son of God - the Second Hypostasis (they rejected the Holy Trinity). And Deisis is, first of all, an image of the Last Judgment. Therefore, here the iconographs are trying to remind the Christ-fighters of the Day of Judgment, when they stand before the One Whom they rejected.

Linking this conceptual polemical device with the opposition to the Novgorod-Muscovite heresy allows, in controversial cases, to more accurately attribute some monuments where such a device was used. And there are enough disputes... But we do not know of a single such icon, so that it is known for certain that it was painted earlier than the last quarter of the 15th century. Dates always fluctuate. These remarkable 25 years are certainly named by one of the researchers; Unfortunately, without a link to the reception.

At least two characteristic examples will suffice.

Attention should be paid to the date of Archimandrite Macarius. Just in 1487, Archbishop Gennady begins the fight against heretics. However, this does not mean that the reception was born in the named year. The monastic milieu of the Yuryevsky monastery could comprehend and introduce him on their own, before Gennady was appointed to the episcopal chair. The arrival of Skhariya in Novgorod and the appointment of Gennady are separated by 13 years, and before the discovery of the heresy of the Judaizers by the latter, even more - 17.0401 [3] , what kind of monks would sit idly by? They certainly reacted.

Another example. Icons of the Deisis tier from the Assumption Cathedral in Vladimir, attributed to St. Andrei Rublev, N.K. Goleizovsky identified them as Dionisievsky.

Let's not interfere in the dispute that arose after that among art historians. We want to say only one thing: the figure of St. John the Baptist Andrey Rublev could not write - in his time, such a technique in question did not yet exist, because there was no Novgorod-Moscow heresy, there was no one to argue with. The heresy of the Strigolnikovs, firstly, had a smaller scale compared to the "Judaic ones", secondly, it lost its relevance, and thirdly, it had a Novgorod-Pskov registration, but not Moscow. But Dionysius and his contemporaries used this technique with perfect analogy and repeatedly. Rublev - alone and the only time? Incredible.

The icon of the 12th century "Ustyug Annunciation" from St. George's Cathedral of the St. George's Monastery could serve as a starting point for this technique at birth on the banks of the Volkhov (here is an additional indication of the genesis of the technique). At the end of the 15th century, it was still in its place (in 1561, by order of Ivan the Terrible, it would be taken to Moscow). Here, the himation on the leg of the Archangel Gabriel and on its side planes is illuminated from pictorial and spatial considerations, but not conceptually. Nevertheless, icon painters could very well be inspired by this image.

L. A. Uspensky obviously hastened to the conclusion: "Like the heresy of the Strigolnikovs, the heresy of the Judaizers had no direct reflection in art. As a counteraction, it caused only the spread of one or another subject that affirmed the Orthodox dogma" ^[4] .

Why didn't she?

Ustyug Annunciation. XII century

Why, then, did the Church confine itself to disseminating exclusively "this or that topic that affirmed Orthodoxy" in response to the heresy of the "Jewish" that is deadly for Rus'?

She adequately answered: both with written controversy and with the wisdom of icon painters...

There were, in our opinion, other cases of applying the technique. The last quarter of the 15th century is the time not only of heresy, but also of "travels across three seas", and not only Russians. This is the era of great geographical discoveries. Mystical movements filled with deep religious meaning are also beginning to be experienced in a special way in the visual arts: let us pay attention to such plots among the Novgorod tablets as the Annunciation, Candlemas, Entrance to Jerusalem, where we find the use of the technique. In the first case, 9 is underlined.0453 the arrival of to the Theotokos of the Archangel Gabriel, in the second - the offering of sacrifices by Joseph the Betrothed, in the third - the entry of into Jerusalem together with Christ and His disciples. Here the icon painter revealed the theological layer of the gospel events, and did not arithmetically enumerate the plot "walks". The technique also made it possible to display the patronal name of the ktitor, customer or commemorated. And then in Deisis only one of the listed circle of persons stood out, and sometimes the Archangel Gabriel. Thus, the Apostle Paul 9 is noted in the "Praying Novgorodians" more clearly than others0401 [6] . But these are already separate examples of "individual" thinking, which was reflected by the unusualness even in the composition itself.

In the second half of the 16th century - by the time of overcoming heresy - the technique fell into disuse as unnecessary. And if later, somewhere in the deep provinces, they also resorted to it, then by no means out of necessity, but due to the established tradition, without comprehending the inner content. This use can still be seen to this day.

It is significant that, having appeared in Novgorod, the heresy found a gravedigger for itself - in the person of the abbot of the Novgorod diocese (until 1507) - Ven. Joseph Volotsky. And the first of the Russian icon painters to speak out against it were also Novgorodians (this is an indicator of the viability of the church organism!).

Isographers have not contributed anything radical to the style of icon painting - such a style was found long ago. That was the complexity of their task, which had to be answered by heretics, remaining within the framework of the canon, in the uncomplicated language of the Orthodox icon.

And they successfully solved this problem.

[1]. Florovsky Georgy, prot. Ways of Russian theology. Paris, 1937. S. 14.

[2]. Eastern Fathers and Doctors of the Church of the 5th century. M., 2000. S. 350.

[3]. “Conscious of the destructiveness of delay in the fight against heresy, the Novgorod bishop wrote in January 1488 to Bishop Nifont of Suzdal (1484-1508) about heretical abuses: “They will know Ino: the heretics are weak, now they are insulting Christianity - they knit crosses on crows and crows. Many have said: the raven flies, and the cross is knitted on it with wood, and the raven flies, and on it is a cross of copper. Ino is such an outrage: a raven and a crow sit on a bitch and on a feces, and they drag him with a cross! And here I found an icon at the Savior on Ilyina Street - Transfiguration with deed, otherwise in celebrations Circumcision is written - Basil of Caesarea stands, but he cut off the hand and leg of the Savior, and on the signature it is written: Circumcision of our Lord Jesus Christ <. ..> And now such is the outrage of the clerk over the Church of God and over crosses and over icons and over Christianity. See: Archimandrite Macarius (Veretennikov). http://www.sedmitza.ru/index.html?did=1740

[4]. Uspensky L.A. Theology of the icon of the Orthodox Church. Paris, 1989. S. 214.

[5]. The Byzantines painted these allegorical figures in previous centuries, but in Rus' they considered it necessary to depict them only in the last quarter of the 15th century, which, of course, had a reason.

[6]. The alleged customer Antipa Kuzmin is hypothetically marked with a black inscription, while the original red inscription actually turned out to be lost by the time of renewal; by the way, from the well-known Novgorod family of the boyars Kuzminykh-Karavaevs, until the 16th century there was no one with the name "Antipa" (see the genealogical tables and lists of the Novgorod nobility compiled by V.L. Yanin in his book: Novgorod feudal patrimony.

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