Lab Manual: CS Accuracy Measurementsuweb.cas.usf.edu/~jkrause/CS-Transcription.pdfLab Manual: CS...

Lab Manual: CS Accuracy Measurements

Overview - of 10

Overview Procedures for making Cued Speech Transliterator accuracy measurements are

documented in this manual. This section of the manual provides definitions, background

information, and scoring tips. The other four sections of the manual describe the detailed

procedures used in each of the four components of the scoring process:

1. Decide Whether to Score

2. Score Categorization

3. Placement Identification

4. Handshape Identification

In each of the remaining sections of the manual, procedures used for evaluating a

particular component of the cue production are first summarized in a flow chart.

Hyperlinks from each element in the flow chart lead to more detailed explanations. All

four flow charts are posted in the lab and should be used as a reference for all

measurement.

Definitions

A. CST = Cued Speech Transliterator

B. Target Cue = The cue that the CST is expected to produce. It is written in cue

notation on the Excel spreadsheet.

C. Cue Under Review = The actual cue that the CST produces that is presently under

consideration for scoring. It appears on the computer screen.

o Finger Under Review = The finger of the cue under review that is presently

under consideration for “up”/“down” decisions used in determining

handshape. It appears on the computer screen.

D. Response Cue = The cue that is actually scored (not every cue under review is

actually scored). It is written in cue notation and entered in the “CST response”

column on the Excel spreadsheet.

E. Correct = This occurs when the cue under review matches the handshape and

placement of the target cue.

� Scoring = A correct cue is indicated with a “C” that is recorded in the CST’s

response column as follows:

Word CV pair

Target

cue

sequence

OK

insertions

Target

cue

CST

Response

Movements /mu/ 5c C

/v/ 2s C

F. Substitution = This is an error that occurs when the cue under review is produced in

place of the target cue. The correct handshape and/or correct placement of the target

cue is replaced by a different Cued Speech handshape and/or placement.

� Scoring = The substituted cue is recorded in cue notation in the CST’s



Overview - of 10

Word

CV

pair

Target

cue

sequence

OK

insertions

Target

cue

CST

Response

Shrink /�/ 6s 3s

On /�/, // 5sf, 5c C

/n/ 4s 4c

G. Insertion = This is an error that occurs when the cue under review is an extra cue that

is not produced in place of any target.

� Scoring = The inserted cue is recorded in cue notation after an “I” in the

CST’s response column (“I-inserted cue”) by inserting a row in the Excel

spreadsheet at the point where the cue was inserted in the script.

Word

CV

pair

Target

cue

sequence

OK

insertions

Target

cue

CST

Response

females /fi/ 5m C

I-4m

/me�/ 5c + C

5t C

/l/ 6s C

/z/ 2s C

H. Omission = This is an error that occurs when none of the cues under review can be

scored for the target cue. This occurs when the cue is not produced by the CST or

when the attempted cue under review is not scoreable.

� Scoring = An omitted cue is indicated with a “X” that is recorded in the CST’s


Word

CV

pair

Target

cue

sequence

OK

insertions

Target

cue

CST

Response

On /�/, // 5sf, 5c C

/n/ 4s X

I. Transition = Transitions are any movements or cue productions that occur between

cues and are not scoreable. Examples of transitions include a persisting handshape

that is moving away from the last placement (but does not remain after arrival at the

new placement) or a constantly changing handshape (that does not last at least three

frames) produced on the way to the new placement.


Overview - of 10

Measuring Tips

A. Making the Measurement Tool Many scoring judgments require the grader to measure the distance between a reference

point on the hand (usually the contact finger) and a reference point on the CST’s body

(e.g. face midline). Distance is measured in “finger-width” units. Therefore, a

“measurement tool” that is the same width as the CST’s finger must be made prior to

scoring. Because the CST may be in different positions/placements in each video and the

video zoom may have changed, one measurement tool for each CST at each separate

speed needs to be made according to the following steps:

1. Step through the video, and select a frame that has a clear handshape 5 that is

flat and facing the camera. Be sure there is no wrist/arm rotation and that the

fingernail and edges of the middle finger are clearly visible.

2. Measure the CST’s middle finger from the left side of the fullest (or middle)

part of the nail to the right side of the nail at the same point.

3. Use a piece of cardboard with a straight edge (an edge that hasn’t been cut

ensures the full length of the finger will be straight). A long straight piece of

cardboard of equal width all the way through needs to be used.

4. Mark the measured distance from the straight edge in two places, then draw a

line connecting the two measurements.

5. Cut down the center of the line carefully.

6. Hold the measurement tool up on the computer screen to the finger that was

used to make the measurement tool. You should still be able to see the edges

of the middle finger but no part of the fingernail.

B. Reference points

Consistency is a key factor when measuring to/from any reference point (e.g. midline).

Once each of the reference points (throat midline, face midline, chin crease, etc.) is

determined for a particular CST the same reference points must be used every time when

determining placement. For each reference point, find a facial feature, body marking,

element of an article of clothing or piece of jewelry that can be used consistently.

Reference points CANNOT be changed for each cue under review.

Scoring Tips

A. Benefit of the Doubt

A rule that is used to give the CST positive credit for the cue they are producing. The

benefit of the doubt rule is used to help the CST’s score in borderline situations when

absolute answers are not easily formulated, as a result of a number of issues affecting the

CST’s production. These issues fall into two broad categories

1. Visibility issues: A visibility issue that is not the transliterator’s fault (i.e. not

poor form). Most often due to equipment limitations of the camera such as

blurry frames, poor lighting etc. Examples of how the benefit of the doubt

rule would apply when there is a visibility issue:


Overview - of 10

o Handshape = If the handshape of the cue under review could match

the target cue (within reason), give credit for the handshape in order to

minimize errors.

o Finger (equipment issues) = If the finger of the cue under review

could be determined to be “up” or “down” (within reason), then make

the decision that would minimize errors.

2. Measurement issues (tie goes to the CST): Any measurement that results in

a tie between two placements or reference points.

o Placement (measurement tool) = : If the edge of the finger and

measurement tool just meet (abutting) and the placement of the cue

under review could match the target cue, give credit for the placement

in order to minimize errors.

o Placement (chin crease) = If the CST touches directly on the chin

crease, and the placement of the cue under review could match the

target cue, give credit for the placement in order to minimize errors.

o Placement (closer to mouth vs. closer to bottom of chin) = If the

CST produces a cue directly even with the chin crease, and the

placement of the cue under review could match the target cue, give

credit for the placement in order to minimize errors.

o Placement (determining reference points) = Depending on the

CST’s face anatomy, using the chin crease as a reference point may

not produce the same result as using the mouth corner and bottom of

chin as reference points. In these situations, use the reference point

that gives credit for the placement in order to minimize errors.

B. Error minimization In deciding what cues to score on which row of the Excel sheet, the goal is to minimize

the number of total errors (with partial credit) but also to align things with what the

transliterator is mouthing. When deciding what cues to omit/substitute, stay as close to

the production visible on the CST’s mouth as possible.

1. General: If cues scored can be aligned with target cues in more than one

way, count errors for each possible scoring alignment using the values

below to determine the sequence with the least errors.

i. Correct: -0

ii. Insertions: -1

iii. Omissions: -1

iv. Substitutions

1. wrong handshape / wrong placement (if scoreable): - 1

2. right handshape /wrong placement (or wrong/right): -0.5

3. movement errors: -0

2. Liaisons: If cues can be aligned so that an omission occurs for a target cue

immediately above or below a liaison opportunity (in the Excel

spreadsheet), re-align the response cues to minimize errors.


Overview - of 10

i. Example 1: Score one “X” for the liaison rather than scoring two

“X’s” immediately above and below the target cue ( - 1 instead

of – 2).

Word

CV

pair

Target

cue

sequence

OK

insertions

Target

cue

CST

Response

smells /s/ 3s X

/m�/ 5c X

/l/ 6s X

/z/ 2s

***liaison*** /z�/ 2c X

exactly /�/, /�/ 5c

/�/ 7s X

/zæ/ 2t X

/k/ 2s X

***omitted*** /t/ 5s

/li/, /l�/ 6m, 6t X

ii. Example 2 : Score a 5s substitution for the liaison rather than

scoring a “C” for the immediately above target cue and an “X”

for the immediately below target cue ( - 0 instead of – 1).

Word

CV

pair

Target

cue

sequence

OK

insertions

Target

cue

CST

Response

feet /fi/ 5m C

/t/ 5s

***liaison*** /tə/ 5sd 5s

away /�/ 5sd

/we�/ 6c + C

5t C

iii. Example 3 (Exception): Do not score a 2t substitution for the

liaison but instead score a 2t substitution for 2s and an “X” for 5c

because when whole words or sentences are omitted, a liaison

cannot be scored with a word or sentence that was not mouthed.

Word

CV

pair

Target

cue

sequence

OK

insertions

Target

cue

CST

Response

smells /s/ 3s 3c

/m�/ 5c C


Overview - of 10

/l/ 6s C

/z/ 2s 2t

***liaison*** /z�/ 2c

exactly /�/, /�/ 5c X

/�/ 7s X

/zæ/ 2t X

/k/ 2s X

***omitted*** /t/ 5s

/li/, /l�/ 6m, 6t X

C. Self-corrections If a CST is aware of a cueing error, they may choose to re-cue all or part of a word or

phrase in order to correct the error. Ideally, the CST will point to self while correcting

the error and there should be a non manual production (e.g. headshake) or a cued word

indicating a mistake was made. At minimum, there must be an indication on the mouth

that they are producing part or all of the word twice.

� Scoring = The first cue(s) produced are scored as an insertion(s) and the

second cue(s) produced (CST correction) are scored aligned with target

cue(s).

� A self-correction is recorded in the Excel Spreadsheet by completing the

following steps:

1. Under the column titled “Word” type the cst who is responsible for

producing a self correction (e.g. cst2)

2. In the same column, type a hyphen and the word they are attempting to

produce

3. Under the column titled “CV pair” type “will self correct”.

4. Highlight self-correction in yellow.

***Warning*** - After it is realized that a CST has produced a self-correction, the

grader must doublecheck insertions, substitutions, omissions, and corrects in the area.

This is because the rules for scoring a cue under review may differ depending on which

target cue (if any) it lines up with (e.g. a cue that does not last three frames that was

correct would not be scored as an insertion after re-alignment).

Word CV pair

Target

cue

sequence

OK

insertions

Target

cue

CST

Response

(cst2-it) will self correct I-5t

(cst2-even) will self correct I-5m

I-2c

I-5m

It /�/ 5t C


Overview - of 10

/t/ 5s

***liaison*** /ti/ 5m C

even /i/ 5m

/v�/, /v�/ 2t, 2sd C

/n/ 4s C

D. Whole word substitution

At times, a CST may deviate from the words specified in the Excel spreadsheet, either in

error (e.g. mis-remembering/mis-hearing) or on purpose when paraphrasing in order to

catch up with the speaker.

� Scoring = When a whole word is substituted, then the target cues associated

with the word in the script (Excel sheet, “Word” column) should be scored as

omissions, and the cued word should be scored as insertions.

� The inserted word should be recorded right after the last cue for the omitted

word in the Excel Spreadsheet by completing the following steps:

1. Under the column titled “Word” type the cst who is responsible for

producing a whole word substitution.

2. In the same column, type a hyphen and the word they substituted.

Word CV pair

Target

cue

sequence

OK

insertions

Target

cue

CST

Response

Which /w�/, /��/ 6t, 4t X

/t�/ 8s X

(cst3-it) I-5t

I-5s

Exception: Partial word substitutions

If the whole-word substitution produced by the CST is closely related to the target

word, this is considered a modification.

� Scoring = When a partial word is substituted, the matching portion of

the response cues are aligned with the target cues and scored as usual.

However, the non-matching cues are scored as insertions and the

modification must be noted in the left hand column as follows:

� The inserted part of the word should be recorded right after the last cue

for the omitted part of the word in the Excel Spreadsheet by

completing the following steps:

1. Under the column titled “Word” type the cst who is responsible

for producing a partial word substitution.


Overview - of 10

2. In the same column, type “:mod” followed by a hyphen and the

portion of the word they substituted. Note, no spaces should be

included.

Example 1: Morphologically Similar Word Substitution

Word CV pair

Target cue

sequence OK insertions

Target

cue

CST

Response

beautifully /b/ 4s C (cst3:mod-beautiful) /ju/ 8c C

/t�/, /t�/ 5sd, 5t C

/f/ 5s /f / 5t C

/li/ 6m 6s

Example 2: Phonetically Similar Word Substitution

Word CV pair

Target cue


Target

cue

CST

Response

provokes /p/ 1s C (cst1:mod-promotes) /r�/ 3sd C

/vo/ 2sf X

/k/ 2s X

/s/ 3s X

I-5sf

I-5s

I-3sd

Example 3 (Warning): Modification Affecting a Liaison Boundary: Score a 5s

substitution for the liaison rather than scoring a “C” above at the end of the

modified word and an “X” for the target cue immediately below the liaison. ( -

3.5 instead of – 4).

Word CV pair

Target cue


Target

cue

CST

Response

itself /�/ 5t � C

(cst1mod:it) /t/ 5s �

/s�/ 3c � X

/l/ 6s � X


Overview - of 10

/f/ 5s � X

***liaison*** /f�/, /f�/ 5t, 5sd 5s

especially /�/, /�/ 5t, 5sd /�/ 5c

/s/ 3s C

/p�/ 1c C

/��/ 6sd C

/li/ 6m /l�/ 6t C

E. Monophthong for Diphthong Substitution

When a monophthong is substituted by a diphthong, place the substituted cue in the

first row of the target diphthong and mark the second one as an omission. Error

minimization score will often be the same regardless of alignment. Therefore,

monophthong for diphthong substitutions are scored in the following manner for

consistency purposes:

Word CV pair

Target

cue

sequence

OK

insertions

Target

cue

CST

Response

flower /f/ 5s C

/la / 6s + 6t

5t X

/ə#/ 5m C

F. Omissions of one or More Consecutive Words

When large sequences of target cues are omitted, random handshapes should not be

matched up to target cues in words that the CST did not mouth. These cues under review

are scored as either insertions (if they last at least three frames or touch) or as omissions.

G. Insertion of a Single Consonant in the Middle of a CV pair

When a consonant is inserted in the middle of a CV pair the first cue is scored as an

insertion and the second cue is scored as the substitution. Error minimization score will

often be the same regardless of alignment. Therefore, insertion of a single consonant in

the middle of a CV pair is scored in the following manner for consistency purposes:

Word CV pair

Target

cue

sequence

OK

insertions

Target

cue

CST

Response

I-4s

new /nu/ 4c 8c


Overview - of 10

Movement Tips

A. Side-down and Side-forward movements

When a target cue includes a side movement (side-down or side-forward) any

perceptible movement in the correct direction is acceptable if the target handshape is

achieved by the end of the movement (Example: “stun”, movement could begin on /s/ as

long as /t/ is achieved by the end of the movement – both cues would be scored as

correct) score as correct. Look for some portion in side territory and

o Side-Down Movements- Must find a movement between two consecutive

frames that moves straight downward. Diagonal movement not acceptable.

Compare contact finger to an established reference point to determine whether

or not diagonal movement is present.

o Side-Forward Movements- Must find a movement between two consecutive

frames that moves straight forward or outward and forward. Diagonal

movements or wrist rotations/twists are acceptable.

o All Side Movments – Must pass through an acceptable side placement

territory (according to the placement chart) at some point during the side-

movement (e.g. Cue under review could begin in the mouth territory, but this

is OK as long as it goes into side territory while still moving downward)

B. Other movement-related scoring rules

o Movement substitutions for a non-movement target cues: If the cue under

review appears to include a side-movement (side-down or side forward) but

the target cue does not include a side movement, Do not score a movement

substitution for the target cue unless the movement is very obvious (e.g.,

CST mouthing wrong word or unusually large movement)

o Movement Overlapping two or more cues: If the CST produces a side-

movement on the cue under review for the expected target cue (i.e. correct

movement for target cue), however the movement overlaps with another cue

under review, i.e. begins in the previous cue under review or extends to the

next cue under review, then Do Not Score movement substitutions for the

preceding target cue or the later target cue.

o Movement Switched for two consecutive target cues: If the CST produces a

side-movement incorrectly on the cue under review that was expected for the

previous or next target cue AND the movement does not overlap with the

correct target cue, both cues are scored as substitutions (target cue with

expected movement is scored as a substitution without movement and target

cue without expected movement is scored as a substitution containing

movement).

o Correct Side-Movement is present with Questionable Placement: If the

entire movement of the cue under review does not occur at the side placement

(occurs at another placement(s)), the cue under review is scored as a

substitution and the movement is not recorded (e.g. 7 “mouth-forward” is

scored as 7m). Use the location where the movement of the cue under review

stops to determine the placement of the cue under review.

Chart 1: Decide Whether to Score

Look for one or more of the following actions:

Does the cue touch (any finger) or last three frames?

Contact

No

No

No

No

No

No

No

No Yes

No

NoIs it the same placement as the previous cue (that you scored)?

Is the handshape the same as the previous cue (that you scored)?

Is the placement the same as the previous cue (that you scored)?

See Score Categorization Chart!

If scored, would this cue have the same HS as the next cue that you would score?

Is the best HS in the exact same location or a supra- location as the previous cue (that you scored)?

If scored, would this cue have the same placement as the next cue that you would score?

Is there a flick, flick-like, tap, or tapping-like motion in between previous and current cues?

Is the HS in the exact same location of the next scored cue?

And at the side place-ment

Was the previous cue also correct?

Is there well-defined movement towards the correct placement for this cue?

If scored, would it be correct? (excluding movement)

Do Not Score

Constant location Change of handshape Change of placement






Do Not Score


Do Not Score

2 In a row?

Persists after arrival? Prior to departure?

Yes No

Yes

Yes Yes

YesYes

Yes Yes Yes

Is the HS better than or equivalent to the next cue?

Yes Yes No

Do Not Score

Yes No

No

Yes


Page 2 of 6

Does the cue touch (any finger) or last three frames? o “touching” = making contact with placement using correct finger, or incorrect finger o “three frames” = stays in same location for three frames (i.e. stops) and handshape cannot vary. Triangular

movement caused by change in direction acceptable. o Triangular movement = the cue on screen has three frames that change location only slightly

(handshape is maintained). Over these three frames, the location of the contact finger forms a small triangle. Arm does not move, and hand/wrist moves only minimally.

Is the handshape the same as the previous cue (that you scored)? o In this step, look at the handshape of the cue under review and determine the handshape according to the

handshape chart. Compare to handshape of previous cue. o Previous Cue = last cue entered into Excel sheet - intervening omissions in script are disregarded.

2 in a Row? Is it the same placement as the previous cue (that you scored)? o Current Status : two or more frames of same handshape and same placement o Definition: To be considered two in a row, there must be at least two frames of the same handshape at the

same placement with movement indicating two separate cues. o In this step, look at the placement of the cue under review and determine placement (disregarding side

movements) according to placement chart. Compare to placement of the previous cue. o Previous Cue = last cue entered into Excel sheet - intervening omissions in script are disregarded. o Disregarding side movements = Movement does not change placement. Side, Side-down, and Side-

forward are all considered to have the same placement. Diagonal movement does not change placement either.

If scored would it be correct? (Excluding movement) o Excluding movement, compare cue on screen to the target cue.

o Excluding movement = Side, Side-down, and Side-forward are all considered equivalent for this decision (e.g., 3s =3sf = 3sd).

o Target Cue= expected cue according to Excel spreadsheet. o Warning= ***Look Ahead*** If current target cue is omitted, the next target cue may need to be

considered. EX: 2c X 2c

Was the previous cue (one you just scored) also correct (Excluding movement)? o In Excel, go to the last cue scored (excluding omissions). Determine if handshape and placement (excluding

movement) for that cue were correct o Excluding movement = Side, Side-down, and Side-forward are all considered equivalent for this

decision (e.g., 3s =3sf = 3sd).

And at the side placement? o In Excel, go to the last cue scored (excluding omissions). Determine if this cue was at the side placement

(S=SD=SF).

Is there a flick, flick-like, tap, or tapping-like motion in between previous & current cues?


Page 3 of 6

o Current Status: two or more frames of same handshape at the same placement, if this can be divided into two cues at least one of the cues is wrong (current or previous cue).

o Look for any movement during these frames that would indicate two separate cues are being produced. o At the side, look for a flick or flick-like motion. At the throat, chin, or mouth placement look for a tap or

tapping like motion. o flick = a movement ¼ inch forward and back. o flick-like motion = any movement of the wrist or fingers that breaks up the frames into two separate

cues. Examples of flick-like motion include sharp twists, partial flicks, side-ways flicks, and/or intervening transitional handshapes.

Partial flick = only forward or back movement is produced. Sharp twists and/or side-ways flicks= rotational movement of wrist that guides the hand

downward, upward, inward, and/or outward. Finger movements = fingers bend, straighten, appear, or disappear and do not last more than

three frames or form an optimum handshape • Optimum handshape = the most properly formed handshape (for a particular cue) that

the CST regularly produces over the course of his/her entire performance Tap = touching, slight lift-off, returns to touch again at same placement. a tapping like motion = touching, slight lift-off, returns to same placement but doesn’t touch

OR not touching, slight lift-away, return to same placement (regardless of touching) Warning= if a lift-off or lift-away lasts 3 or more frames, consider scoring these frames

separately (as their own cue)

Is there a well-defined movement towards the correct placement for this cue? o Current Status: two or more frames of handshape at the same placement without a flick, flick-like, tap, or

tapping-like motion, if this can be divided into two cues at least one of the cues is wrong (current or previous cue).

o In Excel, determine the target placement. For the frames under review, look for any well-defined movement toward this placement that would indicate two separate cues are being produced.

o Well-defined movement = a cue that is clearly heading toward the correct placement for the next cue but correct placement is not achieved.

Clearly heading = The movement towards the target placement should be obvious and appear deliberate (i.e. looks like transliterator is making a second cue). The movement should also stop or change directions prior to formation of subsequent cues.

• Ex: a side-throat diphthong – A well-defined movement toward the throat occurs but throat territory (according to placement chart) is not achieved for the second half of the diphthong

o ***Warning*** = A well-defined movement establishes two cues under review (before and after the well-defined movement), and both of those cues are always scored, even if the answer for either cue under review is “Do Not Score” according to the Score Categorization chart.

Persists after arrival? If scored, would this cue have the same placement as the next cue that you would score? o Current Status: Same handshape as previous cue but different placement. o Definition: A cue that persists after arrival is an extra cue that was not intended by the transliterator. It

occurs when the previous handshape persists after the new placement is reached before finally changing to form the next intended cue. Click here for examples (YES/NO examples from 2006 rules?).


Page 4 of 6

o In this step, look at the placement of the cue under review and determine placement according to placement chart (disregarding movement). Then look ahead to the next cue to be scored and determine placement according to placement chart (disregarding movement). Finally, compare the placements of both cues.

o Next Cue = next cue entered into Excel sheet - intervening omissions in script are disregarded. o Disregarding movement = Movement does not change placement. Side, Side-down, and Side-


Is the handshape in the exact same location of the next scored cue? o Current Status: Cue under review has same handshape but different placement than previous cue, and same

placement as the next cue. o On screen, look at cue under review and compare to the next cue to be scored. Determine whether these

cues are produced at the exact same location. o Exact same location = No movement toward a new location or placement. No triangular movement

allowed. Look at hand to make sure location is stable. Disregard movement of fingers for purposes of changing handshape.

Triangular movement = A change in direction that makes three points with minimal movement.

Stable location = Cue under review does not move at all. Disregard finger movements: Look at arm, wrist, and hand to determine if cue under reviewr

is in the exact same location as CST changes handshape (if applicable). Warning = Do not think about placement.

o ***Remember, if the answer to this question is yes then the cue under review is considered a “Persists after arrival cue”. ***

Is the placement the same as the previous cue (that you scored)? o In this step, look at the placement of the cue under review and determine placement (disregarding side

movements) according to placement chart. Compare to placement of the previous cue. o Previous Cue = last cue entered into Excel sheet - intervening omissions in script are disregarded. o Disregarding side movements = Movement does not change placement. Side, Side-down, and Side-


Prior to Departure? If scored, would this cue have the same handshape as the next cue that you would score? o Current Status: Different handshape than previous cue but same placement as previous cue. o Definition: A cue that is formed prior to departure is an extra cue that was not intended by the transliterator.

It occurs when the handshape of the next intended cue is formed prior to any detectable movement toward the next placement. Click here for examples (YES/NO examples from 2006 rules?).

o In this step, look at the handshape of the cue under review and determine handshape according to handshape chart. Then look ahead to the next cue to be scored and determine handshape according to handshape chart. Finally, compare the handshapes of both cues.

o Next Cue = next cue entered into Excel sheet - intervening omissions in script are disregarded. Is the BEST handshape at the exact same location or a supra-location as the previous cue (that you scored)?


Page 5 of 6

o Current Status: Cue under review has 1) different handshape than previous cue 2) same placement as previous cue and 3) same handshape as next cue scored.

o On screen, find the frame for the cue under review that has the best handshape. Compare the cue in this frame to the previous cue that was scored. Determine whether these cues are produced at the exact same location. If not, determine whether the cue under review is produced in a supra-location relative to the previous cue.

o Best handshape = most properly formed and/or most recognizable handshape of the cue under review (may not be optimum, just looking for the frame with the “best” handshape the CST produces)

Optimum handshape = the most properly formed handshape (for a particular cue) that the CST regularly produces over the course of his/her entire performance

o Previous Cue = last cue entered into Excel sheet - intervening omissions in script are disregarded. o Exact same location = No movement toward a new location or placement. No triangular movement

allowed. Look at hand to make sure location is stable. Disregard movement of fingers for purposes of changing handshape.

Triangular movement = A change in direction that makes three points with minimal movement.

Stable location = Cue under review does not move at all. Disregard finger movements: Look at arm, wrist, and hand to determine if cue under reviewr

is in the exact same location as CST changes handshape (if applicable). Warning = Do not think about placement.

o Supra-location = As the cue moves from its previous location, the movement is not toward a different placement. Instead, the placement of the cue under review is produced at an improved location (compared to the location of the previous cue) OR is produced at an overshot location.

Overshot location = The location of the cue is past or beyond the ideal location for the particular placement of the cue under review. In addition, the placement of the cue under review is distinguishable and not easily confused with any other placement.

Is the HS better than or equivalent to the next cue? o Current Status: Cue under review has 1) different handshape than previous cue 2) same placement as

previous cue 3) same handshape as next cue scored and 4) the frame with the “best” handshape is not at an exact location or supra-location.

o Look at the cue under review on screen and determine if the handshape is better than or equivalent to the next cue on screen that would be scored.

o Better than = the handshape of the cue under review has a more properly formed and/or distinguishable handshape then the next cue scored.

o Equivalent to = the handshape of the cue under review maintains the same form all the way until it reaches the placement for the next cue scored.

o Next Cue = next cue entered into Excel sheet - intervening omissions in script are disregarded. o ***Remember***, if the answer to this question is yes then the cue under review is considered a

“Prior to departure cue”. This information may be required to answer future questions. Always look for the following when deciding whether to score!!! • A cue should be reviewed (and possibly scored) whenever one or more of the following actions occur:

o Contact: Determine if the CST is making contact (touching) with a placement using either the correct finger or incorrect finger.


Page 6 of 6

***Warning*** - When the CST is transitioning into the “finalized” handshape while touching, score the best handshape the CST is producing according to the handshape chart. Do not score two separate cues unless it is obvious that two cues were intended (e.g. an obvious tap or tapping like motion is present). Best handshape = most properly formed and/or most recognizable handshape of the cue

under review (may not be optimum, just looking for the frame with the “best” handshape the CST produces)

• Optimum handshape = the most properly formed handshape (for a particular cue) that the CST regularly produces over the course of his/her entire performance

o Constant location: Determine if the cue on screen stops (last three frames or more), hovers, or is produced with a very small triangular movement caused by a change in direction.

Stops = the cue on screen does not change locations (handshape is maintained) for three or more frames.

Hovers = the CST hesitates or momentarily stops moving. As a result, the cue on screen is in focus for 1-2 frames. For a cue to be “hovering,” the frames must not be blurry. Note that if a cue hovers for more than 2 frames, it is considered “stopped.”

Triangular movement = the cue on screen has three frames that change location only slightly (handshape is maintained). Over these three frames, the location of the contact finger forms a small triangle. Arm does not move, and hand/wrist moves only minimally.

***Warning*** - It is possible for two cues to be scored at the same placement, if two sets of frames can be classified as two separate cases of “constant location.” Look for any movement during these frames that would indicate two separate cues are being produced. If this is a possibility, be sure to go through the decision to score procedure for each case.

o Change of handshape: Determine whether or not the cue under review changes handshapes according to the handshape chart.

Warning = The frame on which the handshape changes may not be the exact frame that is scored. Look at each frame that contains this handshape to decide which one of the frames should be scored (if any).

o Change of placement: Determine whether or not the cue under review changes placements according to the placement chart.

Warning = The frame on which the placement changes may not be the exact frame that is scored. Look at each frame that contains this placement to decide which one of the frames should be scored (if any).

Chart 2: Score Categorization

No

No

No

No

No

No

No

No

No

No

No

No

No

Does the cue touch or last three frames?

Is the handshape correct?

Is the handshape correct?

Is the placement correct?

Insertion

Does the “correct” HS pass through the correct placement?

Correct

Is the location of the side placement established?

Insertion

Prior to Departure: Is the cue anticipating a future cue?

Persists after arrival: Is the cue a perseveration of a past cue?

Does the handshape pass through the correct placement?

Does the cue hover for at least one frame?

Is the location of the side placement established?

Do Not Score

Would the cue replace an expected cue?

Is the cue replacing an expected cue?

Would the cue replace an expected cue?

HS: Right Placement: Wrong

Correct

HS: Wrong Placement: Right

HS: Wrong Placement: Wrong

Is the cue replacing an expected cue?

Sub

Sub

Do Not Score

Sub

Do Not Score

Insertion

Insertion

Sub

Yes

YesYes

Yes Yes Yes No

YesYes Yes No

Yes Yes Yes

Yes

Yes

Yes


Score Categorization - Page 2 of 4

Does the cue touch (any finger) or last three frames? o “touching” = making contact with placement using correct finger, or incorrect finger o “three frames” = stays in same location for three frames (i.e. stops) and handshape cannot vary. Triangular

movement caused by change in direction acceptable. o Triangular movement = the cue on screen has three frames that change location only slightly

(handshape is maintained). Over these three frames, the location of the contact finger forms a small triangle. Arm does not move, and hand/wrist moves only minimally.

Is the handshape correct? o Look at the cue under review on screen and compare with the target cue on the Excel spreadsheet.

Determine if the handshape of the cue under review is correct. o Correct handshape = A well-formed and clearly distinguishable cued speech handshape that matches

the handshape of the target cue. Use handshape chart to make this decision. o ***Warning*** - If the correct target handshape is formed early and the handshape is still “semi-

recognizable” by the time the target placement is reached, it is scored as correct. Semi-recognizable Handshape = Slight handshape changes are permitted as long as the

handshape remains distinguishable from any other handshape IF (and only if) a correct handshape was formed before the target placement was reached. Note, the semi-recognizable handshape does not have to meet the criteria of the handshape chart.

• ***Warning*** = Do not consider handshape semi-recognizable if a correct handshape according to handshape chart is not formed first. A semi-recognizable handshape at the target placement cannot be scored as a correct handshape if it does not occur until after the cue under review leaves the target placement.

Is the placement correct? o Current Status: The cue under review touches or lasts three frames and is the right handshape. o Look at the cue under review on screen and compare with the target cue on the Excel spreadsheet.

Determine if the placement of the cue under review is the correct. o Correct placement = A clearly distinguishable cued speech placement that matches the placement of

the target cue. Use placement chart to make this decision. Is the cue replacing an expected cue? o Current Status: The cue under review is not correct for one of the following two reasons: reason

1. The wrong handshape touches or lasts three frames (evaluating substitution or insertion) 2. The right handshape stops or passes through the wrong placement (evaluating possible substitution).

o Determine if the cue under review occurs instead of the target cue on the Excel spreadsheet. o ***Warning*** = Beware of surrounding cues. Look ahead on screen to make sure the cue under review is

not an extra cue or is the same as a target cue that occurs elsewhere on the Excel spreadsheet. Does the “correct” handshape pass through the correct placement? o Current Status: The cue under review does not touch or last three frames and is the right handshape. o Look at the cue under review on screen and compare with the target cue on the Excel spreadsheet.

Determine if the CST maintains the correct handshape and/or semi-recognizable handshape as they stop or pass through the correct placement

o Correct Handshape = A well-formed and clearly distinguishable cued speech handshape that matches the handshape of the target cue. Use handshape chart to make this decision.



o Semi-recognizable Handshape = Slight handshape changes are permitted as long as the handshape remains distinguishable from any other handshape IF (and only if) a correct handshape was formed before the target placement was reached. Note, the semi-recognizable handshape does not have to meet the criteria of the handshape chart.

***Warning*** = Do not consider handshape semi-recognizable if a correct handshape according to handshape chart is not formed first. A semi-recognizable handshape at the target placement cannot be scored as a correct handshape if it does not occur until after the cue under review leaves the target placement.

o Correct placement = A clearly distinguishable cued speech placement that matches the placement of the target cue. Use placement chart to make this decision.

Does the handshape pass through the correct placement? o Current Status: The cue under review does not touch or last three frames and is the wrong handshape. o Look at the cue under review on screen and compare with the target cue on the Excel spreadsheet.

Determine if the CST stops or passes through the correct placement o Correct placement = A clearly distinguishable cued speech placement that matches the placement of

the target cue. Use placement chart to make this decision. Would the cue replace an expected cue? o Current Status: The cue under review is not correct for one of two reasons (evaluating possible substitution).

1. The wrong handshape stops or passes through the right placement 2. The wrong handshape stops or passes through the wrong placement

o Determine if the cue under review (if scored) would occur as a substitution for the target cue on the Excel spreadsheet.

o ***Warning*** = Beware of surrounding cues. Look ahead on screen to make sure the cue under review is not an extra cue or is the same as a target cue that occurs elsewhere on the Excel spreadsheet.

Is the location of the side placement established? o Current Status: The cue under review is not correct and does not replace an expected cue (evaluating

possible insertion). o Use either the previous cue scored or the next cue scored to find the exact location of the established side

placement. Then, determine if the cue under review is produced at this location or a supralocation with an optimum handshape.

o Previous Cue = last cue entered into Excel sheet - intervening omissions in script are disregarded. o Next Cue = next cue entered into Excel sheet - intervening omissions in script are disregarded. o Established side placement = If either of the adjacent cues is scored at the side placement, the exact

location of the adjacent cue “establishes” the side placement for the cue under review. Cue under review must be at the side placement according to the placement chart and either be in the exact same location OR a supra-location relative to this established location. Watch the contact finger of both cues to make this judgment. The cue under review must NOT move inward from the established location.

Supra-location = As the cue moves from its previous location, the movement is not toward a different placement. Instead, the placement of the cue under review is produced at an improved location (compared to the location of the previous cue) OR is produced at an overshot location.



• Overshot location = The location of the cue is past or beyond the ideal location for the particular placement of the cue under review. In addition, the placement of the cue under review is distinguishable and not easily confused with any other placement.

o Optimum handshape = the most properly formed handshape (for a particular cue) that the CST regularly produces over the course of his/her entire performance

***Warning***- The handshape CAN NOT be a borderline (deciding between two handshapes) handshape or confusable with other cues.

o ***Warning*** = If the cue under review is not an established location, determine if it was previously decided (when using “Decide Whether to Score” Chart) if the cue under review occurred before/after a well-defined movement. If a previous decision can not be remembered, refer back to Chart 1 prior to departure section. A well-defined movement establishes two cues under review (before and after the well-defined movement), and both of those cues are always scored, even if the answer for either cue under review is “Do Not Score” according to the Score Categorization chart.

Does the cue hover for at least one frame? o Current status: The wrong handshape stops or passes through the right placement and the cue under review

is a potential substitution. o Look on screen and determine whether the cue under review hovers at a constant location for at least one

frame. o Hovers = the CST hesitates or momentarily stops moving. As a result, the cue on screen is in focus

for 1-2 frames. For a cue to be “hovering,” the frames must not be blurry. Note that if a cue hovers for more than 2 frames, it is considered “stopped.”

Prior to Departure: Is the cue anticipating a future cue? o Current status: The cue under review is not correct, does not replace an expected cue, and is not at an

established side location (evaluating possible insertion). o Determine if it was previously decided (when using “Decide Whether to Score” Chart) if the cue under

review occurred prior to departure. If a previous decision can not be remembered, refer back to Chart 1 prior to departure section.

Persists after arrival: Is the cue a perseveration of a past cue? o Current status: The cue under review is not correct, does not replace an expected cue, is not at an established

side location, and did not occur prior to departure (evaluating possible insertion). o Determine if it was previously decided (when using “Decide Whether to Score” Chart) if the cue under

review persisted after arrival. If a previous decision can not be remembered, refer back to Chart 1 persists after arrival section.

o ***Warning*** = If the cue under review does not persist after arrival, determine if it was previously decided (when using “Decide Whether to Score” Chart) if the cue under review occurred before/after a well-defined movement. If a previous decision can not be remembered, refer back to Chart 1 prior to departure section. A well-defined movement establishes two cues under review (before and after the well-defined movement), and both of those cues are always scored, even if the answer for either cue under review is “Do Not Score” according to the Score Categorization chart.

Chart 3: Placement Identification

Is the finger that touches less than one finger’s width from the midline?

Is the finger that touches making contact below the chin?

Is the contact finger overlapping the face or neck ?

Throat Placement

Is the finger that touches making contact below the lowest point of the lower lip?

Chin Placement

Is the cue obstructing the mouth above the lower lip?

Mouth Placement

X Placement

Chin Placement

Is the contact finger below the lowest point of the chin?

Side Placement

Is the contact finger less than one finger’s width from throat midline?

Throat Placement

Side Placement

Is the contact finger less than one finger’s width from the midline?

Is the cue obstructing the mouth (more than just the lower lip)?

Placement X

Chin Placement

Is the contact finger vertically closer to the mouth corner than the bottom of the chin and/or above the chin crease?

Is the contact finger at more than one finger’s width away from the mouth towards the side?

Is the contact finger less than one finger’s width from the midline of the chin?

Side Placement

Mouth Placement

Chin Placement

Side Placement

NoYes

NoYes

Yes

NoYes

Yes No

No

Yes No

Yes No

Yes No

NoYes

NoYes

NoYesNoYes

NoYesDoes the cue touch?


Placement Identification - Page 2 of 2

Does the cue touch? o Look at the cue under review and determine if any finger in the handshape is touching.

o Touching = making contact with placement using correct finger, or incorrect finger Helpful Hints: An indentation at the point of contact is the clearest sign that the CST is

touching. Regardless, the touching frame is clear and not blurry. Shadows or shaded areas near/beneath the contact finger cannot be present if the CST is touching.

o ***Warning*** - If the CST touches a placement with the wrong contact finger, score the placement of where the contact is made.

Is the finger that touches making contact below the chin? o Current Status: Cue is touching o Look at the cue under review and determine if the finger that touches makes contact anywhere below the

CST’s chin line. o Touching = making contact with placement using correct finger, or incorrect finger

Helpful Hints: An indentation at the point of contact is the clearest sign that the CST is touching. Regardless, the touching frame is clear and not blurry. Shadows or shaded areas near/beneath the contact finger cannot be present if the CST is touching

o Chin Line = Lowest point on chin that remains in the plane of the face. Generally, the chin line follows the CST’s jaw line. However, if the CST has multiple chins, it could be lower than the jaw line.

Helpful Hints: When CSTs touch below the chin line, the finger that touches looks behind the most forward part of the chin.

Throat Placement o Throat Placement = The cue under review is considered throat placement if the CST touches any part of the

throat (including if the CST touches an area of the throat that is more than a finger’s width away from the throat midline) or if the contact finger is produced less than one finger’s width away from throat midline.

o One finger’s width = Use measurement tool to decide. Align one edge of measurement tool with reference point (midline or mouth corner). If any part of the finger is covered by the measurement tool then the contact finger is considered to be less than one finger’s width away from reference point (midline or mouth corner). If the finger is completely visible (there is space between the measurement tool and the finger) then the contact finger is considered to be more than one finger’s width away from reference point (midline or mouth corner). Note that when the contact finger is produced *past* midline, it is automatically considered to be less than one finger’s width from midline (regardless of the actual distance from midline).

Helpful Hints: 1. If the edge of the finger and measurement tool just meet (abutting) then the benefit of

the doubt rule applies. 2. If the CST’s head is turned or tilted put the mouse pointer in the location of the

contact finger and use arrow keys to advance video until a frame with a straight head is located. Then use the measurement tool to determine the distance from the mouse pointer.

o Throat Midline = The medial line of the CST’s throat territory. Helpful Hints: Determine midline by first looking for a distinct larynx (adam’s apple) or

suprasternal notch. If one cannot be determined, look for an established reference point on clothing or jewelry that can be used consistently to define midline.



***Warning*** = Throat midline may not be in line with chin midline depending on how the

CST positions the head. o Touching = making contact with placement using correct finger, or incorrect finger

Helpful Hints: An indentation at the point of contact is the clearest sign that the CST is touching. Regardless, the touching frame is clear and not blurry. Shadows or shaded areas near/beneath the contact finger cannot be present if the CST is touching.

Is the finger that touches making contact below the lowest point of the lower lip? o Current Status: The cue is “touching” and the finger that touches makes contact at or above the chin line. o Look at the cue under review and determine if the finger that touches makes contact anywhere below the

lowest point of the lower lip. o Lowest point of the lower lip = At lip midline, use the bottom border of the lower lip to establish a

horizontal boundary across the face. Determine whether the finger making contact touches above or below this (imaginary) horizontal boundary.

Lip Midline (Face Midline) = The medial line of the CST’s lip and chin territory. • Helpful Hints: Determine face midline by making a sagittal cut from bottom of the

nose to the bottom of the chin. Midline should pass through cupid’s bow on the lips (if cupid’s bow is visible).

• ***Warning*** = lip midline may not be vertical if the CST’s head is turned or tilted.

o Touching = making contact with placement using correct finger, or incorrect finger

1. Look for mostprotruded part of larynx

(not pronounced here)

2. Look for “v” insuprasternal notch

Go to midline, andlook for lowest point

of lip to determinehorizontal boundary.

1. Look for the bottomof the comunella(nostril divider).

Cupid’s Bow

2. Look for the center pointof the bottom of the chin.



Helpful Hints: clearest sign that the CST is touching. Regardless, the touching frame is clear and not blurry. Shadows or shaded areas near/beneath the contact finger cannot be present if the CST is touching.

An indentation at the point of contact is the

Chin Placement o Chin Placement = The cue under review is considered chin placement if the CST touches any part of the

chin. If not touching, the cue under review is considered chin placement if the contact finger is produced closer to the chin line than any other placement (this includes below the chin crease and/or vertically closer to the bottom of the chin than the corner of the mouth).



o Corner of the Mouth = point where the top lip corner and bottom lip corner meet. Mouth Corner. Look

for point where corners of top and bottom lip meet.

o Chin Crease = A horizontal indentation between the lower lip and the chin line where a perceivable crease or shadow may be visible. Note, when head is tilted, chin crease should be perpendicular to the face midline.

Cupid’s Bow Chin Crease

Helpful Hints: If the CST touches directly on the chin crease, then the benefit of the doubt rule applies.

***Warning*** - Not all CSTs have a pronounced chin crease. Whether or not a CST’s chin crease is visible enough to be used for measurements is a judgment call in some instances.





Is the finger that touches less than one finger’s width from the midline? o Current Status: The cue is “touching” and is making contact at or above the lowest point of the lower lip. o Look at the cue under review and determine if the finger that is touching is less than one finger’s width from

the lip midline. o One finger’s width = Use measurement tool to decide. Align one edge of measurement tool with

reference point (midline or mouth corner). If any part of the finger is covered by the measurement tool then the contact finger is considered to be less than one finger’s width away from reference point (midline or mouth corner). If the finger is completely visible (there is space between the measurement tool and the finger) then the contact finger is considered to be more than one finger’s width away from reference point (midline or mouth corner). Note that when the contact finger is produced *past* midline, it is automatically considered to be less than one finger’s width from midline (regardless of the actual distance from midline).




o Lip Midline (Face Midline) = The medial line of the CST’s lip and chin territory. Helpful Hints: Determine face midline by making a sagittal cut from bottom of the nose to

the bottom of the chin. Midline should pass through cupid’s bow on the lips (if cupid’s bow is visible).


Cupid’s Bow

2. Look for the center point

of the bottom of the chin. Is the cue obstructing the mouth above the lower lip? o Current Status: The cue is “touching” and is making contact at or above the lowest point of the lower lip. It

is not within one finger’s width of midline. Determining X placement versus chin placement. o Look at the cue under review and determine if the cue (not just the finger that is touching) is obstructing any

part of the mouth above the lower lip. o Above the lower lip = The cue is blocking a portion or portions of the mouth including the teeth, the

mouth opening and/or the upper lip.

X Placement o X placement = The cue under review is produced at a location that does not qualify as any of the Cued

Speech placements. This can occur in one of several ways: 1. It obstructs the mouth above the lower lip at lip midline.



o Above the lower lip = The cue is blocking a portion or portions of the mouth including the teeth, the mouth opening and/or the upper lip.

o Lip Midline (Face Midline) = The medial line of the CST’s lip and chin territory. Helpful Hints: Determine face midline by making a sagittal cut from bottom of the nose

to the bottom of the chin. Midline should pass through cupid’s bow on the lips (if cupid’s bow is visible).

1. Look for the bottom

of the comunella (nostril divider).

Cupid’s Bow 2. Look for the center point

of the bottom of the chin.

2. The cue is produced at a location that could equally qualify as two or more different placements (because the location of the cue is in between two placements and/or a specific placement is poorly defined).

Is the contact finger overlapping the face or neck? o Current Status: Cue is not touching o Look at the cue under review and determine if the contact finger for that particular handshape is overlapping

the face or neck area. o Overlapping the face or neck = the contact finger of the cue under review is produced in an area that

covers a portion of the CST’s face or neck. o Contact Fingers for Handshapes 1-9 are as follows:

Handshapes 1 – the index finger Handshapes 2 – the middle finger Handshape 3 – the middle finger Handshape 4 – the middle finger Handshape 5 – the middle finger Handshape 6 – the index finger Handshape 7 – the middle finger Handshape 8 – the middle finger for mouth and side placement / the index finger for chin

and throat placement. • ***Warning*** - When the cue is not touching, the middle of the “V” of handshape

8 may be used to determine placement instead of the contact finger for the target handshape. Use this rule only if this improves the CST’s score for the cue ( by making the placement correct).

o “V” of handshape = the space between the index finger and middle finger. Handshape 9 – the contact finger for the target handshape (handshape that is expected,

according to the Excel spreadsheet). • ***Warning*** - When the cue is not touching, the middle of the “V” of handshape

9 may be used to determine placement instead of the contact finger for the target handshape. Use this rule only if this improves the CST’s score for the cue ( by making the placement correct).

o “V” of handshape = the space between the index finger and middle finger.



Is the contact finger below the lowest point of the chin? o Current Status: Cue is not touching and is overlapping the CST’s face or neck. o Look at the cue under review and determine if the contact finger is produced below the CST’s chin line.



Side Placement o Side Placement = The cue under review is considered the side placement if the CST produces a particular

cue with the contact finger more than one finger’s width away from the chin midline, corner of mouth, or throat midline.





o Chin Midline (Face Midline) = The medial line of the CST’s lip and chin territory. Helpful Hints: Determine face midline by making a sagittal cut from bottom of the nose to


1. Look for the bottom

of the comunella (nostril divider).



o Mouth Corner = point where the top lip corner and bottom lip corner intersect. Mouth Corner. Look






***Warning*** = Throat midline may not be in line with chin midline depending on how

the CST positions the head.




Is the contact finger less than one finger’s width from throat midline? o Current Status: The cue is not touching and is below the CST’s chin line. Determining throat placement

versus side placement. o Look at the cue under review and determine if the contact finger is produced at a location that is less than

one finger’s width from throat midline o One finger’s width = Use measurement tool to decide. Align one edge of measurement tool with












***Warning*** = Throat midline may not be in line with chin midline depending on how the CST positions the head.

Is the contact finger less than one finger’s width from midline? o Current Status: The cue is not touching and is at or above the chin line. o Look on screen, and determine if the contact finger is produced at a location that is less than one finger’s

width from the face midline. o One finger’s width = Use measurement tool to decide. Align one edge of measurement tool with


Helpful Hints: • If the edge of the finger and measurement tool just meet (abutting) then the benefit of

the doubt rule applies. • If the CST’s head is turned or tilted put the mouse pointer in the location of the


o Face Midline = The medial line of the CST’s lip and chin territory. Helpful Hints: Determine face midline by making a sagittal cut from bottom of the nose to



Cupid’s Bow

2. Look for the center point

of the bottom of the chin. Is the contact finger vertically closer to the mouth corner than the bottom of the chin and/or above the chin crease? o Current status: The cue is not touching. It is above the chin line and is more than a finger’s width from

midline. Determining vertical location of contact finger (mouth/side or chin/side). o Look at the cue under review and determine if the contact finger is produced vertically closer to the mouth

corner or the bottom of chin. If available, use the chin crease as a reference: Above the chin crease = vertically closer to the mouth corner Below the chin crease = vertically closer to the bottom of the chin Even with the chin crease = benefit of the doubt rule applies. ***Warning*** - Depending on the CST’s face anatomy, using the chin crease as a

reference point may not produce the same result as using the mouth corner and bottom of



chin as referen the doubt rule applies, and the reference point(s) more favorable to the CST’s score should be used.

ce points. In these situations, the benefit of

Go to midline, andlook for crease of

shadow.

Mouth Corner. Look for point

where corners of topand bottom lip

o Mouth Corner = point where the top lip corner and bottom lip corner intersect.

Mouth Corner. Look for point where

corners of top and bottom lip meet.

o Bottom of the chin = Lowest point on the chin line. This typically occurs at face midline. Chin Line = Lowest point on chin that remains in the plane of the face. Generally, the chin

line follows the CST’s jaw line. However, if the CST has multiple chins, it could be lower than the jaw line.

• Helpful Hints: When CSTs touch below the chin line, the finger that touches looks behind the most forward part of the chin.

o Chin Crease = A horizontal indentation between the lower lip and the chin line where a perceivable crease or shadow may be visible. Note, when head is tilted, crease should be perpendicular to the face midline.

Cupid’s Bow Chin Crease

Helpful Hints: If the CST’s contact finger is produced even with the chin crease, then the benefit of the doubt rule applies.

***Warning*** - Not all CSTs have a pronounced chin crease. Whether or not a CST’s chin crease is visible enough to be used for measurements is a judgment call in some instances



Mouth Placement o Mouth Placement = The cue under review is considered mouth placement if the CST touches at a location

more than one finger’s width from lip midline and above the lowest point of the lower lip. If not touching, the cue under review is considered mouth placement if the contact finger is produced at a location that is vertically closer to the mouth corner than the bottom of the chin and is horizontally more than one finger’s width away from lip midline but no more than one finger’s width away from mouth corner.

o Lip Midline (Face Midline) = The medial line of the CST’s lip and chin territory. Helpful Hints: Determine face midline by making a sagittal cut from bottom of the nose to





o Lowest point of the lower lip = At lip midline, use the bottom border of the lower lip to establish a horizontal boundary across the face. Determine whether the finger making contact touches above or below this (imaginary) horizontal boundary.

Go to midline, and

look for lowest pointof lip to determine

horizontal boundary.

o Mouth Corner = point where the top lip corner and bottom lip corner intersect. Mouth Corner. Look


o Bottom of the chin = Lowest point on the chin line. This typically occurs at face midline. Chin Line = Lowest point on chin that remains in the plane of the face. Generally, the chin

line follows the CST’s jaw line. However, if the CST has multiple chins, it could be lower than the jaw line.

• Helpful Hints: When CSTs touch below the chin line, the finger that touches looks behind the most forward part of the chin.




Helpful Hints: • If the edge of the finger and measurement tool just meet (abutting) then the benefit of

the doubt rule applies. • If the CST’s head is turned or tilted put the mouse pointer in the location of the




Is the contact finger more than one finger’s width away from the mouth towards the side? o Current Status: The cue in not touching and is more than a finger’s width from midline. It is above the chin

line and vertically closer to the corner of the mouth than the bottom of the chin. Determining mouth placement versus side placement.

o Look on screen, and determine if the contact is produced at a location that is more than one finger’s width from mouth corner.







o Mouth Corner = point corner intersect. where the top lip corner and bottom lip Is the contact finger less than one finger’s width from chin midline? o Current Status: The cue in not touching and is more than a finger’s width from midline. It is above the chin

line and vertically closer to the bottom of the chin than the corner of the mouth. Determining chin placement versus side placement.

o Look on screen, and determine if the contact finger is produced at a location that is less than one finger’s width from chin midline.





o Chin Midline (Face Midline) = The medial line of the CST’s lip and chin territory. Helpful Hints: Determine face midline by making a sagittal cut from bottom of the nose to






Cupid’s Bow


2. Look for the center pointof the bottom of the chin.

Chart 4: Handshape Identification

Is it a gesture, a sign, or an unrecognizable handshape?

Non-Cue See Section 2a-2c to determine which fingers are up or down before moving to next question.

Section 1

Was it difficult to determine whether the finger(s) were up or down?

Section 2aThumb

Is the thumb tip visible?

Is the visibility issue due to poor form?

HS 9 Give the CST the benefit of the doubt for the fingers in question and move to next question.

Are the “up” fingers grouped to form a Cued Speech handshape?

Grade that HS!

Does it look more like one HS than any other?

UpNoYes

Down

Section 2b Index Finger

Is the finger touching?

Is it retracted or obscured?

Is at least ½ the finger down or obscured?

Index finger cannot be determined

Up

Is it retracted?

Down

Is it separated? Up

Is it 2 vs. 8? Is it 3 vs. 5?

Up Down Up

Section 2c Other Fingers

Is the finger touching?

Up Is at least ½ the finger down or obscured?

Down

Is it retracted?

Is it separated? Up

Is it 1 vs. 8 or 2 vs. 8? Up

Up

Benefit of the Doubt.

Screen is blurry, dark etc. CST’s fault.

Yes No

Yes No

Yes NoYes No

No Yes Yes No

Yes No

Yes No Yes No Yes No

Down

Yes No

Yes No

Yes No

HS 9 Grade that HS!

Yes No

Down

NoYes

Yes No

NoYes


Handshape Identification - Page 2 of 2

Is it a gesture, a sign, or an unrecognizable handshape? o Look at the cue under review and determine if the CST is producing a gesture, sign, or other

unrecognizable handshape or placement instead of a Cued Speech handshape/placement. Whenever this is a possibility, look ahead to the non-cue rules to help decide whether “yes” is an appropriate response to this question.

• Gesture = a movement or position of the hand, arm, body, head, or face that is expressive of an idea, opinion, emotion, etc. If the CST produces the number three on her/his hand during the script instead of cueing the word three than this would be considered an example of a gesture.

• Sign = a recognizable SEE 1, SEE 2, or ASL sign used to convey information in the script. If the CST produced the ASL sign for female instead of cueing the word female then this would be considered an example of a sign.

• Unrecognizable handshape = does not look at all like any Cued Speech handshape and does not qualify as handshape 9.

Non-Cue Handshape o Look at the cue under review and determine if the CST is producing a Non-Cue

• Non-Cue = the cue under review must be touching or last three or more frames and must fall into one of the following categories:

1. Gesture/Sign – Score as I-gs in Excel spreadsheet 2. Handshape 9 at an unrecognizable placement – Score as I- 9x in Excel

spreadsheet 3. Unrecognizable handshape at any location – Score as I-nc in Excel

spreadsheet 4. Fist or loose fist that occurs while resting (no mouth movements) – Score as I-

rest in Excel spreadsheet • Gesture = a movement or position of the hand, arm, body, head, or

face that is expressive of an idea, opinion, emotion, etc. If the CST produces the number three on her/his hand during the script instead of cueing the word three than this would be considered an example of a gesture.

• Sign = a recognizable SEE 1, SEE 2, or ASL sign used to convey information in the script. If the CST produced the ASL sign for female instead of cueing the word female then this would be considered an example of a sign.

• Unrecognizable handshape = does not look at all like any Cued Speech handshape and does not qualify as handshape 9.

• Unrecognizable placement = is not produced at a location that would qualify as any Cued Speech placement, or as placement X. See placement chart for placement X definition.

o ***Warning*** - if the cue under review qualifies as a non-cue, a substitution cannot be used. An omission and a non-cue insertion must be scored instead.



See Section 2a-2c to determine which fingers are up or down before moving to next question. o Current Status: The cue under review is not a gesture or a sign. o Look at the handshape of the cue under review and determine which fingers are up or down

before moving to the next question. To do this, answer questions in the sections that pertain to the fingers in question (Sections 2a, 2b, and/or 2c).

Is it difficult to determine whether the finger(s) were up or down ? o Current Status: Completed questions in sections 2a, 2b, and/or 2c in an effort to determine

which fingers are up/down. Attempting to determine handshape from this information. o Indicate whether it was difficult to determine whether any of the fingers (one or more) were

up or down when answering questions in section 2a, 2b, and/or 2c. This could be due to receiving a “could not be determined” answer or because of other difficulties due to visibility issues. Examples of visibility issues include:

1. poor lighting (shadows) 2. blurry frames 3. obscured fingers (may or may not be due to a CST form issue) 4. CST form issues (bent fingers, spread fingers, thumb tip issues, awkward wrist/arm

angle etc.) Is the visibility issue due to poor form? o Current Status: Difficult to determine which fingers were up or down due to a visibility issue

caused by the transliterator. o Indicate whether visibility issues are due to poor form. Poor form is when the handshape is

not easily recognizable and/or distinguishable due to something the CST is doing. Examples of poor form include:

1. obscured fingers due to a CST form issue such as unclear positioning of hand or finger(s)

2. difficult to determine whether the fingers are up or down due to bent fingers, spread fingers, thumb tip issues, awkward wrist/arm angle etc.

3. unclear positions of hand and/or finger(s), angle of wrist, angle of fingers, angle of arm etc.

Handshape 9 o Handshape 9 = The cue under review does not look more like one handshape than any other

and could be interpreted as two or more Cued Speech handshapes. A handshape 9 could occur for any of the following reasons:

1. poor lighting (shadows) 2. blurry frames 3. obscured fingers (may or may not be due to a CST form issue) 4. CST form issues (bent fingers, spread fingers, thumb tip issues, awkward wrist/arm

angle etc.) 5. unclear positions of hand and/or finger(s) due to bent fingers, spread fingers, thumb

tip issues, awkward wrist/arm/finger angle etc.



6. Open fist that st) and that lasts more than three frames

occurs while CST is mouthing (not at re

that finger only (still hs 9, since 6 vs. 5 O

o Examples of Handshape 9:

Unclear 2 vs. 8 –amount of separation between the index finger and middle fingers is too much for hs 2 and too little for hs 8

“middle finger” – index finger is down according to chart, and up middle finger only does not look more like one handshape than another

Unclear 2 vs. 8 –amount of separation between the index finger and middle fingers is too much for hs 2 and too little for hs 8

Unclear 2 vs. 8 – amount of separation between the index finger and middle finger is ambiguous (not “separated” because no daylight below middle knuckle, but still appears fairly separated)

Unclear 1/6 vs. 4/5 – “other” fingers are up and

cannot be put down because they are touching, but the amount of separation and retraction of the other fingers is enough to suggest hs 1/6. Note: can’t tell if thumb is up or down due to blurry area in video, so the benefit of the doubt rule applies to

R 1 vs. 4 is still ambiguous)

Unclear 1 vs. 8 – both fingers are “up” suggesting hs 8 but amount of retraction for middle finger is almost enough to suggest hs 1



o Examples of Handshape 9 (cont):

Unclear 1 vs. 7 vs. 6 vs. 8 – all three fingers are up according to chart, does not look more like one handshape than another

Unclear 1 vs. 4 vs. 8 – all three fingers are up according to chart, does not look more like one handshape than another due to amount of retraction and separation between the index finger and middle finger

Unclear 5 vs. 7 – All fingers are up, but

ring/pinkie fingers are separated and slightly retracted from the middle finger. Separation / retraction is too much for hs 5 but too little for hs 7.

Unrecognizable – index finger is up, middle finger may be up (if touching) but doesn’t look like part of the handshape. Other fingers are up. Hs 4 is a weak possibility, but this handshape really does not look more like one handshape than any other

Unclear 7 vs. 6 vs. 8 – all three fingers are up according to chart, does not look more like one handshape than another

Unrecognizable – index finger and pinkie finger are down, but middle finger and ring finger are up. Hs 3 is a weak possibility, but this handshape really does not look more like one handshape than any other



Give the CST the benefit of the doubt for the fingers in question and move to next question. o Current Status: The visibility issue is not due to poor form. Therefore, the benefit of the

doubt rule applies to the fingers in question for all remaining decisions. Are the “up” fingers grouped to form a Cued Speech handshape? o Determine whether the “up” fingers form a clearly distinguishable Cued Speech handshape.

• “Up” fingers = The fingers that were determined to be “up” by answering the questions in section 2a, 2b, and/or 2c

• Clearly distinguishable = not easily confused with any other Cued Speech handshape. Grade that HS! o Current status: A Cued Speech handshape (handshapes 1-8) is formed by the “up” fingers or

is apparent because the the “up” fingers look more like one handshape than any other. • “Up” fingers = The fingers that were determined to be “up” by answering the

questions in section 2a, 2b, and/or 2c o Use this handshape when answering the questions in the Score Categorization chart. Does it look more like one HS than any other? o Current Status: The “up” fingers are not grouped together to form a clearly distinguishable

Cued Speech handshape. • Up” fingers = The fingers that were determined to be “up” by answering the questions

in section 2a, 2b, and/or 2c o Indicate whether the “up” fingers look more like one handshape than any other. To make this

judgment: 1. The handshape should be obvious to any naïve viewer (i.e. any cuer who walks in the

room should be able to easily determine the handshape from this one video frame). 2. “Up” fingers may be put down if this results in a handshape that looks more like one

handshape than any other. However, “down” fingers may not be put up even if this results in a handshape that looks more like one handshape than any other. Special cases:

• Thumb – If thumb is “up,” it may not be put “down” in general. However, in extreme cases (i.e., barely visible and blurry OR barely visible and oriented incorrectly), an exception can be made to this rule.

• Pinkie finger – If the pinkie finger is separated from the rest of the handshape, it is considered “dangling” and should be disregarded. In this case, use the up/down status of the other four fingers only for this decision.

Is the thumb tip visible? o Current Status: Attempting to determine if the thumb tip is considered to be up or down. o Look at the handshape of the cue under review and determine if the thumb tip is visibly

above the index finger.



• Thumb tip = end of the tip of the thumb. Note, the thumb tip could be the tip of the thumb nail (depending on the length of the CST’s nails).

Is it retracted or obscured? o Current Status: The index finger is touching. Attempting to determine if the index finger is

considered to be up or down. o Look at the index finger and determine if it is retracted or obscured.

• Retracted = The index finger can be retracted for one of two reasons: 1. The middle knuckle of the index finger is angled behind the *inner* plane

(palm-side) of the middle finger. Determine this by comparing the knuckles and nails.

2. The nail of the index finger is not visible because the finger is bent. • Obscured = CST form issues or limitations of the video quality (e.g. blurry frame or

poor lighting, etc.) can cause the index finger to be obscured in one of two ways: 1. The portion of the index finger above (toward the tip of the finger) the middle

knuckle is not visible 2. The nail of the index finger is not visible

• Middle knuckle = the proximal interphalangeal joint. Note that each finger has 3 knuckles: metacarpophalangeal joint (where finger meets hand), the proximal interphalangeal joint (middle knuckle), and the distal interphalangeal joint (nearest the fingernail)

Is the finger touching? o Current Status: Determining if the index finger and/or other fingers in the handshape are

considered to be up or down. o Look at the finger under review and determine if it is touching.

1. Touching = making contact with a Cued Speech placement. • Helpful Hints: An indentation at the point of contact is the clearest sign that

the CST is touching. Regardless, the touching frame is clear and not blurry. Shadows or shaded areas near/beneath the contact finger (index finger and/or other fingers) cannot be present if the CST is touching.

Is at least ½ the finger down or obscured? o Current Status: The index finger and/or other fingers are not touching. o Look at the finger under review and determine if it is at least ½ down or obscured.

• ½ Down = The finger under review is bent toward the inside of the palm such that no part of the finger above (toward the tip of the finger) the middle knuckle is visible on screen.

• ½ Obscured = The finger under review is considered “1/2 obscured” whenever at least ½ of any portion of the finger under review is not visible. This is typically caused by CST form issues or limitations of the video quality (e.g. blurry frame or poor lighting, etc.) and can happen in at least two ways:

1. The portion of the finger under review above (toward the tip of the finger) the middle knuckle is not visible

2. A length wise portion (more than ½) of the finger under review is not visible



• Middle knuckle = the proximal interphalangeal joint. Note that each finger has 3 knuckles: metacarpophalangeal joint (where finger meets hand), the proximal interphalangeal joint (middle knuckle), and the distal interphalangeal joint (nearest the fingernail)

Index finger cannot be determined o Current Status: The index finger is touching and retracted or obscured o The index finger cannot be determined to be up or down. o ***Warning*** -Note, must answer “yes” to the question regarding whether it was difficult

to determine if any fingers are up/down (when returning to section 1). Is it retracted? o Current Status: At least ½ of the finger under review is visible (not down or obscured). o Look at the finger under review and determine if it is retracted.

• Retracted = The index finger can be retracted for one of two reasons: 1. The middle knuckle of the index finger is angled behind the *inner* plane

(palm-side) of the middle finger. Determine this by comparing the knuckles and nails.

2. The nail of the index finger is not visible because the finger is bent. • Middle knuckle = the proximal interphalangeal joint.

Note that each finger has 3 knuckles: metacarpophalangeal joint (where finger meets hand), the proximal interphalangeal joint (middle knuckle), and the distal interphalangeal joint (nearest the fingernail)

Is it separated? o Current Status: The finger under review is retracted. o Look at the finger under review and determine if it is separated from other fingers in the

handshape. • Separated = Look for a visible space between the finger under review and the “non”-

retracted finger(s) in the handshape of the cue under review. Separation must include visible space below (toward the base of the finger) the middle knuckle. • Visible space = able to see “daylight” in between fingers. • Retracted = The index finger can be retracted for one of two reasons:

1. The middle knuckle of the index finger is angled behind the *inner* plane (palm-side) of the middle finger. Determine this by comparing the knuckles and nails.

2. The nail of the index finger is not visible because the finger is bent. • Middle knuckle = the proximal interphalangeal joint.

Note that each finger has 3 knuckles: metacarpophalangeal joint (where finger meets hand), the proximal interphalangeal joint (middle knuckle), and the distal interphalangeal joint (nearest the fingernail)

• *** Warning *** - The finger under review, which is retracted, may appear to be grouped with other retracted fingers. In this case, all fingers in the retracted grouping must be classified in the same way, i.e. all are separated from the non-retracted fingers, or all are together with the non-retracted fingers.



Is it 2 vs. 8? o Current Status: The finger under review is retracted and separated o Look at the finger under review and decide if the only two possibilities for the handshape are

a handshape 2 or a handshape 8. Do this by determining if the only possible “up” fingers for the cue under review are the middle finger and index finger.

Is it 3 vs. 5? o Current Status: The finger under review is retracted and NOT separated. o Look at the finger under review and decide if the only two possibilities for the handshape are

a handshape 3 or a handshape 5. Do this by determining if the only possible “down” finger for the cue under review is the index finger.

3 vs 5 = the only possible down

finger is the index finger. Is it 1 vs. 8 o Current Status: The finger under review is retracted and separated o Look at the finger under review and decide if the only two possibilities for the handshape are

a handshape 1 or a handshape 8. Do this by determining if the only possible “up” fingers for the cue under review are the middle finger and index finger

Up o Up = “Up” fingers are generally considered part of the handshape. However, for borderline

handshapes, an “up” finger can be put down if the configuration of the fingers looks more like a particular handshape (that does not include the finger) than any other handshape.

Down o Down = “Down” fingers can never be considered part of the handshape. That is, “down”

fingers may not be put up even if this results in a handshape that looks more like one handshape than any other.

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