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BEGINNING OF WORK AT THE BOTTOM AND FINAL RESULTS AT THE TOP

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BEGINNING OF WORK AT THE BOTTOM AND FINAL RESULTS AT THE TOP

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IN ORANGE

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IN PURPLE

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IN GREEN

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IN WHITE

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IN BLUE

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IN RED

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I tried to create words out of car parts. So I could see the difference within a mixed found alphabet and a themed found alphabet and then choose the right one.

The letters spell out "Race Car Track". I noticed when I was deciding the layout that all 3 words contain the word car (RAC E), (T RAC K) both back to front. So I decided to use the same letter form for it.

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Layout strategy 1 car theme development work

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Layout strategy 1 car theme development work

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For my final poster I decided to use a mixture of ideas that worked visually well together and placed them in a specific way that would bring everything together.
In fact, I wanted to place the green for g below the blue. For the 3rd row I decided to use M,N and O (mix of negative space and abstract) because they had the same color palette.
At the bottom I placed X,Y and Z diagonally to represent a staircase starting from Z leading up to X to follow the rest of the alphabet.

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Video of Audi R8 advert. I was looking for an idea on how to place and arrange my letter forms from car parts. Also, an idea for bring together my letters with a consistent theme. My attention has been caught from the Audi R8 advert, as whilst watching it I was thinking about car racing, and then, I thought race car track. That's where the idea begun.

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We take a look at some of the weird and wonderful car ads that have hit our TV screens in the last few years.

With big budgets to spend on advertising, it's no wonder car manufacturers will want to produce almost mini movie-like campaigns. Some can be completely random involving dancing chickens (see below) and some can leave an emotional impact on its viewers, but either way if it doesn't get us buying the car promoted. it will certainly get us talking and building a connection with the brand.

So, here we go, in no particular order...

Volkswagen Tiguan - 'Cool, Calm and Connected'

The all-new Volkwsagen Tiguan launched in UK dealerships in April 2016 and this smart advert of,the compact SUV has definitely given it the edge. Its entrance in the advert, visually appealing, the father and daughter's laid-back attitude and then the Tiguan's ability to self-park whilst others watch in admiration all aid in this advert's pure 'coolness'. The Hip-Hop track in the background helps too. Well played Volkswagen!

Audi R8 - Commander

One of the many Big Game (a.k.a The Superbowl) commercials (a.k.a TV advertisements) that you'll see in this list of great TV ads. For the price of the slot, it's no wonder car brands are keen to leave a lasting impression. This advert tries to execute emotion from its viewers by showing scenes of a retired astronaut who has lost his zeal for life. But when his son shows up and hands over the keys to the new 205-mph Audi R8 V10 plus, the Commander is seen reliving those spectacular spaceship take-off memories, but this time the rocket is the R8, and the expression on his face is priceless.

Ford - 'Ice Ice Baby'.

How many different ways are there to de-ice in a hurry? You'll find out in this advert. From hair-dryers to axes, all ludicrous remedies are demonstrated in this one street as two young gentleman drive through to the very appropriate track from Vanilla Ice. Note: It will be stuck in your head after watching this, much like the tongue on the frozen lamp post in this ad. Also see: How to Remove Ice from your Windshield without an Ice Scraper

Volkswagen Passat - 'The Force'

Star Wars fanatics will love this one, even if you're not you will appreciate the child's imagination as he tries to apply 'The Force' to everyday objects in the house. But, it was when attempting to apply 'The Force' on the new Volkswagen Passat which comes with remote self-start function, that the child truly thought he had it. Unfortunately, you can't actually see his reaction as he is dressed in a Darth Vader costume but his actions will have you believing.

Mercedes - 'Magic Body Control'

What better a way to demonstrate body control than using chickens who can move their bodies without flinching their heads? Yes, they have no relevance to cars or the brand Mercedes-Benz but the randomness alone has us wondering what is being advertising, and well, let's face it, the chicken dance is too amusing.

Jaguar USA - British Villains 'Rendezvous'

Another 'Big Game Commercial' the Americans which soon aired on our screens. This advert played up to the British heritage of the Jaguar brand featuring Tom Hiddleston, who coincidently is a favourite for the next Bond, Ben Kingsley and Mark Strong, all living up to the stereotype that we're all tea-drinking villains.

Skoda Fabia - 'Cake'

We thought it was only appropriate that we end this list of great car ads with something sweet. Most of you will remember this scrumptious Skoda advert which takes us through the production of creating a life-size Skoda Fabia made entirely of cake. And yes it's definitely 'Full of lovely stuff'!

Take me back to the articles

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The 7 best car adverts of recent times : Lookers

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We take a look at some of the weird and wonderful car ads that have hit our TV screens in the last few years. With big budgets to spend on advertising, it's no wonder car manufacturers will want to produce almost mini movie-like campaigns.

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Layout strategy 2 car theme development work

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Layout strategy 2 car theme development work

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Race track road set with start and finish line. top view. Vector...

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What's a royalty-free license? Royalty-free licenses let you pay once to use copyrighted images and video clips in personal and commercial projects on an ongoing basis without requiring additional payments each time you use that content. It's a win-win, and it's why everything on iStock is only available royalty-free.

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Reflection: how color theme idea started

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Reflection: how color theme idea started

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Layout strategy 2 for found alphabet development work

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Layout strategy 2 for found alphabet development work

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After think about the association with letter forms and colors . I thought so if we learn how to decode symbols and know the meaning of it from early age like in the picture above. Why can I not associate the letter B with the color Blue?

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How do we learn hand writing?
Made me think about a big poster hanged up in primary school wall with letters of the alphabet and the corresponding association with a word, like D for Dog and the image of a dog next to it

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I write as a teacher with more than forty years of experience in primary classrooms, subject leadership and management. Many of those years have been with the youngest children in school, including Nursery. I have been involved in literacy education at local, national and international levels and have a particular passion for the teaching of handwriting. This includes providing training for schools on behalf of the NHA and as an independent consultant. I also support some individual children with handwriting problems within a London primary school. The impetus for this article is my concerns with the practice adopted in some schools of introducing the teaching of "fully cursive" handwriting with "lead in" or "entry" strokes from the beginning of the Reception year (ages 4-5 years).

In England, the curriculum begins with the Early Years Foundation Stage (EYFS) 0-5 years, followed by the National Curriculum which is divided into Key Stages 1-4. The National Curriculum for English (2014) places high importance on teaching handwriting and confirms the importance of achieving automaticity, so that the child's higher processes of thinking can be released to work on compositional skills, rather than be consumed by the motor, sensory and perception demands of transcription.

Good early practice in handwriting teaching seeks to establish secure foundations from the beginning then to practise, refine and extend skills. Continuity and consistency are essential factors in helping children retain movement patterns. Those advocating the early teaching of fully cursive with "lead in" or "entry" strokes (see Fig. 1 below), wish to establish this practice from school entry (Reception) so that children do not have to alter movement patterns at a later stage. Whilst this model sounds plausible and is successful with some children, my concern is that it is unsupported pedagogically, is unnecessary and creates failure in some of the youngest and most vulnerable children. I will proceed to outline my reasons:

Early writers

Some children will be already reading and writing letters when they start Reception, including those attending Nursery classes in the same school. The letters they use, and those in the wider print environment, are not likely to have entry strokes. What are the implications for continuity and consistency?

Statutory requirements:

There are no requirements to teach fully cursive writing either in the EYFS or in the National Curriculum. Indeed, the National Curriculum for English places emphasis on the acquisition of letter shape, space and size before joins are taught and delivers clear messages that some letters are best left un-joined.

For Year 2 pupils (6-7 years), the requirements include the following:

Year 2 Statutory guidance
In writing, pupils should be able to form individual letters correctly, so establishing good handwriting habits from the beginning.

Pupils should be taught to:
* form lower-case letters of the correct size relative to one another
* start using some of the diagonal and horizontal strokes needed to join letters and understand which letters, when adjacent to one another, are best left un-joined.

Year 2 Notes and guidance: non-statutory
Pupils should revise and practise correct letter formation frequently.
They should be taught to write with a joined style as soon as they can securely form letters with the correct orientation.

And for Years 3-4 (ages 7-9)

Lower Key Stage 2 Programme of Study (Statutory requirements)
Pupils should be taught to:
* use the diagonal and horizontal strokes that are needed to join letters and
* understand which letters, when adjacent to one another, are best left un-joined.

The National Curriculum reflects the position that there is no evidence supporting the notion that schemes which use "lead in" strokes and fully cursive writing are in any way superior to those in which letters start at the top and join with an exit stroke. Although "lead in strokes" are taught widely in other European countries, there is an important age difference for when formal writing is introduced, i.e. at around 7 years of age, as opposed to 4-5 years in England.

Fig. 1. Example of cursive letterforms with entry and exit strokes

Developmental factors

Handwriting is a complex perceptual-motor skill that is dependent upon the maturation and integration of a number of cognitive, perceptual and motor skills (see Fig. 2 below). Achievement demands the orchestration of multiple skills involving the eyes, arms, hands, memory, posture and body control as well as managing pencil, paper and following instructions.

Fig. 2. Areas of development underpinning handwriting (Michelle van Rooyen)

This is no easy task for the very young, especially those "summer born" children who are still only 4 years of age for most of their Reception year. At the end of that year, the Early Learning Goals set demanding benchmarks of attainment. Assessment of handwriting is to be found in Goals 4 and 10, which include these requirements:

Early Learning Goal 4 Writing:
Expected descriptors
* They also write some irregular common words.
* They write sentences which can be read by themselves and others. Some words are spelt correctly and others are phonetically plausible.
Exceeding descriptors
* They use key features of narrative in their own writing.

Early Learning Goal 10 Physical: Moving and handling
Expected descriptors
Children show good control and co-ordination in large and small movements.
They handle equipment and tools effectively, including pencils for writing.
Exceeding descriptors
* They hold paper in position and use their preferred hand for writing, using a correct pencil grip.
* They are beginning to be able to write on lines and control letter size

Fig. 3. Extracts from Early Learning Goals 4 and 10

There is, quite simply, enough to do without adding extra requirements. The importance of the Foundation stage is in the name! Foundation skills in handwriting should be focused on all of the areas outlined in Fig. 2. Practitioners need to be fully aware that the premature rush to get children "joining their writing" when prerequisite skills are immature, may leave a legacy of handwriting problems that will be difficult to reverse at a later stage. The development of the right oblique stroke necessary for entry strokes is emerging between the ages of 4 and 5. Children with delayed development are likely to struggle to achieve this movement and experience frustration.

Fig. 4. From VMI Administration, Scoring and Teaching Manual. 6th Edition (Beery, 2010) (summarised by Michelle van Rooyen)

For many children in our schools and their teachers, the writing demands of EYFS pose a huge challenge. The letterforms used need to be as simple and fail-proof as possible, with letters taught in "formation families" which reflect the motor patterns required to write them. Moreover, these letters are similar to those found in texts, unlike those with entry strokes which can look quite different. Joining, whenever it is seen to be desirable, can be taught quite simply using the exit strokes of these letter forms.

Fig. 5. Letter formation families (from Penpals for Handwriting, Cambridge, 2010)

Children with Special Educational Needs

The requirement to join at 4 to 5 years places a heavy burden on children who may already be struggling to establish basic handwriting skills, especially some of the "summer born" and those with developmental coordination difficulties. Such children may want to be doing the same as their peers and will create their own joined script. Below is one example of writing by a child with such problems at the end of Year 1. He has received considerable support and encouragement in both years, but the demands of joining before he was developmentally ready has left a legacy of confusion.

Fig 6. Example of writing by a child at the end of Year 1 showing confusions with joining

In Conclusion

Handwriting teaching in many English schools is a subject of concern. There is a widespread lack of professional development in this field. Newly qualified teachers often start with little or no knowledge of the subject and there is inadequate understanding of the skills that underpin sustained development. There are frustrating contradictions between the expectations in the EYFS and the National Curriculum documents coupled with pressure on schools to achieve ambitious early outcomes. Recent government advice on how to teach handwriting has been scarce. There was excellent advice in Developing Early Writing, Section 3 (DfES, 2001) but in most schools this publication has been buried in the tsunami of other initiatives. Also widely unknown is the helpful circular, Developing handwriting (2009). The EYFS publication Mark Making Matters (2008), contained helpful advice, but omitted specific guidance about teaching letterforms.

In this climate, it is all too easy for practitioners to "fast forward" to what appears to be accelerated progress and ignore signs of un-readiness. The focus of the Reception year should be to foster and strengthen the areas of development which provide the basis for long-term success in handwriting and to identify those children who need extra provision to strengthen their skills. There is a pressing need for teachers to "hurry slowly" when growing
young writers!

Pam Hulme
EYFS
http://www.foundationyears.org.uk/eyfs-statutory-framework/

Early Years Profile
https://www.gov.uk/government/uploads/system/uploads/attachment_data/file/301256/2014_EYFS_handbook.pdf

Beery, K. E., & Beery, N. A. (2010). The Beery-Buktenica Developmental Test of Visual-Motor Integration: Administration, Scoring, and Teaching Manual (6th Ed.). Minneapolis, MN: NCS Pearson.

Developing Early Writing
http://www.sassoonfont.co.uk/fonts/sas/pri_lit_dev_wrtng_005501.pdf

Developing Handwriting
http://www.foundationyears.org.uk/wp-content/uploads/2011/11/Gateway-to-WritingDeveloping-handwriting.pdf

Mark Making Matters
https://webarchive.nationalarchives.gov.uk/20110505142405/https://www.education.gov.uk/publications/eOrderingDownload/Mark_Making_Matters.pdf

Penpals for Handwriting
http://www.cambridge.org/penpals

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Teaching Fully Cursive Writing in Reception

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I write as a teacher with more than forty years of experience in primary classrooms, subject leadership and management. Many of those years have been with the youngest children in school, including Nursery. I have been involved in literacy education at local, national and international levels and have a particular passion for the teaching of handwriting.

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Different perspective...from O to H

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This video of the choreographer Wayne McGregor inspired me to think differently about letter forms, the choreographer, Wayne McGregor says that you can express words or letters by walking around it, jump in or out and then make a choreography out of it.
He informed my work by make me aware of imagining letters around me, in front of me, behind me, they can be invisible but still there by being express by movements rather than solid objects.

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Wayne McGregor: A choreographer's creative process in real time

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We all use our body on a daily basis, and yet few of us think about our physicality the way Wayne McGregor does. He demonstrates how a choreographer communicates ideas to an audience, working with two dancers to build phrases of dance, live and unscripted, on the TEDGlobal stage.

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Reflection N.6 Thoughts over colors idea

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Reflection N.6 Thoughts over colors idea

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My idea is to show that it doesn't matter what the subject is (word or color or object) it assumes a different meaning from the moment is placed in a different context.
Now because we all know that the context is the alphabet we associate the color or the subject in the picture to letters, but if it would have been in a different context maybe the attention would have been drawn to maybe texture of the actual object photographed.

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Pink for letter P

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Silver for letter S

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Lillac for letter L

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White for letter W

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Silver for letter S

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S for silver

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Orange for letter O

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Red for letter R

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Red for letter R

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Yellow for letter Y

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Yellow for letter Y

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I took some pictures of different colors to represent the corresponding initial letter of the color, for the alphabet letters. For Example color blue for letter B.
I took pictures of uniform block of colors and colors with a pattern to see visually what difference it would make. would the audience focus more on the color itself or the pattern? Like, the picture of the green bush, it is a plant but it is green and I wanted to experiment with placing that picture to represent the letter G.
I included a mixture of these in my alphabet, the first one which is blue (for letter B) I choose a uniform color to make more understandable that is stands for letter B.
It helps the fact that I've put it in order alphabetically.
So, for the others letters I used colors with a pattern to try make the audience decode my message. The same that we do with symbolic signs.

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Yellow for letter Y

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Yellow for letter Y

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Green for letter G

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In "Personal" (2003), I like the way Alan Fletcher uses a word which has nothing to do with the colors picked, then he placed them into a rainbow.
On a different note I am exploring colors which have a connection with the letter as they stand for the colour that they represent. For example, letter R for red.

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Alan Fletcher used typographic collages to explore the visual correspondence between words and pictures. While some of his images demonstrate exactly what they state - such as a collage that tells you it's a collage - others demonstrate the very opposite - the word grey, for example, rendered in rainbow hues. Fletcher devoted a plan chest draw to found letters, which he kept in plastic bags sorted into 'a's, 'b's, 'c's and so on. Taken from all sorts of printed sources - from Italian newspapers, Spanish magazines, Portobello market cardboard boxes - they amount to a record of Fletcher's life and travels.

Emily King, Design Museum
Alan Fletcher: fifty years of graphic work (and play)

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Alan Fletcher used typographic collages to explore the visual correspondence between words and pictures. While some of his images demonstrate exactly what they state - such as a collage that tells you it's a collage - others demonstrate the very opposite - the word grey, for example, rendered in rainbow hues.

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Green for letter G

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Blue for letter B

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Black for letter B

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Black for letter B

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Mid point Reflection N.4 over different ideas 

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Mid point Reflection N.4 over different ideas 

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I did explore further into looking for letter forms in car shapes. I am not too sure about the potential, it doesn't seems to be working visually for a poster.
I like the potential over the picture taken from buildings, I love the mixture.

I had another idea connected with Semiotics, when I looked at Dorothea Lange. What if I associate the color and the name of the color to the correspondent letter of the alphabet. Let's say I see something red and I use it for R.

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I didn't like the combination of many different colors, it seemed very confusing and disorganized. that's when I realized that even tho I tried following a theme it wasn't what I wanted to pursue.

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q, glass reflection

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I started to look at car details and resembling them to letters as I do associate some models to face expressions and animals. For example, when I look at the back of cars in some of them I see a happy face or sad face, friendly expression or angry one.
So I thought why not start looking for letters?

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Dorothea Lange says in the video that she believes that the human face is a universal language that everyone can understand.
I agree as the face expressions are the same all over the world. This sentence made me think about the theory of signs and Charles Pierce. Is a smile on the face a sign that we learnt to resemble as happiness (Symbolic sign) or is iconic sign? (signs categories of Pierce).

The connection that I've seen between the found alphabet project and Semiotics is why can I not communicate the letter R with the color Red?

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I like the idea of Scoobafish of using discarded object and combining them as letter forms but I found more interesting to challenge myself to go out and discover letter forms between objects, surfaces or in shapes that already exists, rather than assemble found objects or alter the look of something to associate it with a specific letter of the alphabet.

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ScoobaFish by Maurizio Sergiusti - Found Objects Font

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My name is Maurizio Sergiusti. I am an artist from Italy who is the creator of the Scoobafish project. The concept of my project is the transformation of various trash items that are found washed up on our beautiful sandy beaches or dumped along the roadsides, repurposed into works of art.

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I decided to not to alter objects that i find in order to create letter forms, because after looking at Scoobafish "Found Object Font" (2018-2019), I didn't find interesting having the full alphabet based on the same theme or objects.
Also, at this point I was interested into architectural buildings and car shapes.
I just don't want to restrict myself to follow one theme but at the same time after walking around looking for letters I felt naturally drawn towards cars and buildings.

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3 categories of signs by Pierce. How i connected CP1 (Semiotics and signs) with the found alphabet brief.
my idea was to place certain colors found to represent the first letter of the name of the color. Red for letter R. because I thought if we represents words or emotions with sign or simbols why can I not represent a letter with the respective color? Considering that we know the context that is in, the alphabet.

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S Potential fave

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Z Potential fave

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