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The relevance of the use of senses through the materiality of the masks is that they arouse senses, like touch, hearing and smell rather than through the use of a structure that covers the whole head and, many times, even the body like the sensorial masks The relevance of the use of senses through the materiality of the masks is that they

Figure 45 The relevance of the use of senses through the materiality of the masks is that they arouse senses, like touch, hearing and smell rather than through the use of a structure that covers the whole head and, many times, even the body like the sensorial masks The relevance of the use of senses through the materiality of the masks is that they

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The new concept of childhood appeared in Renaissance, when, according to Tizuko, children aggregated a positive value, expressed spontaneously in games, and is broadened with the Illuminist and Romantic movements. Jean Jacques Rosseau (1712 - 1778), great influence in education, was responsible for translating illuminist concepts into pedagogy, aiming at structuring the basis for a new society. In 1762 he published Emile, or On Education in which he presents concepts on education announcing that it should not impose knowledge but stimulate and cultivate innate skills?’.
The new concept of childhood appeared in Renaissance, when, according to Tizuko, children aggregated a positive value, expressed spontaneously in games, and is broadened with the Illuminist and Romantic movements. Jean Jacques Rosseau (1712 - 1778), great influence in education, was responsible for translating illuminist concepts into pedagogy, aiming at structuring the basis for a new society. In 1762 he published Emile, or On Education in which he presents concepts on education announcing that it should not impose knowledge but stimulate and cultivate innate skills?’.
04. Frobel’s 4th (bottom) and 6th (upper) gifts. (Produced by J. W. Schermerhorn & Co., New York e Milton Bradley Co., Springfield, Massachusetts, c.1880-1900).
04. Frobel’s 4th (bottom) and 6th (upper) gifts. (Produced by J. W. Schermerhorn & Co., New York e Milton Bradley Co., Springfield, Massachusetts, c.1880-1900).
Flower tells about how Anna and William Wright, Frank Lloyd Wright”s parents, were introduced to Frébel’s pedagogy in 1876, and got in touch with his revolutionary concepts, as well as the gifts and Anna was trained as teacher and During his life, he recognized the occupations, described in this survey previously. Frank Lloyd started schooling in a kindergarten. deep influence of the pedagogy practiced by his mother in his talent for design. According to Flower, Wright’s contact with Frébel’s pedagogic toys, allowed him to ex plore basic figures which aroused in the architect the ability to interpret natural forms as geometric compositions. “... Mother found the ‘Gifts’. And gifts they were. A ong with the gifts was the system, as a basis for design and the elementary geometry behind all natural birth of Form”®. During the early years of his childhood, Wright was already able to compose figures and, according to him, produced designs by using cardboard triangles and wooden blocks. “In the third dimension, the smooth maple blocks became the cube, the sphere and the tetrahedron; all mine to ‘play’ with”’. The architect describes yet how his mother learned with Frébel that children should not be stimulated to draw casual appearances from nature without having understood before the basic forms behind everything.
Flower tells about how Anna and William Wright, Frank Lloyd Wright”s parents, were introduced to Frébel’s pedagogy in 1876, and got in touch with his revolutionary concepts, as well as the gifts and Anna was trained as teacher and During his life, he recognized the occupations, described in this survey previously. Frank Lloyd started schooling in a kindergarten. deep influence of the pedagogy practiced by his mother in his talent for design. According to Flower, Wright’s contact with Frébel’s pedagogic toys, allowed him to ex plore basic figures which aroused in the architect the ability to interpret natural forms as geometric compositions. “... Mother found the ‘Gifts’. And gifts they were. A ong with the gifts was the system, as a basis for design and the elementary geometry behind all natural birth of Form”®. During the early years of his childhood, Wright was already able to compose figures and, according to him, produced designs by using cardboard triangles and wooden blocks. “In the third dimension, the smooth maple blocks became the cube, the sphere and the tetrahedron; all mine to ‘play’ with”’. The architect describes yet how his mother learned with Frébel that children should not be stimulated to draw casual appearances from nature without having understood before the basic forms behind everything.
04. Untitled, Paul Klee, 1923 (replica from 2006-8).
04. Untitled, Paul Klee, 1923 (replica from 2006-8).
of a series of toys and she published some articles about the importance of games'®. Siedhoff-Buscher created, for instance, the so called free toys which, in opposition to the purely educational toys, had more color and allowed more figurative setting, and her famous Wurfpuppe) which go against the standard perfect untouchable dolls by using a rich variety of materials. Still as a student and architect she designed a series of children’s furniture whose main concept was the creation of multifunctional flexible structures, like blocks to be mounted produced in large scale. Yet in the Dessau Bauhaus her works were more concentrated in graphic art, but still having children as their subject. Alma Siedhoff-Buscher’s furniture and toys which were first exhibited in exposition Bauhaus Art and Technique- a New Unit (Kunst und Technik - eine neue Einheit) in 1923, are among the most successful products by Bauhaus and can be found in many catalogues containing the works realized in the school and also in Bauhaus books. One of her toys, regarded as a modern classic, is still produced by the company Naef. 05. Two wooden dolls, Alma Siedhoff- Buscher, 1924. of a series of toys and she published some articles about the importance of games'®. 06. Children playing with toy cabinets designed by Alma Siedhoff-Buscher, 1923-24.
of a series of toys and she published some articles about the importance of games'®. Siedhoff-Buscher created, for instance, the so called free toys which, in opposition to the purely educational toys, had more color and allowed more figurative setting, and her famous Wurfpuppe) which go against the standard perfect untouchable dolls by using a rich variety of materials. Still as a student and architect she designed a series of children’s furniture whose main concept was the creation of multifunctional flexible structures, like blocks to be mounted produced in large scale. Yet in the Dessau Bauhaus her works were more concentrated in graphic art, but still having children as their subject. Alma Siedhoff-Buscher’s furniture and toys which were first exhibited in exposition Bauhaus Art and Technique- a New Unit (Kunst und Technik - eine neue Einheit) in 1923, are among the most successful products by Bauhaus and can be found in many catalogues containing the works realized in the school and also in Bauhaus books. One of her toys, regarded as a modern classic, is still produced by the company Naef. 05. Two wooden dolls, Alma Siedhoff- Buscher, 1924. of a series of toys and she published some articles about the importance of games'®. 06. Children playing with toy cabinets designed by Alma Siedhoff-Buscher, 1923-24.
years to learn how to draw like these children””°. Besides his admiration for children’s drawings, Picasso was usually in contact with the children’s world by making drawings, dolls and other toys for his children and even grand children. For Paloma, his daughter, for example, he carved a series of wooden dolls from mounting blocks and, for his grandson Bernard; Picasso made a small table into a toy horse?!. All these objects bring Picasso’s fingerprint in them, who, on the other hand, sometimes integrated toys in his work.
years to learn how to draw like these children””°. Besides his admiration for children’s drawings, Picasso was usually in contact with the children’s world by making drawings, dolls and other toys for his children and even grand children. For Paloma, his daughter, for example, he carved a series of wooden dolls from mounting blocks and, for his grandson Bernard; Picasso made a small table into a toy horse?!. All these objects bring Picasso’s fingerprint in them, who, on the other hand, sometimes integrated toys in his work.
The toys came in handy in Calder’s tentative of working with various materials in order to create new sensations and effects. The artist started a discussion around tactile objects, which led those touching them to a series of sensorial experiences. His toys also preceded immediately his first artistic work in large scale, called Circus (1926-1931). It is a kinetic and special production, which anticipates years
The toys came in handy in Calder’s tentative of working with various materials in order to create new sensations and effects. The artist started a discussion around tactile objects, which led those touching them to a series of sensorial experiences. His toys also preceded immediately his first artistic work in large scale, called Circus (1926-1931). It is a kinetic and special production, which anticipates years
of experimentation with kinetic elements. “The tiny articulated figures interact with one another or perform idependently in constantly changing spacial relationships (...) The use of chance, surprise, and suspense, inherent in circus performances, is found also in the wind-driven mobiles”*’. Circus was Calder’s first work to attract considerable attention from critics who then showed interest in his other works. In a movie performance of 1961, Calder interacts with his work playing with the elements of his circus like a child and giving life to the different characters around him?*. In the text ”Calder and the alchemy of balance” by Ferreira Gullar, present in Calder no Brasil: cr6nica de uma amizade [Calder in Brazil: chronicle of a friendship] (2006), the writer starts by criticizing people who are unable to value Calder’s work properly. And, as an answer to the usual argument that Calder’s works “look like toys, a child’s thing”, and therefore losing their relevance as sculptures, Gullar counter arguments:
of experimentation with kinetic elements. “The tiny articulated figures interact with one another or perform idependently in constantly changing spacial relationships (...) The use of chance, surprise, and suspense, inherent in circus performances, is found also in the wind-driven mobiles”*’. Circus was Calder’s first work to attract considerable attention from critics who then showed interest in his other works. In a movie performance of 1961, Calder interacts with his work playing with the elements of his circus like a child and giving life to the different characters around him?*. In the text ”Calder and the alchemy of balance” by Ferreira Gullar, present in Calder no Brasil: cr6nica de uma amizade [Calder in Brazil: chronicle of a friendship] (2006), the writer starts by criticizing people who are unable to value Calder’s work properly. And, as an answer to the usual argument that Calder’s works “look like toys, a child’s thing”, and therefore losing their relevance as sculptures, Gullar counter arguments:
The German American painter Lyonel Feininger (1871-1956) is another example of an artist who experimented with the creation of toys. His most important creation, Toy Town was made as a present for his three children. It is a set of many little houses and narrow buildings with chimneys and inclined roofs inhabited by weird creatures with expressive facial traces. All the elements were sculpted rustically and painted in various colors, generating a little expressionist scenario**. According to Turner, the artist’s attempts in the area of toys were not only a tool to stimulate his children’s imagination but also a source of inspiration for his own artistic work, serving as experiments in geometry, color and space’. The author draws attention to the very case of “City of Toys” which looks like a tridimensional version of one of his paintings, by the words of one of Feininger’s children, who wrote: “the toys an artist has fashioned may serve to gain an insight into the formal ideas of their creator”*”. 13. Steamroller and little steam train, Ladislav Sutnar, 1827.
The German American painter Lyonel Feininger (1871-1956) is another example of an artist who experimented with the creation of toys. His most important creation, Toy Town was made as a present for his three children. It is a set of many little houses and narrow buildings with chimneys and inclined roofs inhabited by weird creatures with expressive facial traces. All the elements were sculpted rustically and painted in various colors, generating a little expressionist scenario**. According to Turner, the artist’s attempts in the area of toys were not only a tool to stimulate his children’s imagination but also a source of inspiration for his own artistic work, serving as experiments in geometry, color and space’. The author draws attention to the very case of “City of Toys” which looks like a tridimensional version of one of his paintings, by the words of one of Feininger’s children, who wrote: “the toys an artist has fashioned may serve to gain an insight into the formal ideas of their creator”*”. 13. Steamroller and little steam train, Ladislav Sutnar, 1827.
He started to create toys in the beginning of the twenties, observing his own children and his art students in Barcelona. Through his experience as a teacher, Torres-Garcia got acquainted with Frébel’s concepts, developing his toys bearing them in mind. By
He started to create toys in the beginning of the twenties, observing his own children and his art students in Barcelona. Through his experience as a teacher, Torres-Garcia got acquainted with Frébel’s concepts, developing his toys bearing them in mind. By
observing, the artist noticed that toys were an interesting support for research and creation. And, although the economic potential of toys pushed him to design more toys, his enthusiasm for the practice was certainly present in the process. In a letter to a friend he wrote: “Finally I believe that I will have found something that, despite the fact that it pays — if it does — will make me happy doing it”*.
observing, the artist noticed that toys were an interesting support for research and creation. And, although the economic potential of toys pushed him to design more toys, his enthusiasm for the practice was certainly present in the process. In a letter to a friend he wrote: “Finally I believe that I will have found something that, despite the fact that it pays — if it does — will make me happy doing it”*.
18. Children interacting with works by Lygia Clark on exhibition in Rio de Janeiro, 1986. The reference above could easily be applied to the case of toys, which are dependent on the children’s playful action. The artist, Torres-Garcia had already drawn the attention to children’s characteristic of connecting to the present, justifying the need to make toys dialogue with what is present, as Clark writes, for children, the past is not important. As for the importance of the role of agent, who bring meaning to her work, the artist reveals:
18. Children interacting with works by Lygia Clark on exhibition in Rio de Janeiro, 1986. The reference above could easily be applied to the case of toys, which are dependent on the children’s playful action. The artist, Torres-Garcia had already drawn the attention to children’s characteristic of connecting to the present, justifying the need to make toys dialogue with what is present, as Clark writes, for children, the past is not important. As for the importance of the role of agent, who bring meaning to her work, the artist reveals:
02. Eames’s living room during the fifties. Besides the cross curricular character of their production, allowed by the fusion mentioned above, another factor contributes to the understanding of the significance of toys in their work, the way they produced. Both believed in an intense rhythm of production, though in an atmosphere of feast, which blurred the limits between work and pleasure*. The approach work/play permeated everything they produced, making Charles’ phrase famous: “We have to take pleasure seriously”?.
02. Eames’s living room during the fifties. Besides the cross curricular character of their production, allowed by the fusion mentioned above, another factor contributes to the understanding of the significance of toys in their work, the way they produced. Both believed in an intense rhythm of production, though in an atmosphere of feast, which blurred the limits between work and pleasure*. The approach work/play permeated everything they produced, making Charles’ phrase famous: “We have to take pleasure seriously”?.
03. Decorated tree in front of the house of Charles and Ray Eames.
03. Decorated tree in front of the house of Charles and Ray Eames.
04. Ray Eames experimenting with building blocks, 1953. Besides the communicative function present in toys, they fit the couple’s idea thz design is the unlimited rearrangement of different parts'. Above all, toys represente not only their method of production but also the problem itself.
04. Ray Eames experimenting with building blocks, 1953. Besides the communicative function present in toys, they fit the couple’s idea thz design is the unlimited rearrangement of different parts'. Above all, toys represente not only their method of production but also the problem itself.
Toys stress, as a result, a series of relevant aspects in Charles and Ray Eames’ works. Although they are not the main focus of attention around the couple, such objects, as
Toys stress, as a result, a series of relevant aspects in Charles and Ray Eames’ works. Although they are not the main focus of attention around the couple, such objects, as
07. Chairs from the children furniture. The animals were part of the experiments with molded plywood and served as toys or children’s furniture. The techniques used in other furniture could easily be adapted to four-legged animals, increasing the possibilities of experimentation with the equipment and machinery. Children could climb on top of the animals, carry them and stack them easily. The frog, bear, horse and seal were first shaped on molded metal and the elephant on cardboard. Two plywood prototypes from the elephant and three from the horse were produced. The elephant was part of the Eames furniture exhibition at the Museum of Modern Art in New York in 1946, but the original animals were never produced or marketed on a large scale.
07. Chairs from the children furniture. The animals were part of the experiments with molded plywood and served as toys or children’s furniture. The techniques used in other furniture could easily be adapted to four-legged animals, increasing the possibilities of experimentation with the equipment and machinery. Children could climb on top of the animals, carry them and stack them easily. The frog, bear, horse and seal were first shaped on molded metal and the elephant on cardboard. Two plywood prototypes from the elephant and three from the horse were produced. The elephant was part of the Eames furniture exhibition at the Museum of Modern Art in New York in 1946, but the original animals were never produced or marketed on a large scale.
10. Prototypes of rooster and eagle masks.
10. Prototypes of rooster and eagle masks.
14. The toy assembled as a setting. 15. The packaging and toy content.
14. The toy assembled as a setting. 15. The packaging and toy content.
17. Components of the toy. spaces and in the adaptation of easily available materials to new and different uses.
17. Components of the toy. spaces and in the adaptation of easily available materials to new and different uses.
20. Some cards from Pattern Deck. The objects and patterns photographed were chosen from numerous sources. Ray, the office staff and the artist Alexandre Girard made the selections. The final choice was in the hands of Girard.
20. Some cards from Pattern Deck. The objects and patterns photographed were chosen from numerous sources. Ray, the office staff and the artist Alexandre Girard made the selections. The final choice was in the hands of Girard.
21. Several construct ways with The House of Cards.
21. Several construct ways with The House of Cards.
22. Giant House of Cards’s structure.
22. Giant House of Cards’s structure.
23. Child playing with The Coloring Toy. 24. Top photo of the toy packaging.
23. Child playing with The Coloring Toy. 24. Top photo of the toy packaging.
The Coloring Toy was designed by Tigrett Enterprises and contained sheets of cardboard, with different draw contours, wax chalks and thumbtacks. The contours figures, abstract or real, three-dimensiona artists or teaching them to play, since chi variable ways. In addition, The Coloring should be colored, detached and stuck together with thumbtacks to create different objects and structures. The Coloring Toy was a maturing of the Toy Masks, designed in 1950. In the “note to parents” in the instructions, Charles says that the toy has no intention of turning children into dren are much more advanced than us in these aspects. In fact, they wanted to stimulate the use of these and other materials in Toy provides a journey through the world of color, design, shapes and play, a world discovered and rediscovered by the children as part of their own creations.
The Coloring Toy was designed by Tigrett Enterprises and contained sheets of cardboard, with different draw contours, wax chalks and thumbtacks. The contours figures, abstract or real, three-dimensiona artists or teaching them to play, since chi variable ways. In addition, The Coloring should be colored, detached and stuck together with thumbtacks to create different objects and structures. The Coloring Toy was a maturing of the Toy Masks, designed in 1950. In the “note to parents” in the instructions, Charles says that the toy has no intention of turning children into dren are much more advanced than us in these aspects. In fact, they wanted to stimulate the use of these and other materials in Toy provides a journey through the world of color, design, shapes and play, a world discovered and rediscovered by the children as part of their own creations.
25. Solar Do-Nothing Machine. 26. Charles with the toy.
25. Solar Do-Nothing Machine. 26. Charles with the toy.
30. Charles and Ray in the studio in their house with the toys used in the filming.
30. Charles and Ray in the studio in their house with the toys used in the filming.
The Revell Toy House was designed by the toy industry Revell Company. It was a %4-inch scale model of a full house furnished with miniature furniture designed by the Eames. The company had intended to include in its product line “a modern toy house.” The idea was to create a system of modular panels and structural plastic grids. Different rooms and spaces could be created through the same elements in a house with one or two floors. The prototype was developed with plastic chairs, circular tables, sofas, compact Case Goods units and miniature rugs, plants, grass and other decorative objects. It was decided that the final kit would be done at scale lin - 1m but the production of the toy by Revell went no further, since Charles found that there were many unresolved problems and difficulties in the project. The Herman Miller Furniture Company produced its own kit on a scale % inch in order to use it as a planning tool for layout and display of furniture.
The Revell Toy House was designed by the toy industry Revell Company. It was a %4-inch scale model of a full house furnished with miniature furniture designed by the Eames. The company had intended to include in its product line “a modern toy house.” The idea was to create a system of modular panels and structural plastic grids. Different rooms and spaces could be created through the same elements in a house with one or two floors. The prototype was developed with plastic chairs, circular tables, sofas, compact Case Goods units and miniature rugs, plants, grass and other decorative objects. It was decided that the final kit would be done at scale lin - 1m but the production of the toy by Revell went no further, since Charles found that there were many unresolved problems and difficulties in the project. The Herman Miller Furniture Company produced its own kit on a scale % inch in order to use it as a planning tool for layout and display of furniture.
34. Picture from the film Tops, 1969. 13. Computer House of Cards (1970)
34. Picture from the film Tops, 1969. 13. Computer House of Cards (1970)
The toy was produced to be offered as a gift from the IBM Pavilion at the World Fair in Osaka, Japan and it’s inspiration for the toy came from the couple’s film “The Computer Glossary”. Images of various elements and parts contained in a computer were amplified creating patterns, following the idea used in the original version of the toy, The House of Cards. The format was the same and the fifty-six cards were accompanied by a small introductory pamphlet with explanations revealing the origin of images. 35. Card’s images from Computer House of Cards.
The toy was produced to be offered as a gift from the IBM Pavilion at the World Fair in Osaka, Japan and it’s inspiration for the toy came from the couple’s film “The Computer Glossary”. Images of various elements and parts contained in a computer were amplified creating patterns, following the idea used in the original version of the toy, The House of Cards. The format was the same and the fifty-six cards were accompanied by a small introductory pamphlet with explanations revealing the origin of images. 35. Card’s images from Computer House of Cards.
The Eames had their own collection of masks and explored this concept also in facial painting that changes the human face in a simple way, creating from this support, new drawings'*. Before they actually started with the masks project, during the forties and fifties studied means of reproduction and image composition using, in many cases, projections. With exhibitions, photographs and theatre plays that entertained the couple and those around them, the couple experimented with the concept of personal identity transformation through new images and forms.
The Eames had their own collection of masks and explored this concept also in facial painting that changes the human face in a simple way, creating from this support, new drawings'*. Before they actually started with the masks project, during the forties and fifties studied means of reproduction and image composition using, in many cases, projections. With exhibitions, photographs and theatre plays that entertained the couple and those around them, the couple experimented with the concept of personal identity transformation through new images and forms.
39. Mascaras sensoriais (Sensorial masks), Lygia Clark, 1967, in an exhibition in Rio de Janeiro, 1986.
39. Mascaras sensoriais (Sensorial masks), Lygia Clark, 1967, in an exhibition in Rio de Janeiro, 1986.
40. Ray with a prototype of the toy.
40. Ray with a prototype of the toy.
around the world and graphic designs taken from art, science, and the universe around us”*°, become volumetric representations that awakens one’s imagination.
around the world and graphic designs taken from art, science, and the universe around us”*°, become volumetric representations that awakens one’s imagination.
42. Structures made with the House of Cards.
42. Structures made with the House of Cards.
04. Parts and assembly possibilities of the toy Diamant, Peer Clahsen, 1981.
04. Parts and assembly possibilities of the toy Diamant, Peer Clahsen, 1981.
At the same time He worked on the toy “Construct the City”, mentioned previously in chapter two, the artist Ladislav Sutnar wrote, similarly to Torres Garcia, a series of texts on the question of toy design. In one of them, “Solving the problem of Toy
At the same time He worked on the toy “Construct the City”, mentioned previously in chapter two, the artist Ladislav Sutnar wrote, similarly to Torres Garcia, a series of texts on the question of toy design. In one of them, “Solving the problem of Toy
Design”, Sutnar describes the relevant aspects of a toy project, using the example of “Construct the City”: Features:
Design”, Sutnar describes the relevant aspects of a toy project, using the example of “Construct the City”: Features:
subdivided from two squares. That is, a square is divid ed into two big triangles, and then one of them is divided into other ones and so on, until a minimum size for a triangular piece is reached. The idea of subdividing a flat square into other geometric figures was inspired in the traditional Chinese toy ca led Tangram. In its case, the square is subdivided into three different geometric figures of different sizes, allowing the composition of various pictures. Some of Frébel’s Dons and other toys are also references to Tangram, increasing the number of toys t of figures from geometric forms. hat stimulate the arrangement
subdivided from two squares. That is, a square is divid ed into two big triangles, and then one of them is divided into other ones and so on, until a minimum size for a triangular piece is reached. The idea of subdividing a flat square into other geometric figures was inspired in the traditional Chinese toy ca led Tangram. In its case, the square is subdivided into three different geometric figures of different sizes, allowing the composition of various pictures. Some of Frébel’s Dons and other toys are also references to Tangram, increasing the number of toys t of figures from geometric forms. hat stimulate the arrangement
The second educational toy proposed is the toy of letters. The idea came as a result of a subject done at the Architecture and Urbanism College, called Language and Expression. The subject approaches a series of impression techniques, being typography one of them. Through the contact with typography and its little letters made of lead that are composed like the pieces of a game forming words, pages, books, one can notice the interest in the materiality of fonts. From the moment the letter becomes an autonomous piece, its design, lost in the middle of the fast reading of words and their meaning, is revealed. Its curves, straight lines and its proportions become clear, as well as the relation between all the letters of the alphabet. The font is nothing but a design and although the existence of a meaning results in the alienation of the virtues of these forms, in the children’s world they may be still underdeveloped and should be explored. Indeed, a link with the introduction to the literacy process is established through something so meaningful to children: a palpable way to design.
The second educational toy proposed is the toy of letters. The idea came as a result of a subject done at the Architecture and Urbanism College, called Language and Expression. The subject approaches a series of impression techniques, being typography one of them. Through the contact with typography and its little letters made of lead that are composed like the pieces of a game forming words, pages, books, one can notice the interest in the materiality of fonts. From the moment the letter becomes an autonomous piece, its design, lost in the middle of the fast reading of words and their meaning, is revealed. Its curves, straight lines and its proportions become clear, as well as the relation between all the letters of the alphabet. The font is nothing but a design and although the existence of a meaning results in the alienation of the virtues of these forms, in the children’s world they may be still underdeveloped and should be explored. Indeed, a link with the introduction to the literacy process is established through something so meaningful to children: a palpable way to design.
19. Diferents tridimensional assemblies (font: Futura). 18. Two-dimensional and three-dimensional compositions with the letters (font: Claredon).
19. Diferents tridimensional assemblies (font: Futura). 18. Two-dimensional and three-dimensional compositions with the letters (font: Claredon).
22. Assembly detail of the triangles toy.
22. Assembly detail of the triangles toy.
Making the toy of the letters was more difficult. The first version was made of 6mm MDF and the font chosen was Futura which is geometric and has a clean, coherent design. The letters were also cut by laser. After studying the result of the first test, it was felt that the thickness of the letters should be increased so that their tridimensional shape. Also, a more robust version of the font Futura and of Claredon were tested. These fonts have more personality and their shape is more interesting.
Making the toy of the letters was more difficult. The first version was made of 6mm MDF and the font chosen was Futura which is geometric and has a clean, coherent design. The letters were also cut by laser. After studying the result of the first test, it was felt that the thickness of the letters should be increased so that their tridimensional shape. Also, a more robust version of the font Futura and of Claredon were tested. These fonts have more personality and their shape is more interesting.
After the experiments, the final prototype was made in the font Claredon, in order to complement the first prototype made with Futura. To achieve the ideal thickness it was necessary to cut three 3mm pieces and glue them together forming 9mm pieces. To fix the pieces, each one had two small square cuts in which small square wooden pegs were inserted. Everything was glued with white glue pressed with the aid of After fixing all the pieces, the position of the holes was marked and next, thr cramps. ee 7mm deep and 4mm wide holes were made in each piece. Each piece was polished to give them a smooth finish. The connectors were made from 4mm diameter wooden sticks cut into 14mm long pieces. 23. Box and pieces of the letters toy. 24. Two MDF boxes made to store the toys.
After the experiments, the final prototype was made in the font Claredon, in order to complement the first prototype made with Futura. To achieve the ideal thickness it was necessary to cut three 3mm pieces and glue them together forming 9mm pieces. To fix the pieces, each one had two small square cuts in which small square wooden pegs were inserted. Everything was glued with white glue pressed with the aid of After fixing all the pieces, the position of the holes was marked and next, thr cramps. ee 7mm deep and 4mm wide holes were made in each piece. Each piece was polished to give them a smooth finish. The connectors were made from 4mm diameter wooden sticks cut into 14mm long pieces. 23. Box and pieces of the letters toy. 24. Two MDF boxes made to store the toys.
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