If toy-making be taken as a form of handwork in school, one enlists at once the interest of the parent—especially of the father—the mother sometimes, not often, objects to the mess. This interest of the parents is a great gain; the father delights in doing a bit of the work—sticking on the difficult funnel, sawing the hard piece of wood; child learns from parent, and parent from child, and in this way the father may again remember half-forgotten ambitions, half-neglected talents, and find in toy-making a profitable occupation, profitable mainly in the fact that any occupation which recalls to the grown-up person his youth, with its fresher outlook on life, must be wholesome.
Finally, if the handwork classes make the children more 'at home' with themselves and with life, they will have done something; if they help them toward self-realisation they will help them toward the joy the writer speaks of who says, "Joy of life seems to me to arise from a sense of being where one belongs, as I feel right here; of being four-square with the life we have chosen. All the discontented people I know are trying sedulously to be something they are not, to do something they cannot do.... It is curious, is it not, with what skill we will adapt our sandy land to potatoes and grow our beans with clay, and with how little wisdom we farm the soil of our own natures?"
[CHAPTER II]
GENERAL PRINCIPLES; MATERIALS
In toy-making in schools it is very necessary to design toys that can be made from materials which are easily obtained. The Board of Education in a report on handwork in the London elementary schools says: "The range of materials used is limited, as a rule, to paper, cardboard, clay, and 'prepared wood' or 'stripwood.' It is perhaps unfortunate that these are almost entirely 'school materials,' in other words materials which are not likely to be much used outside the school, either in the child's home or in after life."
There is truth in this—to give the child too much 'prepared material' tends to make him less inventive, resourceful, and painstaking, and prevents him from continuing his work at home, where he has not got prepared material. Any series of toys made from the same material—say a series of toys made from match stales or from 'stripwood'—has very limited educational advantages. Toys made from a combination of waste materials are the best—match-boxes, cardboard and wooden boxes of all sizes, mantle-boxes, reels, corks, broom-handles, silver paper, etc., can all play a part in producing an effective, even a beautiful toy. Most of the toys described in this book are made from so-called 'waste materials.'
With regard to infant school work, squares of white paper—cartridge paper or ordinary exercise paper—which the children can colour themselves are better than a too slavish use of the coloured gummed squares supplied to schools. Further directions with regard to materials will be given in connexion with the various toys. It is advisable to use as few tools as possible, both because the fewer tools the less expense and because the fewer tools the more thought and ingenuity required. To have a perfect instrument at hand for every need paralyses work, thought, and happiness. Most of the toys in this book are made—if for little ones, with scissors, if for older ones, with hammer, saw, and file.
A graduated course is necessary. Generally speaking, the little ones from five to seven make their toys of paper, clay, plasticine, and raffia. Children from seven to ten can make simple wooden toys. Wooden toys are the best; many things can be done with wood, impossible with cardboard or paper, and they are so lasting.
Cardboard modelling is always difficult, and as a rule should not be attempted by children younger than nine. Except that they provide practice in accurate measurement, toys made of paper and cardboard by children of nine or older are disappointing, they crush so quickly. Quite strong toys can, however, be made from a combination of wood, cardboard, and paper.