An elemenrty thesis framework I propose in my first chapter. It doesn't make mention of the exogesis relationship between creative work and reflection/theory as I begin to create later on, but that can be added as it takes shape.
In the chapters that follow, I will investigate the mystique of the commercial toys and books, like the ones I loved, and isolate the design principals and methods which contribute to their desirability. For me, the want, want, want of these things, was an empty and anticlimactic journey, and getting to the heart of what makes a toy or book so alluring is one thing, but what I want to do is capture the irresistible pull, the appeal of those toys which often seems disconnected from reason, and apply it to something creatively “nutritious”: Something that generates the same environment of creative permissiveness that the box of art supplies I received in 1984 did – a “product” which would encourage and teach exploratory creativity, self-guided fun, and a self-perpetuating culture, freeing parents from the need to purchase additional add-ons, and children from the hollow and distracting completeist mentality which fuels an empty consumption cycle well into adulthood. I will also examine the context in which I conduct this investigation, dissecting firstly the design of some key examples of contemporary girl media and entertainment, and secondly with the influences which shape my own creativity as I progress through the “making”. Finally, I will define my position further from within the eight key contextual relevancies central to my theory, which are aspects of Design, Engagement, an Omni Media Environment, Sanctuary and Girlhood.