A Consumer Participation Approach to the Design of Functional Collector Toys by 
Incorporating Designer Toy Subculture 
 
by 
 
Meryl Harsadi 
 
 
 
A thesis submitted to the Graduate Faculty of 
Auburn University 
in partial fulfillment of the 
requirements for the Degree of 
Master of Industrial Design 
 
 
Auburn, Alabama 
May 14, 2010 
 
 
 
 
Keywords: toys, collectors, character design,  
subculture, approach, adults 
 
 
Copyright 2010 by Meryl Harsadi 
 
 
Approved by 
 
Tsailu Liu, Chair, Associate Professor of Industrial Design 
Christopher Arnold, Associate Professor of Industrial Design 
Shuwen Tzeng , Assistant Professor of Industrial Design 
 John Morgan, Professor of Graphic Design 
 
 
ii 
 
Abstract 
 
 
 Designer toys have become one of the emerging toy markets since the late 1990?s.   
Designer toys were designed by artist especially targeted at first to underground art 
collectors and until now it has been targeted to toy collectors who are predominately 
males in their 20?s and 30?s.    Designer toys exude nostalgic qualities that drawn adults 
due to its character influence from films, comics, television shows, and cartoons. Also 
designer toys aesthetic are heavily based on freshly new character designs unlike 
traditional toys that have character design based on franchise market. Designer toys also 
has stem into its own subculture which included collectors, artists, and toy companies.  
The objective of this project is to create an approach for both designers and toy 
companies to integrate the designer toy subculture elements into a toy design suitable for 
adults.   
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 iii
 
 
Acknowledgments 
 
 
 First and foremost, I would like to thank my parents and my family for giving me 
the opportunity to attend graduate school and accomplish my passions.  I would mainly 
thank my parents for their encouragement, support, and advice.   
 I owe to my committee so much. Tsai-Lu, thank you for pushing me through the 
tough times and giving your guidance through my industrial design studies. Shu-wen, 
thank you for being my inspiration.  Chris, thank you for your references, advice, and 
methods on design research.  John, thank you for exposing me to a graphic designer?s and 
illustrator?s perspective on character design.    
 I like to give thanks to all the professors, staff, and students in the Department of 
Industrial Design.  Without them, I would not be able to get through anything especially 
for their friendship and support.  
 I like to give special thanks to Bill Mayer, Kristen Rask, Acher Chang, Max, 
Jannell Canerday, Gary Hawkins, Eileen Hall, Chris Mixon, and Gerrit DeWitt for giving 
their time to helping me.  Their input has been very crucial and very helpful for my 
thesis.   
 
 
 
 
 
 
 iv
Table of Contents 
 
 
Abstract ............................................................................................................................... ii 
Acknowledgments.............................................................................................................. iii  
List of Figures .................................................................................................................... iv  
List of Abbreviations ......................................................................................................... xi 
Chapter 1: Introduction   ......................................................................................................1 
 1.1 Problem Statement   ...........................................................................................1 
 1.2 Need for Study   .................................................................................................3 
 1.3 Objective of Study   ...........................................................................................3 
 1.4 Definition of Terms  ..........................................................................................4 
 1.5 Literature Review  .............................................................................................5 
 1.6 Scope and Limits  ............................................................................................13 
 1.7 Procedures and Methods   ................................................................................14 
Chapter 2: Toy Market   .....................................................................................................17 
 2.1 Toy Market Size   .............................................................................................17 
 2.2 Categories of Toy Market   ..............................................................................20 
 2.3 Conclusions   ....................................................................................................28 
Chapter 3 Designer Toy Market:   .....................................................................................29 
 3.1 Introduction   ....................................................................................................29 
 3.2 Toy Collector?s Eternal Youth   .......................................................................29 
ii 
 
 3.3 Type of Collectors  ..........................................................................................30 
 3.4 Distribution of Toys   .......................................................................................33 
 3.5 Marketing Strategies: Blind Boxes   ................................................................34 
 3.6 Marketing Techniques: Guerilla and Viral   ....................................................36 
 3.7 Conclusions   ....................................................................................................38 
Chapter 4 Designer Toy Subculture:  ................................................................................40 
 4.1 Introduction   ....................................................................................................40 
 4.2 Toy Collectors   ................................................................................................40 
 4.3 Artists   .............................................................................................................47 
 4.4 Designer Toy Companies   ...............................................................................51 
 4.5 Internet Influence   ...........................................................................................53 
 4.6 Cultural Differences   .......................................................................................55 
 4.7 Conclusions   ....................................................................................................57 
Chapter 5 Design Approach:   ............................................................................................59 
 5.1 Introduction   ....................................................................................................59 
 5.2 Identifying Target Market   ..............................................................................59 
 5.3 User Research   ................................................................................................60 
 5.4 Product Positioning Map  ................................................................................76 
 5.5 Comparative Product Chart   ............................................................................78 
 5.6 Character Design Flow Chart ..........................................................................81 
 5.7 Design Criteria   ...............................................................................................82 
Chapter 6 Design Development:   ......................................................................................84 
 6.1 Overview   ........................................................................................................84 
 iii
 6.2 Idea Sketching   ................................................................................................84 
 6.3 Form Development   ........................................................................................89 
 6.4 Concept Refinement   .......................................................................................93 
 6.5 Final Design   ...................................................................................................96 
Chapter 7 Conclusion:   ......................................................................................................99 
 7.1 Closing Summary  ...........................................................................................99 
 7.2 Implications and Applications of Study   .......................................................100 
 7.3 Recommendations for Future Study   ............................................................100 
Bibliography   ..................................................................................................................101 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 iv
 
 
 
 
List of Figures 
 
 
Figure 1: Designer Toy Companies  ....................................................................................5 
Figure 2: Gardner Toys  .......................................................................................................7 
Figure 3: Skull Kun Toys  ....................................................................................................8 
Figure 4: Martin Toys  .........................................................................................................9 
Figure 5: Companion Vinyl Toys  .....................................................................................10 
Figure 6: Dunny Series 5  ..................................................................................................11 
Figure 7: Munny  ...............................................................................................................12 
Figure 8: Four Categories of Designer Toys .....................................................................13 
Figure 9: Current World Toy Market  ................................................................................17 
Figure 10: Toy Market Comparisons  ................................................................................19 
Figure 11: Top Ten Countries in World Toy Market  .......................................................19 
Figure 12: Toy Market Size in 2008  .................................................................................20 
Figure 13: Toy Categories Sales  .......................................................................................21 
Figure 14: Video Game Industry vs. Toy Industry  ...........................................................23 
Figure 15: Spending per Kid 2008  ....................................................................................24 
Figure 16: Market to 15 years old and over  ......................................................................25 
Figure 17: Cubicle Collection  ...........................................................................................31 
Figure 18: Rotofugi Store  .................................................................................................32 
Figure 19: Casual Collector?s Toys  ..................................................................................32 
Figure 20: Serious Collector?s Toys  .................................................................................33 
 v
Figure 21: Distribution of Toy Supply ..............................................................................34 
Figure 22: Dunny English Series  ......................................................................................35 
Figure 23: Kaws? Phone Booth and Bus Stop Graffiti  .....................................................37 
Figure 24: Toy2R Facebook Page .....................................................................................38 
Figure 25: Acher Chang?s Home Toy Collection  .............................................................46 
Figure 26: Acher Chang?s Office Toy Collection  .............................................................46 
Figure 27: Designer Custom Toys Visual Studies  ............................................................48 
Figure 28: Reach Bear  ......................................................................................................49 
Figure 29: Scary Girl Website  ..........................................................................................50 
Figure 30: Nosferatu Vinyl Figures  ..................................................................................51 
Figure 31: Kid Robot Munny Custom Toy Party  .............................................................52 
Figure 32: Plush You! Exhibition  .....................................................................................53 
Figure 33: Distribution of Information  .............................................................................54 
Figure 34: Media and Digital Resource Lab Layout  ........................................................61 
Figure 35: Observation Study on MDRL Staff  .................................................................62 
Figure 36: Jannell Canerday?s Workspace & Environment  .............................................68 
Figure 37: Questionnaire from FreeOnlineSurvey.com  ....................................................70 
Figure 38: Custom Toy Positioning Map ..........................................................................76 
Figure 39: Functional Toy Positioning Map  .....................................................................78 
Figure 40: Comparative Product Chart  .............................................................................79 
Figure 41: Comparative Product Chart ? Product Functions  ............................................80 
Figure 42: Character Design Flow Chart  ..........................................................................81 
Figure 43: Performance Criteria ? Cubicle Toy  ...............................................................83 
 vi
Figure 44: Function Concepts  ...........................................................................................85 
Figure 45: Thumbnails of Character Designs  ...................................................................86 
Figure 46: Turtle Sketch  ...................................................................................................87 
Figure 47: Armadillo Sketch  .............................................................................................87 
Figure 48: Turtle Concept  .................................................................................................88 
Figure 49: Cat Concept  .....................................................................................................88 
Figure 50: Armadillo Concept  ..........................................................................................89 
Figure 51: Armadillo Study  ..............................................................................................90 
Figure 52: Computer Model 1  ...........................................................................................90 
Figure 53: Computer Model 2  ...........................................................................................91 
Figure 54: Armadillo with Trash Bin  ................................................................................91 
Figure 55: Armadillo with Coffee Cup  .............................................................................92 
Figure 56: Armadillo with Tea Cup  ..................................................................................92 
Figure 57: Armadillo with Trash Bin Refined  ..................................................................93 
Figure 58: Armadillo with Coffee Cup Refined  ...............................................................94 
Figure 59: Armadillo with Tea Cup Refined  ....................................................................94 
Figure 60: Custom Template for Trash Armadillo  ...........................................................95 
Figure 61: Custom Template for Coffee Cup Armadillo  ..................................................95 
Figure 62: Custom Template for Tea Armadillo  ..............................................................96 
Figure 63: Final Designs  ...................................................................................................96 
Figure 64: Final Design 1 in Cubicle  ................................................................................97 
Figure 65: Final Design 2 in Cubicle  ................................................................................97 
Figure 66: Final Design 3 in Cubicle  ................................................................................99 
 vii
 
 
 
List of Abbreviations 
 
 
AETC Average Expenditure in Toys per Child 
AU Auburn University    
GDP Gross Domestic Product 
NPD National Purchase Diary 
THQ Toy Head-Quarters 
UK  United Kingdom 
US United States 
 
 
 
 
 
 
 
 
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CHAPTER 1  
INTRODUCTION 
 
1.1 Problem Statement 
 
According to Entrepreneur, traditional toy companies in the United States like 
Mattel and Hasbro generated $21.2 billion in 2007.  Toys such as Barbie dolls and Hot 
Wheels were created in mass production and sold to chain retail and department stores.  
For years, these toys have thrived in the franchise markets from movies, cartoons, 
comics, and television shows.  A majority of these toys are targeted towards children 
under 15 years old.  However, there are also other growing toy industries such as the 
designer/art toy that targets mostly adults from 20-40 year old.  
Designer toy companies, for example, Kid Robot, have grown significantly since 
2002 and generated $1.75 million in 2008. This growing market has had a recent increase 
of 10% in the toy market for adults?(Goodale).  Designer toys are toys sold in limited 
edition created by artists and designers.  Most of these artists and  
designers have a strong background either in graphic design, illustration, low brow art, 
classically trained art and design, or are self-taught.  Usually, these toys are designed 
based on original character designs by artists and designers.  Designer toys range in 
material from vinyl, plastic, wood, cloth, and metal.  These toys have been marketed 
towards adults as collectible toys and as works of art.  
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Moreover, the designer toy created its subculture within the community among 
graffiti artists, illustrators, designers, collectors, and fans. Its subculture consists of loyal 
fans and collectors who avidly collect toys from their favorite artists and designers.  Most 
of these fans and collectors found information on these toys through Internet blogs.  
Blogs are able to give more exposure especially for new upcoming artists and designers 
who are trying to break into the designer toy market.  Aside from the internet, social 
gatherings at conventions, artist signings, exhibitions, and custom toy parties were 
created by the designer toy community in gathering people to share common interest and 
to inspire others.   
 The typical designer toy collector strives to collect toys as way of reliving their 
childhood.  Collectors do so mainly as a way to escape from the pressures of society. 
Some collectors may be more serious than others as in how actively they are involved in 
the designer toy subculture.  
Basically, the designer toy subculture generates fresh new creative toys, which the 
traditional U.S. toy industry lacks in their toy products.  Most traditional toys are 
designed based on characters from the franchise market; these toys lack originality of 
aesthetics and qualities that designer toys have.  Traditional toys also lack in creating 
social connections with the consumer like designer toys can offer.  Most often traditional 
toys are viewed mostly as childish products since they are targeted toward children.  In 
contrast, designer toys are mostly collected by adults who are drawn to the nostalgic 
qualities these toys have. Therefore, traditional toys are viewed as disposable toys 
compared to designer toys as being collectible items. 
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1.2 Need for Study 
 
Designer toys have become a popular art commodity which created its own 
subculture trend among graffiti artists, illustrators, designers, and collectors.  The 
subculture of designer toys stems from the passion of people and the artists in pursuing 
toys that had nostalgic qualities but with non franchise character design.  Unlike franchise 
toys, designer toys are designed from original character designs by the artists.  These 
original character designs are what designer toy collectors strive for especially for its 
originality, creativity, and inspiration.  
    By exploring the designer toy subculture community, the US toy industry can 
learn from the passion of the community and how these toys have an effect on the current 
market trends especially in upcoming toys, comics, illustrations, and video games.  Aside 
from current trends, the designer toy subculture can offer more insights to the passions of 
the people who are involved and how their passions lead to creating communities such as 
conventions and gallery exhibitions in which they share ideas, exhibit toy designs, 
collaborate with others, and network with other toy designers.  
However, most designer toys are created based on the artist?s taste.  Designer toys 
are often collected as an art piece that most do not have practical functions. This thesis 
will require a consumer centered process and toy designs with practical functions.  
 
1.3 Objective of Study 
 
The objective of this thesis is to explore the designer toy subculture community 
and incorporate it into a toy design process for the US toy industry. 
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? Research current trends in the World and U.S. toy market 
? Verify where collectors fit into the toy market demographic 
? Research the designer toy subculture and its effect on collectors 
? Determine a subculture in the designer toy that is suitable for the US market 
? Develop an approach to design a toy with the designer toy subculture 
approach 
? Create a toy in 3 dimensional form that utilizes the approach  
 
 
1.4 Definition of Terms 
 
1. Articulation: A joining or connecting together loosely so as to allow motion 
between the parts. 
2. Character Design: Pre-production sketches, drawings, and cels depicting 
preliminary character studies.  
3. Designer Consumer Electronics: Subcategory of designer toy that is used with a 
purpose.  
4. Designer Toy: Toys created by artist and designers and produced in limited 
editions (as few as 50 or as many as 2000 pieces). 
5. Illustration: Visualization such as a drawing, painting, photograph or other work 
of art that stresses subject more than form.  
6. Platform Toy:  A blank toy that is customizable and ready to be decorated by 
artist. 
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7. Resin Toys: Toys created using synthetic resin material and resin casting.  After 
casting the resin toy receives a varnished Layer over the dry painting.  
8. Storyboard: Graphic organizers such as a series of illustrations or images 
displayed in sequence for the purpose of pre-visualizing a motion graphic or 
interactive media sequence, inclosing website interactivity.  
9. Subculture:  A group of people with a unique culture (whether distinct or hidden) 
which differentiates them from the larger culture to which they belong. 
10. Traditional Toy: Toys that have ties to corporate or commercial entities 
especially marketed to the age demographic of 15 and under. 
 
 
1.5 Literature Review 
 
1.5.1  History 
 
The designer toy scene has been around since the early 1990?s.  It emerged first in 
the East such as Hong Kong and Japan and then spread throughout the West.  Figure 1 
shows the emerging designer toy companies from the Eastern and Western parts of the 
world.  
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Figure 1: Designer Toy Companies 
 
One of the first Eastern countries that designer toy emerged in was Hong Kong.  
Hong Kong?s toy manufacture, at the time, was succumbing to competition from lower 
labor on the Chinese Mainland.  Lower labor from China led Hong Kong?s toy 
manufacture to decline as toy nostalgia flourished (Lubow).   
Lubow commented on toy nostalgia in Hong Kong as, ?Transforming hard-
plastic, 12-inch action figures into pop-culture icons ? that was a familiar pastime for 
Hong Kong toy collector? (par.1). One of the first artists who created these 12-inch action 
figures was Michael Lau. Lau was known to make these figures by using bodies he 
scavenged from G.I. Joe action figures.  He would replace some of the G.I. Joe?s body 
parts with his own original molded heads, hands, and feet out of hard plastics. Lau would 
7?
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turn his G.I. Joe figures into skateboarders, surfers, and snowboarders (Lubow). 
Examples of Lau?s figures are in Figure 2.  
 
 
Figure 2: Gardener Toys 
Mainly, his figures were influenced from street and hip-hop culture in Hong Kong and it 
influenced other designers such as Jason Siu and Raymond Choy.   
 Another Eastern country that designer toy scene thrived in was Japan.  Toy 
nostalgia had also flourished in Japan like Hong Kong.  Japan for years had toy figures 
that catered to fanatical adult collectors.   
?It was only in the 1990s that the collection mania for toys (along with nostalgia 
items) began to be accepted as a trend among the Japanese people at large.? 
(Vartanian 12) 
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The trends in toy design were that figures had fine detail work which set the production 
standard of quality especially targeting collectors.  These collectors were mostly young 
adults and even adults who had their own kids. Collectors would buy these toys in the 
backstreets of Tokyo?s hipster Harajuku area (Vartanian).  The Harajuku area was known 
to have merchants setting up super-trendy clothing shops that sold toys, games and action 
figures. One of these shops was Bounty Hunter.   
 Bounty Hunter was formed by Hikaru Iwanaga and Taka Suzuki.  They were 
known to popularize collectible vinyl toys they sold in their shops especially in 1996.  
They designed vinyl toys influenced by the American cereal box characters such as 
Franken Berry and Cap?n Crunch which led to their signature vinyl toy series the Skull 
Kuns (Vartanian).  
 ?
Figure 3: Skull Kuns Toys 
They would also collaborate with Western artists such as James Jarvis and Kaws. 
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 James Jarvis was a British illustrator who had drawn minimalist, potato headed 
cartoon characters which were inspired by the design ethos of the early Modernist 
movement. These potato headed cartoon characters would become Jarvis? signature 
characteristics of his designer toys.   In 1998, Jarvis would release his first vinyl toy, 
Martin, which was launched in Japan by Sila?s Tokyo distributor and produced with the 
help of Bounty Hunter (Vartanian).   
?
Figure 4: Martin Toys 
Jarvis would then launch his second toy, evil Martin and Bubba with the help of Silas.  
His vinyl toy releases allowed Jarvis to become one of the first British artists to bring his 
works into Europe.  
In 2002, Jarvis created the Juvenile Delinquents characters for Sony?s Time 
Capsule project and co-founded Amos with Russell Waterman and Sofia Prantera. Amos 
was the only distributor of Jarvis?s figures, and he developed new projects with other 
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artists and designers with whom he, Waterman, and Prantera had worked.  In 2003, 
through Amos, Jarvis released the first eleven, six-figure, sets of the In-Crowd series 
(Vartanian).   
Kaws, also known as Brian Donnelly, was an American artist based in Brooklyn, 
New York.  He was best known for his graffiti which he painted over advertisements of 
other people?s imagery. His graffiti featured many of his early characters such as the 
Companion which had a signature trademark of skull and bones with crossed-out eyes 
motif. Companion would then become Kaws? first vinyl toy released in partnership with 
Bounty Hunter in 1999.  
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Figure 5: Companion Vinyl Toys 
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With the release of Companion, Kaws became a founding figure in the designer toy 
movement especially in the United States.  By summer of 2006, Kaws opened his own 
store ?OriginalFake? in Aoyama,Tokyo (Vartanian).   
Another American who brought designer toys to America was Paul Budnitz.  
Budnitz discovered designer toys from Japan and Hong Kong.  He found these designers 
to be, ?quirky, intricate toys as works of popular-art, pieces that mixed many aesthetic 
movements he loved?including fashion, cartoons, graffiti, comics, music, and fine art.? 
(Lubow) 
In 2002, Budnitz wanted to bring designer toys to America by starting his own 
company, Kid Robot, in California. He later would relocate to New York City in 2003.  
There, Budnitz began collaborating with his friend Tristan Eaton.  They created the 
signature characters for Kid Robot which were Dunny and Munny.   
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Figure 6: Dunny Series 5 
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Figure 7: Munny 
These characters would become the best selling characters of Kid Robot.  Budnitz would 
later incorporate collaborative work into his philosophy.  His philosophy of collaboration 
would bring dozens of other fine artists, graffiti artists, and illustrators to work on toy 
projects (Kid Robot).   
1.5.2 Types of Designer Toys 
 
 Designer toys come in various forms ranging in materials from vinyl, resin, to 
cloth.  There are four types of designer toys categorized as urban vinyl, resin toys, 
designer plush, and designer consumer electronics.   
? Urban vinyls are figures made of vinyl.  They are also known to feature original 
designs, be produced in small numbers, and marketed to collectors, predominantly 
adults.   
? Resin toys are toys created from synthetic resin material and resin casting.  After 
casting, resin toys get a varnished layer above the dry painting. 
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? Designer plush are soft, stuffed dolls produced in limited quantities by artists and 
designers.  
? Designer consumer electronics are designer toys that are used and feature a 
purpose. An example of these designer consumer electronics is the Mimobots. 
 
Figure 8: Four Categories of Designer Toys 
 
 
1.6 Scope and Limits 
 
The thesis will have restrictions due to the scope and limitations of the study.  The 
scope of the study is to identify designer toy subcultures from global or universal 
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communities across international and cultural boundaries. The scope will also include 
research on the current and past market trends of the traditional toy industry. By 
acquiring this knowledge, an approach will be illustrated that the toy industry could use 
to design a toy based on the target subculture market.   
The study will be limited to one subculture as a main target market.  This 
subculture will be on cubicle workers as model for application of the design approach. 
The research will be conducted on subjects who have experiences working in a cubicle.  
The subjects will be limited to students, staff, faculty, and their associates from Auburn 
University.   The design approach will also be limited to people who may be in the U.S. 
toy industry or who are interested in the designer toy subculture.    
 
1.7 Procedures and Methods 
 
The thesis will be conducted by the following procedures and methods. 
? Procedure #1: 
o Research on toy industries? current and past market trends 
? Method: 
o Conduct library and internet research 
o Research on current market revenues 
o Research world toy market 
o Research consumers 
o Research on the influence of films, cartoons, and video game industry 
? Procedure #2: 
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o Research toy products in the US that had potential of creating a subculture 
? Method: 
o Research toy products that had subculture elements 
o Research the company that created these toy products 
o Determine the problems of the toy products 
? Procedure #3: 
o Study and document designer toy subculture on its history and passion of 
the people 
? Method: 
o Do library and internet research 
o Find patterns within the history  
? Procedure #4: 
o Research different types of designer toy 
? Method: 
o Do library and internet research 
o Document the significance of each type of designer toy 
o Create a visual study 
? Procedure #5: 
o Interview people who are involved in the designer toy market 
? Method: 
o Interview collectors 
o Interview store owners 
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o Analyze their perspective on the designer toy market 
? Procedure #6:  
o Develop a method to design a toy with designer toy subculture approach 
? Method: 
o Determine which designer toy subculture is feasible 
o Determine the consumer 
o Create a product positioning map 
o Develop a design criteria 
o Develop a toy product that models the approach 
? Procedure #7:  
o Create a toy in 3 dimensional form that utilizes the approach  
? Method: 
o Sketch concepts for a toy design 
o Develop prototype models  
o Determine materials and functions 
o Finalize model and concept 
 
 
 
 
 
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CHAPTER 2 
TOY MARKET RESEARCH 
2.1 Toy market size 
The world toy market has steadily increased from 2004 to 2007; as a result of the 
economic downturn, from 2007 to 2008 the market remains stagnant as shown in the 
Figure 9. 
 
Figure 9: Current World Toy Market 
The increasing trend in the world toy market trend was caused by the impacts of growing 
areas in Asia, Latin America, and the Caribbean (NPD Group). These areas were on the 
2004 2005 2006 2007 2008
$60.755
$63.507
$67.03
$78.666 $78.091
World?Toy?Market?(billion?$)
source:?NPD Group?Worldwide
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rise due to the rapid development of their middle class group. The middle class was 
known to be largest consumer in the toy market (Knowledge at Wharton).   
 The middle class was defined as ?earners making between $10 and $20 a day 
adjusted for local prices.? According to the World Bank, the global middle class was 
estimated to grow from 430 million in year 2000 to 1.5 billion in year 2030.  The World 
Bank conducted researched in the year 2000 and the developing countries were 56% 
global middle class, however, by year 2030 it was expected to increase up to 93%.  They 
also expected China and India to account for two thirds of the expansion, with China 
contributing 52% of the increase and India 12% (Knowledge at Wharton).  
 In the past, the large middle class areas were located in Europe, North America, 
and Japan which were known as the ?Triad?.  Through the 1970?s and 1980?s the middle 
class expanded in South Korea, Brazil, Mexico, and Argentina.  Recently, the middle 
class has developed further in Asia especially in China and India. Asia currently has four 
fifths of the world?s middle class population with China constituting half.  China was 
anticipated to become the third largest consumer market by 2025.  Even the Mckinsey 
Global Institute predicted China?s middle class to increase from 43% in 2000 to 76% by 
2025 (Knowledge at Wharton).  
 The growth of the global middle class increased the toy markets in Asia from 24% 
to 27%, as Latin America and Caribbean have grown from 7 percent to 8 percent. This 
was shown in the Figure 10.   
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Figure 10: Toy Market Comparisons 
These growing areas are located within the top ten toy market countries in 2008.  The 
current top ten countries in order are: United States, Japan, China, United Kingdom, 
France, Germany, Brazil, India, Mexico, and Italy (NPD Group 16).   
 
Figure 11: Top Ten Countries in World Toy Market 
North?
Americ
a
31%
Asia
24%
Europe
32%
Latin?
Am.?&?
Carib.
7%
Africa
4%
Oceania
2%
Toy?Market?2007
source:?NPD Group?Worldwide
North?
Americ
a
30%
Asia
27%
Europe
29%
Latin?
Am.?&?
Carib.
8%
Africa
4%
Oceania
2%
Toy?Market?2008
source:?NPD Group?Worldwide
United?States
42%
Japan
12%
China
9%
United?Kingdom
8%
France
8%
Germany
6%
Brazil
4%
India
4%
Mexico
4%
Italy
3%
Top?Ten?Countries?in?World?Toy?Market
source:?NPD Group?Worldwide
20?
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From 2007 to 2008, China, India, and Mexico began moving into the list of the 
top ten world toy market.  China moved from rank five to three, India moved from rank 
nine to eight, while Mexico moved from rank twelve to nine (NPD Group 16).   Overall, 
the United States was still by far the biggest toy market. The U.S. toy market in 2008 was 
worth $21,650.83 million as shown in Figure 12.    
?
Figure 12: Toy Market Size In 2008 
 
2.2 Categories of Toy Market  
? Based on demographic age, the toy market can be categorized into three markets: 
kids (15 and under), teenagers (15 and above), and adults (18 and above). The kids 
market makes up the traditional toy markets. Whereas the teenagers and adults are 
considered growing toy markets caused by the increased usage of consumer electronic 
products and the impact of the internet on the change in distribution channels.   
 
 
$1703.22
$1794.85
$1939.6
$2091.94
$3189.37
$3985.74
$4127.57
$4527.07
$5823.62
$21650.83
Italy
India
Germany
United?Kingdom
Japan
Toy?Market?Size??2008
(million?$)
source:?NPD Group?Worldwide
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2.2.1 Kids: Ages 15 and Under  
The kids (15 and under) demographic is the main target of the traditional toy 
industry.  Traditional toys consist of action figures, dolls, vehicles, outdoor and sports, 
youth electronics, infant/ preschool, games/puzzle, playsets, plush, models, arts and craft, 
and other related products (NPD Group).   
Especially in the United States, the 15 and under demographic is the largest toy 
market.  The toy market in the United States has 6,296 manufacturers of traditional toys 
in 2007.  The top five toy categories for the five years since 2003 are: infants/preschool, 
dolls, outdoor and sport toys, arts and crafts, and games and puzzles.   
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Figure 13: Toy Categories Sales 
 
The top toy companies in 2008 were Mattel, Hasbro, and JAKKS Pacific which 
generated revenues of $5.97 billion, $4.027 billion, and $903.4 million, respectively.   
$0.00 $1.00 $2.00 $3.00 $4.00
2003
2004
2005
2006
2007
2008
Billions
All?Other?Toys
Vehicles
Plush
Outdoor?&?Sports?Toys?
Youth?Electronics
Infant/Preschool?Toys
Games/Puzzles
Dolls
Building?Sets
Arts?&?Crafts
Action?Figures?
source:?NPD Group?Worldwide
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Mattel was known as the world?s largest manufacturer of mainstream toys and having the 
largest market share for both action figures and dolls. Hasbro became the United States? 
second largest toy company and was known to own the largest market share in the board 
game industry, producing popular board games such as Clue, Monopoly, and Scrabble. 
JAKKS Pacific became the United States? third largest toy manufacturer (Google 
Finance).   
2.2.2 Teenagers: Ages 15 and over 
 The toy market for teenagers (15 and over) is mostly composed of teenagers and 
young adults who have started to outgrow their traditional toys and lean more towards 
electronic consumer products like computers, cell phones, cameras, and especially video 
games.  
The video game industry has become one of the fastest growing industries in the 
United States.  The video game industry by comparison has recently increased compared 
to the toy industry which has been decreasing in the past few years (Seeking Alpha).  
Figure 14 shows this comparison.  
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Figure 14: Video Game Industry vs. Toy Industry 
 
In comparison from 2006 to 2007, traditional toy manufacturing industry revenue fell 
from $22.3 billion to $21.2 billion which was a 4.9% decreased.  In contrast, the video 
game industry is rising from $12.5 billion to $18.9 billion which had a 51.2% increase 
(Seeking Alpha).   
 The rise of the video game industry shows that the consumer was rapidly shifting 
from traditional toys to video games.  As consumer preference shifted, companies from 
the toy industry began to emphasize video game products. For example in 2006, Mattel 
entered the video game industry to keep up with the changing trends in the toy industry. 
Also, JAKKS Pacific is collaborating with THQ in producing video games under the 
World Wrestling Entertainment (WWE) brand (Seeking Alpha).  
$0.00?
$5.00?
$10.00?
$15.00?
$20.00?
$25.00?
2003 2004 2005 2006 2007 2008
Toy?
Video?Game
source:?NPD Group?Worldwide
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As the video game industry shifted the toy market, there were factors indicating 
how this industry created the ages 15 and over market.  This market was mostly found in 
countries that have high Average Expenditure in Toys per Child (AETC).   
?
Figure 15: Spending per Kid 2008 
The United States, Japan, United Kingdom, France, Germany, and Italy have the highest 
numbers in spending per kid.  As well these countries have a high percentage of the 
market to consumers 15 years old and over shown in Figure 16 (NPD Group).  
$281
$286
$17
$348
$293
$223
$38
$5
$53
$185
United?
States
Japan China United?
Kingdom
France Germany Brazil India Mexico Italy
Spending?per?Kid?2008?($?million)
source:?NPD Group?Worldwide
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Figure 16: Market to 15 years old and over 
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2.2.3 Adults: Ages 18 and above 
The toy industry for more than a decade has targeted a growing toy market of 
adults over 18 and up.  They targeted ?grownups? because in recent years, especially in 
the United States, more children were favoring electronics over traditional toys (The 
Boston Globe, 2007). In 2007, the United States retail sales geared for adults over 18 
increased to 10% (Goodale).  This was due to the rise of the video game industry in 
which the demographic tends to lean toward an older audience. Such as in Britain, it was 
found that the average age of video game players was 29 in 2000 compared to 18 in 1990.  
 Moreover, these grownups tend to favor toys that come from movies, art, music, 
and video games. In catering to the grownups? taste, more toy companies have products 
retooled and regrouped as if the grownup grew up with them (Goodale). However, there 
United?States
19%
Japan
14%
China
1%
United?Kingdom
13%
France
13%
Germany
20%
Brazil
3%
India
0%
Mexico
4% Italy
13%
Market?to?15?years?old+
source:?NPD Group?Worldwide
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was a toy industry such as the designer toy industry that created toys that have more 
refined details and humor which caters to most grownups.  
 The designer toy industry has significantly grown and matured since 1999. In the 
beginning, designer toys were mostly targeted to underground art collectors who were 
typically men in their 20?s and 30?s.  These collectors were known to spend $100 or $200 
for a toy, which were usually a small fraction of the original cost. At the time, designer 
toys were only sold to independent, specialty and hobby stores aimed at underground art 
collectors.  Underground art collectors collected designer toys because designer toys had 
nostalgic quirky qualities, which were similar to vintage children?s toy (Vartanian).  
Examples of these designer toys were designed based on inspirations from iconic figures 
from movies (Darth Vadar), cartoons (Ultraman and Gundam) and cereal boxes (Cap?n 
Crunch, Franken Berry, and Count Chocula).   
Recently, more and more designer toys have appealed to a wider audience from 
the age group of 15 and over. This was due to the exposure of designer toys being 
blogged on the internet by fans and collectors and also from toy cons. The internet blog 
site like ToyCyte, helped to expose designer toys to people by word of mouth.  Toy 
conventions like the Taipei Toy Festival help generate business and exposure for artists 
and designer toy companies since they were known to showcase new toys.  The designer 
toy market has expanded its products to mainstream venues like Tower Records and 
Urban Outfitters.  For example, designer toy company, Kid Robot has been distributing 
its product first exclusively to specialty stores.  Soon Kid Robot decides to expand to 
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other audiences by distributing their product such as the Dunny toy series to Urban 
Outfitters.   
 The expanding market of designer?s toys was seen in fashion and major 
corporations.  In fashion, trendsetting Paris fashion and design store Colette showcased 
two exhibitions of designer toys in June.  Also, a New York art and fashion magazine, 
Visionare showcased a gallery show of designer toys which were customized by fashion 
designers: Karl Lagerfeld, Marc Jacobs, and Dolce & Gabbana.  In 2006, companies like 
Kid Robot begin creating a limited edition apparel line.  Kid Robot?s apparel line can be 
found in Barneys New York and many other high-end retailers worldwide where clothing 
prices range between $175 and $3000 (Lau).   
 Corporations have begun to sponsor and contract designer toy artists and promote 
business by showcasing artist exhibitions, toy products, advertisement, etc. Companies 
like Sony have contracted artists like Michael Lau to license his Gardener figures in Asia. 
Sony also contracted Pete Fowler to create the first Monsterism vinyl toys project with 
toy maker Cube Works as part of Sony Creative Products.   TADO, a character design 
duo, was known for their pop aesthetic characters appearing in advertisements for clients 
including BA, Daimler Chrysler, Habitat, Honda, MTV, Nike, Pioneer, Sony, and the 
world Wildlife fund.  Another illustrator, Jon Burgerman, has work that has been 
published in some of the world?s leading periodicals.  Burgerman also has contributed his 
artwork to clients including Diesel, Pepsi, MTV, and the BBC (Lau).   
 
 
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2.3 Conclusions 
 From the toy market research, the toy industry has begun expanding its market to 
an older demographic especially for eighteen and above.  The research revealed that the 
video game industry has impacted the toy industry especially in gearing towards 
teenagers and adults.  Aside from the rise of the video game industry, the usage of 
electronic devices from cell phones, digital cameras, to computers has seen increased use 
especially by adults.  Also, most adults tend to like toys that exude nostalgic qualities 
from their childhood pastimes of collecting, movies and televisions shows they watched, 
and even video games they played.  
 Although some toy companies have begun catering toys movies and televisions to 
adults, the toy industry has overlooked the growing designer toy market.  From the 
literature research, designer toy market relies mainly on adult collectors.  These adult 
collectors tend to collect designer toys for their nostalgic qualities especially for their 
unique creation of non-franchise characters.  In the research, designer toys have begun to 
expand to the mainstream market in fashion, corporation sponsors, and advertisement.    
 In conclusion, the toy industry could benefit from understanding the designer toy 
market.  In understanding the designer toy market, the toy industry can gain insight into 
the wants and needs of designer toy collectors especially in creating toys with nostalgic 
qualities and new unique characters.  
?
 
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CHAPTER 3 
DESIGNER TOY MARKET 
3.1 Introduction 
 The previous chapter gave general insights to an emerging collector toy market on 
adults eighteen and over especially in the designer toy market.  The impacts of modern 
society have begun pressuring adults which causes stress in their daily life.  As an escape, 
adults would collect toys as a way to restore their eternal youth.    There was further 
research in exploring the designer toy market?s unique way of marketing their toys to 
adults.  Other exploration was to understand how the designer toy market has created its 
own subculture especially among the collectors, artists, and designer toy companies.   
 
3.2 Toy Collector?s Eternal Youth  
 Eternal youth is a mindset in adults who relive their childhood by collecting toys.  
Many adults collected toys as a way to escape from the pressures of society.  Societies 
today have become more competitive especially for adults. Adults escape from their 
responsibilities that society has pressured them with by ?engaging themselves in childish 
things? as a way to relieve stress (Yeung).  
 
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 The ?childish things? was the cause of the ?age compression? defined by toy 
industry expert Richard Gottlieb.  Gottlieb defined ?age compression? as how ?adults are 
holding onto their toys longer, children are setting them aside at an ever-earlier age.? 
Gottlieb also explained that the ?age compression? causes both sides of the spectrum to 
embrace the teen culture which is the ?sweet spot of our time.?  Furthermore, everyone 
wants to aspire to be that eternal youth (Goodale) 
 Adults embrace their eternal youth because there is more entertainment or cultural 
activities, like pop concerts, geared towards only to young people. This is as sociologist 
Frank Furedi explains, ?Modern society does not have any cultural identity for adults.? 
(Yeung)   The aspects of being young convey being ?energetic, curious, unconventional, 
and opposed to authority and having fun.?  Basically, the symbolism of eternal youth is a 
?carefree lifestyle where people have few worries and are apparently free of 
responsibilities.? (Yeung)     
 
3.3 Type of Collectors 
 Collectors of designer toys are becoming more and more diverse in its 
demographic.   There are three types of designer toy collector which are cubicle 
collectors, casual collectors, and serious collectors.   
? Cubicle Collectors  
 
Most collection begins in a cubicle.  The cubicle environment is a great 
place to start a budding collection because of its sparse interior.  Cubicle 
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collectors do not all become serious collectors.  Many of them enjoy collecting 
toys and scattering them over their desk for conversational starters or distraction.  
The toys also give them a sense of instant gratification or even soothe them while 
they are working (Brautman).   
?
Figure 17: Cubicle Collection 
Companies like Rotofugi have thrived on the cubicle collector market.  
Rotofugi caters also to serious collector but they have found that cubicle collector 
is mostly people who are shopping for gifts and/or something fun for their desk at 
work. Rotofugi claims that 50% of their sales are from cubicle collectors 
(Brautman).   
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Figure 18: Rotofugi Store 
? Casual Collectors 
 
Casual collectors are usually new to the designer toy scene.  Most may 
have a friend that drew them in.  Most would take their toys out of their boxes and 
display them.  Many of them would patronize neighborhood stores and chat on 
toy bulletin boards. Casual collectors are largely families and kids (Brautman).   
?
Figure 19: Casual Collector?s Toys 
?
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? Serious Collectors 
 
Serious collectors are very passionate about the designer toy scene.  They 
are known to spend hundreds of dollars a month or more on designer toys.  
Serious collectors usually would follow a particular artist, companies, and even 
toy series.  Many have been collecting for many years and are willing to travel 
overseas or even spend more than they need to in finding a rare piece (Brautman). 
?
Figure 20: Serious Collector's Toys 
?
3.4 Distribution of Toys 
Most collectors buy designer toys from independent toy store owners such as 
Schmancy.  Schmancy is owned by Kristen Rask and is located in Seattle, WA. Rask 
describes that store owners like herself act as the middle man between the toy company 
and the collector.  She and other store owners would be supplied by the toy company, Kid 
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Robot, who manufacture designer toys or even artists to produce their own toys. Artists 
are usually the ones who collaborate with toy companies and store owners in designing 
the toys.  Figure 21 shows the distribution of how designer toys? supply work. 
?
Figure 21: Distribution of Toy Supply 
?
 
3.5 Marketing Strategies: Blind Boxes 
 
 Blind boxes are a marketing strategy used by designer toy company to sell toys 
with their contents being concealed until opened by the consumer.  Examples of blind 
box toys are Kubricks, Qees, and Dunnys.  
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Figure 22: Dunny English Series 
Blind boxes allow designer companies to produce more figures without having risk of not 
selling unpopular figures.  Blind box toys are like gumball machine toys by getting 
consumers to come back for more.  Consumers rarely would buy only one box because 
he/she might not get what he/she wants.  Most would by blind box toys by a handful or 
even the case in order to collect the entire series.  Thus this benefits both the designer toy 
company and even the store that sells them (Brautman).   
Blind box designer toys ranges from $8 to $30.  Most stores? accounts find that 
young kids are the fastest growing consumers of blind box toys.  Some fans do enjoy 
opening these blind boxes because it gives them the thrill and engages them to trade 
duplicate or undesirable figures with others (Brautman). Blind box toys are also gateways 
to introduce people to artists and a new medium for collecting art.   
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Most stores would only open the blind box toys only to display a few range of 
possible figures the consumers would get.  Some stores would open all the blind box toys 
in the case set to cater for the serious collectors.  Even some stores owners would allow 
the consumer to trade their figures for the display figures (Brautman).   
 
3.6 Marketing Techniques: Guerrilla and Viral 
 Most artists, designers, and some companies use the tactics of guerilla and viral 
marketing to promote their designer toys.  
? Guerrilla Marketing 
Guerrilla marketing involves using unconventional promotions, which 
relies on time, energy, and imagination rather than a big marketing budget.  This 
unconventional promotion is done by intercepting encounters in public places, 
street giveaways of products, pr stunts, and other unconventional marketing in 
achieving maximum results from minimal resources.    
Graffiti artist, KAWS, is known for using guerrilla marketing in promoting his artwork, 
character designs, and toys.  KAWS uses his signature crossed eye skull and bone 
character and integrate them in subverting imagery on highly prominent billboards, bus 
shelters, and phone booth advertisement.   
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Figure 23: Kaws' Phone Booth and Bus Stop Graffiti 
? Viral Marketing 
Viral marketing utilizes marketing techniques that use pre-existing social 
networks to increase brand awareness or to achieve marketing products through 
self-replicating viral processes.  Viral marketing approaches can be a word-of-
mouth by using the networking abilities of the Internet. Other viral marketing 
forms are video clips, interactive flash games, advertising games, electronic 
books, branding software, images, or even text messages.  
Most designer toy companies like Kid Robot, Strangeco, and Toy2R use 
social networking sites like Facebook, MySpace, and Twitter as viral marketing 
tactics. Social networking sites are a great way for designer toy companies to 
promote their brand through a larger mass.  Social networking sites also act as a 
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word-of-mouth technique since people are able to discuss, post, blog, and share 
what their passions are.  
?
Figure 24: Toy2R Facebook Page 
?
3.7 Conclusions  
From the designer toy market research, there is significant discovery on the 
collector?s passion for collecting toys and what types there are.  Collectors from the toy 
market research study are adults mostly males in their twenties to thirties. Their passion 
reflects on their mindset of eternal youth, which is to engage themselves in youth 
activities and culture to escape from the pressures of society.  
Collectors are categorized based on how they avidly follow and collect designer 
toys. They are cubicle collectors, casual collectors, and serious collectors.  The research 
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finds that cubicle collectors and casual collectors are not as actively involved as the 
serious collectors are.   
Other discoveries include how the toys are distributed and what marketing 
strategies and techniques are used to sell toys.  Toys are distributed through artists, toy 
companies, store owners, and collectors illustrated in Figure 21.  Store owners would act 
as the middle man between the toy companies and collectors.   
Toy companies use marketing strategies of blind box toys in selling collectible 
toys to collectors.  Blind boxes conceal the identity of the toy until the toys are opened.  It 
helps to prevent toy companies in not selling unpopular toys.  Marketing techniques toy 
companies and artists use are guerilla and viral marketing.  Guerilla marketing is mainly 
used by artists to exploit their work through unconventional tactics such as graffiti on bus 
stops, phone booths, buildings, etc.  Viral marketing is used by toy companies in 
expanding their markets to the media and fans by social networking sites, internet video, 
flash games, and etc.   
Overall, this chapter reflects the designer toy market especially on the collectors 
and the marketing tactics used to sell to these collectors. But there are some issues needed 
to be addressed on the toys.  First, these toys lack practical functions especially for 
cubicle collectors.  Second, the toy market also lack user-centered design process since 
most toys are subjectively designed for the artist themselves not their consumers.   The 
next chapter will research further into the subculture study of designer toys.    
 
 
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CHAPTER 4 
DESIGNER TOY SUBCULTURE 
 
4.1 Introduction 
The popularity of designer toys has surged into a new art phenomenon that has 
developed into its own subculture. This is due to a unique blend of art and mass 
production capabilities that the designer toy exudes, which as Vartanian describes, 
?adapting visual and conceptual strategies from art history, vernacular elements from the 
street, and marketing devices from corporate culture.? (Full Vinyl) These elements 
Vartanian describes are also the distinctive feature of the designer toy subculture.  The 
subculture of designer toys consists of artists, collectors, and toy companies that share a 
passion for creating and sharing new toys.  Vartanian would describe the designer 
subculture as, ?this expanding universe of artist-designed figures is at once outside the art 
world and consumer cultures, and functions as a parallel field of creativity and 
commerce.? (Full Vinyl) 
 
4.2 Toy Collectors  
The collectors are the fans and consumers in the designer toy subculture.  They 
would collect designer toys from their favorite artists, new artists, and even certain toy 
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companies.  The collectors would also share and trade information on their favorite artists 
and toys with other collectors or people who are new to the scene.  Basically collectors  
build that connection with the artists in which it creates, ?intimacy to the entire 
community.? (Vartanian 4)  
The intimacy the collectors share with the artists is that they symbolize designers 
as a ?part and parcel of a social statement of sorts.? (Vartanian 12)  This social statement 
that the collectors seek is to share common interests with other collectors and artists in 
community such as punk music, graffiti, pop art, combat toys, illustrations, and street-
wear design.   Their interest serves as their expression of their youth as seen in the 
previous study on the collector?s eternal youth.   
 
4.2.1 Toy Collector Interviews 
 
 In understanding the designer toy subculture, interviews with designer toy 
collectors were vital to the study.  The interviews were conducted with collectors who are 
very passionate about designer toys.   
 The interview displayed is an interview with Acher Chang and Max Gang, both 
industrial designers in Taiwan.  The interview was conducted through Skype and video 
recorded. The following are questions on their passion and perspective on collecting toys. 
4.2.1.1 Questions for Acher Chang and Max Gang 
1. How long have you been collecting toys? 
AC:   I started collecting toys 10 years ago. 
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MG:  I started collecting at the age of 11 so I have been collecting about 
20 years.  
2. What influences and inspires you to collect toys? 
AC:   I had influence from Hollywood movies like Star Wars and Alien in 
which they have realistic style features that I like.  I had been collecting 
Star Wars books for a long time.  
MG:  I love the Bakugan cartoons which bring me nostalgia childhood 
memories.  
3. What kind of toys do you collect?  
AC:   I pretty much collect anything especially something that is very cute 
and special. 
MG:??I collect Bakugan toys which are fighting warrior and very manly.???
?
4. Do you gravitate to certain character styles?  
AC:  I mainly collect things that are animals and monsters.  I do not collect 
anything that appears like human. I look mainly for toys for aesthetic 
qualities of cuteness.   
MG:  I search toys with macho, sharp, and not soft appearance.  I search 
also for cute and softer looks which depends on my mood at the time but 
not specific. 
5. Do you try to follow a certain artists?  
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AC:  Yes. I start by collecting the toy that I think is cute, then I would find 
out the artist that created it. 
MG:  No. I only look for something cute but not quite curious on whom 
the artist is.  
?
6. Does the story behind the character matter?  
AC:  No 
MG:??I do not about the context story of the character.  
 
7. Do you attend any conventions? Why? 
AC:  I go to the Taipei Toy festival to find artists they feature from Hong 
Kong. I go to find new toys I can collect.  I usually take pictures of the toys 
I can?t afford. 
Gang: No.  
8. Where do you display your collections?  
AC:  I display them at my office and my home. Since I live in a small house 
with 3 bedrooms, I put my toy collection in huge glass shelf. 
MG: Yes. I display them in my office and my car.   
9.  How would perceive your toy collection? 
AC:  I view them mostly just as toys nothing more. My toys especially the 
cute ones bring me a sense of happiness for a brief time.  I see my toys 
together as a small world in which they give me a sense of friends. 
MG:??I feel that my toy collection gives me a sense of futuristic qualities 
which is not happening in the real world. I feel the characters are the 
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connection to the future. My toys help reduce my anxiety especially when I 
am in my car while driving.  I look at them too kill time especially during 
traffic.??
10.  Do you share your toy collection wither others? How? 
                       AC:  I share them with others by posting pictures of my collection on 
Facebook. 
          MG: I do not trade with anyone and I do not like to share my toys with 
anyone.  I would rather keep my toy collection information to myself.  
11. Do you play with your toys? 
                      AC:  I will not play with the toys but I use them only as decoration. 
                      MG: I only use them as decoration especially the cute toys. 
12. Would you like toys that have more articulations? 
AC:  Yes.  Articulation allows me to change the position of my toys when 
displayed. 
MG:  N/A 
13. Do you think accessories for toys are necessary?  
AC:  No.  I believe accessories on toys should be limited.  There is no 
need for excess accessory. 
MG:  N/A 
?
14. Do you modify your toys or modify some custom toys?  
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AC:  I only modify my toys when I need to repair them or repaint them.  I 
cannot seem to find a good custom toy I like to modify.  
MG: I like to modify custom toy because it allows me to design a toy that 
no one else can have.  I also like to draw my own characters for my 
design.  
 From the interview, Acher Chang and Max Gang share some significant 
similarities and differences in terms of collecting, and perspective on designer toys.  The 
similarities that Chang and Gang share is they started fairly young.  They started 
collecting toys from movies and cartoons and kept collecting until when they were adults. 
They kept collecting through their adulthood because it gives them a sense of childhood 
nostalgia they can escape to.  However, Chang and Gang had different perspectives in 
their involvement and emotional connection with the designer toys and the subculture.  
 Chang seems to be more actively involved with the designer toy scene than Gang. 
Chang would go far in collecting toys by going to toy conventions, sharing his toy 
collection on the internet, and finding out the artist who created the toys he collected. 
Chang?s collections are shown in Figure 25 and 26.  
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Figure 25: Acher Chang's Home Toy Collection 
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Figure 26: Acher Chang's Office Toy Collection 
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Thus, Chang?s determination in seeking new toys would categorize him as a potential 
serious collector.  Gang, on the other hand was very private about his toy collection 
which makes him as a casual collector.  But Gang has more emotional connection with 
his toys as he perceives them as a glimpse into what the future will be.  Gang also feels 
his toy relieves his anxiety for that brief moment.   
 
4.3 Artists 
The artists are the ones who design and create the designer toys and initiate the 
designer toy movement.  Most artists create designer toys as a way to explore, 
experiment, and challenge their work depending what kind of designer toy they can offer.  
Many artists range from professions of graffiti artists, illustrators, and industrial 
designers. Thus, the artists serve the role as the driving force in the designer toy 
subculture.   
4.3.1 Designer Toy as New Form of Art Medium 
Most artists would find that the designer toy is another new art form or art 
medium outlet they can explore.  This new art form artists describe is that designer toys 
are three dimensional figures or sculptures that can be played, touched, displayed, and 
sometimes moved. Also, designer toys come in different forms of material and surfaces 
like vinyl and plush, which the artist can experiment with.   
 Such as vinyl toys, the three dimensional form is treated like a blank canvas that 
artist would paint on.  Instead of working on a flat surface, the three dimensional surface 
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on vinyl can offer more challenges to the artist.  The three dimensional form also pushes 
the artist to translate their character designs from two dimensional forms to three 
dimensional forms.  Examples of these painted vinyl toys are from the following visual 
studies on custom designer toys in Figure 27. 
?
Figure 27: Designer Custom Toys Visual Studies 
Plush toys offer a different challenge to artists in terms of the material and 
textures.  The cloth, thread, and stuffing are a few ways that artist can play with the form 
of the toy. The techniques in making plush toys such as knitting, crocheting, and sewing 
offer unique textures artists can use to challenge their creativity.     
 
 
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4.3.2 Artist Background and Professions 
Each artist brings a unique perspective to the subculture that is based on their 
experience in their respective fields. The artists? backgrounds range from graffiti artists, 
illustrators, and designers.    
? Graffiti Artists 
 
Graffiti artists have been incorporating the urban and street culture into 
their designer toys.  Since graffiti itself is already an ?example of art as lifestyle 
rather than mere hobby.? (Vartanian 4)  Graffiti artists are known to create 
signature characters in tagging urban areas.  These signature characters would 
become as their character branding and promotional piece in their designer toys.  
An example is the Reach Bear Toys by the graffiti artist Reach.   
?
Figure 28: Reach Bear 
?
? Illustrators 
 
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Illustrators are known for their strong character designs with story 
backgrounds in their designer toys.  They have strong character design because in 
their illustration work, they focus on the subject more than the form. Through 
their character designs, illustrators tend to create background story on them.  The 
background story serves as the basis for the line of characters designed for a series 
of designer toys.  An example is Illustrator, Nathan Jurevicius, who is known for 
designing a series of vinyl toys based on an animated short and now a flash game, 
Scary Girl. (Vartanian 102) 
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Figure 29: Scary Girl Website 
? Industrial Designers 
 
Industrial designers have the most experience in working with three 
dimensional forms since their profession requires them to design products and/or 
packaging.  Some industrial designers have prior skills in toy designs for the 
traditional toy market.  An example would be Jakuan.  Jakuan uses his industrial 
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design skills in designing the packaging and building prototype figures for his 
own vinyl toy designs and collaboration with designer toy companies. (Vartanian 
126)  
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Figure 30: Nosferatu Vinyl Figures 
?
4.4 Designer Toy Companies  
 From the previous research on designer toy companies and stores, they serve as 
the distributor of designer toys to the collectors.  But they are more than just being the 
distributor; they also play a major part in the designer subculture as a hub central unit for 
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collectors and artists to gather together.  Designer toy companies do so by holding social 
gatherings of custom toy parties, new toy release party, and exhibition shows. 
 Custom toy parties are for fans, collectors, artists, and their families and friends to 
create their designs on custom toys provided by the designer toy company. Companies 
like Kid Robot, are known for their Munny custom toy design parties held in their stores.  
?
Figure 31: Kid Robot Munny Custom Toy Party 
Kid Robot also provides the event with materials such as paints, markers, and pens for 
the people to design their Munny.   
 Toy companies host new toy release parties to spark interest in their products or 
generate a buzz for the Artist that designs for them.   Some toy stores like Schmancy have 
created their own exhibition show, Plush You.   
   
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Figure 32: Plush You! Exhibition 
Store owner Kristen Rask created the Plush You exhibition show in helping up and 
coming artists and even promote her store especially in the Seattle area.  
  
 
4.5 Internet Influence 
 The internet has been a huge impact on the designer toy subculture.  The internet 
has been able to connect fans, companies, and artists from all over the world.   Through 
blogs, social networking sites, and emails, the designer toy community is able to share 
their passion for designer toys. Blogs provide the community with information such as 
the artist?s upcoming projects and fans review of the new toy releases.  As from the 
previous chapter, social networking sites have provided designer toy companies 
opportunities to promote their products, announce events, and connect with fans and 
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artists.  Emails provide more direct communication such as fans would ask toy companies 
and artist questions and comments.  Figure 33 shows the distribution of information 
passed through the designer toy community. 
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Figure 33: Distribution of Information 
 The figure above shows how much information is shared among the designer 
community.  Globally, the community benefits in connecting with others from around the 
world and these people would meet each other through toy conventions, companies, and 
even social gatherings. Fans are able to share their collection and discover new 
information on their favorite artists.  Overall, the internet is the major source in 
expanding the designer toy subculture.    
 
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4.6 Cultural Difference 
 
Designer toy scenes were known to be distinctly different in the Asian, European, 
and American culture.  
? Asia 
Since the early 1990?s, Asian countries like Hong Kong (China) and Japan, 
have been known to be the birthplace of the designer toy scene.  Designer toys 
from Hong Kong and Japan were inspired by themes from the Western culture 
such as pop-culture, movies, and even cereal box characters.  Also, social cultures 
such as hip-hop, street, punk, and graffiti were known to be the root of the 
designer toy scene, 
?Designer roots of the vinyl scene can be traced back to the East.  Here the 
focus shifted from Japanese influence to Western fringe cultures, such as hip-
hop, skate boarding, and graffiti.? (Vartanian, Full Vinyl) 
Designer toys in Asia were mostly custom figures that are platform toys 
customized by artists and designers. Also, some custom figures had been 
commissioned with Western artists such as KAWS. These toys were marketed as 
collectible items.  Mostly adults from 20-40 were collecting these toys which 
brings them nostalgic memories of childhood.  The collecting trend of designer 
toys would lead to the nostalgia market. The nostalgic market thrived in Asia 
especially with designer toys. The influence of the nostalgic market also crossed 
international borders and spread to Western countries of Europe and the United 
States. 
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? Europe  
 
In recent years, the designer toy scene has grown in Europe especially in the 
United Kingdom. Most UK designer toys have been influenced from the East, but 
what makes their toys unique was the humor element that the toys had, 
?From the Eastern influence to the humor they inject into their work, UK 
designers have helped a vibrant community to establish itself.? (Vartanian) 
The humorous elements that UK designer toys had were heavily based upon 
character design that had strong emphasis on back story.  Basically, these 
character based designer toys were done by illustrators who became the driving 
force in the UK designer toy scene.   
?The scene in the UK is predominantly driven by illustrators (Pete fowler, 
James Jarvis, TADO, Jon Burgerman, and others).  The illustrative 
background of many UK designers has lead to more character-oriented 
and character-driven design, with a richer back story for the figures 
created.? (Vartanian) 
Also, the UK market has very few custom toys compared to the American 
and Eastern markets. Since in the UK there are very few vinyl production and 
manufacturing companies, those companies that do produce their own vinyl 
production were set up by the artist involved and only work with the artists on 
their books.  Basically, these companies do not make figures for unknown artists 
because it is not lucrative for the market.  Most unknown artists tended to go 
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overseas to find a manufacturer/production company or produced their own toys 
themselves.   
? North America 
In America, designer toys were inspired from the Asian culture and the graffiti 
culture.  Designer toys in the U.S. were more heavily based on graphics which were 
more likely designed on custom figures.  Many custom figures thrive in the U.S. since 
these figures can be designed by different artists from all over the world.  Custom 
figures allowed other artists from outside the U.S. to expose their work in America.   
Designer toys in the States have gained popularity especially in the East coast and 
West coast areas.  Most designer toys in America are sold to smaller toy stores mostly 
run independently.   
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4.7 Conclusion 
 Overall, the subculture research has provided more insights to the community of 
collectors, artists, and companies.  From the collector?s perspective, they are buying 
designer toys in reliving their youth by collecting toys that remind them of their 
childhood and even teen years.  The artists treat the designer toys as a new form of art 
medium that can be more affordable for their fans.  Artist perceives them as a three 
dimensional form for them to paint, modify, and characterize.   The companies 
manufacture and distribute designer toys by collaborating with the artists.  The 
companies also act as the central hub for artists and collector to congregate.  The internet 
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provides the global communication tools for these communities to share their passion.  
The subculture also has some distinct cultural differences in Asia, Europe, and North 
America in terms of how designer toys are manufactured, created, and distributed.   
 However, most of the designer toys themselves do not have very much practical 
function with which the collectors can have more interaction.  Most of the designer toys 
are seen as art commodity that people collect for their homes and office.  Also collectors 
need vary from one another as seen from the interview. So there is a need to identify a 
target collector market and develop a toy that is functional and suitable for adults. From 
the subculture study, the customization of toys such as adding graphics can be 
implemented into the toy design process. 
   
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CHAPTER 5 
 DESIGN APPROACH 
 
5.1 Introduction 
 This chapter will introduce an approach for designing toys. The studies from the 
previous chapters are to support the analysis and premise of this approach which will be 
applied to the design project.   The approach is intended for designers to develop toy 
designs with practical functions suitable for adults by incorporating elements from the 
designer toy subculture.  
 The research from the subculture study is to help identify the target market. After 
a target market is found, user research will be conducted on them through observation 
studies, interviews, and surveys. The subculture study will also help to develop a product 
positioning map in comparing existing toys. 
 
5.2 Identifying Target Market 
 In identifying the target market, one must thoroughly understand the collector toy 
market especially for adults.  The previous chapter shows that there are three types of 
collectors in the designer toy subculture.  They are cubicle collectors, casual collectors, 
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and serious collectors.  One must analyze each of the collectors in their wants and needs 
in a toy design. Then one must decide which type of collector is appropriate. The cubicle 
collector will be used as a model example of how this approach is applied. The next step 
is to conduct user research on the target market in order to understand their perspective 
and environment.  
 
5.3 User Research 
 From the previous research, it was found that cubicle dwellers tend to start a 
collection in their workspace which identifies them as one of the collectors categorized in 
the designer toy subculture.     To further research on cubicle dwellers, user research was 
done by observing their environment, conducting interviews, and giving questionnaires 
and surveys. 
5.3.1 Observation Study 
 The observation study was to understand the environment of cubicle dwellers by 
visiting their workplace.  The observation study was conducted by taking pictures from 
the visit and interviewing the people there.  The visit took place at the Media and Digital 
Resource Lab (MDRL) which is inside the Auburn University Library. In the MDRL, 
there were four supervisors working in their own cubicle spaces. They are Chris Mixon, 
Eileen Hall, Gary Hawkins, and Gerritt Dewitt.  Their cubicle spaces were located in the 
right back corner of the MDRL shown in Figure 34.    
 
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Figure 34: Media and Digital Resource Lab Layout 
All of the cubicles were also aligned on the right corner making it more accessible for the 
supervisors and others.  Their cubicles had short walls with translucent sliding doors.  
The figure below shows each of the supervisors? cubicle spaces. 
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Figure 35: Observation Study on MDRL Staff 
 From Figure 35, each of the supervisors had their own unique ways of decorating 
and collecting items in their cubicle space.  A tagline was assigned to each supervisor to 
set their personality apart.  Chris was ?The Boss? since he was everyone?s boss.  Eileen 
was ?Kitch? as discovered from her unique quirky toy collections.  Gary was ?Animator? 
as evident from his posters of past character animation projects.  Gerritt was ?Techie? 
given that he only collected several computer parts even broken ones. Through the 
observation, Chris, Eileen, and Gary had the most interesting collections.   
 Starting with Chris Mixon, his cubicle space was filled with items he collected 
from trips, friends, co-workers, families, conferences, and fast food places.  His items 
range from toys, souvenirs and posters. Each of the items he collected had a story behind 
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them. Such as the light bulb found by another supervisor and the crow saved from a 
prank.   
 Next was Eileen Hall, her cubicle area was mostly filled with toys.  The toys she 
collected were from her husband, student workers, friends, and herself.  Her toys range 
from plush toys to plastic toys from gum ball machines.  She finds these toys comforting 
and even making her space feel more like home.  This was because she makes her cubicle 
as her home base since she has to run errands all day.  
 And finally Gary Hawkins, his workspace was also filled with varied items.    He 
collected things from family photos, magnets, posters, toys, old electronics, to hand 
crafted pieces.  He seems to keep them varied by collecting of each type of item. He also 
has some of the most expensive items such as the glass facet sculpture.   
 Overall, the observation study revealed that each of the cubicle dwellers has 
collected items.  But, the supervisor like Chris, Eileen, and Gary were prime examples of 
cubicle collectors.  Some of the common traits were their cubicle space was unorganized 
yet they kept their collection organized.  Some items were gifts from their family, friends, 
and co-workers.  The items were also use as decoration and conversation starters.  
5.3.2 Interviews: Jannell Canerday 
 An interview was conducted on a cubicle dweller in obtaining further information 
in what items he/she uses, stores, and collects in their cubicle space.  He/she was also 
asked what other cubicle dwellers they know may also have collected in their work space 
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and why they do so. The purpose of the interview was also to pull any ideas that he/she 
has on maybe a practical toy design suitable for the cubicle dwellers like themselves.  
 The most significant interview conducted with a cubicle dweller was Jannell 
Canerday.  She is an Industrial Designer who works for Hunter Fans based in Memphis, 
Tennessee.  Through this company, she has experienced working from a closed cubicle 
area to now an open cubicle area.  
5.3.2 Interviews 
 An interview was conducted on a cubicle dweller in obtaining further information 
in what items he/she uses, store, and collect in their cubicle space.  He/she was also asked 
what other cubicle dwellers they know may also have collected in their work space and 
why they do so. The interview was also used to pull any ideas he/she has on maybe a 
practical toy design suitable for the cubicle dwellers like themselves. Below is the 
interview. 
5.3.2.1 Interview on Jannell Canderday 
What is your profession? 
JC:  Industrial Design 
2. Who do you work for? 
JC:  Hunter Fans 
3. Can you describe your workplace? 
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JC:  I have recently moved into a new building from an old manufacturing 
facility. The new building has a long narrow room and concrete floors which 
is where my cubicle space is.  
4. What kind of cubicle space do you work in? 
JC:  Our design director has been pushing us industrial designer to not be 
working in a boxed cubicle space. Instead, we are encouraged to work in an 
open space.  
5. What kind of cubicle space do the other professions in your company have? 
JC:  The engineering and marketing department works in a traditional cubicle 
space which is boxed in and set in more of a corporate setting.  
6. How would you describe your cubicle space? 
JC:  In my cubicle space I have a wooden top table for my work stations.  I also 
have baker?s metal shelves to store things.  There is not enough space to 
work on 3D modeling so mainly I would use my cubicle space to do 
computer 3D modeling.  This is because our company is based on alias 
modeling.  
7.  What kind of office supplies do you have? 
JC:  I have prisma markers, pens, several drawing pads and papers, little 
notebooks made from scraps of paper, huge white dry eraser boards, exacto 
blades, binder clips, and post-it notes.   
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8.  Describe some other interesting items in your cubicle space. 
JC:  Since I am in charge of glass design I have several shards of glass on my 
table. I also have bobby pins. I also have this tiny trash that holds spare 
change. I had this since I was a graduate student at Auburn. 
9.  How do you store your office supplies and other items?  
JC:  For pens, pencils, prisma markers, and prisma color pencils I would place 
them in the cups.  I have trays that stick to my magnet bars to store items like 
papers, files, and notepads while keeping them track.  For magazines I would 
place them in metal racks.  I place them here so that other co-workers can use 
them.   
10. Do you collect anything in your cubicle space? 
JC:  I tend to cut out clipping from design magazine in which I collect them by 
mounting them to my wall. I also have a collection of tea bags on my desk. 
11.  Do you know another people in your department that collects any toys?  
JC:  I know one guy that collect Star War figures and collects toys in which were 
use for some of his design projects.  
JC:  One girl collects more design toys like a little robot pencil sharpener and can 
hold the pencil too. 
12.  Do you know if anyone in the other departments like engineering collect anything or 
decorate their space?  
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JC:  I know that a few of the engineers do collect some stuff or decorate their 
space.  One guy collects Dilbert comic strips and another guy collects hunter 
stuff.   I know one lady that has decorated her cubicle space into a little room 
with carpet and lamps to make it very homey.  
13. Do you have any suggestion for an office toy design? 
JC:  I would suggest a personal box set for workers like storing deodorant, bobby 
pin, and q-tips.  This personal box set would be like a first aid kit for 
appearance especially for presentation. Another thing I would suggest is 
maybe have a vicious gun that maybe shoot rubber bands for employees to 
play with when they?re on their down time.  
14.  On any of your co-worker?s toy design collection, what kind of style or aesthetic that 
appeals to both men and women? 
JC:   The universal style that appeals to both men and women is toys that have 
character design especially non-human types.  
 From Canerday?s interview, there were some significant insights to being a 
cubicle dweller and why they collect certain items. Canerday revealed that certain 
professions had different kinds of cubicle space such as industrial designers have an open 
cubicle compared to the engineers and marketers who had boxed cubicles.   
 Canerday herself being an industrial designer had an open cubicle in which she 
stores things from office supplies, drawing supplies, magazines, and material samples for 
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her projects. Some of the interesting items she had were that she collected magazine 
clippings, bobby pins, miniature notebooks made from scratch, a trash can toy that holds 
her spare change.  Canerday would store these items by using metal racks for magazines 
and cup holders for her writing utensils.  She also mentions that other co-workers have 
also collected items and decorated things in their cubicle space. Figure 33 shows 
Canerday?s workspace, environment, and her co-worker?s toys.   
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Figure 36: Jannell Canerday's Workspace & Environment 
 Co-workers that collected things, especially toys, were from her own department.  
Canerday mentioned that a guy collects star wars figures and a girl that collects toys with 
functional designs like a robot that sharpens pencils in Figure 36. Other co-workers from 
other department collected comic strips and even decorated their cubicle space into small 
homey room with carpet and lamp.   
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    Canerday also suggested some ideas for a toy design suitable for cubicle 
dwellers.  One of the significant ideas she suggested was the toy should have a 
compartment for storing personal items like deodorant, bobby pins, and q-tips.  This toy 
would be like a first aid kit for appearance especially for presentation.  Some other 
significant trait that both men and women would like for their toy was to have a character 
design especially non-human style.   
 Overall, Canerday?s interview provided better insights on her cubicle space and 
other?s cubicle space setting whether it?s opened or boxed cubicle.  Her interview also 
gave perception on what she and her co-workers collect in their space. Mainly, the 
interview confirmed the need for practical functions of collector toys.  Canderday 
emphasized on ideas on the practical functions the toys could have. These ideas will be 
helpful in the design development process for the toy design.        
5.3.3 Questionnaire and Surveys 
 From the previous research on the designer toy subculture, cubicle workers were 
one of the primary collectors of designer toys.  It was evident that cubicle workers tend to 
collect objects from friends, family, and co-workers.  A survey was sent out to cubicle 
workers in order to understand their environment, why they collect toys, and what kind of 
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characters and style they like.  Below is the survey.  
 
 
 
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Figure 37: Questionnaire from FreeOnlineSurvey.com 
? Some results that were expected from the survey were that the majority of cubicle 
workers were males in their 20?s and 30?s just like collectors of designer toys.  Yet, 
majority of the cubicle who took this survey had little knowledge of the designer toy 
subculture.  It was found that the majority of the cubicle workers who took these surveys 
were in design professions such as industrial design. 
 Most of them also had open space cubicle space since design professions tend to 
have this type of cubicle.   However, the most effective aspects of the results were how 
the survey provided more insights into the user?s cubicle workspace. 
 In their cubicle workspace, many of the cubicle workers said their space was in 
between being organized and messy.  Many tend to have items like office supplies, filing 
cabinets, phones, computer/laptops, food/snack, and even toys. In their office supplies 
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description, many have items from pencils, pens, post-it notes, paper, and markers.   
Many claim they do decorate their cubicle in making it more personal, comfortable, 
inspirational, and enjoyable while they work. They decorate their cubicle workspace by 
collecting things from themselves, co-workers, friends, family, and projects.  
 Some of the things these cubicle workers collected were: cut-out from magazines, 
home d?cor, cartoon strips, electronics and parts, magnets, snack foods, and toys.  The 
cubicle workers that collect toys were characters from films, television shows, and 
comics; plastic gumball machine characters and fast food restaurant toys.  They store 
these collections on their shelves, table, and even mount them on the wall.    
 About a half would collect things outside of their office especially in their homes.  
Those that collect things at home actually enjoy collecting for fun.  But those cubicle 
workers who collect things only in the office mention that it was not suitable for their 
home environment.  Since they find it to be tacky, whimsical, and they remind them of 
work.   
Mainly, this survey was to obtain suggestions about what kind of characters and functions 
they would like to see in a toy for cubicle workers.  A majority chose animals as their 
favorite characters compared to human-like characters.  Also, they ranked the top three 
character styles to be realistic, scary, and abstract.  Some of the functions they suggested 
were to hold office supplies, personal toiletries, and engage interaction with other people. 
 
 
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5.4 Product Positioning Map 
 After conducting the user research, the next step in the design approach is to 
create a product positioning map. A product positioning map is a grid map used to pin 
point products that have accumulated or not accumulated in certain areas of the grid map. 
The product positioning map is used in this thesis in analyzing the custom toys found and 
functional toys.    
 The custom product positioning map is to analyze what kinds of toys that the 
artists have created.  The product positioning map for custom toys is shown in Figure 38.   
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Figure 38: Custom Toy Positioning Map 
 From the product positioning map for custom toys above, the map shows on the 
lower left quadrant that these custom toys have been graphically painted on.  It shows 
that these graphically custom toys are not functional thus making it become more as an 
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art piece.  Also in the lower right quadrant, the toys are depicted as art pieces only that 
they have been modified by adding accessories or attachments.   In the upper right 
quadrant these custom toys have been modified to at least have one or more functions 
such as lighting. However in the upper left quadrant, there are hardly any customs that 
exude functions having painted graphics.   
 The next product positioning map is for functional toys especially appealing to 
adults. The functional toy positioning map is shown in Figure 39.  
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Figure 39: Functional Toy Positioning Map 
From the functional toy positioning map, most of these toys are electronic toys. These 
electronic toys are found on the right quadrant of the map.  The multi-functional 
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electronics toys found in the upper right quadrant of the map have functions like playing 
mp3 songs, lighting, and connecting to computer devices.  The single function electronic 
toys found in the lower right quadrant of the map are mostly usb flash drives.  On the 
right side of the quadrant, these toys have functions but are used also for decorative 
purpose. Especially the toys in the lower left quadrant, these toys can be found in the 
office workplace such as the tape dispenser snail and the hedge hog magnetic paper clip 
holder.  On the other hand, there are hardly any decorative multi-functional toys which 
are on the upper left quadrant.  
 Overall, the product positioning map showed which kinds of toys are popular and 
unpopular.  First, the custom toy positioning map was to find which kinds of custom toys 
are popular and then analyze which of these popular custom toys can be applicable in 
designing a new toy to adults.  The popular custom toys were graphical, accessorized, 
and functional.  The functional custom toy proves that there is potential market in 
analyzing what kinds of functions and features that the artist has integrated into these 
custom toys. Therefore, the functional toy positioning map was created to find the gaps in 
these toy markets. From the map, it was evident that there was a gap in the decorative 
multi-functional toy market.  This was very crucial because most cubicle dwellers 
suggested several functions for their toy design.  
 
5.5 Comparative Product Chart 
The comparative product chart has been used as a designer strategy in 
investigating current products in the early stage of the design process.  For this thesis, the 
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comparative product chart was used to compare possible functions from products that 
adults use which could be applied to the functional toy designs for adults.  The chart 
created for this design approach is shown in Figure 40. 
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Figure 40: Comparative Product Chart 
The chart will be helpful in comparing the strengths and the weakness of the 
functions that the product has.  The strengths of the product function are features maybe 
integrated into the toy design.  The weaknesses of the product function are maybe needed 
to be modified in the toy design.  The potential changes will suggest some things that 
may need to swap, modify, and integrate into the toy design.  The chart in Figure 41 is 
applied to the thesis project. 
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Figure 41: Comparative Product Chart - Product Functions 
 The chart compares four products which are a vending machine, a toaster, a 
refrigerator, and a washer. It determines that the vending machine had more functions 
that can be applied and modified into a toy design functions.  Functions that store and 
organize snacks in the vending machine can be replaced with office supplies that the toy 
design can hold. Also, the dispense function can add some quirky fun qualities to the toy 
design.     
 
 
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5.6 Character Design Flow Chart 
 The most important step of the thesis approach is character design.  Character 
design gives the theme of the toy?s aesthetics and form. But it can be very broad as there 
are so many varieties of styles and forms of character.  This can be very confusing in 
choosing which styles and forms to develop.  This is why user research was done in order 
to understand which characters the people may like.  A flow chart is created as a guide to 
decide which type of characters to pursue. The flowchart is shown in Figure 42. 
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Figure 42: Character Design Flow Chart 
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The flowchart is to insure the character design is suitable for the adult market.    The 
chart guides through these following steps:  
? Put together a list of character types.  Whether it is an animal, robot, monster, 
alien, etc.   
? From the user research, use the data from the interviews and the surveys to 
narrow the most popular characters.  
? Decide on the character type base on the most popular votes. 
? Create a list for character styles.  Whether it is cute, scary, satirical, cartoonish, 
etc.   
? Use the data collected from the user interviews and surveys to narrow the popular 
character styles.   
? Decide which character styles are suitable.   
? Pursue the character type and style chosen and begin developing.  
 After choosing which character design to pursue, all the approach steps up this 
point will be gathered to set a design criteria for the toy development.  
 
5.7 Design Criteria 
 Design Criteria sets the requirements on the restraints and qualities in designing a 
product.   The criteria can optimize the design for the human, the technical, the 
production, and the marketing function for the users and producers.  These criteria 
functions are compiled from the previous research and approach outlined.  For this thesis, 
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the criteria will cover the features needed to design a toy successful for the adult market.  
Figure 43 shows the criteria for a cubicle toy design.   
 
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Figure 43: Performance Criteria - Cubicle Toy 
 
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CHAPTER 6 
 DESIGN DEVELOPMENT 
 
6.1 Overview 
 This chapter will demonstrate the approach outlined in chapter five as an example 
of how successful the approach can be when applied properly.  This project will depict 
explanation for each phase of the approach.  It will also detail the exploration of concepts 
and explain the process of taking a concept to the final prototype. As well, the method, 
style, and materials employed were selected due to a knowledge and familiarity of them.  
If another designer wishes to follow this example, be aware this method is not universal 
and can be modified to fit the designer?s own comfort and abilities.  From this method, 
other designers can learn a new paradigm of user-centered and user participated design 
process. 
 
6.2 Idea Sketching 
 Visual communication is a key component of any designer?s abilities.  Sketching 
allows the designer to illustrate his/her ideas.  With all the research that has been done, 
one must be able to support an idea or a product will never be produced. Now that a type 
of product has been selected the sketch phase begins.  A free and loose style of sketching 
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is used to capture the feel of the product and how it will be used, without taking large 
amounts of time on one idea.  The more sketches that are produced, the more ideas can be 
generated.  
6.2.1 Brainstorming 
The brainstorming sketches illustrate the character designs and product 
functionality created from the approach. These sketches are then further developed into 
two phases of concept sketches. 
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Figure 44: Function Concepts 
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Figure 45: Thumbnails of Character Designs 
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6.2.2 Concept Sketches Phase One 
 The following sketches in Figure 46 and Figure 47 illustrate the vending machine 
functions integrated into the animal?s body.    
 
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Figure 46: Turtle Sketch 
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Figure 47: Armadillo Sketch 
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6.2.3 Concept Sketches Phase Two 
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Figure 48: Turtle Concept  
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Figure 49: Cat Concept 
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Figure 50: Armadillo Concept 
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6.3 Form development 
 The concept sketches act as a guide in building the concept into a product. Once a 
sketch has been selected, the sketch will be processed into a computer model in 
understanding the design in three dimensions. After the model has been examined, the 
next phase is refining the concept computer models.   
 The armadillo concept is chosen because its shell can be easily integrated into 
vending machine functions.  The shell can organize and store small office supplies. In 
developing the form, studies were done on an armadillo?s anatomy and distinct features 
shown in Figure 51.   
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Figure 51: Armadillo Study  
These studies were to help to refine the sketch concept and add more characteristics to 
the computer model.  Some characteristic feature was incorporating the armadillo?s long 
snout into the computer model.   ?
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Figure 52: Computer Model 1 
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Figure 53: Computer Model 2 
The computer model was further developed into three different armadillo 
characters.  Each armadillo will hold a trash bin, a coffee cup, or a tea cup which the 
office item will dispense into.  
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Figure 54: Armadillo with Trash Bin 
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Figure 55: Armadillo with Coffee Cup 
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Figure 56: Armadillo with Tea Cup 
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6.4 Concept Refinement 
 The next phase in the process is the concept refinement stage.  In this stage, 
revisions are made on the computer model based on consumer feedback from the initial 
concept sketches and models. 
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Figure 57: Armadillo with Trash Bin Refined 
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Figure 58: Armadillo with Coffee Cup Refined 
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Figure 59: Armadillo with Tea Cup Refined 
 
6.4.1 Applications of Designer Toy Subculture  
 The applications of designer toy subculture are incorporating the vinyl toy 
aesthetics and the customizable capabilities into the armadillo toy design.  The aesthetics 
of vinyl toys are known for their smooth clean look which was applied to the armadillo?s 
overall shape. The armadillo?s body is kept white in allowing the users to customize.  Just 
like the custom vinyl toys, the armadillo?s body can be painted, drawn, add decals, and to 
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whatever the user?s desire to make his/her armadillo unique.  Figures 60-62 show the 
blank template for each of the armadillo design.  
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Figure 60: Custom Template for Trash Armadillo 
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Figure 61: Custom Template for Coffee Cup Armadillo 
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Figure 62: Custom Template for Tea Cup Armadillo 
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6.5 Final Design 
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Figure 63: Final Designs 
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Figure 64: Final Design 1 in Cubicle 
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Figure 65: Final Design 2 in Cubicle 
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Figure 66: Final Design 3 in Cubicle 
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CHAPTER 7 
 CONCLUSION 
 
7.1 Closing Summary 
 Chapter one introduced an emerging toy market which was designer toys.  It also 
described the origins and types of designer toys.    Chapter two focused on the toy market 
trend from the past few years.  It discussed that the toy market was categorized into three 
demographic groups which are kids (15 and under), teens (15 and above), and collectors 
(18 and above).  It was found that there was growth in the toy collector market. Chapter 
three researched further into the collector toy market in understanding the collector?s 
passion and the different types of collectors there are.  Chapter four described the 
designer toy subculture in understanding the passion of the community and how it 
influences others.  It mentioned the roles of each community in the subculture which are 
artists, toy collectors, and toy companies.  Chapter five outlined the approach developed 
from the previous studies on toy collectors.  The approach included user research of 
surveys, interviews, and observations along with other design research methods.  Chapter 
six detailed the project modeled from the approach in chapter five. This chapter included 
the final project shown in both computer and physical model.      
 
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7.2 Implications and Applications of Study 
 The approach was created for designers to develop toy designs with practical 
functions and suitable for adults by incorporating elements from the designer toy 
subculture. In this thesis, user participation was heavily focused on to understand their 
wants and needs.  This will be beneficial in the character design process as the users? 
most favored character will become the focal design of the toy.  Compared to the 
methods used in designer toys, most character designs are designed based the artist?s own 
subjective style.  The users? input will help generate more ideas on what practical 
functions the toy could have.  The approach will also aid for other collector toy market in 
creating toys with practical functions.   
 
7.3 Recommendations for Future Study 
 Future studies are still needed to be done on the collector toy market and the 
designer toy market.  There are other collector toy markets besides the cubicle workers 
explored in this thesis. These other collectors may have different wants and needs based 
on their values, backgrounds, culture, etc.  The designer toy market is still fairly new 
compared to traditional toys.  New toys are still being released by new and upcoming 
artists and designers.  These toys? aesthetics and style could affect a new trend.  The trend 
should be studied and followed closely as the designer toy further transitions into the 
mainstream market. Overall, the challenge is to keep up with the ever changing trends in 
which further research is encouraged in this study. 
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