Making of... Look, Touch, Learn
Look, Touch, Learn is a series of books designed to make tummy time
more stimulating. Supervised sessions that allow a baby to spend
time on their stomach can help strengthen their muscles. As the
duration of the sessions gradually increases, these books can
provide babies with an entertaining distraction and opportunities
to bond with parents and guardians. In order for this to work
effectively, the books needed to be accessible to young eyes.
Throughout the process, Professor Anna Franklin (director of The
Sussex Baby Lab - www.sussex.ac.uk/babylab) provided insight based
on valuable research that she and her colleagues have carried out.
Volunteers who have participated in the studies carried out by
Sussex Baby Lab have helped to make these books engaging and
meaningful.
Below are the key areas in which Baby Lab’s findings informed the
design:
Colour and Contrast
The specific colours used in the books have been chosen on the
basis of research on babies’ colour vision.
Newborn colour vision develops rapidly; they can see big intense
blocks of cherry red colours from a few weeks old. Cherry and teal
are visible to babies before chartreuse and violet, which are seen
later, from 2-3 months. The Editorial Team saw the potential for
the books to grow with the baby; as their eyesight develops, more
and more of the illustrations are revealed.
A maximum of three colours were used per page, as simplicity and
contrast are important to how babies see the world.
Shape and form
Findings by the Baby Lab made it clear that the shapes aimed at
babies aged 0-6 months needed to be simple, and that babies found
curved lines, like those found in nature, more interesting.
Similarly, natural scenes and patterns, such as fractal designs are
fascinating to babies, so each book in the series has been based
around a calming aspect of nature. Professor Franklin’s research
has highlighted the fact that babies with immature vision are drawn
to elements that break a pattern, so the books contain some
examples of this – can you spot the odd one out? A large part of
this research was a result of non-intrusive eye-tracking studies
carried out by Sussex Baby Lab. Heat maps reveal how long a baby’s
eyes rest on something, and what they take in first.
You may have noticed that the pages in Look, Touch, Learn show
close-ups of something alongside a pattern showing the object or
creature in context. The full illustration provides adults with a
conversational prompt, to encourage bonding and engagement.
Tactile Elements and Light
Children respond well to multisensory elements. Sand varnish was
used on many pages because it has a texture that’s pleasing to eyes
and fingers, and it can also make a noise when rubbed and
scratched.
Light was also a key consideration; it bounces off the foil
elements and peeks through the gaps around the swinging discs. All
of this is great fun for a baby!
The eye-catching moving disc is an element that can grow with the
child; initially, it draws a baby’s attention and as their motor
skills improve, it gives them something to interact with.
Stages of Production:
The Child’s Play team decided to produce a series of books that
were suitable for very young babies and ideal for Tummy Time. They
wanted the books to be designed using the latest science on baby
vision.
Child’s Play approached Sussex Baby Lab and asked Professor
Franklin to be a consultant on the project. They submitted very
rough first visuals for her to comment on.
Professor Franklin answered questions, shared her findings about
how early vision works and commented on the initial sketches.
The Child’s Play Team asked Charlotte Archer to illustrate the book
using the recommended colour palette and favouring curved
lines.
During the design stage, Child’s play carefully selected tactile
materials that were appropriate, safe and economic enough that the
book’s price could remain accessible.
Once mock-ups were prepared, they were sent to Sussex Baby Lab,
where Professor Franklin provided feedback on the dummies.
Child’s Play incorporated this feedback into the next drafts and
continued receiving feedback from Professor Franklin as the final
versions took shape.
The designs were sent to a printer in China, where they printed the
book in a concertina format and added the tactile elements.
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