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About silhouettes

  Tanja Markies     02-06-2019     Comments (0)

About silhouettes What is a silhouet, what do you need to make one, how is it made and why are they so
often made both at home and in Steiner/Waldorf schools?

A silhouette is a translucent picture made out of layers of rainbow tissue paper glued onto
a sheet of tracing paper and mostly framed in a (black) cardboard double edge.
It is usually hung in a window or situated with a light source behind it.

Materials to use:

How to do it is strongly dependent on both age and skill. Young children can start off by
tearing off small pieces of coloured tissue paper and sticking them onto a sheet of tracing
Green grass at the bottom, blue sky at the top, small bright coloured pieces for flowers;
beauty is easily achieved through simple means!

However, one can make the most intricate and complicated silhouettes as well.
You can cut a silhouette out of (black) cardboard, or even figure-saw one out of thin plywood
(for the more advanced artist) and then attach a silhouette made with rainbow tissue paper
on tracing paper to its back, or between two layers.
Figures can be hand-torn or cut and even geometric patterns cut out of folded sheets of
rainbow tissue and positioned on top of each other can create depth in for instance the
figure of a(n) (ice) crystal.

Please click here for inspiration!

Creating silhouettes is a wonderful way to develop observation skills as well as a way to
experience nature and the world around them, especially for young children.
As you ponder how to create something you have thought up, and how, by adding layer
upon layer of paper you not only create a darker shade of the colour you are using but
also depth, you simultaneously stimulate and develop your inner flexibility as well as
your experience of form.
While at the same time developing sensory and motor skills.

It is also a wonderful way to experience the ebb and flow of the year as well as the seasons.
As you are in the process of creating something, your imaginative powers are awakened
and your thinking becomes more flexible and livelier.
And because you are involved in creating something, you connect with what you are doing.
You internalise the rhythm of nature as it were. And that gives a feeling of safety and belonging.

Thus you learn to perceive your environment, both internally through your imagination, and
externally through working on something tangible in a different way. A connection is being
made between what you see and experience, thinking of ways to translate it and subsequently bringing it into form.

In practicing new ways to create something, you experience form in an inner way as well.
And each step brings you to a new world of possibilities.
Thus the inner experience of form, from simple to complex, arises and creates the ability
to relate to complex processes and dilemmas.

With special thanks to Juul van der Stok and Mabel Slangen and all those who have created
the work we have borrowed from Pinterest and cannot find the names of!


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About Waldorf 100 and a personal story

  Tanja Markies     01-05-2019     Comments (0)

About Waldorf 100 and a personal story Waldorf 100: an occasion for a personal story.

The celebration of 100 years of Waldorf/Steiner education and anthroposophy
has caused me to ponder my personal love for the anthroposophical work fields.
After seeing Waldorf 100 The Film parts I and II I feel the need to not only share
these wonderful short films with those who have not yet seen them (at the
bottom of this page), but to share a few of my personal reasons to start Waldorf
Toys some 20 years ago.

I have always wanted to contribute to a better world for all and I feel that
anthroposophy in practice is a wonderful way to do my part.

Let me introduce myself: my name is Tanja and I was born in London in 1958
to an Australian mother and a Dutch father.
My mother and I moved to Amsterdam when I was 1 year old and when I was
4 years old I went to a Waldorf/Steiner kindergarten in Amsterdam.
I will never forget how I was chosen to be Mary in the Christmas Play and how
proud and pleased I felt.
My primary and secondary education however were in regular schools.

As soon as I finished secondary school I went to live with my father and his
family in Forest Row, England. My brother and sister went to Michael Hall,
a Steiner/Waldorf School, and they lived in Michael Fields, an organically
designed community with gorgeous copper roofs close to the school.

Again I encountered anthroposophy and I became inspired. After about a
year I got a job at Philpots Manor School, an anthroposophical institute
for mentally and socially challenged children. Soon I was house mother to
10 children.
I loved the children and I loved the work but I felt too young at 18 to be so
seriously settled.
A friend and colleague of mine wanted to go to America to visit a friend and
asked me to come along. We spent a month in Florida, where I met Stephen,
director of the United Farm Workers Union there. We fell in love and I
decided to go and live and work with him. Through him I came into close
contact with the African American culture in the USA. This was a totally new
experience for me. Both our work and our lives were strongly political as well
as pacifistic in nature and we were all volunteers. It was a deeply inspiring
and moving time and in 1980 we welcome the birth of our daughter Aisha.
Stephen and I sadly grew apart and I decided to bring Aisha back to Holland
with me.
When Aisha was a toddler and I went to investigate the schooling options for
her, it was clear to me that Steiner/Waldorf education would afford her the
warmest and most secure education.

When Aisha was 5 years old I fell in love with Peter, who had a 5 year old
daughter as well; Sonja. Peter and I have been together for almost 34 years
now and we consequently had Jennis (27) and Nadine (24) together.
Jennis was born with the Williams Syndrome and he moved to an anthroposophical
institute close to where we live about six years ago.
Before that, he was in anthroposophical day-care.
Nadine, like Aisha, went to the local Steiner/Waldorf school from when they were
toddlers to the 13th year of the upper school. Sonja lived mainly with her mother
and went to a Montessori school.

I was a stay at home mom and deeply involved in the school. I knew that my
active motherhood would be deep and for a prolonged period of time.
The desire to start doing some work from home grew. Since I was so enthusiastic
about Steiner/Waldorf education, the atmosphere, so recognisable in all the
different work fields, the wonderful materials used, the seasonal celebrations,
the high quality of everything, I decided I wanted to do something with those
wonderful materials and thus, about 10 years ago, I took over Waldorf Toys
from its creator and proceeded to learn the at the time very complicated ways
to maintain and build my web shop to what it is now.

I started out with our stock in the attic and the computer in the bedroom,
then moved to our renovated garage and finally, about 2 ½ years ago, I moved
my stock to Dipam Beeswax Candle Makers in Driebergen.

My enthusiasm for Steiner/Waldorf education continues to grow.
As a mother I would have dearly loved more background information.
I could feel and finally knew that there are reasons behind everything that is
being done.
So I decided to start making short films about anthroposophical work fields as
well as writing a monthly blog for Waldorf toys, in an effort to share some of the
philosophy behind things.

I am so very grateful to see through the Waldorf 100 films how Steiner/Waldorf
education is making its warm and cohesive contribution to individuals and
communities all over the world and across many cultures and religions.
That diversity is so naturally embedded gives me hope for a better future for us all.

Please click here to see Waldorf 100 Part I
Please click here to see Waldorf 100 Part II

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About Playing with Wooden Toys

  Tanja Markies     03-03-2019     Comments (0)

About Playing with Wooden Toys Play; what are the healthiest choices, how can we help our children play well, 
why is what they play with so important and why is play such an important
part of Steiner/Waldorf education?

Playing is fun and important for the healthy development of children and fun for
all ages as a way to relax and interact socially.
It is generally known that wooden toys are the preferred choice in many aspects.
The educational advantages of playing with natural materials are manifold.

There are countless ways to play, alone or with others. In an organized or planned
manner or as you go. Building a castle with wooden blocks, racing cars across the
living room floor, building a play house for yourself or for your dolls, the possibilities
are endless.
When we offer our children wooden toys to play with, as well as allowing them to
play with man-made materials, they get to feel the difference and experience a
freedom of choice as well.

Toys that leave room for fantasy and imagination without being too detailed or
sophisticated in both form and functionality lend a liveliness to play that is also in
a child’s nature.

Children have a flexible inner world by nature and when they play with natural
materials and simple forms, their imaginative powers are stimulated and awakened.
A simple block of wood can be a brick to build with, a castle wall, a doll seat, even
a loaf of bread.

And also, wooden toys last much longer as well as often gaining character through
repeated use.
Making a wooden toy together with children can be great fun as well.

When children play with natural materials such as wood, there is an intrinsic
recognition; both the child and wood are natural.
Wood has a pleasant temperature and its texture is recognisable through touch.
Toys that are not too detailed will stimulate children to determine what they want
to do with them or how they want to use them and thus help them to develop

When playing outside, children will easily conjure a person from a small branch
or a delicious item of food from an acorn.

When you play with something that is not specifically one thing, play becomes
more fluid. All kinds of stories can be acted out with a few blocks of wood and
they can be used in different ways each time.
A simple wooden car can either be a racing car or a family vehicle.

Children develop their fine motor skills increasingly as times goes by as well as
an increased attention to and an eye for detail.
When they have to use their own skills to create more detail with basically simple
forms, they often come up with the most creative solutions.

When children are offered highly detailed and elaborate toys, their fantasy
stagnates and they get bored much more easily.
This also happens when children play computer games a lot.
There is a kind of emptiness in their attention, because neither their imagination
or their liveliness is stimulated.

The choice of wooden toys is a responsible one from an environmental standpoint
as well.
The ecological footprint is much smaller than that of plastic or other man-made
materials. On the one hand because it is longer lasting, on the other because it
is biodegradable and is thus given back to nature eventually.
The use of bio degradable, non-toxic paints, oils and varnishes is standard and of the utmost importance as well.

Experiencing a feeling of freedom while endlessly using your imagination and ideas
is a wonderful contribution to a healthy development.
When we think of something and are then able to create it makes us feel part of a
world infinitely larger than our own inner world and that in turn can really help us
feel embedded in the bigger whole.
And the fact that we cannot guarantee a perfect result helps us develop our ability
to move with change in a playful manner. And that can really help us deal with the
challenges life can throw at us.

Waldorf/Steiner schools work almost exclusively with natural materials.
Playing alone or together helps children’s social development as well as teaching
them all sorts of necessary abilities and skills for a balanced development.
That way, both social and cognitive abilities are awakened and stimulated in
a playful way.

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About Creating a Seasonal Tableau

  Tanja Markies     01-02-2019     Comments (2)

About Creating a Seasonal Tableau What are a seasonal figures, how are they made and why do many Steiner/Waldorf schools
choose to celebrate the seasons?

A seasonal figure can be an animal, a human form, a fantasy figure or an object that gives
substance and form to a seasonal tableau or a seasonal corner at home or in school.
Such figures can be detailed and elaborate, very simple and basic, or a combination of both.
Making and using them can be a way to experience the changes in nature during the seasons
as well as a way to celebrate seasonal festivities.
There are no set rules, it is up to you how simply or elaborately you want to employ your

A small hand-made flower child, a vase with a flower or a branch on a table or a shelf can
bring the atmosphere of the seasons inside.
You can create a special corner or make or purchase a seasonal table and decorate it with for
instance thin cotton or fine silk cloths in the colours of the season.
Adding home-made figures or animals made of felt, wool or modelling beeswax, or treasures
found outside to it can all be a contribution to experiencing the seasons inside the home or
at school.
A bookstand with a picture book on it, a postcard or a poem can help create a special atmosphere
as well. The possibilities are endless, and it can be fun to think of new things to find or create

When you give your attention to the seasons and what is happening outside, collecting items
in nature to add to your seasonal tableau, you learn to perceive your environment in a different
way. By creating your own seasonal figures and looking for things you can put on display or create,
a connection is made between what you see and experience and how to go about finding or
creating your own rendition of it.
You become more aware of the processes in nature and thus you are more consciously
connected with it.
Your imagination and enthusiasm are awakened, and you want to create something beautiful.
Simple as well as more complex projects are wonderful to work on, alone or together.
By engaging in creating a seasonal tableau, you can connect with the time of year in an easy
manner. This gives especially children a sense of security and belonging.

By trying to work out how to create something you have thought up, you develop new skills,
and this helps you experience the seasons internally as well.

And working together to create figures or going outside to find beautiful things to make a special
and beautiful place at home can be a wonderful way to connect socially as well.
Actively experiencing the changes in nature challenges your ability to be flexible and adjust and
adapt to changes around you and inside you as well.
By letting go of the old and welcoming the new you get to practice these abilities in a playful way.
Both simple and elaborate projects are wonderful to be engaged in together.
It stimulates the imagination and enthusiasm to want to make something beautiful.
Children especially benefit from experiencing transformation not only in nature but also at home.
And everyone can join in!
Steiner/Waldorf schools celebrate the seasons actively. Usually each classroom and the main hall
in most schools have a seasonal corner to help give expression to and experience the seasons
and seasonal festivities. Thus giving the year a logical and natural sequence.
And that in turn can bring about a feeling of connection, of safety and of confidence.

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About Mandala Drawing

  Tanja Markies     31-12-2018     Comments (1)

About Mandala Drawing What is mandala drawing, which materials are needed, how is it done and why is it practiced in
many (Waldorf) schools?

The word Mandala comes from Sanskrit and it means circle or wheel.
A mandala drawing consists of circles, lines and a myriad of forms on a square piece of paper.
Mandala’s can either be very simple or incredibly intricate and everything in between.
Generally a mandala is started from the center of the page and then fans out equally to all sides.
This can be done in quarters and eighths etc. or in thirds and sixths etc.
Everyone is of course free to create their own variation.
In Waldorf/Steiner schools mandala drawing is part of geometry lessons in the upper half of
the lower schools.
You can draw a mandala freely by hand, use a ruler and compass, or colour in an existing
mandala drawing of course. Materials you could use are:


Techniques used largely depend on both age and dexterity.
A mandala can simply be a circle in the center of the paper with a few lines and figures
fanning out to the corners, or an ever more intricate drawing with many figures or symbols.
The purpose is not to draw the most intricate mandala necessarily, but to draw something
meaningful and enjoying the process of creating something beautiful.
The creation of a lovely simple mandala and then colouring it in can be a very satisfying
thing to do.

One starts off by drawing a circle or a geometric pattern in the middle, and then one can move
on to adding all sorts of more complex forms.
There are all sorts of examples to be found on the internet, and also in our
Eventually a combination of different figures can be combined into a gorgeous mandala.

Drawing stimulates inner flexibility as well as the ability to experience pure form.
And one develops sensory as well as fine motor skills along the way.
Drawing creates a strong basis for writing skills as well. Creating forms within a square
shape is a playful way to become familiar with geometric shapes.
And drawing geometrical forms creates a wonderful basis for mathematical abilities.
Drawing develops the imagination as well as creative thought.
Imaginative powers are conjured and the ability to visualise is awakened.
When you are creating form, you learn to perceive your environment and nature through
different eyes.
As you gradually develop your drawing skills, the character of the forms
you draw is experienced internally.
What happens when they are drawn separately?
Or when you combine different forms?
Or even draw one form within the other?
Children are well capable of experiencing the essence of form.
The very young start with maybe a small circle and the lines both straight and curved.
Then planes can be created through mirroring and symmetrical excercises.
Planes develop into circles, ellipses, squares and oblong forms.
All in harmony within the square shape of the paper.

From age nine children can draw circles by hand and divide them into two,
three, four, five, six, seven, eight, nine, ten, eleven and twelve equal parts.
Within those forms new forms materialise through mirroring and symmetry.

The hexagon and the six-pointed star within the hexagon are very special.
From those two forms all geometric forms except the square can magically be created.
Then all these complex forms can be used to create a well-balanced mandala.
Slowly the perceptual capacities that have been formed through the previous years now
come to fruition.
Thus the inner experience of form, from simple to complex, arises and creates the ability to r
elate to complex processes and dilemmas.
Mandala drawing by hand is of course the preferred method for reasons described above.
However, our
series of hand-drawn mandala’s by Lisa Borstlap can be a wonderful alternative.
They are lively because they are hand-drawn, and they make the activity of simply (or more
intricately) colouring in wonderful and satisfying.
Drawing Mandala’s on black paper is magical too. Suddenly you conjure colour out of darkness,
like on a chalkboard, instead of adding colour to a white plane.

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