Ergonomic Design: Othmar Muehlebach's "Animo"

"Animo", a word with several translations including "to encourage", "thought", "inclination", and "spirited" is the name given to the sewing machine design featured above.  Most of these words' meanings, whether intentionally applied or not by Swedish designer Othmar Muehlebach, match what the design achieves ergonomically.  By analyzing the design elements of the Animo, it will be shown that its design fulfills the five areas of ergonomic research: safety, comfort, ease of use, performance, and aesthetics.


First and foremost is safety.  Without question, the needle is the most dangerous part of a sewing machine as it can pierce the skin.  As the needle is attached to a motor, beneath the needle would be the worst place for a finger to get stuck.  This would be a probable occurrence with older sewing machines which had no presser foot.  The featured presser foot above is rounded and looks like a pair of large pantaloons protecting the user from the needle.  The "pantaloons" presser foot is thicker than most presser foots which typically appear like this:

This thickness provides a good barrier for sewers' fingers to bump into which warns them that their fingers may be getting too close to the needle.  It also serves as a good guide for sewing straight.  Because fingers can comfortably rest up against the sides of the foot, there will be less estimation needed of the distance between the needle and the fingers.  The rounded quality of the presser foot is continued throughout the design creating a comfortable work station for the user.

Comfort, the second area of design research is extremely important for activities like sewing where the hands and arms are constantly being used.  Many sewers hunch over the machines to get a good look at what's happening under the needle and to also get a good grasp on the fabric.  Because the right side of the walnut wood surface utilizes a diagonal, users can comfortable rest their right arm in a more natural position when holding and feeding their fabric through the machine.  Normally, sewer's arms are parallel to one another which can create a tenser and less ergonomic position.  The rounded qualities of the walnut surface and overall machine are also comfortable to rest one's arm on.  In addition, there are no sharp edges to impede the flow of the fabric through the machine.   These summarized elements: the diagonal and rounded edges greatly increases productivity and the overall usefulness of the machine.

It is important to note that the five areas of design research overlap and intersect as the discussed safety and comfort of the machine already contributes greatly to the third area: ease of use.  When the machine is safe, people feel more comfortable and at ease using it.  When the machine is comfortable, it becomes easier to operate.  An element that has not been discussed yet is the large touch screen where sewers can easily see and pick their options for stitches, knotting, stitch length, etc.  As seen on the back of the machine, the cord is easily stored in the back of the machine taking up no extra storage space.  The thread, which sits on top of the machine offers quick accessibility for changing colors.  In my home machine, the thread sits inside the machine in a horizontal fashion.  Changing out the thread hurts the wrists as you have to cock your wrist to fit into the compartment to pull the thread out.  These small changes make a huge difference in the performance of the product.  

Performance is the fourth area of design research.  Aside from the elements already covered, the convenience of the detachable extension table which also double as a compartment increases the machine's productivity because it can hold several replacement thread, foots, needles, etc.  The easy accessibility discussed earlier is another large portion of its performance.  The walnut wood surface, as stated by the designer represents high value and sustainability.  This implies that the machine is made of high quality and environmentally friendly materials.

The fifth area of design research is aesthetics.  Aesthetics is subjective, however to many Muehlebach's design is pleasing to the eyes.  Most ergonomic designs are bulbous and not aesthetically pleasing because it is a designer's challenge to meld ergonomics and aesthetics together.  Muehlebach does this flawlessly.  Mixing the silver with the walnut wood creates a nice contrast.  The minimal use of color creates a simple appearance which reflects the ease at which sewers can use the product.  The large screen eliminates several buttons which could make the appearance a bit messier.  The storage facilities create a streamlined look.  The diagonal of the wood surface is also more welcoming than the average machine.

Othmar Muehlebach's design "Amino" is a showcase and execution of thoughtfulness as the contemporary is skillfully mixed with the ergonomic.  In addition, the design encourages other designers to think similarly and to create in a way that is considerate of the human body while also being pleasing on the eyes.  Almost in a checklist manner were the five areas of design research covered and each box has indeed been checked.

Photos from: http://produktgestaltung.ch/WordPress/?page_id=6

Word & Image: Book Covers of Buddha by Osamu Tezuka

Book covers are a great example of how word and image work together to create interest for the viewer through mystery.  This mystery intends to pull people in to want to pick up the book, flip through its pages, and, hopefully purchase it.  Above is the cover of Volume One of Osamu Tezuka's Manga series Buddha.  In a previous post I discussed how word and image can work extremely well together when there is an apparent connection.  However, in the right setting, the combination of word and images when there is no apparent relationship can also be effective.  Word and image should work together for advertisements.  Book covers are advertisements, but the non-apparent relationship between word and image works in these circumstances because of the mystery factor.  In fact, book cover designers can us the expectation created from words to shock and interest the viewer.

The above image was picked because when the title Buddha is seen, people often expect to see the traditional image (seen below) or something along spiritual lines.  Instead of an image of the Buddha, we see an emaciated man holding up a rabbit to the sky.  Behind him is a beautiful background of sparkling and glistening stars.  This juxtaposition of glamor against non-glamor already creates an interesting image.  The juxtaposition of the entire image against the title creates more intrigue.

Of course connections can be made between this man and the story of the Buddha, but the point is it that this image is fairly unexpected.  Because word and image do not completely match up in a clear way, it makes readers want to find out how they connect.  To do so, they must read the book! Mission accomplished by the book cover.

First image from: http://www.amazon.com/Buddha-1-Kapilavastu-Osamu Tezuka/dp/193223456X/ref=pd_bxgy_b_img_a
Second image from: porchlight.ca

Smart Commercial Design: Predator & Prey Exhibits

At the Milwaukee County Zoo

Although there is ample discussion of whether predator-prey exhibits are healthy for zoo animals, for commercial purposes, these exhibits are smartly designed.  These exhibits make the animals more lively as the predators can smell and see the prey close-by.  For many zoos, having lively animals is something that can not always be produced.  To protect the prey from the predators, an empty moat, invisible to zoo visitors, sits between the two species.  One sits in foreground and one in the background exhibit areas.  In addition, these exhibits represent a more realistic view of the animals' habitats as these exhibits are larger and show different species of the same continent living in close proximity.

For visitors, these exhibits are exciting.  Visitors of zoos and museums like to be taken away from the everyday world when they enter museums and zoos.  It is a much less expensive safari and a way to see things that are out of the ordinary for many.  Visits become all the more better when exhibits help you feel as if you are in another country and watching these animals' predatory behaviors.  People can forget that they are in a zoo.

At the Milwaukee County Zoo

What also makes these exhibits exciting is that the moat separating the two species can not be seen.  Unknowing visitors can be scared that the Amur tiger may become so enticed by the smell of the Bactrian camel that it will take a running leap into the foreground exhibit for some hunting.  Even just from the images above I am scared for the Mule Deer.  The Brown Bear seems to be looking directly at it as its next meal.  Ah, to experience "the wild"!

Photos from: http://www.zoochat.com/22/review-milwaukee-county-zoo-152750/

Word & Image: Worldwide Foundation Print Ad

Whenever word and image are cleverly married, the use of a metaphor is often employed.  Above is a minimalist print ad from the Worldwide Foundation.  Can you guess fairly quickly what their main message is? Most likely.  Advertisers and marketers often strive to create ads that are clever, yet not too clever to stump potential viewers.  In order to do this, they find images that are universally recognized and apply it to whatever product or message they are attempting to send.  The use of metaphor acts as a puzzle for viewers and the text serves as another clue to the association between the image and the company or organization the ad is for.

Tic tac toe is a game of choice, strategy, and thinking ahead.  It is a game people usually play in their past time, not competitively.  The WWF takes advantage of this casualness and puts a more serious spin on the passively played game.  X's and O's are substituted with sharks and bowls of shark fin's soup.  After staring at the image for a few seconds, one understands that this particular game is not necessarily fun, but extremely important.  As our eyes naturally move downwards we see the text "It's your turn."  This lets us decide what's more important, a delicacy soup, or the well-being of a beautiful fish.   

Why is this ad effective?  Let's put it this way.  If the print ad stated "10 million blue sharks are killed annually for shark's fin soup", it would take longer to comprehend.  Though it would present a horrifying statistic, it is hard for people to put this in perspective, especially if the viewer believes there are an abundance of sharks still in existence.  The image summarizes so much conversation and facts that it saves viewers from statistics or facts that would clutter the ad.  

The image tells us that we need to be careful what we choose.  Just as in tic tac toe, it is easy to pick boxes without much thought because losing a small game is not a huge deal.  We pick boxes and don't always think ahead.  This ad tells us that our choice matters more.  It tells us that we can easily help the cause and boycott shark's fin soup just as easily as we can ask a waiter to fetch it at a restaurant.  The image puts our choice into perspective and the ramifications of choosing the soup.  The text "it's your turn" places more responsibility on us and lets us know that we do have a choice and can help.  Finally we see the WWF logo and fully understand the cause and link it to the WWF.  This association will occur in our brain in a matter of seconds, much faster than if we had to read more text.

As seen here, word and image can be so effective when they exhibit a symbiotic relationship where they feed off of and clarify one another.  

        

image from http://www.penn-olson.com/2009/11/30/14-brilliant-minimalist-ads/

Heightened: The Cabinet of Dr. Caligari (1920) - form & content

(Hello readers! Beware that spoilers for the film The Cabinet of Dr. Caligari reside in this entry!)

Based off the form of first few minutes of the 1920 silent film classic The Cabinet of Dr. Caligari, audiences get a good sense of the film's upcoming content.  The Cabinet of Dr. Caligari is a story narrated by a man named Francis who describes a strange flashback of a Dr. Caligari and his somnambulist Cesare who prophecies Francis' imminent death.  Throughout the film, we are led to believe that Caligari is insane and training Cesare to commit several town murders. But, in a twist ending, we find that Francis' flashback is really a fantasy as he is an asylum patient with his doctor named Caligari.  In my opinion, the best word to describe the film's aesthetic is 'heightened' in the sense of physically making something higher and in intensifying something.  The set design, title cards, and character make-up embody and compose the heightened quality of the film.

The title card font is jagged and uneven where strokes progress from thick to skinny or vise versa.  The text is also not centered, but placed closer to the top, higher than where text is usually placed.  This font and placement connotes certain audio characteristics and indicates to the audience that the dialogue sounds a certain way: creepy, suspicious, uncertain, shaky, etc.          

The set design is also jagged and warped creating a severely slanted perspective.  This perspective plays on the psychologically troubled characters and their strange, fantastical views of the world.  For example, in the picture below, the markings on the wall shape the set unevenly and strongly pull the viewer into the back of the room.  In addition, the window is not a perfect square.

Character make-up is another way form interacts with content. Jane's make up, shown below, lengthens her eyebrows and shortens her lips, which emphasizes the tallest area of the lips.  Similarly, for Cesare's make up also shown below, the lengthening of his eyes through the use of black eye liner again creates a long, dripping quality.  All of the elements described above create shapes that mirror the warped and strange content of the film.  This successful interaction of form and content helps to create one of the most classic and revolutionary horror films in cinematic history.

Photos from

#1: np.edu.sg

#2: www.afilmcanon.com

#3 & 4: www.homecinema.thedigitalfix.co.uk

Mass-Production: Au Infobars by Naoto Fukasawa

Photo from xenmobile.com

Cellular phones are frequently re-designed mass produced products.  And in recent years, after the release of the iPhone by Apple, many companies have been copying its design: a slim, sleek rectangular object with a large touch screen.  Innovative design is now rarely seen in the American phone industry because of the iPhone's immense popularity.  However, industrial designer Naoto Fukasawa strayed away from this common design and created the Au Infobars pictured above.  In many ways I find these phones to be superior in design to the iPhone.

Good design is simple.  Infobars, like iPhones capitalize on simplistic design, though a phone need not be a mysterious black box to be simple.  Fukasawa's phones have a beautiful line to them with minimal color scheme.  The color blocking on some of the keypads is seemingly random yet is also a controlled chaos that is simultaneously calming.  The shape is rectangular, but the edges are softened like a pillow so that the phone is extremely comfortable to hold and feel in the user's hands. 

Good design is also functional.  Based on these images, one can see that the buttons are easy to understand, and that the basic necessities of a phone are present.  The phone is 11mm thick making it a good size to fit into a pocket.  The buttons are large and easy to press which is often an issue for users of touch screens.  The length of the phone lets the user hold it in a relaxed manner.

Good design also has a unified quality.  The overall look of the phones pictured above as a collection is harmonious in color.  In addition, the shapes of the buttons are rounded and not harshly edged, just like the overall body of the phone.

OBJECTIFIED by Gary Huswit - Form & Content

Part of what makes Gary Huswit's documentary Objectified so interesting and successful in communicating its message is the way film's form interacts with its content.  Objectified shines a light on the creative processes of several industrial designers and the relationship between humans and the manufactured objects these designers create.  Within the first few minutes, the film clearly shows the audience that this is what it will be about.

The film opens with a couple of people going through their morning routine.  However, viewers only see the people's hands.  The camera mainly focuses on the everyday objects being used that humans often take for granted such as toothbrushes, faucet heads, plates, pans, utensils, and much more.  In doing this, Huswit places emphasis on the objects' usefulness, our dependence on them, and the success of each object's design.  People's morning routines are so habitual that we almost become automatized robots when we perform them.  The objects created for these routines are so well designed that they are easily used.  It takes no thought for us to grab a toothbrush or a pan and properly use it.  This is part of the goal of these designers.  As one designer states, his goal is to re-invent and improve objects without the users even noticing by creating objects that flow into one's daily experience flawlessly.

Also stated in the film is that we place a lot of meaning into inanimate objects.  Objects take on sentimental meaning by being the plastic fork one used on their first date or the magnet that your family loves.  By taking on meaning, objects develop a personality.  This message is the film's content.  The form or the way the title of the film is first shown gives each object personality as the "f" is a faucet head, the "j" is a toothbrush, and the "e" is a tape dispenser.

As discussed in the two examples above, the film's form, or the way Objectified was designed, emphasized and illustrated the film's content well. By not overtly illustrating the interaction of form and content, Huswit intelligently and clearly communicates his messages and ideas. 

photo from: www.objectifiedfilm.com