Wednesday, July 23, 2008

Bunnies with Machine Guns: Cuteness and Irony

Want to be ironic? Just use cuteness.

Cuteness may normally contain the traits of innocence and harmlessness, but paired with something dangerous or illicit can make it funny. This is a popular motif in urban vinyl toys, pairing cutely designed characters with cigarettes, weapons and other items related to hip-hop/hipster/graffiti culture. Like a toddler wearing its father’s over-sized shoes, putting cuteness together with danger and destruction raises a little chuckle- and it can be disconcerting.



I’ve noticed that “cute irony” has risen in popularity in recent years. Urban vinyl toys are more popular than ever. There is also the curious phenomenon of “gothic cute”, pairing typical gothic themes of death and horror with cuteness- possibly influenced by the works of Edward Gorey.

Since I’ve been in a video game mood lately, I will observe how “cute irony” is used in the game [Portal]. Portal is a first-person shooter in which the player uses a portal gun to create holes in the walls and other surfaces of a testing laboratory in order to solve a series of puzzles.

While solving the puzzles, the player must dodge iPod-looking gun turrets (pictured above) that speak in [high, sing-songy voices] like a child playing hide-and-seek- while trying to kill the player. The eyeball-like spheres that make up the laboratory's murderous computer AI system, GLaDOS, are also shown as being [childlike] and inquisitive. Within the setting’s sterile white-and-chrome setting are little touches of cuteness that only heighten the isolation and terror the player feels.

Monday, July 14, 2008

Infectiously Adorable



Originally created as novelty toys, the [GIANTmicrobes] line of plush toys has become popular with doctors and health educators. The toys depict various microbes and viruses that affect human health, anthropomorphized with big eyes and humorous appendages associated with the diseases they cause. The plushie of Infectious mononucleosis (the "kissing disease") has [long, flirtatious eyelashes]; Necrotizing fasciitis, flesh-eating bacteria, has [a silver fork and knife] embroidered onto its body.

Because of the toys' friendly, cuddly demeanor, GIANTmicrobes have been very successful as health education tools. Prompted by requests from doctors, the company created a line of "professional" plush toys for public health education. These include HIV and Tuberculosis. The company states on its web site, "[W]e believe that GIANTmicrobes™ can indeed be used effectively to convey information about public-health diseases in a unique and memorable way" (1).

Perhaps one of the reasons these toys work so well as health education tools is that they give a more amiable face to disease, something that is normally feared and reviled by people. They're also humorous, lessening the negative impact information about these diseases could have. And people can relate to them more: the toys have facial features, they're soft and one can hold them and interact with them.


1. http://www.giantmicrobes.com/us/main/professional/

Wednesday, July 9, 2008

One Step to Cuteness: Add a Face


Image from [15 Shapes]. (Hat tip to [Drawn!])


Apples. Oranges. Candy. Clouds. Rainbows. All of these things are cute in their own right, but there is a very simple way to make them even cuter: Add a face to them.

Adding a simple, smiling face to inanimate objects has become a very popular illustration choice. It's a quick, easy way to make anything cute. Just a little smile and two bright, round eyes is enough to imbue any object with personality.

But it's not just any face. Studying a variety of these illustrations, the faces placed onto the inanimate objects are similar:

Eyes: The eyes are always flat black circles. There is no iris or pupil. The eyes are also spaced far apart according to the shape of the "head". This helps give the object a "benign", unthreatening appearance.

Mouth: The mouths can vary a bit, but they are usually either compact, staying in the center of the "face", or stretch wide across the width of the object. The eyes are also always placed at either end of the mouth- never above it.

Someday, I would like to do a little study of eye-mouth proportion and composition and which variations of this are seen as the most cute. *puts that on the to-do list*

Thursday, July 3, 2008

OT: Video Game Interfaces


I am spiraling into a video game binge, so updating may become sporadic in the coming weeks as I play through [Ace Attorney: Apollo Justice], [Metal Gear Solid: The Essential Collection], and [Shadow of the Colossus].

Colossus pushes not only my gaming buttons -one of the best I’ve played- but my design buttons. After playing other Japanese RPGs/adventure games -with their bloated charts and diagrams mapping everything from character, weapon and armor stats to potions inventory- the incredibly sparse interface of Colossus is a breath of fresh air.

The plot of the game is simple: The player controls a young warrior who has to seek out sixteen colossi. Not enemies other than these gigantic monsters exist, and the only goal in the game is to kill them. No side quests, no character development, no items to collect or buy, no real story line. The interface of Colossus matches the simplicity of the game: a health meter (for the player and the colossus), a box showing which weapon is equipped at the moment, and a circle that doubles as a grip and weapons strength meter.

It was a little alarming for me at first, being accustomed to complicated game play and information design. When traveling to the first colossus I spent a good deal of time riding around trying to find hidden potions or other items that would help me in my battles. But no- all I had was a sword and a bow to defeat the colossus, and nothing to help my health meter should I become injured. So in lieu of assistance from items or armor, the player relies only on they dexterity and puzzle-solving abilities when battling the colossi. You're pretty much left to your own devices.

This can be very scary and overwhelming at times. The colossi are huge, and move around a lot during battle, and the player is constantly in danger of being stepped on. The camera being from the player's POV adds to this sense of full immersion in the game. It's definitely different from most RPGs, in which the player and enemies stand politely on either side of the screen, taking turns exchanging attacks.

But, back to the interface. The lack of information cluttering the screen lends to an incredible sense of freedom in the game play. I've found myself just running around the expansive landscape for up to an hour, just exploring without the goal of finding anything (other than the colossus). Of course there is a map, but it's not needed for finding the colossi, really. And the beautiful design of the interface rewards players for getting lost and exploring.

So, uh, if you get the chance, get out this game. I was lucky enough to get it for $0.89 at Gamestop (using an $18 store card from trade ins). I also want to get a copy of its sister game, [ICO], but it's harder to find.

Monday, June 30, 2008

Moe: I’m in Love with Cartoon School Girls



Lucky Star figurines on my book shelf. Accompanying Fukumoto manga to combat loli vibes.



Being an avid anime fan, I am well aware of the phenomenon of “moe” (pronounced “moe-eh“) (1). Definitions of moe differ slightly from source to source, but simply put it’s an attraction to anime characters. Anime producers have capitalized on this by creating shows with characters that blatantly display popular moe characteristics.

While moe has strong connections to cuteness -the big eyes and small noses and mouths that are common to anime designs- cuteness does not always make something “moe”. But moe can elicit feelings of protectiveness from the viewer, similar to the way one would feel towards a helpless kitten or an infant. This also does not have to apply to human anime characters. Chi from [Chi’s Sweet Home] gives me feelings of moe (it’s also just that I love cats).

Moe, however, can also be defined a collection of characteristics rather than an overall character. Feelings of moe can be triggered by certain factors. For example, anime viewers can develop moe feelings for characters who wear glasses, or clumsy characters, or “big sister/big brother” characters. Oftentimes, characters are loaded down with these “triggers”, creating bloated character designs that can rival [Tetsuya Nomura]. [Here’s] an excellent article on this matter, using two characters from the series Di Gi Charat as examples.

One of the things that I love about anime and manga is that it is self-referential and self-critical. Numerous series have been created critiquing the moe phenomenon. One of my favorite series that does this is [Lucky Star], which does it in an extremely subtle way. It takes occasional jabs at the audience, “poking fun at them for finding this sort of thing titillating” (2). The main characters -four high school girls- display stereotypical moe characteristics -glasses, pigtails, clumsiness, [“tsundere”] personalities- but the plot of the show (or lack thereof) renders these characteristics incidental to the characters, not a critical part of the story. Instead of the typical plotlines of a lot of moe anime (e.g., falling critically ill, falling in love with boys), the viewer is forced to watch these four girls go about their daily lives in an almost “Waiting for Godot” fashion- attending classes, riding the bus, [talking about food]. It completely defies any expectations one would have from the design of the show, and I personally think it’s brilliant for doing so. It's like cock-blocking fanboys.

Now that I’ve completed outed myself as a sad dork, I will get back to writing about iPods and food.




1. http://en.wikipedia.org/wiki/Moe_(slang)
2. http://miss-arel.livejournal.com/195095.html?thread=1501207#t1501207

Monday, June 16, 2008

Book Review- Face Food: The Visual Creativity of Japanese Bento Boxes


Photo from the [Face Food blog]


My mild obsession with bento -cutely arranged lunches in portable, stackable boxes (think Lunchables, but healthy)- has lead me to purchase a bento set and accessories, and to pick up the new book [Face Food]. Written by Christopher D. Saylers, Food Face explores the wide range of "character bentos", or "charaben"- literally, rice, nori, vegetables and other foods arranged to resemble a child’s favorite cartoon characters. These painstakingly detailed lunches are the result of hours of work by a parent, for the sole purpose of the child’s enjoyment and nutrition.

Saylers interviews several charaben creators about how they got into the hobby and their reasons for making intricate boxed lunches. One interesting reason was concern over a child’s nutrition, battling against the wave of unhealthy pre-packaged snacks marketed to children. Charaben mimic the bright colors and characters of commercial snacks, but in a much healthier packaging.

I've briefly written about [bentos before], but Face Food got me thinking further about the connection between cuteness and eating- particular when it comes to getting children to eat well. The photographs of bentoes in the book come with a partial list of ingredients, and it’s amazing to see how boring or otherwise unappealing (to a child’s taste) ingredients can become cute and appetizing: green beans for trees, carrots for a penguin’s feet, ears made from hard boiled eggs. Integrated into a design, it effectively "disguises" the food without really changing it.

And that’s one of the major reasons for using cuteness in design. Cuteness can “soften the blow” of an object or concept -technology or food- to make it appealing to someone unfamiliar with it. So it makes perfect sense that this is used to get picky eaters to expand their palette and improve their health.

Wednesday, June 11, 2008

Cute Medical Equipment



Filler post for now! I'm planning on some new entries soon (a review of [Face Food] and an article on cuteness' connection to the [Uncanny Valley]), but I've been busy lately and haven't posted in a while, so here you go.

Medical equipment is typically cold, distance and clinical, white and gray boxy monstrosities that frighten off anyone trying to use them. But medical devices that are used daily, not under the supervision of a doctor, are changing this. It's important to foster a good relationship between a user and a life-saving medical device, so cuteness is often used to do this. One area in which this can be seen is home glucose testers for people with diabetes.

One company that produces home glucose testers is LifeScan. They've succeeded in making the testers smaller and easier to use and conceal. A product that demonstrates this is their "OneTouch" series, which require only the click a button to test blood glucose levels. The devices are small and resemble other electronics, like stop watches and MP3 players. The testers feature round shapes, making them easier to hold and use one-handed, and come in different colors, like deep blues and grays.

LifeScan's "UltraMini" series breaks away from this, though. One of the main selling points for the device on the company's website is that it comes in a variety of fun colors, like bright green and pink. "Take the dull out of diabetes testing," the website proclaims. The colors and improved shape - long and thin like a pen, to make it easily portable in a bag or pocket - help to foster user-product relations, especially for a product that does a painful, monotonous task.

Friday, May 30, 2008

Baby-Face Bias and the Volkswagen Beetle



Facial features that are considered "baby-like" are constant throughout cultures and even species. Baby-like faces are associated with "naiveté, helplessness, honesty and innocence", whereas mature features are considered authoritative and intelligent (1). These features are not just limited to character design. They can also be applied abstractly to make an object seem friendly and simple. For example, a computer or a television with a large screen (mimicking large, bright eyes) appears to be more "open" than one with a small screen. The front of the Volkswagen Beetle, with its large round headlights and smoothly arched front windshield, closely resembles an infant's face.

For more on the cute characteristics of the Volkswagen Beetle, check out this chart.






1. Jill Butler, Kritina Holden and William Lidwell. Universal Principles of Design. Gloucester, Massachusetts: Rockport Publishers, 2003.

Sunday, May 25, 2008

Cute 201- Cute vs. Quaint


I’m a big yard sale and flea market junkie. My apartment is filled with vintage knick-knacks I find odd or charming or -yes- cute. But looking at these objects again while conducting my research into cute design, I wonder if they can truly be classified as “cute”.

I think cute is often mixed up with “quaint” -those gold-painted plastic picture frames in your grandmother’s house, an olive green refrigerator, a retro can holder shaped like a Tootsie Roll- with “quaint” signifying charmingly old-fashioned or out-of-date.

Both cute and quaint exist within the context of weakness. Cute is helpless little puppies and babies who need to be cared for lest their perish in this cruel world. Quaint shows the weakness a design holds when it is no longer able to stand in the decades after its creation. An olive green refrigerator is quaint and charming precisely because it looks out-dated, and it’s amusing to think that such an item was once the cream of the crop (particularly in today’s world of spaceship-like stainless steel iceboxes).

But true cuteness relies on being fresh and new: just-born kittens and infants, whose cuteness will only fade as they grow older and mature. Cuteness seems to rely on naiveté a lack of life experience, while still being biological ingrained for survival. Kittens are cared for because they are cute, and then grow up into mature, independent cats. Olive green refrigerators are unable to stand up to decades of changing design sensibilities and become “quaint”, out-dated but still strangely lovable.

Saturday, May 24, 2008

Is Apple Becoming Less Cute?



Today I checked out the new Apple store that opened in downtown Boston. It’s a huge, glass-fronted facility, open and airy and covered with more stainless steel than a trendy restaurant kitchen. A clear glass staircase spirals up two stories through the center of the store, seeming to float in the air. It’s possibly to match the look and feel of Apple newest product, the Macbook Air.

I walked around the store for a little while, before noticing: Where is Apple’s cuteness?

Looking at Apple’s recently released products -the Macbook Air, the iPhone, the Apple TV- they are stripped of the bright colors and groovy shapes that made the iMac so popular and revolutionary. Indeed, the only bit of color really in the whole store was the row of cracker-sized iPod Nanos, amidst a sea of steel, white plastic and unfinished plywood.

What’s going on with this? What is changing in Apple’s market position to cause them to all but drop the bright colors and happy Rolling Stones music? I can see a few reasons for this:

1. Computers are a lot more common place now than they were even ten years ago. It’s not longer a question of owning a computer, but having the latest model, and consumers are becoming more knowledgeable of different brands and specs. Computers are no longer big technological monoliths, so it’s not necessary to make them look like pieces of candy so they won’t scare off hapless consumers.

2. I think it’s also an effort to make their products seem “serious”. Some criticism of the iMac G3 was that is was “baby-ish” and too “simple”- which could appeal to designers, but not so much to professionals and computer people. With Apple products constantly pushing the bar of what is technologically possible, it’s important to have their designs be open to consumers. And sometimes that means going to route of somewhat boring -but still clean and slick- white plastic and steel.

3. The monotone designs help the products look less disposable. With people changing computers every two years now, the cleaner designs of Apple make the products appear sturdier- physically and hardware-wise. It also places the computers in the realm of “tools”, rather than novelties (which was one of the selling points of the G3). Apple now seems to use color only on its iPod series, which makes sense: the iPod is small and portable, mostly used for entertainment.

This isn’t only an issue of color, of course. Apple still retains rounded shapes for a lot of its products, but it is constrained. This seems to be mostly for portability issues. A flat iPod or Macbook will be much easier to carry in a pocket or bag if it is relatively thin and flat, not rounded. And the rounded corners help prevent pokes and bruises caused by sharp edges.

Thursday, May 22, 2008

And now a break from design babble...



...to discuss kitten anime! Yes, two of my favorite things in the world -kittens and anime- finally come together in one of this season's newest anime series, Chi's Sweet Home. Based on the wonderful manga by Konami Kanata, it chronicles the cute, day-to-day adventures of a kitten exploring his new home and the surrounding world.

I heartily recommend it for anyone who likes cats or anime, or both. It's not licensed for release in the US, but you can check out the anime on Youtube, or Bittorrent [here].

Wednesday, May 21, 2008

Happiness Through Sustainability- Cuteness in Green Design


Green is in. Global warming grabs news headlines; auto makers are seeking to design efficient hybrid cars; organic food markets are enjoying a boost in popularity. Everyone is looking to “green up” their image.

And green is cute: bright colors and friendly, nature-inspired shapes, conveying a message of happiness and hope in sustainability. The biotech giant Monsanto changed its logo from a stern block “M”, to a spry little vine, growing upwards.

One corporation that has made a dramatic environmentally-concious change to its public image is BP (originally called British Petroleum). Up until 2000, their logo was a shield, reminiscent of old, hard industrial gas and oil companies. With the greening trend, BP sought to re-brand itself as a contemporary, progressive energy company.

What resulted is the “helios” logo, a radiating geometric flower done in hopeful greens and yellows. The new logo is expressive and memorable, symbolizing hope and dynamism, the message BP wishes to convey in this new environmentally-conscious age. Their tagline reads “Beyond Petroleum”, playing off of the initials in the corporation’s name.

BP’s new series of [television commercials] also convey this. A commercial of theirs from the 1980s used a lot of industrial imagery, such as big, heavy cars, airplanes and spaceships. The new commercials feature a colorful, fun animated world, pop music playing in the background telling us “to make the day a little better”. Several babies in a car, singing along to the music. They pass several dangerous-looking, run-down traditional gas stations, before pulling into a clean, white BP station, a shining beacon on the horizon. Anthropomorphized gas pumps fill up their car while whistling to the music. The style of the commercial is cute and cartoon-y, making the energy corporation appear friendly and approachable.

This cute approach to environmentally-conscious design is used with other consumer goods. This is perhaps done to get people to “warm up” to the idea of purchasing an environmentally sound product, to make it appear non-threatening and easy to understand.

Hybrid vehicles use cuteness in this way. While most auto makers try to have their hybrid cars look similar to their standard cars, there are some subtle differences that work to make the hybrid car appear “cuter”, but not “weak” or “wimpy”.

In 2004, Ford released its first hybrid sports utility vehicle, the Escape. While it looks remarkably similar to Ford’s other line of SUVs, it is differentiated in some ways to make it appear friendlier. The Escape was the first American-produced hybrid vehicle, so its design was most likely made to be less alienating to Ford’s existing customer base. The front bumper of the Escape was rounded and smoothed, giving up the “indestructible barrier” look that their other SUVs have. The body of the car also shortened slightly, making the wheels look bigger, giving it a “stout” appearance.

The Toyota Prius, however, flaunts it eco-consciousness. Released in 2003, it is the best-selling hybrid car today. Sleek and pod-shaped, it stands out from anything else on the road. It’s unique design is one of its main selling points. But to some, it’s smug and showy. The next incarnation of the Pruis looks to go further with the distinct, futuristic design of the 2003 Prius5. That car is shortened and the back rounded out. Windows stretch over the roof of the car, giving it the appearance of a futuristic spaceship.


Also, thank you to [Heroine Sheik] for featuring me on their blog!

Monday, April 28, 2008

Charting Cute



I've been super-busy working on my portfolio for college graduation, so I don't have any new content for this post. So instead, here are some charts I did as part of the research for the original project this blog is based on. The first one depicts a variety of cute products and their corresponding cute characteristics (which helped me to determine which cute characteristics were the most common); the second is the same idea but with Olympic mascots. Click to enlarge.

Thursday, April 17, 2008

Excerpts from the Design Benign book

Design Benign- Interior


I put up some photos of the book I originally created for this project, my senior graphic design thesis. Excerpts from the book are posted here, as well as new material as I continue my research into the subject of cuteness.

You can check it out [here], as well as my other graphic design work [here].

Saturday, April 12, 2008

Cute 101- The Taxonomy of Cute



Like beauty, everyone knows cuteness when they see it. But can cuteness be broken down to its basic properties? I compiled a list of what I found to be the fundamental characteristics of cuteness, what can be seen in anything from kittens to Volkswagen Beetles.

Symmetry- Symmetry and balance is one of the basic principles of any successful design. It is fundamental to human’s perception of the world. Faces that are symmetrical are considered more attractive than faces that are asymmetrical. Symmetry makes a design look stable and harmonic, simpler and easier to understand. Various electronics that employ buttons use symmetry to help make the layout easier to comprehend.

Simple Silhouette- Simple outlines are easier to read and understand than complicated outlines. They can also be easily remembered. Think of the shape of a Coke bottle or the silhouette of the Empire State Building.

Bright but Unthreatening Colors- Color is very important to design. Symbolically, it can indicate the function of something, like a warning or a “go” signal. Color can also bring life to an otherwise stall product. Bright colors are seen as fun and playful, but they should not go too far. A bight orange can be invigorating, but too bright and it resembles the color of prison jumpsuits.

Roundness- Round, fat shapes and bodies imply harmlessness, the opposite of threatening sharp angles and claws. Roundness is one of the fundamental properties of cuteness. Simply rounding the corners of an object immediately makes it look cuter and more approachable. Even something like the Hummer, in its transformation from military vehicle to consumer car, was “plumped up” a little. It still looks big and threatening, but “softer” for general consumers.

Simple Shapes- Like with the silhouette, simple shapes are easier to understand and recall. Simple shapes also imply simplicity in use, and an overall harmonious design.

Smallness- Small things are easier to control, so they seem less threatening. Like infants, small things inspire feelings of protectiveness by someone in a position of authority and power.

Facial Features Close Together- Babies have squashed faces, their eyes, nose and mouth close together, so this characteristic is considered “cute”. It is also seen in baby animals. However, the facial features must also be concentrated in the lower portion of the face. Facial features close together, but in the center of the face or top of the face just looks weird and threatening.

Large Forehead Area- Along with large eyes, a large, round forehead is the other main characteristic of a “baby face”. As a face matures, the facial features become less squashed together, so the forehead becomes smaller. Infant humans and animals also have heads that are proportionally larger to their bodies, so this characteristic is seen as infantile.

Small Nose- The nose is an awkward-looking body part, so having it minimized or gone altogether makes it cuter. Babies and infantile characters will usually have small, round “button” noses.

Small Mouth- Like the nose, the mouth looks awkward, so making it smaller transforms it into a cuter facial feature. A small mouth, or the complete absence of a mouth, could also represent that the character is less likely to speak up for itself. It will be docile and easier to control.

Small Ears- Last in the small facial features groups is ears. Making ears small and round makes them less noticeable, and therefore cuter. All of these facial features combined form to make a face in which nothing really stands out- there are not any surprises, so it is easier to understand and empathize.

Big, Bright Eyes- Big eyes are mostly associated with children and baby animals, so they signify innocence, honesty and happiness. People with large, clear eyes are thought to be trustworthy than people with small eyes.

Stubby Limbs- Short, stocky limbs are almost always found on infants and immature animals. As an organism grows, its limbs become longer and refined. Stubby limbs signify helplessness, clumsiness- like a toddler learning to walk. Sometimes, a cute character’s limbs will end only in stumps, not fingers or toes. This adds to the “helplessness” of the character, inspiring feelings of protectiveness in a viewer. It is also non-threatening, not having any way it could harm someone.

Oversized Accessories- Like a toddler wearing its parent’s shoes, small things paired with larger things are charmingly humorous. It’s an amusing façade, something small and weak trying to pretend it’s older and stronger. The larger object also emphasizes the smallness of the accompanying object or character.

Softness/Fur- Baby mammals are soft and furry. Baby humans typically have soft hair. Teddy bears are furry. Softness and fur imply friendliness and innocence- a cute, soft thing would never harm anyone.

Sunday, April 6, 2008

E. coli Never Looked Cuter



I think anything can be made to look cute. Whether it can be done free from irony is another debate. But it fascinates me to see how people’s reactions to a particular topic can change once it is made cute. This can be especially useful for educational purposes.

One area I’ve seen this happen in is microbiology.

Moyashimon (or Tale of Agriculture) is an anime that came out last fall (yes, I am an anime nerd). It follows the college hijacks of Sawaki Tadayasu, a teenager who has the ability to see microbes without the aid of a microscope. The microbes are depicted as cute one-inch tall creatures with eyes and who can talk (usually to annoy Sawaki). The show features a lot of information about the functions of various microbes, especially for food fermentation and sake production. These may seem like dry subjects, but the cute squeaking microbes make it very endearing and engrossing.

Then, of course, are the [GIANTmicrobes] plush toys. Originally created as novelty toys, they have been adopted by doctors and health educators to teach people about microbes. The fuzzy plushies are certainly more fun to look at and handle than illustrations in a science textbook, and the design of the toys helps to make the subject of dangerous microbes less alarming. GIANTmicrobes also has a set of plushies specially created for doctors to teach about common but deadly diseases, such as tuberculosis and hepatitis.

Friday, April 4, 2008

So Cute I Could Eat Its Face Off



Why does cuteness seem to inspire a mind boggling desire for consumption and/or destruction?

How many times have you seen a small cute puppy, or a stuffed toy, and had the sudden urge to squeeze it as hard as you could?

If cuteness evolved to insure the survival of infantile animals, why is there this bizarre parallel feeling for the destruction of cute things?

One area where this is seen a lot is food. Few things are fun as biting off the heads of adorable animal crackers or slowly gnawing away the body of a cute chocolate Easter bunny. Humans seem to have an insatiable desire to consume cute food items.

The Perfect Form of Cute: Cake
I’ll admit that I am a HUGE Food Network dork. My favorite show on the culinary channel is “Ace of Cakes”, a weekly documentary about the ins and outs of a specialty cake shop in Baltimore. The shop excels in making cakes that look like things that are not cake, and one area where they are especially talented in is making cute cakes.

Well, all of their cakes, to some degree, are cute. It’s difficult to be a cake and NOT be cute. A lot of the discussion by the employees on the show centers around the cuteness of particular cakes they are working on. But still- it seems strange to see these cute cakes -often in the forms of dogs and other animals- eaten voraciously by the people who order them. This is also commented on by the shop’s workers.

Bentos and Sweets
Japan, of course, has us beat in cuteness. This also applies to cute food. Bentos, beautifully arranged lunchboxes, are something of an art form in Japan. Sometimes taking hours to assemble by parents eager to please their child (and the child’s friends), bentos employ a host of tricks to make food cute: from flower-shaped vegetables, to hot dogs cut into the form of little octopi, to rice balls shaped and decorated to resemble favorite cartoon characters.

These cute arrangements serve not only to be visually appealing, but to be healthy. Parents observe how their children will eat more fruits and vegetables when the food looks cute and harmless (and often not like fruits and vegetables). The central idea of bento-ing is to take ordinary food and make it cute and attractive and easily-portable. Bento boxes and accessories are typically small and decorated with cute designs.

But no bento would be complete without a small pieces of candy included. I’ve been fascinated by candy manufactured in Japan for a few years, particularly the packaging. It follows the philosophy of self-containment and impeccable presentation. In a pack of fruit gummies, for example, each individual piece of candy (often a half-inch across) will be individually wrapped in brightly-colored wrappers. While this is practical, and a lot of Western candy follows this practice, Japanese candy differs a little. Western candies are typically wrapped in clear wrappers, so one can still see the candies. The wrapping on Japanese candies is opaque, printed with colorful designs. A lot more attention is paid to the presentation of the candy than the candy itself (though the candies themselves are very tasty).

Welcome to Design Benign!



Welcome to Design Benign, a blog for the study of all things cute in contemporary design.

My name is Nicole, your resident cute design analyst.

Design Benign started out as my Senior project in art school. It has since evolved into a somewhat obsessive research project.

Design Benign is about the who, where and why of cuteness in design, be it an iPod, a cute hybrid car, or a corporate mascot.

Cuteness is an important part of contemporary design and culture, one that deserves in-depth analysis and discussion.

Remember:

Hello Kitty makes over one billion dollars a year.

The Apple iPod had sold over 110 million units worldwide.

I Can Has Cheezburger gets 1,500,000 hits a day.

Cute is serious business.