Developed as an inclusive interface for elderly users, children, and people with limited hand strength or reduced hand function, it is designed as a combination of interchangeable grip modules with different forms and volumes. This allows users to select and assemble the configuration that best fits their own hand size and way of holding. Rather than relying only on the fingers, the structure distributes force across multiple contact points, including the space between the thumb and index finger as well as the back of the hand, creating a more stable and comfortable grasp. As a result, it goes beyond simply making a tool easier to hold, becoming a customizable grip system that respects different physical needs while improving autonomy, comfort, and long-term usability.
SCHERIA 2026
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Composed of 12 different forms, the system allows users to select and combine grips according to finger structure and grip strength for a more personalized fit. Each option differs not only in shape but also in tactile and support characteristics: horizontally striped structures use a firmer material to provide greater stability and shape retention, while vertically striped structures use a softer material to create a gentler touch and a more flexible grasp. It is designed for a wide range of age groups, from children to elderly users, and is organized to accommodate different pen lengths and usage conditions, with three main length categories as well as three general variations in thickness and length. As a result, it becomes an inclusive and adaptable grip system that responds flexibly to individual hand conditions and the specific characteristics of different tools.
Designed as a modular grip configuration for long pencils, this system helps users control a lightweight, elongated writing tool with greater stability and comfort. At the front, a slimmer curved grip allows the fingers to settle naturally into place, supporting precise writing movements and a lighter, more delicate hold. At the rear, a slightly thicker contoured combination adds volume and resistance to reduce rotation and unwanted movement during use, creating a more secure sense of support. A small spherical element at the top further adjusts the overall weight balance, giving the pencil a steadier and more composed feel in the hand. As a result, the design preserves the lightness and length of the pencil while enhancing precision, comfort, and overall control through a carefully balanced grip composition.
Developed for the metal braille stylus most commonly used by visually impaired users, the design supports both pressing force and front-end control within a single configuration. Because this type of stylus is typically operated by applying strong pressure from the rear, the back section features the largest spherical form, allowing the hand to grasp and press more easily with greater stability and force transmission. At the same time, a slimmer contoured grip is placed at the front to preserve positional sensitivity and precise control near the tip. Through this combination, the structure balances the need for strong downward pressure with the fine control required in use. As a result, it provides a more secure, comfortable, and refined grip experience while supporting the clear pressure input needed for braille writing.
Applied to a Crayola tool for children, this grip structure is designed so that even small hands with limited strength can grasp and control it more easily and securely. The main body uses a soft vertical grip that creates a gentle tactile feel and helps the fingers settle naturally into place, while a small spherical element at the rear supports the overall center of balance for a steadier hold. As a result, children can wrap their fingers around the tool without excessive effort, enabling a more stable, comfortable, and intuitive experience for drawing and writing.
Applied to a slim Plus Pen, this grip structure is designed to improve control by balancing firm support at the front with overall stability through the rear section. A rigid, mid-stage contoured form is placed near the front so the fingers can settle more securely, giving the thin pen a steadier and more confident hold without slipping. Slight additional thickness at the front helps distribute fingertip pressure more naturally during writing, while a rotational structure at the back adjusts movement in the hand and supports overall balance. As a result, the design preserves the delicate handling of a slim writing instrument while offering a more comfortable, precise, and controlled user experience.
The widely used 153 ballpoint pen has a structural characteristic that requires users to hold it closer to the front, since the rear section is reserved for the click-button mechanism. In response, the grip combines two spherical volumes, one smaller and one larger, to provide sufficient thickness and stable contact even within a shortened holding area. The smaller sphere at the front helps the fingers find a more natural position, while the larger sphere at the rear creates a broader support area for the palm and fingers, distributing force more evenly and encouraging a steadier grasp. This allows users with weaker grip strength or limited hand function to hold and control the pen more easily, transforming a familiar everyday writing tool into a more inclusive and comfortable object.
To provide more stable control over the weight and length of the Apple Pencil, a rotational grip is placed at the front so the fingers can pinch and guide it with greater precision, while a concave mid-grip is positioned toward the rear to distribute force more naturally across the back of the fingers and the inner hand. The front rotating structure helps users handle the tip direction more accurately during writing and drawing, while the rear concave grip supports the hand against slipping and improves overall holding stability. As a result, even a relatively weighty digital pencil can be used with less strain, offering a grip composition that balances precision, comfort, and controlled movement.
Designed to support safer use of a cutter, the structure places a mid-contoured grip near the front of the tool. It guides the fingers to remain naturally behind the grip, reducing the chance of the hand slipping toward the blade and creating a clearer boundary between the hand and the cutting edge. At the same time, because a cutter requires easy blade-length adjustment, only a single grip element is used so the sliding mechanism remains fully accessible and functional. As a result, the design improves safety without compromising the essential operation of the tool, forming a simple and practical protective grip structure.
The primary color concept of the grip design is derived from the restrained elegance and quiet dignity found in Joseon scholar culture. Soft porcelain whites, deep ink blacks, and muted browns and blue-gray tones drawn from wooden furnishings and scholarly objects are reinterpreted in a contemporary way, embedding the calm beauty and refined sensibility of Korean tradition into the product. More than a simple application of traditional colors, the design seeks to express a highly sophisticated form of modern luxury through disciplined proportion, material depth, and a subtle yet confident presence. The result is a premium design language in which Korean heritage is translated into a refined contemporary object with both functional clarity and sculptural value.
The color variations of the grip design reinterpret the restrained beauty and refined chromatic sensibility of Joseon scholar culture in a contemporary way. Centered on the quiet white of porcelain, the deep black of ink, warm browns associated with wooden furnishings and writing tools, and soft neutral tones drawn from earth and textiles, the palette brings a distinctly Korean sense of calmness and dignity to a wide range of products. Rather than functioning as decorative options alone, these color applications finely adjust the sculptural impression and emotional character of each grip form according to its purpose, elevating everyday tools into premium objects shaped by both cultural heritage and modern sophistication.
The grip package design reflects the understated elegance and restrained dignity of Joseon scholar culture through a contemporary lens. Rather than relying on decorative excess, it expresses a quiet sense of refinement through generous negative space, orderly composition, subdued tones, and delicate surface textures. Each grip module is arranged with the care of a treasured writing instrument or crafted object, elevating the perceived value of the product. More than simple packaging, it becomes a refined design experience in which Korean aesthetic heritage and modern premium sensibility exist in balanced harmony.
The metal ruler is designed with a gently lifted end, allowing it to be easily picked up from a flat surface with minimal effort, reflecting a universal design approach centered on everyday usability. More than a formal gesture, this raised profile reduces small physical burdens in use and turns the object into a tool that feels accessible and intuitive for a wide range of users. The measurement markings are also recessed into the surface, enabling dimensions to be recognized not only visually but through touch, expanding the sensory experience of measurement and responding to diverse user needs. In this way, the ruler closely aligns with the design philosophy of the grip system, combining refined functionality, tactile clarity, and the quiet sophistication of precisely crafted metal.
The plastic ruler design follows the same structural language as the metal version, while offering a more practical user experience through the inherent clarity of its transparent material. Because the surface beneath the ruler, along with lines, shapes, and reference points, remains clearly visible, it becomes especially effective for drawing, marking measurements, and aligning layouts with greater precision. While maintaining the same restrained form and balanced proportions, the design expresses a consistent identity across the series, with the material difference defining its distinct functional advantage.
The pin design features a dual-grip structure that makes insertion and removal easier and more intuitive. Two distinct grip zones naturally guide the fingers to the correct holding position, allowing the pin to be grasped and operated securely even with minimal force. Rooted in the philosophy of universal design, the form is developed to ensure ease of use for a wide range of users, transforming a simple fastening component into an object that balances functionality with refined form. Structurally, the restrained proportions and clear rhythmic repetition create a sense of visual order, while expressing a practical design language shaped around touch, movement, and accessibility.
The eraser design adopts a form inspired by the visual language of the grip, creating both philosophical consistency across the product line and continuity in user experience. Its layered structure gradually reveals new edges and surfaces as it is used, allowing both broad erasing gestures and more precise correction of fine details with greater control. Rooted in the principles of universal design, the form is shaped with careful attention to touch, handling, and accessibility, making it intuitive and comfortable for a wide range of users. More than a simple stationery object, it becomes a refined design solution in which form, function, texture, and usability are seamlessly integrated into a clear and distinctive identity.
Developed through simulation-based testing, the design evaluates how material properties, hardness, and applied pressure influence deformation and stress distribution in advance, allowing production feasibility and real-world performance to be predicted more accurately before mass manufacturing. By examining how grip elements with different forms, thicknesses, and curvatures respond to pressure, it moves beyond visual form-making to incorporate tactile comfort, structural stability, and manufacturing practicality at the same time. This process enables a balanced verification of form, touch, durability, and production efficiency from the early stages of development, resulting in a more reliable and refined universal design solution.
Reading the Structure of the Hand, Designing the Sensation of Use
Leonardo da Vinci’s study of the hand presents it not as a simple part of the body, but as a complex system in which skeletal support, joint articulation, tendon transmission, precise pinching, and stable support work together in balance. This insight suggests that product design should move beyond the creation of visually pleasing form and instead address how the hand moves at different angles, where force begins and how it is distributed, and how tactile perception and muscular tension shape the experience of use. Especially in products that come into direct contact with the hand such as writing instruments, small electronic devices, and hand tools it is essential to integrate delicate fingertip control, stable palm support, reduced fatigue during repeated use, and a sense of psychological comfort at the moment of interaction. In this respect, Leonardo’s anatomical perspective becomes a design principle that connects structural logic with emotional usability. Ultimately, good product design is not simply about making an object fit the hand, but about understanding the structure and mechanics of the hand well enough to create a balanced experience of function and sensation, precision and comfort.
[Image Source] https://www.rct.uk/collection/912616/studies-of-hands
Reading the Mechanics of the Hand Through Its Skeletal Framework
By analyzing the skeletal continuity from the shoulder blade through the upper arm, forearm, wrist, and fingers from multiple viewpoints, this study shows that hand movement is not produced by the fingers alone, but emerges through the structural chain of the entire arm. The systematic observation of joint axes, bone proportions, and the directions of flexion at the wrist and fingers reflects an attempt to understand the hand as both a sensory organ and a precise mechanical system. This perspective aligns closely with design studies, where form is not treated as a purely visual matter, but as an integration of structure, function, load transfer, and patterns of use. In the design of writing instruments and small tools, it is essential to consider not only finger grip, but also wrist angle, forearm rotation, and the overall tension of the arm. Understanding skeletal order, therefore, becomes a fundamental basis for ergonomic design.
[Image Source] https://artsandculture.google.com/asset/recto-the-bones-of-the-foot-verso-the-bones-and-muscles-of-the-arm-leonardo-da-vinci/gwFKDLU75x7IKw?hl=en
The Path of Tendons and the Design Logic of Finger Control
By revealing the flow of tendons through the palm and back of the hand, the binding structures around the wrist, and the connections involved in finger flexion and extension, this study demonstrates that movement is determined less by visible form than by invisible pathways of tension and transmission. Although each finger appears to move independently, it is in fact coordinated through a continuous internal network passing through the wrist and palm. This makes clear that the hand’s fine motor control depends on a highly sophisticated anatomical system. From the perspective of design studies, this carries important implications. Good design is not simply about creating a form that is easy to hold, but about shaping the way force begins, travels, and disperses, while also considering pressure balance at contact points and fatigue under repeated use. In the grip design of writing instruments in particular, pressure between the thumb, index, and middle finger must be relieved without sacrificing fingertip precision. Anatomical understanding of this kind therefore becomes a key foundation for connecting form-making with haptic experience.
[Image Source] https://artsandculture.google.com/asset/recto-the-bones-muscles-and-tendons-of-the-hand-verso-the-bones-of-the-hand-leonardo-da-vinci/XQEVoFMsv771EA?hl=en
The Hand that Pinches and the Hand that Supports:
Form Creating Sensibility
By juxtaposing a precise pinching gesture between the thumb and index finger with a softly open, supportive hand posture, this drawing shows that the hand is not merely a functional tool, but a complex medium that carries control and support, tension and release, intention and sensation all at once. One hand suggests concentration and fine manipulation, while the other conveys stability, receptiveness, and tactile ease. This contrast offers an important clue for design studies in interpreting the relationship between human beings and objects. A product should not stop at providing the right size or proportion for the hand; it must also be designed to offer both delicate fingertip control and comfortable support across the palm. In premium writing instruments and small objects especially, the quality of design is shaped by the total experience of touch, posture, and psychological ease at the moment of use. Observing such expressive hand postures thus leads directly to a design-oriented inquiry into how functional performance and emotional quality are integrated within a single interface.
[Image Source] https://artsandculture.google.com/asset/a-study-of-a-woman-s-hands-leonardo-da-vinci/PgFra7UfRF8lhg?hl=en
Bringing together every grip combination and a wide range of hand-holding gestures into a unified visual language, the poster design is composed to communicate usability clearly while also standing as an aesthetic experience in its own right. Each poster intuitively presents the function of an individual grip, the response of the hand, and its context of use, while the full series reads as an archive of universal design and almost as an exhibition-like installation when viewed together. Rather than remaining a purely functional explanation, it expands the grip’s form, rhythm, repetition, and proportion into a graphic composition, becoming a promotional poster that helps consumers understand usability while allowing the design itself to be appreciated as art.
Using a full architectural wall as a large-scale artwork, the design is conceived not only as a product promotion but also as a public-facing campaign visual that brings the value of universal design into the urban environment. By dramatically enlarging the gestures of the hand and the combination of grips, it communicates the product’s function and usability in an immediate way while extending the message into a broader social statement about the importance of design that allows more people to hold, write, and use objects with ease. The composition of image and copy across an architectural scale connects brand, product, and philosophy into a single visual language, transforming the design from a simple advertisement into a public art campaign that encourages empathy and awareness.
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