Lia Is a Disposable Pregnancy Test You Can Flush Down the Toilet

Lia
Lia

It’s a common Hollywood plot point: A character spots a discarded pregnancy test in a bathroom trash can. Surprise! Someone’s pregnancy is revealed, though they weren’t yet ready to tell anyone (and perhaps never planned on telling them at all). Lia is a new type of disposable pregnancy test designed to be flushed down the toilet to make sure no one ever experiences that kind of privacy violation, according to Glamour.

Lia hasn’t hit the market yet, but when it does, it will be the first major redesign of the home pregnancy test in decades. The first at-home pregnancy test in the U.S. debuted in 1977, and while it took two hours to show a result, it gave women the option to learn their pregnancy status with relative accuracy (it was 97 percent accurate for positive results, but only 80 percent accurate for negative results) for the first time without going to the doctor. In 1988, Unilever came out with the first wand-style pregnancy test—the plastic kind you pee on to reveal the blue stripe indicators. Since then, not much has changed about the basic design of the at-home pregnancy test except the graphics that companies use to convey the test’s results. (The science undergirding the tests has advanced over the years, though.)

Unlike the plastic sticks, Lia is disposable and can be flushed down the toilet or composted. With the shape reminiscent of a sanitary pad, it works similar to the traditional pee-stick test: You urinate on it, then wait for the stripes to appear. While it’s water-resistant enough to withstand the two minutes of pee-soaking required to get a result, the test strip is made of the type of plant fibers that go into toilet paper and will eventually disintegrate in water. It can also be composted: In one experiment, it took 10 weeks to completely degrade in soil.

A diagram of Lia's features
Lia

Like other pregnancy tests available at the drug store, Lia’s results are based on the concentration of human chorionic gonadotropin (a pregnancy hormone) in your pee. It’s FDA approved, and the company reports that it’s more than 99 percent accurate, comparable to other tests on the market.

No matter what the circumstances surrounding a pregnancy are, most people don’t want to share the fact that they could be pregnant with everyone they might share a bathroom with—most people wait several months into their pregnancy to announce the news—and even if they want to tell the world immediately, they probably don’t want to do so via trash can. Lia’s paper design makes it easy to dispose of the test without worrying about who might stumble upon your wastebasket. It’s also more sustainable and won’t clog up landfills like plastic tests. While people don’t use as many pregnancy tests as, say, plastic straws, the over-the-counter plastic pregnancy test market is still a huge one, and a contributor to environmental pollution. As a bonus, the lack of plastic makes Lia cheaper to produce, too.

Lia will eventually be available in stores and online. It’s scheduled to be released sometime in 2018.

[h/t Glamour]

5 Weird 1960s Covers for Classic Novels

Chaloner Woods/Getty Images
Chaloner Woods/Getty Images

There are a lot of weird and bad book covers for the classics out there, and the Internet has delighted in chronicling them.

Some are designed to mimic the look of current blockbusters, like these Twilight-style covers for novels by Jane Austen and the Brontës. Others rely on bad stock photos and inept Photoshopping for classic works that have crossed into the public domain, from The Scarlet Pimpernel to The Adventures of Huckleberry Finn.

The subset of covers for 1960s paperbacks is rich with particularly hideous findings, mostly from Penguin and Signet Classics. Shockingly, they're not made by untalented people who are bad at Photoshop. These covers were drawn by established, objectively talented, and sometimes famous illustrators like graphic design legend Milton Glaser. They were purposely executed in unorthodox, interpretive styles. But although they may be done by respected artists, their aesthetic value remains questionable. Take a look at some of the strangest below.

1. THE GREAT GATSBY BY F. SCOTT FITZGERALD // 1962

The Great Gatsby cover by John Sewell
Courtesy of Setana Books

In the baffling jacket for this Jazz Age classic, a man’s face is stretched bizarrely sideways. He appears to be wearing thick eyeliner and has some serious wrinkles around his eyes. But, let's back up for a minute: Who is this supposed to be? Surely not the title character; Gatsby doesn’t have a bald patch or a unibrow. One Twitter user who collects Gatsby editions considers this specimen to be the "oddest" one he owns.

The artist, John Sewell, was a British graphic designer working in the '60s whose print covers usually involved colored paper cut-outs. He did a cover in a similar style for F. Scott Fitzgerald's Tender is the Night, but that one is a little less weird.

2. OUR MUTUAL FRIEND BY CHARLES DICKENS // 1964

cover of Our Mutual Friend by Seymour Chwast
Courtesy of swallace99, Flickr.

The artist here is Seymour Chwast, who, along with Milton Glaser, co-founded the postmodern collective Push Pin Studios in 1954. The Push Pin style "reject[s] tradition in favor of reinvigorated interpretations of historical styles," as their website states.

And yet, the people on this cover are hideous. The eyebrows on Our Mutual Friend's Gaffer Hexam (the man in the white shirt) are at a sharp 45-degree angle, a trait rarely found in nature. Lizzie Hexam, who’s supposed to be beautiful, also looks pretty wretched.

According to the artist's biography on the Seymour Chwast Archive, "Each of his imaginary characters (even portraits of real individuals) have similar facial features—round lips, slits for eyes, bulbous noses. They never scowl, yet they are not cute." That's for sure. A quick browse through his work shows that naturalism was never his goal.

3. ADAM BEDE BY GEORGE ELIOT // 1961

Adam Bede cover by James Hill
Courtesy of swallace99, Flickr

Why is Adam Bede's hand bigger than his face? And his arm bigger than his waist? What would George Eliot think?

This one is by James Hill, the first Canadian to become a member of the American Illustrators Association. His work ranged from lurid, pulpy book covers to treatments for classics like this one to a series of paintings inspired by Anne of Green Gables.

4. CRIME AND PUNISHMENT BY FYODOR DOSTOYEVSKY // 1968

Crime and Punishment cover

Courtesy of Felt Books

The 1960s produced many psychedelic book covers, and this style spilled over into reprints of the classics. On this Dostoyevsky opus, a guy's face is replaced by a groovy rainbow with a figure in a coffin inside. While the artist is unknown, the rainbow design echoes the style of several graphic designers of the 1960s.

5. HARD TIMES BY CHARLES DICKENS // 1961

Hard Times cover
Courtesy of ElwoodAnd Eloise, Etsy

This cover for Charles Dickens's grim tale of Victorian inequality was designed by Milton Glaser, Seymour Chwast's partner in Push Pin Studios. Glaser also designed the I Love New York logo and a Bob Dylan poster that depicts the singer with a rainbow 'fro. A versatile artist, his work includes logos, posters, interior design, magazine illustrations, and, of course, book covers. But here, the heavy cross-hatching on the figures' faces, hair, and clothes nudges them into werewolf territory. The psychedelic winged horse seems like a nod to the Summer of Love, but a tavern called the Pegasus's Arms actually figures prominently in the book.

Interactive Version of a Classic Color Manual Used By Charles Darwin Is Now Available Online

iStock
iStock

Scientists who study the natural world do more than tally numbers. Sometimes making an accurate scientific observation comes down to finding the perfect word to describe the shade of dried lavender flowers or the breast of a screech owl. In the 19th century, naturalists had Werner's Nomenclature of Colours to refer to—and now anyone looking to expand their color vocabulary can access the book's contents online, Fast Company reports.

Published in 1814, painter Patrick Syme designed the guide based on the work of geologist Abraham Gottlob Werner. It features 110 distinct hues, each with a name, number, and a list of the animals, plants, and/or minerals that feature it in nature. Prussian blue, for example, naturally occurs in blue copper ore, the stamina of bluish purple anemone, and the spot on a mallard drake's wing, while wine yellow can be found in the saxon topaz, white currants, and the body of a silk moth. The book was used as a handy reference guide by researchers recording observations the field, including Charles Darwin.

Now, using free scans of the book from the Internet Archive, designer Nicholas Rougeux has transformed it into an interactive digital experience. The original color swatches and descriptions are included, as well as some modern additions. Click on a color and the entry will expand to show photographs of the plants, animals, and minerals mentioned. Rougeux has also made posters based on the manual available on the website.

Werner's Nomenclature of Colours may have been the color bible of its time, but it still covers just a fraction of all the shades that have been named. After exploring the digital guide online, continue to grow your knowledge with this color thesaurus.

[h/t Fast Company]

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