FOOD P AND THE EM OF GOU MAHER BAYOUMI DESIGN AND RHETORIC UNIT 2.2
PRACTICAL EXPLORATIONS &VISUAL EXPERIMENTATIONS The aim of this editorial is to engage in and contribute effectively to the analytical and critical debates and discussions about my own subject, the contemporary definition of food porn and its effect on our behavioral consumption of food. This compendium summarizes different perspectives that were discussed through the last decade in order to define food porn.
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ALTER NATIVE FOOD ZINES
Recently, alternative food zines have emerged to scramble the conventions of food magazines to show a more authentic flavour. This is a boom time for magazines about food. But while mainstream food magazines maintain healthy circulation figures with the help of “how to” features celebrity chefs, there are a host of “lternative” food magazines that take a different approach. Rejecting such conventions as cooking tips and recipes, they favour a wider sensibility, linking food to issues such as personal identity, sexuality, authenticity, art and literature. Alternative food magazines take design inspiration from traditional cook books, kitchens, menus and even grocer’s signs; things that give the reader a sense of familiarity. Many references of alternative zines come from fashion in the 1990’s, especially fashion from the UK. Handheld cameras, film, grain - things that, in their time, spoke of authenticity.
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Meatpaper was an American magazine devoted to meat. The publication covered the ethics, aesthetics, and cultural significance of meat, and is more akin to an art journal than a usual food and drink magazine.
Cover and spreads of Liquid Lunch from Swallow Magazine no.3 2013, photographed bt arcus Nilson. The reigion-specific biannual magazine in its third issue positionsitself within the realm of culture and how food and drink relates to it. The large condensed sans serif type often bleeds off the page to tell that grids are sort of non-existent outside the body copy.
Magazines such as Meatpaper, Put An Egg On It and Swallow all tend to feature raw, realistic photographic portrayals of all things edible, alongside expressive illustrations, bespoke lettering and universally available typefaces. The editorial design tends t adopt light and playful manner.
Put A Egg On It is an irreverent digestsized art and literary magazine about food, cooking and the communal joys of eating with friends and family. The magazine features essays, photo essays and illustrations as well as practical cooking tips and recipes. The zine has been featured in New York Magazine, Nylon Guys Magazine, Tasting Table, MagCulture, Fantastic Man and more.
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The balance between text and image influences the pace of a publication. Magazines such as Lucky Peach mke strong use of visual essays and illustration. These visual elements are a secondary narative that can make the complexities of food systems easier to engage with. Lucky Peach’s logotpe designed by McSweeney’s Vrian McMullen bears a close resemblance to a buther’s handwritten label. Theese elements permi food-related subnarratives to develop within a familiar space.
Fool magazine doesn’t include recipes, in the way that Vogue doesn’t publish sewing patterns! The magazine highlights a high-end narrative for the displayed meals, and it displays celebrity chefs on all its covers.
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RAW FOOD PHOTOG RAPHY
Raw food photographs emphasize the processes of which through the food is made and prepared. To many artists, it gives a feel of safety, hygiene, healthiness and freshness.
The bulk of Simon Wheeler’s early work was studio-based, techniclly preicse, still life. But after a number of years he opted for a more immedite “in the moment” aproach with pictures that could tell a story. This image is from Tessa Traeger’s Voices of the Vivaris, 2010, which is a book and was exhibited at the Purdy Hicks Gallery. This longrunning project documents the food producers of the Vivarais region southeast France. The photograph is called Pig Killing and was produced in 2008 using a digital camera.
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I find these images from food photographer Lew Robertson intriguing. It could have a bit to do with a recent trending in style towards ‘industrial’ and ‘steampunk’ that seems more and more prevelant lately. It could also have to do with the popularity of food photography trending towards images created in a ‘dark and painterly’ fashion, reminiscent of Renaissance paintings accomplished in a studio dimly lit by soft natural daylight or with the radiance of candles. With many of the items in our collection, we did not realize at first that they were indeed used in kitchens. They looked strange compared to the plastic gadgets we have today. Crafted of metals and wood with exposed cogs and gears with bits of rust and chipped paint as the only decoration. Some had the names of manufacturers on them though many did not.
Ribs photographed digitally in NY for Jamie’s Road Trip in 2008. Like many of Loftu’s photographs this was shot handled using daylight, and styled by Oliver himself. Photograph by Simon Wheeler for River Cottage Meat Book. He describes the liver as fresh and delicious, but afterwards he claims to recosnider becomming a vegeterian.
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ROTTEN& CREATIVE (food through metamorphosis)
Previous experiments in rotten food photography prove that food doesn’t have to taste good or look good in order to be communicated to the audience. According to a study commissioned by the United Nations to study food waste, one third of the food produced in the world goes to waste Provoked by this damning report – no prizes for guessing it’s the industrialised northern nations that contribute most to this surplus food mountain – Austrian artist Klaus Pichler was motivated to make a provocative statement. Taking an array of everyday foods – from strawberries and eggs to milk and chicken – Pichler arranged the rotten foodstuffs, accompanied by a variety of mould, fur, weevils and what can only be described as fungal matter, into something artistic.
Granted some of the expired food look like relics from Miss Havisham’s dining room, but there’s an alluring aesthetical grace to the shots.
The experiments inspired me to test how rotten food can be implemented in my output.
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Landscapes,a series of rotten food photographs taken by Heikki Leis tackle the ability of food to be used as a major complex design element that is worth a hundred tools. The bizarre pieces are the result of leaving everything from corn to pumpkins out in the open for up to two months, until they gradually decay into mouldy, smelly leftovers. But by using macro photography to get up close and personal to the surface of the various food, the remarkable shots appear to bring the dead food back to life.
The results are surprisingly stunning - with the rotten items creating out of this world landscapes and alienlike surfaces which would look at home in a sci-fi film. The fascinating foodscapes are the brainchild of Estonian artist Heikki Leis, 38, who has been working on the stunning series, dubbed ‘Afterlife’, for more than seven years.
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ENDLESS EXPERIM IMENTS
Bompas & Parr leads in flavour based experience design, culinary research, architectural installations and contemporary food design. Founded by Sam Bompas and Harry Parr in 2007 the early work of the studio used jelly as a vehicle to research the crossmodal correspondences of the senses and the relationship between food and architecture.
The studio first came to prominence through its expertise in jelly making, but has since gone on to create immersive flavour based experiences ranging from an inhabitable cloud of gin and tonic, a chocolate climbing wall and a Taste Experience for the Guinness Storehouse in Dublin, officially the best place to taste Guinness in the world. Bompas & Parr has a design studio, kitchen and workshop in-house, where we work on developing new ideas, recipes, cocktails, prototypes and innovative ways of consuming and experiencing food and drink. The studio is based in south London and I can’t wait to pay a visit during Unit 3!
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MC DONALDS BEFORE& AFTER
Since early 2000’s, and due to its involvement in a number of lawsuits and other legal cases discussed in unit 2.3, McDonalds introduced a new communication strategy that doesn’t focus on the food itself. The new form of advertisements and photographic manipulation became more conceptual and less food-porn-oriented. By producing less food-centric visuals, McDonalds drifts the consumer’s perception away from the nutritional facts of its meals towards a more friendly, fresh and safe environment.
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EXPERIMENT ONE: COLOURS VS. TEXTURES In its latest summer menu, McDonalds adopted a new style of food porn which is closer to the gourmet’s approach of photographing food. The solid colours were replaced by natural textures, and more greeneryfor a more authentic approach of displaying food. Not only that, but the use of sauceries to promotea series of dips was drastically challenging especially that McDonalds never uses glassware in any of its branches.
During my research on the different styles of food porn used to display and photograph food, I realised that the use of textures within a more authentic environment is capable to alter our perception of any food item.
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Experiment 1- I chose several photographs of various food items displayd in a homey, authentic and well-thought-of environment. 2- I reproduced each photograph through manipulating its background and replacing it with a solid, digitally produced colour. 3- Four photographs (2 food items) were printed and shown to 40 people. 4- Each photograph was evaluated by 10 people, without comparing it to its fellow manipulated/original replica. Aims&Objectives To test the impact of textures and contextual environments vs. digitally produced colours on our perception towards food. The inspiration behind the experiment is the use of digital solid colours in McDonalds’ advertisements, and the textures shown in the photographs of the gourmet fast food chains.
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TEXTURE colour TEXTURE Each individual was asked to evaluate one food item through the photograph, based on four different criteria. The two sample items I picked are the burger and the soup.
COLOUR
Safe 7.5
Authentic 7.5
Yummy 8.0
Expensive 7.0
Safe 4.5
Authentic 5.5
Yummy 6.0
Expensive 5.0
Safe 8.5
Authentic 8.5
Yummy 8.5
Expensive 8.0
Safe 7.5
Authentic 8.0
Yummy 6.5
Expensive 6.0
Analysis I realised that textures and colours have a more dramatic impact on fast food rather than healthier food. Because the soup is commonly perceived as a healthy homey meal, the context didn’t affect its authenticity; however, it drastically affected its “yumminess”.
Conclusion In food porn, food items get affected by the context/environment they’re displayed within. Automatically, this affects the way we perceive food.
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EXPERIMENT TWO: INSTAGRAM’S DIET CALENDER This experiment is hyphothetical and in order to be applied, it requires a minimum period of three months.Through this approach, I would like to test the impact of social media and the upshot of sharing one’s progress of losing weight through becoming a healthy foodie.
Experiment 1- As a foodie who eats out more than 10 times a week, I will change my eating habbits and start having more healthy meals from several restaurants around London. 2- I will share my new eating pattern, listing the places I am visiting and “hash-tagging” food porn along other health-related hash-tags. 3- Every week, I will post one photo of my body along my exact weight; all that for a period of two-to-three months.
Aims&Objectives Instagram is a social platform that affects people’s decisions and can encourage them for the good just as for the bad. Through my food calender, I want the people to witness that I can still be a fashionable foodie without necessarily having fast food and gourmet fast food all the time. Taking photos of my body will bring people closer to my narrative so they believe it more. Through this experiment, I want to release mouthwatering healthy food as a new trend.
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BEFORE 120 kg Week 01
AFTER
117 kg
114 kg
108 kg
Week 02
Week 03
Week 04
105 kg
Week 05
101 kg Week 06
98 kg Week 07
95 kg Week 08
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According to New York Times, there are 179.3 million food hashtags on Instagram, 28.1%of them feature healthy food while 71.9% feature junk food.
28%
72%
The distribution of food hash-tags on Instagram showing 72% junk food and only 28% healthy food.
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GOURMET EVERYWH ERE!
THE CONTEMPORARY TREND IN FOOD PHOTOGRAPHY This Chapter showcases some of the most relevant photographic productions that reflect the contemporary approach of food porn used by gourmet fast food restaurants, blogs and foodie websites. The new approach requires extensive research on colour, texture, composition, art direction, basic retouching and most importatnly healthy food that can be invisioned as a future trend.
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Experiment
EXPERIMENT THREE: TONALITIES& MATERIALS During my research on the contemporary style of food porn, I noticed a wellthought-of harmony that combines colours and textures all together in interesting compotisions. Because I was interested to investigate through the props and the criteria behind choosing them, I applied this experiment.
1- I chose several photographs and applied guassian blur with a 16.5 ratio to realize the hiearchy of colours and their proportions. 2- I constructed a very basic colour paletter to keep it as a reference so I can compare the colours and analyze the harmony taking place in each photograph. 3- Next to each colour, I added the texture applied correspondingly. Aims&Objectives Through this experiments, I will come up with a final list of materials and resources to search for in order to proceed with my output. The experiment derives from the creativity applied on each of these photographs as a complete artwork where colours, textures, compositions and emotions are all applied to make make us crave.
Fabric&Textile Wood Food Food Food
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Ardoise Food Food Food Food
Painted Wood Food Food Food Food
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Fabric Fabric Fabric Fabric Food
Food Food Food Slate Glass
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COMMONLY USED TEXTURES
ArDoise
Flax Fabric
Painted Wood
Concrete
wood
slate
food
rust
brick
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EXPERIMENT FOUR: FOOD& TYPOGRAPHY After investigating through the contemporary styles of food porn and researching the techniques used behind producing an appetizing visual, I decided to take this process one step forward by engaging typography as a new element.
Taste&Flavours Magazine Cover My first attempt in collaboration with WonderEight branding agency-Lebanon ŠW8 2014
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Experiment 1- I stenciled and laser-cut random words with low contrast tyepfaces, in order to apply different food items (flour and chocolate spread) on top of them using an empty mustard bottle as a dispenser. 2- In parallel, I made a mockup environment inspired by my research on gourmet fast food photography. I applied the concept of the imperfect raw food and the deconstrictivits’ approach in food styling. 3- At this stage, I am still experimenting with food and typography as a mixed media solution to be applied in unit 3. The words are random and the choice of food items is, as well. Aims&Objectives By engaging food, typography and creative copywriting through an appetizing visual solution, I can encourage people to crave healthy food and perhaps, create a new trend in amateur food porn.
The end result of the visuals was convincing, so I decided to adopt this visual solution as a main challenge in the next unit, but with a more thought-of selection of ingredients and copywriting.
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EXPERIMENT FIVE: DESATURATING THE TRICKS In order to observe the effecttive role of the food porn techniques used by stylists and photographers, I desaturated the tricky elements that according to my research, play a big role in manipulating our perception towards fast food. Experiment Through desaturating the textures and the colours of the healthy ingredients, I will be testing their impact and effectivess in food porn. The unhealthy ingredients cary different tonalities of red and yellow.
Aims&Objectives I will also have access to analyze the colour palettes resulting from the rest of the ingredients. The colours that represent the less healhty ingredients.
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FERNANDO PITﾃウS ABOUT BALTHAZAR: THIS IS THE REAL GOURMET
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Balthazar’s executive Chef Fernando Pitaes was interviewed to tell us more about the secrets behind Balthazar’s gourmet approach to french cuisine.
First of all, what do you like the most about food? Basically, food is everything to me. I love cooking, eating, tasting new dishes and shopping for food too. I am also addicted to buying cooking books without necessarily reading all of them. How is Balthazar satisfying your passion towards food? Balthazar is an authentic cuisine that many chefs dream of working at. It is a school by itself, and what makes it different is the non-stop interactive learning process of new cooking recipes, presentation techniques or even innovative twists to alreadyexisting dishes. Talking about presentation techniques, to what extent you think these techniques affect the customer’s perception towards food? In my country, the Portugal, we say: “Eye eats before the mouth”. The way you present your food is super important, especially when you consider your outlet an authentic place that targets a specific group of people who are willing to pay extra money for a better food experience. A well composed and good looking dish makes you respect the food, and sometimes you might ignore minor details about the taste just for getting overwhelmed by the way your dish is presented. Do you collaborate with a food stylist who is responsible to maintain consistency and attractiveness of the food? Not really. At Balthazar, the head chef and the operation manager, Mr. Robert Reie are responsible of deciding on how the final dish should look like. We’ve never collaborated with a food stlist, but I am sure it is a good idea. Our style of presenting food is neat, clean and high-end. It reflects the price range of our food items and represents the customers who visit us.
So you don’t really take any pictures? Because as I can see, your menu doesn’t have any pictures. We do take pictures, to use them for our recipe book. The book isn’t for sale; it is just a reference that we have in the kitchen in order to be used by the trainees when needed. Other than that, we rarely use pictures even on our website. Your Instagram shows that you like to take photos of food. Is it a common thing with your colleagues? The people who enjoy taking pictures of a specific dish are two, the one cooked the meal and the one who is going to eat it. We all take pictures of our little masterpieces, and our clients do so too. Despite the fact that we don’t produce a lot of imagery, our facebook page is just full of food images taken by our customers. It is a good sign! What, in your opinion, are the indicators that transformed the burger into a gourmet platter? I should mention at first that Balthazar’s burger is one of the signature food items on our menu. What I believe makes our burger a gourmet, is the quality of the ingredients. Our beef is 100% beef; it doesn’t include flour, beans or any other additives. Whoever tastes it will surely realise the difference. The way the burger is presented and the effort being spent on it, can also become key factors. A very important aspect is that a gourmet burger can not be priced just as a fast-food burger, or else it is surely not a real gourmet. Meat isn’t cheap! Friday, 20 June 2014
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EXPERIMENT SIX: FOOD AS A DESIGN TOOL Through my research, I realised how food provides endless options of colours and textures that can be used innovatively as design tools. With food, we can tell stories, illustrate facts and communicate endless messages.
Experiment This experiment is to be developed on a later stage based on the numerical health-related research result I will be conducting in unit 3. I’ve always seen food as a flexible design element that can generate endless visual solutions, and can convince messeges in a very creative manner. The question I asked myself was, how can food illustrate infographics? Aims&Objectives To emphasize on how food porn can also be a design tool that is able to communicate facts, tell stories and encourage people to learn about health issues through a more interactive and less visual solution.
Example 01: 2 out of 6 chefs use lime juice instead of lemon juice to make lemonade.
All types of food can be sliced, composed and arranged to illustrate significant facts. The examples below are abstract and based on online stock photos.
Example 02: Only 25% of the pizza photos on Instagram are home-made pizzas.
Example 03: 40% of the American families consume more than 400g. of bread per person, everyday.
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Food can be an effective infographic element that I will consider unsing in Unit 3. Through studying its flexible physical characteristics, I believe innovative design solutions will come out to promote healthy food as a social trend. Example 04: Only 1 out of the 60 jam producers in Australia use real pure berries.
Example 05: 40% of the oil used in the fast food restaurants doesn’t get changed on daily basis.
The creative relay we can create between the image and the text, creates interactive ways for a better understanding of the facts.
Example 06: 50% of the egg yolks used to produce burger buns is damaged.
Example 07: A graph showing the increase of pasta photos on instagram during the last year.
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made with love.
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D PORN
EMERGE OURME