Food Futures is a compilation of unique design projects that act as visual stimulus for designers and food enthusiasts alike, illustrating the possibilities that new technologies open up to designers and the different ways society perceives food.
The aestheticisation of food is a growing phenomenon for both designers and consumers alike. Designers are increasingly identifying food as an object that speaks a global language, as an effective communication medium to visualise and express their ideas.
Aside from the role a designer plays in the process of food fabrication, industrial practices too contribute to the alteration of shape, colour, scent and consistency of food, transforming it before our eyes, for our eyes. Food Futures seeks to exist as a stimulating visual collection of experimentation and innovation in food design, posing questions and challenging how we perceive this everyday commodity.
Food Futures is structured in three main sections, each of which will encompass design projects appropriate to different categories. These sections will help to shape an understanding of the various ways in which the project has been fabricated and will be titled, respectively, 'Two Dimensional', 'Three Dimensional' and 'Multi Sensory' (experiential).
Gemma Warriner is a Visual Communication Designer and educator at the University of Technology Sydney. Her work reflects her interests in information visualisation, food design and brand experience, exhibiting a multidisciplinary approach to design with projects spanning across both print and digital platforms. Gemma's designs have been and recognised by The Australian Graphic Design Association (AGDA), Graphis, Kantar Information is Beautiful Awards, Adobe and The Dieline.
Kate Sweetapple is a senior lecturer at the School of Design (University of Technology Sydney, Australia) who explores the intersection of words and images through exhibitions, installations and printed matter. Her research interests include information visualisation that is poetic/playful; experimental and speculative design practice; and, the role of the designer as a cultural critic and agent.Kate is a foundering member of Page Screen, a design research studio, based at the University of Technology, Sydney.
Aantal pagina's: 264