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GLÒRIA AMBROJO PEDREROL

FOOD
articles
1DISEÑO GRÁFICO Y EDITORIAL
A continuación presento una publicación cuya
muestra varias proyecciones y una variedad de
arquitectura gráfica a nivel estructural y a nivel
compositivo. Diferentes maneras de trabajar
con una misma idea pero con diseño distintos
dependiendo siempre del público al que irá dirigido
dicho diseño y/o producto. Todo el diseño de
construcción de imagenes está maquetado por mí.
Porgramas usados: InDesign, Photoshop, Illustrator.
journal
JOURNAL
COLLECTION

CHIKA ORANIKA
CONTENTS
01
p. 3
Gretchen Röehrs
DON’T EAT BROCCOLI,
WEAR IT
06
Damien Hirst
A THOUSAND YEARS
11
p. 17 p. 29
Adversiting Food
IF THE ADVERTISING WAS NOT
PERFECT
02
Studio Job & Saletti
MAISON ET OBJET 2017. HOT DOG,
BURGER
03
p. 7
p. 9
Greg Tiernan,
Conrad Vernon
FILM. SAUSAGE PARTY
07
Itamar Gilboa
FOOD CHAIN PROJECT
08
p. 21
p. 23
MOLD
YOUR MOUTH HAS POWER
12
Social Media
FOOD INSPIRATED MAKE UP
13
p. 31
p. 32
Ted Baker
TASTEFULLY TED. LONDON
Calvin Klein
ck
04
Katy Perry
CALIFORNIA GURLS
05
p. 11
Yukiko Morita
“PAPMSHADE” A HANDMADE LAMP
MADE FROM REAL BREAD
09
Kema Food Culture
PHOTOGRAPHY STUDIO AND
GASTRONOMIC CREATIVITY
10
p. 13 p. 27
Studio Lernert &
Sander
CUBES
p. 25

FOOD JOURNAL · GRETCHEN RÖEHRS
IT ALL STARTED AS A JOKE, BUT GRETCHEN RÖEHRS QUICKLY CONQUERED INSTAGRAM
WITH HER DOODLED WOMEN DRESSED IN FRUITS AND VEGGIES. SHE SURELY KNOWS HOW TO
PLAY WITH OUR MIND. ON HER ILLUSTRATIONS WE CAN FIND FOOD AND FASHION FOR ALL
TASTES: FROM DRESSES MADE OF MUSSELS TO OTHERS MADE OF COFFEE BEANS, TO THE
MOST FASHIONABLE BANANA JUMPSUIT AND A TOMATO HANDBAG, THERE’S EVEN A GIRL
SQUAD DRESSED IN MUSHROOMS.
IN HER RECENTLY RELEASED BOOK, EDIBLE ENSEMBLES, THESE COLOURFUL ILLUSTRATIONS
APPEAR SATISFYINGLY ARRANGED IN A RAINBOW. WHILE HER ILLUSTRATIONS ARE FUN,
QUIRKY, AND VERY SUCCESSFUL, SHE STILL PREFERS TO PAINT. AND JOKES ASIDE, HER
PAINTINGS FEEL LIKE REAL POETRY. TODAY, MEET THE SAN FRANCISCO-BASED ARTIST
WHOSE WORK WILL LEAVE YOU CRAVING FOR MORE (AND FOR A LITTLE SNACK, TOO).
Gretchen Röehrs
DON’T EAT BROCCOLI, WEAR IT
3

Broadcasting from crown
heights, your mouth has power
is a collective message from
brooklyn about food sovereignty,
resilience and culture during
a precarious period of both
pandemic and revolution.
Inspired by 1990s mtv, tiktok
videos, the video works of artist
arthur jafa, and jenn nkiru’s
“cosmic archaeology,” the film
challenges the conventions
of cooking shows by placing
our understanding of imagery
and viewership in friction with
vignettes from black pop culture
and historic references.
YOUR MOUTH HAS
POWER
FOOD JOURNAL · MOLD
MOLD
YOUR MOUTH HAS POWER
YOUTUBE VIDEO
Published at 1 of
November, 2020
YOUR MOUTH
HAS POWER:
BROOKLYN
LAUNCH
PARTIES + FILM
SCREENING
FOOD JOURNAL · MOLD
The text from mold’s manifesto,
your mouth has power (2019),
champions the creation of
hyperlocal food ecologies,
providing a portal into a field
of ideas and a scaffold for a
set of disparate actions, ideas,
places, and collaborators
emanating from crown heights
to your neighborhood.
https://www.youtube.
com/watch?v=U4P_il-
CgkI&feature=emb_
title&ab_
Elestirel Yemek Programı
/ Critical Cooking Show:
Agzınız Güçlüdür / Your
Mouth has Power.
LinYee Yuan is the founder and editor of MOLD. Through original reporting, MOLD explores how designers can address the
coming food crisis by creating products and systems that will help feed 9 billion people by the year 2050. In addition to the
website and a self-published bi-annual print magazine, MOLD hosts events and exhibitions, works with next generation food
brands, and commissions products from emerging designers.
23
By sharing the ways that individuals and communities in brooklyn have responded
to the anxieties of system collapse with networks of care and radical imagination,
the film invites viewers to become active participants in an inequitably designed
food system that only has space for consumers.
24

FOOD JOURNAL · KEMA FOOD CULTURE
KE MA
Food Academy
FOOD JOURNAL · KEMA FOOD CULTURE
Kema Food Culture
PHOTOGRAPHY STUDIO AND GASTRONOMIC CREATIVITY
At KEMA we work exclusively
on projects related to
gastronomy. In our studio we seek
to capture the perfect moment
and tell stories through food. We
collaborate with a wide variety of
clients and professionals in the
sector in different areas, both
editorial and advertising.
ART &
GASTRONOMY
Hello!
Marta Mauri
Creative Director
Photography
Stylist
We also combine our work with
teaching, sharing our knowledge
in different workshops and online
courses, striving to offer a new
vision of photography where
natural light, art and real food
coexist in harmony. On special
occasions we also work as
teachers in private schools inside
and outside of Barcelona.
Kema Food Culture is a photography and gastronomic creativity
studio created in 2014 and directed by Marta Mauri, Creative
Director, Photographer and Prop Stylist.
We currently offer Gastronomic Photography, Art Direction and
Styling services for all types of projects and for a wide variety
of clients in the gastronomic sector.
What we like the most is creating images that tell a story,
have a visual impact, and make you want to eat them. We are
passionate about natural light and that is why we use it for
almost all our work, this contributes to photography that touch
of reality that automatically takes us to the scene and to food.
We love to bring the extraordinary out of the ordinary.
We also combine our work with teaching, sharing our
knowledge in different workshops and online courses, striving
to offer a new vision of photography where natural light, art
and real food coexist in harmony. On special occasions we
also work as teachers in private schools inside and outside of
Barcelona.
25
Kema
Studio
Our studio is located in Sant Just Desvern, very close to
Barcelona, ​where we have natural light and different scenarios
to photograph, both indoors and outdoors. But we also move to
any location depending on the requirements of the project.
26

FOOD JOURNAL · YUKIKO MORITA
FOOD JOURNAL · YUKIKO MORITA
“PAMPSHADE”
U
C
PAMPSHADE is a handmade product
made from real bread. Bread have
some interesting charms. There ’re
potentials besides just as food. It’ s
completely new interior lamp which
meets such charms of bread .
There ’re potentials besides just as
food.
“TASTY” , “TENDERLY”, “WARMLY
After garnering some attention after
tokyo design week where she first
revealed her design, morita has since
grown her pampshade collection with
seven designs.
She begins by baking the bread as one
normally would, carves the interior
as thinly as possible and finally coats
the bread with resin. The product
is then controlled by adjusting the
bread’s shape and texture. Once
completed, the electrical circuit is set
up according to the lamp shape.
I N S T R
T I O N S
15
BREAD LIGHT
16

FOOD JOURNAL · DAMIEN HIRST
Damien Hirst
A THOUSAND YEARS
17
LIFE AND DEATH ARE OPPOSITIONS, BUT THEY
ARE ALSO A CYCLE. THE MOST POWER PIECE THAT
ADDRESSES THIS CONCEPT IS A THOUSAND YEARS.
IN AN ENCLOSED GLASS VITRINE, MAGGOTS HATCH
INSIDE A WHITE BOX, TURN INTO FLIES AND FEED
ON A BLOODY SEVERED COW’S HEAD LYING ON THE
FLOOR. FLIES CIRCLE AROUND IN THE VITRINE. SOME
HIT THE INSECT-O-CUTOR AND DIE, OTHERS SURVIVE
AND CONTINUE THE CYCLE. HERE, THE GLASS
VITRINE BEARS A CLEAN AND MINIMAL GEOMETRY,
WHILE MESSY LIFE AND DEATH OF ORGANIC
MATTER IS CONTAINED INSIDE, CREATING A LITERAL
ENACTMENT OF BIRTH, DEATH, AND DECAY.
‘A THOUSAND YEARS’ SYNTHESIZES TWO FORCES
CENTRAL TO HIRST’S WORK: THE DESIRE TO CREATE
AN AESTHETICALLY SUCCESSFUL VISUAL DISPLAY,
AND AN EXPLORATION INTO THE DEEP PROFUNDITIES
OF LIFE AND DEATH. ALTHOUGH ADMITTING
TO HAVING A “FRANKENSTEIN MOMENT” OF HORROR
AT THE DEATH OF THE FLIES, THE USE OF LIVING
CREATURES ENABLED HIRST TO INCORPORATE AN
ELEMENT OF MOVEMENT INTO THE WORKS. AFTER
STUDYING NAUM GABO, HIRST FOUND THAT THE
FLIES SUCCESSFULLY SATISFIED HIS AMBITION TO
“SUSPEND THINGS WITHOUT STRINGS OR WIRES
AND HAVE THEM CONSTANTLY CHANGE PATTERN IN
SPACE”.
THE ARTIST LUCIAN FREUD STATED THAT, FATE OF
THE FLIES AT THE HANDS OF A MACHINE THAT IS
COMMONPLACE EVEN IN VEGETARIAN RESTAU-
RANTS, IS RENDERED UNCOMFORTABLE BY THE
GALLERY SETTING. OF THE THEMATIC PREVALENCE
OF DEATH IN HIS WORK, HIRST EXPLAINS: “YOU CAN
FRIGHTEN PEOPLE WITH DEATH OR AN IDEA OF THEIR
OWN MORTALITY, OR IT CAN ACTUALLY GIVE THEM
VIGOUR.”
18

FOOD JOURNAL · DAMIEN HIRST
A THOUSAND YEARS
19
PHOTOGRAPHY
ITALY MAGAZINE
20

FOOD JOURNAL · ITAMAR GILBOA
Itamar Gilboa
FOOD CHAIN PROJECT
365
DAYS.
ITAMAR
GILBOA
Food Chain Project is a popup
supermarket made entirely
of sculptural groceries that
represent Itamar Gilboa's
consumption over 365 days.
Each individual part of the
installation — ranging from a
lemon to a carton of milk and
from a can of tuna to a hot dog —
can be bought separately at the
exhibition. percentage from the
profits will be donated to NGOs
fighting food issues, thereby
creating a food chain: "What I
ate turned into art, which, when
sold, can again become food,"
explains Gilboa.
The Israeli-Dutch artist
kept a diary of everything
he ate and drank for the
duration of a year. He
meticulously kept track
of his daily consumption.
Some three years later, the
results can be seen in a
sculpture installation, the
Food Chain Project. His
installation, a traveling popup
supermarket consisting
of more than 8,000 white
plaster sculptural groceries,
physically represents Gilboa's
yearly consumption.
Thinking about his
personal consumption
habits, Gilboa started
to research the social
implications of individual
consumption choices
on global food issues.
By presenting the 8,000
products he consumed
in a year, Gilboa aims
to raise awareness
and generate a wider
discussion on global food
issues. The installation
is thought provoking
and uses an inventive
approach to point out our
overconsumption, while
hundreds of millions of
people around the world
still suffer from hunger
every day.
21
22

FOOD JOURNAL · STUDIO JOB & SALETTI
FOOD JOURNAL · STUDIO JOB & SALETTI
Studio Job & Saletti
MAISON ET OBJET 2017.
HOT DOG, BURGER
A Hot Dog and a Hamburger inspire these great furniture designs created for lovers of
fast food; These have been created by Studio Job and Seletti as part of the maison et
objet 2017, which is located in the city of Paris, France.
A sofa shaped like a hot dog and
a burger-like chair. The foodthemed
pieces are part of Studio
Job’s Blow collection, and has
been launched by Seletti during
2017 Maison&Objet furniture fair
in Paris.
As with actual hot dogs and
burgers – described by Seletti
as “iconic images of American
pop culture” – the sofa and chair
are each made up of a number of
components.
The Hamburger chair features
a bun-like seat, with cushions
designed to look like a patty, a
tomato and a gherkin.
‘Making upholstered products is
for seletti a huge achievement,’
Stefano Seletti explains, ‘but
obviously I had to approach the
matter my way! And my way is
never a normal one…we will surely
explore other typologies in the
future, I think we are ready to do
that but we will take all the time
we need, because we will need to
find the right innovative approach.
We decided to go big presenting
this new adventure with the
upholstered furniture: we have the
crazy hot dog and hamburger by
Studio Job.’
SOFA
Fast Food Furniture…Two
iconic images of American
pop culture, the Hot Dog and
the Hamburger become real
furniture. Crazy, colourful, soft
and with meticulous attention
to detail. The food-themed
pieces are part of Studio Job’s
joint collaboration BLOW with
Italian producer Seletti.
From a pickle that works as
an arm rest, to a tomato that
works as a cushion; These
great designs are perfect to be
in the waiting room of a typical
American restaurant.
Job Smeets explains…
“We love to play with high- and low-end,” Smeets
explains. Like the Pop artists of the 1950s and
beyond, Studio Job cleverly elevates mass-produced
motifs and symbols into costly objects of desire. “I
put so much effort into something so common, like
spending six months polishing a bucket,” Smeets
continues. “It’s kind of what we all do in life.”
7
8

FOOD JOURNAL · GREG TIERNAN, CONARD VERNON
FOOD JOURNAL · GREG TIERNAN, CONARD VERNON
Greg Tiernan, Conrad
Vernon
Similar in many ways to Pixar's Toy
Story trilogy, Sausage Party imagines
what it would be like if the food we
consume to eagerly could talk to
each other and wonders what they
would make of us. But while Woody
FILM. SAUSAGE PARTY
Similar in many ways to Pixar's Toy Story
trilogy, Sausage Party imagines what
it would be like if the food we consume
to eagerly could talk to each other and
wonders what they would make of us.
But while Woody and co. would flop to
the ground whenever a human walked in
the room, the characters here exist in the
'fourth dimension', unseen by humans.
This allows more freedom for directors
Greg Tiernan and Conrad Vernon to
deliver as many outlandish set pieces
as they would like, and two scenes in
particular - one inspired by Saving Private
Ryan (1998) and the other featuring an
Irish potato being skinned alive while
his friends watch - are actually quite
terrifying.
This allows more freedom for
directors Greg Tiernan and Conrad
Vernon to deliver as many outlandish
set pieces as they would like, and two
scenes in particular - one inspired by
Saving Private Ryan (1998) and the
9
10

FOOD JOURNAL · STUDIO LERNERT & SANDER
FOOD JOURNAL · STUDIO LERNERT & SANDER
Studio Lernert & Sander
CUBES
Food can be perceived and interpreted
in infinite ways.
DESIGN FOOD
27
28

FOOD JOURNAL · SOCIAL MEDIA
Social Media
FOOD JOURNAL · TED BAKER
Ted Baker
31
FOOD INSPIRATED MAKE UP
TASTEFULLY TED. LONDON
32

www.l
2DISEÑO WEB
Rediseño de la página web de un restaurante con
el objetivo de darse a conocer y hacer un buen uso
de la plataforma digital para optar al servicio a
domicilio. Maquetación, proyección e fotografías
realizadas por mí.
Programas usados: Figma, Illustrator.