In anticipation of the upcoming 2012 D-Crit Conference, "Eventually Everything," Core77 is pleased to have the opportunity to explore the breadth of SVA's design criticism MFA program through a series of Q&As with a few members of the graduating class.
Anna Kealey will be presenting "Unpacking the Pastoral Food Package: Myth-Making in Graphic Design" during the first panel of the day-long event, "Calculated Nostalgia," on Wednesday, May 2nd. See the full schedule of events here.
The expanding market of health- and environmentally-conscious consumers has intensified processed food companies' focus on visuals and verbiage that equate their products to fresh, healthy, unprocessed foods. Designers working with food clients are expected to maintain myths about food production and the healthy attributes of processed foods. Packaging design attempts to add a level of emotional resonance to products, ideally connecting consumers to a natural environment and tradition through agrarian imagery far removed from the reality of a boxed, processed package taken from the supermarket shelf. An enormous range of packaging designs overwhelms and confuses the consumer. Together they create a landscape of fictitious imagery that is disconnected from the realities of food production today and perpetuates a lack of understanding about food. This presentation dissects the visual and verbal cues on food packaging-from the seemingly obvious to the far more abstract-and illustrates how they are used to create myths about food.
Core77: Why D-Crit? Why now?
Anna Kealey: Communication is so visual now. I think the success of platforms like Instagram and Pinterest are indicative of our desire to communicate with quick pictorial snapshots almost in place of words. These new mediums coupled with already existing ones means our environment is increasingly saturated with images and designed artifacts. D-Crit gave me a broad range of skills to evaluate this material and what it says of our culture. The rate of change in design, especially in the digital realm, is so fast. The course's contemporary-focus equipped me to evaluate current design phenomena as they're happening.
How has your background in visual communication informed your interest in food packaging? Do you think a naïve (i.e. untrained) approach to the design of food packaging would be an advantage or disadvantage for your research?
I worked briefly for a food magazine in Ireland and learned quickly of the intentionality behind every aspect of food design—from the sprig of rosemary that appears casually strewn on the plate to the vintage photographic filters used to add a nostalgic haze. It's there whether you realize it or not.
My background meant I was constantly critiquing my own work and the work of my colleagues, which helped me develop a keen critical eye. It gave me the ability to dissect the packaging into its basic design components, which allowed me to analyze each design decision and its motivations. Where my experience was probably most useful was when I was interviewing designers because I could speak their language and understand their process.
However, I could see how a graphic design background could prove to be a hindrance. I am very immersed in the world of design and many of my dearest friends work in the field. I have tremendous respect for the work designers do. However, my thesis deeply evaluated, and often criticized, the basic aesthetic decisions that designers make everyday. This is important to what I do, and what I believe, which is that visual material and seemingly innocent design decisions do have ethical consequences. Nobody really enjoys being critiqued. So in a way, being an untrained outsider could have afforded me some distance. Thankfully I was aware of this conflict as I begun my research so early on I accepted that what I wrote will not please everybody.
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