If the foodie is intrigued by the food, the artistic plating has done its job. The art of plating may seem to too prestigious of a thing to university students to care about. Do you think that first impression of that date will entice you to a kiss later? Certainly not from me. But in a world run by appearances, they count.
And sure, I may give them another try as in talk and get to know the date or take a bite of the food , but first impressions truly do mean a lot to the overall experience. If we take care of ourselves, what we spend our time with should as well. We are the artists to our world, why deny ourselves the simple pleasures and creations of beautiful things like latte art and the plating of our food. Visual appeal is just as important as the taste experience of the food. Overall, picking the right dinnerware will add an overall vibe to your restaurant.
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Here one might ask what role habit plays in terms of the shape and colour of the plateware and its impact on the diner. Excepting some restaurant experiences, we mostly eat from round white plates. In this research, it seems possible that higher values might be given by diners to the foods presented on white conventional plates simply because that is the colour that most western diners will be more familiar with note here the literature showing that familiarity very often breeds liking - as in the mere exposure effect [ 56 ].
Besides the support for the food namely the plateware , it is important to consider how the food itself is placed on the plate. The various aspects of visual composition include, for example, the colour of the food or elements of the dish, the visual texture of the components and their combination also important but little studied , the shape of the individual components, and the higher-order spatial arrangement of the various elements.
Up until very recently, however, no one had explored this topic in any detail. Interestingly, the framing of these experiments shows just how many different routes and hypotheses research can take when it comes to understanding the principles of plating.
For instance, Reisfelt et al. These researchers used a discrete choice experimental design in which people were shown different series of eight photos, consisting of combinations of variations on a meal, defined in the following way: dish modern or traditional ; vegetables root mix or wok mix ; meat slices or whole pieces of tenderloin pork ; sauce either present or absent ; and herbs dishes either with or without a parsley garnish.
The respondents had to select the meal that they preferred, the dish they would choose second, and their least favourite dish. Perhaps the most relevant variable in the context of the present article is the first one. The modern dish was selected significantly more often than the traditional dish, with women preferring the modern variant more than the men.
Additionally, a preference for the traditional version of the dish was positively correlated with age, with the elderly participants preferring this option more than the younger participants.
These results seem to suggest that preferences for plating come from previous experience - and a possible comparison with the canonical or prototypical look of a certain dish. A different set of hypotheses can, however, be applied to plating, looking this time at more general aesthetic principles of harmony. The interest here for chefs is that these principles do not depend on background expectations set up by previous experiences with a dish, and explain why a novel arrangement appeals to consumers or not.
The development of an experimental aesthetics of food composition is here a promising line of research, though one that is still in its infancy. At this point, we want to offer some first food for thought regarding this new direction of study. First is a note of caution. Nothing proves that food composition really follows the rules of aesthetics - at least in a way that can be experimentally measured and lead to a difference in appetite, satiety or judgment.
After all, there is a long tradition in aesthetics of excluding eating experiences as well as drinking ones, see Kant [ 62 ] and Smith [ 63 ] for a discussion because they appeal mostly to appetite and pleasure, and not to the disinterested appreciation of their visual and non-edible properties.
Zellner and colleagues [ 64 ] have, for instance, studied whether balance and complexity in the presentation of food on a plate would affect the attractiveness of the visual presentation. In addition, the willingness of the participants 68 undergraduates to try the food, and their liking for it, was also measured under four different conditions of visual presentation monochrome-balanced, coloured-balanced, monochrome-unbalanced, and coloured-unbalanced; see Figure 4.
The food consisted of four slices of water chestnuts and four lines and a dot of tahini. So, while manipulating the colour and balance in a dish may affect how attractive it is rated as being, Zellner et al. The balanced and unbalanced plate arrangements utilized by Zellner et al. In the coloured presentations, the lines of tahini were green and the dots were red. Figure copyright Zellner et al.
However, when Zellner et al. The connection with concerns for food purity, studied by anthropologists, might here raise an interesting set of questions, which we hope to see pursued in the near future [ 66 ].
Of course, it could be argued that complexity depends on much more than merely just the variety of colour that happens to be present in a dish. It also depends on the size of the elements, the variation in colour, the number of products, the familiarity of the person with those products, and the mix of products or elements that are involved. Confirming previous results [ 68 ], these researchers observed strong correlations between designed collative properties and perceived complexity.
Inverted U-shaped relationships between visual preference and perceived complexity were documented for both the vegetable and fruit mixes. However, no such effect was observed for the combined fruit and vegetable plates, perhaps because from the start they were already seen as being quite complex. So, the take-home message here is not to allow the visual composition of the elements to become too simple nor too complex if you want a dish to be successful or, at least, to be visually appealing d.
The prospect of uncovering aesthetic principles of food composition should probably also look at ways in which the balance between visual elements can echo the balance between flavours, a notion also under-investigated by sensory scientists. The aesthetic of plating in this respect might be closer to the aesthetics of architecture than of plating. Collative properties such as complexity, novelty and variability contribute most to the arousal property of a work of art. Visual patterns with a low arousal potential - and, therefore, low levels of perceived collative properties - are simply not stimulating enough.
As a consequence, they may leave the observer feeling indifferent. Patterns with very high arousal potential - and thus high levels of perceived collative properties - may be too difficult to grasp and hence considered unpleasant.
The preferred patterns, then, are considered to be those with an arousal potential at a medium level, leading to the inverted U-shaped relationship between hedonic appreciation and arousal potential see also [ 71 , 72 ] on the dimensionality of visual complexity, interestingness and pleasantness. Another point of view suggests that people experience some kind of reward when processing visually complex stimuli [ 73 ].
At the Crossmodal Research Laboratory in Oxford, we have been investigating the impact of more complex arrangements of food. Campbell No. The artistic arrangement of the elements in the dish was compared to a situation in which the very same ingredients were arranged as in a common tossed salad.
In another condition, the 17 elements that went into making the salad were arranged side-by-side in a neat but non-artistic manner. The participants filled out pencil-and-paper questionnaires both before eating the food and after having finished the dish.
The Kandinsky-inspired artistic presentation resulted in the food being rated as more artistic as expected. Salad with a taste of Kandinsky. From [ 76 ]. Image credit: C. Michel and Comes Cake. Another difficulty that awaits scientists and chefs alike in this area may come from the existence of some important individual differences in the response of diners to various styles of plating.
There would seem to be no reason, a priori , why one should expect that what looks nice to a North American diner would necessarily appeal equally to an Italian or Japanese diner. Zampollo et al. The results of their intriguing research revealed that across these three countries, there were consistent preferences in terms of the number of colours on the plate three , the number of components on the plate three to four and how full the plate should appear nearly empty versus crowded, as they put it.
Where cross-cultural differences were apparent was in terms of how the diners in the different countries thought the items should be organized on the plate, where the main item should appear, and the degree of casualness or organization of the presentation. So, if these participants had been tested for this trait using the VAST [ 77 ]; a test that is normally applied in the assessment of visual art , and the results for visual aesthetic sensitivity and flavour appreciation for artistically presented meals were found to be highly correlated, one might hypothesize that the visual results could extend to the sense of taste that is, those who score more highly would likely appreciate the dish more when it is presented in a balanced manner; cross-reference [ 78 ].
Should such a correlation be found, much of the preliminary research on the design of new dishes could presumably then be conducted over the internet, perhaps using digitally modified images - a kind of virtual prototyping, but this time applied to the world of gastronomy [ 79 — 81 ]. Furthermore, here one perhaps also needs to consider the colour of the lighting in the restaurant. Indeed, the temperature, intensity and type of illumination can all be expected to exert some influence on the perceived colour of the plate, the food placed on it, and on the atmosphere, and hence on the flavour of the food itself, not to mention on the mood of the guests.
The sensory dimensions of the plate might be the central part of our experience of eating and the main focus of our attention , but it is certainly not the only one. Concentric to the dish, how the table is arranged can be considered as a wider frame for the plate. Then the atmospherics surrounding the table and its many variables , and the social context all play a role on our behaviours, and how enjoyable and healthy the food finally is.
Both the interactions between presentation and dishes, and how these elements combine with the rest of the restaurant environment are topics that are rapidly becoming better understood, and are certainly fascinating to study. A better understanding of the relationship between the aesthetic of food displays and the main principles of harmony in art could also give light to exciting new approaches.
As was stressed in the first part of the manifesto, the aestheticization of food and eating experiences develops out of a concern for finer combinations of flavours. Certainly, in the quest for those finer recipes, the eye can, as much as the palate, suggest new associations. Is the amount of waste also correlated positively with the size of the plate?
Different materials and coatings for example, shiny versus matt might also be expected to change certain characteristics of the colour. Controlling for these additional aspects is certainly a challenge for the comparability and generalization of the few scientific studies that have now started to appear where the differences induced by changing the colour of the plate or container in which the same food or dish is presented have been studied.
In this sense, the way in which a dish can be arranged may, in fact, lead them to have different flavours physically - as opposed to any effect that they have due to the psychological impact the different display can have.
Escoffier A: Le Guide Culinaire. Google Scholar. Biol Psychol. J Texture Stud. Article Google Scholar. When rated on individual taste factors such as saltiness, sweetness and bitterness, all the salad preparations received similar rankings.
Why plating matters Not only did diners who were presented with the artful salad indicate a higher level of tastiness, they also said that they would be willing to pay more for this salad despite the fact that it was comprised of the same ingredients that were in the other preparations.
Diners recognize this attention to detail and are willing to pay a premium price for it. As new student chefs begin developing menus for dinner parties or restaurants, they would do good to remember this study.
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