A series of tearful-eyed stickers on meals cry for help to encourage customers to buy them and help reduce food waste. Named the Tearful Eye Sticker by the convenience store FamilyMart, the design shows a cartoon character with teary eyes and a short message that says, ‘Please help.’ The purpose of the teary-eyed stickers is to draw the customers’ attention to them and make them realize not to waste food by buying them instead of the new stocks. These illustrations are not alone because sitting next to them are the discounted prices of the products.

By combining these two, the project hopes that customers become more aware that food is food, at the end of the day, and that it’s such a waste to throw it out just because they want to choose the recently stocked ones of the same kind. The teary-eyed stickers, which hope to combat food waste, were first introduced in March 2025 for the discounted items in FamilyMart, typically attached onto meal items like rice balls, sandwiches, and lunch boxes. During the national rollout, the company made small design changes by making the ‘Please Help’ text larger as well as the crying characters so they could be seen more clearly and instantly.

all images courtesy of FamilyMart

Tearful Eye Sticker design free for public use

In October 2024, FamilyMart ran a test in several stores using the teary-eyed stickers to see if they could reduce food waste. The company says that its results showed a 5 percent increase in purchase rate compared to the old sticker that only showed the discount amount, meaning more customers were buying meals close to expiration. Based on this, FamilyMart estimated that if the sticker were used in all stores, it could reduce food waste by around 3,000 tons per year. The company adds that the customer feedback also supported the refreshed sticker design because some said the playful label made them want to buy the food because it looked like it needed help. 

Based on this feedback, FamilyMart launched the project in all stores nationwide in March 2025, and in April 2025, it tested the stickers at ten stores in Tokyo. The results again showed that the sticker increased sales of discounted food and that customers said it was easier to buy food with the new sticker than with one showing only a price cut. The company added another twist to the campaign: when customers buy discounted food, a small character now appears on the cash register screen to thank them. The project expanded again in October 2025, when FamilyMart made the Tearful Eye Sticker design free for public use so that any business or store that sells expiring meals can use the teary-eyed stickers on their own and help spread the campaign to reduce overall food waste.

the design is accompanied by a short message that says, ‘Please Help’

the stickers are typically attached onto meal items like rice balls, sandwiches, and lunch boxes

the design comes with a discounted price on the side

the company says more people have bought expiring food because of the campaign

the design is free to download and for public use

project info:

name: Tearful Eye Sticker

company: FamilyMart | @familymartid

stickers: here

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Yào Original is a contemporary food brand that reinterprets the aesthetics of traditional Chinese pantry goods through minimal, tactile design. Created by designer Carla (Yu) Pan, the brand aims to preserve cultural authenticity while speaking to a new generation of global consumers. The visual identity centers on restraint and material honesty. Simple forms, balanced typography, and a limited color palette evoke the calm rhythm of home cooking. Each package is designed as a quiet container for daily rituals, one that respects the ingredients inside as much as the traditions they come from.

all images courtesy of Carla Pan

Tactile minimalism defines Yào Original packaging by Carla Pan

The packaging system uses natural paper textures, recyclable materials, and subtle embossing to create a sensory connection between product and user. Every detail, from grid layout to type weight, reflects a dialogue between precision and warmth. Yào Original’s concept by designer Carla (Yu) Pan emerged from an exploration of how culture can be distilled, not decorated. By reducing visual noise, the brand allows heritage and craftsmanship to speak for themselves, transforming ordinary pantry staples into design objects that carry memory and meaning.

Yào Original reimagines traditional Chinese pantry goods through contemporary design

the brand balances cultural heritage with modern minimalism

a restrained design language defines the brand’s visual identity

simple forms and balanced typography create visual calm

typography is chosen to balance modern clarity and traditional tone

created by designer Carla Pan, Yào Original connects tradition and global sensibility

Yào Original translates cultural memory into modern design language

project info:

name: Yào Original

designer: Carla Pan

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: christina vergopoulou | designboom

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HAK Studio presents UMA, a tableware collection developed through research in gastrophysics, a field of neuroscience exploring how sensory stimuli shape taste perception. The series includes a swirling porcelain dessert plate and a rough, unglazed, salty bowl. a Designed to support individuals experiencing reduced taste sensitivity, such as older adults or those who have lost their sense of taste following COVID-19, UMA uses color, texture, and form to enhance the perception of flavor. Studies by Professor Charles Spence at the University of Oxford demonstrate that the brain forms taste expectations before food reaches the mouth. Elements such as color, texture, and shape can intensify or alter taste experiences, enabling healthier eating by reducing the need for sugar, salt, or other additives.

all images courtesy of HAK Studio

UMA series consists of a porcelain dessert plate and a salty bowl

Informed by this research, HAK Studio developed a dessert plate designed to heighten the perception of sweetness. Crafted in porcelain and finished with a high-gloss glaze, the plate features a swirling pattern inspired by confectionery, reminiscent of toffee or strawberry cream candies. The glaze’s movement and sheen evoke fluid chocolate, reinforcing visual and tactile cues associated with sweetness. Each piece is produced using a color-mixing method that ensures no two plates are identical.

The salty bowl complements this approach, made of porcelain with contrasting surfaces, a rough, unglazed exterior, and a smooth, quartz-glazed interior. The outer texture is developed through repeated material experimentation, creating a tactile experience that encourages touch while visually referencing salt crystallization. Inspired by Japanese tableware, the bowl’s proportions make it suitable for soups, stews, and rice-based dishes.

UMA tableware by HAK Studio explores the connection between neuroscience and design

HAK Studio’s tableware supports taste, health, and well-being

Throughout the design process, HAK Studio conducted interviews with 20 participants, including older adults and individuals recovering from COVID-19-related taste loss. All reported perceptual enhancement when using or viewing the prototypes. The project demonstrates how neuroscience-informed design can influence the sensory experience of eating, suggesting that thoughtful form, texture, and color can serve as tools to restore or amplify taste perception in everyday life. Produced in a ceramics workshop in Copenhagen, UMA blends craftsmanship with scientific insight, proposing an interdisciplinary approach where design operates as an extension of sensory health and well-being.

the dessert plate is crafted in porcelain and finished with a glossy swirling glaze

color, texture, and shape are used as tools to influence taste experience

the swirling pattern recalls the movement of toffee, chocolate, or cream candies

the salty bowl features a rough unglazed exterior and a smooth glazed interior

the contrasting surfaces enhance tactile engagement and sensory awareness

inspired by Japanese tableware, the bowl suits soups, stews, and rice-based dishes

the outer texture evokes natural salt crystallization through material experimentation

project info:

name: UMA – tableware that boosts taste inspired by neuroscience
designer: HAK Studio | @hakdesignstudio

industrial designers: Zanetta Korsak & Pawel Lasota

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: christina vergopoulou | designboom

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Odette Dierkx transforms waste-eating mushrooms that eat plastic into a powdered ingredient to make chocolate protein bars. Named Plastik Protein, the edible waste-eating product starts its process with mycoremediation, a biological method where fungi digest harmful materials and eat plastic waste such as PET bottles, polyurethane foam, and LDPE plastic bags. They then grow by using plastic as their food source, and during this stage, the mycelium breaks the plastic into smaller, harmless organic compounds. 

Once the plastic is fully digested, the clean mycelium remains, which is then collected, dried, and turned into a protein-rich powder. The dried material contains amino acids, fiber, and nutrients that can be used as food ingredients. The protein powder is later formed into the edible chocolate Plastik Protein Bar, made from the mycelium of the mushrooms that once consumed a specific type of plastic. The concept project by Odette Dierkx trails behind the fungi-made prosthetic organ that extracts and breaks down microplastics inside human bodies.

all images courtesy of Odette Dierkx

fungi convert plastic molecules into carbon-based compounds

The concept product and project uses several species of mushrooms, each matched with a type of plastic: the Oyster Mushroom (Pleurotus ostreatus) digests PET plastic, often found in bottles and packaging; the Turkey Tail Mushroom (Trametes versicolor) eats LDPE plastic, commonly used in grocery bags; and the Split Gill Mushroom (Schizophyllum commune) dissolves PUR plastic, used in foams and coatings. These fungi convert plastic molecules into simple carbon-based compounds. After decomposition, they leave no toxic waste behind, and the result is clean, organic matter suitable for cultivation and food production. The chocolate Plastik Protein Bar made from plastic-eating mushrooms is designed as a functional food product. 

Each bar is made from processed mycelium powder mixed with natural flavoring, such as cocoa, nuts, or fruit extract, and its texture is dense and protein-rich, designed to provide energy and nutrients. The bar contains no remaining traces of plastic because the fungi completely digest the material before harvest. The designer’s foundation for the project stems from findings of the Yale University students back in 2011. In their study, they documented how they found out that a fungus called Pestalotiopsis microspora, discovered in the Amazon rainforest, could digest polyurethane plastic even without oxygen using the process known as mycoremediation. From here, Odette Dierkx expands the research by turning the biomaterial into a multipurpose and edible project.

this bar has split gill mushroom, which degrade PUR plastic such as synthetic kitchen sponges

this bar contains oyster mushroom (Pleurotus ostreatus), which digest PET plastic such as plastic bottles

the edible waste-eating product starts its process with mycoremediation

the pattern on each bar is inspired by the organic lines found on each mushroom

the concept product and project uses several species of mushrooms

each bar is made from processed mycelium powder mixed with natural flavoring

even the wrapper is made of the plastic-eating mushrooms

the bar contains no remaining traces of plastic because the fungi completely digest the material

the fungi convert plastic molecules into simple carbon-based compounds

so far, the project is a conceptual edible product

project info:

name: Plastik Protein

design: Odette Dierkx | @oddddesigns

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: Matthew Burgos | designboom

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Boiling Point is a packaging design concept by art director and designer Inna Efimova, with 3D visualization by Vladimir Kuznetsov. The project explores how everyday food containers can combine ecological responsibility, material efficiency, and visual identity. The design takes inspiration from the natural process of water reaching its boiling point. This reference is translated into the container’s irregular, bubble-like geometry, highlighting organic forms and the aesthetic value of imperfection. The resulting surface creates both a tactile quality and a distinct visual language for the product.

The packaging is produced from recyclable eco-plastic, selected for its light weight, durability, and reduced environmental impact compared to conventional plastics. Beyond recyclability, the container is intended for reuse: once the soup has been consumed, it can be refilled with dry goods such as grains, beans, or lentils. This modular use cycle extends the product’s life and aligns with circular economy principles by minimizing material waste.

Boiling Point by Inna Efimova | all visuals by Vladimir Kuznetsov

Transparency and Flexible Sizing Define Boiling Point’s Design

A key design feature is a transparent ‘boiling point’ window that allows visibility of the ingredients inside. This element improves consumer awareness, encourages informed purchasing decisions, and avoids unnecessary waste. The soup sets are available in three portion sizes (300g, 150g, and 75g) to accommodate different household needs while helping to prevent food waste. Three curated combinations, Bulgur and Lentil, Beans, Lentil, and Rice, and Rice and Carrot, form the initial product range.

Developed by designer Inna Efimova, with 3D visualization by Vladimir Kuznetsov, Boiling Point has been recognized with several international awards, including a Bronze at the Dieline Packaging Design Competition, a Silver at the London Design Awards, and further acknowledgments from the Applied Arts Awards and DNA Paris. Currently existing as a concept, Boiling Point is in search of collaborators, manufacturers, and partners to move toward large-scale production.

a packaging concept exploring ecological responsibility and visual identity

design inspired by the natural process of water reaching boiling point

irregular bubble-like geometry defines the container’s form

organic shapes emphasize imperfection as an aesthetic value

packaging produced entirely from recyclable eco-plastic

sized to fit diverse household needs and reduce waste

project info:

name: Boiling point
art director, designer: Inna Efimova | @innagalactica

3D visualizing: Vladimir Kuznetsov | @vladimir_kuznetsov_cg

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: christina vergopoulou | designboom

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Lucy Sparrow’s latest installation, Bourdon Street Chippy, transforms the Lyndsey Ingram Gallery in London into a fully immersive fish and chip shop rendered entirely in felt. Open through September 14th, 2025, the project continues Sparrow’s exploration of everyday environments through soft sculpture, creating a spatial experience and material presence.

The exhibition occupies the gallery’s rooms with a clear intent to emulate the structure and ambiance of a working chippy. From the banquette seating to the framed portraits on the walls, each element is conceived with a distinct attention to layout and proportion. The familiar counter lends a functional threshold between visitor and vendor, while the seating area encourages visitors to linger, treating the project as both a gallery and social space.

images © Lucy Emms (unless otherwise stated)

lucy sparrow exhibits her command of the material

At the heart of the Bourdon Street Chippy installation is artist Lucy Sparrow’s command of material translation. Over 65,000 hand-crafted felt pieces articulate every surface, container, and consumable object within the chippy. What emerges is a material language that captures the texture of linoleum flooring, the gloss of laminated menus, and the sheen of deep-fried food through stitch and shape. Even the chips, with fifteen distinct cuts in five different tones, are organized with the rigor of typological study.

The spatial layout reflects the hierarchical clarity of a traditional takeaway. Circulation paths are defined by counters, queues, and bench seating, while sightlines are organized around key objects: a felt fryer, hand-sewn condiment dispensers, and signage arranged with unified graphics.

Lucy Sparrow transforms Lyndsey Ingram Gallery into a fully immersive felt fish and chip shop

the interactive bourdon street chippy

Lucy Sparrow herself is present at Bourdon Street Chippy five days a week, reinforcing the installation’s interactivity. Her participation blurs the boundary between artist and vendor, and between object and performance. ‘The familiarity of these spaces disarms the viewer,’ Sparrow explains. ‘It’s a way of getting people to let their guard down.’

The choice of a chippy, as opposed to her previously explored subjects including a supermarket or pharmacy, adds a more intimate layer to the work. ‘My relationship with food has always influenced my art,’ she continues. ‘Over time, I came to understand that my practice had become a way to manage difficult emotions.’ In this sense, Bourdon Street Chippy operates as both a personal artifact and a public setting.

Bourdon Street Chippy recreates a familiar high street space

In bringing a High Street staple into the controlled conditions of a commercial gallery, the installation invites questions about access, nostalgia, and gentrification. The gallery’s polished context contrasts with the working-class origins of the fish and chip shop, yet the installation’s warmth and humor hold space for both critique and affection.

‘Lucy is one of the most important and meaningful artists of her generation,’ says gallerist Lyndsey Ingram. ‘Her work blurs the lines between performance and installation art, all in her distinctive felt language.’ The gallery’s transformation is comprehensive as every surface and volume supports the illusion.

visitors navigate a fabric-rendered takeaway complete with counters banquettes and signage

the installation blends sculpture and performance within a curated spatial framework

over 65,000 felt objects include fifteen chip shapes in five colors | image © Alun Callender

Bourdon Street Chippy explores themes of nostalgia, commerce, and craft

Lucy Sparrow is often present in the gallery, engaging directly with visitors

project info:

name: Bourdon Street Chippy

designer: Lucy Sparrow | @sewyoursoul

location: Lyndsey Ingram Gallery, London, UK

dates: August 1st — September 14th, 2025

photography: © Lucy Emms | @lucy.emms, © Alun Callender

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Nik Bentel Studio introduces the Dinner Bag, a multifunctional handbag designed as both a fashion accessory and a portable dining surface. The design integrates key elements of a place setting into a structured leather bag, combining playful storytelling and unexpected materials.

The front of the bag incorporates a ceramic dinner plate alongside a stainless steel fork and knife, all mounted directly onto its surface. This configuration transforms the bag into a mobile dining setup, allowing it to serve as an impromptu eating station.

all images courtesy of Nik Bentel Studio

Compact enough for daily use, curious enough for conversation

Constructed from leather, the Dinner Bag maintains structural integrity while accommodating the added weight of ceramic and metal components. The design is offered in three color variations, black, red, and brown, and is priced at $300.

Although playful in concept, the Dinner Bag is designed as a fully functional accessory, exploring the intersection of utility, fashion, and object design. It follows Nik Bentel Studio’s ongoing interest in reinterpreting everyday forms through material experimentation and conceptual transformation.

designed by Nik Bentel Studio as a wearable dining setup

the Dinner Bag combines fashion and function in a single design

a ceramic plate, fork, and knife are integrated into the front of the bag

structured leather supports the weight of dining elements

a handbag that reinterprets the everyday dinner table

stainless steel utensils are mounted directly onto the bag

designed for occasions where spontaneity meets style

compact enough for daily use, curious enough for conversation

a fashion accessory transformed into an impromptu dining experience

Nik Bentel Studio explores new uses for common items

project info:

name: The Dinner Bag

designer: Nik Bentel Studio | @nikbentelstudio

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: christina vergopoulou | designboom

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As the Nintendo Switch 2 gains traction, users are already experimenting with its hardware capabilities, particularly its integrated magnetic connectors. GamiFries is a 3D printed accessory that allows users to mount a McDonald’s fries box directly onto the console.

Designed by fan-artist 7R135, GamiFries leverages the Switch 2’s magnetic interface to secure a fry holder in place. The attachment is specifically modeled to accommodate a McDonald’s medium fries container and is intended to function in both handheld and docked controller modes. The 3D print model is available for free on MakerWorld and is custom-crafted to fit the fries box with a secure and satisfying snap.

all images courtesy of 7R135

GamiFries accessory uses the console’s magnetic connectors

The design by user 7R135 addresses common challenges faced by hungry gamers, allowing access to food without disrupting gameplay. GamiFries positions the fries within reach, reducing the need to pause or reposition during use. The model is fully 3D printable and requires no additional fasteners or tools beyond the console’s built-in magnet system. Its form factor ensures a close fit and secure hold.

By incorporating everyday packaging dimensions into its geometry, the GamiFries accessory explores how gaming hardware can be adapted through small-scale fabrication. This fan-made 3D print turns Nintendo’s Switch 2 into the ultimate fry delivery system, mounting a box of McDonald’s fries directly onto the controller using magnets.

GamiFries mounts a McDonald’s fries box directly onto the Nintendo Switch 2

designed by fan-artist 7R135, the accessory uses the console’s magnetic connectors

the 3D printed holder is shaped to fit a medium McDonald’s fries container

the design aligns with the Switch 2’s built-in magnet system for secure mounting

the attachment keeps fries within reach, minimizing in-game distractions

the model’s geometry mirrors everyday packaging for a precise fit

GamiFries allows users to snack mid-game without interrupting play

the accessory reduces the need to pause when hunger strikes

its form factor ensures stability and ease of use during gameplay

compact and practical, GamiFries emphasizes small-scale customization

GamiFries attaches with a satisfying snap, no fasteners required

project info:

name: GamiFries
designer: 7R135

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Menu du Jour is a conceptual installation by Zélé Collective that translates the digital interface of food delivery services into a large-scale physical object. The work takes the form of a restaurant menu measuring 22.13 meters in length and is constructed from data manually gathered from the Uber Eats platform. The installation invites viewers to confront algorithmic excess, decision anxiety, and the paradox of infinite choice.

At exactly 12:00 PM on a weekday, all available dishes, including starters, mains, and desserts, were recorded manually, without the use of scripts or automated tools. This process highlights the extensive, repetitive labor involved in interfacing with algorithmic systems that appear seamless to users. The collected information was formatted following the graphic conventions of traditional restaurant menus: serif typefaces, typographic hierarchy, and red grid lines. These visual cues reference the physical menus typically found in cafés and bistros, establishing a contrast between analog familiarity and digital excess.

all images courtesy of Charles-Antoine De Sousa, Zélé Collective

Zélé Collective prints a physical archive of digital abundance

By presenting this data in a continuous, scroll-like form, the installation materializes the volume of algorithmically delivered choices. The piece explores the cognitive overload caused by choice saturation, and the strange tension between digital fluidity and physical exhaustion. ‘It’s part of an ongoing reflection on our relationship to consumption, decision-making, and information excess in platform culture. Menu du Jour is both humorous and critical, a physical confrontation with the invisible structures shaping our daily appetites,’ shares artist Charles-Antoine De Sousa, member of Zélé Art Collective.

the installation physically visualizes the entire Uber Eats menu

the work critiques algorithmic abundance and its effect on decision-making

Menu du Jour stretches 22.13 meters across the gallery floor

a physical archive of countless digital food choices

endless listings turn into a single, continuous form

Serif fonts recall classic restaurant menu design

analog aesthetics meet digital content in this oversized menu scroll

the installation invites viewers to confront infinite choice as material reality

manual labor contrasts the apparent convenience of delivery apps

the menu scroll evokes the format of traditional bistro menus

a snapshot of digital consumption captured in print

the installation documents the paradox of seamless interfaces and invisible effort

Charles-Antoine De Sousa reinterprets digital routines through physical space

the format emphasizes accumulation and repetition

a commentary on daily interactions with platform algorithms

project info:

name: Menu du jour
designer: Zélé Collective | @zele_collective, Charles-Antoine De Sousa | @desouzzzzz

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FOODres.AI is a desktop 3D printer developed by MIT graduates Biru Cao and Yiqing Wang that converts household food waste into functional objects using artificial intelligence. Integrating object recognition, material processing, and additive manufacturing, the system offers an alternative approach to domestic waste management through small-scale, circular design. The printer is equipped with a custom three-axis extrusion system and an automated material processing module. Kitchen scraps are processed into a printable bioplastic paste using a built-in heating and mixing mechanism. The material is then extruded into preselected forms such as coasters, containers, and simple decorative items.

A mobile application supports the system’s operation. It includes a self-trained object detection model that identifies types of food waste using the phone’s camera. Based on the detected material, the app suggests suitable ‘print recipes’ that account for the physical properties of the waste. The app also provides a library of design templates, and users have the option to upload custom models. The interface is designed for intuitive use, requiring minimal prior experience with 3D printing.

craft prints and the printing materials | all images courtesy of Biru Cao and Yiqing Wang

FOODres.AI 3D printer enables localized reuse of scraps

FOODres.AI, developed by designers Biru Cao and Yiqing Wang, originated as part of MIT’s IDEAS social innovation program and has since received continued institutional support. It was recognized with the iF Design Award (2025) and the Platinum A’ Design Award (2024–2025). The project situates itself within broader efforts to reduce food waste, an issue that accounts for up to 50 percent of household organic refuse in the United States.

Rather than diverting food waste exclusively to compost or landfill, the system enables localized material reuse through additive manufacturing. Its compact format allows for potential integration in domestic, educational, or small-scale workshop environments. The design emphasizes automation, modularity, and user accessibility, aligning with emerging practices in distributed production and sustainability. FOODres.AI proposes a material cycle in which organic waste can be repurposed into durable forms. The system supports experimentation and modular output while reinforcing behavioral change through direct interaction with waste transformation processes.

from AI detection to printed crafts

FOODres.AI printer

user interface of the mobile app

machine design

sharing the work on social media

project info:

name: FOODres.AI Printer
designers: Biru Cao, Yiqing Wang

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: christina vergopoulou | designboom

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