Logo development for Blended Teas

I created a logo for the tea brand, and this time tried to not have tons and tons of ideas as I am wont to do.  I chose this idea from a sketch I made weeks ago and made a few dud versions before I hit on one I was happier with.  The teardrop shapes are similar to those on the package design, which lends a little bit of visual consistency overall.

The B was nice and intricate but I felt it got lost in the pattern so I made it black.  Here there is a grey overlay on the lettering; I later undid this as it added that little bit too much to the packaging cover!

On the packaging:

Tried without a "Blended Teas" text, which I didn't think would work with a fictional brand as these kinds of things are usually built on a brand presence which is already known and understood.

Logo on the box cover and on the label, below.

Blended Teas packaging

Current final versions of the three product packages for Blended Teas, a fictional tea brand I created as part of an exercise in brand visuals and illustration.

Strawberry Blend flavour

As can be seen I ended up combining the fruit pattern with the teardrops underneath at a lower opacity. This happened by accident when I had one layer turned off so I could experiment with the other, and accidentally turned one of them on.  I wanted the illustrations box to look "busy", so put boxes around the text so it could be legible.  The blue colour was kept throughout the iteration process as I found it worked well with the colour schemes of each fruit - a pinker colour was tried out but I found that this meant the illustration didn't stand out as well.  

Since I used the type Marketing Script for the logo and the name of each flavour, I felt it would be suitable to select keywords in the bodies of text and highlight them in the same typeface.  This serves a dual purpose of having visual consistency and an element of persuasion by highlighting the buzzwords in the product description which make the tea sound super beneficial.

Sweet Lemon Tea 

Blueberry Brew

While I think I will go back and iterate this project some more after a break, it allowed me to get started on working with styles of familiarisation in the branding context which I have for some time wanted to base my honours project on.  I definitely have quite a lot to learn still and I expect I will try a similar project with a different style and subject matter to more overtly test the different kinds of visual persuasion and how they can affect an audience.

Vintage collages as mood boards

I was feeling a bit stuck at one point as to what kind of visuals could feasibly work in an attempt at "familiarisation", so decided to do what I always do when stuck which is…create some mood boards!  The first one shown below is one I created back in third year which could end up being useful here, and the one below in Figure 2 is made up of images from packaging and advertisements of brands which use older -looking visuals to their advantage in branding - mainly Benefit and Soap & Glory as they fit a similar market to what my current project is aimed at.  I notice that the women all look happy, glossy and good looking, and as you can see from previous posts I have borrowed that idea some in the facial expressions I have drawn and the way I have positioned the faces.  

Fig 1

Fig 2

After this research I decided to have a better look at some proper vintage/antique images, which I could mash up with food images in the hope of creating some mood boards.  After finding a collection of vintage images on the Public Domain Archive, I cut the women out and combined them with some old packaging illustrations to make several collages in Photoshop (below).  I did not create the original images, however they were available in the public domain and I used them here to create these.

Making these did not lead to any breakthrough that I can see as the process was a bit back-to-front, but it is very possible that these will feed into some later work where I take a similar approach.  

(Note:  I do not own any of the images in Figure 1 and 2, nor did I create them.  These images were collected for research purposes.)

First packaging iterations

So I posted on Thursday that I hoped to have finalised packaging up the day after - not so!  Like everything else, I do many iterations before I hit on something I feel I can take forward.  This post will show a few of them, and when looking at the final design it should hopefully show how all the ideas here fed into it.  

I began with a packaging layout and started on the strawberry girl.  I thought about only using the illustration on the front face of the packaging here, which was later decided against as tea is a food product where people need to know what flavour or ingredients they are getting.  Had I chosen to do a different kind of illustration which centred around food, this might have worked, but that is not the case so labelling had to be added after the stage shown in Figure 1.  I had considered taking influences from traditional vintage tea packaging, but at this point I found it faster to design it to fit with usual contemporary tea package designs as it would be more helpful to my practice.

A description of the product, how to  brew the tea and nutritional information were all added after looking at tea packaging in my flat.

Fig 1

I wanted to offset the main illustration with something a little more organic, which "popped" visually against the more detailed vectors.  The drops suggested liquid and the pink colour hinted at the sweet flavour of the (fictional) tea.

Fig 2

An iteration of the style above was Figure 3, where the teardrops were positioned to offset the frame I put in to centre the illustration of the girl.  The font I used was Neutron, but I knew after laying it all out that I wanted something a little punchier.    This was later switched to American Typewriter, which I used in Figure 4 and found to be a good combination of legible, pastiche and fitting with the layout.  I had other fonts in mind to use which would have offset the style of the vectors nicely, but these were an alphabet of full capitals which is hard-going on the eyes, and therefore not suitable for packaging where information is important.

Fig 3

In the for iterations for the lemon tea packaging, I tried out a fruit pattern to see if a kitsch aesthetic would work for this.    It was a little more static than I had been hoping for the packaging to be - I had hoped the visuals would look a little more dynamic, however the fruit pattern made it clear what the ingredients would be which I thought was important at this point.

Fig 4

Fig 5

 These stages were important to show as it is the experimentation which led to the final packaging visuals, which will be posted very soon!

WIP illustrations - Blended Teas

WIP vector images for the Blended Teas packaging and brand visuals.  Created in Illustrator.  These are digital interpretations of the collages I made, which can be seen in a previous post.  I hope to have these images finished and put in a packaging mock up tomorrow.

Anti-alcohol posters in Poland

(DISCLAIMER:  I wrote this in the throes of a winter bug, forgive me if not all of it makes sense.)

My recent practical work has been based around food and nutrition, and combined with research which looks at the ways in which consumerism is encouraged has made me think about designing something to either persuade or dissuade excessive habits.  A study I came across when researching my proposal, Anti-alcohol Posters in Poland, 1945-1989: Diverse Meanings, Uncertain Effects, is a relevant reading point for this area of study, as it focuses on anti-drinking propaganda.  A study on the visuals used to try and encourage a change in a cultural habit is a great place to examine some techniques and their effectiveness.  The posters have been described in the paper's abstract as being "unsuccessful in restraining overall consumption" but offering "valuable lessons for policymakers on the use of visual media in health campaigns." (Gorsky, Dutka et al.,2010)

Poland was chosen for this study as political environment around the time of study had been quite turbulent.  In addition, the urbanisation seen in Poland during the early 20th century meant that vodka- the main cause of the alcohol issue - was made more readily available to people as shops were nearby.  During the period featured in the study, consumption of vodka in litres per capita from 4.2 in 1950 to 9.3 by 1989.  The researchers looked at the medical effects over this period as well as alcohol-related crime incidents and the correlation for each to alcohol, respectively, is clear. 

Many of the posters featured in the study come from the Polish School, an art movement which used "high artistic values, drawing on symbolism, macabre imagery and a wide range of styles including surrealism, formalism, expressionism and pop art."  (Gorsky, Dutka et al.,2010)

 Work from this movement was very stylised in an attempt to provoke a stronger reaction in people.  By moving away from a realistic approach, artists of the Polish school gave their work room to be subverted.  "Polish school artists used metaphor and ambiguity, and references to the contested cultural symbolism of drink, to complicate and subvert the narrow propaganda intent." (Gorsky, Dutka et al.,2010)

 Instead of focusing on the health implications of drinking such as alcohol psychosis or liver failure, the majority of posters presented the drinker as "a social deviant" who "failed to contribute to the economy".  This is seen below in Figure 1, showing a drunk stuck in prison while his comrades are outside leading a revolution.  The poster is titled Stop Drinking!  Come With Us And Build A Better Tomorrow and encourages a healthier approach to alcohol in order to bring about the desired social change of the time.

Figure 1

Many of the posters were of an emotional standpoint, using various striking imagery techniques to engage and shock the viewer.  A particularly emotional style is used below by Dziatlik, drawn to look like it was done by a child.  Gorsky, Dutka et al write that " the viewer sees through the child's eyes and must impose his or her own meaning, whether around the stupefaction of the irresponsible father or the terror of domestic violence." (Gorsky, Dutka et al.,2010)  The caption, "The return of daddy" is also the title of a well known poem where the children pray for the safe return of their father from war.  This adds an element of irony to the image and makes clear the disproval of the artist.  

Figure 2

Sport and leisure pursuits were important at the time the poster below (Figure 3) was created, which is why the image of an athletic body being wasted away by alcohol would have been poignant at the time.    This poster was made in the time of the Soviet era, where sport and physical strength played an important part in ideology and was used in political propaganda.  "Fitzkulutra" was promoted as a means of driving industrial workforce and the military, often through a "sporting hero" figure seen as an icon.  The poster was created in 1964, the same year that Poland had performed very well in the Olympics, and the title, Don't Drink Away All You Have Achieved, combines with the illustration to reflect the national importance of optimum physical health and how it could lead to great achievement. 

Figure 3

The poster in Figure 4 was created 20 years later in 1984, is described as "a concise metaphor for the mortality risks of alcohol." (Gorsky, Dutka et al., 2010) This kind of image speaks for itself and needs no text or further elaboration.

Figure 4

The paper concludes that it cannot be proved that the posters had any known measurable effects on how Polish citizens changed their attitudes to drinking after being exposed to them. However, it is noted that "the steady presence of visual messages may have played a part in shifting the climate of public opinion" and that posters "can have an impact on knowledge and attitudes, and may therefore be effective when integrated with other policies, such as drunk-driving messages alongside enhanced policing, or in preparing public opinion for more effectual environmental measures, such as advertising bans or licensing restriction." (Gorsky, Dutka et al., 2010)  For myself, the visuals used were a useful reference for the kinds of subject matter which might be used in a direct attempt to change social behaviour - these works, as part of a public health campaign, are examples of overt propaganda and can be a great reference for practical work.  

References

Gorsky, Dutka et al. 2010.  American Journal of Public Health.  "Anti-alcohol Posters in Poland, 1945-1989.  Diverse Meanings, Uncertain Effects." Vol 100, no. 11. pp.2059-2069  

Available online at: 

http://www.ncbi.nlm.nih.gov/pmc/articles/PMC2951971/?tool=pmcentrez
[Accessed 8th December 2014]

Images 

Fig 1 Bogusz, Marian, 1952.  Stop Drinking!  Come With Us And Build A Better Tomorrow.  Printed poster [online image] Available at:
http://www.ncbi.nlm.nih.gov/pmc/articles/PMC2951971/?tool=pmcentrez
[Accessed 8th December 2014]

Fig 2 Dziatlik, 1957.  The Return of Daddy.  [online image] Available at:
http://www.ncbi.nlm.nih.gov/pmc/articles/PMC2951971/?tool=pmcentrez
[Accessed 8th December 2014]

Fig 3  Urbaniek, Maciej, 1964. Don't Drink Away All You Have Achieved 
[online image] Available at:
http://www.ncbi.nlm.nih.gov/pmc/articles/PMC2951971/?tool=pmcentrez
[Accessed 8th December 2014]

Fig 4 Cwikla, Jacek, 1984.  Untitled.  [online image] Available at:
http://www.ncbi.nlm.nih.gov/pmc/articles/PMC2951971/?tool=pmcentrez
[Accessed 8th December 2014]

Misleading fruit posters WIPs part 2 - lemons

The lemon posters were the first of the collection of ideas, so there are a couple more style experiments in here that weren't carried over to other subject matters.  This first picture was how I had envisioned the work to be like, pre-iteration.  I like a lot of sweet little illustrations and I borrowed the style to make turn it into a warning about lemons' effect on digestion, by personifying the subject matter so that the message was cautionary rather than a screaming warning.  However after asking a few people I found that neither the illustration nor the typeface was strong enough or had an effect on people.  The image in Figure 2 had a similar reception - I used a posterize effect to mimic a screen printed look, but combined with the wispy text and background of a similar colour, it didn't really "pop" and the message was weak.

Figure 1

Figure 2

I have previously said that the colour halftone effect didn't work out so great for me, but this piece below was, to me, an exception.   Because I left textures out of the rest of the composition, the halftone is a more detailed focal point.  The curvy triangles could be made smaller, as looking at it now they are a little bulky and distracting - they were meant to suggest the corrosive element of citric acid in lemon juice as the shape is borrowed from the corrosion drops in chemical warning signs.   The composition of the backdrop was decided on after looking at other pop art posters and seeing how they were laid out.   I think this could be worked on to make it more dynamic, as at the moment it is very static and doesn't really fit with the way the lemon is positioned.   Overall though I am quite pleased at how my first attempt at a "contemporary" pop art poster turned out.

Figure 3

Looking at traditional pop art led me to discover the WPAP style, which I wasn't so familiar with but had seen in some propagandic work along the way too.  It is an extension of pop art which takes influences from cubism and similar art styles.  I am happy with the way this version of the lemon turned out so I might use this style again.  My only worry is that the style is a very "busy" one, especially the background, so I will have to see if any additional text can be worked with.  I am guilty of over-stuffing my posters with too much information sometimes too so I will have to take extra care!  I do really like the layered look of the fruit, so it is possible that I could keep this and keep the background blank.

Figure 4

Lastly I tried out the painterly-imitation technique which had worked out for me previously, and I think the results are my favourites out of this bunch.  The typeface used was one which fit well with the vintage looking visuals and was legible as well, which given that these would be read in passing in public is an important factor in the design.  

Figure 5

The smoother gradient styles worked well on the lemon shape as it is curved and could be rendered well.  I used layer masks of textured paper, which was from a freebie pack I downloaded from deviant art a couple of years ago and unfortunately can't trace it now.  The text used in the first poster very much pushed the negative aspect of citric acid content in lemons, whereas the second image uses a lot more visual rhetoric and relies on the viewer to decide whether or not the acid content is bad or good.

The textures added a bit of depth to the posters, making them look that little bit more authentic given the style I was mimicking.  This is by far one of my favourite styles I have worked in and I expect I will continue using it, but I would also hope to try out a more blocky vector style as done in the previous post (apples posters) and gauge how effective that would be. 

Figure 6

Misleading fruit posters WIPs - apples and bananas

These WIPs are for the fictional health campaign (under the working title "Choose Your Fruit Wisely" until I can come up with something better).  Overall the campaign covers apples, bananas, limes and lemons, but since there are a lot of images they are getting broken up into a few posts.  As a reminder, I aimed to take minor nutritional negatives found in fruit and amp them up to look like a health hazard, in a way not un-similar to the Ministry of Sugar Information posters I wrote about last month.  

Figure 1

Figure 1 was one of a few initial style tests I had done but was not really happy with.  I had wanted to go for a pop-art-y, Roy Lichtenstein kind of look, as my research work had recently led me to looking at familiarisation techniques in art, one of which that style is.  But the halftone tool in Illustrator can be tricky if you are a bit of a novice like me, and can come out a bit harsh on the eyes.   I decided that that style might have to stay in the experiment stage.

Figure 2

Through researching other propaganda/persuasive art, I saw that one of the most recognisable styles was a painterly one, used by artists such as Norman Rockwell and more recently Bruce Emmet.  I had a go at replicating it in Illustrator (Figure 2) and was quite surprised by the result. The use of gradients makes the colouring look smoother and semi-realistic, but the fact that is is evidently vector art keeps it contemporary.  I find the mix is quite curious but I am happy that I have managed to create something which can be identified as contemporary but borrowing from old styles.  

Figure 3

 So far the typography has been a bit hit and miss.  I really like the font used in Figures 2 and 3, as fruit is usually quite an innocent symbol in today's culture, and the typeface is quite grungy and gritty which hints that this is not the case in the artworks.   Looking at it now I see that I would need to do some altering of the compositions if I were to keep this font, as it is very blocky so takes away from the images of the fruit a little.

The font in Figure 4 was a freebie from Antonio Rodriguez, an artist who I follow on Behance.  He created a set of display fonts which bridged the gap between a vintage vibe and contemporary design - perfect to fit the illustration style here.  I do love this typeface as it looks like a classic vintage font, but I'm not sure it woks so well in this composition, so again I will go back and reiterate or try another one.  Now I look at it the background colour could be changed too.

Figure 4 - The apple took forever!

Figure 5 was created using a reference image, which was chosen because I wanted at least one of the posters to be aimed at parents of young children and faces are much more likely to be a visual anchor than a piece of fruit is.  The vector style here borrowed a little from pop art and graphic artists like Shepard Fairey, created with pen tool shapes and expanded black outlines.  Again I think I need to sort the gradient background and maybe shift the size of the boy, but I want the poster to be a little bit understated so that the audience can draw the intended conclusion from it without to being pushed on them in text on the poster.  To do this, I used the text at the top to introduce the idea and drew the chemical symbol for toxicity into the flesh of the apple to prompt the viewer to conclude the message.

Figure 5

I have started creating the same poster using gradients, and tried out a sunbeam backdrop as it is a motif commonly used in a lot of propagandic art, most recently the Luo Brothers, and once again Shepard Fairey.  I think the typeface in this poster works well with the backdrop as it is reminiscent of war posters and can be read from a distance.  The slogan "Some Poisons Are Hidden" was, like the previous poster, used to introduce the idea of apples being toxic.

Figure 6

Procrastintion-turned-coursework

  While creating the "misleading" posters as part of the pre-production module, I got a bit bored and ended up creating a couple of posters just for fun in Illustrator.  The theme of fruit was the same for the first poster, with the slogan "Drop Acid", which led to the second idea of "Get High" with sugary sweets.   Making something a little more tongue in cheek ended up as some work which I was actually quite happy with.  The posters could be taken either way, as a pun or as a warning to the (mild) dangers of eating too much acidy fruit or sugary sweets.   Of course I'm not going to compare either of the posters' contents to drugs, however it is widely known that sugar has been found by scientists to trigger the same response on an MRI scan that cocaine would, and is an addiction for many people because of this.  The "Get High" poster was a visual play on this particular fact.  "Drop Acid" is a little more abstract as it started out as something I made for my own entertainment.

The work I have done here has got me thinking about habits of consumption people have and how I could play on this is subsequent honours project development.  Much of my reading on brand identities and advertising has been based around consumer persuasion, or consumer preferences, all with the end goal of making people buy more, or eat more, or use more.  Post hand-ins I expect my work will start looking at ways in which this could be encouraged, or dissuaded.  The idea of the seven sins is being floated, as in today's society a lot of the sins are actually pushed and encouraged (gluttony, greed, jealousy in particular).   This theme is something that has been done to death, so if I am going to go down that route, the artwork will have to be presented in a way that conceals the true theme.  Initial thoughts are for a brand identity that promotes a habit, or conversely one that encourages the opposite.  If the message is presented in a way that people are already conditioned to believe or "give in to", then there is a wider scope to play around with this and not create something cliche d.

Creating narratives and telling stories in brand advertising - the "Relationship Age" of brand advertising

Brands use a "story" to connect with their audiences - these go beyond the products on offer, speaking to the person about what the brand is and what it can do for them.   A brand narrative ties in with the element found in persuasive artworks of telling a story - in both cases, the story is used to pique the emotional interest of the audience, often to great effect.  Today, in what digital brand strategist Peter Thompson (2012) calls "the Relationship Age", the story around the brand is more important than the products themselves.  "There is almost infinite demand for meaning…the new growth will come from hand-crafted, relationship-based businesses that can think like a small company and move resources like a large company.  The next big drive…will be a return to human values and relationships."
People have always bought into an emotional experience but they are now doing it more than ever.  Over the course of this semester I have looked at many brands who have catered to this this very well in different ways; in this post I will look at a few notable examples.  This should help inform the next stages of my work; analysing what makes these narrative campaigns so effective should help me understand what I can do myself.

Paul Mitchell

The Paul Mitchell website caught my eye first when James from Equator presented it to us in third year as part of a presentation he gave to my class.  I thought about it again when researching narratives in brand advertising, as Paul Mitchell have a very strong set of values and practises which was presented clearly on the site and reflected in the visuals.  Many people only know the brand as a line of high-quality haircare products.   The story that can be found at paulmitchell.com tells of the aforementioned hair line, but also of the team behind the products, their beliefs and commitments to good causes.  The homepage (Figure 1) is a perfect starting point for this - the dual images of "Live Beautifully" and "Feel Beautiful" represent the two sides of the company which link together, both in real life and through the repeated use of the word "beautiful".  

Figure 1

The Paul Mitchell campaign is prime example of the use of persuasion in brand advertising.  Persuasion is identified by the perceived benefit which both the persuading party and it's audience will have.   The #GivingIsMyStyle project demonstrates this, as the audience is invited to "join" the Paul Mitchell family by instagramming their voluntary or charity work, thus contributing to the company's charity donations.  Overall the Paul Mitchell customer is persuaded by both the products on offer and the emotional benefit of giving money to a company which will pass proceeds on to charitable causes.  

Figure 2

Figure 3

Paul Mitchell are upfront and proud about their anti-animal testing beliefs, which catches a certain kind of ethically conscious audience.  

Figure 4

Figure 5

The overall perception of the Paul Mitchell brand, after viewing the website, is that the company extends far beyond the haircare products.  The narrative that has been built around their ethical practises and general caring attitude towards customers and team members alike means new customers feel inclined to involve themselves in the "family" and loyal customers will stay emotionally invested.

Lush Cosmetics

Lush are similarly committed to ethical practises, however in this case it is their major selling point and the narrative around this encompasses all facets of their brand, through product packaging, advertisements and in-store experiences.  By pushing their practise though multiple platforms and marketing it to a particular customer, Lush's story tells itself.

Figure 6

Figure 7

Bright sugary visuals also suggest the natural processes of making products - the swirly mix of product and food dye looks not unlike geothermal rock formations.  This theme of nature and safe products is continued through images like the one below, showing products which look like they smell great and even look edible.

Figure 8

Like Paul Mitchell, Lush are committed to working with charities, in this case through their work with co-operatives in Africa.  Images such as the ones below emphasise the human aspect of the brand, further presenting the "hand-crafted" selling point of Lush products as well as respect for the farmers from whom they get their products from.  By doing this Lush draw in ethically conscious customers who are concerned with fair-trade produce, another big selling point in today's market.

Figure 9

The involvement of people in creating Lush's products is also shown through their packaging designs - a portrait of the worker who makes each product is shown on the back of each label, as a kind of guarantee that whatever natural concoction being bought was not made by a machine.  This personal element speaks to Thompson's aforementioned desire of the public to feel as though care and compassion has gone into the creation of the product.

Figure 10

Nandos 

Nandos are an interesting one as they offer a service more than goods (however some products can be found in supermarkets), yet similar themes can be seen in their advertising in terms of a personal aspect.
This screenshot from their "Our Food" page shows an emphasis on home-grown produce which is fresh and prepared in a healthy way (grilled).  This shows an element of care which has been put into the food on offer at Nandos - by presenting the healthy aspect of their practises, Nando's make their customers feel as though their wellbeing is being looked out for.

Figure 11

The visuals suggesting a family friendly environment make the brand appear to be about the customer experience over the food.   Again, a potential customer viewing this page would feel like their trip to Nando's would be well catered for.

Figure 12

Nando's approach to how it views its employees is similar to that of Lush and Paul Mitchell - "it's the people that make the chicken" show a high regard for customer service and employee care.  

Figure 13

Nando's present a story where the person is at the heart of the brand - whether as a customer or as an employee.   This is what makes it different from chains such as McDonalds or Pizza Hut where the food remains very central to the advertising and brand identity.   This is also evident through some of the visual styles used in Nando's brand promotion - the hand-crafted papery style shown below continues the impression of big personality, warmth and a personal touch to the service.  Photos of the Nando's founders (figure) give the impression that Nando's is a "heritage" brand. 

Figure 14

Figure 15

So what I can take from looking at these particular brands and how they go about telling their story is that people are past the product-centred approach, instead looking for a human element in any brand they are going to invest themselves in.  As Thompson writes on his blog: "How many times have you visited the 'About us' page of a company's we site before the product page?  The fact is that you are looking for people, for other warm-bodied human beings.  We do this because people don't care how much you know, until they know how much you care." (Thompson, 2012). 

References

Thomson, Peter J. 2012.  Peter J Thompson - Digital Brand Strategy with Peter J Thompson.  "The future of customer relationships." [online article] Available at: http://www.peterjthomson.com/2011/12/relationship-age

[Accessed 8th December 2014]

All images are screenshots from the following websites:

Fig 1. [online image] Available at:

paulmitchell.com

[Accessed 8th December 2014]

Fig 2 [online image] Available at:

https://www.paulmitchell.com/our-story/

[Accessed 8th December 2014]

Fig 3 [online image] Available at:

https://www.paulmitchell.com/our-story/caring-for-our-planet/

[Accessed 8th December 2014]

Fig 4 [online image] Available at:

paulmitchell.com

[Accessed 8th December 2014]

Fig 5 [online image] Available at:

https://www.paulmitchell.com/our-products/

[Accessed 8th December 2014]

Fig 6  [online image] Available at:

https://www.lush.co.uk/kitchen

[Accessed 8th December 2014]

Fig 7  [online image] Available at:

https://www.lush.co.uk/kitchen

[Accessed 8th December 2014]

Fig 8  [online image] Available at:

https://www.lush.co.uk/kitchen

[Accessed 8th December 2014]

Fig 9 [online image] Available at:

https://www.lush.co.uk

[Accessed 8th December 2014]

Fig 10 [online image] Available at:

http://www.peterjthomson.com/2011/12/relationship-age

[Accessed 8th December 2014]

Fig 11 [online image] Available at:

http://www.nandos.co.uk/menu/our-food

[Accessed 8th December 2014]

Fig 12 [online image] Available at:

http://www.nandos.co.uk/menu/nandinos

[Accessed 8th December 2014]

Fig 13 [online image] Available at:

http://www.nandos.co.uk/careers

[Accessed 8th December 2014]

Fig 14 [online image] Available at:

http://www.nandos.com/our-story

[Accessed 8th December 2014]

Fig 15 [online image] Available at:

http://www.nandos.com/our-story

[Accessed 8th December 2014]