Brief 5: Starpack Luxury range of cans for teas or coffees (Collaboration with Stephen Dale) - Development of tin labels

The ‘Raritea’ tin labels, which will simply be emphasised through embossing and finishing on the tins, feature cut-out corners and a decorative lineborder reinforcing of the Art-Deco visual language.

Typographic information featured on the labels of each of the 3 tea tins is communicated via distinctand decorative typeface ‘Insomnia Deco,’ reminiscentof 1920s ‘Gatsby’ style, along side Futura and Futura light, used in the communication of blend names and information requiring greater legibility at a smaller pt. size. These typefaces form cohesion through weight of line, and are to be de-bossed with gold gloss varnish into the matt varnished black labels for added luxury and shelf-impact.

The three numbered blends, ‘Absolute Rose,’ ‘Sheer Ginger’ and ‘Jasmine Jewel,’ have been devised increating a range of products which allow for potentials of sought after discovery to be made by luxury consumers, as well as to target the shift is trend

for more ‘rare’ blends of tea. In addition to offering a range of flavours, each blend is also a different typeof tea (Black, White and Green).

Brief 3: YCN - The Grown Up Chocolate Company (Collaboration with Karolina Gliwa) - Brief

The brief is to design the packaging and landing page that feature The Grown Up Chocolate Company's new range. They have not yet decided on the flavours so we can make it up in the meantime.

The idea of Grown Up Chocolate Company’s brand is that they like to reminisce about the chocolate that they ate as children but re-create it by experimenting with different flavours.They are soon entering the healthy snack market where they will be launching vegan, nut free, dairy free chocolate.

Their main customer profile is middle-aged women but they also want to target younger women.

Outcome:

Packaging and a landing page to promote their new range.

This brief is in collaboration with Karolina Gliwa at Northumbria University.

Karolina and I agreed that we should both do the illustrations together, I would create the packaging layout and she would create the digital mock up of the chocolate bar and the landing page.

Brief 5: Starpack Luxury range of cans for teas or coffees (Collaboration with Stephen Dale) - Development of Raritea branding

The ‘Raritea’ word-mark branding here uses a black and gold colour scheme, typical of the Art-Deco visual language and style (very ‘Great Gatsby’),emulating the glamour and exuberance of the period.The line detail of the ‘Insomnia Deco’ typeface providesa bespoke aesthetic, more akin to that of ahand-rendered typographic treatment, which aidsand enhances the ‘rare’ qualities of the brand,
leading to greater luxury consumer appraisal and shelf impact.

Brief 2: RSA Fair Play - Final app design

To make the board game more environmentally friendly, an app has also been created so that people with smart phones can access more questions and options rather than having to re-purchase new card packs. The physical cards are mainly intended for the use of schools where phones are not allowed but where the board game may be beneficial in the learning process but also is fun.

As the app is secondary nature and optional with the board game, the layout is very simple and minimalistic. It follows the same colour scheme and typeface that is used on the board game as it shows cohesion.

The instructions of the app game is featured on the instructions leaflet in the board game.

Brief 5: Starpack Luxury range of cans for teas or coffees (Collaboration with Stephen Dale) - Idea generation and skeching

Brief 5: Starpack Luxury range of cans for teas or coffees (Collaboration with Stephen Dale) - Development of idea

After putting our research and ideas thus far to critique, and considering the briefs request for
a creative use of tin that will sit within the luxury gifting sector, Stephen and I decided to combine two ideas which together form a considered and well-informed concept.

The Name
‘Raritea’ - As consumer trends move away from the‘builder’s brew’ into more exotic blends and infusions, this name is a ‘blend’ word created by bringing together the words ‘Rare’ & ‘Tea’, and in doing so generating a brand name which sounds like ‘Rarity,’ though spelt alternatively. This play on words additionally represents the history of tea and its introduction to Britain through Princess Catherine Braganza of Portugal. When Catherine arrived in Portsmouth in 1662, she requested a cup of tea, though at this time it was a rare luxury, and was therefore unavailable.

This name also provides the opportunity for the packaging solution to take a rare form, homing in on luxury consumers’ penchant for discovery and premium quality, creating greater consumer appeal as a special product which is out of the ordinary.

Upon consideration of the visual style of the ‘Raritea’ brand and packaging, which needs to be unique
and luxurious, we gained the most inspiration from ‘Decade of the Teabag,’ the 1920s (as noted in earlier research).

The 1920s, also known as ‘The Roaring 20s,’ saw the introduction of Art Deco, or Style Moderne -
a movement within the decorative arts andarchitecture. Its products included both individually crafted luxury items and mass-produced wares, but, in either case, the intention was to create a sleek and anti-traditional elegance that symbolized wealth and sophistication.

Characterized by rich colours, bold geometric shapes, and lavish ornamentation, the notable features
of the style are simple, clean shapes and lines,ornamentation that is geometric or stylized fromrepresentational forms, expensive materials,modernity and symmetry.

Art-Deco is one of the most notable, distinct andstylised movements of design history, and bycapturing this aesthetic for the Raritea brand,potentials for luxury consumer appeal, shelf-impact and re-usability of the tins is enhanced, in addition to motives for gifting. The ‘anti-traditional’ style supports the brand’s focus on rarity.

Brief 5: Starpack Luxury range of cans for teas or coffees (Collaboration with Stephen Dale) - Development of type exploration

Following the establishment of our brand name and concept, we explored a range of typefaces in used during the 1920s or inspired by the Art Deco movement.

We saw it as important that the typeface reinforcedthe ‘rare’ contexts of the brand, and thereforeattempted to identify fonts with a decorative aestheticusing geometric shaping and clean line detail and/or ornamentation - these being typical traits of style moderne.

We took this exploration of type to critique and, much to our satisfaction, almost all those present favoured ‘Insomnia Deco’ the most.

This typeface has a bespoke, strong and distinct style, incorporating fine line detail reminiscent of theiconic F. Scott Fitzgerald novel ‘The Great Gatsby,’ which in itself has become a key representative of the ArtDeco period and style. It is most certainly the rarest, most unique typeface we found, and therefore the most appropriate to the fictitious ‘Raritea’ brand and the contexts behind its development.

Brief 2: RSA Fair Play - Material consideration for manufacturing

The board game/the box itself is made from locally and widely recycled pine and the counters are also madefrom locally recycled timber. It is ideal to find wood stock that is FCS and/or PEFC certified as they have a list of local certified suppliers and companies that help protect the forest and biodiversity is more likely to be considered and protected. For the board game to be certified and having the logo of the FCS and PEFC,it would allow consumers to see that the product has been produced in consideration of the environment;by reusing and re-purposing old wood material into something that can benefit something else such as the board game, this influence the consumer to reuse and recycle the board game if necessary, which wouldcarry on the process of the material to being used for another purpose.The wooden box inspiration came from the wooden chess board games.The multi-functional use and durability makes the wooden box idea seem suitable for the board game.

The paper stock used for the cards, instructions leaflet and the outer sleeve will also be used from recycled and sustainable paper stock, that has been processed from landfill and made into paper stock such as cotton or fibre.The H-UV offset printing method allows the prints to be printed in high quality, full-colour even on the roughest of paper stocks and the UV is fast-drying and so is able to produce prints quicker and saves energy as it uses 63% less power to run.As H-UV is a type of UV printing method, it allows for the same benefits such as being rub-resistant therefore, this method can be used to create the board game design itself. H-UV is enviromentally-friendly and is the only UV printing method that produce any noxious O3 fumes and emits 75% less CO2 which allows for a safe indoor environment for workers and a overall cleanerenvironment.

Brief 5: Starpack Luxury range of cans for teas or coffees (Collaboration with Stephen Dale) - Brand name generation

Informed by a breadth of research, Stephen and I came up with a range of potential fictitious brand names to feature on our tin tea packaging.

These were inspired by significant figures for tea, tea paraphernalia, locations, dates/eras, and other tea-related words - as well as tea itself of course.

Potential brand names included:

• Braganza Tea
• Duchess Tea Russell Tea Co.
• Garraway Tea
• Thomas Garraway Tea Co.
• Tea Jenny Theist
• T. Sullivan Tea Co.
• Gatsby Tea Flapper Tea Roaring Twenteas
• China Cup Fine China
• Tea Chest
• The Tea Chest Co.
• Newsam Tea Co. TE. Newsam Raritea

Brief 2: RSA Fair Play - Final physical board game

The board game counters are simple, basic disc shapes as it would appeal to people of all ages and genders which keeps to the neutrality theme of the board game.The counter colours are the same as the colours used in the board game itself as it keeps the theme cohesive and pleasing to the consumer eye.

The wooden board game box allows users to store and remove the game pieces as easy and as swiftly as possible as there is no additional packaging to et through and the board game is easy to unfold and set up. The feel and look of the board game makes it seem high quality, long lasting and easy for transport.The size of the board game itself fits snug in the box and is 20 x 20 inches (unfolded) which creates a smooth top layer and the box is 21 x 10.5 inches (when folded).

If the board game were to be sold in store, there would be four versions.They will all have the same boardand concept however, the only difference will be the cards for different age groups such as 8-10 years, 11-14 years, 15-17 years and 18+.The consumer would choose the suitable age range for them and families can join in with the cards for younger kids. Additionally, the cards can be sold separately so that the consumer does not need to repurchase a board game every time.There will be a ‘Question’ card pack, a ‘Truth and Forfeit’ card pack and ‘Fact’ card pack sold separately or the WILD CARD app if they need additional questions.The ‘Compliment’ cards will be kept the same as it encourages players to be kind to one another.

The board game will be sold in local supermarkets, toy shops and online, worldwide where it would be easily accessible for everyone to buy - as will the separate challenge and question cards. 

The WILD CARD board game will include:

• The board game/box
• 6 counters (up to 6 players)
• 2 dices
• Instructions leaflet
• 60 cards for each card pack (Question,Truth, Forfeit, Fact and Compliment).

Brief 5: Starpack Luxury range of cans for teas or coffees (Collaboration with Stephen Dale) - Significant figures for tea

Catherine of Braganza
While tea is very much associated with the British way of life, it may come as a surprise to learn that it owes much of its popularity here to foreign Princess Catherine of Braganza. While the 
Queen-consort of King Charles II didn’t introduce tea to Britain, she had much to do withit becoming a fashionable and
popularised beverage.

Portuguese traders imported it to their homeland from the East, and its high price and exoticism helped it tobecome very fashionable in aristocratic circles and atthe Royal Court, where Catherine grew up. By the mid-seventeenth century, tea was very popular in Portugal and had also gained popularity in elite society in Holland, through Dutch trade in the East, and in neighbouring countries.

At this stage, Britain somewhat fell behind. In May 1660, Charles II had been restored to the throne after thecollapse of the unpopular Commonwealth administration set up by Oliver Cromwell in 1649.
Charles II inherited many debts from the previous government, and quickly ran up new ones of his own, and thus became short of cash. His solution to this wasto marry a wealthy foreign princess and to demand withher a great deal of money or goods as a dowry.

After some negotiation, it was agreed that he wouldmarry Catherine, and that her father King John IV ofPortugal would provide with her several ships full of luxury goods, some as gifts and some which could be sold to pay off Charles II’s debts. These goods included a chest of tea, the favourite drink at thePortuguese court.

Catherine arrived in Portsmouth on 13 May 1662. As soon as she arrived she asked for a cup of tea, though at this time it was so rare there was none available. Catherineand Charles II were married on 21 May 1662.

Initially Catherine, a deeply pious Catholic who had been schooled in a convent, found it difficult
to fit in at the bawdy and fun-loving English court.Over time however she established herself, and as thepre-eminent woman in the kingdom became something of a trend-setter. Although she adopted English fashions, she continued to prefer the cuisine of her native Portugal - including tea. Soon her taste for tea had caused a fad at the royal court. This then spread to aristocratic circles and then to thewealthier classes.

Anna Russell, 7th Duchess of Bedford
While the English gentry became accustomed to drinking tea in the 1660’s, it wasn’t until the 1840’s thatthe more elaborate custom of taking ‘Afternoon Tea’ cameinto existence. In the 19th Century, it was customary for the upper classes in England to have their evening meal late, at around 8:00-9:00 o’clock in the evening, and therefore many grew hungry in the afternoon.

In around 1840, Anna Russell, the 7th Duchess of Bedford,complained of a ‘sinking feeling’ and requested that somelight food and a pot of tea (usually Darjeeling) be brought to her private living quarters to help ward off her mid afternoon hunger. This light food probably included bread, butter, and perhaps biscuits. The idea proved so successful that it soon became routine, and the Duch- ess decided to invite a few of her friends to her privaterooms for tea in the afternoon. A new social event was born in which the invited guests would have an oppor-tunity to meet with friends, catch up on the latest news, discuss recent events, etc. The service would normally take place in the lady’s parlour, or
withdrawing room, or boudoir and be served on low-decorative tables. Hence this event also became known as ‘low’ tea.

The light food served with afternoon tea gradually evolved to include more elaborate fare such as crust-less finger sandwiches, scones with clotted cream and jam, and a final course of sweets and pastries.

The idea was to provide easy-to-manage portions suitable for entertaining in a sitting room.

The Duchess was lady-in-waiting and a lifelong friend to Queen Victoria, whom she introduced to the idea and, in so doing, gained an influential supporter.

The trend gained popularity, and it soon became a fashionable pastime of the upper classes. To meet this new demand, English china manufacturers, linen makers, and silversmiths began turning out fine accoutrements to be used in the service of afternoon tea.

Thomas Sullivan
The invention of the tea bag is said to have resulted from the small silk sample bags used by Thomas Sullivan,a New York City tea merchant, in 1908 to send out to potential customers. However the 1920’s is said to have been the ‘decade of the teabag,’ and its commercial usedeveloped from the tea egg or tea ball (a perforated metal container on a chain) into a tea bag.

Thomas Garraway
Thomas Garraway was the first know retailer of tea in London.

Tea Jenny
In Scotland, a ‘Tea Jenny’ is a is someone who drinks a lot of tea.

Brief 5: Starpack Luxury range of cans for teas or coffees (Collaboration with Stephen Dale) - Pattern design

  

Considering the highly stylised, geometric and linepattern designs prevalent during the Art-Deco period, and still in use today, we used my pattern design skills to create 3 designs which were to be used on each of the threetins in the ‘Raritea’ gift family.

These patterns provide finishing potentials to the tea tins, such as embossing and other tactile qualities(similar to those seen during primary research in Whittard, T2, John Lewis, Harvey Nichols etc.).

Additionally, the fine line work I have used to create each geometric pattern forms cohesion withthe brand word-mark/typographic style to be featured on the tins.

Brief 5: Starpack Luxury range of cans for teas or coffees (Collaboration with Stephen Dale) - Tea paraphernalia

Tea Bags
The invention of the tea bag is said to have resulted from the small silk sample bags used by Thomas Sullivan,a New York City tea merchant, in 1908 to send out to potential customers. However, the 1920’s is said to havebeen the ‘decade of the teabag,’ and its commercial usedeveloped from the tea egg or tea ball (a perforated metal container on a chain) into a tea bag.

The first bags were made from cloth or gauze and were so described and illustrated Ukers (tea and coffee journal)in 1935. In around 1935, Messrs Joseph Tetley, who had a powerful associate company in the States, made a tentative approach to market teabags in the UK. Initial acceptance was slow, but Tetley never gave up. The teabag market eventually began to grow in the UK in the 1960’s when approx 5% of tea was consumed in bags. By 1965 it had risen to 7% and now, 96% of tea consumed in the UK is done so with teabags.

Tea and the British Porcelain Industry
The earliest tea cups had no handles, being originally imported from China where cups traditionally were more like small beakers. As tea drinking gained popularity, so did the demand for more British-style tea ware.This fuelled the rapid growth of the English pottery and porcelain industry, which soon became world famous. Most factories making tea ware were located in the Midlands area which became known as ‘The Potteries.’Today, many of the original Potteries are still producing world famous porcelain such as Wedgwood, Royal Doulton and Aynsley.

Tea Pots
In the earliest history of tea drinking, tea-leaves were simply boiled in open pans. It was the Ming Dynasty thatled the fashion for ‘steeping’ the leaves and therefore led to the need for a covered pot that would allow the leaves to infuse and keep the liquor hot. Ewers, resembling the modern teapot, that for centuries had been used for wine were now adapted to tea brewing.

By the time the Dutch started carrying cargoes form China back to Europe, the concept of the teapot had developed further, the teapots that they brought back were small, with broad bases and wide spouts, which would not clog easily. As Europe had never seen such Chinese stoneware, it took Dutch potters until late 1670’s to reproduce the heat-resistant pots. Two of the Netherlands’ most successful potters settled in Staffordshire and established the English Pottery industry.

Tea Caddies

The first containers used for the domestic storage of tea were the jars and bottles that arrived from China with shipments of tea. Gradually, European jars and boxes were developed in a wide range of shapes and sizes - round, square and cylindrical boxes, jars and bottles, in silver, crystal, stoneware and wood. The word ‘caddy’ was not used until the end of the eighteenth century when the word kati - denoting a measure of approx. 1 pound and 5 ounces - was adopted into English.

Early eighteenth century boxes, called tea chests, had two or three separate compartments for different teas and sometimes also for sugar. All were lockable, and the lady of the house guarded the keys. As tea was far too precious and expensive to risk leaving in the chargeof the servants, the caddy stayed in the family drawingroom.

The Chinese had started producing fruit shaped containers earlier in the eighteenth century, and Englishand German wooden imitations appeared as pears,apples, strawberries, eggplants and pineapples.

Some were painted but most were varnished and their loose-fitting, hinged lids opened to reveal foil-lined cavity that held the tea. As the price of tea decreased toward the end of the nineteenth century, the use of lockable caddies and ornate jars declined as tea-leaves were transferred to practical tins and boxes that were stored in the kitchen.

Tea Spoons
The earliest caddy spoons were long-handled ladlesmade for use with box-like tea chests. From about 1770,short-stemmed caddy spoons began to appear, designedto fit into shorter, dumpier caddies and often in the form of a miniature scallop shell. This motif originates fromthe fact that oriental merchants always placed a real scallop shell in the top of tea chests to allow potentialbuyers to take a sample from the chest before deciding to buy.

Spoons have been manufactured in the form of leaves, acorns, salmon, thistles and shovels but the most popular has always been the shell, the jockey’s cap, the hand and the eagle’s wing. The ‘caddee shell’ motif also often appears on teaspoons, tea strainers and sugar tongs.

Brief 5: Starpack Luxury range of cans for teas or coffees (Collaboration with Stephen Dale) - Research findings

After Stephen and I had a discussion about both coffee and tea research, we have agreed to create the cans for teas as we personally do not drink coffee and we believe that we are have more knowledge about teas rather than coffee.

Brief 2: RSA Fair Play - Sleeve and leaflet design

The sleeve designs for the cards and the board game are simple and are a reflection of the board game.

The sleeves for the cards would have a default pack and depending on which of the 4 age groups that the consumer has bought, they will have cards suitable for them.

However, consumers can buy new card packs for people of different ages or if they ru out of their current pack, they can buy more questions individually rather than having to buy a new board game.

The board game sleeve features the logo, the age of the board game (comes in 4 different age ranges), the amount of players, warning symbol, about the game and it features elements of the game so that it gives the customer an indication of the concept of Wild Card.

The leaflet design is double-sided which will has the instructions for how to play with card and with a smartphone.

The paper stock used for the card and instructions leaflet is made from 200gsm standard, recycled matt stock as aesthetically, it works better alongside the wooden box and counters which also has a soft, matte, uncoated finish. 

For and the outer sleeve and card sleeves, it is made from 250gsm recycled matte paper stock. For the outer sleeve, it was originally printed on satin 250gsm stock as I thought it would be better as board game boxes usually have a glossy/satin finish for the outer box. However, after trying the satin stock, the texture and the look didn't look cohesive to the rest of the board game and it didn't feel nice.

To have the sleeve cohesive to the box and the contents, the matte stock would be the most suitable option as it ties in together. The outer sleeve of the board game is to protect the board game itself. 

The layout is very minimalistic and reflects the elements of the actual board game. The layout isn’t overly impactful as it is a board game that is aimed at people of all ages so the simplicity is welcome.

Brief 5: Starpack Luxury range of cans for teas or coffees (Collaboration with Stephen Dale) - Coffee tin ideas

In the UK, we drink over 60.2 billion cups of tea every year and some 55 million cups of coffee every day. The UK tea industry alone provides 0.02 per cent of the entire country’s annual turnover.

However, we have come a long way since instantcoffee or straight-up builder’s tea were our go-to choices.

Tea infusions with exotic ingredients and additional health benefits are increasingly popular and with
the café culture boom, nearly a fifth of the popula-tion visits a coffee shop on a daily basis. 
Consumers want that premium tea and coffee experience in their homes. The purchase of premium, organic, ethically-sourced and rare varieties of teas and coffees by UK homeowners is on the rise.

A wide range of teas, coffees and infusions from everycorner of the world are now sold as gift items ordecorative containers for the home.

Rare blends, single origin mixes and infusions are presented and kept fresh in beautiful produced speciality tins.

Brief 5: Starpack Luxury range of cans for teas or coffees (Collaboration with Stephen Dale) - Coffee research

Coffee is thought to have dated back to centuries ago in Ethiopia. There are a many legend stories that speak about how an animal happened to stumble upon berries and eat them which gave them vitality and an increased in energy and so, was known as 'magical fruit'. The coffee was made by boiling leaves in water which the Ethiopians thought had medical properties.

By the mid-14th century, coffee had spread to Yemen when it was drank, using the same method as how Ethiopians made it. Yemen had grew their own coffee plants as their climate and weather was ideal to grow rich and flavoursome coffee.

During the reign of Sultan Suleiman, in 1555, the Ottoman Governor of Yemen resided in Istanbul for a while and he brought and introduced to the people his love of coffee. During the time in the Ottoman Palace, a new method to make coffee was discovered. The beans would be roasted over a fire and slowly cooked with water. Coffee became popular and Sultan had a Chief Coffee Maker and he was made to keep the coffee making a secret.

Europeans were introduced to coffee in 1615 when the Venetian merchants were went back home to Venice, from Istanbul, bringing along with them, coffee.

In 1637, a Turk introduced coffee to Oxford, London and it quickly became popular especially amongst the students. By 1660, coffeehouses became a part of British social culture.

A coffeehouse opened in Marseilles in 1671 when Marseilles merchants had brought back coffee from their time in Istanbul. The coffeehouses we originally meant for travellers or merchants but they became popular with everyone.

Brief 5: Starpack Luxury range of cans for teas or coffees (Collaboration with Stephen Dale) - Research into tin manufacturing

Crackle/Marble
Capable of being combined with a variety of colours, this specialty packaging effect adds a marble, leatherette or authentic ‘aged’ feel to promotional packaging.







Gloss/Matte
Special gloss or matte finishes can be applied to metal packaging individually or combined to add movement and bring subtle designs to life.







Glow in the Dark
For engaging and unique packaging designs, consider a Glow in the Dark decorative application.
This light-sensitive finish can add a fun and interactive element to all packages.








Holographic
Create high impact promotional tins with thisprism-like effect or use it more sparingly for subtle enhancement to decorative tin designs.

Metallic
Leverage the inherent brightness of aluminium and tin-plate to enhance the design of any metal package.









Pearlescent
A shimmering varnish for everything from wine packaging to aerosol cans, pearlescent finish brings depth and sophistication to creative packaging designs.

Soft Touch
Special soft touch finish is applied on the entire metal package, creating a silky smooth feel that consumers want to reach out and touch.







Tactile
A special combination of ink and varnish create a tactile finish that adds texture to metal packaging.







Thermochromic
How about engaging with consumers by visually communicating the temperature of their beverage? Thermochromic inks do just that by changing colouron the can to indicate that the beverage is at the ideal temperature.

UV Light
For truly innovative packaging, utilize a UV reactive finish. This special ink reacts with black light, helping designs stand out in the darkest settings.







Perforations
Use small holes to enhance a design or logo.

Brief 2: RSA Fair Play - Final board game design

As the board game is universal and can be played by people of all ages, the design had to be kept simple, using neutral colours and a basic principle for everyone to understand.The only thing that changes as part of the game is the questions and the forfeit and truth cards, depending on the age range of the group of players. Packs of cards can be sold separately in store so that the consumer can buy new questions and mix them up if needed.

With the crisp edges and the high contrast of the thick and thin stokes of the serif ‘Baskerville’ typeface, it allows the board game to look classy, bold and timeless as the board game ages through time. Baskerville has a range of typeface styles in which it had allowed me to choose a style depending on the expression ofthe word such as ‘FORFEIT’ in bold as it exuberances a challenge and characterises the word and gives it a personality. Therefore 'COMPLIMENT' uses Baskerville's Italic typeface as it seems 'shy', 'FACT' is in semi-bold as it represents an uncertainty, 'FORFEITt' is in bold as it is a challenge and 'TRUTH' is in regular as it is normal, open and laid back.

The colours also exaggerate the words/challenge cards as the darker and bolder colours such as the dark blue for 'FORFEIT' and dark grey for 'FACT' is suppose to represent an uncertainty whereas 'TRUTH' and 'COMPLIMENT' are uplifting colours as they are about honesty and authenticity.

The yellow has been used for the question card as yellow is considered as the most neutral colour. Yellow represents enlightenment and vitality so it tests the players knowledge. The grey background of the board brings the colour combination together as they work harmoniously.

Brief 2: RSA Fair Play - Feedback

What are your on the overall board game?

• It looks like a classic board game layout
• It seems easy to play
• It looks too similar to the Monopoly board game
• It seems easy to play from looking at the board. I
• like the colours, light and soft.
• I really like the wood design. It makes it look expensive.
• It looks cool! It looks like the sort of game I would play.
• The sleeve looks plain but I do like the design of the board. The colours are not bright but I prefer that
• The idea of the board game becoming the box is a very good idea! Less extra nonsense.

Do you think that the rules make sense?

• Yeah, makes sense to me
• Seems pretty straight forward
• Yeah I like the idea of dares! It’ll be funny to playwith mates
• Easy to understand. I like how there’s not too many things involved like when sometimes you have to deal with money
• Yeah. It’s laid out clearly
• I think once you start playing it, you’d get the hang of it
• It seems like a lot of information but I guess all games have long instructions 
• Yeah. Clear and easy to read.

Do you think as it is made from wood, the board game would be sustainable?

• Yeah I would associate wood with sustainability  
• It depends. There’s a lot of meanings of sustainability
• There doesn’t seem to be any plastic here and
• wood is widely recycled so yeah, I would say it is sustainable.
• Wood is a widely recycled material
• If the board game is made from recycled wood then yes, it would be sustainable.
• Yes, wood is always being recycled
• Yeah, I think the board game being made from wood will last a while
• Yes. I’m sure wood can be recycled so would be sustainable.

What do you think abut the colour scheme?

• I like them. They’re simple
• Classic colours, not too bold
• Subtle and they work well
• I think maybe it makes the board look old
• It’s not bright like any other board game but I think it looks classic
• I like the minimal colour scheme. I hate bright colours on board games sometimes
• I think the colour combinations all work well together.
• The colours work with the layout of the board game. It all seems harmonious

Is this game something you would be interested in?

• I’ve not seen a game like it so I would try it
• Yes. I’m always on the look out for new games
• Yeah!
• Yes it looks like a cool game
• I don’t play board games a lot anymore so I’m not
• sure I would buy it.
• It’s unusual so yes I would 
• Yeah it looks exciting!
• Yes I would try this out!

From the feedback gathered, I got mostly positive feedback. The colour scheme in particular seemed to work well and others said that they would be interested in the game. If the actual board game went into production and the wood was sourced locally and sold in the same country it was made, the board game would become a sustainable product during manufacturing.

Brief 5: Starpack Luxury range of cans for teas or coffees (Collaboration with Stephen Dale) - Metal Packaging Manufacturers Association research

The Metal Packaging Manufacturers Association is the lead voice of the UK metal packaging industry with direct links into a European market employing 70,000 people across 200 companies producing more than 70 billion containers each year. The Association supports and represents members on industry matters related to operational, regulatory and environmental issues. In addition, the work of the association promotes the benefits of metal packaging and the sustain- able attributes of steel and aluminium through education programmes, industry awards and relevant communication channels

Brief 2: RSA Fair Play - Logo idea

For the 'Wild Card' logo, I tried experimenting with the Baskerville Bold typeface alongside the colours of the board game. I realised that I was overthinking the typeface as these would not be suitable for a classic board game.

As the challenge and question cards are an important part of the game, having it in the logo will represent the game and also name of the game. The three logo ideas that I created above, with the bright colours look very outdated and unappealing.

These two however, would be more suitable as the logo design. These design uses elements that represents the cards in the board game but it doesn't exactly appear 'fun'.












Therefore, I experimented with the concept of word 'wild' and tried making the logo itself 'wild'. The logo literally represents the board game. The mix of the Baskerville type variations alongside the cards represents 'Wild Card'. This logo seems the most appropriate for the board game as it represents the majority of the elements in the logo itself.

Brief 2: RSA Fair Play - THE RULES

SET UP

Remove all contents from inside the board game and open the box fully. Lay the box on a flat surface with the board game facing upright. Place any unused counters, dice, cards or contents under the board game box or set aside in a safe place.
Choose a question-themed deck or mix them up to create a variety.
Place all the coloured card decks on the corresponding position on the board, leaving the blank yellow box empty for used question cards to be placed once they have been answered. Participating players should place their counters on ‘Start’.

RULES

1. Each player should roll both dice. The player with the highest number should go first.
2. Each player to the left of the current player should read out the question.
3. The dice should only be rolled once each turn during game play.
4. The player must pick up a coloured card corresponding to the colour they land on on the board.
5. If the player lands on ‘Pass,’ they must skip their round without receiving either a question or coloured card.
6. The player must answer the question correctly in order to receive a coloured card, if they answer incorrectly,
   they must not receive a coloured card.

COLOURED CARDS
TRUTH – The current player should appoint another player and ask them the question on the card.
FORFEIT – The current player should appoint another player and read out the forfeit for them to do.
FACT – The current player should read the fact out loud to the group that is stated on the card. COMPLIMENT – The current player should read the question card out loud and each player should answer the question in regards to the current player.

GAME PLAY

1. Roll the dice and move the counter forward to the correct space.
2. Answer the question from the ‘QUESTIONS’ card, if correct, proceed to pick up the corresponding card
   from the coloured decks that you have l landed on. If the question is answered wrongly, the player must not
   receive a card. If the player lands on ‘Pass’ they must skip their round to receive any card.
3. Read the coloured card out loud to the group and if applicable, nominate another player to (only required for
   TRUTH and FORFEIT cards) perform or answer what is stated on the card.
4. After the coloured card has been read, answered or performed, the player must keep their card until the game
   ends.
5. The next player to the left of the current player should proceed to go next.

The first player to receive 10 coloured cards is the winner of the game.

HOW TO PLAY WITH A SMART PHONE

1. Load up the WILD CARD board game app and select the age range and question theme.
2. Each player should roll both dice, the player with the highest number gets to go first.Enter the name of the player on the device that is playing first followed by the rest of the players to the left of the first player (this will be the order of play). If there is less than 6 players, leave the other spaces blank.

4. Make sure that the correct player is having their turn by looking at the name on the screen.
5. The player on the left of the current player should hold the device and press ‘Start’ when ready.
6. If the player lands on a coloured space on the board game, the player on the left must select ‘Question’ on the app in which a question will appear. The device holder should ask the player the question.
7. If the player lands on ‘Pass,’ the device holder should press ‘Pass’ and they must skip their round without receiving either a question or coloured card.
8. If the player answers correctly, the device holder should select ‘Correct’ and pass the device back to the current player. They must select the corresponding card colour that they had landed on. The Truth question, Forfeit, Fact or Compliment should appear and if applicable, nominate another player to (only required for TRUTH and FORFEIT cards) perform or answer what is stated on the device. If the player answered incorrectly, they must select ‘Incorrect’ and the device would automatically skip to the next players turn.
9. After the challenge has been read, answered or performed, the player should select ‘Complete’ and the device would automatically log the card to the player and next player stated on the device should go next.

Place the smart phone in the centre of the board game when not in use or when question or challenges are being performed.

The device will announce the winner of the player who receive 10 cards first.