1534QCA Creative Visual Strategies - Visual Discourse

Good Food, Good Life

THE REALITIES OF COCOA PRODUCTION

Kate Garland

Morgan Kallman

Annabel Tape
 CONTENTS

CONCEPT ................................................1

PROCESS ................................................4

Initial Idea ................................................4

Design Formation ................................................5

Design Finalisation ................................................9

RESOLUTION ..............................................10

Final Design ..............................................10

Design Presentation ..............................................10

Audience Engagement ..............................................12

ELEMENTS & PRINCIPLES ..............................................13

REFERENCES ..............................................15
 1.
CONCEPT
In the current era of fast-paced consumerism, it appears that many large companies

throughout the globe utilise unethical work practices (International Labour Organisation [ILO]

2014). Unethical labour refers to certain actions taken by employers or unions to violate

their Labour laws, whether it be through using slave labour of both children and adults by

underpaying and overworking employees or forcing them to work in dangerous environments

(Guerin 2018, para 4). Large brands often source their products from multiple different

third world countries and in doing so create a setting where corrupt labour can thrive. Many

companies use factories that have child workers and underpaid workers as it results in cheap

labour and enables them to maximise their profits (International Labour Organisation 2014).

Approximately 152 million children are involved in child labour with close to half of them in dire

conditions (International Labour Organisation [ILO] 2017).

In particular, the cocoa harvesting industry is largely done in African countries

where child labour is most prevalent with 19.6% of all child workers being employed

there (ILO 2017).

A large offender for the use of child labour is Nestlé. Nestlé uses cocoa in a variety of

their products, sourced from Côte d’Ivoire and Ghana (Nestlé 2018, para. 1). Subsequently,

Nestlé has been publicly shamed and ridiculed many times about their use of child slavery

(Isern 2006, 117). The manufacturers of some of the most distinguishable household products

openly admitted “…it had found forced labour in its supply chains in Thailand and that its

customers were buying products tainted with the blood and sweat of poor, unpaid and abused

migrant workers” (Kelly 2016, para.1).

 2.
Nestlé have made efforts to reduce their association with slave labour, in particular their

employment of child slaves. One such example being their firm laws of no overtime in order

to prevent malnourishment (Nestlé 2018) but in doing so force families to have to put their

children to work to make up for the money lost in overtime.

“For a decade and a half, the big chocolate makers have promised to end child labour

in their industry—and have spent tens of millions of dollars in the effort. But as of the latest

estimate, 2.1 million West African children still do the dangerous and physically taxing

work of harvesting cocoa” (O’Keefe 2016, para 1).

The wage becomes a huge issue for those trying to survive and feed their families.

Some farmers and workers on cocoa farms are paid less than 1.25 US dollars a day,

which is roughly equivalent to 1.59 Australian dollars, which is below the threshold of

absolute poverty (Make Chocolate Fair 2013, para 2).

In Ghana, this equates to 5.48 GHS a day, which only covers the cost of a loaf of bread

(see Table 1) without considering the other costs associated with living (Numbeo 2018).

Earning less than 40 GHS a week can leave

families with no choice but to place their

children to work on the field, contributing

to slave labour within the cocoa industry.

Another major concern of slave labour forced

upon children is the deprivation of their

childhood and education.

 3.

Howeverm slave labour (including child labour) is a multifaceted, complex problem,

particularly in the production of cocoa (Bertrand and de Buhr 2015, 504). Despite efforts

to reduce the problem, child labour within the production of cocoa is almost impossible to

eradicate (Bertrand and de Buhr 2015, 504; Nestlé 2018, para. 1). Nestlé has openly stated

that “no company sourcing cocoa in Côte d’Ivoire and Ghana can fully remove the risk of child

labour in its supply chain” (Nestlé 2018, para. 1). Consequently, child labour still occurs and

yet consumers continue to support these large companies, such as Nestlé, and purchase their

products.

“Good Food, Good Life?” is aimed at consumers’ overall lack of knowledge or,

perhaps consumer ignorance or lack of care, as to where cocoa products are being sourced

from and what goes on to produce these goods. Therefore, “Good Food, Good Life?” aims to

allow consumers to question purchasing cocoa products, such as Nestlé’s “Nesquik” and, thus,

potentially assist in the reduction of child labour. Our visual discourse concept takes a common

Nestlé product (Nesquik) and creates a narrative of the child labour used in the production of

Nestlé products. The concept of the child worker making the chocolate drink attempts to make

people evaluate the process in which the products they are consuming truly originate from.
 4.
PROCESS

Initially, our concept involved four different

brands. We wanted two “bad” food and beverage
and retail brands (that is to say, companies
that used child labour) coupled with two “good”
brands (pictured above).

However, it became too difficult to find

information on brands that were ethical and
the workload of designing a visual narrative for
four brands was too intensive. Therefore, we
narrowed it down to one retail brand and one
food and beverage brand: H&M and Nestle
respectively.

Our narrative concept for these brands were both

similar; we wanted to display what the consumer
views externally (for example, a woman wearing
a fashionable outfit from H&M) but neglects to
see what goes on underneath and where their
clothes actually come from (pictured right).
Although these designs provided an intriguing
narrative, our ideas for H&M could not be
supported by reliable sources and we opted for a
sole company: Nestle.
 5.

We researched where Nestle sourced their cocoa beans and mirrored that with where child
labour was most prominent. Our researched information persuaded us into picking Nesquik as
the product for our visual narrative as it is a popular product of Nestle that uses a large amount of
cocoa beans. Nesquik was also chosen as we highlighted the irony in the chocolate drink being
marketed towards children in first world countries yet Nestle utilises child labour in third world
countries.

Initially, we were going to create a

series of images that displayed the working
conditions of child labour workers on a
label. However, the more we developed our
ideas, we decided we wanted our audience
to have something physical to interact with.
We wanted something that highlighted
the irony in the production of Nesquik (as
previously mentioned) and encouraged
people to consider where the products they
purchase truly come from.

Pictured to the left exhibits our first concept

to redesign the Nesquik label. Again, we
made broad statements about the company that could not be supported with reliable sources (for
example, replacing 25% less sugar with 25% less slavery) so these ideas had to be reworked.
 6.
Pictured to the right is a rough sketch of our
physical submission. We opted to place
a normally labelled Nesquik tin on the top
of a custom labelled one designed by the
group. We wanted the tins to be empty to
hyperbolically represent the lives of the child
workers. However, we deemed this to be too
exaggerated and instead decided to place
the daily wage of the workers into the tin.
The positioning of the original tin on top of
our re-designed one represents hierarchy.

Another problem we discovered was how

people were to know to open the tin and
how they would. We sketched out concepts
on how to attach a spoon to the lid that
could easily manoeuvre it open (pictured
below). However, we instead opted to simply
place a spoon on top to prompt viewers to
pry the tin open.

We ideated the way in which we would

present the daily wage of the workers inside
our tin and opted to place the amount in a
small bag and label it. We also deemed it
would be interesting to represent how much
the price of the tin costs in supermarket
chains to highlight how much the employees
would have to work, just to be able to
afford one tin of Nesquik. However, this can
be noted in Image 1 and 2 representing
the presentation of our design and it was
decided to exclude this detail.

Next, we brainstormed ways in which we

could change the statements and slogans
on the tin to represent our visual narrative.
Pictured below on the next page are the
concepts that we altered. From a distance,
we wanted viewers to just see it as a normal
Nesquik tin but upon closer inspection could
learn more about child labour in every detail
on the tin.
7.
 8.

Pictured above highlights how we wanted to display our newly-designed tin in an actual
supermarket amongst regular tins, while employing the elements and principles of design. We
decided to do a series of photographs that zoomed in on our tin carefully positioned on a shelf,
below all of the other tins.

After deciding on what changes to make to our label, a reference photo of a Nesquik label
(pictured below) was traced in Illustrator in order to re-design the label.
 9.

Pictured above represents the initial stages of our re-designed label minus several changes and
additions that were made for the final design:
• The rabbit was changed into a child worker with his facial expression changed from happy
to sad
• Instead of running forward excitedly, he is trudging along with difficulty (due to his heavy
bag)
• Back pack has been made into a sack to carry cocoa beans
• The milk was drained from the glass and left empty to represent that the child worker is
receiving nothing
• “Makes milk fun!” changed to “makes life hard!” representing that the production of this
product for consumers, creates a difficult life for those who help make it
• Red question marked added alongside Nestle’s slogan “Good Food, Good Life” to add
emphasis to it and question who is actually receiving the “Good Life”
• QR Code changed to link to a PDF created by us that provides information about the child
labour industry and how prevalent it is
• Majority of the text was changed to relate to the topic at hand (e.g. Nutritional information
was changed to child labour information; serving suggestion denotes how much the
children are paid and their minimum working requirements; knowing your serving and its
content is changed to how much the CEO of Nestle makes).

Pictured to the left is the reference image

that was used to alter the Nesquik rabbit. It
is derived from a short story called “Chaga
and the Chocolate Factory” that highlights
the child labour that occurs within the cocoa
industry. Therefore, we utilised this image to
pay homage to the original author and the
narrative they conveyed (Hartman 2007, 10).
 10.
RESOLUTION

The image above represents the finalised, re-designed Nesquik label that is printed and placed on

a Nesquik tin. Every bit of information was changed to tie in with the narrative of child labour.

Image 1. Nesquik tin in Coles

 11.

Image 2. Nesquik tin in Coles Image 3. Nesquik tin in Coles

Images 1 - 3 shows our appropriated Nesquik tin placed on supermarket shelves amongst original

Nesquik tins. It highlights how indistinct child labour and unethical work practices can be in the

products that we consume. We chose to include several images because as the images progress

and become more zoomed in, the image of the child slave becomes more prominent. This reflects

that at first glance, nothing appears wrong but amongst is a hidden message. This is symbolic as

we often ignore what is occurring within the cocoa industry or have no knowledge to begin with.
 12.

Image 4. Final product with tins stacked Image 5. Final product with tins stacked
(front) (back)
Images 4 and 5 depicts our modified tin glued underneath a regular Nesquik tin. The base of the

original Nesquik tin was cut out and glued to the top of the re-designed one.

Image 6. Bag containing daily wage Image 7. Bag containing daily wage with
coins outside
Images 6 and 7 display the small bag that we have placed inside the tin to highlight how much a

child worker’s daily wage is and what it would buy them in their country.
 13.
ELEMENTS AND PRINCIPLES OF DESIGN
The final design images utilise a variation of design elements and principles to help

convey our message in a powerful and effective way. The following techniques were employed:

• Repetition – Firstly, repetition was utilised to enhance our message. Image 1 shows

repetition of all the Nestlé tins on the supermarket shelves. This signifies normalcy for viewers

as supermarket aisles are a common occurrence and when just shown the first image, due

to the repetition, it is hard to notice the modified tin at all. This has been symbolically done

to demonstrate how consumers often ignore or don’t know what processes are involved in

making products and that certain products, such as cocoa, still involve the use of child labour.

• Dissonance – The conflicting and contrasting images of the fluffy, happy bunny and

the child slave demonstrate dissonance. These juxtaposing images are used to create shock

and an unsettling feeling amongst the viewer, particularly as the poor child was very hard to

see within Image 1 and only become clearer as the images progress.

• Appropriation – As we have changed every slogan and information section on the

modified tin, this is appropriating the original Nesquik tin. This creates new meaning and

a different message but plays on the original images and text styles to create a powerful

message to consumers.

• Emphasis and contrast – As the images become more zoomed in from Image

1 through to Image 3, a stronger emphasis is placed on the modified tin and this contrast

establishes primary focus on the modified tin, in particular on the image of the child slave.

In the final product, we have hollowed out the bottom of the original tin and stuck it to the

modified tin so
 14.
when opened you can see all the way to the bottom of the modified tin. This depth creates

emphasis and symbolises how deep the issue of child labour goes. It is also symbolic of how

much lower the wage of a child slave is compared to what the CEO of Nestle is earning.

• Rule of thirds – In Image 1, our modified tin of Nestlé has been placed in the bottom

left gridline intersection; therefore, demonstrating the rule of thirds ‘theory’. The placement

here acts as an effective anchor for attracting and fixing the viewers gaze.

• Hierarchy – The positioning of the modified tin in Images 1 and 2 below the majority

of the original tins is also symbolic. This demonstrates hierarchy, signifying that the child slave

is below all of the others in many different ways, including living conditions, nutrition, education

and wage. In the final product, shown in image 4 and 5, the modified tin sits below the original

as well to symbolise the same message.

• Symmetry – In Images 1 and 2, all of the tins are aligned symmetrically along both

the vertical and horizontal axis to create balance. Similarly to repetition, this contributes to the

normality of what is being seen initially.

• Asymmetry – The asymmetry in design between the vast number of original tins and

the single modified tin becomes clearer as the image become closer in Images 2 and 3. This

technique of contrast creates tension which is important when creating our message of the

asymmetry between what a child slave endures and what consumers know and receive.

• Unity – Unity refers to the successful combination of all of the utilised principles and

elements of design to create a desired message. We believe that we have achieved unity

through the use and combination of the above design elements and principles to convey a

complex issue of child labour through a series of images and physical final product as well.
 15.
REFERENCES
Bertrand, W., and de Buhr, E. 2015. “Trade, Development and Child Labor: Regulation and

Law in the Case of Child Labor in the Cocoa Industry.” Law and Development Review 8,

(2): 503-521. doi: 10.1515/ldr-2015-0019.

Guerin, L. 2018. “Unfair Labor Practices”. Nolo. Accessed March 20, 2018. https://www.nolo.

com/legal-encyclopedia/unfair-labor-practices.html

Hartman, Bob. 2007. Chaga and the Chocolate Factory. Stop The Traffik.

International Labour Organisation. 2014. “How Profitable is the Exploitation of People? Sadly,

Extraordinarily So.” Accessed March 20, 2018. http://www.ilo.org/newyork/voices-at-

work/WCMS_244965/lang--en/index.htm

International Labour Organisation. 2017. Global Estimates of Child Labour: Results and

Trends, 2012-2016. Gineva, Switzerland. http://www.ilo.org/wcmsp5/gro

ups/public/---dgreports/---dcomm/documents/publication/wcms_575499.pdf

Isern, J. 2006. “Bittersweet Chocolate: The Legality and Ethics of Child Labor in Cocoa

Production in Côte d’Ivoire.” Journal of Applied Management and Entrepreneurship 11,

(1): 115-132. Proquest.

Kelly, A. 2016. “Nestlé Admits Slavery in Thailand While Fighting Child Labour Lawsuit in

Ivory Coast.” The Guardian, February 1, 2016. https://www.theguardian.com/

sustainable-business/2016/feb/01/nestle-slavery-thailand-fighting-child-labour-lawsuit-

ivory-coast
 16.
Make Chocolate Fair. 2013. “Cocoa Prices and Income of Farmers.” Accessed March 13,

2018. https://makechocolatefair.org/issues/cocoa-prices-and-income-farmers-0

Nestlé. 2018. “Does Nestlé have child labour in its cocoa supply chain?” Accessed March 7,

2018. https://www.nestle.com/ask-nestle/human-rights/answers/

nestle-child-labour-supply-chains.

Numbeo. 2018. “Cost of Living in Ghana.” Accessed March 27, 2018. https://www.numbeo.

com/cost-of-living/country_result.jsp?country=Ghana&displayCurrency=GHS

O’Keefe, B. 2016. “Inside Big Chocolate’s Child Labor Problem”. Fortune. Accessed March 7,

2018. http://fortune.com/big-chocolate-child-labor/