Photo by Adam Jones, Ph.D.
2021 VISUAL IDENTITY GUIDE
Table of Contents
03 04 05 08 10 12 14 20
PROJECT STORY LOGO COLOR TYPE VOICE IMAGERY ONLINE
CONTENTS
03
PROJECT STATEMENT
I will create a new visual identity for the nonprofit organization (NPO) Ocean Conservancy. Non-profit branding should be given as much attention as branding in the for profit sector, unfortunately, it is regularly an afterthought. I will create a new visual identity that unifies the NPO’s brand with their programs goals by fulfilling lapses that miscommunicate the org’s progress. I will simultaneously be developing my own skills as a designer as I navigate the branding process and create an identity that could determine success in this rapidly growing sector.
BRAND STORY
Ocean Conservancy is working with you to protect the ocean from today’s greatest global challenges. Together, we create science-based solutions for a healthy ocean and the wildlife and communities that depend on it.
04
The new logo has been design surrounding parameters discovered while researching the differences in logos from the for-profit and non-profit sectors. The goal was to create an uncomplicated but recognizable mark that breaks from the standard blues and ocean imagery that dominates Ocean based NPO’s. With the lack of representational images in the logo-mark Ocean Conservancy will stand out amidst competing organization’s logos.
BRAND LOGO
THE LOGOMARKS PURPOSE AND GUIDELINES FOR USE
CORRECT USE
Approved alterations of the logo mark for single color use, or to apply as an overlay of imagery that adheres to the brand voice. When placed, the logo should always be granted sufficient clear space surrounding it (the width of the logo mark stroke as a minimum).
06
INCORRECT USE
Do not use the logo as a part of a word or incorporate other elements into any of the approved logo marks.
Do not place the logo in any space with insufficient surrounding space unless placed over a picture in a clear way.
Do not alter any form of the logo mark in anyway. Only use approved logomarks.
07
COLOR PALETTE
#1E194D
#A9DEE6
#EFC84D
#F36E3C
C 100 M 100 Y 36 K 38
R 030 G 025 B 077
09
BYPRODUCT BLUE C 100 M 100 Y 36 K 38
R 030 G 025 B 077
MICROPLASTIC MIST
C 100 M 100 Y 36 K 38
R 030 G 025 B 077
SEWAGE SEEP
C 100 M 100 Y 36 K 38
R 030 G 025 B 077
FISHING LINE FIRE
The color palette intends to stray from the regular blue’s that are standard for most ocean or water related NPO’s. While blue is still included, it’s intentionally balanced with the orange and yellow in a way that differentiates Ocean Conservancy’s colors from its competitors. They are named with intention of the shock value, aligning with the key element of the new brand voice.
TYPOGRAPHY PRIMARY FONT
CAVIAR DREAMS BOLD the quick brown fox jumps over the lazy dog
SECONDARY FONT
HK GROTESK FAMILY the quick brown fox jumps over the lazy dog
The primary font was chosen to emulate the unique approach of the NPO with it’s odd stems and particular ascenders and descenders. The secondary font shares a visual similarity with the primary font but has greater versatility.
PRIMARY FONT Logo and brand statement text Headers and featured text
SECONDARY Subheaders and lesser highlights Body copy
10
Caviar Dreams Bold 36 pt.
AaBbCcDdEeFfGgHhIiJjKkLl Mm NnOoPpQqRrSsTtUuVv WwXxYyZz 0123456789 .,:;@#’!”/?<>%*()$ HK Grotesk Regular 36 pt.
AaBbCcDdEeFfGgHhIiJjKkLl MmNnOoPpQqRrSsTtUuVv WwXxYyZz 0123456789 .,:;@#’!”/?<>%*()$
11
TONE OF VOICE
The tone of voice is a vital part of the Ocean Conservancy’s brand re-imagination. It can be summed up in three words: Captivating, Shocking, and Urgent. The voice of the brand should open with ambiguity and a vague sense of whimsy. Combining the copy with brazen imagery should captivate the audience before they comprehend what the content is. At this point it’s revealed what the copy is about and data is utilized to swivel and refocus the audience causing shock. The end note of Ocean Conservancy’s voice is always a call to action. By providing next steps and action items the audience is aware of the exigency of the issues that have been presented to them.
12
TRAIT
DESCRIPTION
APPROVED
CAPTIVATE
Our copy should always draw the reader in. Using an element of ambiguity the audience should want to investigate further regardless of their interest in the content or topic.
Use strong verbs and irregular adjectives. Be playful and mysterious. The way the copy is written will immediately capture the audience regardless of their stance on the content.
Do not be direct initially. Overplayed allusions will be the enemy.
After being enticed, the data that is presented should surprise and disturb the reader.
Let the initial lead up and the raw data and facts do the work. The unexpected twist will render this portion successful.
Do not be obscure or utilize references. Don’t be informal or casual as it will detract from the value of the issues.
The outcome of the prior traits will spur a sense of urgency towards the global issues that were laid out.
Always end on an action statement. Be direct and point towards next steps.
Our copy should always draw the reader in. Regardless of the content the audience should want to investigate further.
SHOCK
EXIGENT
UNACCEPTABLE
TONE OF VOICE CAPTIVATE SHOCK EXIGENT
13
14
IMAGERY
The use of images should express the tonality of the brand previously outlined. Only imagery that accentuates the captivation, shock, and exigency of Ocean Conservancy’s message should be applied in relation to the brand. See examples below:
1
2
3
4
ADVERTISING Err on the side of ambiguity. Collaborations with well known brands to increase emphasis.
15
16
Partnerships and sponsorships with companies and events that directly relate to Ocean Conservancy’s mission should be utilized to increase awareness of the brand and its mission. Employing the guidelines for tone and image will create a more noticeable organization while keeping the brand cohesive.
OUTREACH
OUTREACH Targeting sponsorships at events that are particularly high waste and detrimental to the surroundings creates an awareness that is unattainable with other forms of outreach and advertising.
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18
Using parody amidst traditional forms of advertisement is true to the brand’s tone and imagery guidelines. Using prompts and imagery that will initially catch the audiences eye, and shock them upon a closer look.
OUTREACH
19
STATIONERY
Stationery and similarly categorized elements of the visual identity can relax the guidelines and adhere to them less. Visual similarity to the rest of the identity will generate brand recognizability.
20
ONLINE PRESENCE
Ocean Conservancy’s online presence can stray further from the initial tone of captivation and shock. At this point in the process the individual is already interested and looking into the organization for a reason. It is at this stage where it’s important to show the exigency that surrounds Ocean Conservancy’s mission. Provide this along with a call to action, outline next steps for either involvement or aid.
SOCIAL MEDIA Social media should revert from the websites relaxed approach and comply strictly with the tonal and image guidelines. As one of the advantageous method to spread Ocean Conservancy’s name and campaigns, this area should be exhibit the most discipline to the identity.
22
Photography Accreditation Cover Photo by Adam Jones, Ph.D. Website Landing Page Photo by Adam Jones, Ph.D. Website About Us Photo by Lucien Wanda. Back Cover Photo by Xia Moore. Image 1: Torsten Dederichs Image 2: Tim Mossholder Image 3: Neonbrand Image 4: Jasmin Sessler Social Media Image Left: Tim Mossholder Social Media Image Right: Beth Jnr
“Non-Profit Branding with Purpose” a reimagination of the Ocean Conservancy Brand Identity Designed By Ethan Walker April 2021
Photo by Xia Moore
