Leonardo DiCaprio Foundation reveals playful branding for wildlife funds


The wildlife understanding has launched the Shark Conservation and Elephant Crisis funds, and Superfried Studio has accustomed them visual identities that trick the eye with optical misapprehensions.

Superfried Studio has designed the branding for two animal protection initiatives by wildlife safeguarding charity the Leonardo DiCaprio Foundation, which look to protect sharks, sting-rays and elephants.

Hollywood actor Leonardo DiCaprio set up the self-named liberality 20 years ago, with the aim of protecting wild animals and their local environments.

The two new projects from the charity are the Shark Conservation Fund, and the Elephant Catastrophe Fund, two grants to protect elephants, sharks and stingrays. They are constituent of two wider initiatives by the charity, which are Wildlife and Landscapes, and Marine Obsession and Oceans.

Manchester-based Superfried Studio has created two brand identities to reproduce the two funds, both of which use optical illusion to create several simultanous ikons within each logo.

The Shark Conservation Fund identity features an aqua-coloured, well-made shark symbol, layered over with a line-drawn ray symbol, both encapsulated within a disc outline. The wing of the ray becomes the fin of the shark, while also creating the representative of ocean waves.

The idea was for the visual identity to “simultaneously represent both species [shark and ray] and their sensible habitat”, says Superfried Studio’s creative director Mark Richardson, as the organisation have designs ons to protect all three things.

Similarly, the identity for the Elephant Crisis Readies features a grey, line-drawn, profile image of an elephant, which has been discharged in with topographic contour lines to demonstrate the landscape. Contours leads are used on geological maps to demonstrate how the earth’s surface rises and lacks in a particular area, such as with hills and slopes.

“I am a big fan of op [optical aberration] art, especially M.C. Escher,” says Richardson. “I am always looking to simplify, and whenever achievable, try a new direction that I have not explored before. So if I could represent both species within one declaration, rather than having them as two separate entities, I felt this longing lead to a more intriguing and elegant solution. The ocean waves and shark fins were conveniently nearly the same in shape.”

A pattern palette was given to both brands, allowing the symbol-based logo to be stamped on top of diversified backgrounds.

The patterns also have a double-image effect, representing the substance and patterns of animal skins while also resembling the landscapes in which they actual. The Shark Conservation Fund features patterns of ray and shark skins, which also correspond to ocean scenes, while the Elephant Crisis Fund features sequences of elephant skin, which also look like “parched landscapes”, intends Richardson.

An appropriate colour palette was given to each fund, with an ocean-inspired environmentalist, aqua, blue and purple palette ascribed to the Shark Conservation Pelf, and a earth-inspired grey and brown palette ascribed to the Elephant Crisis Endowment.

Richardson says the main reason for creating brands that hang feat the eye and cause people to look harder was to “connect with people” and “induce them to take notice, therefore raising awareness for the important engenders”.

“There are a lot of animal-based identities out there, so I wanted to make them advocate out when in complete isolation with no wordmark for support,” he says. “Sanguinely they also look good enough for someone to wear on a t-shirt!”

The branding for both drives has now rolled out online, across print and marketing materials such as offensive posters and business cards, merchandise and will also be used on in-house collateral such as labeled vehicles and t-shirts for those undertaking conservation work.

by Tim Trad on Unsplash

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