GLOBAL
I
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PEOPLE POWERED
VISUAL IDENTITY GUIDELINES
1.intro
PEOPLE POWER | DESIGN STRATEGY | HISTORY | PURPOSE
Greenpeace needs a strategic global identity to ensure visibility, recognition and engagement – to show we are a diverse and relevant network sharing an urgent common goal.
Making good choices about how to apply Greenpeace’s visual identity means taking a more ‘people powered’ approach.
We can do this by communicating in ways that are aligned with our values and purpose, using methods that are that are open, participatory, and flexible.
And these Guidelines will support us to connect more meaningfully with our diverse audiences, communities, targets and stakeholders to bring about the changes the world urgently needs.
DESIGN STRATEGY
1 BE OPEN
We believe that our network's default value for all of its plans should be transparency. Similarly, the ideation, strategy, and process behind all of our designs should be an open book, and creative assets should be accessible to all those who want them. We hope that in turn, our visuals inspire trust and genuine connection with our audience.
2 BE PARTICIPATORY
Our “open-source” approach aims to invite fresh ideas, unique perspectives, and meaningful collaborations. This means having an open and inclusive design process where we actively seek and thoughtfully incorporate creative contributions from those who the resulting design affects, and from all those who matter, including our colleagues, supporters, and allies.
3 BE FLEXIBLE
The beautiful diversity of Greenpeace’s global network of organisations, audiences, and campaigns means that our ability to localise and tailor communications while maintaining a unified identity is essential. We must be cohesive and consistent without being uncompromising and rigid to changes that are critical for us to grow and move forward.
HISTORY
In 1971 a handful of determined activists leased a small fishing vessel and set sail from Vancouver for Amchitka Island in Alaska. Their mission was to protest U.S. nuclear testing off the coast of Alaska with a brave act of defiance: to place themselves in harm’s way.
Despite being intercepted by the U.S. Coast Guard, these daring activists sailed into history by bringing world-wide attention to the dangers of nuclear testing.
And just like that, a movement for change was started. Today, Greenpeace alongside activists, allies, and supporters continues to make the world a better place by taking action for people and the planet. We have come together to protect biodiversity in all its forms, end all nuclear threats, phase out fossil fuels, demand
climate justice, and so much more.
Today, Greenpeace has grown from a small group of dedicated activists to a global network of organisations, comprised of 26 national/regional organisations in over 55 countries, as well as a coordinating and supporting organisation, Greenpeace International. But our spirit and our mission remain the same.
Our fight to save the planet has grown more serious – the climate crisis, destruction of ancient forests, deterioration of our oceans, and the threat of a nuclear disaster loom large. And the calls for peace and justice – and transformation of extractive, oppressive systems that are hurting our people and planet – are growing in urgency and strength.
Greenpeace is actively working to address these threats and leverage opportunities for change.
PURPOSE
VALUES
Greenpeace exists because this fragile earth deserves a voice. It needs solutions. It needs change. It needs action.
VISION
We want to live on a healthy, peaceful planet.
A planet where forests flourish, oceans are full of life and where once threatened animals safely roam. Where people live in balance with the natural world.
It’s all possible. We can’t do it alone, but we can do it together.
MISSION
Our goal is to ensure the ability of the earth to nurture life in all its diversity.
We use peaceful protest and creative confrontation to expose global environmental problems and promote solutions that are essential to a green and peaceful future.
That means we are working to:
impede climate change; protect biodiversity in all its forms; prevent pollution and abuse of the earth’s ocean, land, air and fresh water; end all nuclear threats; promote peace, global disarmament and non-violence for a fair and just future for everyone.
Personal responsibility and nonviolence.
We take action based on evidence and conscience. This means we are accountable for our actions and take personal responsibility. We are committed to peacefulness; everyone on a Greenpeace action is trained in non-violence; and we’re committed to tackling systemic discrimination, within our network and beyond.
Independence.
We won’t compromise on the changes our planet needs, and to ensure our independence, we do not accept money from governments, corporations or political parties. Individual contributions, together with grants from foundations, are the only sources of our funding.
We have no permanent friends or foes.
If your government or company is willing to change, we will work with you to achieve your aims. Reverse course, and we will be at your heels again. What matters isn’t words, but actions.
Promoting solutions.
It’s not enough for us to point the finger. Using the latest science as our base, we develop, research and promote real steps towards a green and peaceful future for all of us.
2.VISUAL IDENTITY
TONE | ID RECOGNITION SCALE | LOGO | COLOUR | TYPOGRAPHY & ICONS | LAYOUT
TONE GUIDE
Here are some general guidelines for the tone we want to convey with our verbal and visual communications. The do’s are applied according to context but the dont’s are to be avoided always.
IDENTITY SCALE
Different contexts may require different levels of identity recognition.
Use this scale to determine which identity elements can be used to achieve the appropriate level of recognition. The more elements used the greater the level of recognition.
LOGO HISTORY
When Greenpeace International began in the late 1970s there was no agreed way to write (or even capitalise) ‘Greenpeace.’ Some adopted and adapted the Sisiutl symbol while others used a peace sign and the ecology icon with “Green Peace” as two words. It would often be set in whatever typeface someone favoured that week – depending on which Letraset sheets were lying around the office or ship.
Rémi Parmentier, one of the founders of Greenpeace International, recalls: “One day in Paris in the early 80s, we were out of Letraset sheets and the local stationery shop was closed. A publication needed a Greenpeace logo.
So a fellow named Jean-Marc Pias, who had been making posters and stickers, ran around the corner to a bar and asked an artist friend named Patrick Garaude to write out “Greenpeace” for him.” Garaude drew quickly with a fat felt-tip pen, on a beer mat, and the “graffiti logo” was born.
Rémi says: “Whenever I see that logo today, especially in remote places like Antarctica and the Amazon, I remember Garaude with a pen in one hand, and a beer in the other.”
Patrick Garaude’s logo has since been adapted for modern print and digital use, but retains its ‘felt-tip pen’, imperfect quality. This hand-drawn look is a key identifier of Greenpeace’s legacy and anchors our visual identity in the network’s grass root beginnings.
THE LOGO
The is the official registered Greenpeace logo. The full set of logo formats and colours are available to download from the Greenpeace media library here.
*Be sure to use the CMYK versions for print purposes only.
SIGN IT
The Greenpeace logo is a ‘signature’, not just because it was originally signed by hand, but because it works as an identifier and a signifier of accountability.
It proudly lets the world know who we are and that we take responsibility for what we do. This is an example of being ‘open and transparent’.
Everything the Greenpeace network does should be ‘signed off’ with the logo (with a few noted exceptions).
COLOUR
The logo should be coloured Greenpeace Green or black for light backgrounds. For dark backgrounds, use Greenpeace Green or white.
Always ensure good contrast between the logo and background colours.
REGION/OFFICE VERSIONS – TEXT
For region/office-specific variations, the logo should be appended with the NRO name, aligned right or left in Work Sans or the NRO's sans serif font.
The font size will depend on the length of the NRO name but the Greenpeace logo should always remain visually dominant.
REGION/OFFICE VERSIONS – SYMBOLS
When a region/office adds a symbol to identify their region, the Greenpeace logo must always appear visually dominant.
LOGO USAGE – DON'TS
Always use the official logo files and don’t alter them in any way. (see here, for exceptions)
POSITION
In most cases the logo should be ‘signed’ along the top or bottom edge, and aligned left, right, or centrally.
The choice of logo position should relate to the other visual elements and reinforce the overall composition.
The logo should always have clear space around it, the example below (right) shows the minimum clear space required.
HIERACHY
PARTNER
The placement and size of the Greenpeace logo in relation to partners’ logos will depend on the nature of the partnership.
The lead partner’s logo will be optically larger, but in equal partnership, the logos will be visually the same
When multiple organisations' logos are to be displayed together, be sure to leave enough clear space between the logos. This clear zone should always be applied to the logo.
An optional “in collaboration with:” tagline may be added to clarify partnerships. Consistent spacing is always applied.
Equal partners
Greenpeace led
Partner led
Equal partners (with collaboration tagline)
LOGO SIZING
Depending on the dimensions and aspect ratio of the canvas, the logo should be between 15% and 30% of the total page width.
LOGO USAGE – EXCEPTIONS
Where there is already sufficient context (ie. social media posts and editorial photography), the logo does not need to be embedded in Greenpeace imagery.
In this example, the the profile image and the words 'Greenpeace' appear in direct proximity to the image.
When images are designed to be re-shared then it is advisable to include the Greenpeace logo for recognition and accountability
LOGO AS SYMBOL
The Greenpeace logo is both a signature and an image. It is a combination of two words that convey meaning both as a written language and as a visual symbol.
Because it is widely recognised by our supporters, allies, as well as various governments and corporations, the logo can be used globally, even in countries where English is not the primary language and where non-latin fonts are used.
As shown in the example, even when small, the logo signature is more than a word, it is a symbol and image that is recognisable at a glance.
Greenpeace Africa plastics campaign poster.
LOGO AS CREATIVE ASSET
Sometimes the logo can be used as a creative asset. This is most relevant when it is illustrating an internal document or the subject is Greenpeace itself, including annual reports, membership promotion, internal reports, etc.
This application does not replace the use of the signature logo, which should always be used. The signature logo and its illustrative version typically should be very different in scale, with the illustration being significantly larger.
Cropped logo used as illustration
Signature logo
PRIMARY COLOURS
Greenpeace Green is our primary display colour. It is one of our most distinguishing identity features.
It can be used to emphasize and highlight, but not for standard text.
It is not WCAG AA rated for text on light backgrounds and should be applied selectively.
A similar colour cannot substitute for Greenpeace Green. Don't specify PMS when printing digital (use CMYK mix) and never rely on software's default CMYK conversion.
GREENPEACE
GREEN
WEB
66CC00
RGB
102 204 000
PMS
376 C
382 U
CMYK
55 0 100 0 C
35 0 100 0 U
BLACK
WEB
000000
RGB
000 000 000
PMS
Black
CMYK
0 0 0 100
WCAG AA
small text
large text
WHITE
WEB
FFFFFF
RGB
255 255 255
CMYK
0 0 0 0
SECONDARY COLOURS
Our iconic yellow campaign banners have been used in non-violent direct actions for more than 40 years.
Action Yellow is only to be used for items that are a call to action, or need special highlighting.
It is not WCAG AA rated for text on light backgrounds and should be applied selectively.
Dark Green can be used when Greenpeace Green isn’t appropriate due to accessibility requirements.
It is WCAG AA rated for both large and small text.
ACTION YELLOW
WEB
FFFF00
RGB
225 225 0
PMS
PRO. YELLOW C & U
CMYK
0 0 100 0
DARK GREEN
WEB
004B00
RGB
000 075 000
PMS
342 C & U
CMYK
100 50 100 10
WCAG AA
small text
large text
Greenpeace activists hang a banner at Australia’s Parliament House, 2018
Don't set small text in Green on white backgrounds
Dark green + supporting highlight colour
Don't set body text in white on green backgrounds
Body text black on green
For small and/or light text, don’t use green on white
Use white for small text and choose a darker background
Don't use white on green mono images
Use darker colour for duotone image.
SUPPORTING COLOURS
The choice of supporting colours will largely depend on context and can be selected on project-by-project basis to maintain flexibility and appropriateness.
As a general rule:
• Choose fresh, bright and bold colours
• Choose colours that complement the primary pallet
• Avoid shades too close to the Greenpeace Green
• Avoid using too many supporting colours (1-3 colours is a good range)
Good use of supporting colours
Good use of supporting colours
Good use of supporting colours
Don't use shades too similar to GP Green
Good use of supporting colour as link style
Use supporting colours that contrast with GP Green.
SUPPORTING COLOUR USAGE
Poster uses supporting palette to suit theme
Poster uses supporting palette to suit theme
Poster uses supporting palette to suit theme
Supporting colours can be used to reinforce specific themes. Image by Inkahoots
TYPEFACES
(LATIN & CYRILLIC)
All typefaces are open source and can be adapted and expanded depending on need and circumstance. This approach combines our design strategies of being open, participatory, and flexible.
TYPEFACES (NON-LATIN)
Countries with non-latin alphabets have chosen substitute typefaces for their region. See here for a full list of current non-latin typefaces
HIERACHY
A. Greenpeace Sans
display headings
B. Work Sans
headings, sub-headings & shorter texts
DISPLAY
This is a heading & subheading style
Shorter texts in regular sans-serif (Work Sans). Proin nec imperdiet dolor, quis ornare neque.
Secondary Subheading Style
Longer texts in regular serif (Source Serif Pro). Proin nec imperdiet dolor, quis ornare neque. Fusce pulvinar dictum hendrerit. Nulla consequat non erat in fermentum.
In fermentum semper arcu, nec scelerisque turpis aliquet sed. Orci varius natoque penatibus et magnis dis parturient montes, nascetur ridiculus mus. Proin necimperdiet dolor, quis ornare neque. Fusce pulvinar dictum hendrerit. Nulla consequat non erat in fermentum. In fermentum semper arcu, nec scelerisque turpis aliquet sed.
Orci varius natoque penatibus et magnis dis parturient montes, nascetur ridiculus mus. Proin nec imperdiet dolor, quis ornare neque. Fusce pulvinar dictum hendrerit.
USAGE EXAMPLES
1. Greenpeace Sans
for level 1 headings
2. Work Sans*
for subheadings
3. Work Sans – regular*
for body
*consider reducing letter spacing btw -5 & -10, depending on weight and size of font
USAGE EXAMPLES
1. Work Sans - bold*
article headings
2. Work Sans*
intro paragraphs
3. Source Serif Pro – Regular
article body
*consider reducing letter spacing btw -5 & -10, depending on weight and size of font
USAGE EXAMPLES
1. Greenpeace Sans
large statements
2. Work Sans - bold*
secondary text
*consider reducing letter spacing btw -5 & -10, depending on weight and size of font
ZODIAC STENCIL
Zodiac Stencil is an expressive display face and should be used sparingly. Be aware of the font’s industrial and DIY character, and always ensure it doesn’t appear ‘militaristic’, especially when using darker greens in the creative asset.
If appropriate, it can be used when a more illustrative font is needed. Designers should determine Zodiac Stencil’s appropriateness in their own regional context.
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HOW TO INSTALL FONTS
2. For Mac,
highlight all ‘static’ font files, right click and open with Font Book
For Windows,
simply highlight, right click and select ‘install’
3. For Mac
Once in Font Book click ‘Install Font’
SOCIAL MEDIA PROFILE IMAGE
To ensure consistency, correct placement and ease of recognition, please only use the files provided here for social media profile images.
SOCIAL MEDIA – PROFILE IMAGE
Custom backgrounds can be used to help differentiate Greenpeace accounts and allow a unique expression for each NRO.
Choose and crop image
White 'G'
White 'G' + image
Instagram avatar
GREENPEACE AND THE RAINBOW
During Greenpeace’s very first campaign in 1971, Bob Hunter was inspired by the story from the book Warriors of the Rainbow written by the Cree Indian Nation woman named Eyes of Fire.
When the earth is ravaged and the animals are dying, a new tribe of people shall come unto the earth from many colors, classes, creeds and who by their actions and deeds shall make the earth green again. They will be known as the Warriors of the Rainbow.
Since 1978 we have sailed with the Greenpeace flagship Rainbow Warrior, carrying with it the rainbow and peace dove, an integral part of our ships’ identities.
Throughout history, the rainbow has been seen as a symbol of hope, peace, connection and joy, values that Greenpeace aspires to live up to whilst remaining faithful to the original spirit of the Warriors of the Rainbow.
The Greenpeace rainbow on the side of the Phyllis Cormack in 1976.
Using the Rainbow as part of our identity: Although closely linked to Greenpeace, the rainbow should not be seen as a regular identity element apart from on our ships. Use it sparingly and thoughtfully to provide the greatest impact. We can gain guidance and inspiration from the colours of the rainbow – pure, bright and strong.
GREENPEACE AND THE SISIUTL
As with the Rainbow, the Sitsiutl symbol has been part of the Greenpeace visual identity since the first voyage when the original symbol was gifted to the crew to encourage them to continue their journey. As a testament to the importance of this gift, it was taken and over the decades “adapted” from the original form.
In 2015 renowned Kwakwaka’wakw artist Beau Dick graciously agreed to re-create the traditional Sisiutl symbol, to be shared and re-gifted to Greenpeace with the understanding that his creation will never be altered in any way.
Crew on board the Phylis Cormack with altered sisiutl painted sail 1975.
SISIUTL USAGE
FRAMING DEVICES
Cut Tear Scan
This is an optional D.I.Y and open source process for creating framing devices. It is useful for creating
strong layouts without professional design help.
You can use the existing library of shapes or make your own.
2. Photos clipped into shape
3. Background colours
FRAMING DEVICES - IN USE
Fully exposed edges
Image bleed with one exposed edge
Image bleed with two exposed edges
Supporting colour backgrounds. 3 exposed edges.
Framing devices can also be used to create collages and more complex images.
Image by Inkahoots
SOCIAL MEDIA – TEXT/IMAGE EXAMPLES
Always ensure good contrast for legibility when placing text on image.
Text is integrated but legible
Text is placed in low contrast part of image
Added graphic behind text
SOCIAL MEDIA – BASIC TEXT HOLDING SHAPES
Holding shapes can be set in primary, secondary or supporting colours with either white or black text. Be sure to consider contrast for legibility.
Primary Greenpeace colour + Greenpeace Sans
Secondary Greenpeace colour + Works Sans
Supporting colour + Greenpeace Sans
SOCIAL MEDIA – STORIES
Where contrast isn’t an issue, large statements can be placed directly on images in a single colour
© Christian Braga / MNI
Where contrast is an issue, coloured holding shapes should be used behind the text to make legible.
© Eduardo Bodiño / Greenpeace
When stories are shared, the account is always referenced, so the GP logo is optional.
Logo required?
(15% – 30% page width)
SOCIAL MEDIA – SHARABLE POSTS
Facebook post (without holding shape text)
Instagram tile (without holding shape text)
Facebook post (without holding shape text)
Instagram tile (without holding shape text)
Posts that are designed to be re-shared should always include the GP logo for recognition and accountability.
Logo required?
(15% – 30% page width)
3.CAMPAIGNS
CAMPAIGNS
Visual elements of our campaigns are critical to connect meaningfully with audiences and ensure maxim impact and engagement. They manifest Greenpeace’s values and purpose through design processes and outcomes.
This strategic approach is an extension of Greenpeace’s efforts to refit itself for 21st century campaigning through ground-breaking initiatives like The Framework and the Storytelling project.
This Guide helps build a strong relationship between the global network of Greenpeace organisations and our campaigns, wherever they are in the world.
The Greenpeace #WingsOfParadise project had artists and volunteers around the world celebrating the Birds of Paradise at risk from forest destruction.
Mural by Street artist Ano in Taipei.
CAMPAIGN LOGO USAGE
The Greenpeace logo must appear in all our campaigns to ensure accountability, transparency and recognition.
Our logo does not necessarily have to feature in the campaign logo lockup but must be clearly present on all campaign products.
This applies to both Greenpeace-led campaigns as well as campaigns where we play a supporting or partnering role.
Actor Marion Cotillard onboard the Arctic Sunrise in Paradise Harbour, Antartica, 2020.
CAMPAIGN LOGO USAGE
GP logo appears in campaign logo lock-up
GP logo is applied inconsistently or is entirely absent from campaign
GP logo appears as a signature throughout campaign
CAMPAIGN LOGO USAGE - EXCEPTION
Our logo is only ever absent when Greenpeace is an equal partner in a wider movement or campaign and not the lead.
In this case, the Greenpeace logo would only appear if or when the other partners' logos are also shown (see partners).
Greenpeace is part of a coalition to crowdfund and install solar panels on hospitals in Thailand.
BRAND ATTACKS
Brand attacks are a form of culture-jamming used to parody corporations and hold them to account. It often involves taking the visual assets of a brand* (e.g. logo, packaging, signage) and editing or re-imagining the content to expose hidden agendas or unethical practices.
Accountability
When mounting a brand attack, it is important that we remain accountable by ensuring our logo appears somewhere in the brand attack communications material. It doesn’t have to be dominant every time, but the public should always be able to connect the campaign with the responsible Greenpeace organisation.
*note that it is important to get a legal check before using parodied logos as part of a brand attack
Barbie Mattel Action
at at Mattel’s UK Headquarters, 2010.
Forest Action at Nestlé’s Jakarta headquarters, 2010.
Greenpeace UK volunteers project a jaguar at Tesco's HQ in Welwyn Garden City, to raise awareness of the supermarket's part in the destruction of forests like the Amazon.
VISUAL STORY TELLING
A single, powerful image has the ability to capture hearts and minds, and potentially create mind bombs. When Bob Hunter set off to move the masses on the issue of whaling in 1976, he knew exactly the image that was needed; the image of a Greenpeace zodiac in between the harpoon and the whale is as powerful and memorable today as it first was. It tells the story of right and wrong, makes you care, forces you to take sides and sums up the bravery and courage we need to do something about it.
Greenpeace activists blockade a Russian whaling ship in the North Pacific, 1976.
RESPECT
We should accurately represent the environment and people in their reality, and with integrity. We strive to empower them by showing agency and resilience. Avoid stereotypes and representing people as 'victims'.
Images of people requires special attention and you should ensure that you have permission (GDPR compliant consent form template) from the subject/s to use their image. The legal accountability for rightful usage is with the Greenpeace network that commissioned the image.
GDPR compliance
Allyship with Indigenous people
We have a global policy which says that we do not fundraise off of our allyship with Indigenous people. "Unless there is a special, unique situation, it is never okay for Greenpeace to fundraise using images, footage, art, or any other representation of Indigenous Peoples."
When deciding to use an image that does not have GDPR-compliant consent, whether for fundraising or otherwise, we must consider a “legitimate interest balancing test”:
DIVERSITY & INCLUSION
Greenpeace is a multi-faceted and diverse network. We communicate with millions of people every single day. This comes with the great responsibility to not only be conscious of existing discriminatory practices but also proactively promote and celebrate equity and diversity through our visual communications.
We must continue to authentically engage with a multitude of voices, share their unique stories far and wide – particularly from those who have been systematically excluded, stereotyped, marginalised or silenced.
We have the opportunity in all of our communications to champion this diversity by creating visuals that are
inclusive of race, ethnicity, gender, sexual orientation, age, faith, language, location, accessibility, and socioeconomic status. With the choices we make with our visual language, we can take a step forward to dismantle the existing systems of injustice and inequality. For more resources, see guidelines on equity, diversity and inclusion.
1
2
3
4
1. Pride Parade in Mexico City, 2019.
2. Indigenous Leaders at Consumer Goods Forum Global Summit in Berlin, 2019.
3. Esperanza crew with campaigners and volunteers in Matadi, DRC, 2017.
4. Female climb team Direct Action at Batang Coal Power Plant in Indonesia, 2017.
GREENPEACE MEDIA LIBRARY
The Greenpeace Media Library is an accessible and exhaustive archive of Greenpeace photo and video materials from around the world since 1971 that is catalogued and rights managed.
Our Media Library also provides professional media sharing capabilities for current activities, allowing proper and easy distribution of materials to external users.
How to use it
Staff and external users can create a login to enable tools like lightboxes and internal searches. The Media Library is our permanent record so offices are encouraged to upload key visuals and shareable content. The Media Library team runs regular training for new staff members on the upload and cataloguing process.
Credits and Captions
Images should always be credited using the Media Library crediting guidelines. Captions provide context and will help image users produce accessible and effective supporting info (i.e. press release or website article), please check that the image/video is captioned with the following:
Greenpeace credit
Photographer credit*
Context (eg. what/who**, why, date, place)
Creative Commons license if applicable
When captioning content, it's important we remain credible and accurate. We never make anything up – if in doubt, leave it out.
*We rarely (if ever) add videographer details to a video credit, as they don't share copyright ownership with Greenpeace unless explicitly agreed in the contract.
**Personal names (rather than generic descriptions) should always be used unless there is a security or other reason not to.
WORKING WITH EXTERNAL PROVIDERS
Invest in your Brief
Proper briefing ensures that the expectations and purpose of the assignment is clear, key information provided and that formats and protocols are followed. All this is agreed by both the commissioning parties and the creators.
Stock Libraries
Stock libraries can be useful for images that are not commonly found within the Greenpeace archive. It’s important to note that ensuring legal usage is the responsibility of the user (you) so ensure that rights are clear, especially recognisable images of people. It is recommended we obtain a licence on materials we might want to reuse.
Working with external talent and creative agencies
The ever increasing demand for content and fresh perspectives may require us to work with external partners. Key points:
ILLUSTRATION, ANIMATION
& INFOGRAPHICS
Illustrations
Illustrations can be a powerful and evocative way to convey a message.
Consider using illustrations when:
Collaborate with and commission local artists for local issues. Ensure contracts allow for global distribution with exclusive unlimited reproduction rights. As with Photographers, credit illustrators in your output as per licensing agreement, and the creative may be uploaded to the media library.
Infographics / data stories
Providing well considered visualisations can make complex or dull data into persuasive and impactful communication tools. The key is to find the most important information and construct a visual story that your audience can relate to by using images, words and framing they understand and sparks their curiosity.
Above: 'Turtle Journey' produced by Aardman Animations and Greenpeace UK.
Not Just Tuna Greenpeace campaign Illustration
VIDEO – OVERVIEW
Video guidelines can be found in the comms wiki.
Basic tips to consider
Text on videos
1920 x 1080 (16:9) horizontal
To ensure consistency and avoid cropping, it is recommended that all video text remain inside the editing software's defined safe zones.
Testing
Always check the completed work to see how the audience will view it.
Keep it clean and share!
Try to maximise potential for global offices to use and re-use your content. So, if possible, export (clean) versions without text on screen and without voice over, and square, landscape and portrait versions (if appropriate) along with SRT files for translation. If you have a selection of interesting shots which didn’t make the final cut, please consider also producing a clipreel so the footage can be repurposed in other productions.
1920 x 1080 (16:9) vertical
VIDEO TITLES
Full Name
Title / position
Source Sans Bold
Source Sans Regular
+ Drop shadow where needed for contrast
or
Full Name
Source Sans Bold
Source Sans Bold
Title / position
SUBTITLES
Subtitles styles must contrast highly with video content to be clearly legibile
Source Sans Pro
Semi-bold, centred on a black background
Max characters per line: 50
Recommended font size: 62pt (@ 1080p)
Max number of lines per screen: 2
Aligned – bottom centre
Default subtitle
Alternate subtitle style example (background gradient + white text).
SOUND QUALITY
Sound quality is important not just for radio and podcasts but also in videos - fuzzy images with good sound can be forgiven whereas great images with fuzzy sound are much harder to engage with.
Recording
Minimize ambient sounds – eg. aircon, low level humming, fridges, office noises, traffic, even birds chirping.
Use the right recording equipment – invest in microphones for different situations.
Use headphones when you are recording to monitor levels and keep the input volume in the safe green zone.
Invest in good voiceover talent, hiring a professional voice artist or train up internal talent using the plentiful resources available.
Postproduction
Keep music & sound effects simple. Both can be powerful tools but they can also overwhelm a production. Also remember that many people view with sound off. As with images, be mindful of music rights and stick to royalty free where possible. List of music stock libraries here
Indonesian DJ Ninda Felina records natural sounds of the rainforest in Kalasou valley, West Papua, 2017.
Remember to check your outputs on a mobile phone!
Greta Thunberg with some of the youth plaintiffs behind the landmark constitutional climate lawsuit, Juliana v. United States, 2019.
SHARING MEDIA
It's important to be discerning about what work we add to the Media Library to ensure all content is of a high quality and will be useful to other NROs.
Before uploading, please check that your content is:
PARTICIPATORY DESIGN?
Participatory Design (PD) helps avoid the tendency of designers, in our case, Greenpeace, to act for others. In PD, designers act as enablers or facilitators allowing everyone to have an active participation and engagement in designing the outcomes.
Participants in the process can be stakeholders such as employees, partners, volunteers, community members, and end users. They have lived experience and/or vast knowledge of the issue at hand.
The benefits of PD for our projects and campaigns are significant: participants’ input encourages owner-ship of outcomes; it boosts participants’ confidence and resilience, helping strengthen relationships and communities; it lowers resistance to change by cultivating openness to new possibilities (as realistic expectations are formed based on dialogue); it reduces risks and costs by uncovering real needs and interests beyond limited assumptions.
To find out more, look for the "campaign accelerator" training (tools and modules are available for you to download) which is based on these principles and Acumen runs a regular and free human centered design training.
Is particpatory design for your project?
If one or more of these points are relevant to your campaign see "campaign accelerator" training tools and modules, available for download.
Is there limited local / on-the-ground knowledge around an issue for which a campaign is intended?
Is there heightened sensitivity around a specific communications product?
Do partners have contested views about the communication direction of a campaign?
Is this a priority project, with good lead times + resources?
Greenpeace staff from around the world participate in a campaign accelerator workshop.
Go to the global resources on campaign accelerator and open campaigning →
DIGITAL LIBRARY
We are building a library of digital assets to make it easier to efficiently create communication materials.
Visit the library here to download a range of templates to support your project.
6.LEGALS
LEGALS
This section covers the basics of avoiding unintended legal risks in relation to Greenpeace's communications output. All communications output that can potentially pose a legal risk should undergo legal review*.
Legal review of communications output should be taken into consideration in the initial stages of, and continually throughout the process, whenever the material is potentially contentious.
Two areas of particularly high risk are brand jamming and scandal reports. Legal experts can identify what is and what is not legally problematic. In the complex and volatile environment in which we operate, smart risk-taking is a must, not a nice-to-have. When we take the right risks at the right moment, we create the space needed to achieve change.
Greenpeace's Essential Principles and Protocols for Actions and Legals (EPPAL) provides a common foundation for how we take risks across the Greenpeace network. Building upon these 5 basic principles, Greenpeace's Essential Principles for Investigations and Communications (EPIC) explains how our core values apply to investigations and communications. Including not only principles, but also protocols and explanatory notes, this is the place to turn to find guidance and familiarize yourself with the ways of working that are shared across our diverse communities.
Request a legal review if materials contain any of the aspects listed below:
Communications Leads are responsible for determining whether a legal check is necessary. If in doubt, ask the appropriate Communications Head or GPI's communication lawyers: Daniel Simons and Amy Jacobsen.
Greenpeace As A Trademark
Greenpeace is locally and internationally registered as a trademark. This is not for us to make profit, but in order to be able to take action against those who infringe our trademark, seeking to make a profit over Greenpeace's 50 years of integrity and/or confusing our audiences.
Abiding by the guidance in this guide also helps us strengthen the Trademark thus mitigating the risk that the trademarks waters down (and as a consequence we will not be able to protect our audiences and supporters from any confusion).
GPI's legal unit ensures we have relevant trademark registrations, enforces our trademark for international audiences, and assists NROs in taking action against infringements of our trademark in their licensed territories.
*The GPI Legal Unit may always be consulted on communications if NRO counsel is not available. If legally risky material will be posted on GPI channels, it must first undergo legal review by the GPI Legal Unit.