Our cri­tique of Grey London’s spec­u­la­tive re­brand of WWF from three per­spec­tives

WWF may or may not take Grey London’s spec­u­la­tive re­brand on board, but the agency has made it avail­able for free just in case. Here are three per­spec­tives on the work…

Computer Arts - - Contents -

WIKTOR SKOOG Strate­gic de­sign di­rec­tor, Grey London www.grey.com/london

“WWF’s logo is the most iconic in con­ser­va­tion. When it was de­signed in 1961, gi­ant pan­das were one of the world’s most en­dan­gered species, and cli­mate change wasn’t yet a go­ing con­cern. How­ever, fast for­ward 55 years and the gi­ant panda is no longer en­dan­gered, while cli­mate change is the sin­gle big­gest threat to all wildlife. We wanted to high­light (and get peo­ple talk­ing about) this by de­sign­ing a logo that sym­bol­ised not just one species, but all of them. And what bet­ter sym­bol than the po­lar bear – an an­i­mal whose habi­tat is lit­er­ally melt­ing away from be­neath its feet, and one that has be­come the un­wit­ting poster boy for the phe­nom­e­non that could one day wipe out the en­tire species. We of­fer our po­lar bear – as well as an en­tire cor­po­rate iden­tity re­brand – to WWF free of charge.”

KENNY LOPEZ UX de­signer, Atom De­sign Agency www.atom­a­gency.co

“I think the idea of WWF cel­e­brat­ing that the panda bear is no longer en­dan­gered, and bring­ing at­ten­tion to a new species in need, is great. I only won­der how this new logo scales when ap­ply­ing to smaller print or dig­i­tal me­dia. The abun­dance of white space, com­bined with three small black dots for the eyes and nose, may not be enough to keep the brand recog­nis­able at a quick glance.”

JO GULLIVER Art ed­i­tor, Com­puter Arts com­put­erarts .cre­ative­bloq.com

“We see a lot of spec­u­la­tive re­brands on Com­puter Arts. Some are an at­tempt to beef up a thin port­fo­lio with some­thing more ‘big brand’; some are in di­rect re­sponse to stu­dent briefs from brands via the likes of D&AD New Blood; and some, like Grey’s work for WWF, are about mak­ing a state­ment – in this case, about en­dan­gered species. Responding to the fact that the gi­ant panda fea­tured in WWF’s iconic logo is no longer tech­ni­cally en­dan­gered, the agency has of­fered this al­ter­na­tive. It’s a re­ally com­mend­able ex­er­cise, but prac­ti­cally speak­ing, the amount of neg­a­tive space makes the mar­que chal­leng­ing to use at small sizes. And while the new con­cept is more fac­tu­ally ac­cu­rate, it’s at the ex­pense of brand recog­ni­tion and her­itage – a dif­fi­cult trade-off for any global brand.”

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