Greenpeace opts for anime style in new campaign

Greenpeace has released an animated video as part of its ongoing Detox campaign, in what is a new creative approach to spreading the environmental charity’s message.

Greenpeace has released an animated video as part of its ongoing Detox campaign, in what is a new creative approach to spreading the environmental charity’s message.

Produced in collaboration with Free Range Studio, and animation from China-based Animaster Animation, the manga-style video draws attention to fashion brands turning a blind eye to toxic pollution by their industry. Narrated as a Hollywood trailer, it aims to reach a new global audience, according to Greenpeace creative director Tommy Crawford. The video “was designed to speak both to our own supporters, but also a broader audience in order to raise awareness of the fashion industry’s toxic addiction”, he says.

The clip forms part of a wider campaign, which launched in July 2011 with a spoof ad video challenging sports brand to clean up their production and supply chains, as well as social media and other online content.

While Greenpeace still uses traditional tools such as direct, peaceful action, using photos to bear witness to environmental crimes, it increasingly uses other creative outlets such as animation, street performance and social media, adds Crawford.

“As the world in which we campaign has changed, we too have adapted and developed our campaigning strategies,”he says . “Greenpeace is famous for its documentary work, which we still continue to this day, but in an age where online videos can be a powerful tool through which to reach out and have a conversation with large audiences, we have also adapted our approach and looked to find new ways to communicate about key environmental issues.”

Credits Detox Fashion:

Creative direction: Tommy Crawford (Greenpeace International), Ruben DeLuna and Drew Beam (Free Range Studios)

Animation: Animaster Animation

CR In print

In our December issue we look at why carpets are the latest medium of choice for designers and illustrators. Plus, Does it matter if design projects are presented using fake images created using LiveSurface and the like? Mark Sinclair looks in to the issue of mocking-up. We have an extract from Craig Ward’s upcoming book Popular Lies About Graphic Design and ask why advertising has been so poor at preserving its past. Illustrators’ agents share their tips for getting seen and we interview maverick director Tony Kaye by means of his unique way with email. In Crit, Guardian economics leader writer Aditya Chakrabortty review’s Kalle Lasn’s Meme Wars and Gordon Comstock pities brands’ long-suffering social media managers. In a new column on art direction, Paul Belford deconstructs a Levi’s ad that was so wrong it was very right, plus, in his brand identity column, Michael Evamy looks at the work of Barcelona-based Mario Eskenazi. And Daniel Benneworth-Gray tackles every freelancer’s dilemma – getting work.

Our Monograph this month, for subscribers only, features the EnsaïmadART project in which Astrid Stavro and Pablo Martin invited designers from around the world to create stickers to go on the packaging of special edition packaging for Majorca’s distinctive pastry, the ensaïmada, with all profits going to a charity on the island (full story here)

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