The new mark starts from the organisation's initial. The Ç wraps around its centre the way the organisation wraps around nature, and a leaf, pared down to a few precise curves, sits exactly where the cedilla falls. We called the concept Çevreleyen, the one that surrounds. Satoshi carries the wordmark and the text, a deep forest green and a fresh leaf green lead the palette, and sea, wheat and clay tones cover everything else. The Ç also works as a window. In the key visuals it frames a forest, the sea or a field, and the same shape turns up on flags, business cards, caps, field vests and the notebooks children take home from school.

The new identity went public on 12 August 2026 with a series of swipeable posts. In each, a forest animal waits inside the new Ç, a bear hugging a trunk, a fox in the ferns, two squirrels, an owl on a branch, under a line that reads “Everyone was waiting for today”. The last frame of every series reveals the logo on its own. Profile images, cover photos and WhatsApp group visuals switched over the same week, so the old logo disappeared everywhere at once.

Every visitor arrives wanting something different, so cekud.org.tr is built around three routes. Volunteer through a four-step application that matches each person to a role. Give, with the donate button in the header of every page. Measure, with a carbon footprint calculator that turns a year of consumption into the number of saplings it would take to balance it. The home page opens on the campaign that is running, never on a fixed statement. Design and code came from the same team, so nothing was lost between the two.

With Elazığ Genç Doğa Spor Kulübü, ÇEKUD set out to plant 20,000 almond saplings for farmers in Elazığ, and passed its target in 34 days. We ran it as a story in stages. A bridge to the city's future, a road lined with young trees, a countdown to planting time, and a thank-you when the number was reached. Each stage had its own post, story, slider and short film, in Turkish and English, and the thank-you set turned the campaign into a year-round invitation.

Fundraising campaigns answer what is happening right now. This summer the forests burned again, and alongside the loss the land needed new planting. The fire series builds the word yangın out of charred earth and smoke, while young leaves turn the letters into future and breath. “Let the reward for this labour be an olive tree” uses a single striking scene to stop the scroll and sends that attention straight to olive sapling donations. Farmers carry the other two campaigns. “Support for handwork” puts olive-picking hands in close-up, and “Life for the farmer” grows a sapling out of a single key on a keyboard, then follows the pistachio orchards it pays for.

Between campaigns, ÇEKUD talks about nature itself. For Environment Week we gave three native species a poster each, from the Anatolian nuthatch to the Kazdağı fir, and forest-fire warnings became graffiti on three different walls. Special days get the same care, from World Bee Day to a beach clean-up for nesting loggerhead turtles. For schools, the same voice became a set of 50x70 posters on water, forests and nature, used in the national Green Homeland programme.

Doğanın Bekçileri, Guardians of Nature, is a 3D series for children set in a village called Yeşilköy. Two girls, a wise old plane tree named Dede Çınar and a villain made of rubbish called Çöpcan carry the lessons the education materials teach. We wrote the concept and the first episode, designed the characters and produced a one-minute teaser with an AI-assisted pipeline, from image to voice to final upscale.