The Bigger Picture In the Crafty Details of Let Nature Live

Natuurmonumenten, an NGO and the largest private nature conservation and nature management organisation in the Netherlands, has launched its new brand strategy and positioning in a stunning stop-motion campaign. 

It represents a notable shift in Natuurmonumenten’s messaging, moving from ‘Nature Lets You Live’ to ‘Let Nature Live’. It’s a bold change, which the team says reflects a growing urgency to address the pressure on biodiversity in the Netherlands. 

“Research showed that while 85% of Dutch people feel responsible for protecting nature, many are unsure how to act.” The new strategy is designed to empower individuals by showing them practical means of contribution, whether through time, donations, or adopting sustainable behaviours. The team hopes the project will help reframe the relationship between humans and nature, emphasising that it’s our turn to nurture and empower nature to thrive. 

‘Let Nature Live’ is the combined effort of lead agency ACE and production house Artillerie. We spoke to creative directors Esmé Brinkman and Amber Steevensz, along with director Patrick Louwerse to discuss the vision, craftsmanship, and teamwork behind the campaign.

LBB> Why did you decide to use a three-dimensional miniature model to depict nature? How does this choice reflect the campaign’s message of nurturing nature rather than simply celebrating it?

Esmé, Amber and Patrick> We were inspired by how nature itself operates - with incredible attention to detail. Using a three-dimensional miniature model allowed us to showcase the richness of Dutch nature in a tangible, handcrafted way, underscoring the care and effort required to preserve it. The diorama also sets this campaign apart visually, giving it a distinct look amidst the typical ‘green’ imagery of nature campaigns.

LBB> Can you describe the creative process behind building the miniature world? What were the challenges in capturing Dutch nature in such a detailed way?

Esmé, Amber and Patrick> Building the model required meticulous work from a team of stop-motion and puppet-making experts, who handcrafted every element. The challenge of creating a typical Dutch miniature world is the use of scale. The motion-controlled camera dives in the water and travels through the landscape, ending with a close-up of the flower. The miniature set starts out in a certain scale, but shifts into a smaller scale to compress the shot and ends with a perfect close-up of the hero flower. The switch in scale is invisible because of the movement and the appearance of the bumblebee that fills the screen for a brief moment.

LBB> How did you blend the tactile nature of the model with digital techniques to create such a rich and immersive experience?

Esmé, Amber and Patrick> The physical diorama formed the foundation of the visuals, with post-production techniques enhancing the experience. Digital motion graphics added dynamic movement to the scenes, such as flowing water and rustling leaves, while the stop-motion animation brought life to the miniature world. This blend of analogue and digital elements created an immersive yet authentic representation of nature.

LBB> Stop-motion and puppetry can be intricate. What role did these techniques play in bringing the world of the campaign to life, and how did they enhance the storytelling?

Esmé, Amber and Patrick> Stop-motion and puppetry allowed us to infuse the campaign with a tactile, handcrafted feel that connects emotionally with the audience. These techniques gave the miniature world a sense of authenticity and care, mirroring the attention nature itself deserves. They also created a playful, approachable tone that invites viewers to engage with the message.

LBB> How did your collaboration influence the final execution? Were there any moments during filming that took the project in a new direction?

Esmé and Amber> Patrick’s expertise in miniature worlds and visual storytelling was invaluable. One memorable moment was during the lighting tests - adjustments to highlight certain details in the miniature world unexpectedly added depth and vibrancy to the visuals, enhancing the overall narrative impact.

LBB> The team worked closely with experts in stop-motion and puppet making. Can you share any surprising or particularly rewarding moments from this collaboration?

Esmé, Amber and Patrick> While filming, we discovered we could create the effect of streaming water in-camera using hair gel. A motion-controlled camera would glide over the miniature set, and with each pass we slightly adjusted the placement of the hair gel. When the footage was composited together, it formed a seamless moving sequence.

LBB> How did music producer Sharkee’s approach to using nature patterns in the soundtrack influence the emotional tone of the film? What was the inspiration behind this idea?

Esmé, Amber and Patrick> To bring everything together, Sharkee created the music and sound effects. Our approach was a compelling but hopeful soundtrack that served the visuals and voice-over.

To create the base of the soundtrack, Sharkee connected a device to the leaves of plants. The device catches the patterns within the leaves and translates them to pitch. The pitches and tones were transformed into a full composition, creating music for Natuurmonumenten that is deeply rooted in nature itself.

LBB> What do you hope this campaign will inspire in the Dutch public, especially in terms of tangible actions toward environmental conservation?

Esmé, Amber and Patrick> We hope this campaign empowers people to take meaningful action, whether that’s by donating to conservation efforts, volunteering time, or making sustainable lifestyle choices. The message is that every small effort counts and that together we can restore and protect nature for future generations.