Well, the "why" is simple: perception and understanding are inexorably linked to the presentation of information: what you say is affected by how you say it. To dismiss design as decorative is to pretend that rhetoric and oration are just flowery writing and a lot of hot air, and while good design shouldn't mask bad science, good science can certainly be hindered by bad design. To wit, if we didn't judge all those proverbial books by their covers, then a lot of very talented book designers would be out of work.
Thankfully, IBEIS is different. The lofty research- and conservation-oriented goals of the project require an enthusiastic and engaged public, and a public-facing project needs a consumer-quality identity. Enter yours truly.
As an illustrator and designer, I find I'm less concerned with any single particular execution than I am with the needs of a given project. Sometimes I get to draw, and sometimes I get to write code, but telling the right story is always paramount. By virtue of a certain non-work choice—my engagement to Dr. Blair A. Roberts, whom you've already met—my professional life has led me to some very interesting places. This isn't my first lengthy trip to Kenya, though my second stint in this beautiful country is slightly more work-oriented than last time.
The logo, the foundation of any project's visual identity, needed to allude to a few key components of IBEIS: it needed to refer to some of the species that comprise the IBEIS Lite test group; it needed to show some link to the analysis of digital images; and it needed to catch the eye and excite the public. I'm sure you won't begrudge my bias if I feel we hit the mark on all three counts with this:
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