The quintessential, perfectly shaped, ribbed leaf. Almost any tree. Polar bears, glaciers, treefrogs, and bamboo. Illustrations of leafy vines, branches, stalks and roots. The classic dandelion image with seedlings a-blowin’. Of course, the omnipresent windmill as icon, regardless of the fact that the sponsoring brand has nothing to do with wind. And we cannot leave out the classic that started the category and continues to live strong to this day: a pair of tender hands cupping a baby earth globe.

And these days, globes of all shapes and sizes are selling like hotcakes at Getty Images and other stock photo sites. When I got my Green Festival brochure in the mail recently, I wondered what the meaning might be behind the woman on the cover who is playfully batting the globe around as if it were a volleyball—perhaps that the powerful human race is not taking this stuff seriously enough, and that our future might be in the balance? Hmmm. But then why is she smiling?

These are the images of green. We have all seen them now, and they are multiplying like the green tendrils of the invasive English ivy that have taken over my backyard. The big question for those of us in the business of communications around brands that are talking about sustainbility, is what works and what doesn’t? And what is best for the cause? It’s big business obviously, or Getty wouldn’t be selling their secret sauce for 400 quid.

Of course, for colors, just about every shade of Pantone green has been used to sell green. When egg started in 2003, we even created a Conscious Consumer swatchbook with seven shades of green—from darkest Off The Power Grid Green, to lightest Red State Green—to playfully denote the various segments of the green consumer landscape based on a US Green Consumer survey that we conducted. Somehow, at the time, it seemed warranted in this manner and for our specific purpose.

Obviously, the more we see the same images and colors used over and over again to communicate issues around sustainability, the less meaning and differentiation there is across the board. And who really wants a brand that looks like all the others? Within the Green Festival program itself, there are fewer than 5% of all ads that chose NOT to use the color green in their layout. Good for them. Bad for the movement, and bad for the communicators out there. We can do better than this.

As the green “movement” moves ahead, for it to become a success, we need to move away from these clichéd communications solutions. Such expected images and colors have become suspect in the selling of green. Consumers are having a hard enough time on their own without us marketing types muddying the waters. While they are desiring green solutions, they have a hard time understanding it, finding it, and embracing it. Because of the rampant nature of this cavalier and listless approach used to communicate green, consumers have come to question all things green, and we are now in the cynical, distrustful phase of the game. Greenwashing has become the standard.

But people are actually smarter than we think. They want to know what this all means and they are willing to listen, so long as we try a little harder. And brands that understand this stand to gain green ground.

The story of green is so much richer, and more colorful than “green”. Green is about innovation, technology, intelligence, and exciting solutions which conjure up all kinds of great images. As has always been the case in our business, the unexpected is far more interesting than the expected. And as John Grant thankfully proclaims in his good new book, the Green Marketing Manifesto, “Green marketing is about making breakthrough green stuff seem normal—and not making normal stuff seem green.”

We can do better. We need to do better.