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“It has helped us disseminate information in a way that feels accessible to people.”Īs she points out, graphic communication has always been an integral part of the queer community, and indeed much of the early work done by LGBTQ creatives in the 20 th century feeds into the graphic language of the movement today. “The value of graphic design in particular this year has been in its ability to help us communicate,” Brooker says. “The beginnings of queer culture as we know it now”ĭigital practices have been significant features of this year’s Pride, as anyone might have expected, but as always so too has graphic design. With this in mind, 100 per cent of the proceeds of the campaign are going to The Trevor Project, an LGBTQ organisation focused on suicide prevention. “Focus should always be placed on visibility, showcasing the talent and excellence that exists within the LGBTQ+ community across industries and mediums,” says Roda.
#Gay pride logo design series
Taking the form of a series of interviews with LGBTQ creatives, the initiative sat alongside portraits drawn by Spanish illustrator José Roda.
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One such brand trying to do that this year was Harry’s, which launched its Design with Pride campaign earlier in the month, alongside its Shave with Pride kits. “Focus should always been place on visibility”īut while there can be a tension in brands entering LGBTQ spaces – especially during Pride, and perhaps even more so during this different form of Pride – Brooker says that brands that have followed up their words with measurable actions can have significant impact for those in the community. “We want to see real changes in the way things are approached,” she says. Getting corporations to support and hire queer designers is part of the reason Queer Design Club exists in the first place. It’s a subject Brooker is wary of: “I think there’s something to be said for brands that have stayed silent for the whole year and then changed their logo to a rainbow on 1 June.” This is especially relevant, she adds, given that some larger organisations “are just not doing enough or supporting the community the way they should”.Ĭhauhan’s point here is an important one – with no physical Pride events, and organisations and brands necessarily throwing all their weight behind online communications, has this made it easier than ever to pay lip service to the LGBTQ community without putting any real effort in? “I think it allows for a lot more intersectionality and ownership – people are creating their own spaces,” she says.
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This has allowed creative community members to be their own curators, and address issues that might otherwise have been overlooked. Not only have virtual events been more accessible to attend, but as Chauhan points out, they’ve been more accessible to host too. “It’s opened up the attendance too, people who lived too far away or were unable to make it to the in-person event can still be a part of it via other means.” “We want to see real changes” “I’ve been amazed at how people have transferred previously real-life events to become digital events,” says Poonum Chauhan, creative director at Moon Creative and former head of design for Pride in London. And similarly, these events have benefitted from the lack of geographic restrictions. “In this way, our designs can reach further and include more people than before.”īeyond easing design collaboration and working streams, the online world has facilitated celebrations that would have otherwise been abandoned.
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“We’ve rethought what it means to work collaboratively – usually this requires physical contact with people, but video messaging platforms have allowed us to overcome restrictions in geography,” Brooker says. The design, development and adoption of digital platforms have been a key part of this. In lieu of physical meetings and events, LGBTQ designers and community members have had to find other ways of connecting.