Style combination · Contrasts
ACT UP × Latin American Feminist Protest Graphics
Two movements signed with a triangle, ACT UP's pink one on black and the green kerchief, but Gran Fury bought ad space and printed offset photographs and Futura, while the green wave wears its sign and letters its placards by hand; polish against handmade multitude.
Mix them and make something ACT UP Latin American Feminist Protest Graphics
01
What each style brings
Each part of the design comes from the style with the stronger say in it, and each style gives at least two.
ACT UP & Gran Fury AIDS Activist Graphics Latin American Feminist Protest Graphics (Ni Una Menos and the Green Wave)
- Type from ACT UP
- Colour from Latin American Feminist Protest Graphics
- Form from Latin American Feminist Protest Graphics
- Composition from ACT UP
- Surface from ACT UP
02
The type
Open fonts standing in for each style’s own type, which is often hand-drawn or commercial.
Display · ACT UP
Rise
Anton; ACT UP used Gill Sans Bold Extra Condensed in white capitals reversed out of black for SILENCE=DEATH (1987), settled on after months in which the collective 'argued about issues, images and fonts' and Futura Extra Bold, Extra Bold Oblique and Extra Bold Condensed in black or white
Text · Latin American Feminist Protest Graphics
The graphics of Latin America's feminist tide, a mass movement since Ni Una Menos (Buenos Aires, 3 June 2015) and the 2018 'marea verde' for legal abortion, though its scarf dates from 2003. Its identity is an object and a colour: a green triangle of cloth printed in white with the Campaign's emblem and slogan, tied to necks, wrists and bags until a crowd turns green. Around it: slogans hand-lettered on cardboard and walls, violet for feminism, linocut posters, and in Mexico purple antimonumentas, Venus signs with a raised fist lettered with demands and the names of murdered women.
Oswald; Latin American Feminist Protest Graphics used The Campaign's white print on the green scarf and Hand-lettered placards in marker or paint on cardboard and white board, in capitals or plain handwriting, often framed by Spanish opening and closing question and exclamation marks ('¿TE PARECEMOS MUCHAS? ¡NOS FALTAN MILES!!', 8M march, Mexico City, 2020)
03
The colours
The ground and leading colours come from Latin American Feminist Protest Graphics, with a counter-accent from ACT UP. The ink reads on the ground at 4.5:1 or more.
ACT UP & Gran Fury AIDS Activist Graphics Latin American Feminist Protest Graphics (Ni Una Menos and the Green Wave)
-
#ffffffground · 36% -
#141414ink · 14% -
#00964baccent · 18% -
#c8102eaccent · 14% -
#e46faeaccent · 10% -
#6b3fa0accent · 8%
As CSS
:root {
--ground: #ffffff;
--ink: #141414;
--accent-1: #00964b;
--accent-2: #c8102e;
--accent-3: #e46fae;
--accent-4: #6b3fa0;
--font-display: "Anton", sans-serif;
--font-text: "Oswald", sans-serif;
}
Use it with care
ACT UP & Gran Fury AIDS Activist Graphics: These are the graphics of a movement of gay men, lesbians and people with AIDS who were burying their friends, and many of their makers and subjects are living or died of AIDS (Mark Simpson, who appears in Kissing Doesn't Kill, died in 1996; Oliver Johnston in 1990); HIV remains a global health issue and ACT UP is still active. The pink triangle recalls the homosexual prisoners of the Nazi camps and was turned to point up as 'a disavowal of victimhood' (in Finkelstein's account; the Henry Ford's history says the inversion began as a mistake that the collective kept): do not use it, the SILENCE=DEATH equation or the kissing couples as decoration, Pride merchandise or brand campaigns, since the style was made to turn advertising against corporate greed, and do not picture people with HIV as victims or as a threat. SILENCE=DEATH is © 1987 The Silence = Death Project, which lent it to ACT UP (the poster reads 'Used by permission by ACT-UP'); Gran Fury's website declares its own artwork public domain, but the photographed people and quoted brands are not: write your own slogan and stage your own photograph, and never present a generated image as a period work.
Latin American Feminist Protest Graphics (Ni Una Menos and the Green Wave): This is the living language of a movement against femicide and for abortion rights whose subjects are real women, many murdered or disappeared, and whose families raised the antimonumentas and wrote the names on them: do not reuse victims' names, photographs, pink crosses or the antimonumentas as decoration, merchandise or a backdrop for a brand. The green scarf is the emblem of the Campaña Nacional por el Derecho al Aborto Legal, Seguro y Gratuito and Ni Una Menos is a collective; do not put their emblem, slogan or name on your own products, fundraising or advertising, or dress a company's message in green and violet to borrow the movements' credibility. The scarf is still contested: it has been banned in some schools, wearing it can bring backlash, it is answered by the anti-abortion pañuelo celeste, and Argentina's legal-abortion law of 2020 has faced calls for repeal, so do not use green as a neutral 'hope' colour where it will be read as a political position. Never present a generated image as documentation of a real protest.
04
The two styles
05
More combinations
With ACT UP
- Extinction Rebellion Graphics Pairs well · A later movement that again reduces its cause to one emblem and a fixed set of slogans in heavy capitals; pair XR's flat colour grounds with ACT UP's facts in small print when a protest poster must both rally and inform.
- Atelier Populaire (May '68 Screenprint Poster) Contrasts · Both answered a crisis with overnight slogans on the street, but the May '68 posters were brushed by hand and pulled in one ink, while most ACT UP and Gran Fury posters were professionally printed in offset and modelled on advertising; choose rough urgency or seductive polish before mixing them.
- Punk & DIY Zine Contrasts · Gran Fury photocopied some posters and handbills like a punk zine, but kept the layout clean and legible: one image, one slogan and plain sans type in place of ransom-note collage, even when the photograph broke into coarse xerox dots (Read My Lips); add punk's torn xerox only when the message should look home-made rather than official.
- Pop Art Graphics Pairs well · RIOT (1988), a painting later issued as a sticker, reworks Robert Indiana's LOVE letters and Kissing Doesn't Kill copies a Benetton campaign: borrow Pop's habit of lifting mass-media images and lettering, but replace Pop's ironic detachment with a named target and a demand.
- Corporate Identity Modernism Contrasts · Stands here for the logo logic of SILENCE=DEATH, one emblem and clean sans capitals repeated like a corporate mark; the advertising Gran Fury and ACT UP otherwise copied was 1980s brand campaigns and mastheads (Benetton, Nike, Coca-Cola, The New York Times) rather than mid-century corporate identity. Set an AIDS-era slogan in a corporate format when the point is to turn a brand's own voice against it.
- Instagram Slideshow Activism (Social-Justice Infographics) Contrasts · Its confrontational opposite: black grounds, hot pink and one blunt slogan, where the typical slideshow shuns 'blood red or black messaging' (Ría Thompson-Washington) and softens the message to stay comfortable.
- Plain Tobacco Packaging Pairs well · Gran Fury's white capitals on black are the activist cousin of the mandated warning statement; borrow their wit when a health message must persuade without leaning on clinical shock photographs.
- Front-of-Pack Warning Octagons (Latin American Food Warning Seals) Pairs well · Both speak in white bold capitals on black; take Gran Fury's wit when a nutrition campaign must persuade around the shelf rather than only on the pack.
With Latin American Feminist Protest Graphics
- Solidarność & Polish Underground Graphics Contrasts · Both are movement identities copied by hand in the street, but Solidarność gathered behind one logo of crowded red letters and printed posters, bulletins and stamps, while the green wave gathers behind a wearable cloth and a colour; letters as the sign against an object as the sign.
- Kanga (Swahili Message Cloth) Pairs well · Both put a sentence on a cloth worn on the body so that the wearer speaks through it; borrow the kanga's framed field and boxed saying to give a protest scarf a composed layout without losing the one-colour code.
- Extinction Rebellion Graphics Contrasts · Both are crowd identities anyone may reproduce, but XR's Art Group designed a kit (hourglass symbol, FUCXED capitals, woodcut blocks, twelve colours), while the green wave grew from one found object, one colour and handmade lettering; choose a designed system or a single wearable sign.
- Instagram Slideshow Activism (Social-Justice Infographics) Contrasts · The hashtags #NiUnaMenos and #VivasNosQueremos also travelled on Facebook and Instagram, but their images point to a march, a wall or a scarf, whereas the slideshow lives and ends in the carousel in pastel templates.
- Chilean Estallido Social Graphics (Revuelta Popular of 2019–20) Contrasts · The green scarf marched in the same Chilean streets in 2019, but the feminist tide rests on one wearable object and a colour code, while the estallido's walls are an unruly crowd of dogs, eyes, flags and caricatures; choose one disciplined emblem or a many-handed palimpsest.
- Lambe-Lambe Posters (Brazilian Paste-Up Street Posters) Contrasts · A later Argentine protest-graphics movement; compare how a campaign gets a unified look by shared symbol versus by serial pasting of varied images.