Within my research into the synthesis between graphic design and the LGBT+ community, I discovered the negative opinions surrounding representation within advertising and brand promotion. Within my dissertations survey concerns were expressed regarding the lack of diversity shown in queer representative advertising and also the lack of support the actual brand shows the LGBT+ community.
“I think most of the time, brands "appealing" to LGBTQ+ folks is just corporate pandering primarily to cis white gay people, with no real policy or action behind it. It's nice to see in advertising, but again the "representation" in the ads seems to be primarily composed of cis, white, gay men. The example ad used above *Image 17* is actually a perfect example of what I'm talking about-- two wealthy looking, presumably cis, white, gay men used to sell a very expensive corporate brand.”
Large amounts of theoretical research within the essay hi-lighted this lack of diversity and discussed the issues caused by such. Most showed that gay representation is usually male, white, young, 'attractive' and affluent; advertisers argue this area of the market is considered to statistically be the most profitable.
"The results showed that 85% of the overall representation were white and 84% cis male; staggeringly 40% were straight, male, white and cis in comparison to 1% visibility of transgender or non-binary people of colour."
This focus on the most lucrative individuals within the community shows a lot of companies use queer representation as a form of capitalisation of a niche market rather than to show support and raise visibility/awareness for queer people. This is where, for the LGBT 'market' itself, the issue lies.
For the practical element of COP 3 I decided to produce a manifesto (set of guidelines/rules) for advertisers, brands, graphic designers to follow in order to ensure the LGBT+ community is represented with equality and accuracy. The aim of which being that certain establishments can sign their name to the manifesto vowing to follow the rules and support the community; it promotes the brands as gay supportive/friendly and equally promotes discussion and open-ness about sexuality (mutually beneficial).
The manifesto rules being:
1. We pledge to be inclusive of LGBT+ individuals within our advertising.
2. We will do so not purely for commercial reasons but to promote visibility and acceptance.
3. We refuse to feature queer people just for a ‘trend’ or to capitalise on the ‘market’.
4. When creating these representations I will do so in an informed way.
5. We vow to support LGBT+ establishments, charities and organisations.
6. We understand the lack of positive representation in advertising & media has a negative effect on the queer community.
Each rule was informed by an issue I had identified within the theoretical and survey based research into LGBT+ representation in advertising.
For a source of primary research I went to the FAN (Feminist Archive North), they hold collections of LGBT+ newsletters and magazines from all over the UK distributed from the 1960's onwards. The newsletters all have a distinct denial of modernist features, most follow little to no 'rules' in terms of typeface, typesetting, simplicity, minimalism etc. This rejection of the norm is something expressive of the punk - do it yourself nature of the underground press. This visual style is one I wanted to inform and be expressed through my own design outcome for this module.
Creating a visual synthesis between historical examples of meaningful activism based design and contemporary design culture and appeal. I did this by using semiotics from both historical primary research and secondary research into contemporary postmodernism and activism.
Studies show that the gay audience are frequent internet users/shoppers...
"US Census Bureau (2005).recorded that 52% of gay consumers had bought something online at least once a month (2003) this figure considered to be large in comparison to only 32% of overall users doing the same. All such related statistics surrounding the buying power of the gay market suggests they are a market worthy of targeting specifically; but there is still little to be known on the most effective ways of doing so."
This information lead to the practical body of work being partly digital. I felt a website would appeal to the largest audience possible; it could be key in targeting the world as a whole rather than just the UK and appealing to digital marketing/advertising companies.
My web design concept was to produce a simplistic 'mother page' layout on which a few varying wireframes would interact. The page would work using an infinite/auto scroll system in which user experiance was key. Animation was used throughout to ensure the users were captivated by the experiance as a whole. Each rule of the manifesto would be animated on screen using a type-writer effect; this informed by the use of typewriters in LGBT+ underground press I observed in my primary research. Once the rule is laid out the screen 'self scrolls' revealing a tick box; the user then ticks in agreeance to the rule triggering the page to scroll onto the next and so on.
Each element of the website has been animated for captivating viewing pleasure to ensure the best click through rates and the best chances of maximum online signatures. Each element was informed by my research and brand identity; even down to the symbol upon the navigation bar which was informed by the iconic = gay marriage equality symbol.
Alongside the digital outcome I produced a physically printed version of the manifesto. This was informed by the concern that some of the target market (particularly large name brands) would likely see an email/website and not give it their full attention. Physical design is more effective in grabbing attention instantly and is a less saturated field in the modern day creative industries. The physical outcome is one that is heavily informed by the design styles and production process' used by underground LGBT press publications in the 70's.
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