(Est. 1993, originally) “Frontline AIDS wants a future free from AIDS for everyone, everywhere. Around the world, millions of people are denied HIV prevention, testing, treatment and care simply because of who they are and where they live. As a result, almost 2 million were infected with HIV in 2017 and almost 1 million died of AIDS-related illness. Together with partners on the frontline, we work to break down the social, political and legal barriers that marginalised people face, and innovate to create a future free from AIDS.”
Brandpie (London, UK)
The new name, Frontline AIDS, recognises the critical need to be active on the frontlines, wherever they are, geographically, financially, socially, to renew the response and drive the change required to end the epidemic.
The new brand is designed to draw attention and stimulate a renewed focus on finding innovative approaches, to insist that there's no ignoring AIDS, or the work of Frontline AIDS. Brandpie drew from the energy of campaigning and protest when the first wave of AIDS activism was at its loudest, taking inspiration from signs and messages seen on placards at the time.
Brandpie provided text
Images (opinion after)
The old logo was unfortunate in that it fell within the category of “When Bad Logos Happen to Good Organizations”. The hand-drawn font was clumsy, the multiple-swoosh icon unrelated, and the arrangement of elements busy. The new name and logo aim to be more direct but neither is entirely convincing. “Frontline AIDS” is a strange name… I imagine the ambition was to simply call it “Frontline” but by adding “AIDS” to clarify a frontline to what it ends up sounding like a sentence but it’s not one either. The logo has an icon for a person that — I believe — also doubles as an “FA” monogram but the problem is it yields both an awkward person with really long arms and a monogram that reads as “AF”, which is confusing. The wordmark is strong and assertive, so no complaints there, and I like how that same boldness transfers into the visual language for the identity. In principle, it’s nothing new… it’s words in boxes that can stack and overlap but there is a decent energy and sense of urgency created by the compositions as well as the relatively jarring color palette. The applications are a little all over the place with how the typography is treated and how they vary between photography and illustration but there is some potential in there and perhaps if they had made the icon and the hand-drawn icons (arrows, squiggles, etc.) more deliberately rough the juxtaposition of elements and styles could have worked better.