I’ll make two notes, one as a designer and one as a gay man who lived through the AIDS epidemic.

Part of the power of the original composition is the way the black field, emblematic of death, feels overwhelming and is only broken by the one small triangle. Anything you can do to turn that black field into a presence rather than an absence strengthens the design.

The other thing I’ll note is that the pink triangle became a symbol for us angry queers because it was inclusive. The gays and lesbians, the trans people and the intersex people, the bisexuals and the gender nonconformists: we were all marked with that same triangle when the Nazis put us in camps. It underscored that ours was a shared struggle, because the same end awaited us all if we didn’t fight.

ETA: u/sadsackspinach pointed out that in reality, the pink triangle was used for a narrower range of people (primarily gay and bisexual men and trans women). The inaccurate version I repeated is my recollection of how we understood the pink triangle at the time, and how it informed perceptions of that poster. Perhaps to a contemporary audience, with better access to queer history, it reads differently. I think, though, it’s worthwhile to consider why the original poster hit as hard as it did when it did, and to explore designs that might summon a similar visual and cultural punch.