Manipulating images
Working with image is a massive element of any publication, and during the image workshop I really wanted to focus on manipulating visuals to vocalise a specific sense of voice that links to the themes within Stick it to The Man.
The themes and tones that I wanted to visualise were:
- Anger and frustration; capturing the emotional energy of protests in activism
- Conflict
- Censorship; the censorship of truth from the status quo
- Environmentally friendly? Using only one colour?
- Non violent
The images I used for this task were all connoting power and the act of rebellion within protests; I wanted to use the manipulation of the images in a way that celebrated this colourful anger, yet in a playful and non violent way. With these examples above, I distorted the images to a point where the original photo is hard to distinguish; this worked in a sense that it represented the themes of censorship within political activism, through pushing the reader to try and work out the image itself.
The bold and clashing colour palette was also a key part in conveying a sense of anger and rebellion; the images themselves are super chaotic and have ugly clashing colours, which vocalise discomfort and vibrancy found in protests. I definitely want to use juxtapositions of colour in the whole publication, as I feel like its a perfect way of visualising anger in a non violent way; contrasting to the 'cute' illustrations used for the bumper stickers, the images included in the publication wont be nice to look at, thus representing the themes of clashing against 'The Man'.
Having a vast diversity in the textures featured in these visuals works super well in linking to the themes of diversity within climate change activism; it reflects how as a political view, climate change activism is something that applies to all of us globally, its all of our problem. Due to this, having a multitude of different colours and textures embraces this concept, by further expanding on juxtapositions and contrasts akin to global politics.
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