Field Journal 7: Wartime Posters

       This week I was most interested in examining and analyzing the effectiveness of the posters which were produced during the World War II era. Our book mentions that “America’s wartime graphics ranged from brilliantly conceived posters to informational training materials and amateurish cartoons”; however, as the war approached, it seemed more fitting that these traditional wartime graphics should transform into “propaganda posters to promote production” (344). Thanks to some of the European immigrant designers who were commissioned by government-sponsored organizations such as the U.S. Office of War Information, American graphic design changed its traditional illustration roots and adopted a more modernistic style because the constructivist and Bauhaus influenced European artists sought to create effective designs for their new audience, Americans.

Source: Meggs, Phillip B. and Purvis, Alston W. Meggs’ History of Graphic Design 4th ed. Hoboken, New Jersey: John Wiley & Sons, Inc., 2006


What are some examples of this new approach? Why is it so effective?

Among the most effective posters our book mentions:

 “America’s answer! Production” by Jean Carlu

Ben Shahn’s poster for the U.S. Office of War Information

and John Atherton’s poster for the U.S. Office of War Information

       Created as a response to World War II, all of these examples covey a sense of urgency and directness in their simplicity while calling the American people to rally behind a cause and feel united. All of these posters are similar to those of the Plakatstil variety in that they have very strong yet simple images with their message or meaning encapsulated in a single phrase or word. Carlu’s poster with a gloved hand gripping a wrench and turning a bolt which also serves as the “O” in “PRODUCTION” is extremely effective in that it implores Americans to be more productive and contribute to the war effort. Shahn’s poster seeks to draw emotions of anger from its audience as it depicts an innocent man with a sack over his head and the words “This is Nazi brutality”. This poster also seeks to rally the American people to fight for this man and others like him in an effort to stop the Nazi regime from further asserting its dominance. Finally, the poster by Atherton speaks to its audience by warning the people to speak carefully during wartime, for it could endanger the lives of the people fighting for them. All of these posters clearly demonstrate a message to their American audience by being direct through strong simple images and trying to rally the Americans under a single cause, the war effort. This is typical of the modernistic approach seen on many other war time posters as well because it seems that it is the most effective way of communicating to an audience. The style’s effectiveness comes from the fact that a person can fully comprehend what the poster is trying to depict or the message it is trying to convey after a simple glance. Furthermore, in all of the examples of these war time posters, there is unity between the strong symbolic image and the simple and clear words or phrases. The fact is that these posters had to be strong yet simple so that their messages could attract any person in the public and remind them of the war and its impact and implications on his or her life; propaganda would improve morale and inform and educate people about war topics.

More examples of these war time posters include:

"Scrap" (1941-1945)


     This poster also harkens back to the Plakatstil era as a strong hand rising from a farm has its grip on scrap metal against a contrasting background with the bold red-lettered word “Scrap” at the top of the poster. Clearly this poster’s intended message is for honest working Americans to donate their scrap metal to the war effort so that it may be used for things like supplies or contributed toward production.

"Bonds or Bondage" (1941-1945)


       “Bonds or Bondage” offers Americans a choice: either contribute 10% of their earnings every pay day to Uncle Sam, or suffer the consequences and be jailed. This poster seeks to inform Americans that by doing their part and at least helping the war effort in any way they can, they can aid their fellow Americans, be happy, and avoid the risk of being out-casted from others, and this effect is achieved by the image pictured which offers the viewer a clear cut choice between doing the right thing and doing the wrong thing.

"Soldiers without Guns" (1941-1945)

       “Soldiers without Guns” appeals to the women of America and encourages them to still contribute to the war effort at home by engaging in industry, agriculture, and business. The war called for never before seen amounts of participation, and this modern approach exemplifies this sentiment while also empowering women who work on the home front while the men are away. Another good example of this is seen the infamous poster “Rosie the Riveter”.


Link: More examples of wartime posters


What are some more recent examples of war time posters? How do they compare to the ones from the World War II era?


       As I was doing this week’s field journal, I began to wonder about the current war in Iraq and Afghanistan and why posters or propaganda is not as seemingly evident. I found a site which has many posters designed by an online community, and I think they are worth taking a look at. It was interesting to see how these compare to those from of the World War II era because some of them do still rely on the modern design elements of a strong image and all encompassing word or phrase to convey their powerful meanings to their audience. Most notably, unlike those seen during the World War II era, these images have more of an anti-war sentiment. It goes to show that this method of communication still remains one of the most widely used and efficient way of getting an idea across really quickly.


Link: Modern wartime posters