propaganda posters of ww2

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These World War II Propaganda Posters Rallied the Home Front

By: Madison Horne

Updated: August 10, 2023 | Original: October 12, 2018

When Britain and France went to war with Germany in 1939, Americans were divided over whether to join the war effort. It wouldn't be until the surprise attacks on Pearl Harbor in December 1941 that the United States would be thrust into  World War II . Once U.S. troops were sent to the front lines, hundreds of artists were put to work to create posters that would rally support on the home front .

Citizens were invited to purchase war bonds and take on factory jobs to support production needs for the military. As men were sent to battlefields, women were asked to branch out and take on jobs as riveters, welders and electricians.

To preserve resources for the war effort, posters championed carpooling to save on gas, warned against wasting food and urged people to collect scrap metal to recycle into military materials. In the spring of 1942, rationing programs were implemented that set limits on everyday purchases.

While many posters touted positive patriotic messages, some tapped fear to rally support for the Allied side and caution against leaking information to spies. "Loose lips sink ships" became a famous saying. Meanwhile, graphic images depicted a blood-thirsty Adolph Hitler and racist imagery of Japanese people with sinister, exaggerated features.

Today, the posters a offer a glimpse into the nation's climate during World War II and how propaganda was used to link the home front to the front lines.

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American propaganda posters of World War II that spurred the country to victory, 1940-1941

Posters were not the only form of propaganda used by the U.S government. They also employed Hollywood, radio programs and advertisements, cartoons, music, and other forms of media.

However, posters were more common than the other methods of spreading propaganda. They could be made in mass quantities and spread around a large area, whereas a movie could only be seen by those going to the theater.

Another benefit was that a person’s exposure to posters could be longer than a radio program. Someone could only hear a radio campaign during the purchased time slots, but a poster would be on a wall until either the elements or people took it down, or a new poster was pasted over it.

Franklin D. Roosevelt created the agency with Executive Order 9182 on 13 June 1942 with the goal of simplifying the way information about the war reached the public.

In order to gain more support from the civilian populace, there needed to be one central agency that could control the information that would reach them.

Subjects of the OWI posters included: buying war bonds; careless talk; recruiting; increasing production; conservation; and other ways one could support the war effort.

The different themes accompanied the various campaigns that the war agencies launched. If the promotions were to be successful, then posters needed to remind people of the campaigns on a daily basis.

In the face of acute wartime labor shortages, women were needed in the defense industries, the civilian service, and even the Armed Forces.

Despite the continuing 20th century trend of women entering the workforce, publicity campaigns were aimed at those women who had never before held jobs.

Poster and film images glorified and glamorized the roles of working women and suggested that a woman’s femininity need not be sacrificed.

Whether fulfilling their duty in the home, factory, office, or military, women were portrayed as attractive, confident, and resolved to do their part to win the war.

Placing the poster out in the public did not happen randomly. The OWI developed a strategy on where and how to place them.

It wrote a handbook about the entire process and distributed it to the people who were in charge of placing the posters around the section of the town or city in which they lived.

The distribution process occurred at both a national and local level. Various government buildings received posters and displayed them on their own.

A pretty daring outfit for 1940.

However, this did not cover a wide enough spectrum of places that the average person would visit throughout the day. Therefore, it became necessary to get citizens involved in placing the posters in locations they frequently visited.

Each community had a Defense Council, and within the Council a poster committee handled the poster distribution. Members of the committee scouted around for the best spots to place the posters.

While looking for a location, the OWI handbook stated to be mindful of a few aspects like: the number of people that would see the posters in the place being considered; if the place already had government posters; whether the area was practical for posting; getting the owner’s permission; and the size of the poster that could be displayed.

Almost every government building from museums, to post offices and schools, railroad stations, restaurants, stores, and occasionally the sides of buildings would have a propaganda poster hanging for anyone passing by to see.

The OWI wanted a total saturation of governmental messages aimed at the average citizen. The messages contained on the posters supposed that every citizen needed to be a better contributing member of wartime society.

If the image evoked a response then there was a chance that the viewer would support or be mindful of the message.

Admiral Yamamoto shown on this December 22, 1941 issue of Time.

This poster points with pride to the fact that only the Allies had asbestos.

US posters had no compunctions about delving into stereotypes such as buck teeth and bad eyesight on General Tojo.

It’s hard to argue with anything in this poster about Hitler’s brain. X-rays were very new, this was a sophisticated poster.

America knocks out the opposition.

Having Hermann Goering in a rare front-and-center role on this turned out to be somewhat ironic considering his ultimate fate.

This poster creates a sinister mood by suggesting that the enemies might not always stay far away.

American propaganda appealed to the mind as well as the senses.

“Tokio Kid” was a figure in a series of wartime posters. He embodied a number of racial stereotypes.

World War II saw the birth of the female war hero.

(Photo credit: Wikimedia Commons / Library of Congress / Changes in American Propaganda Posters in World War I and World War II by Joshua Andrew Coulson).

Updated on: March 14, 2022

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World War II Propaganda Posters

Created by everyone from Norman Rockwell to the Stetson Hat Company, World War II propaganda posters played a crucial role in motivating Americans.

This article appears in: October 2002

By Eric H. Roth

Military posters played a crucial role in motivating Americans to do their best and make sacrifices—of all kinds—during World War II. The War Department, Red Cross, General Electric, Stetson Hat Company, and dozens of other organizations created thousands of patriotic posters to mobilize public support. Poignant, colorful images on paper were created and distributed to

build support for avenging Pearl Harbor, protecting American families, selling war bonds, conserving fuel, increasing factory production, promoting democratic ideals, growing vegetables, expanding the workforce, and keeping secrets.

The propaganda war, before television and the Internet, looked—and maybe worked—best on posters. Wartime posters, often printed in runs of 10,000, were designed to be used once, understood in 20 seconds, displayed for a few months, and thrown away. The few remaining posters, often created by skilled artists and illustrators, have become historical artifacts. Museums, scholars, collectors, veterans—and, increasingly, baby boomers—are celebrating these wartime images for their sociological, aesthetic, and historical value. World War II posters have become hot commodities and very collectible items.

“The Posters That Won the War,” a cyber exhibition at www. posterny. com by the Chisholm-Larsson Gallery, tells the story and highlights 50 original WWII posters: “The production, recruiting, and War Bond posters of WWII were ‘America’s weapons on the wall.’ Millions of posters of hundreds of unique designs cascaded off the presses and onto the American landscape, raising hopes in the dark days after Pearl Harbor and convincing folks on the homefront that their efforts were the key to victory. Today, the relatively few posters that remain are a colorful, nostalgic, and highly collectible snapshot of America at war.”

Robert Chisholm, the owner of Chisholm-Larsson Gallery in New York City, counts 627 different original WWII posters in his collection of 24,000-plus posters. “Whatever your budget, you can find a WWII poster,” says Chisholm. “Ninety percent are $400 or less.”

The gold standard for collectors’ WWII vintage posters, however, remains the Meehan Military Posters catalog. “The only organization in the world,” according to the company’s literature, “devoted to providing original, vintage posters of the two World Wars and Spanish Civil War to collectors, museums, decorators, and investors.” Meehan Military Posters divides WWII posters into nine distinct categories: pilots/planes, recruitment, conservation, espionage, nurses, foreign aid, war production, morale, and foreign on its searchable Web site.

Each color catalog, published twice a year, contains thumbnail-sized reproductions of hundreds of original military posters from “nearly all combatants in both World Wars.” A concise description gives the background of each poster, noting the artist, year of publication, size, condition, and price. The catalog costs $15, but many collectors and dealers consider it an essential investment. “His prices are very good, very fair,” observes a West Coast competitor, Burt Blum, owner of the Trading Post in Santa Monica and a lifelong dealer in vintage magazines and posters.

Fair should not be confused with cheap. “Today an expensive WWII poster can command as much as $4,000 or $5,000,” declares Meehan. “A German poster designed and drawn by the great German poster artist Ludwig Hohlwein could easily be in that range.” Meehan Catalog #36 features many rare, expensive, and fascinating posters. A pair designed by Melbourne Brindle graces the front and back covers. The first haunting image shows a sinking ship, printed by Stetson Hat Company. It warns: “Loose Talk Can Cost Lives! … Keep it under your STETSON.” The second dramatic poster of a sunken Merchant Marine ship beneath a German U-Boat, with the words “Careless talk did this … Keep it under Your Stetson,” sells for $2,750.

The pricey Stetson poster illuminates a common theme of many World War II posters: the dangers of espionage and careless talk. “Silence—means security. Be careful what you say or write,” by illustrator Jes Wilhelm Schlaikjer in 1945 shows a night-patrol infantryman walking somewhere in the Pacific. Meehan sells it for $325. Other military posters, more available and by less well-known artists, such as the 1943 “This Man May Die If You Talk Too Much,” featuring a handsome sailor looking through a porthole, and the 1944 “We Caught Hell!—someone must have talked” sell for $145 in the poster catalog. These poignant posters place clear responsibility for the safety of sailors and soldiers on the silence of civilians and fellow servicemen.

Almost the entire “Loose lips sink ships” poster series has become quite collectible. An excellent example, according to veteran poster dealer Gail Chisholm (Robert’s sister, neighbor, and friendly rival poster gallery owner), shows a hissing snake surrounded by the words “Less Dangerous Than Careless Talk”—she sells it for $330. The easy-to-use Chisholm Gallery Web site includes a wide selection of World War II posters. “There are also a lot of great and amusing posters against careless talk,” such as “Keep Mum, She’s Not So Dumb,” observes Robert Chisholm.

“Powers of Persuasion: Poster Art of World War II,” a popular exhibit at the National Archives Building in Washington DC from May 1994 to February 1995, emphasized the two psychological approaches used to motivate Americans: pride and fear. “Words are ammunition,” said a Government Information Manual issued by the Office of War Information in the exhibit. “Each word an American utters either helps or hurts the war effort. He must stop rumors. He must challenge the cynic and the appeaser. He must not speak recklessly. He must remember that the enemy is listening.” An online exhibit culled from the museum show features 33 posters, one sound file, and some background historical information.

Across the country at an outdoor flea market in Santa Monica, dealer Garrison Dover has found WWII military posters to be a hot topic. “When I get WWII posters, they tend to move fast,” said Dover, the owner of Pacific Posters International. “Sometimes a guy will ask if we have any WWII posters. You show him two or three, and he buys them all. Somebody who collects WWII posters will buy anything in stock … under the right circumstances.”

Price might be one of those circumstances. “Wartime posters go for $20 to $2,000,” continues Dover, with most posters going for around $200. “Anything selling for more than $2,000 is a one of a kind.” The significant price tag for those two Stetson Hat posters also reflects a general principle in collecting—the more unusual the item, the higher the price. “Most posters were government issues, but there are some from General Electric, General Motors, and other companies,” notes Robert Chisholm. “They are more collectible because they had a smaller circulation.”

“We are currently advertising posters printed in a series for the Kroger Baking Company of Cincinnati, Ohio, which they placed in their grocery store windows during the war,” says Meehan. “They are now selling for several thousand dollars each. Privately printed posters like these had very small print runs compared to government posters.” Yet some dealers consider it a mistake to confuse the initial print run with the number of surviving copies.

“People always want to know how many posters were printed, and you don’t know,” confesses Gail Chisholm. “The number printed has nothing to do with the number surviving. It wasn’t a successful (advertising) campaign if it wasn’t on the street.” Location can also be a factor in the perception of rarity and poster prices. Dover sells original vintage posters at antique malls, flea markets, and vintage poster shows, and only opens his Santa Barbara gallery for private appointments. His web site also leads to some sales.

Sometimes rarity and historical importance are not the most critical factors. Occasionally even relatively rare posters can be bought for under $250—especially if the image is something that few people would want to look at in their home. A somber 1942 poster of a dead sailor in the surf above the words “A Careless Word … A Needless Loss” is listed for $235 in the Meehan Military Posters Catalog #36.

A few posters have become celebrated American icons. James Montgomery Flagg’s 1941 version of Uncle Sam pointing, with the caption “I Want You for the U.S. Army,” consistently sells for well over $1,000. The Meehan Catalog lists the price as $1,500. This classic WWII poster, based on the infamous World War I poster, deliberately evokes the patriotic imagery from the “war to end all wars.”

Most WWII posters, however, look quite different from WWI propaganda posters. “WWI posters were primarily designed by illustrators who volunteered their efforts,” says Sarah Stocking, president of the Independent Vintage Poster Dealers Association and owner of Sarah Stocking Fine Vintage Posters. “They mostly appeal to patriotism.” Stocking specializes in commercial European posters from the 1920s and 1930s.

Gail Chisholm makes a related point. “World War I posters are from a more innocent and naive society,” she says. “Obviously, it’s called the Great War. It was enough to have a pretty woman with a furling flag to convince young men to enlist and risk their lives.”

“Perhaps more importantly,” concludes Stocking, “WWI posters are not brutal.” Stocking carries posters on WWI, WWII, the Spanish Civil War, and propaganda. She “prefers” WWI posters because there is less text.

By contrast, American posters from WWII were often realistic, intense, and evocative of both positive and negative emotions.

“WWII posters were often made about fear and the enemy,” says Stocking. “The world had really changed in 20 years, and had gotten smaller because the government was worried about spying.” Radio broadcasts, airplanes, and increased tourism brought Europe “closer” to the United States. “World War II posters are much more aggressive,” concurs Gail Chisholm. The widely distributed poster showing a bomb, labeled “War Production,” targeted at the Rising Sun and Nazi swastika is an example. “Some also have ugly caricatures of Japanese and Germans—but especially Japanese.” Institutional collectors tend to be the major purchasers of the more controversial and/or foreign posters. American propaganda posters, however, appear politically correct in comparison to the vicious images in Axis propaganda posters. “I have a phenomenal Italian one—even away from the perspective of the war,” says Gail Chisholm. “It has an ugly, leering, black American soldier pulling down a Venus De Milo sculpture.” The harsh image, designed to inflame Italian fears about an American invasion, emphasizes racial hatreds. “Some patrons have gotten very upset by the image,” she says. She considers the disturbing image “a peek into history.” The controversial Italian poster, designed by Gino Boccasile in 1944, brings up another aspect of collecting historical posters. “Taking things out of context changes your perception,” observes Gail Chisholm. “You can have different interpretations. At the time, everybody understood a poster’s context, but now it is less clear.”

A few American posters, among the most sought after by institutional collectors, attempted to build relations between racial groups. A widely distributed poster, “United We Win,” shows steelworkers, a black man and a white man, working together under a giant American flag. “Those posters tend to be quite valuable,” says Gail Chisholm.

Patriotic imagery pervades many WWII posters and draws upon the nation’s rich heritage of patriotic symbols. “Americans Will Always Fight for Freedom,” by George Perlin, shows “America’s well-equipped infantry troops of 1943 passing in review in front of the ragged Continental troops of Valley Forge who also fought for freedom during the bleak and desperate winter of 1777-1778 some 166 years earlier,” explains Meehan. Price? $385. “Perhaps what made the American posters of World War II unique was that they equated patriotism with democracy,” wrote scholar G.H. Gregory, editor and compiler of the book, Posters of World War II. “They rallied the nation’s pride by recalling the marvel of the country’s institutions and its great tradition of freedom and democracy—its flag, its enduring documents, its national monuments, its political heroes, its historic heritage of fighting for liberty.”

The condition of vintage posters, like most collectibles, also affects value. Almost all WWII posters were sent by mail. Says Gail Chisholm, “WWII posters have folds. It goes with the territory. Small irregularities are expected. A missing corner doesn’t really matter, but a hand missing is more problematic.”

What else adds value to a particular WWII image? Beyond rarity, condition, and subject matter, vintage poster experts emphasize the importance of the artist and artwork. The illustrator’s name and reputation certainly affect the price. Artists Norman Rockwell, Ben Shahn, Jes Wilhelm Schlaikjer, James Montgomery Flagg, Arthur Szyk, and N.C. Wyeth all contributed their skills, creativity, and intelligence to the war effort. Their wartime propaganda efforts are now collectible items. Some popular artists’ works continue to dominate sales. Rockwell remains the most famous American artist to create wartime posters. The great Saturday Evening Post illustrator’s “Four Freedoms” paintings, inspired by President Franklin D. Roosevelt’s 1941 State of the Union address, were made into immensely popular posters during the war to sell war bonds and inspire patriotism. The most valuable poster, Rockwell’s 1943 “Freedom from Want,” showing three generations of a family eating a Thanksgiving meal, sells for $400 to $750. The other posters in the freedom series, “Freedom of Speech,” “Freedom of Worship,” and “Freedom from Fear” are slightly less expensive.

Schlaikjer, a Danish-born illustrator, developed a reputation for effective, inspiring posters. He created powerful recruitment posters for the U.S. War Department that feature heroic, handsome figures in dramatic poses in combat situations. A refugee from Denmark in 1940, Schlaikjer became America’s “official war artist” from 1942 to 1944. His 1942 recruitment posters for the Military Police, the Signal Corps, the Army Air Corps, Women’s Air Corps, and the Corps of Engineers sell for between $500 and $1,250.

Arthur Szyk, a Polish-born immigrant, also has loyal collectors. Szyk drew patriotic posters for U.S. Treasury war bonds, designed wartime postage stamps, and had his posters displayed by the USO at five hundred U.S. Army recreation centers. Szyk’s provocative caricatures, mocking cartoons, and biting satirical illustrations filled the magazine covers of Collier’s, Esquire, and Time. The U.S. Holocaust Museum is hosting an exhibit called “ The Art and Politics of Arthur Szyk “, until October 14, 2002.

Despite the near-universal recognition of his Uncle Sam “I Want You” poster, Flagg never really achieved the celebrity status that would guarantee top dollars. For example, Flagg created a few other World War II images, including a hatless, grim-faced Uncle Sam providing consumer advice: “You Can Lick Runaway Prices” by buying war bonds and paying taxes willingly. This Flagg poster sells for under $200.

The iconic Rosie the Riveter posters, which are practically impossible to buy these days, represent another common theme in WWII: the patriotic duties of women. These posters, sometimes exhorting women to join the workplace, have dramatically increased in value over the past 20 years. These “women do your part” posters have sociological significance that resonates with many contemporary consumers.

The U.S. Army Nurse Corps recruitment posters are equally distinctive, with photographs of wounded soldiers and concise testimonials. The kicker reads in large block letters: MORE NURSES ARE NEEDED—U.S. ARMY NURSE CORPS. “Sometimes people come in and say ‘I want such and such poster. My mom was the model,’” says Gail Chisholm. “‘Or my mom was a WAC.’ That’s always exciting.”

Many WWII posters told civilian Americans to sacrifice in everyday activities—save tin cans, recycle paper, eat leftovers, grow vegetables, drive less to save gasoline and rubber, and even conserve waste fats. “Food conservation posters are also popular,” says Stocking. “The themes are also timeless. ‘Grow Your Vegetables’ can go in anyone’s kitchen.” Conservation posters often made a direct link to the military effort. “Can All You Can—It’s a Real War Job” placed a jar against colorful vegetables. Another poster featured a smiling woman carrying a load of food, proclaiming, “Of Course I Can! I’m as patriotic as can be—and rationing won’t worry me.” “Do with less—so they’ll have enough!” urged another poster featuring a smiling soldier in a helmet sipping coffee.

War bond posters remain probably the most affordable, diverse, and prevalent type on the market today. “It’s much easier to find a war bond poster,” says Robert Chisholm. “Giving money is easier than actually signing up and joining the military,” Stocking adds.

“Recruiting posters printed in America are rarer than war bond ones.” Some collectors, often veterans, focus on one service. Haddon H. Sundblom’s pithy recruitment poster, “Ready—Join U.S. Marines,” showcases a marine officer with movie-star good looks. “Marines have been so gung-ho and enthusiastic,” says Robert Chisholm. “Once a Marine, always a Marine.”

“Marine recruiting posters are certainly the most heavily collected American recruiting posters of all,” says Meehan. “The Marines are an elite, all-volunteer force whose members are typically proud of their service and enjoy reminding themselves and others of it.”

All the dealers emphasize the importance of taking proper care of posters. Some tips include: never do anything to paper that can’t be undone (no permanent adhesion, no Scotch tape, no masking tape, no dry mounting); use archival linen backing with water soluble glue; use acid-free paper; keep them out of the sunlight; and “treat them as an investment.” The relative fragility of paper, ironically, makes posters increasingly collectible. “People are becoming more aware of posters’ rarity and value,” says Robert Chisholm. “But don’t buy a poster as an investment. Buy it for visual, historical, or aesthetic reasons—and usually it will increase in value.” His sibling, Gail, agrees. “Buy because you love it and it appeals to you. It’s a nice bonus if the poster goes up in value.”

“Prices have gone way up,” says Dover. “It used to be that nobody much appreciated WWII posters. Ten, 15, 20 years ago, most people just weren’t interested” unless it was of a national icon (Rosie the Riveter) or by a national icon (Rockwell). These days Dover credits the longing for national unity for the posters’ appreciation. “Do you remember that feeling after 9/11?” he asks. “We all felt we were Americans and in it together. The posters of WWII are a reflection of when America pulled together like never before.”

Eric Roth has written about media, history, and public education for several publications. He currently teaches English at Santa Monica College and UCLA Extension.

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Second World War propaganda posters

During the Second World War, the Ministry of Information produced propaganda posters to influence the British public on the home front. These posters promoted a range of government campaigns to encourage domestic food production, salvage and military recruitment.

'Squander bug' poster discouraging wasteful spending

Catalogue reference: View the record NSC 5/624 in the catalogue

During the Second World War, the British government encouraged people to save their money and invest in the war effort, rather than personal spending. The National Savings Committee produced publicity material to promote the purchase of national savings certificates and to discourage unnecessary spending.

They employed a humorous cartoon character named 'the squander bug', created by artist Phillip Boydell. The character is depicted covered in swastikas, in an attempt to associate wasteful spending with the Nazi enemy. ‘The squander bug’ appeared in many posters, pamphlets and films during wartime.

'Keep mum she's not so dumb!' anti-gossip poster

Catalogue reference: View the record INF 3/229 in the catalogue

This poster, designed by Harold Forster, was produced in 1941 by the Ministry of Information. It was part of a publicity campaign to alert people to the threat of enemy spies and the danger of gossiping and unintentionally passing information to the enemy.

This poster features a woman in evening dress in the centre, gazing directly toward the viewer, surrounded by men in service uniforms. It was designed to warn service personnel against revealing sensitive military information around unknown civilians, particularly in this case attractive women. This poster was one of several using the slogan 'Keep Mum' and it offers an intriguing insight into cultural conceptions of the roles of women during the Second World War.

'Comrades in Arms' exhibition advertising poster

Catalogue reference: View the record EXT 1/48 in the catalogue

From 1941, the USSR was a vital ally to Britain and the Ministry of Information had the task of promoting its war work to the British people. At the same time, the British government were anxious to avoid celebrating its leadership or communist doctrine.

In 1942, the Ministry of Information created an exhibition called Comrades in Arms: Pictures of the Soviets at War. The exhibition displayed Soviet propaganda posters which had been gifted to the Minister of Supply.

This promotional poster for the exhibition shows Winston Churchill and Joseph Stalin united side by side, although with the British prime minister facing away from Stalin's gaze.

Design for salvage appeal poster

Date: 1939–1945

Catalogue reference: View the record INF 3/220 in the catalogue

Britain relied on shipping to supply its raw materials during the Second World War, and supply lines were in constant threat from U-boat attacks. It was therefore vital to conserve raw materials at home and the Ministry of Information worked on publicity campaigns to encourage salvage and recycling.

This drawing is a rough design for a poster, in ink and watercolour, by Cyril Kenneth Bird, known by his pen name Fougasse. It was designed to associate salvaging metal, bones and paper with the production of new guns and tanks for the war effort.

Poster for 'Dig for victory' campaign

Catalogue reference: View the record INF 13/140 in the catalogue

Public health and food production was a key concern for the British government during the Second World War. At the outbreak of war, Britain imported 70% of its food from overseas, relying on shipping routes vulnerable to U-Boat attack. Food rationing was introduced in 1940 and more attention turned to fruit and vegetables, which were never rationed. This poster was part of a publicity campaign, initiated by the Ministry for Agriculture and Fisheries with the Ministry of Information, and designed to encourage domestic food production. The campaign was a great success and by 1943 more than a million tons of fruit and vegetables were being grown in gardens and allotments around the country.

‘Women of Britain, come into the factories' recruitment poster

Catalogue reference: View the record INF 3/403 in the catalogue

This 1941 poster declaring ‘Women of Britain come into the factories’ was designed by artist and cartoonist Philip Zec. It was part of a recruitment campaign to encourage women to contribute to the war effort by working in factories making munitions and other vital supplies. The design exhibits stylistic elements drawn from Soviet poster art.

‘Make-do and mend’ campaign poster featuring Mrs Sew-and-Sew

Catalogue reference: View the record INF 13/144 in the catalogue

In June 1941, clothes rationing was introduced in Britain. The Board of Trade initiated a campaign to assist the public with this new restriction, under the slogan ‘Make-do and mend’. The campaign encompassed pamphlets, posters, exhibitions and events, showing people how to make and mend their clothes while being efficient with materials and fashionable at the same time.

A new character was created, Mrs Sew-and-sew, to help promote the campaign. This poster features the character prominently and the blank space at the bottom was intended to allow organisers to display information about local events.

‘Let us go forward together' poster depicting Winston Churchill

Catalogue reference: View the record INF 13/213 in the catalogue

This poster was produced by the Ministry of Information to strengthen morale and promote unity after Winston Churchill became Prime Minister in May 1940. It superimposes a photograph of Churchill over images of planes and tanks with a quotation from his inaugural speech, where he spoke of ‘Blood, toil, tears and sweat’.

'Back them up!' campaign poster

Catalogue reference: View the record INF 13/123 in the catalogue

This poster is one of a series using the slogan 'Back them up!' alongside artwork depicting the British armed forced engaged in fighting. The posters were produced by the Ministry of Information to catch the eye and encourage commitment to war production on the part of civilians on the home front. The illustration in this example is captioned 'R.A.F. day raiders over Berlin's official quarter'.

Poster depicting 'V' for victory in allied flags

Date: 1942–1945

This poster was produced by the Ministry of Information to communicate how important Britain's allies were on the path to victory in the Second World War. It depicts a 'V' for victory, in the form of allied flags. The countries represented are the UK, the USA, France, Belgium, the Netherlands, Norway, Luxembourg, Brazil, Yugoslavia, Greece, Czechoslovakia, Poland, China and the USSR.

30 iconic posters from World War II

Propaganda can be a powerful weapon, capable of arousing passions, unifying communities, stirring up fear, or changing minds in ways no bullet or bomb can do. During World War II, Allied and Axis forces used propaganda posters to spread their messages around the world.

Stacker searched Getty Archives to find 30 iconic posters from World War II that highlight their power and enduring style. The posters hail from the United States, Great Britain, the Soviet Union, Germany, Japan, Italy, and Vichy France. Some of the posters fueled patriotism, faith in the nation, and a belief in the righteousness of the war effort to protect national values and virtues.

Many American posters aimed to boost morale and deliver a message of shared sacrifice. Duty meant scraping together money to invest in a United States war bond or digging a victory garden to feed the family. Every citizen had a job to do.

War could be glorified, with posters showing might and muscle as well as confidence and courage. Soldiers were handsome and fearless, guns were sturdy, and legions of airplanes overhead were formidable. But many were dark reminders of battlefield losses, sinister images of a lurking enemy, or the perils of careless talk or a slit of light breaching a blackout. Some reached out to particular audiences such as women, encouraging them to step out and test out new roles. Those invitations to change would mark the dawn of modern feminism. More than a few had messages that are familiar and popular today, whether they are calls to conserve fuel, travel lightly, or grow food locally on rooftops and in empty lots.

Propaganda posters from all sides were an extraordinary art form that used basic colors and simple words to reach the broadest audiences.

The icons survive. Uncle Sam and Rosie the Riveter are still familiar figures today. The works remain stirring and powerful, even as we may hope the brutality and cruelty of such a war remain a thing of the past.

'Buy More War Bonds and Stamps'

In this poster, circa 1942, a powerful fist punches through the image of a swastika, urging Americans to "buy more war bonds and stamps." The United States issued war bonds and stamps to help finance the war effort.

'We're Building Things Up!'

This 1932 election poster for Germany's Nazi Party declares,  "We're building things up!"  On it, a muscular man poses against a set of stone blocks etched with the words "work," "freedom," and "bread." He looks down upon two older, weaker rivals offering unemployment, corruption, lies, and more .

'I Want You'

One of the most lasting and iconic symbols of U.S. patriotism is Uncle Sam, clad in red, white, and blue with piercing eyes and a pointing finger in this recruitment poster. James Montgomery Flagg, a magazine illustrator, used himself as the model . First produced in World War I, the poster was adapted for use in World War II.

'Keep Calm and Carry On'

The slogan "Keep Calm and Carry On" was printed on posters by the British government to be distributed in the event of a German invasion. As that did not happen, the poster was never officially used in public, and following the war, copies were believed to have been destroyed in the National Salvage Campaign recycling effort. Decades later, a handful of the posters were found. Today, the saying is the basis of popular memes, from humorous to political.

'Come into the Factories'

The "Come into the Factories" poster encouraged women in Britain to fill critical jobs such as manufacturing as the men went off to fight. Efforts to draw women into the war effort were often aimed at those who had never worked outside the home.

'Adolf Hitler ist der Sieg!'

This German poster of the Nazi leader posed behind a chair declares, "Adolf Hitler is victory." The portrait was created by German artist Rudolf Gerhard Zill .

Japanese Air Force poster

Japanese war propaganda posters sought to glorify the nation's military might. This poster of the Imperial Air Force shows a number of airplanes flying over a globe decorated with Japan's historic sun symbols.

'Avenge Pearl Harbor'

This dramatic call to arms asks Americans to take action following the Japanese attack on the U.S. Navy on Dec. 7, 1941. With Uncle Sam raising his fist at warplanes overhead, the appeal marked a key moment in the war when Americans became motivated to spurn isolationism and join the cause.

'Defend Your Country'

Uncle Sam is rolling up his sleeves, flexing his muscles, and clenching his fist in this U.S. Army " Defend Your Country " recruitment poster. Simple and bright, it presents a sense of confidence and strength.

'We Can Do It!'

Rosie the Riveter, declaring "We can do it!" in this poster, is one of the most recognizable U.S. icons to emerge from World War II. Yet the poster was only displayed for two weeks in Westinghouse factories . It wasn't until decades later when modern-day feminists  adopted the image that it enjoyed widespread popularity, showing that women could perform jobs traditionally held by men.

'Is YOUR Trip Necessary?'

The "Is YOUR Trip Necessary?" poster of the bright-eyed, eager faces of troops gathered in front of a train was used by the U.S. government's Office of Defense Transportation to remind civilians that the railroad was needed in the war effort. By 1943, the government restricted leisure use of automobiles and busses to conserve fuel and rubber, leaving just trains for traveling long distances. Commercial artist Montgomery Melbourne , who made the image, is credited with designing advertising images for Kool cigarettes, Morton Salt, and Wrigley's Spearmint Gum.

'Keep Us Flying!'

"Keep Us Flying! Buy War Bonds" by an unidentified artist portrays Lt. Robert W. Diez , a Tuskegee Airman. Black men who registered for the draft served in segregated units like the Tuskegee Airmen of the U.S. Army Air Corps . The unit was highly decorated for bravery and distinguished service.

'This is Nazi Brutality'

The U.S. poster "This is Nazi brutality," showing a hooded prisoner in chains, tells the story of the Czech village of Lidice , where all the men were shot and the women and children sent to camps in retaliation for the assassination of SS officer Reinhard Heydrich. Initial German intelligence indicated the villagers had helped the resistance, but eventually, there was no evidence they were involved. The poster was created by Lithuanian-born American artist Ben Shahn , known for his portrayals of social and political topics.

'Blackout!'

This German poster reads, "Der Feind sieht dein Licht—Verdunkeln!" or "The enemy sees your light—blackout!" The dark and threatening imagery shows a skeleton flinging a bomb from an airplane, with lit windows in a building below. Allied forces bombed Germany from 1941 to 1945 , and German citizens were asked to cover their windows at night to make targets difficult for bombers to find. The poster was designed by German propaganda artist Otto Sander-Herweg.

'Meeting over Berlin'

Celebrating the alliance of the Soviet Union and Great Britain, pilots from each nation shake hands from their cockpits as they drop bombs over Berlin in this "Meeting over Berlin" propaganda poster that declares, "This handshake will not be healthy for the Germans."

The poster was created by Kukryniksy , the name used by three artists—Porfirii Nikitich Krylov, Mikhail Vasil'evich Kupriianov, and Nikolai Aleksandrovich Sokolov—who collaborated for many years on cartoons, book illustrations, and poster designs. Their work was widely published and honored by the Soviet government.

'UNITED we are strong'

Glorifying the power of Allied forces, flags from each of the Allied nations are wrapped around the powerful cannons in the poster expressing, "United we are strong. United we will win." Artist Henry Koerner fled Nazi persecution of the Jews and immigrated to the United States from Vienna in 1938. He returned to Europe as a U.S. soldier and learned that his family had been deported and died.

'Become a Nurse'

The "Become a Nurse" poster was produced by the U.S. Public Health Service to encourage women to become military nurses. The nation had a shortage of nurses during the war, and in 1943, Congress established the Cadet Nurse Corps . Almost 120,000 women trained with the Corps and served in military hospitals and other facilities.

'They Give Blood'

This German and Vichy French propaganda poster urged citizens to join the Service du Travail Obli­ga­toire (STO) or Compulsory Work Service. It depicts lines of workers filing into factories under the image of a helmeted soldier and the words: "They give blood, give your work to save Europe from Bolshevism."  The STO required workers in collaborationist France to provide two years of service, and they were put to work in Germany, France, Austria, Poland, and Czechoslovakia.

'Doing all you can, brother?'

A handsome blonde, blue-eyed soldier, his head wrapped in a bloody bandage, asks, "Doing all you can, brother?" in this U.S. government poster advertising war bonds. During World War II, Americans bought more than $185 billion worth of war bonds that came in denominations as small as $25, were sold at a discount, and matured in 10 years. Commercial illustrator Robert Sloan was commissioned by the government to create the poster and given a Citation for Distinguished Service for the work.

'Of Course I Can!'

A bright-eyed young woman in a kitchen apron clutches jars of preserves and vegetables as she declares, "Of course I can. I'm as patriotic as can be—and ration points won't worry me!" Her cheerful face was part of the government's War Food Administration campaign that encouraged Americans to can food to cope with shortages and rationing. Artist  Dick Williams was a commercial illustrator whose work appeared in newspaper and magazine advertising.

'Don't Let That Shadow Touch Them'

The ominous shadow of a Nazi swastika darkens this poster of three children playing with a doll, a toy airplane, and a makeshift American flag. The depiction of their innocence was used in the exhortation to help fund the war effort by purchasing war bonds, with the message: "Don't let that shadow touch them." Creator Lawrence Beall Smith served as a combat artist who traveled on U.S. military aircraft carriers in the Mediterranean and witnessed the D-Day landings in Normandy, France, in 1944.

'Ecco i Liberatori!'

In this Italian poster, America's Statue of Liberty, with the face of a grinning skull, presides over destroyed buildings in flames. The phrase "Ecco i Liberatori!" or "Here are the liberators!" was a comment on the barbarity of U.S. forces by the Italian government.

'Waffen-SS'

This German recruitment poster portrays a helmeted soldier in profile, staring into the distance, with the words "Waffen-SS" and "Eintritt Nach Vollendetem 17 Lebensjahr," meaning recruits must be at least 17 years old. The Waffen-SS  was the military arm of the feared SS elite security force in Nazi Germany and included Adolf Hitler's bodyguards and battalions that ran concentration camps.

'Buy War Bonds'

Looking more like a watercolor painting than propaganda, the "Buy War Bonds" poster shows a flag-bearing Uncle Sam in the clouds, directing troops brandishing bayonets. The godly image conveys a sense of the divine virtue of the Allied effort against Axis forces.

'She's a WOW'

American illustrator Adolph Treidler created several posters during World War II celebrating Women Ordnance Workers or WOWs, who made military materials such as weapons and munitions. The motivational poster shows a beautiful woman tackling a traditionally male job with the line, "She's a WOW."

'When You Ride Alone, You Ride with Hitler!'

The "When You Ride Alone, You Ride with Hitler!" poster calls upon Americans to carpool and conserve fuel for military use. It was created by American artist Weimer Pursell , who designed well-known advertising for Coca-Cola, American Airlines, Winchester Rifles, and the 1933 Chicago World's Fair.

'He's Watching You'

The menacing eyes of a helmeted enemy soldier dominate this U.S. government poster that reads, "He's watching you,"  cautioning Americans that spies could lurk anywhere. A survey of the public by the government's Office of Facts and Figures in 1942 determined many viewers misinterpreted the poster, with some mistaking the German helmet for the Liberty Bell. The Office of War Information was created later that year to oversee poster production and control messaging.

'Food Is a Weapon'

The U.S. Office of War Information's  "Food is a Weapon"  poster was part of a campaign to trim food waste amid shortages and rationing. The admonition to "eat it all" also reminded Americans of the need to stay healthy and strong as the war raged.

'Plant a Victory Garden'

"Plant a Victory Garden" shows a soldier and a gardener chatting over a white picket fence with the words "I see we're fighting the war together." Americans grew their own vegetables and fruits in victory gardens as commercial crops and transportation were taken up by the war effort, and food rationing was imposed. The victory garden campaign was employed to remind Americans they could pitch in and show patriotism in their own yard. Former First Lady Eleanor Roosevelt planted a victory garden of her own on the lawn of the White House.

'Freedom Shall Prevail!'

The "Freedom Shall Prevail!" poster shows uniformed soldiers from Allied countries, their flags forming a "V" for victory. The poster reminds viewers of the far-flung members of the Allied front, such as New Zealand, Southern Rhodesia, and South Africa. It was a creation of William Little , an artist commissioned by Great Britain's Ministry of Information during World War II.

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Educator Resources

Powers of Persuasion - Poster Art of World War II

Guns, tanks, and bombs were the principal weapons of World War II, but there were other, more subtle, forms of warfare as well. Words, posters, and films waged a constant battle for the hearts and minds of the American citizenry just as surely as military weapons engaged the enemy. Persuading the American public became a wartime industry, almost as important as the manufacturing of bullets and planes. The Government launched an aggressive propaganda campaign to galvanize public support, and some of the nation's foremost intellectuals, artists, and film makers became warriors on that front.

Time required:

One to two class periods

To analyze poster art of World War II.

The Documents

Posters from the Powers of Persuasion exhibit in the Online Exhibit Hall

See the Rare Propaganda Posters of World War II

T hough some wartime propaganda art has since become iconic, plenty of posters from the World War II era are rare, with few original examples having survived through the decades.

World War II Posters , a new book, brings to light some of those artifacts. The book features highlights from the more than 10,000 posters collected over the past 20 years by Delaware-based vintage poster dealer David Pollack, who started collecting these kinds of posters for fun to decorate his apartment while working as a photographer for various news outlets like TIME. (He covered student uprisings in South Korea for the magazine in the ’80s, among other topics.)

The above gallery features some of the rarest World War II posters out there, such as the one featuring Doris “Dorie” Miller. The Navy man, on the morning of the Pearl Harbor attacks of Dec. 7, 1941 , helped carry his mortally wounded captain to safety, then aimed his machine gun at Japanese planes, blasting away until he ran out of ammunition. (He was played by Cuba Gooding Jr. in the 2001 feature film about the attacks on Pearl Harbor.) Another poster highlights the competition between the Army and Navy. Before the National Security Act of 1947 created the Air Force, the two branches competed for the best pilots for their respective air divisions.

And, more than 70 years after the end of the war, propaganda posters like these are more relevant than ever, Pollack argues: “Look at the Women’s March. What did you see? Posters! They’re always the most important of all of those marches. People still relate in a visceral sense to paper-printed posters.”

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• Series 1: Office of War Information Posters, 1942-1943
• Series 2: United States War Bonds & Stamps, 1942-1945
• Series 3: War Production, 1941-1944
• Series 4: Civilian Experience, 1941-1945
• Series 5: U.S. Military, 1941-1944
• Series 6: Foreign Propaganda, 1942-1944
• Series 7: War Maps, 1942-1945

World War II Poster Collection, 1941-1945

World War II, the largest-scale conflict in human history, was fought between the Axis Powers (Germany, Japan, and Italy) and the Allied Forces (the British Commonwealth, France, the Soviet Union, the United States, and others) between 1939 and 1945. World War II began in September 1939 with Nazi Germany's invasion of Poland and escalated as European powers joined the conflict. On December 7, 1941, Japan launched an attack on the U.S. fleet at Pearl Harbor, Hawaii. In response, the United States declared war on the Axis powers and began campaigns in Europe and the Pacific. Shortly thereafter, the United States, Britain, the Soviet Union, China, and their allies signed the Atlantic Charter, uniting together against the Axis. Between 1942 and 1945, the fighting expanded to encompass much of Europe, Asia, the Middle East, and Africa. Italy surrendered in 1943, Germany in May 1945, and Japan in August 1945. More than 60 million people died in World War II, including upwards of 40 million civilians as a result of the Nazi campaign against ethnic Jews and other targeted groups, military attacks on civilian populations in Europe, the United States' use of nuclear weapons against Japan, and war-related famine and disease.

America's involvement in World War II required immediate growth of the United States' armed forces, the conversion of peacetime industrial manufacturing to military needs, and the expansion of domestic agriculture to supply the United States' allies with food. Through a series of radio, film, and print media campaigns, the U.S. government asked young men to enlist in unprecedented numbers, encouraged women to join the workforce, and called upon citizens to enact wartime austerity measures, participate in war-related charitable work, and ultimately contribute nearly $200 billion to the war effort via goverment-issued bonds.

Container List

10 Unforgettable WW2 Propaganda Posters with Explanation

During American involvement in World War II from 1941–45, the government used propaganda to increase loyalty to war efforts and commitment to victory. Through a diverse set of posters, propagandists encouraged hatred toward the enemy and support for America’s allies. Some images illustrated over-the-top caricatures against ethnic groups associated with the enemy. These bred distrust and racism against foreigners and fellow Americans alike. Others inspired the civilian U.S. population to contribute to the war through rationing, farming, and joining the work force.

In this blog post, we feature some timeless WW2 propaganda posters with explanation for each. These posters each played a unique role in driving nationwide war efforts and mobilizing an entire country into action. 

1. Dig On for Victory

A rural backdrop with a farmer proudly carrying out his harvest from the fields. In an effort to decrease reliance on imports and instead boost domestically grown crops, the government encouraged families to grow “Victory Gardens”. Any free plot of land was used to plant vegetables and other crops, even in the concrete jungle of New York City. The poster pictured was released in Britain, but was just one of many variations used in the campaign across the United States, Canada, Australia, and Germany.

2. They Do It…So Can We

3. We Can Do It!

4. Do With Less- So They’ll Have Enough!

During the last three years of the war, common household goods like sugar, shoes, dairy, meats, and gas became scarce. Americas were given ration stamps for these kinds of items to limit how much they could consume. This also ensured that enough resources were left to maintain troops abroad, which became a priority. In the final period of the war, the government severely limited rubber and leather shoes. Even rapidly growing children had to make due.

5. Keep ‘Em Firing

6. Loose Talk Can Cost Lives

7. I’d Join the Navy

8. I Want YOU For U.S. Army

9. Of Course I Can

10. Avenge Pearl Harbor

After the Japanese attack on Pearl Harbor, this poster brought up a feeling of revenge in Americans. The solution for vengeance? Bullets. With smoke billowing up to the Japanese bombers above, Uncle Sam is shown in the foreground wearing a patriotic shirt. His body language clearly shows his desire for revenge and encourages Americans to engage in war on the Pacific front.

• World War II History

The most comprehensive and authoritative history site on the Internet.

During the War Years, Posters From the American Homefront Told You What to Do — And What Not to Do

“The First World War saw the first widespread use of propaganda to stir patriotic fervour,” note Gill Saunders and Margaret Timmers in The Poster: A Visual History . “The need to raise vast sums of money from the public purse to fund the war spawned numerous posters advertising war bonds and loans; countries on both sides of the conflict employed some of their best poster artists for this purpose.”

If it had worked in one world war, why not try it in another? In his two-volume Propaganda: The Art of Persuasion: World War II , Anthony Rhodes notes the “barrage of posters” produced by government agencies like the United States Office of War Information as well as private companies during the war. And, observe Saunders and Timmers, “Both the British and the American governments strove to cement the idea of their national characteristics as unwaveringly plucky, with humour more likely to be employed than fearmongering.”

If you had any doubt about what you should be doing—or not doing—as an American to help the war effort, there was probably a poster that could point you in the right direction. Should you buy war bonds? (The answer was emphatically yes.) How about driving to work by yourself? (No! “When you ride ALONE you ride with Hitler!”) If you were a farmer, what should you produce? (Corn! Sugar beets! Milk!) Was it okay to chat about your work with that affable stranger at the bar? (Absolutely not! “Loose talk can cost lives.”) Colorfully eye-catching, the posters exhorted Americans to work harder, produce more war materiel, save gasoline and scrap metal, support their soldiers and sailors, and stop complaining about shortages. In one poster titled “Of course I can,” a young woman clutches her home-jarred food and says, “I’m patriotic as can be—And ration points won’t worry me!” (One thing that did not appear to be in short supply during the war was exclamation points.)

Perhaps the poster that best distilled all the exhortations into one single message showed a bloodied soldier pointing at a battle going on behind him and exclaiming, “More! More of everything—quick!” 

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History Resources

World War II: Posters and Propaganda

By tim bailey, unit objective.

This unit is part of Gilder Lehrman’s series of Common Core State Standards–based teaching resources. These units were written to enable students to understand, summarize, and analyze original texts of historical significance. The lessons are built around the use of textual and visual evidence and critical thinking skills.

Over the course of three lessons the students will analyze a secondary source document and primary source documents in the form of propaganda posters produced to support the United States war effort during World War II. These period posters represent the desire of the government to gain support for the war by shaping public opinion. Students will closely analyze both the primary source artwork and the secondary source essay with the purpose of not only understanding the literal meaning but also inferring the more subtle messages. Students will use textual and visual evidence to draw their conclusions and present arguments as directed in each lesson.

In this lesson the students will carefully analyze an essay that discusses both the purpose and the impact of World War II posters on the American war effort on the home front. This essay will give the students background knowledge that will make close analysis of the actual posters more effective over the next two lessons. A graphic organizer will be used to help facilitate and demonstrate their understanding of the essay.

Introduction

With the attack by Japan on Pearl Harbor on December 7, 1941, the United States found itself suddenly involved in a war that was raging across nearly every continent of the globe. As the American military ramped up its war effort, support from the American public became crucial. The need for more soldiers, more factory production, more government funds, and less consumption by civilians of crucial war resources led to a public propaganda campaign. In an age before the widespread use of television the two best ways to reach the public were radio broadcasts and print. President Roosevelt was a pioneer in using the radio to sway public opinion, and soon colorful posters promoting the requirements of the war effort began appearing all over the United States.

• "Every Citizen a Soldier: World War II Posters on the American Home Front," by William L. Bird Jr. and Harry Rubenstein (abridged from The Gilder Lehrman Institute of American History website; complete essay is here )
• Graphic Organizer: Every Citizen a Soldier: World War II Posters on the American Home Front

At the teacher’s discretion you may choose to have the students do the lesson individually, as partners, or in small groups of no more than three or four students.

• Hand out "Every Citizen a Soldier: World War II Posters on the American Home Front," by William L. Bird Jr. and Harry Rubenstein.
• "Share read" the essay with the students. This is done by having the students follow along silently while the teacher begins reading aloud. The teacher models prosody, inflection, and punctuation. The teacher then asks the class to join in with the reading after a few sentences while the teacher continues to read along with the students, still serving as the model for the class. This technique will support struggling readers as well as English language learners (ELL).
• Hand out Graphic Organizer Lesson 1: Every Citizen a Soldier: World War II Posters on the American Home Front.
• Using the graphic organizer, the students analyze the secondary source document. This can be done as a whole-class activity with discussion, in small groups, with partners, or individually.
• Discuss different interpretations developed by the students or student groups.

In this lesson the students will carefully analyze ten primary source posters from World War II. These posters come from a variety of sources but all of them reflect the themes developed by the United States government and the Office of War Information (OWI). These themes were introduced in the essay used in lesson one. The students will determine which of the six themes recommended by the OWI the poster best represents. They will use the visual evidence as well as the textual evidence to analyze the theme presented in the poster. A poster analysis sheet will be used to demonstrate their understanding.

The development of posters to promote American patriotism during World War II is an example of propaganda. Propaganda is a form of communication that usually bypasses the intellect and motivates a target group by appealing to their emotions. The posters developed for the home front during World War II were designed to motivate American citizens and develop a sense of patriotism that would turn the United States into an unstoppable war machine. These posters called on all Americans to be part of the war effort, not just by carrying a gun into battle, but in many other important ways. Government programs such as metal and rubber drives may not have meant the difference between winning or losing the war, but the camaraderie and sense of unity generated by such drives was very important to the war effort.

• World War II Posters #1–#10
• Analyzing the Poster  (each student or group will need five copies)
• Hand out World War II Posters #1–#2 and Analyzing the Poster
• The students answer the questions on the Analyzing the Poster handouts for each poster. For the first two posters this will be done as a whole-class activity with discussion. After analyzing the first two posters with the class, hand out posters #3–#10. These posters will be analyzed by the students in small groups, with a partner, or individually.
• Discuss different interpretations developed by the students or student groups. Discuss the information in the introduction.

In this lesson the students will carefully analyze ten primary source posters from World War II. The students will determine which of the six themes recommended by the Office of War Information the poster best represents. The students will use the visual evidence, as well as the textual evidence, in order to analyze the theme presented in each poster. A poster analysis sheet will be used to demonstrate their understanding. In addition, the students will synthesize, analyze, and present an argument about what they have learned in a short essay.

In 1942 President Franklin Roosevelt created the Office of War Information to distribute and control pro-American propaganda during World War II. To accomplish this goal the Office of War Information recruited Hollywood movie studios, radio stations, and the print media. In a general sense, the goal of this effort was to promote hatred for the enemy, support for America’s allies, and a greater support for the war by the American public through increased production, victory gardens, scrap drives, and the buying of US War Bonds. Of all the propaganda produced during the war, the posters had the widest national reach, with more than 200,000 different types produced during the war.

• World War II Posters #11–#20
• World War II Posters and Propaganda Essay Form

At the teacher’s discretion you may choose to have the students do the lesson individually, as partners, or in small groups of no more than three or four students.  

• Hand out World War II Posters #11–#20 and Analyzing the Poster.
• The students analyze the posters and answer the questions on the worksheet.
• Discuss different interpretations developed by the students or student groups and the information in the introduction.
• Hand out the essay form. Students will answer the prompt in a short argumentative essay that uses what they have learned from their analysis of the posters. This assignment should be done individually.

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The propaganda posters that won the u.s. home front.

Albinko Hasic is a PhD student at Syracuse University, whose research concerns propaganda.

In 1917, James Montgomery Flagg created his iconic Uncle Sam  poster  encouraging American men to join the war cause with the clear message, “I want you for the U.S. Army!” as the U.S. ramped up preparations to enter World War I. Even though this was not the first instance of propaganda posters being employed on behalf of a war cause, the visual medium proved to be effective in the military’s recruitment drives and posters were routinely used to boost morale, encourage camaraderie, and raise  esprit de corps .  Posters were cheap, easily distributed, and fomented a sense of patriotism and duty. In World War II, the U.S. turned to artists once again in an attempt to influence the public on the home front. Today, these posters offer a glimpse into American society and the efforts to mold public opinion in the country. 

Rolled out on a massive scale in World War I, the popularity of posters as propaganda only further increased in World War II. With the surprise attack on Pearl Harbor in 1941, the U.S. began mobilizing once again but not just militarily. The U.S. government leveraged hundreds of artists across the country to deliver important messages through visual means. This included some relatively famous artists such as the creator of  Aquaman , Paul Norris, whose sketches were noticed by his superiors during his time in the military.  The artists’ designs were not just focused on the rank and file of the military either. The Office of War Information (OWI) believed that the ‘home front,’ was just as sensitive to enemy misinformation, and went to work creating a series of posters specifically focused on the population back home as the engine of the war effort in Europe and the Pacific. 

The designs and posters had a wide range in terms of messaging and design. Even though there was quite a number of posters in the U.S. with xenophobic or down right racist messaging and visuals, the majority centered around themes of tradition, patriotism, duty, and honor.  This was further expanded on the home front with themes such as conservation, production, work ethic, buying war bonds, tending to “victory gardens,” encouraging women in the labor force, and cementing a common enemy in the eyes of the American public.  

A Common Enemy Emerges

Several U.S. propaganda posters employed a tactic known as demonization.  This involved portraying the enemy as  barbarian , aggressive, conniving, or simply evil. Demonization included derogatory name calling including terms such as “Japs,” “Huns,” and “Nips,” among others. Several posters in the U.S tapped into demonization by showcasing the Japanese with overly exaggerated features and by recycling racist and xenophobic personifications.

This was often paired with messaging such as one anti-Japanese poster which portrayed Emperor Hirohito rubbing his hands saying, “Go ahead, please take day off!.” The tactic was clear, motivate the working population at home to avoid sick days through fear of the inhuman enemy who is planning an attack on the homeland at any moment. 

Fear was a popular theme employed by artists, even with differing messages. In one poster, a giant Nazi boot is depicted crushing a small church with the language, “We’re fighting to prevent this.” Often, fear was utilized as a way to encourage the purchase of war bonds. Numerous posters portray children wearing gas masks or under the shadow of giant swastikas with clear messaging, “Buy war bonds to prevent this possible future.”  

Conservation and Production 

Some posters employed  comedy  as a way to break through, while at the same time tapping into the overarching fear of the enemy.  For example, one poster, seemingly in an attempt to encourage carpooling, depicts an outline of Adolf Hitler riding shotgun with a commuter with the messaging, “When you ride alone, you ride with Hitler.” Others encouraged high production outputs by likening slacking off with aiding and abetting America’s foreign enemies. At the same time, others were more positivist in nature such as the famous Rosie the Riveter “We can do it!,” poster,  encouraging women  in the workforce. 

Interestingly, many posters encouraged conservation and “victory gardens.” In an attempt to counterbalance rationing, the Department of Agriculture encouraged personal home gardens and small farms as a way to raise the production of fresh vegetables during the course of the war.  Some scholars, such as Stuart Kallen believe that victory gardens contributed up to a third of all domestic vegetable production in the country during the course of the war.  Posters espoused popular sentiments such as “our food is fighting,” “food is ammunition,” and “dig for victory.”  Coinciding with this, posters also espoused the benefits of canning with messages such as, “of course I CAN,” and “can all you can.”  

Loose Lips Sink Ships

Perhaps one of the most fascinating themes which were propagated on the home front is misinformation and “loose talk.” Some scholars have speculated that this theme emerged out of fear of domestic spies and foreign intelligence operations within the U.S. Others, however, maintain that the U.S. intelligence services had shut down any foreign intelligence networks even prior to America’s involvement in WWII. Their claim is that these types of messages merely aimed to dispel rumors and prevent a loss of morale at home and abroad. Whatever the case may be, the government asked illustrators to discourage the population at home from casual chatter about troop deployment, movement, and any other sensitive information which could be “picked up,” by enemy receptors or propagated on a large scale. The phrase, “ loose lips sink ships ,” emerged thanks in part to the work of Seymour Goff.  Goff’s poster depicts a U.S. boat on fire, sinking with the words, “Loose lips might sink ships.”  Similar messaging was also prevalent in Great Britain and Germany as well. 

Just as World War II was fought with bullets, boats, tanks and planes, the war at home was fought with information stemming from sources such as movies, radio, leaflets, and posters. Artists suddenly became soldiers on the front to win the hearts and minds of the American public.  Propaganda posters offer us an interesting insight into the objectives of the U.S. government and the war time aims of the mission to create consensus at home.

Screen Rant

10 helldivers 2 propaganda artworks that make you want to spread democracy.

Helldivers, get ready to salute the glorious flag of Super Earth and enjoy this selection of democracy-approved propaganda pieces and artwork.

• Helldivers 2 overt patriotism for Super Earth results in heavy-handed propaganda in-game, fueling fan participation in the propaganda machine.
• Memorable art pieces like " We Want YOU for Democracy " and " Make it Rain " inspire fans to enlist as Helldivers for fun.
• Many Helldivers 2 fan art propaganda pieces draw inspiration from real, historical propaganda pieces.

Propaganda art has existed in some form since the beginning of civilization, and this is no different from Helldivers 2 . From the Rosetta Stone which, when translated, talks about how amazing Pharaoh Ptolemy V was, to the iconic Uncle Sam pointing and saying, " I want you for the U.S. Army ." It makes sense that Helldivers 2 , a game heavily inspired by the propaganda satire movie Starship Troopers , would follow in these footsteps with their art design.

The game utilizes propaganda heavily, from the intro cutscene prompting the player to join the Helldivers to the developers blaming " bug sympathizers " for sightings of flying bugs , deeming it rumors from dissidents. Between official and fan art, the Helldivers 2 propaganda machine keeps pumping, and the line to sign up to be a Helldiver keeps growing longer and longer.

10 Malevelon Creek Veteran Patch

A patch for the graveyard of hellldivers.

An artist by the handle Marpaparp on X (formerly Twitter) showed a sample picture of a Malevelon Creek veteran patch. In the early weeks of Helldivers 2, Malevelon Creek was coined by the community as " Robot Vietnam " because players deployed there only to meet their grim Automaton fate in the darkened forests of the planet. This patch pays homage to the thousands of Helldivers fighting for democracy on the vicious jungle planet.

The patch itself is modeled after the United States military ribbon veteran patches. Where these ribbons would normally commemorate a skill mastered or a tour of duty, this patch uses those same motifs and gives them a Helldivers spin. For instance, the top three ribbons point out a Helldiver’s service history . The patch shows the Helldiver service ribbon, the major order ribbon, and the Terminid conflict ribbon from the left to the right. According to marpaparp on their website, the Malevelon Creek veterans were diverted from the Terminid front. The bottom ribbons show Helldiver proficiency in their ordinances.

There's One Good But Simple Solution To Helldivers 2 Automaton Problem

9 stamp out the bot, defeating the automatons one poster at a time.

User APixilatedFoe on X created a Helldivers poster that particularly pointed at the Automaton threat so many fought against on Malevelon Creek. This poster claims, " Stamp Out The Bot. Support Real Helldivers. Accept No Substitutes. " The Automatons that are fought in the name of Democracy in Helldivers 2 originate from the Cyborg faction of the first Helldivers game . These were once human but tossed their humanity to the side for mechanical upgrades to commit acts of terrorism against Super Earth. According to this poster, Helldivers need to look out for those who are true humans and not human substitutes.

This Helldivers 2 fan art is inspired by a common propaganda poster trope, in which a large boot stamps out the opponent of the relevant war. For instance, the American propaganda poster above comes from World War I, urging civilians to purchase government bonds to " Help Uncle Sam stamp out the Kaiser ." The iconography was also frequently used inversely, such as depicting Nazi boots threatening Great Britain from across the English Channel, or crushing a church steeple, positioning the Axis as a threat to the American way of life.

8 We Want YOU For Democracy

A clever twist on a classic american poster.

This propaganda piece by PocketPurrer on Reddit evokes one of the most popular pieces of American propaganda from WWII. The Helldiver points at the viewer, demanding their support for the democracy of Super Earth. Rather than saying " nearest recruiting station " at the bottom like the original Uncle Sam poster, this one urges the viewer to go to the " nearest Super Earth planet ."

The perspective on both pieces makes it so that no matter where the viewer is standing, the finger is always pointing at them. Players may not be able to see the piercing eyes of the Helldiver in this poster as is possible with with Uncle Sam, but if they could, the eyes would follow the viewer as well. A truly intimate calling to serve in the Super Earth Armed Forces.

Helldivers 2 Level Cap Update Gets A Cryptic Tease From Dev

7 make it rain, a call for democracy on all planets.

Another piece of Malevelon Creek remembrance art by user BoiWab on X. This propaganda piece shows how fun being a Helldiver can be. The figure has outstretched arms and an open pose welcoming the destruction of the Automaton forces. Eagle Fighters make an appearance in this one, as does the trail of ships leaving a path of destruction in their wake.

The art style is reminiscent of the style used in early Soviet Russia in the 1920s-1930s. Large figures in dramatic stances with a staunch use of red were common for Soviet propaganda posters of the time. However, players should be sure that the Ministry of Truth would label those who compare the two as bug sympathizers and dissidents.

A Clever Helldivers 2 Trick Takes Out The Game's Toughest Enemies

6 democracy bug scum, spreading freedom to the terminids.

This poster, created by Reddit user RandonBrando , takes a more simplistic approach to its message. The large asymmetrical DEMOCRACY overshadows the nuclear strike that is hitting the " bug scum. " Launching ICBMs is a common mission many Helldivers will have to complete on insect-ridden planets , and they always have a satisfying grand ending as players watch the nuclear device launch and explode in the background, covering the screen in a large mushroom cloud.

This particular artist drew inspiration from the constructivism art movement in the early 20th century. Similar to the entry above, it was popularized in Soviet propaganda posters. Using collage and asymmetry allows the artist to create a simplistic-looking piece that does not lose its message. In this case, the message is that all bug scum must be wiped out with nuclear force.

Helldivers 2 Sneakily Adds In New Terminids With A Scary New Ability

5 if the helmet fits…, british propaganda reimagined in helldivers.

Another simple composition with a clear message comes from Reddit user datderpboii . A simple black background with gold accents evokes the spirit of a Helldiver by using the colors taken from many armor sets in the game. The empty helmet looks at the viewer, inviting them to try it on and enlist today. The small text at the bottom of the poster hits the realism home by stating, " This message is endorsed and paid for by Super Earth and the Helldiver Initiative. "

This piece refers to a British propaganda piece from World War I. On it is a simple uniform cap with the text, " If the cap fits you, join the army today. " If it worked for the British during WWI, the Super Earth is sure to get new Helldivers to enlist and join the ranks.

4 A Democratic Sample Is A Shared Sample

Prompting helldivers to join hands for research.

In this propaganda poster by Reddit user grungonoid , it shows the importance of democracy and Sample collection. After the game's launch, a controversy erupted in the Helldivers community where, before extracting, fellow divers would kill their teammates so they could go back to their ships with the Samples that were collected.

Simple Helldivers 2 Trick Will Earn You A Lot More Samples

Many people called out the team killers because of their behavior, since Samples are shared among the team and not kept by just the person who extracted them. In fact, Samples aren't the only earned items shared between the squad. Picking up Requisition Slips, Medals, and Super Credits during a mission will earn them for every teammate as well.

Samples must be extracted to be kept. This is not the case with Requisition, Medals, and Super Credits, which are kept once picked up regardless if the Helldiver grabbing them makes it to extraction.

3 Your Pals Are Fighting, Why Aren’t You?

A call to action to join the squad.

This propaganda poster was posted on X by user crowsmack . It shows two brave Helldivers fighting up a hill with their iconic capes nobly flowing in the breeze behind them. In the top left corner, there is a logo of Super Earth with the tagline, " For the glory of the Galactic Kindred! " This poster seems half propaganda of the game and half propaganda to get friends to jump into the galactic fray.

It’s no question that Helldivers 2 is one of the most popular multiplayer games at the moment . Many people learned about it through word of mouth rather than extensive advertising on the part of developer Arrowhead Game Studios and publisher Sony Interactive Entertainment. This piece is inspired by a Canadian propaganda poster from World War I. The figures are in the same pose, albeit without lasers firing at them, and the tagline reads, " Your chums are fighting. Why aren’t you? "

2 In The Name of Super Earth, I’ll Punish You!

A unique anime twist on posters.

Not all Helldivers 2 propaganda posters take from history or have a more serious tone. X user JKL930 posted their own take on the Super Earth recruitment posters. In this Sailor Moon crossover piece, a Helldiver stands striking a pose reminiscent of the eponymous anime character (seen below).

In the background, silhouettes of Helldiver pods are dropping onto a planet. The Super Earth logo acts as a halo for the prominent Helldiver. The quote is a spin-off of Sailor Moon’s famous line, " In the name of the moon, I’ll punish you! " It fits very well with Helldivers dispensing justice against the machine and insect threats. Only, rather than the moon, Super Earth is saving the world from evil.

1 Enjoy the Taste of Freedom

With a cup of liber-tea.

Helldivers chanting about liber-tea has been a popular rallying cry among the community since the game’s launch. The clever pun on liberty can be heard being shouted across the battlefield in cinematic glory as a squad's firepower reigns down on Automatons and Terminids alike. This poster from Reddit user Requiem_draws harkens back to the famous phrase urging the viewer to enjoy a sweet cup of liber-tea themselves by enlisting to become a Helldiver.

The tagline might not be taken from a historical poster, but the pose is. This propaganda poster from America during World War II shows a soldier enjoying his coffee ration with the phrase, " Do with less - so they’ll have enough! Rationing gives you your fair share ." Some are likely recognize this infamous poster, as it has frequently been turned into edits and memes for about as long as meme culture has existed .

The world of Helldivers 2 may be purposefully over-the-top, as are the movies it draws inspiration from, such as Starship Troopers . Given how long propaganda as a concept has existed, it’s not surprising that many of these artists found inspiration in the existing posters and art. With the title topping the Steam and PlayStation charts since its release, it seems these pieces of propaganda are working. So start the game up and start diving for democracy; r emember, Super Earth needs YOU in its fight for democracy in Helldivers 2 .

Sources: Marpaparp/X , APixilatedFoe/X , PocketPurrer/Reddit , BoiWab/X , RandonBrando/Reddit , datderpboii/Reddit , grungonoid/Reddit , crowsmack/X , JKL930/X , Requiem_draws/Reddit

Helldivers 2

Helldivers II is the follow-up to the 2015 multiplayer top-down single-player/co-op shooter from Arrowhead Game Studios. The sequel, which has shifted gears to a third-person shooter format, drops players into the boots of elite super-soldiers who fight to protect Super Earth from invading alien forces while taking the fight to those who threaten the "democracy of Super Earth."