propaganda posters 60s

Famous propaganda posters from the last 100 years

Propaganda is defined as thoughts, ideas, or facts that are disseminated in order to further a cause or movement—or hinder an opposing one. The history of propaganda is rich, dating all the way back to the 15th century. However, it didn't become mainstream, at least in the U.S., until 1914 at the start of World War I.

A couple of propaganda posters that have really stuck to the wall include the image of the woman commonly mistaken for Rosie the Riveter, which came out in the 40s but later took on a feminist connotation, and the iconic image of Che Guevara that has been associated with so many famous protests. These posters have stood the test of time and remain woven into our society, some of them more than 100 years after their initial creation.

Stacker highlighted 50 famous propaganda posters associated with major wars and political movements throughout history, including those from different countries and time periods. Read on to see the origins of Uncle Sam, and where the phrase "loose lips sink ships" came from.

You may also like: D efining historical moments from the year you were born

I Want You for US Army

This American poster is widely regarded as the most famous poster in the world , although it was inspired by a British poster bearing a similar slogan. It made its debut on the cover of the publication Leslie’s Weekly in 1916, depicting “Uncle Sam” urging Americans to enlist in the army as America entered World War I. 

Rosie the Riveter

On the heels of a cultural phenomenon (including a popular song of the same name ), Norman Rockwell created this image of “Rosie the Riveter” in 1943 to represent American women working in munitions factories during World War II.

This poster of former President Obama is largely associated with his 2008 election campaign, and also exists in different versions with words like “Change” and “Progress” beneath the same image. It has been the subject of legal controversy when it was revealed that its creator, Shepard Fairey, was accused of usurping the image of Obama from a former Associated Press photographer. Nonetheless, the poster is entwined with Obama’s campaign message at the time.

We Can Do It

This iconic poster from 1943—often confused with the original Rosie the Riveter—made quite a splash in the U.S., but not necessarily during World War II. Though widely associated with the feminist movement, its original intention was to improve morale for the female employees of Westinghouse Electric . It resurfaced in the early '80s, at which point it gained popularity and acquired its woman-power connotation.

Destroy this Mad Brute, Enlist

Printed in 1918, this WWI-era image depicts German militarism embodied by a ferocious gorilla standing on the ground (labeled “America”) carrying a bloodied club as well as a young woman. The poster served as another call for American men to fight in the war.

"Guerillero Heroico"

Alberto Korda took this iconic photo-turned poster of Argentine Marxist revolutionary Che Guevara in 1960. The image gained substantial cultural traction by the end of the '60s when Irish artist Jim Fitzpatrick used it to create a poster. It first appeared in the U.S. in 1968 on New York City billboards and has come to symbolize rebellion on a large scale. The image title means “Heroic Guerilla Fighter.”

Handicapped

One of the most popular symbols of the British Suffragette Movement , this poster depicts a woman struggling to get by in a rowboat, while a man sails smoothly in his sailboat—symbolizing women’s struggle to achieve the right to vote.

Britons Wants You: Join Your Country's Army

This poster featuring British war minister Lord Kitchener —pointing for the sake of military recruitment—served as the inspiration for the American version, which reads “I want you for the U.S. Army.” It was first printed for the cover of the London Opinion magazine in 1914, but came out as a poster shortly after. However, there isn’t much photographic evidence of it having been hung up in public.

Daddy, What did You do in the Great War?

Britain’s army was relatively small at the start of WWI because there was no mandatory enlistment, so the Parliamentary Recruitment Committee was in charge of recruiting the general public to join the army. This was one of their more famous posters, created around 1914 to 1915. The obligation for men to earn money to support their families dissuaded many of them from volunteering, but the PRC used that angle to suggest that children would think that their father’s duty in the army was a more noble calling.

Kultur-Terror

It was not uncommon for Nazi propaganda posters to incorporate the likeness of the monster , which typically symbolized nationalities and philosophical beliefs that deviated from Nazi ideology. This particular poster depicts a monster that represents different aspects of American culture as a whole through its different body parts—one arm holds a money bag, symbolizing greed, and a KKK hood on its head represents nationalism and extremism.

Kep Calm and Carry On

This now-ubiquitous poster originated as a slogan printed by the British government in 1939 to increase morale among the British people at the onset of WWII. It was one of three similar posters with the same design scheme and different wording, all of which incorporated the Tudor Crown. Though it wasn’t necessarily popular in its time, it resurfaced about 15 years ago free of its previous connotation; its slogan was reproduced and parodied on posters, notebooks, and other commodities.

Stamp out the Axis

Dating to 1941, this image of a giant stamp hovering over a Nazi swastika quite literally conveys the U.S. military’s intention of wiping out the Germans in WWII.

Workers of the World Unite!

This Dimitri Moor poster from around 1920 calls for Russian workers to unite against imperialism, juxtaposing the enemy against the bold protagonist. Moor’s classic red and black palette pervades the poster.

Women of Britain Come into the Factories

The U.K. saw many posters encouraging women to take on factory jobs during both World Wars. This 1941 poster calls for women to join the workforce during World War II, in consideration of the men serving in the army who had left their jobs available.

Emancipation of Russian Women

Women appeared prominently on Soviet socialist posters in the early 20th century. Promoting women’s liberation through the lense of socialism, this 1926 poster reads “Emancipated woman—build up socialism.” These words imply that communism cannot thrive without equality among men and women—the woman’s masculinized appearance further symbolizes gender equality.

Become a Nurse: Your Country Needs You

The need for military nurses was high during wartime, so women were widely encouraged to take up the profession. This 1942 image of a young American woman receiving a nursing cap intended to beckon all American women to serve their country by helping wounded soldiers.

Loose Lips Might Sink Ships

The American War Advertising Council created this phrase during WWII, which took the form of a 1945 poster designed to discourage American citizens from talking about sensitive information that could be leaked to war enemies. The image of the sinking ship was the most common pictorial accompaniment to the phrase, which was initially produced for the Seagram Distillers Corporation as an aid to the war effort.

'Kick out the Americans the Unite the Fatherland'

This Korean War-era poster depicts a North Korean soldier literally punching away American soldiers, urging them to pull out of his country.

Help Keep Your School All-American

This Superman-centric poster was distributed in the ‘50s by a version of the Anti-Defamation League for the purpose of advocating for racial and religious tolerance. The poster is dated 1956, but a 2008 auction listing on the Hakes Americana & Collectibles website indicated the copyright is from 1949. It had a small resurgence in the American news a few years ago when Muslims and other minorities were experiencing fairly widespread racism among politicians, corporations and the general public.

It's Our Flag: Fight for it, Work for it

The British Parliamentary Recruiting Committee produced this poster in 1915. The message is pretty clear—it’s a call for men to join the British army at the start of WWI, using patriotic language in conjunction with the Union Jack.

Mao Zedong Cultural Revolution poster

This pro-Mao Zedong poster from the Chinese Cultural Revolution translates to “Long live! Long live Chairman Mao, the reddest and the reddest sun in our hearts!”

Let's Catch Him with his Panzers Down

Dating back to around 1942 , this WWII-era poster depicts a cartoonish version of Hitler in his swastika-print boxers, a literal interpretation of the poster’s slogan. Needless to say, it seeks to inform the American public that the U.S. intends to defeat Germany in the war.

'Did You Volunteer'

This 1920 poster from the Russian Revolution calls for Russian citizens to volunteer for the Red Army , as Lenin had not yet installed a formal military. It is based on the British poster calling for enlistment in the army during WWI. The artist, Dimitri Moor, incorporated a lot of black and red into his work, and typically used red to connote socialist images like flags.

He's Watching You

This 1942 American poster was created to let the public know that the Nazis were watching them. However, some of the public misinterpreted the poster , thinking that the soldier’s helmet symbolized the Liberty Bell. Some factory workers thought that the “he” of the poster represented to be “the boss.”

Step into Your Place

The British Parliamentary Recruiting Committee certainly generated a lot of propaganda posters during both world wars. This one from 1915 communicates a clear message—men are strongly encouraged to join the army to serve their country.

This poster came out in Ireland in 2004 in response to George W. Bush’s move to invade Iraq. It called for a protest attended by Mary Black, Christy Moore, and Damien Rice.

I Want You for the Navy

  Just like men, women were needed to serve in the military during the major wars. This WWI poster calls for women to enlist in the U.S. Navy .

Don't Let that Shadow Touch Them, Buy War Bonds

During World War II, war bonds and war savings stamps provided a source of income for the U.S. government, and Americans were encouraged to purchase them. Buying war bonds also boosted morale among the public. This 1942 poster was particularly emotionally powerful because it depicts children playing in the path of the Nazi swastika. One of the young boys holds a miniature American flag and the other holds an American fighter plane, further symbols of patriotism.  

Save the Wheat and Help the Fleet

During WWI, the British public was encouraged to seek out white bread substitutes so the wheat crop could be used to make bread for the soldiers. In America and Britain, much of the public resorted to bread with wheat substitutes, like corn or barley. This was taken so seriously that eating white flour was likened to helping the enemy.

'To Defend USSR'

Valentina Kulagina was one of few female propaganda artists of the 20th century. Translating to “ To defend USSR ,” this 1930 cubism-esque design depicts the larger-than-life Red Army leaving the factories to fight in the war. The white royalist airplanes flying around them seem not to deter them at all.

For Your Country's Sake Today, for Your Own Sake Tomorrow

Throughout WWII, American women were strongly encouraged to become involved in the war effort. This poster from the early to mid 1940s shows four women dressed in uniforms of the four armed forces units in which they were able to serve: the Women’s Army Corps, the Navy Women’s Reserve, the Marine Corps Women’s Reserve, and the Coast Guard Women’s Reserve.

Women of Britain Say—Go

This 1914 poster advocated for British women to contribute to the overall war effort. Women’s traditional roles became blurred during wartime, as they started to work in munitions factories or in various roles at the front.

We the People are Greater Than Fear

Shepard Fairey, who created the iconic posters for Obama’s 2008 campaign, also created a set of three posters to coincide with Donald Trump’s 2017 presidential inauguration. This image of a Muslim-American woman wearing a hijab printed with the American flag, in conjunction with the text, represents a powerful message that “We the people” includes individuals of all races and religions. The other two posters in the set feature Latina and African American women with similarly inspiring phrases.

Together We Win

James Montgomery Flagg designed about 46 posters for the U.S. government during WWI. Here’s one from 1917 aimed at instilling patriotism and positivity in the American public. His posters encouraged men to enlist in the Army, women to join the Red Cross, and members of the general public to make sacrifices for the sake of the war effort.

All Power to the People

Douglas Emory, who helped with the layout of the Black Panther newspaper , created this 1970 poster. The party frequently used the slogan “All power to the people.” This phrase also famously accompanied images of the raised fist, which has mainly symbolized African American rights.

Women in the War: We Can't Win Without Them

Another poster geared toward American women during WWII , this piece dates back to 1942. It bears the image of a female worker riveting a weapon, and calls for women to take up jobs in munitions factories during the war.

Recycle Nixon

This anti-Nixon poster from the Vietnam War era was made as part of Berkeley’s Political Poster Workshop between 1968 and 1973.

Dig on for victory

Dating back to 1941, this poster was created by the British Ministry of Agriculture , whose “Dig on for Victory” campaign encouraged citizens to grow their own crops during wartime rationing. Many public spaces, like parks and public gardens, were allotted as vegetable patches during that time.

'Your Father Is in Danger: Register!'

This German poster from WWI translates to “Your father is in danger, register,” and came out shortly after the war ended. It calls for German citizens to join the Garde-Kavallerie-Schutzen-Division, or Horse Guards Rifle Division , one of the post-defeat units that offered military stability after soldiers returned from the war. 

Free Labor Will Win

Printed in 1942, this poster of a welder standing in front of an American flag promotes free labor in the U.S.—as opposed to the slave labor used by its fascist enemies.

Girls Say Yes to Boys Who Say No

Folk singer Joan Baez and her sisters Paulien and Mimi are at the heart of this anti-draft poster from 1968. Baez was very active politically in the '60s, and openly encouraged men to avoid the draft at her shows. Larry Gates created the poster to debunk the notion that resisting the draft was unmanly, and to raise money for the Draft Resistance Movement.

If the Cap Fits, Wear It

Like so many other World War propaganda posters, this one from WWII calls for citizens to join the  Canadian Army .

Of Course I Can! I'm patriotic as can be—and ration points don't worry me!

During WWII, the U.S. government initiated rationing of food to ensure soldiers had enough supplies (and that civilians had equal access to scant resources). This 1944 poster serves to remind Americans not to waste food during the war.

American Red Cross: Our boys need sox, knit your bit

This American Red Cross poster from around 1918 calls for citizens to donate knitted items to U.S. soldiers for when they entered France. Knitters eagerly responded to this call, though they had to adhere to knitting patterns that followed Army and Navy regulations.

Is This Tomorrow? America under Communism

This design serves as the cover of a 1947 comic book written to teach the public about communism’s inflammatory nature. The text on the opening page reads, “Is this Tomorrow is published for one purpose—to make you think! To make you more alert to the menace of Communism.”

Free All Political Prisoners

This famous image depicting the raised fist with a loose chain is another product of the Political Poster Workshop at Berkeley. It clearly opposes the unjust imprisonment of civil rights activists and other American political martyrs. 

Save Bones for Aircraft Production

Similar to posters urging citizens not to waste food, this WWII poster encourages the British public to save bones and scraps , which could be used in the production of military planes and ammunition.

Andre the Giant Has a Posse

Here’s another iconic design by Shepard Fairey, who created the Andre the Giant has a Posse sticker campaign somewhat haphazardly in 1989. It later transformed into simply “Obey the Giant.” While neither design has any inherent meaning, Shepard intended them to be a study in phenomenology, inspiring people to react and question the world around them. Both images have been widely disseminated throughout the world.

'Freedom for Angela Davis'

Angela Davis was a prominent voice in the late 1960s and early '70s protest movement in America, having actively participated in the Black Panther and Communist parties . This famous poster sprang up when Davis was wanted by the FBI for a crime she did not commit. After her arrest, grassroots organizations started popping up both in America and abroad to fight for her release.

United We Stand Divided We Fall

This famous phrase has roots with the ancient Greeks, but it appeared on this U.S. WWII propaganda poster in 1942. Fundamentally, the phrase denotes the idea that if members of a group with cohesive beliefs work individually instead of as a team, they are destined for failure. This concept certainly applies to the American army’s fight to defeat the Nazis during the war.

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propaganda posters 60s

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History of American Propaganda Posters: American Social Issues through Propaganda

Leaders throughout history have been able to use propaganda to their own needs and desires. By stirring an individual’s imagination and emotions whether it is for better or worse, figures in power who create campaigns of propaganda imagery can drive a population towards their end wants. Propaganda became a common term around America during World War I when posters and films were leveraged against enemies to rally troop enlistment and garner the public opinion. Propaganda became a modern political tool engendering good will across wide demographics and gaining favor of the country.

The following infographic takes a closer look at American Social Issues expressed through Propaganda imagery.

infographic - history of american propaganda posters

Text: History of American Propaganda Posters

What is propaganda.

Propaganda can be described as thoughts, ideas, allegations or facts, spread deliberately to further one’s own cause or with the intention of causing damage to an opposing cause. Propaganda is commonly understood to involve any medium that strikes an illicit emotional reaction to one’s thoughts or views. It is a form of biased communication that is expressed through forms of art that do not always depict one set of thoughts in a clear way. A way to clearly stir the emotions of a populace and drive a one-sided opinion, propaganda has been a tool for the powerful to convince and push the less powerful towards a purpose.  

The History of Propaganda

Although the term propaganda became common place in the United States during period of World War I, the concept has been used long since then. Some of the first to use propaganda for their own accords were the Greeks. Though the Greeks did not use propaganda as we know it now in print or movie depictions, they still used art to project their thoughts onto groups. Greeks could influence large groups of citizens and country men to their ways of thought through games, theater, assemblies, courts, and religious festivals.

After the invention of the printing press, leaders could now spread their ideas to the masses much more quickly. Philip II of Spain and Queen Elizabeth of England both used printed and written materials to organize their subjects during the Spanish Armada in the 16th century. To convince each individual nation that the other was at the aggressor, the leaders each participated in their own propaganda campaigns to distribute widespread dissent.

Newspapers during the Mexican American War sometimes took it upon themselves to influence articles and create articles that called for annexation of all Mexico by the United States. In some populations areas that were still controlled by Mexico, some U.S. writers would write or edit papers with the purpose of convincing the residents that the U.S. terms for peace should be accepted and that it was their best choice.  

American Social and Political Issues Depicted Through Propaganda

America has been using propaganda in art for over a hundred years to drive the population towards a common thought. Often the premise dispensed by the government is centered toward an idea of Americanism or pride for the country over others. However, opposition for anyone in power had the same opportunity to use these same tactics through the wide distribution of newspapers and printing machines.

The Pyramid of the Capitalist System Created in 1911, The Pyramid of the Capitalist System, this cartoon directly criticized the worst parts of capitalism. As an American cartoon published, distributed and seen by many of those who were not on the top of the hierarchical capitalistic food chain, it brought to light a social issue that many were afraid to express before.

Liberty Loan Drive Promoting the purchase of war bonds during World War I was very important for the U.S. to keep the war machine driving forward and funded. The Liberty bond driving needing a boast and public attention used an ad that inspired people to purchase bonds. The ad was successful in driving funding and raised more than $17 billion.

Help Keep Your School All-American While the United States has bene a mixing pot, the issue of racism has been difficult to address. The poster, Help Keep Your School All-American, featuring Superman, one of the most popular figures with school children at the time of the ad spoke to changing a prevalently racist outlook of America at the time.

Women in the War This poster meant to drive women into the armed service. By featuring a woman working directly with a wartime device, it helped to inspire a feeling of comfortability with women serving at home and abroad.

We Can Do It Nearly everyone is familiar with “Rosie the Riverter”, but probably not everyone is familiar with her as a propaganda peace to inspire the U.S. wartime workforce. The posters produced of her were pivotal in swinging public opinion that a woman could work in a factory and outside the house to drive the wartime machine production. From 1940 to 1945 the percentage of female U.S. workforce increased from 27 percent to 37 percent.

Daisy Girl Political campaign propaganda took a strong foothold during the middle of the 19th century. At a time when nearly everyone feared nuclear warfare, Lyndon B. Johnson played off this fear and created campaigns against his opposition’s controversial comments. Though the political ad, Daisy Girl, only aired once it was still instrumental in playing on the fears of the people to swing their opinion.

Go Tell Mama! I’m For Obama Even in present day terms, America is using propaganda to stir emotion and convince others of our thinking. Artist Ray Noland emphasized the idea of community in his Go Tell Mama! I’m For Obama, playing on the ideas and sentiments of a largely community organization that needed grassroots marketing to spread advertising.  

Norwich University is an important part of American history. Established in 1819, Norwich is a nationally recognized institution of higher education, the birthplace of the Reserve Officers’ Training Corps (ROTC) and the first private military college in the United States.

With Norwich University’s online Master of Arts in History , you can enhance your awareness of differing historical viewpoints while developing and refining your research, writing, analysis and presentation skills. The program offers two tracks—American history and world history—allowing you to tailor your studies to your interests and goals.  

History Defined

Iconic Propaganda posters throughout history

Propaganda posters have long served as powerful tools for shaping public opinion and rallying support for various causes, particularly during times of conflict and political upheaval. These visually striking and emotionally charged artworks blend artistry with persuasive messaging, aiming to influence perceptions, inspire action, and convey ideologies.

From the iconic wartime posters of the early 20th century to contemporary digital campaigns, propaganda posters offer a unique lens into the socio-political climate of their times.

propaganda posters 60s

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Famous propaganda posters from the last 100 years

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propogandahistory

Propaganda is defined as thoughts, ideas, or facts that are disseminated in order to further a cause or movement—or hinder an opposing one. The history of propaganda is rich, dating all the way back to the 15th century. However, it didn’t become mainstream, at least in the U.S., until 1914 at the start of World War I.

A couple of propaganda posters that have really stuck to the wall include the image of the woman commonly mistaken for Rosie the Riveter, which came out in the 40s but later took on a feminist connotation, and the iconic image of Che Guevara that has been associated with so many famous protests.

These posters have stood the test of time and remain woven into our society, some of them more than 100 years after their initial creation.

Stacker highlighted 50 famous propaganda posters associated with major wars and political movements throughout history, including those from different countries and time periods. Read on to see the origins of Uncle Sam, and where the phrase “loose lips sink ships” came from.

propaganda posters 60s

I Want You for US Army

This American poster is widely regarded as the most famous poster in the world , although it was inspired by a British poster bearing a similar slogan. It made its debut on the cover of the publication Leslie’s Weekly in 1916, depicting “Uncle Sam” urging Americans to enlist in the army as America entered World War I. 

Rosie the Riveter

On the heels of a cultural phenomenon (including a popular song of the same name ), Norman Rockwell created this image of “Rosie the Riveter” in 1943 to represent American women working in munitions factories during World War II.

This poster of former President Obama is largely associated with his 2008 election campaign, and also exists in different versions with words like “Change” and “Progress” beneath the same image.

It has been the subject of legal controversy when it was revealed that its creator, Shepard Fairey, was accused of usurping the image of Obama from a former Associated Press photographer. Nonetheless, the poster is entwined with Obama’s campaign message at the time.

propaganda posters 60s

We Can Do It

This iconic poster from 1943—often confused with the original Rosie the Riveter—made quite a splash in the U.S., but not necessarily during World War II.

Though widely associated with the feminist movement, its original intention was to improve morale for the female employees of Westinghouse Electric . It resurfaced in the early '80s, at which point it gained popularity and acquired its woman-power connotation.

propaganda posters 60s

Destroy this Mad Brute, Enlist

propaganda posters 60s

"Guerillero Heroico"

Alberto Korda took this iconic photo-turned poster of Argentine Marxist revolutionary Che Guevara in 1960. The image gained substantial cultural traction by the end of the '60s when Irish artist Jim Fitzpatrick used it to create a poster.

It first appeared in the U.S. in 1968 on New York City billboards and has come to symbolize rebellion on a large scale. The image title means “Heroic Guerilla Fighter.”

propaganda posters 60s

Handicapped

One of the most popular symbols of the British Suffragette Movement , this poster depicts a woman struggling to get by in a rowboat, while a man sails smoothly in his sailboat—symbolizing women’s struggle to achieve the right to vote.

Britons Wants You: Join Your Country's Army

This poster featuring British war minister Lord Kitchener —pointing for the sake of military recruitment—served as the inspiration for the American version, which reads “I want you for the U.S. Army.”

It was first printed for the cover of the London Opinion magazine in 1914, but came out as a poster shortly after. However, there isn’t much photographic evidence of it having been hung up in public.

propaganda posters 60s

Daddy, What did You do in the Great War?

Britain’s army was relatively small at the start of WWI because there was no mandatory enlistment, so the Parliamentary Recruitment Committee was in charge of recruiting the general public to join the army. This was one of their more famous posters, created around 1914 to 1915.

The obligation for men to earn money to support their families dissuaded many of them from volunteering, but the PRC used that angle to suggest that children would think that their father’s duty in the army was a more noble calling.

propaganda posters 60s

Kultur-Terror

It was not uncommon for Nazi propaganda posters to incorporate the likeness of the monster , which typically symbolized nationalities and philosophical beliefs that deviated from Nazi ideology.

This particular poster depicts a monster that represents different aspects of American culture as a whole through its different body parts—one arm holds a money bag, symbolizing greed, and a KKK hood on its head represents nationalism and extremism.

Keep Calm and Carry On

This now-ubiquitous poster originated as a slogan printed by the British government in 1939 to increase morale among the British people at the onset of WWII. It was one of three similar posters with the same design scheme and different wording, all of which incorporated the Tudor Crown.

Though it wasn’t necessarily popular in its time, it resurfaced about 15 years ago free of its previous connotation; its slogan was reproduced and parodied on posters, notebooks, and other commodities.

propaganda posters 60s

Stamp out the Axis

Dating to 1941, this image of a giant stamp hovering over a Nazi swastika quite literally conveys the U.S. military’s intention of wiping out the Germans in WWII.

Workers of the World Unite!

This Dimitri Moor poster from around 1920 calls for Russian workers to unite against imperialism, juxtaposing the enemy against the bold protagonist. Moor’s classic red and black palette pervades the poster.

propaganda posters 60s

Women of Britain Come into the Factories

The U.K. saw many posters encouraging women to take on factory jobs during both World Wars. This 1941 poster calls for women to join the workforce during World War II, in consideration of the men serving in the army who had left their jobs available.

propaganda posters 60s

Emancipation of Russian Women

Women appeared prominently on Soviet socialist posters in the early 20th century. Promoting women’s liberation through the lense of socialism, this 1926 poster reads “Emancipated woman—build up socialism.”

These words imply that communism cannot thrive without equality among men and women—the woman’s masculinized appearance further symbolizes gender equality.

propaganda posters 60s

Become a Nurse: Your Country Needs You

The need for military nurses was high during wartime, so women were widely encouraged to take up the profession. This 1942 image of a young American woman receiving a nursing cap intended to beckon all American women to serve their country by helping wounded soldiers.

propaganda posters 60s

Loose Lips Might Sink Ships

The American War Advertising Council created this phrase during WWII, which took the form of a 1945 poster designed to discourage American citizens from talking about sensitive information that could be leaked to war enemies.

The image of the sinking ship was the most common pictorial accompaniment to the phrase, which was initially produced for the Seagram Distillers Corporation as an aid to the war effort.

propaganda posters 60s

'Kick out the Americans the Unite the Fatherland'

This Korean War-era poster depicts a North Korean soldier literally punching away American soldiers, urging them to pull out of his country.

propaganda posters 60s

Help Keep Your School All-American

This Superman-centric poster was distributed in the ‘50s by a version of the Anti-Defamation League for the purpose of advocating for racial and religious tolerance. The poster is dated 1956, but a 2008 auction listing on the Hakes Americana & Collectibles website indicated the copyright is from 1949.

propaganda posters 60s

It's Our Flag: Fight for it, Work for it

The British Parliamentary Recruiting Committee produced this poster in 1915. The message is pretty clear—it’s a call for men to join the British army at the start of WWI, using patriotic language in conjunction with the Union Jack.

propaganda posters 60s

Mao Zedong Cultural Revolution poster

This pro-Mao Zedong poster from the Chinese Cultural Revolution translates to “Long live! Long live Chairman Mao, the reddest and the reddest sun in our hearts!”

propaganda posters 60s

Let's Catch Him with his Panzers Down

Dating back to around 1942 , this WWII-era poster depicts a cartoonish version of Hitler in his swastika-print boxers, a literal interpretation of the poster’s slogan. Needless to say, it seeks to inform the American public that the U.S. intends to defeat Germany in the war.

propaganda posters 60s

'Did You Volunteer'

This 1920 poster from the Russian Revolution calls for Russian citizens to volunteer for the Red Army , as Lenin had not yet installed a formal military. It is based on the British poster calling for enlistment in the army during WWI.

The artist, Dimitri Moor, incorporated a lot of black and red into his work, and typically used red to connote socialist images like flags.

propaganda posters 60s

He's Watching You

This 1942 American poster was created to let the public know that the Nazis were watching them. However, some of the public misinterpreted the poster , thinking that the soldier’s helmet symbolized the Liberty Bell. Some factory workers thought that the “he” of the poster represented to be “the boss.”

propaganda posters 60s

Step into Your Place

The British Parliamentary Recruiting Committee certainly generated a lot of propaganda posters during both world wars. This one from 1915 communicates a clear message—men are strongly encouraged to join the army to serve their country.

This poster came out in Ireland in 2004 in response to George W. Bush’s move to invade Iraq. It called for a protest attended by Mary Black, Christy Moore, and Damien Rice.

propaganda posters 60s

I Want You for the Navy

  Just like men, women were needed to serve in the military during the major wars. This WWI poster calls for women to enlist in the U.S. Navy .

propaganda posters 60s

Don't Let that Shadow Touch Them, Buy War Bonds

During World War II, war bonds and war savings stamps provided a source of income for the U.S. government, and Americans were encouraged to purchase them. Buying war bonds also boosted morale among the public.

This 1942 poster was particularly emotionally powerful because it depicts children playing in the path of the Nazi swastika. One of the young boys holds a miniature American flag and the other holds an American fighter plane, further symbols of patriotism.  

propaganda posters 60s

Save the Wheat and Help the Fleet

During WWI, the British public was encouraged to seek out white bread substitutes so the wheat crop could be used to make bread for the soldiers. In America and Britain, much of the public resorted to bread with wheat substitutes, like corn or barley. This was taken so seriously that eating white flour was likened to helping the enemy.

propaganda posters 60s

'To Defend USSR'

Valentina Kulagina was one of few female propaganda artists of the 20th century. Translating to “ To defend USSR ,” this 1930 cubism-esque design depicts the larger-than-life Red Army leaving the factories to fight in the war. The white royalist airplanes flying around them seem not to deter them at all.

propaganda posters 60s

For Your Country's Sake Today, for Your Own Sake Tomorrow

Throughout WWII, American women were strongly encouraged to become involved in the war effort. This poster from the early to mid 1940s shows four women dressed in uniforms of the four armed forces units in which they were able to serve: the Women’s Army Corps, the Navy Women’s Reserve, the Marine Corps Women’s Reserve, and the Coast Guard Women’s Reserve.

propaganda posters 60s

Women of Britain Say—Go

This 1914 poster advocated for British women to contribute to the overall war effort. Women’s traditional roles became blurred during wartime, as they started to work in munitions factories or in various roles at the front.

propaganda posters 60s

We the People are Greater Than Fear

Shepard Fairey, who created the iconic posters for Obama’s 2008 campaign, also created a set of three posters to coincide with Donald Trump’s 2017 presidential inauguration. This image of a Muslim-American woman wearing a hijab printed with the American flag, in conjunction with the text, represents a powerful message that “We the people” includes individuals of all races and religions. The other two posters in the set feature Latina and African American women with similarly inspiring phrases.

propaganda posters 60s

Together We Win

James Montgomery Flagg designed about 46 posters for the U.S. government during WWI. Here’s one from 1917 aimed at instilling patriotism and positivity in the American public. His posters encouraged men to enlist in the Army, women to join the Red Cross, and members of the general public to make sacrifices for the sake of the war effort.

propaganda posters 60s

All Power to the People

Douglas Emory, who helped with the layout of the Black Panther newspaper , created this 1970 poster. The party frequently used the slogan “All power to the people.” This phrase also famously accompanied images of the raised fist, which has mainly symbolized African American rights.

propaganda posters 60s

Women in the War: We Can't Win Without Them

Another poster geared toward American women during WWII , this piece dates back to 1942. It bears the image of a female worker riveting a weapon, and calls for women to take up jobs in munitions factories during the war.

propaganda posters 60s

Recycle Nixon

This anti-Nixon poster from the Vietnam War era was made as part of Berkeley’s Political Poster Workshop between 1968 and 1973.

propaganda posters 60s

Dig on for victory

Dating back to 1941, this poster was created by the , whose “Dig on for Victory” campaign encouraged citizens to grow their own crops during wartime rationing. Many public spaces, like parks and public gardens, were allotted as vegetable patches during that time.

'Your Father Is in Danger: Register!'

This German poster from WWI translates to “Your father is in danger, register,” and came out shortly after the war ended. It calls for German citizens to join the Garde-Kavallerie-Schutzen-Division, or Horse Guards Rifle Division , one of the post-defeat units that offered military stability after soldiers returned from the war. 

Free Labor Will Win

Printed in 1942, this poster of a welder standing in front of an American flag promotes free labor in the U.S.—as opposed to the slave labor used by its fascist enemies.

Girls Say Yes to Boys Who Say No

Folk singer Joan Baez and her sisters Paulien and Mimi are at the heart of this anti-draft poster from 1968. Baez was very active politically in the '60s, and openly encouraged men to avoid the draft at her shows. Larry Gates created the poster to debunk the notion that resisting the draft was unmanly, and to raise money for the Draft Resistance Movement.

propaganda posters 60s

If the Cap Fits, Wear It

Like so many other World War propaganda posters, this one from WWII calls for citizens to join the  Canadian Army .

propaganda posters 60s

Of Course I Can! I'm patriotic as can be—and ration points don't worry me!

During WWII, the U.S. government initiated rationing of food to ensure soldiers had enough supplies (and that civilians had equal access to scant resources). This 1944 poster serves to remind Americans not to waste food during the war.

propaganda posters 60s

American Red Cross: Our boys need sox, knit your bit

This American Red Cross poster from around 1918 calls for citizens to donate knitted items to U.S. soldiers for when they entered France. Knitters eagerly responded to this call, though they had to adhere to knitting patterns that followed Army and Navy regulations.

propaganda posters 60s

Is This Tomorrow? America under Communism

This design serves as the cover of a 1947 comic book written to teach the public about communism’s inflammatory nature. The text on the opening page reads, “Is this Tomorrow is published for one purpose—to make you think! To make you more alert to the menace of Communism.”

propaganda posters 60s

Free All Political Prisoners

This famous image depicting the raised fist with a loose chain is another product of the Political Poster Workshop at Berkeley. It clearly opposes the unjust imprisonment of civil rights activists and other American political martyrs. 

propaganda posters 60s

Save Bones for Aircraft Production

Similar to posters urging citizens not to waste food, this WWII poster encourages the British public to save bones and scraps , which could be used in the production of military planes and ammunition.

propaganda posters 60s

Andre the Giant Has a Posse

Here’s another iconic design by Shepard Fairey, who created the Andre the Giant has a Posse sticker campaign somewhat haphazardly in 1989. It later transformed into simply “Obey the Giant.” While neither design has any inherent meaning, Shepard intended them to be a study in phenomenology, inspiring people to react and question the world around them. Both images have been widely disseminated throughout the world.

propaganda posters 60s

'Freedom for Angela Davis'

Angela Davis was a prominent voice in the late 1960s and early '70s protest movement in America, having actively participated in the Black Panther and Communist parties . This famous poster sprang up when Davis was wanted by the FBI for a crime she did not commit. After her arrest, grassroots organizations started popping up both in America and abroad to fight for her release.

propaganda posters 60s

United We Stand Divided We Fall

This famous phrase has roots with the ancient Greeks, but it appeared on this U.S. WWII propaganda poster in 1942. Fundamentally, the phrase denotes the idea that if members of a group with cohesive beliefs work individually instead of as a team, they are destined for failure. This concept certainly applies to the American army’s fight to defeat the Nazis during the war.

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propaganda posters 60s

  • Claire Stokoe
  • Jun 13, 2010

51 Powerful Propaganda Posters And The People Behind

  • 13 min read
  • Inspiration , Showcases , Paintings , Graphic Design
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War Propaganda Posters are well known. But at its core, it is a mode of communication aimed at influencing the attitude of a community toward some cause or position, and that doesn’t have to be a bad thing. Although propaganda is often used to manipulate human emotions by displaying facts selectively, it can also be very effective at conveying messages and hence can be used in web design, too.

Notice that propaganda uses loaded messages to change the attitude toward the subject in the target audience. When applied to web design, you may experiment with techniques used in propaganda posters and use them creatively to achieve a unique and memorable design.

In this article, we look at various types of propaganda posters and the people behind it , people who are rarely seen next to their work. You will also see how the drive for propaganda shaped many of the modern art movements we see today. Notice that this post is more than an ultimate showcase of propaganda artists. Something or somebody is missing? Please let us know in the comments to this post!

William Orpen: England, 1917

Orpen studied at the Slade School in London alongside the likes of Augustus John and Wyndham Lewis. He produced some of his best work while at the school and became known for his portraits. A friend of Orpen then arranged for him to paint the pictures of senior military officials, such as Lord Derby and Churchill. In 1917, he was recruited by the government’s head of War Propaganda to the Western front to paint images of war-torn France. It was there that Orpen painted his most famous piece, “Dead Germans in a Trench.”

Dimitri Moor: Russia, 1917–1921

Dimitri Moor (or Dmitry Stakhievich Orlov) changed the face of graphic design in Soviet Russia back in 1918. His work dominated both the Bolshevik Era (1917–1921) and the New Economic Policy (1921–1927). The main theme of Moor’s work is the stark contrast between the oppressive evil and the heroic allies. A lot of pressure was put on Russian workers to rise up against imperialism.

A lot of Moor’s artwork was restricted to black and red. Black was generally used for the main part of the poster, and all of the solid colors for the capitalists. Red was used for socialist elements such as flags and workers’ shirts.

This is a lesser known poster by the artist, appealing for help for those staving from the Russian famine in 1920. It features the single word “Pomogi,” meaning help. The drawing is of an old man who is just skin and bone. The last stalks of barley are barely visible in the background.

El Lissitzky: Russia, 1920

El Lissitzky spent his whole career absorbed by the belief that the artist could be an agent for change and good, and his work in a lot of respects shows this. He himself was a huge agent of change in the artistic movements of the time. He was one of the fathers of suprematism, along with Kazimir Malevich; and along with many of his peers, he changed the look of typography, exhibition design, photo montage and book cover design. Most of the modern techniques we see today and that appear in film and modern kinetic typography are the product of Lissitzky’s work.

One of his most famous pieces, shown below, really embodies Lissitzky’s work. It is so avant garde that even a lay person could recognize the style. The abstract geometric shapes and clear color pallet scream of modernist art, and yet the poster has a real message. It describes the Russian revolution that took place in 1917. The white circle represents the royalists from the old regime, and the red triangle represents the communists moving in and changing opinion. It has been described as a stylized battle plan for communist victory.

You might also recognize it from Franz Ferdinand’s album cover:

Then in 1921, El Lissitzky accepted a job as the Russian cultural ambassador to Germany. His work influenced a lot of the iconic designs of the Bauhaus and De Stijl movements. His last poster, seen below, was a return to propaganda, with a poster encouraging the Russian people to help Russia build more tanks to win the war against Nazi Germany.

Strakhov Braslavskij: Russia, 1926

Braslavskij was known for his posters that promoted the emancipation of women. During this time in Russia, the idea of gender equality was growing. Emancipated women were seen to be supporters of the communist agenda, and so they needed to be freed from their so-called duties as wives and mothers.

The emancipation of women and the socialist movement went pretty much hand in hand. In the poster below, we see almost a confluence of the sexes. The woman is drawn somewhat androgynously, wearing masculine clothing that hides her female figure, and a cold hard stare that hides her emotions. Behind her is her place of work, showing that women can do the same hard labor as men, and she carries the red flag of the communist movement.

The curious thing is that the image shows not so much the emancipation of women as it does a way to turn women into men, dressing them in men’s clothing, showing them as working in factories, and hiding their femininity. It seems the real reason to emancipate women was simply to increase the workforce and thus strengthen the communist movement.

Hans Schweitzer: Germany, 1930s

In Germany in the 1930s, propaganda was in full swing and being used by Hitler’s advisers to call the German people to arms and spread lies about the Jews. One of the most famous artists behind Nazi propaganda was Hans Schweitzer, known as “Mjolnir.” This poster by Hans Schweitzer shows the typical pro-Nazi theme of the German army’s strength, depicting an S.A. man standing next to a solider. The text reads, “The guarantee of German military strength!”

This next poster by Mjolnir, titled “Our Last Hope: Hitler” was used in the presidential elections of 1932, when Germany was suffering through its great depression. Nazi propagandists targeted the German people who were unemployed and living on the breadline, and they suggested Hitler as their way out, their savior.

The propaganda then used the scapegoat of the Jews, blaming them for all of Germany’s problems and the war. Many posters were entitled, “He is guilty for the war.” This was the key message of Hitler to start his campaign of terror and for the ethnic cleansing that ensued. Almost the entire campaign from beginning to end was driven by the artist Mjolnir. Just as the media molds public opinion today, Mjolnir most definitely molded the opinion of the German people through his designs. There is no doubts about the immorality and emotional deception of these designs; they are still worth mentioning because they were extremely powerful and effective at the time.

Valentina Kulagina: Russia, 1930

Kulagina was one of the few female poster artists to emerge from the 20th century. Her art was heavily influenced by suprematism, and you can see the similarity between her work and that of El Lissitzky. This poster, called “To Defend USSR” was created by Kulagina in 1930. It takes a cubist perspective in its multi-dimensional shapes, and it shows the Red army as huge almost robotic figures, marching from the factories to fight the war. They are surrounded by the tiny white airplanes of the royalists, which appear to have no effect on them at all and in fact seem to be flying through the figures.

Phillip Zec: England, 1930

Phillip Zec was probably best known for his depictions of Nazis as snakes and vultures. At the time, Nazis were usually drawn as bumbling clowns or buffoons. But Zec brought out the more sinister side of the German regime in his drawings. Hitler reportedly hated Zec so much that he added him to his black list and ordered his arrest following the invasion of Britain. He blamed Zec’s Jewish ancestry for his extreme ideas.

This poster by Zec was a call for women to join the war effort by working in the munitions factories.

This ugly toad is former Prime Minister of France Pierre Laval, who decided to work closely with the Nazi command during World War II.

This illustration is about the French Resistance, telling Hitler that it was very much alive.

Gino Boccasile: Italy, 1930

Gino Boccasile was a supporter of Benito Mussolini and produced a lot of propaganda for him. His posters became increasingly racist and anti-semitic as his support for the German puppet state increased. After the war, Boccasile was sent to prison for collaborating with the fascist regime. The only work he could find after his release from prison was as a pornographic artist and working in advertising for Paglieri cosmetics and Zenith footwear.

He became well known for his advertising and pornography.

Pablo Picasso: Spain, 1937

Picasso painted Guernica in response to the bombing of the town by Germany and Italy, which were following orders from Spanish Nationalist forces, on 26 April 1937. It must be said that it was commissioned to Picasso long before the bombing of the town und was supposed to be a classic painting first; after the bombings, Picasso changed his drawing to respond to the recent bombing. The giant mural shows the tragedy of war, using innocent civilians as the focal point. It became a huge symbol of anti-war, and upon completion it was exhibited worldwide to spread the message. The piece also educated other countries about the horror of the Spanish Civil War, which till then most people had never heard of.

Norman Rockwell: US, 1939

Norman Rockwell is probably one of the best known of the propoganda movement. He admitted that he was just a propaganda stooge for the Saturday Evening Post. The newspaper paid many artists and illustrators to whitewash American news with patriotism and propaganda for around 50 years.

His work has often been dismissed as idealistic or sentimental. His depiction of American life included young boys running away from a “No swimming” sign, and happy-go-lucky US citizens going about their business unaware of the crumbling world around them.

Rockwell’s famous Rosie the Riveter poster is shown below, representing the American women who worked in the munitions and war supplies factories during World War II. This was a call to arms for the women of America to become strong capable females and support the war effort.

J. Howard Miller’s “We Can Do It!,” commonly mistaken to depict Rosie the Riveter, conveyed the same message:

Rockwell was always unhappy with the politics of the Saturday Evening Post, so in his later years, he took up the controversial subject of racism in America. He became respected as a painter for these hard-hitting pieces of American culture, much more so than for his work for the Saturday Evening Post. The piece below is called “The Problem We All Live With.” It is not known whether this painting is based solely on the Ruby Bridges story, because it was also thought that the idea came from John Steinbeck’s book Travels With Charley .

The subject was the integration of black children in American schools. Little Ruby Bridges was filmed making her way into the William Franz School at 8:40 am. At this time, a gigantic crowd of 150 white women and male youth had gathered. They threw tomatoes and shouted vile comments at the tiny girl. It is hard to look at this picture without being affected.

Xu Ling: China, 1950

It is hard to find details on these Chinese artists, but we can focus on what they intended to convey with their artwork. This piece is a caricature of the American commander in Korea at that time, General MacArthur. It shows the US as an abhorrent evil, and Macarthur is shown stabbing a Korean mother and child. Bombs labeled US are being dropped on cities in China in the background as the US invades Korea.

Ye Shanlu (???): China, 1952

Again, little is known of the artist, but we do know this piece told people to get immunized against any epidemics to combat germ warfare. The Chinese were convinced that the US was planning to use bacterial weaponry against them, so they set about organizing massive inoculation drives to protect the Chinese people.

Ning Hao: China, 1954

Along the lines of Rosie the Riveter, this Ning Hao piece reflects women being asked to work in the factories alongside men, partially to support their emancipation, but mostly to increase the labor force in China.

Jim Fitzpatrick: Ireland, 1968

Jim Fitzpatrick was a well-known Irish Celtic artist of his time, but he is probably best known for his Che Guevara poster in 1968. It is said that Fitzpatrick took the death of the revolutionary personally. He had once met him when Guevara flew into Ireland in 1963 and checked into the Marine Hotel pub in Kilkee. Fitzpatrick was only a teenager at the time and had been working there over the summer. The poster became a global icon during the anti-Vietnam war protests and is now the symbol of F.A.R.C. in Columbia, a Marxist-Leninist revolutionary guerrilla organization, which is involved in the ongoing Colombian armed conflict. Zapatista Army of National Liberation (Ejército Zapatista de Liberación Nacional, EZLN), a revolutionary group based in Chiapas, the southernmost state of Mexico, uses this symbol as well.

The image was also used during the violent Paris student riots in 1968. Across the rest of the West, the Marxist Che Guevara image is overused by any kid suffering from teenage angst.

Huynh Van Thuan: Vietnam, 1972

I could not find any information about Huynh Van Thuan, but I found this piece reminiscent of 1960s movie posters about the Vietnam war and so decided to include it.

Micah Ian Wright: US, 2003

After Micah Wright graduated, he worked a while for Nickelodeon and wrote for The Angry Beavers cartoon. Then in 2003, just before the invasion of Iraq, Micah published his anti-war protest book. The book was filled with satires of old war propaganda posters that Micah had reprinted with modern war messages.

Brian Lane Winfield Moore: US, 2009

Brain Moore is a modern propaganda artist who exhibits his work on his blog . He lives in Brooklyn and is probably best known for his promotion of net neutrality and his work during the 2009 Iranian election protests. The posters are based on old WWII propaganda posters but updated in their message to match today’s technology and Web culture.

This poster was a comment on the 2009 Iran election protests. He borrowed the old “loose lips” refrain and replaced it with tweets.

This next one was about the proposed Internet regulation that would supposedly curb illegal activities on the ‘net and help fight the “war on terror.”

Unknown artist: UK, 2010

I could not identify the artist behind this one but had to include it for its clever use of old Tory values and the play on the Scooby Doo gang’s unveiling of the monster. The Tory party now occupies 10 Downing Street, and David Cameron is now Prime Minister of United Kingdom. This poster shows the lack of faith in Cameron’s promise to be a force for change and not just another Thatcher.

Nick Griffin is not an artist, he is the chairman of the British National Party (BNP). Just as most other national parties across the globe, BNP is a good example of propaganda techniques being used to produce an emotional rather than rational response to the information presented. BNP has used them to build their hate-filled ranks for years. BNP is extremely good at speaking to people in plain, emotional language and affecting those who experience personal problems and want to find someone who can be blamed for these problems.

Just like many other national parties, BNP is blaming foreigners for these problems and uses strong religious metaphors to deliver the message. Very powerful, yet extremely unethical. This is an example of propaganda being used to manipulate people in a very deceptive, unfair manner.

Further Reading

  • The Legacy Of Polish Poster Design
  • 35 Beautiful Vintage and Retro Photoshop Tutorials
  • Retro Futurism At Its Best: Designs and Tutorials
  • Learning From The Past: Design Legacies & Arts

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Modern Political Propaganda Posters & the Principles of Art

The history of the political poster is long and disputed, but generally dates back to 19th century Europe. However, political propaganda posters did not really gain widespread popularity until World War I. Early in US history, political candidates would send around information via pamphlets with their name and an image. These early examples were purely informative, and while they could be considered art, the locust of “artistic” propaganda and campaign posters is rooted in the 20th and 21st centuries.

Around World War I, the need for aid and assistance grew, and appealing to the general public was essential. Eye-catching graphics and a compelling message proved effective tools for mass produced posters. With these essential principles of design, artists were able to create a memorable and successful campaign.

The first poster in question is from WWI, advertising a campaign for knitters to make socks for servicemen stationed at the front lines.

propaganda posters 60s

The first element that draws the viewer’s eye is the very clear message “Our Boys Need Sox Knit Your Bit.” Enclosed by the large dark box that immediately catches the eye, the inspiring call of the campaign is clear. The use of scale on the word “SOX” clearly communicates what it is the Red Cross was looking for. The angle of the knitting needles and the movement of the yarn also leads the eye back down to the important information. While not perfectly symmetrical, there is plenty of balance from the left side to the right side, a universally satisfying principle of design. The warm color palette, while popular at the time, also lends warmth and hominess to the poster, encouraging everyday people to take up a greater cause.

After the start of WWI, the need for more troops in Great Britain increased, and an iconic poster was created. Designed by Alfred Leete in 1914, the poster depicts Lord Kitchener pointing at the viewer. This poster inspired many copies, most notably the “Uncle Sam Wants You” version in the United States. Similarly to the knitting poster, this poster also plays with scale to bring the eye around to the important sections. The foreshortening of the pointing arm employed new artistic norms to give the effect that he is directly pointing at the viewer, individualizing the visual experience.

propaganda posters 60s

The popularity of political propaganda posters only increased after WWI. Posters for campaigns, government motions, and opposition parties flourished. Take the 1938 poster for the Labour Party in England, for example. The first aspect that a viewer may see is the stark contrast between the background, the text, and the imagery. The slanted angle of the text at the top mimics the angle of the key in the middle. This movement centers the eye in the evocative image of a clenched fist. Unlike previous posters, scale isn’t the primary design factor, and  the emphasis is rooted contrast and dynamic positioning. The key is composed of text itself, the “Savage Government” phrase a subtle and witty rebuke of dominant political forces.The stability of the “Labour” text both in the alignment of the text and the color that was used introduces themes of strength in relation to the Labour Party itself. This positioning implies that if one were to vote for the Labour Party, it would bring stability to an askew government.

propaganda posters 60s

When WWII began, another round of wartime posters were commissioned by the British government. Artist Abram Games designed multiple posters, all with various messages to the people, from growing your own food to warnings about illicit behaviors. His work took a very interesting approach with a split of text and imagery based posters. One such poster is one warning soldiers about talking to the wrong people and potentially endangering the lives of servicemen.

propaganda posters 60s

This particular poster combines a number of contemporary design principles to elicit an emotional response. Unlike previous examples, the text is not the primary communicative principle, instead reinforcing the dizzyingly terrifying image. The strong use of movement in the radiating spiral leading to three figures being pierced by a sword conveys the urgency and seriousness of the issue. The repetition of the figures highlights the stakes of the issue, and the vague, centralized face of the soldier puts a contemporary viewer into the image. The intense red of the spiral matches the red of “Your,” which further links the soldier and the consequences of their actions.

Another iconic poster from WWII is the “Rosie the Riveter” poster that encouraged women to join the workforce, particularly in the defense industry. Designed for Westinghouse by J. Howard Miller, the poster features the profile of a woman with her arm flexed. She is shown wearing coveralls and a bandana with a fierce look of determination in her eyes. Above her is a text bubble that says “We Can Do It!”

propaganda posters 60s

Here again, contrast is used to emphasize the foreground. The yellow is energetic and attention-grabbing, equating the energy of the modern women to Rosie’s strength. The bulk of Rosie’s body lies on one side of the golden ratio line, while the strong arm is on the other side, a visually satisfying concept overall. The positioning of her arm leads the eye up to the text, the short, punchy message a perfect slogan for the movement. The power of this poster and the meaning behind it has remained constant to this day, with multiple renditions of it being created for various movements, most recently images of frontline doctors and nurses fighting COVID-19.

propaganda posters 60s

In the early 60s, variations of Lyndon B. Johnson’s campaign poster began to utilize design techniques. Johnson was portrayed looking at the camera, looking away, or with his running mate. Partially due to the growth of photographic interest at this time, photography is heavily used in political posters between the 60s and early 2000s. Interestingly, the text is the focus of the piece, its colorful background contrasted by the black and white image. This image follows a composition technique called the rule of thirds, where the image is broken up into three columns and three rows, with the important elements falling into each one of those sections. Additionally, the layout of the red and blue, iconic colors for US politics, frames Johnson’s portrait, highlighting him as a patriotic American candidate. With Johnson in the middle, he can be shown “bridging the gap” between Republicans and Democrats, bringing the country into the middle.

US posters in the 1970s through the early 2000s showed much of the same style; an image of the candidates in the center with a heavy use of red and blue and other patriotic imagery. In 2008, the return to graphic posters came in the form of a poster by Shepard Fairey .

propaganda posters 60s

Barack Obama’s presidential campaign posters were an immediate hit, with multiple imitations flooding social media. The poster itself is simple, with a portrait of President Barack Obama with a single word “Hope” underneath. Contrast is used in this poster via the “paper cut out” style to create forms from the dark tones up to the light. “Hope” is integrated into Obama’s figure, presenting him as the literal embodiment of virtue. The use of color shifting is also prominent, as this poster isn’t a primary red or blue, but more of a nuanced color palette. This change in pace from previous campaign posters signaled a youthfulness and “coolness” of a new campaign.

propaganda posters 60s

Another effective poster in the 2010s came from the Hillary Clinton campaign of 2016. Designed by Michael Bierut, the logo is a simple H with an arrow passing through it. While it wasn’t an instant hit, and caused some uproar within the graphic design community, it does tell a story. First and foremost, the Clinton 2016 poster is the most pared down of the posters in this article, and it marks a new era of campaign design which is simplistic, and stark. Strong lines and blocky shapes lend an aura of strength and stability, while the arrow passing through shows progress and movement. The combination of these elements combine to form an H, successfully advertising the candidate. This poster and others from 2016 do show a return to the primary blue and red amidst a more divided political landscape.

Throughout history, posters employ a number of design techniques to subliminally message their viewers and pull in attention. Political posters and advertisements use the part of the brain that responds to art, connecting to people on a more emotional level. Graphic design has been and continues to be a strong form of communication, and it will be interesting to see how it progresses over time.

Benjamin Krudwig

Los Angeles based designer with a passion for photography and textiles. Follow @benjamin_krudwig on instagram!

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When Posters Went Psychedelic

Posters were originally a method of advertising and promotion, but in the 1960s, a new crop of psychedelic signs became emblematic of the counterculture.

A Wes Wilson band poster, 1967

Posters have always been a way to reach a wide audience with a clear message. In the mid-1960s, the artist Wes Wilson designed the poster that jumpstarted the  psychedelic art poster movement.

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Art historian Scott B. Montgomery examines the history of the movement and psychedelic style as it relates to the socio-political implications of an artist’s message. In 1965, when American troops invaded Vietnam, Wilson created a poster entitled “Are We Next? Be Aware,” comparing the U.S. government with Nazi Germany. It features the stripes of the American flag with a superimposed swastika filled with blue and white stars. He distributed this poster at antiwar events and social gatherings.

According to Montgomery, this marks the beginning of the psychedelic poster movement, in which artists made political work as a form of protest. He explains, “The poster’s history as a tool for propaganda and political agitation, combined with the strong liberal leanings of the artists and the fraught political climate of the time, gave birth to Wilson’s ‘Are We Next?’ and other political posters.” The era’s counterculture, and its artists’ performative ways of expressing political beliefs, became a phenomenon. The poster was yet another artistic way to display the “psychedelic” lifestyle and counterculture.

“Reading a poster increasingly became an adventure that visually performed psychedelic awareness and identity,” Montgomery continues. The bright colors and aesthetics became symbolic, representing their own version of a “trip.” These provocative posters were a “visual acid test” that also called out the fascist behavior of the government. It was a way to look inside one’s self by offering a new way of seeing, so one could therefore look outward at one’s surroundings.

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In a poster by Soot Productions called “A Tribute to J. Edgar Hoover,”  the colors orange, green, and pink make the image of J. Edgar Hoover pop. Montgomery writes:

A vibrant surface plane is adamantly asserted by the linear pattern, only to clash with the railroad-tie suggestion of linear perspective that crashes into the dapperly dour J. Edgar. Flippant, yes, but also political in its doctrine of fair use of public figures as psychedelic playthings.

The colors are bold and the patterns are ambiguous, but the message of the text and image are clear.

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Protest Posters From the Vietnam Era

During the 1960s and 70s, protest posters served as rallying cries for peace, as defamations of the federal government, and as tributes to the martyrs of the civil rights movement.

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In contrast to the patriotic, colorful war propaganda posters of the first half of the 20th century, the 1960s and 70s gave rise to another type of political advertisement -- the simply drawn, sometimes sobering protest poster. Decorating the bulletin boards of college campuses, these posters served as rallying cries for peace, defamations of Nixon and the federal government, and tributes to the martyrs of the civil rights movement.

Here's a selection of 25 posters from 1969 to 1974, compiled from "The Art of Protest" collection at the San José State University Library.

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Posters of the golden age of Soviet cosmonauts

  • Published 19 September 2015

Iraklii Toidze, In the Name of Peace, 1959

Five decades ago the Space Race was being vigorously fought between the Soviet Union and the US. For a time the USSR seemed to be winning and it tried to make the most of the propaganda potential.

Here we take a close-up look at seven posters from a new exhibition - Cosmonauts: Birth of the Space Age - at the Science Museum in London.

In the late 1950s and early 60s, when space travel was in its infancy, the USSR closely guarded its technological secrets - keen not to let the Americans get the upper hand.

But, as Natalia Sidlina, one of the curators of the Science Museum's new exhibition, explains, Communist leaders also wanted Russians to celebrate the advances the country was making.

"How do you go about creating propaganda for an industry which is so heavily classified?" she says.

Posters were the answer.

Iraklii Toidze, In the Name of Peace, 1959

Sidlina says a famous World War Two poster, Mother Russia Calling, was the inspiration for this first space race poster - In the Name of Peace.

It features the same female figure, in the same red outfit and headscarf - and would have been recognisable and familiar to the Russian population.

And with the nuclear bomb drops on Japan at the end of WW2 little more than a decade before, Moscow was keen to stress - she adds - that as far as space exploration was concerned, everything was peaceful.

"There is not much space gear on the poster," she says. "Just rays from the Sun, a tiny rocket and a planet in the corner."

Iraklii Toidze, In the Name of Peace, 1959

The next poster focuses on two of the dogs - Belka and Strelka - sent into space by the Soviets ahead of the first human missions.

It was 1960, says Sidlina, and the Soviet Union had already launched Sputnik 1, the first man-made Earth satellite - and Laika had become the first dog in space in Sputnik 2.

Scientists were edging closer to manned space flight, but more animals would make the journey first.

"The launcher was classified, so was the spacecraft - all the poster designers had to go on were the dogs," she explains.

The poster features a stylised rocket, with clear Soviet symbols - a red star, plus hammer and sickle.

It is being held by a strong Slavic looking working class man, with big bare hands.

Konstantin Ivanov, The road is open for humans, 1960

The next poster, The Fairy Tale Became Truth, celebrates 12 April 1961 - the day when Yuri Gagarin became the first man in space.

"Dogs - and then cosmonauts - were the equivalent of Hollywood stars in the Soviet Union," explains Sidlina.

The Fairy Tale Became Truth, 1961

The poster artists were again limited with the detail they were allowed to show.

"Gagarin's space suit is more like that of a pilot of a fighter plane than a cosmonaut," says Sidlina.

She explains that he is depicted as a modern-day Prometheus - the Greek Titan who gave fire to man.

"It is the mythologisation of Gagarin as the first human in space."

The Fairy Tale Became Truth, 1961

The fourth poster features a photo montage of cosmonauts' faces, and celebrates the Communist Party's role in the Soviet space programme.

From left to right in order of mission - Gagarin, Titov, Nikolayev and Popovich - the first four cosmonauts in space.

"It's patriotic and political," says Sidlina.

Boris Berezovsky, Glory to the Communist Party of the Soviet Union! 1962

The fifth poster is a festive design for children.

It was created in 1963, just after Cosmonaut Valentina Tereshkova became the first woman in space - travelling in Vostok 6.

The fact we can see a boy and a girl is significant, says Sidlina.

They are shown in space suit outfits and carrying a stylised Vostok launcher - "showing the way is open for every child to dream of going into space - with no boundaries."

Nikolai Charukin, Happy New Year Kids! 1964

When Sweden's Nobel Committee decided to award a prize to the Soviet space programme's chief designer they asked to know his name.

Premier Khrushchev refused to name Sergei Korolev - whose identity was classified - and told the committee that the entire Soviet people deserved the award.

Boris Berezovsky, Glory of the Space Heroes - Glory of the Soviet People! 1963

And the sixth poster tries to convey the same sentiment - and make all Russians proud with a sense of belonging.

"Behind male and female cosmonauts we have scientists, foundry workers, ground staff... it's everyone," says Sidlina.

Boris Berezovsky, Glory of the Space Heroes - Glory of the Soviet People! 1963

The final poster from 1965 displays new design aesthetics, says Sidlina - with the influence of Western films and commercial production.

The elongated triangle is a trail left by a rocket heading into space. It is being walked by a young man in a space suit, who is following the path to distant galaxies.

At the time the Americans and Soviets were competing to achieve the next milestone - get a man on the Moon - and the poster hints that further deep space exploration might be possible.

Miron Lukianov and Vasily Ostrovsky, Through the Worlds and Centuries, July 1965

Cosmonauts: Birth of the Space Age can be seen at the Science Museum , London, until 13 March 2016.

All images copyright Collection of the Memorial Museum of Cosmonautics.

No reproduction without permission.

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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

Rosie the RIveter

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.

propaganda posters 60s

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‘DDR Posters’ and ‘Beyond the Wall’

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propaganda posters 60s

By David Welch

  • Dec. 5, 2014

For 40 years, the Cold War dominated the world stage. East and West Germany stood at the front lines of the global confrontation, symbolized by the Berlin Wall, which separated friends, lovers and families. To mark the 25th anniversary of the fall of the wall, a number of publications have recently appeared.

Working exclusively from the vast collection of the German Historical Museum in Berlin, David Heather has chosen more than 120 posters to chart the history of the relatively short-lived German Democratic Republic, the G.D.R., or, in German, the D.D.R. (1949-90). “DDR Posters: The Art of East German Propaganda” is divided into five sections that correspond to the country’s five decades.

Starting with the formation of the G.D.R. in the late 1940s, the posters shed light on how the East German state attempted to influence the thinking of its citizens. The institution (“One Destination, One Road, Unity”) and consolidation (“Construction Is So Fast That No Lie Can Hold Up”) of the new state, the building of the Berlin Wall, the space race, and the eventual collapse of Communism and the G.D.R. are all documented in these posters.

This is a beautifully presented book, but disappointingly, it lacks a sufficiently analytical framework to do the posters justice. Although the title refers to the “art” of East German posters, there is little discussion of either their stylistic features or their propaganda significance. What were the target audiences, and what were the print runs, for example? Apart from a brief general introduction and a few paragraphs (in both German and English) summarizing the five decades, the posters are left isolated in a vacuum. Sometimes, they are not even fully translated, so unless the reader has a working knowledge of German, the subtlety of many of the propaganda messages that supplement the visual narrative is lost.

The heyday of these posters, as Heather reminds us, was unquestionably the 1950s; by the ’70s and ’80s they were losing out to other media, notably television and radio, and had become more of an artistic legacy. The images in the book remain, nevertheless, extraordinarily strong and emotive, but without context they leave too much to the imagination.

In contrast, “Beyond the Wall: Art and Artifacts From the GDR” is far more ambitious. This massive encyclopedic volume features over 2,500 items from the extraordinary collection of the Wende Museum, which is based, improbably, in Los Angeles and is named for the period of change (“Wende” is German for “turning point”) that followed the collapse of East European Communism. (I must declare an interest here in that I have benefited from using its archival resources.)

The book, beautifully produced by Taschen and edited by Justinian Jampol, the Wende Museum’s founder, offers a comprehensive pictorial history of the G.D.R. Through these diverse artifacts, Jampol provides multidimensional narratives on the everyday experiences of life in East Germany. The book is organized into eight chapters covering major themes: the home; food and drink; design and fashion; entertainment and recreation; travel and transportation; labor and education; political life; and iconoclasm and counterculture. And like “DDR Posters,” it presents its text in both German and English.

The formation of the German Democratic Republic in 1949 led to a more focused view of the use of propaganda along Soviet lines. It was based on the doctrine that “propagandizing the ideas of Marxism-Leninism and tirelessly explaining the policies of the party to the broad masses was one of the most important activities of the party.” For most of its existence, the G.D.R.’s motto in all areas was “To learn from the Soviet Union is to learn victory.” Predictably, the archival material here, which includes everyday household consumer products, clothing, political iconography, photographs, posters, films, paintings and sporting awards, was heavily influenced by the aesthetics and ideological imperatives of Soviet propaganda artists. At the forefront of all propaganda was the overriding message that life was much better under Communist rule. From the 1960s in particular, the G.D.R. celebrated being at the cutting edge of the technological revolution that the Soviet Union had claimed to achieve. This was especially evident in the space race, which became a new Cold War battleground and which unsurprisingly glorified the achievements of Yuri Gagarin and his pioneering spaceflight in 1961 (oddly not included in “DDR Posters”).

Sporting achievements (particularly the Olympic Games), solidarity with other Communist regimes and military might are featured here, as are numerous ­anti-American and generally anticapitalist denouncements. Prominent also are the Five-Year Plans that dominated the economic direction of the G.D.R. under Soviet guidance, and were intended to underpin socialist achievement and prosperity and raise political consciousness on the part of East German citizens.

The propaganda artifacts exhibited in “Beyond the Wall” and the posters in Heather’s book were part of the wider Cold War battle for hearts and minds, and from the mid-’50s they emphasize the G.D.R. as a peace-loving nation, threatened by the imperialist and capitalist aggression of its neighbor West Germany and the forces of the United States. The building of the Berlin Wall was justified as a legitimate response to Western aggression.

The Wende exhibits are luxurious and plebeian, ugly and beautiful, handmade and mass-produced, personal and official, strong and emotive, and banal and comical. But crucially, they are presented neither as reified remnants of an extinct society nor as totalitarian kitsch, but rather as cultural objects that contain or contextualize historical information. Taken all together, they suggest that life in the G.D.R. was represented by more than dissidence and repression, and included routine concerns, habits and activities. Jampol argues that even the symbols of the socialist dream — badges, posters, flags, artworks and monuments — had become part of East Germans’ lives, and did not necessarily mean support for the ruling regime.

As the final section on “iconoclasm and counterculture” demonstrates, the political ideology that was espoused by the Communist Party in East Germany never achieved legitimacy, either at home or abroad. After the Berlin Wall was breached on Nov. 9, 1989, portraits of Soviet and East German leaders such as Leonid Brezhnev and Erich Honecker were transformed from political icons of the Cold War era into objects of ridicule or satire to be sold. However, with the unification of the two German states in 1990, there was a sudden realization for many East Germans that former safety nets and security had been removed overnight to be replaced by a humiliating sense of having been annexed by a stronger partner.

It is clear that material culture will continue to perform an integral role in the process of coming to terms with the past and contribute to future historiographical debates on the G.D.R. and the Cold War. This magnificently produced volume offers a substantive contribution to such debates and is an invaluable aid to a deeper understanding of a crucial chapter in Germany’s turbulent history.

DDR POSTERS

The art of east german propaganda.

By David Heather

159 pp. Prestel. $39.95.

BEYOND THE WALL

Art and artifacts from the gdr.

Edited by Justinian Jampol

903 pp. Taschen. $150.

David Welch is a professor of modern history and the director of the Center for the Study of War, Propaganda and Society at the University of Kent in England.

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  • Mid-Century Modern: 1960s Style Posters

Mid-Century Modern: 1960s Style Posters

Turbulent '60s Style Posters

Explore our world-leading  1960s Style collection.

The orderliness of the Fifties would yield to a more chaotic and revolutionary tenor by the mid-Sixties. A new illustration style, one which borrowed freely from Surrealism, Pop Art and Expressionism, was more relaxed and intuitive and the first wave of a Post-Modernist sensibility. A famous example was Milton Glaser's 1967 Bob Dylan record album insert. Glaser crystallized the musician's counter-cultural message by portraying his long hair as a rainbow of richly flowing waves. Glaser's Push Pin Studio was matched in creativity by a dynamic school of poster art in Poland from the '50s through the '80s. The Polish School became known for a sardonic and gut wrenching variety of Surrealism in promoting the State-controlled theatre and cultural organizations.

The excesses of the drug culture and political alienation led to a brief but spectacular Psychedelic Poster craze in the U.S., which recalled the floral excesses of Art Nouveau, the pulsating afterimages of Op-Art, and the bizarre juxtapositions of Surrealism. And the French May Day protests generated a school of propaganda poster that harked back to the Soviet poster and cartoon art. The style would begin to dissipate in the mid-1970s.

Leading Artists:

United States :    Avedon ,  Galli ,  Gee ,  Glaser ,   Griffin ,  Klein ,  Ludekens ,  Moscoso ,  Skolnick ,  Wilson

Switzerland :   Brun ,  Buhler ,  Leupin

France :    Atelier Populaire ,  Mathieu ,   Villemot

Italy :    Marangolo

Explore our world-leading  1960s Style collection .

Birds fly and sun shines down on Los Angeles mission and bells; orange, yellow

*Header image derived from Richard Avedon's 1967 poster,  John Lennon - Look Magazine . 

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Pictolic

The Chinese Cultural Revolution of the 60s and 70s in propaganda posters

Categories: Asia | History | World

Propaganda posters from the time of the Chinese Cultural Revolution of 1966-1976 clearly show how at that time the country was fighting for the high ideals of socialism, and under what slogans it happened.

The Chinese Cultural Revolution of the 60s and 70s in propaganda posters

"Let's speed up agriculture with the help of modern technology!"

The Chinese Cultural Revolution of the 60s and 70s in propaganda posters

"Criticize the Chinese Khrushchev more actively — from a political, ideological and theoretical point of view!"

"Let's welcome the 1970s with new achievements in the revolutionary struggle and in production!"

The Chinese Cultural Revolution of the 60s and 70s in propaganda posters

"Produce more coal — support socialist construction!"

The Chinese Cultural Revolution of the 60s and 70s in propaganda posters

"I will never get tired of learning how to destroy enemies!"

The Chinese Cultural Revolution of the 60s and 70s in propaganda posters

"We are becoming stronger on the big earth under the wide sky!"

The Chinese Cultural Revolution of the 60s and 70s in propaganda posters

"Let's protect the forests!"

"We are ready to fight, we are ready for hunger, we are working for the people!"

The Chinese Cultural Revolution of the 60s and 70s in propaganda posters

"If you want prosperity, control the birth rate!"

The Chinese Cultural Revolution of the 60s and 70s in propaganda posters

"Wash — prevent hepatitis!"

The Chinese Cultural Revolution of the 60s and 70s in propaganda posters

"Learn science, build a country!"

The Chinese Cultural Revolution of the 60s and 70s in propaganda posters

"Set an example, fight corruption!"

"Teach the younger generation!"

The Chinese Cultural Revolution of the 60s and 70s in propaganda posters

"Do sports in the big ocean!"

The Chinese Cultural Revolution of the 60s and 70s in propaganda posters

"Let Mao's philosophy become our strongest weapon!"

The Chinese Cultural Revolution of the 60s and 70s in propaganda posters

"The leading cadres should merge with the people!"

The Chinese Cultural Revolution of the 60s and 70s in propaganda posters

"Be ready now!"

The Chinese Cultural Revolution of the 60s and 70s in propaganda posters

"Be on guard, prepare for a hundred alarms!"

"Long live the 9th Congress of the Industrial Union!"

The Chinese Cultural Revolution of the 60s and 70s in propaganda posters

"Destroy the invading enemy!"

The Chinese Cultural Revolution of the 60s and 70s in propaganda posters

"Support the revolution — produce products more actively!"

The Chinese Cultural Revolution of the 60s and 70s in propaganda posters

"Strengthen the coastal defense of the Motherland!"

The Chinese Cultural Revolution of the 60s and 70s in propaganda posters

"Remember about hygiene!"

The Chinese Cultural Revolution of the 60s and 70s in propaganda posters

"Fruits and melons that we eat raw should be thoroughly washed!"

The Chinese Cultural Revolution of the 60s and 70s in propaganda posters

Dong Kunru is a national hero of China, a soldier of the People's Army who blew himself up in an enemy bunker in 1949.

The Chinese Cultural Revolution of the 60s and 70s in propaganda posters

"Execute the Constitution to achieve great industrial victories!"

The Chinese Cultural Revolution of the 60s and 70s in propaganda posters

"Remember your country, look at the whole world!"

The Chinese Cultural Revolution of the 60s and 70s in propaganda posters

"With pride for our socialist country, with pride for our great leader, Chairman Mao!"

"Throw the American imperialists out of South Vietnam!"

The Chinese Cultural Revolution of the 60s and 70s in propaganda posters

"Make an effort to collect scrap metal and other recyclable materials!"

The Chinese Cultural Revolution of the 60s and 70s in propaganda posters

Stay vigilant, protect the Motherland!"

Keywords: 1970s | China | Posters | Revolution

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  18. The Chinese Cultural Revolution of the 60s and 70s in propaganda posters

    The Chinese Cultural Revolution of the 60s and 70s in propaganda posters. Propaganda posters from the time of the Chinese Cultural Revolution of 1966-1976 clearly show how at that time the country was fighting for the high ideals of socialism, and under what slogans it happened. "Let's speed up agriculture with the help of modern technology!"

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