James Montgomery Flagg Essay

Aside from the general nationalism in the form of increased military and activism exhibited by the American people, the propaganda effort also increased the chance of war success through the sense of individualism and importance instilled in those who weren’t on the battlefield. Many resources were “important to conserve during the war effort,” and posters geared toward conservation composed one out of every seven propaganda posters made between 1941 and 1945

During the World War l, Britain and Germany both produced propaganda posters. The posters was designed to influence people’s opinion towards it. British worked diligently to win America’s support.

The new technology to create mass production enabled the profession as a commercial graphic designer which stands for a significant aspect of modernism in Australia. In fact, the first appearance of the term “Graphic Design” is not until 1922, in an American book designer William Dwiggins’ essay “New kinds of printing calls for new design”. (Drucker et.al, 2009) Prior to that, the concept of graphic design such as poster design was not seen as a general commercial advertising medium. “The ‘poster style’ was almost completely confined to the covers of art exhibition catalogues and literary periodicals, and to advertisements in these publications.”

Posters are splashy, large-format images, which are accompanied by a short text. Usually, the purposes of the posters are to agitate, advertise, inform, or teach people. Posters from World War I and World War II often used metaphors, different figures, events, and places. During the First World War propaganda posters were enormously widespread. Artists used them to agitate people to conscription, subscriptions to war loans, and aid to the wounded soldiers. One of the most important posters from World War I and World War II is “I Want You for U.S. Army” by James Mantgomery Flagg. This poster is very influential because of its figure, the message, and the effect on the people.

3.) A.) Figures 8.7 and 8.8 are both enlistment posters aimed at young men. What emotional responses do the artists seek to arouse in their intended audience? How are their methods alike, and how do they differ?

Painters enormously manipulated the truth in their portraits they painted since they aimed to present a specific meaning or feeling to their observers. One of the results, paintings of America`s wars especially before the Civil War had a

Once revered as the greatest nation in the world, Great Britain was definitely put to the test in 1914. As the war began to pick up, so did the number of casualties that the British Army began to take. The BEF or the British Expeditionary Forces, were known as the “professional forces began to take losses to and force the hand of the British Government. With the Government needing more men to fight in the war, they began a scheme to lure in young men and “boys” to volunteer for the war effort. Horatio Kitchener was the face of these posters that caught the patriotic eye of these men, but there

This poster is an exceptionally example that illustrates brody’s style from both his formal training at the London college of printing, combined with his more experimental visual communication of media. Brody has used a monochromatic color scheme to create a more modern clean cut fell, with a slight use of minimalist and non-secretive typography through the poster.

Images, such as paintings and photographs, are intensely visually striking and evoke strong emotions in those who view them.“Into the Jaws of Death” provides a perfect example of that intensity, having been taken by Robert F. Sargent during the early morning hours of the D-Day invasion of Normandy. Even today the famous photograph evokes strong emotional reactions in many people who view it. This photograph served a purpose more significant than was realized at the time, to the point of becoming a pivotal point in support for the war effort. How was this accomplished? By conveying personal themes of heroism, patriotism, and mortality through devices such as angles, colors, uniforms, and proxemics.

When looking at these images I think of the original piece that these works are a reference to. For the Obama hope poster I am reminded of the political campaign of him running and the photograph the poster referenced. In the second and third poster I am reminded of the first poster as these are a parody of sorts of it. The second poster has a portrait of the Joker from the batman series. The third is a reference to Bill Clinton’s sex scandal.

If you are looking for saxophone lessons online, you should definitely check out what James Morton has on offer. His lessons here at Pro Music Tutor will teach you a lot about how improvise with the saxophone and the best techniques to take your playing to the next level.

Imagery uses color as well that is eye catching to anybody. For instance, in a poster with a large British solider, this shows that they are powerful and should be looked up to. Below the solider are hardworking citizens which do work and this helps aid to the solider to grow. Additionally, there is another poster that states "Woman of Britain" and has a picture of a factory worker standing right under war planes. It is stating that they have the power to aid with the war by working. Overall, imagery is a necessary part of posters and propaganda to persuade an audience.

He thought regardless of each’s own individual political outlook, it was un-American not to serve. “If all people shared this distorted thought process, then we could never have won Second World War and we would only have one uncle, not Uncle Sam, Uncle Adolf.”

Throughout history, the motifs and characteristics of graphic design have changed tremendously. The unique qualities of poster designs from the French Art Nouveau movement and the International Typographic Style both reflect their social environments at the time. Henri de Toulouse-Lautrec’s La Goulue au Moulin Rouge and Alphonse Mucha’s Monaco Monte Carlo demonstrate the techniques and qualities of the Art Nouveau era, while Josef Müller-Brockmann’s Der Film and Neue Grafik / New Graphic Design / Graphisme actuel, no. 2 by Carlo L. Vivarelli demonstrate the techniques and qualities of the International Typographic Style.

Following World War II, Americans continued to have a strong sense of nationalism which ultimately led to a continued acceptance of the government’s decision to act militarily in Korea, thus creating the need for more soldiers as well to fight in what is known now as the Cold War. This particular advertisement titled “The Mark of Man” was featured in a 1951 edition of LIFE magazine primarily to persuade young men to follow the bandwagon of soldiers that wore the respected U.S. Army uniform, referred to as “the mark of a man”. Through symbols, themes, and the tone of their advertisement, the U.S. Army goes beyond recruiting men for the war and gives further insight into what it meant to be a soldier during this time period.