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The Nazis used propaganda to illustrate Jews as rats in order to dehumanise them as the vermin of mankind. Additionally, the gas used to kill the Jews was originally a pesticide used to kill mice.

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This poster was produced before conscription was introduced in 1916 and aimed to encourage men to join the armed forces through emotional blackmail.

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The Nazi’s had a very imaginative approach when it came to producing posters. Designed by Norwegian cartoonist Harald Damsleth, this particularly famous image depicts the Americans as a domineering force and characterises many of their supposedly negative aspects, such as being money grabbing, racist, over-sexualised and all-empowering.

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In 1985 Steff Geissbuhler created this poster commemorating 40 years since the bomb on Hiroshima, Japan.

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Inspired by a silhouetted self portrait of Marcel Duchamp and islamic paintings, Glaser created a recognisable black and white profile of Bob Dylan, with the memorable psychedelic and organic forms in the hair.

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Wes Wilson was one of the best-known designers of psychedelic posters. Most well known for designing posters for Bill Graham of the The Fillmore in San Francisco, he invented a style that is now synonymous with the peace movement, psychedelic era and the 1960s. In particular, he is known for inventing and popularizing a “psychedelic” font around 1966 that made the letters look like they were moving or melting.

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J. M. Flagg's 1917 poster, based on the original British Lord Kitchener poster of three years earlier, was used to recruit soldiers for both World War I and World War II. Flagg used a modified version of his own face for Uncle Sam, and veteran Walter Botts provided the pose

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Leete's drawing of Kitchener was the most famous image used in the British Army recruitment campaign of World War I. It continues to be considered a masterful piece of wartime propaganda as well as an enduring and iconic image of the war.The effectiveness of the image upon the viewer is attributed to what E. B. Goldstein has called the 'differential rotation effect.' Because of this effect, Kitchener's eyes and his foreshortened arm and hand appear to follow the viewer regardless of the viewer's orientation to the artwork.