Military Women

Recruitment
Posters of WWII
Edrick D Agostini
DEDICATION
To my mother, Diana Class, who is my hero.
Her perseverance, hard work, positivity, faith, and guidance
has shaped me into the person and artist I am today.
To all of my brothers and sisters in the US military who
sacrice everyday of their lives for our freedom.
i
n
t
r
o
d
u
c
t
i
o
n
During World War II, the United States
of Americas military involvement in
international conict required the effort
of the entire nation. Adolf Hitler and his
National Socialist Party invaded Poland
in 1939 (History, WWII). The invasion of
Poland forced Great Britain and France
to declare war against Germany (History,
WWII). World War II took more lives and
destroyed more property that any
other world conict in history (History,
WWII). The United States remained
neutral until December of 1941 when
Japan bombed Pearl Harbor, Hawaii
(Navy.mil). The United States military
desperately needed bodies tosupport
the war, drafting all men ages 18 through
45. During World War II, the graphic
designers of the Ofce of War Information
(OWI) produced posters exhorting
women to enlist in the armed services.
Using a consistent graphic vocabulary
of color, imagery, type, and composition,
these posters encouraged many
women to join up the U.S. military.
Introduction
Introduction Military Women Recruitment Posters of WWII
1
Women have always worked outside
the home but never before in the
same numbers or with the same impact
as they did in World War II (National Archives).
2
Because of the war, American women experienced a drastic change in roles. The National Archives website states that,
Introduction Military Women Recruitment Posters of WWII
2
In addition, the war opened up new
careers in elds and organizations
that were not as accessible to women
in the past. From 1941 on, women
were allowed to join the military to
support the Womens Army Auxiliary
Corps (WAC), Women Air Force
Service Pilots (WASPS), Navy (WAVES),
and the Marine and Coast Guard
(SPARKS) (Minnesota Library). The U.S.
Navy website states that many
WAVES did not resemble the young,
Caucasian, perfectly-positioned
poster gals. . .The NAVY recruited women
of color and different ethnic origins,
as well as older married and widowed
women, on the condition that
they did not have dependent children
or not become pregnant (WAVES).
For example, gure 1 shows a photograph
of Harriet Pickens being sworn in
by Lieutenant Rosemond D. Selle in New
York City. In 1944, Pickens became
one of the Navys rst African American
WAVES ofcers.
32
Introduction Military Women Recruitment Posters of WWII
3
g 1
O
W
I
O
f

c
e

o
f

W
a
r

I
n
f
o
r
m
a
t
i
o
n
The U.S. government and military
recognized that effort and aid
was needed from all Americans.
President Franklin Roosevelt was
aware of the success of The WWI
poster art. Poster art was introduced
by the Division of Pictorial Publicity
of the United States Committee on
public information which was founded
in 1917 (Bird and Rubentstein7).
Roosevelt formed the Ofce of War
Information in 1942 to oversee and
manage all graphic and visual material
used for recruitment or labor
purposes (Bird and Rubentstein 7).
The OWI women recruitment
campaign posters seek to capture the
attention of women by developing
a sense of inclusion and commitment
(g2). This propaganda campaign
managed to shift the focus of family
and home to the workplace (Dower 60).
The posters represented the spirit of
a community. As one of the OWI
ofcial stated, We want to see posters
on fences, on the walls of buildings,
on village greens, on boards in front of
the city hall and Post Ofce, in the
hotel lobbies...not limited to the present
neat conventional frames which
make them look like advertisements...
(Bird and Rubenstein 11). As William
Bird and Harry Rubenstein noted in
their book, Design for Victory, WWII
posters helped to mobilize a nation...
the poster was an ideal agent for
making war aims the personal mission
of every citizen...posters conveyed
more than simple slogans (Bird 1).
The process of creating propaganda
posters varied depending on the
budget and resources available by
the OWI. There were many mediums
available to create the posters including
hand-drawing (g 3), lithography,
screen-printing, lino-cut, line-block,
letterpress, and woodcut (Timmers 8).
Lithography facilitated the process of
printmaking during World War II. This
medium traces back to 1798, created
by German printmaker Alois Senefelder.
The process consisted of using stones to
create multiple prints (Kleiner and
Gardner 801). Throughout the years,
this process evolved from using stones
to the use of metal plates. Honore
Daumier who was known as the
master of lithography in 1800s, used
lithography as a method of printmaking
to communicate social criticism
and political protest (Kleiner and
Gardner 801).
WWII posters helped
to mobilizea nation. . .
the poster was an ideal
agent for making
war aims the personal
mission of every
citizen. . . posters
conveyed more than
simple slogans(Bird1).
Military Recruting
Posters of the OWI
owi Military Women Recruitment Posters of WWII
4
g 3
g 2
owi Military Women Recruitment Posters of WWII
5
During WWII the eld of advertising
suffered due to the decline in the
production of new products. Positions
like layout man, illustrator, and
salesman diminished because of the
merging positions in advertising
(Remington 98). As typography and
printing became the new trend,
advertisers streamlinedtheir processes
and merged jobs into the elds
of graphic design or graphic arts
(Remington 98).
Previous art movements like Bauhaus,
American Scene Painting, and
media inuenced the designs of the
OWI. The OWI graphic designers
embraced some of the concepts from
the Bauhaus movement, which
was to organize the compositions
of the posters.They incorporated
elements of composition, two and
three dimensionality, color and
theory of Bauhaus (Kleiner 962). By
incorporating these concepts to
other inuential art movements the
designers were able to create
dynamic compositons in these posters.
owi Military Women Recruitment Posters of WWII
6
Like the Bauhaus, American Scene Painting inuenced the OWI to develop the military women
recruitment campaign posters of WWII (g 4). This art movement ourished in America during
the Great Depression as a reaction against European Modernism. The term American Scene Painting
is generally used to group mainstream realist and anti-modernist styles of painting (Malyon). The
schools responsible for this movement were the rurally-oriented regional schools and the urban
and political Social Realist schools (Malyon). A vast majority of the OWI posters featured elements
of American Scene Painting as the main graphic visual tool to engage the viewing audience.
Similarly, media revolutionized artists by allowing them to capture history. For example, the
OWI utilized photography to portray that the women in the posters were real women in their
work environment performing their job or participating in patriotic activities. As gure 5 shows,
in this WAAC poster, the graphic designer of the OWI uses photography as the focal element. The black
and white photograph depicts a member of the Womens Army Auxiliary Corps, condently
dressed woman in her uniform. She holds a telephone in her left hand calling other women to join the
war effort. Photography, unlike painting, humanizes the members of the WAAC by portraying
them realistically. The OWI created the desire for women to become that woman in the poster.
The Office of War Information
(
OWI
)
created the desire for women to
become that woman in the poster.
g 5
g 4
1
m
a
g
e
r
y
imagery Military Women Recruitment Posters of WWII
7
Throughout all of the recruitment campaign posters, the
OWI graphic designers kept a consistent visual denotative
and connotative language. Remington and Bondenstedt
in their publication American Modernism state, The
emerging role of the modern graphic designer was that
of a conceptual problem-solver who engaged in the
total design of the space, orchestrating words, signs,
symbols, and images into a communicative entity
(Remington and Bodenstedt 98). The rst and most essential
tool of engagement that OWI utilizes in their recruitment
campaigns are denotative elements. Denotative elements
are the rst recognizable elements that the viewer sees,
for example, an image of a dog, a house or a bird. The
majority of these recruitment posters contain females the
lead character as well as iconic objects used during this
period. The females poses, facial expressions, and physical
activities make a lasting impression. In John Falters Enlist
in the WAVES recruiting poster (g 6), the graphic designer
utilizes denotative elements like the figure of a woman,
a military uniform, and parachutes to capture the viewers
attention. The viewer can also observe from these denotative
signs that the females facial expressions reect a sense of
priority, seriousness, and urgency. The clouds like parachute
arrangement in the area above the womens head, create
visual depth and a sense of space. Falter gets the attention of
the viewer with the use of a red sans-serif typeface as well
as the use of the strings of the parachutes, stretching
diagonally. This allows the viewer to travel from the top
to the left, and to the bottom of the composition. The last
element the viewer sees is the organizations name,
WAVES hand-painted in a bold sans-serif typeface.
Recruitment information is in a smaller scale using the same
sans-serif. In their publication, Design for Victory: WWII
on the American Home Front, Bird and Rubenstein state
that, Posters should contain pictures or photographs focusing
on people or specific objects (Bird and Rubenstein 28).
Poster Imagery
g 6
imagery Military Women Recruitment Posters of WWII
8
John Bowerss book, Introduction to Two-Dimensional Design:
Understanding Form and Function, explains the importance of
the creation of visual form and message. He states that these
two elements are the primary way that we express our view
of ourselves, others, and the world (Bowers 5).
IMagery Military Women Recruitment Posters of WWII
9
Once the viewer identifies the basic visual
elements represented, he or she is able
to interpret the message behind the
composition presented in the poster.
As John Bowers states in his book, Design
crosses many sciences, business, and
literature... In the broadest sense, design
encompasses not only visual explorations,
but also those cultural, social, and philosophical
in nature (Bowers 4). To better visualize
the concepts and connotative elements
involved within the posters, one can
refer to the Stu L. Savage poster, Nurses
Are Needed Now (g 7). In this poster,
Savage presents the viewer with an image
that represents more than just a nurse
portrait. The rst connotative element represented
in Savages poster is a cape symbolizing a
sign of royalty, superiority, leadership, and
patriotism. Signs of patriotism and loyalty
are reected by the use of the colors red and
blue on the cape. The white uniform adds
an angelic and serene visual element to
her uniform and cape in the middle of a
dark, chaotic, and uneasy background. Her
gure is highlighted by a bright light that
focuses on her making her the protagonist
in the composition. The scale of her gure
dominates the foreground portraying her as a
hero or most important element in the
chaotic image. She looks out to the horizon,
not making eye contact with the
viewer as if she is pondering on her future
and the opportunity that her career has
given her. The destroyed building in the
distance reects the mass destruction
and turmoil that the world was facingbecause
of the war. Savage illustrates a sky full of
dark clouds moving forward exposing a
bright and clear sky, perhaps representing a
new beginnings or a chance to make a
difference as a leader of the American
Army Nurse Corps.
g 7
c
o
l
o
r
The power of color in propaganda
campaigns tends to be ignored or
underestimated. Harmony of colors
has a powerful effect on the
communication and success of any
campaign. As J.L. Morton states
in his website, Harmony engages
the viewer and creates an inner
sense of order, a balance in the visual
experience (Morton). Lack of
harmony, either caused by over-use
or under-use of discordant color
combinations, tends to create chaos
or boredom (Morton). Color
harmony consists of three different
theories: the theory of analogous
colors, complementary colors, and
combination of colors based on
nature (Morton). The OWI graphic
designers cleverly utilized these
theories and the context of specic
colors as components of these
successful propaganda compositions.
Color
Color Military Women Recruitment Posters of WWII
10
To better understand how integral
and necessary color becomes in the
recruitment posters, one can refer to
John Falters That Was the Day I
Joined the WAVES poster of 1945
(g 8). In this posters, what seems
to be a Navy female recruit stands
confident. In the foreground is
chaotic war scene and a sad telegraph
stating that her love, Dan, has been
wounded. The image plays an important
part in delivering the message to
the viewer. Color too becomes key in
engaging and delivering the
message. The use of red and blue
creates a patriotic composition.
The subject of patriotism, specically
during the most brutal war
experienced by America, triggered an
emotional reaction from the
audience because of the representation
of women and men, volunteers or
draftees. The use of red lipstick and
blush on the female integrates an
element of femininity and condence.
She knows who she is and what
she stands for. Lastly, the use of the
color yellow of the Western Union
telegraph document and the red of
the typography creates an sense of
urgency and priority. By adding yellow
to the background of the female
image, John Falter intentionally
developed a harmonious natural
(primary color) composition. In addition,
Falter uses this color in a connotative
way to reflect a sign of warning
and caution. As Al Ries describes
it in his book, The 22 Immutable
Laws of Branding, red is a color
used to attract attention... yellow is
often used for caution (Ries 87).
Color Military Women Recruitment Posters of WWII
11
g 8
t
y
p
o
g
r
a
p
h
y
Before WWII, advertising of new products propelled
the economy of America. Typography became
an essential tool of communication during WWII
(fig 9). Propaganda campaigns targeted both
military and civilian Americans, to support the war.
Display typography was a leading element in most
typographical compositions of the recruitment posters.
typography
typography Military Women Recruitment Posters of WWII
12
g 9
John Falters posters,Share the Deeds of Victory (g 10) and Its a Womans
War Too (g 11), are two dynamic examples of the typographical use in the
WWII military recruitment of women propaganda. John Falter not only mastered
illustration, but also the use of typography in both examples. In the work, Share
the Deeds of Victory, Falter uses a sans-serif display typeface in a medium
scale for the reader. The major typographical component that draws the viewer
into the composition is the typography below the image. Here, he focuses on
the main message in the poster by playing with two hand-drawn sans serif
typefaces specically highlighting the organizations name which he differentiated
in typeface and color. The focal point of the typographical composition relies
solemnly on a red color slab serif that spells WAVES. The least important
information was presented at a smaller scale, but harmoniously and clearly
rendered in red to create a sense of belonging and balance. His selection of the
slab serif used in Join the WAVES adds a dynamic and humanistic element
to the composition.
Similarly, Its a Womans War Too deals with scale and type. The typographical
focus, like in the previous poster, relies on the organizations name, WAVES.
The focus solidly falls on the hand painted sans-serif and the angle in which it was
rendered. The type below, even though it is at a smaller scale, creates a sense of
movement that complements the image, and adds a playful element to the overall
composition. It also unies the image with the typography by mimicking the look
and shape of the red cables in the bottom of the image. The secondary messaging
above the females face introduces a serif painted typeface on a smaller scale.
This hand painted serif in conjunction with the typography below the illustration
frame the image of the female, making it the focal point of the poster. Placement
of the type and scale fuse both image and type merging these elements to create
denotative and connotative messages that the viewer will remember.
typography Military Women Recruitment Posters of WWII
13
g 11
g 10
c
o
m
p
o
s
i
t
i
o
n
The OWI posters not only captured the
essence of the female gure within the
military work scenes and related activities,
but also an urgent visual and typographical
design message. Elements like imagery,
color, and typography, discussed previously,
converged in a coherent composition.
The hierarchy and placement of these
elements work as a bonding force to
develop an engaging visual language.
composition
composition Military Women Recruitment Posters of WWII
14
An example of successful hierarchy is the OWI poster of 1945, Womans Place in War, Cartographer Army
Ground Forces (g 12). The poster portrays a collection of visual and typographical elements that are
arranged on a red surface. The red background highlights the poster and attracts the viewer to focus on the
photograph that seems to rest diagonally in the center of the composition. The OWI created a successful
hierarchy and placement in this composition by using elements of typography, imagery, and subject matter.
composition Military Women Recruitment Posters of WWII
15
g 12
composition Military Women Recruitment Posters of WWII
16
First, typographical elements are found
throughout the poster at different scales
and locations. Above the photograph the
graphic designer utilizes a sans-serif
hand-painted typeface that dominates
the top of the poster. Underneath
the photograph at a very small size, the
typography states the name of the job
these women are performing and the
organization that they are representing.
On the background plane in two
different sizes, the graphic designer
uses quantitative information about the
number of jobs available to women in
the Army and in a larger serif-typeface
the organization they will report to for
information. In addition to the size and
placement of these elements that create
of visual space and balance, the color of
the typography differentiates what is
supposed to be read rst and the visual
space that they rest on.
The black colored headline above the
photograph and on the corner work as
a secondary communicating tool. The
primary typography is the white and
bold typography at the bottom of the
composition because of its color, size,
and contrast with the red background.
In addition, the third element of hierarchy
and placement that makes this poster
successful is the subject matter, in this
case the photograph. The graphic designer
selected a large scale black and white
photograph portraying two female
cartographers. This photograph presents
one of the most essential jobs of the Army
being performed by women. The Army
wants to announce to women looking at
the poster that jobs like this are available
to anyone willing to enlist in the Womens
Army Corps. The graphic designer placed
this image in the center of the poster at
an angle creating asymmetric balance
in the composition with the typography in
the left bottom portion of the poster
and the two circular elements, one reecting
the American ag colors and the other
reflecting a Roman soldier. To add
three-dimensionality, the graphic designer
added a shadow under the photograph and
the circular shapes.
A second poster that reects the importance of
hierarchy is John Falters poster of 1944,
Wish I could Join Too! (g 13). First, Falter
presents the viewer with typography at
different scales, sizes, and locations. The focal
typographical element is the red headline
that dominates the upper part of this poster. The
headline captures attention because of its size,
color, placement, curved shape, and humanistic
representation. Unlike the characteristic
described previously, the typography used under
the image is in a straight line and light color
typeface. The words, Serve your country, are
rendered in capital and lower sans-serif type,
unlike the word WAVES which stands out in a
larger size, all capital letters, and painted in a light
blue color. Second, the image selected calls for
immediate attention because of its size and
placement. This image portrays a young girl
who seems to be studying at home. She stares
longingly at the photograph which depicts a
woman family member serving in the
military. The typography helps the viewer
understand that she also wishes that she
could join. This typographical element above
her head is an emotional appeal that enticed the
women of this era to help in the WWII efforts.
Falter cleverly positions this image in the center of
the poster, dominating the space with this
graphic and emotional image. The use of the color
red not only emphasized the headline above
her head, but also grounds the image by the
use of the color blue in the lower portion of
the poster. The dominant colors are red and blue
representing patriotism and make the viewer
reflect on the importance of volunteering to
defend the American beliefs and values.
composition Military Women Recruitment Posters of WWII
17
g 13
c
o
n
c
l
u
s
i
o
n
The Ofce of War Information played a leading role in the success of World War II propaganda and the
development of graphic design as a eld. Specically, the women recruitment posters of the OWI reect
the strategic, clever, and dynamic propaganda techniques used as consistent tools of communication.
The posters were a contributing factor to the increased participation of women during WWII; a war
which saw a total of 200,000 women enlist (Sulzberger 475). The work of the OWI graphic designers
merged into a common mission. This organization assisted and developed this career. Graphic
designers were able to articulate in a typographic and visual way their vision and talent. The OWI and
its propaganda helped graphic designers solidify their eld and what they believed in. It also advertised
jobs and careers that were not as easily available to American women. These posters encouraged
women not only to support the war efforts, but also to not be afraid of the workplace. In addition,
the posters changed the way Americans viewed women in society by portraying them as capable, strong
leaders. The OWI graphic designers successful use of color, imagery, type, and composition made the
information easy to understand. Without these elements, communicating the goals and values behind
the recruitment posters would have been impossible. The recipe of imagery and type made a lasting clear
impression on the audience. Perhaps, thanks to the OWI one can say that graphic designers were able to
work together to accomplish a single mission like women who ventured into new careers within their
society and military. Both had the purpose of fighting for their role in the American workforce and
ghting to stand by American beliefs and values.
conclusion
conclusion Military Women Recruitment Posters of WWII
18
Pat Taylor, a veteran graphic designer from Washington DC, has fty years
experience designing posters, logos, and magazines.
He answered questions about the posters of WWII by email in April 2014.
One of the most popular posters created during WWII was the poster Rosie the
Riveter. In terms of imagery and message, why do you feel this poster is so successful
and unforgettable? Does the design of this poster enhance the message? If so, how?
The painting of Rosie is very strong and colorful. Simple equals
strong. One of the major posters of WWII.
In the same poster, do you feel that color is an essential design element to capture the
viewers attention? Do you feel that the poster would have the same power if it had
been black and white?
Rosie is so strong that if printed in black and white it would still be
powerful. Color can help any project.
How do you think the use of handwritten typography in posters Id Join the Navy
and Till We Meet Again enhanced their message?
I think using hand-written lettering can enhance any design. If the
headline is a quote it would be one reason to use it.
In your opinion, what effect, if any, does the use of photography instead of painting
have in catching the attention of the viewer in these posters?
Photography is great for the real product.
Most of the WWII posters contain large scale images. Does the use of large scale
images make the posters more accessible and familiar to the viewer. Do you feel that
they would have been as powerful and successful if they were only typographical?
The WWII posters would not be as powerful in type-only posters.
That design thought came later. Artwork and photos were the thing
to do in the early 40s. Large scale images were used to make a point.
It worked as far as Im concerned.
interview
Questions 1 and 2
Question 3
Questions 4 and 5
Image 1
Image 2
Image 4
Image 3
Image 5
Questions 1 and 2
Question 3
Questions 4 and 5
Image 1
Image 2
Image 4
Image 3
Image 5
Questions 1 and 2
Question 3
Questions 4 and 5
Image 1
Image 2
Image 4
Image 3
Image 5
Interview Military Women Recruitment Posters of WWII
19
image 1
image 2
image 3
image 4
image 5
Works Cited
Bird, William L., and Harry R. Rubenstein. Design for Victory: World War II Posters on the American Home Front.
New York: Princeton Architectural Press, 1998. Print.
Bowers, John. Introduction to Two-Dimensional Design: Understanding Form and Function. 2nd ed.
Hoboken, N.J. : Wiley, 2008. Print.
Dower, John W., and Jacqueline M. Atkins. Wearing Propaganda: Textiles on the Home Front Japan, Britain, and
the United States, 1931-1945. New Haven Conn. :Yale University Press, 2005. Print.
Gardner, Helen, Fred S. Kleiner, and Fred S. Kleiner. Gardners Art through the Ages: A Global History. Australia:
Wadsworth Cengage Learning, 2011. Print.
Kaushik. World War 2 WAVES-Women in the U.S. Navy/ Amusing Planet. World War 2 WAVES- Women in the U.S.
Navy/Amusing Planet. Copyright 2013 Amusing Planet, 12 July 2010. Web. 17 Sept. 2013.
Malyon, John. Artcyclopedia: The Fine Art Search Engine.
n.p., 2012. Web. 15 Oct. 2013.
Morton, J.L. Mobile Color Matters. Basic Color Theory.
J.L. Morton, 2012. Web. 20 Oct. 2013.
The Pearl Harbor Attack, 7 December 1941. Naval History and Heritage Command.
n.p, 1991. Web. 15 Oct. 2013.
Remington, R. Roger., and Lisa Bodenstedt. American Modernism: Graphic Design, 1920 to 1960.
New Haven, CT: Yale UP, 2003. Print.
Ries, Al, and Laura Ries. The 22 Immutable Laws of Branding: How to Build a Product or Service into a World-class Brand.
New York: Harper Business, 2002. Print.
Sulzberger, C.L., David G. McCullough, and Ralph K. Andrist. The American Heritage Picture History of World War II.
New York: American Heritage Pub., 1968. Print.
Timmers, Margaret. The Power of the Poster.
London: V&A Publications, 1998. Print.
Women in the Military- WWII Tags: Military History, Women, World War Two. Overview.
Minnesota Historical Society Library, n.d. Web. 30 Sept. 2013.
World War II. Women in the Work Force During.
The U.S. National Archives and Records Administration, n.d. Web. 04 Nov. 2013.
World War II. History.com. A&E Television Networks, n.d. Web. 14 Oct. 2013.
Works cited Military Women Recruitment Posters of WWII
20
ImageS sources
Images Military Women Recruitment Posters of WWII
21
Hitler Leading the Troops
unknown photographer
1942
source: skepticism.org
Calling WAAC
1941-1945
OWI
wikipedia.org
Women in the war--We
cant win without them
1942
US Government print ofce
loc.gov/pictures
WAVES Woman
1945
Unknown photographer
elaafter.com
That was The Day I Joined The WAVES
John Falter
Oil on canvas, 1945
history.navy.mil/ac/posters/wwiiwomen
WAVES Parachute Rigger
John Falter
Oil on canvas, 1944
history.navy.mil/ac/posters/wwiiwomen
I Wish I Could Join Too
John Falter
Oil on canvas, 1944
history.navy.mil/ac/posters/wwiiwomen
Speed them back
Anon
1943
vepca.wordpress.com/tag/
world-war-ii-poster/
Volunteer for Victory
1943
Toni Frissell
vepca.wordpress.com/tag/
world-war-ii-poster/
Womans Place in War:
Cartographer
1945
OWI
research.archives.
gov/descrip-
Womans Place in War:
Cartographer
1945
OWI
research.archives.
gov/descrip-
WAVE Between Sailors
John Falter
oil on canvas
history.navy.mil/ac/posters/wwiiwomen
WAVE Between Sailors
John Falter
oil on canvas
history.navy.mil/ac/posters/wwiiwomen
Bring him home soonerJohn Falter,
USNR.
John Falter
1944.
poster
history.navy.mil/ac/posters/wwiiwomen
Be a Cadet Nurse
Jon Whitcomb
1944
history.navy.mil/ac/posters/wwiiwomen
Shes a WOW, Woman Ordnance Worker,
Rona, Teidar
1942
Join the WAAC Womens Army Auxillary Corps
1944
allposters.com
Join the WAAC Womens Army Auxillary Corps
1944
allposters.com
Opportunity For Leadership
John Falter
history.navy.mil/ac/posters/wwiiwomen
Nurses are needed now!
Bernatschke
1944
history.navy.mil/ac/posters/wwiiwomen
Images Military Women Recruitment Posters of WWII
22
ImageS sources
colophon Military Women Recruitment Posters of WWII
23
Edrick D Agostini
CCA+D Thesis 2014
Washington DC
printed on River Point paper
typefaces:
headers and title- Kilroy
body- Gotham
pull quotes- Berthold Walbaum
Colophon
colophon Military Women Recruitment Posters of WWII
24
Mother for being there for advice, support, and encouragement.
Cory Andrews for all of your support, understanding, encouragement, and love.
Francheska Guerrero for believing in me and introducing me to graphic design.
Alice Powers and Antonio Alcala for being of great help on this publication.
Your writing and design knowledge has made this publication possible.
Your mentorship has been invaluable.
thank you!