Intro

Propaganda has long played a central role in shaping political narratives, influencing public opinion, and mobilising collective action. During the rise of fascism in Europe in the early 20th century, visual design was used as a powerful tool to communicate ideology and to establish authority. Posters, banners, and other forms of graphic communication employed bold typography, striking colour palettes, and symbolic imagery to persuade, unify, and control. These techniques were not simply decorative; they were carefully designed strategies that embedded ideology into the visual culture of everyday life.

In the present day, political campaigning continues to rely on persuasive communication, though the mediums and platforms have shifted significantly. Social media, short-form video, and algorithmic targeting now dominate the political landscape, reshaping how messages are crafted, distributed, and consumed. While technology has advanced, many of the underlying principles of design—such as simplicity, repetition, and emotional appeal—remain at the core of persuasion. This raises important questions about whether contemporary political communication can be understood as a continuation of historic propaganda strategies, or whether it represents a fundamentally new form of persuasion.

The aim of this dissertation is to explore how propaganda was communicated through visual design during the rise of fascism in Europe and to examine how these methods compare to those used in modern political campaigning and persuasion. Rather than assuming clear similarities or differences, the research will investigate the extent to which design principles from the past may still resonate in today’s media environment. By analysing both historic and contemporary examples, this study seeks to contribute to a deeper understanding of how visual design continues to influence political communication across different eras. This investigation is not intended to endorse or criticise any political ideology. Instead, it approaches propaganda and political communication from a neutral, academic standpoint, focusing on the design strategies and communication techniques employed. In doing so, it positions propaganda as both a historical phenomenon and an evolving practice, with implications for how we interpret the role of visual communication in shaping political life today.