[2] Here, Douglas developed iconic images that branded the BPP: the depiction of policemen as bloodied or hanged pigs, as protest against police brutality of African Americans,[5] and imagery in line with the Party's 10-Point program.

[5] In addition, Douglas aligned the BPP with "Third World liberation struggles" and anti-capitalist movements in the edition of January 3, 1970,[6] which shows an impaled pig dressed in an American flag with guns pointed at it, saying things like "Get out of the ghetto" and "Get out of Africa".

[2] In 2007, the San Francisco Chronicle reporter, Jessica Werner Zack, wrote that "he branded the militant-chic Panther image decades before the concept became commonplace.

He used the newspaper's popularity (circulation neared 400,000 at its peak in 1970) to incite the disenfranchised to action, portraying the poor with genuine empathy, not as victims but as outraged, unapologetic and ready for a fight.

"[11] In addition to the paper, Douglas designed postcards, event flyers, and posters that were meant as recruitment tactics as well as a method of spreading the BPP ideology and creating the impression that there was mass support of the cause.

His images were often very graphic, meant to promote and empower black resistance with the hope of starting a revolution to end institutionalized mistreatment of African Americans.

Recognizing the complexities of Black-on-Black crime, Douglas emphasized the systemic factors contributing to such violence, including socio-economic disparities and structural racism.

By collaborating with cultural institutions, educators, and activists, Douglas reinforced the idea that social transformation requires both creative expression and practical community engagement.

His continued work in exhibitions and public discussions underscores his commitment to addressing internal and external challenges faced by marginalized communities.

Conceptually, Douglas's images served two purposes: first, illustrating conditions that made revolution seem necessary; and second, constructing a visual mythology of power for people who felt powerless and victimized.

Departing from the WPA/social realist style of portraying poor people, which can be perceived as voyeuristic and patronizing, Douglas's energetic drawings showed respect and affection.

[24][25] The first exhibition by the campaigning US artist Emory Douglas in the UK, pays tribute to an unsung hero of the modern civil rights movement.

In 2017, the Rhode Island School of Design's Global Initiative (GI) invited Emory Douglas to critique selected student pieces to collectively engage with identity based artwork.