WHEELER JUELL
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By Wheeler Juell
ABSTRACT
Graphic design shapes how the world functions and the way we interact with it. Most people don’t even realize that all day they are being guided by designed elements around them. This is one of the greatest beauties of graphic design; it is meant to be invisible yet unmistakably evident and inescapable. As a new era of design is emerging, designers all over the world are moving beyond just being the creators of beautiful things that guide people through their lives. Designers now understand that graphic design can be the spark for real positive change in the world.
HOW GRA P H I C D E S I G N S H A P E S P O P U L A R C U LT U R E A N D I N F L U E N C E S T H E WOR L D
A B R I E F H I STORY O F GRA P H I C D E S I G N
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I N STA N C E S O F GRA P H I C D E S I G N S H A P I N G P O P U L A R C U LT U R E I N H I STORY
D E S I G N I N G T H E WOR L D WA R S
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H O W G R A P H I C D E S I G N SHAPES P O P U L A R C U LT U R E A N D INFLUENCES T H E WO R L D . 5
WHY DO YOU THINK
Why do you think we started wearing deodorant and being self conscious about the way we smelled? Deodorant did not become popular until the 1930s’. Humans have existed for thousands of years without a care in the world about how their underarms smelled. So what happened? Did a man come home one day after work and feel disgusted at how he smelled? No, that scent was considered to be masculine. Did his wife tell him that he smelled wretched? No, she simply did not care. The reason we started wearing deodorant is because a clever team of designers and copyrighters created several advertisements telling us that “that smell” was stinky, and that it was embarrassing to be seen with wet armpits. They told us that if we did not smell good, we would never find a mate or be popular or live a “normal” American life. A few short years later, the antiperspirant industry skyrocketed to an 18 billion dollar industry, and deodorant became something of popular culture (Everts, 2012).
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Graphic design has been shaping popular culture and influencing the world from the beginning of human existence to this very second. It helped build civilizations in ancient times; Hitler used the power of design to create an Aryan Race in pre World War II Germany; and today designers are using this immense power to create positive change in the world. The ultimate goal of this research project is to assay how emerging designers and creatives can use this influence embedded in our craft to bring about real, positive change to this world.
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To get there, a brief history of graphic design will be explored, and examples of how it has influenced cultures in the past will be highlighted. Then the question of “what gives design this power?” will be contemplated. Design is communication and designers are the gatekeepers of information. And finally a looking glass will be pointed at the future to examine how designers can utilize this power to create a better world.
A B R I E F H I S TO R Y O F GRAPHIC D E S I G N .
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FIRST,
a brief history of graphic design needs to be explored in order to fully understand and appreciate the influence it has, and has had, on the world. Commercial art began to be formally recognized in the late 19th century, and in 1922, William Dwiggens coined the term “graphic design�. The history of graphic design, however, dates back many thousands of years to ancient times. Even before Egyptians began to create the first written language made up of icons and images, the people of the world were communicating through images painted on cave walls. The first specimen of this prehistoric art is a series of cave paintings created around 30,000 B.C by the people of the Chauvet Cave in Southern France. These paintings depicted the animals they relied on for survival. In India and Australia and several other parts of the world, similar images were being created on the walls of caves and on ancient rock formations. Images of animals, warriors, epic battles, victories, and life, all meant to tell a story and pass on knowledge.
A few thousand years later, around 4,000-3,000 B.C., the ancient Egyptians formalized a written language to convey various socio-cultural values that were at the roots of their system of beliefs. These ancient graphic artists engraved, carved and painted epic stories of the gods and goddesses who ruled over every aspect of their lives and determined their fates. They depicted these epic stories, as well as chores of everyday life like plowing the fields, making wine, worshiping the gods and the mummification process, by combining pictograms with specific meanings, and images of people preforming different activities. The pictograms were set in a straight grid, and the people were drawn to very specific proportions determined by a universal grid.
From the invention of the first written language to the creation of Middle Eastern calligraphy, to Massimo Vignelli bringing the typeface, Helvetica, to the United States in its lead form, the history of graphic design is extensive. However, for the sake of this research project, enough information has been presented to simply to point out that graphic design has been developing and evolving for as long as mankind has been developing and evolving.
Left: An example of ancient cave paintings found in the Chauvet Cave in Southern France Top: Examples of Ancient Egyptian hieroglyphics and pictograms set to a specific grid formation
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THE POWER OF GRAPHIC DESIGN
INSTANCES O F GRAP H IC D E S I G N SHAPING P O P U L A R C U LT U R E I N H I S TO R Y . 9
I N A NOT SO D I S TA N T
In a not so distant time in history, Edna Murphy, a high school student and young entrepreneur from Atlantic City had an idea. She discovered that her father’s antiperspirant, which he used to keep his hands dry during surgery, worked very well to stop underarm sweating and odor.
She created a product, Odorono, started a business, and set out to rid the world of underarm odor. The problem was, that during this time no one really cared about the way they smelled, therefore, had no need for a product like Odorono. Murphy and her team
were unable to sell it door to door and it failed on store shelves.
After a few years of struggling to sell Odorono, Murphy reached out to J. Walter Thompson Company, a New York based advertising agency that had just opened up a new branch where Murphy lived. James Young, the company’s copyrighter, did some research and discovered that “every woman knew of Odorono and about one-third used the product. But two thirds felt they had no need for [it]”. In 1919, Young created that need by releasing a series of ads with messages like “Within the Curve of a Woman’s arm. A frank discussion of a subject too often avoided…” and “A woman’s arm! Poets have sung of it, great artists have painted its beauty. It should be the daintiest, sweetest thing in the world. And yet, unfortunately, it’s isn’t always.” These headlines were paired with images of men and women embracing each other, and men talking sneeringly behind the backs of smelly women. Antiperspirant Advertisements from the early 1920s’
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THE POWER OF GRAPHIC DESIGN
It worked. The following year Odorono’s sales climbed 112 percent and eventually reached one million dollars. The mentality shifted from “no I do not need that, it’s weird,” to “oh you don’t use that, you are weird.” Other companies followed suite and soon all of America was wearing deodorant. The moral of the story is that without these advertisements shoved in the face of the public by graphic designers and copyrighters, the world would never have started wearing deodorant. It may have gained popularity over time and became a standard without the help of graphic design, but these ads made it popular culture in a way that nothing else could have. They made the masses believe that without this product, they could never live a standard American life or be popular or have a relationship. That is true power. Around this same time, a much more serious issue was brewing; World War I (WWI) was in full effect and spreading beyond the boarders of Europe. Commercial art was just being developed the few years before WWI, and with its onset came an important change in the design climate. Patrick Cramsie identified this change in the best words; speaking of the poster artists and advertisers of the early 20th century he states: Initially their simplified designs were directed to commercial advertising, but with the onset of war and revolution their focus turned away from matters of corporate gain and towards the more momentous issue of personal survival. The life of an individual could sometimes hang on the successful communication of a graphic message. This change in design sensibilities came off the heels of the highly illustrative and decorative Art Nouveau movement. Pioneered by the likes of Alphonse Mucha, Jules Chéret, and Henri de Toulouse-Lautrec, Art Nouveau was a very whimsical, organic, and expressive form of art focused on the actual artwork more than the message it was meant to delineate. With the rising need to clearly and quickly communicate a message to the masses, a more simplified kind of poster emerged with “stark arrangements of simple graphic images and minimal typography”.
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DESIGNING TH E WORLD W A R S .
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AS MENTIONED B E F O R E
The public are advised to familiarise themselves with the appearance of British and German Airships and Aeroplanes, so that they may not be alarmed by British aircraft, and may take shelter if German aircraft appear. Should hostile aircraft be seen, take shelter immediately in the nearest available house,
preferably in the basement, and remain there until the aircraft have left the vicinity: do not stand about in crowds and do not touch unexploded bombs.
aircraft sightings. This poster undoubtedly saved many civilian lives by spreading the knowledge of what to do in the event of an attack far and wide.
It goes on to tell people how to notify authorities of German
A British public service announcement poster about British and German Aircrafts.
As mentioned before, this new form of poster design came with a need to clearly and quickly communicate a message to the masses, to the population of an entire country. The messages that these WWI posters conveyed covered a large range of topics from personal safety in the event of an attack, to encouraging every man to enlist and serve in his countries army. In the above quote, Cramsie states, “The life of an individual could sometimes hang on the successful communication of a graphic message”. He meant this quite literally. In 1915, the British government produced a poster in response to an increased amount of air raids from Germany on British soil. The extremely graphic, easily readable poster shows silhouetted images of both British and German airships and “aeroplanes”. The images of the planes appear as they would if a bystander on the ground saw the plane flying overhead. The poster graphics are paired with a headline that reads “PUBLIC WARNING”, and body copy that tells viewers:
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At the same time, another poster was urging young men to “Join Your Country’s Army!” During the first year of WWI, Britain’s army took heavy losses. They needed to replenish their troops, so a poster was created. This one showed “Britain’s secretary of state for war, Lord Kitchner, with his distinctive walrus mustache, pointing at the viewer… in a spirit of instruction”. The type Reads: “‘Britons Lord Kitchner wants you’ Join your country’s army! God save the King”. There is undeniable proof that this poster 14
succeeded in its intention: by the end of 1915, one year after it was released, Britain’s army had twoand-a-half million new members. Posters just like this were issued all over the world from nearly every country involved in the war. In 1917, after the United States joined the war, James Montgomery Flagg created the iconic “I Want YOU for U.S. Army” poster. This poster was very successful at doing its job. During WWI over four million copies were printed and it was reissued during WWII.
THE POWER OF GRAPHIC DESIGN
Examples of “I Want You to Join the Army” war posters from around the world.
By this point, the whole world discovered the immense power and influence that graphic design, and especially poster design, had on people. These powerful graphics from the First World War saved thousands of civilian lives, and encouraged the enlistment of over 2 million men. They educated the public on what was happening overseas and told them of ways they could help the fighting soldiers from home. These posters played a crucial role in the victory over Germany. It is interesting to think about what might have happened had Germany produced more effective posters than the opposing forces. The state of the today’s world might be very different. This thought leads us on to World War II. During the First World War, the United States and Brittan far surpassed Germany in the creation and distribution of war posters. When Hitler came to power, he claimed that the loss of WWI was directly related to a lack of war propaganda, and set out to turn the tables. Steven Heller sums this up very well: Hitler’s fervent desire to attain propaganda supremacy among nations was a direct result of the German defeat in World War I and his belief that
superior allied propaganda trumped Kaiser Wilhelm II’s meager output. Through intensive barrages of posters and other visual media, Britian and America effectively defamed the “Hun” in the eyes of the world, portraying the Kaiser’s military as callous blood-thirsty beasts. In response, Hitler hired Erwin Schockel to create a book assessing American, British, French, Russian and German political posters from WW1 and the years succeeding it. The book, published in 1939, was called Das Politische Plakat: Eine Psychologische Betrachtung (The Political Poster: A Psychological Review). It was an extensive
research of political posters, describing in the most detailed way why certain ones were successful and others were not. It covered everything from a history of posters dating all the way back to ancient times, to a comparison of international design styles, to how the Nazi Party would handle poster production in future wars. It was the handbook for all the new German propaganda posters; a guide for all the graphic designers working for the Reichspropagandaleitung (Reich Propaganda Office of the Nazi Party) to ensure that each new poster created was driven by simple and memorable powerful propagandistic graphics.
The cover of Das Politische Plakat: Eine Psychologische Betrachtung, Hitlers Nazi graphic handbook.
Flagg claimed it to be “the most famous poster in the world”. The committee that issued this poster spent one-and-a-half million dollars on advertising for WWI. In the opposing force of Germany the same poster existed: “Auch du sollst beitreten zur Reichswehr --You, too, should join the Reichswehr.”
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THE POWER OF GRAPHIC DESIGN
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Images From Das Politische Plakat: Eine Psychologische Betrachtung and Organizationsbuch der NSDAP
Just as graphic design can be used by governments to influence the people of a nation as shown above, the people of the nation can use graphic design to influence their governments. In 2000, George Bush was elected president. Many artists, and people throughout the U.S. thought this election was downright stolen, and after experiencing the economic turmoil and times of war that ensued, began to take matters into their own hands. In 2003, world renound street artist Shepard Fairey teamed up with another street artist, MEAR ONE, and political artist Robbie Conal, to create a series of anti-Bush posters, hoping that he would not be re-elected in 2004. The three members of the “Be the Revolution” team each created a poster in their unique styles and set out to spread them across the nation. They printed over 15,000 posters, and working with people across the country, saturated nearly every major city with them. Despite this poster campaign, Bush retained his presidency for another four years; however, 18
Shepard Fairey’s “Hope” Poster.
And this was just one of several Nazi graphic handbooks. Another very important one was Organizationsbuch der NSDAP. This was effectively a graphic standards manual for the Nazi Party. In it, every form of the Nazi symbol was detailed, every Nazi flag, how all the different uniforms should look, where the armbands should be placed and exactly which symbol should accompany them, and anything else one could possibly want to know about the graphics of the Nazi Party. It was “the graphic masterpiece of the Master Race”.
Fairey was not done fighting for what he believed in. During the presidential campaign in 2008, Shepard Fairey designed another poster in support of Obama. Most Americans, and much of the world, are familiar with this poster: the illustrated portrait of Obama in red, white and blue, with the word HOPE. He allowed free downloads of the poster from his website and distributed it through as many channels as possible, causing its popularity to go viral. Soon, it was posted all over the nation and became
THE POWER OF GRAPHIC DESIGN
an irreplaceable icon of the Obama administration. Fairey did get in some legal trouble for using a copyrighted image of Obama to create his illustrated portrait, but nonetheless, the Obama administration took ownership of the poster and adopted it into their campaign. This poster was effective and iconic because it defied the norm of political graphics; it looked absolutely different than any poster a political art director or advertiser could have thought up. The poster also “exudes a youthful cachet”, appealing largely to the young voters and inspiring them to take action for a brighter future, full of hope.
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S O FA R I N T H I S
So far in this research project, it has been proven that graphic design has a tremendous impact on cultures. It has the power to make an entire nation and developed world mask a natural odor, it has the influence to make over 2 million men join their countries army, and it has the spark to bring about real positive social change, which will be discussed later in the paper. But first the question of, “why does design have this power?� needs to be discussed. In short, graphic design (among other media) is the medium through which the public gets much of their information. In a rather poetic piece, King’s Edogiawerie writes: Graphic design is seen as water is to life, unavoidable and vital. It is meant to beautify and to solve the problems of communication, information, awareness, clarification of views whether abstract or philosophic and to pass future knowledge. Graphic design has also improved the presentation of science, opinion and facts through high thought compositions of visual information called Information design. Graphic design enhances transfer of knowledge through presentation of text which is being used for packaging, branding logos and all media productions. 20
To summarize, everything that surrounds us every day, has been designed. Companies identities, packaging, advertising, magazines and annual reports, newspapers, street and business signage, the menu at a restaurant, the symbols indicating which bathroom you should use, the wayfinding system that guides you through the airport, the poster for the concert you just went to, the t-shirt you are wearing, the world wide web, and the introduction to the movie you watched last night, and everything else you come into contact with in any given moment, has been designed. This fact alone is one of the main reasons why graphic design has such great influence. Design IS communication and the graphic designers behind it are the communicators.
THE POWER OF GRAPHIC DESIGN
DESIGNING A B E T T E R W O R L D .
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CREATIVES IN TO D AY ’ S
Creatives in today’s world who understand that design is communication are moving beyond just being the creators of “beautiful things”; with their unique perspective on the world and big ideas that could only be generated by a creative mind, designers are using “design thinking” to generate solutions to problems that communities all over the world are facing. They are using design to significantly improve people’s lives. Design thinking is “the combination of unleashed creativity and executable actions”, and it is changing the world. The next section of this research project will be a chronicle of case studies about people and organizations that are exercising their creative powers to bring about real, positive change to communities across the globe. These projects can be as small as convincing the city to install a new sidewalk on a busy stretch of road, or as massive as providing relief to over 30,000 people who were affected by wildfires.
I NEED A SIDEWALK Along Mission Road in Kansas City, there were no sidewalks or crosswalks. On the other side of Mission Road was a beautiful park where hundreds of members of the community liked to go 22
to spend time with friends and family. However, getting to the park was not an easy task and proved to be very dangerous, especially for the kids. They had to cross an extremely busy four-lane road with high traffic speed, low visibility, and no crosswalk. The Visual Advocacy class at the Kansas City Art Institute made it their mission to create a solution to this problem through graphic design.
They created a multi-platform campaign to create awareness about the lack of sidewalks and the dangers that come along with it, and to advocate for the public to get the problem fixed by putting pressure on the city. They started by talking with the members of the community to fully understand just how difficult it was to cross this busy road and to gain a local insight. They then set out to generate awareness of the problem by
THE POWER OF GRAPHIC DESIGN
creating several stencil-style icons of people crossing the street and spray painted them along the road. They also made makeshift crosswalks out of tape and paint to get the attention of the drivers passing by. Along with this physical platform, they also utilized the web and local television to gain awareness and call for action. Buttons, billboards, a website, and a few other forms of advertising were also created to spark the public’s interest and action. The result of this graphic campaign was a community that became heavily invested in finding a solution to this issue of needing a sidewalk in their town. They just needed graphic design to get the ball rolling.
WILD FIRE T E E S During the summer of 2012, Colorado was ablaze with wildfires. One town that was hit particularly hard was Colorado Springs. The Waldo Canyon fire caused over 32,000 residents from Colorado Springs, Manitou Springs and Woodland Park to
evacuate their homes, and the fire destroyed 350 homes. It was the most destructive fire in Colorado History. Instead of feeling hopeless and letting the fire get the best of him, Austin Buck, co-owner of CoPilot Creative in Colorado Springs, formed an idea and a team of creatives to help him pull it off. They created a website, gathered a ton of designs through submissions from all over Colorado and the United States, pulled together the resources they would need, and launched Wild Fire Tees. Their initial goal was simply to “raise more money collectively than we would be able to give individually”. The website was launched on Wednesday, June 27. By the end of the day, they reached $50,000 in sales. Soon, $100,000 was raised, and by the end of the summer, Wild Fire Tees had grossed over $600,00, with 100% of profits going towards wildfire relief. The profits were divided between Colorado Red Cross, Care and Share Food Bank Colorado, the Colorado Fire Relief Fund 2012, the NOCO Rebuilding, and the Pikes Peak Community Foundation; each of these an organization dedicated to rebuilding the lives and homes of people effected by wildfires. Through designthinking leading them to a great idea, this small team was able to raise over $600,000 for a great cause. Graphic design helped this state persevere through what was arguably the worst natural disaster to ever happen in Colorado.
What we believed, which was confirmed by the orders, is that great design matters, period… People wanted iconic designs that commemorated this tragic event but also represented the way our community rallied together. They wanted designs that matched the emotions they felt at the time. They wanted some that made them laugh or remember why we feel so strongly about our state. We
wanted to provide design that was compelling whether or not one had any connection to the cause, as we knew that would end up raising awareness about what was happening to our great state; we also wanted to use that audience to raise as much money as possible for the people who need it. If we had sacrificed good design or quality, the response would not have been what it was.
Left: A billboard from the “I Need a Sidewalk” Campaign Right: The creators of Wild Fire Tees working
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J O H N BIELENB E R G John Bielenberg is a true pioneer of design thinking, and using the power of design to create real solutions to the world’s problems. Bielenberg had a fairly standard design education and career path. He graduated from Binghamton University in 1980, and went on to build his own design firm, C2, in San Francisco. All through this early part of his design career, Bielenberg was doing work for clients and “making beautiful things”. But somewhere along the line, he realized that he was not feeling satisfied. Deep down he knew that design had so much more potential than just creating a new identity system for a start-up company, and he dropped everything to expose that potential to the world. See, Bielenberg always felt passionately that the design profession was capable of solving bigger, more important problems than it had. Too many designers were being trained to make beautiful things like corporate logos, ads, websites, brochures, posters, packages and all that stuff—but nobody trained them to take social responsibility and to use design skills to make an impact on people and communities and causes. In 2003, Bielenberg created Project M, a program and movement with the aim of 24
“lighting a fire under young designers by putting them in real situations in the real world, where real people had real problems. And by shifting responsibility for defining those problems from the teacher to the student” (2012). Project M focused on designing solutions all over the world in the areas of conservation, social responsibility and social change. And instead of making it his responsibility to find these solutions, Bielenberg made it the responsibility of young designers, creating not only a better culture wherever they were working, but also creating a culture of socially conscious up-and-coming young designers. They do work all over the world, from Alabama to Iceland. In Alabama, they turned a downand-out, nearly abandoned part of the city into a thriving, hip ecosystem by creating PieLab, “a socially revolutionary restaurant in a dilapidated storefront”. In Detroit they did a similar thing by founding a community gathering place in a run down inner-city
THE POWER OF GRAPHIC DESIGN
The Project M Group Hacking German signs for Frankfurt and Offenbach to read “Offenfurt” and “Frankenbach,”
lot. In Costa Rica they conserved forests, and they helped Iceland get through economic turmoil, all through graphic design and design thinking.
THERE IS N O D O U B T ANYMORE THAT G R A P H I C D E S I G N HAS A UNIQUE WAY OF S H A P I N G T H E W O R L D. WE HAVE WITNESSED IT HAPPEN OVER THE COURSE OF A CENTURY AND A HALF, AND NOW DESIGNERS ARE USING THIS I N F L U E N C E TO C R E AT E A B E T T E R W O R L D FOR US ALL. SURE, MOST GRAPHIC DESIGN WILL ALWAYS BE DEDICATED TO M A K I N G B E A U T I F U L T H I N G S FOR FINANCIAL GAIN; THAT IS A NECESSARY PIECE OF THE PUZZLE. BUT, THROUGH THIS RESEARCH PROJECT I HAVE LEARNED THAT D E S I G N C A N B E S O M U C H M O R E , CAN DO SO MUCH MORE. I ALWAYS HAD MY SUSPICIONS, BUT NOW I K N O W THAT I WILL SOMEDAY BE ABLE TO USE MY CRAFT OF DESIGN TO CHANGE THE WORLD FOR THE BETTER, IN SOME SMALL WAY. THE NEXT PART OF MY J O U R N E Y WILL BE TO FIGURE OUT W H AT TO F O C U S M Y E N E R GY O N C H A N G I N G, A N D H OW TO M A K E I T H A P P E N …
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Binell, R. (n.d.). Jhon Bielenberg. Retrieved from http://www.aiga.org/medalist-john-bielenberg/ Cramsie, P. (2010). The story of graphic design. Abrams, NY: Abrams. -- (Cramsie, 2010)
Design Ignites Cnange. (n.d.). Creativity holds enormous power to spark positive social change. Retrieved from http://designigniteschange.org/pages/2-about Design Ignites Cnange. (2013, June 18). I need a sidewalk. Retrieved from http:// designigniteschange.org/projects/317-i-need-a-sidewalk DeRose, T. (2012, September 17). Case study: Wild fire tees. Retrieved from http://www.aiga. org/wild-fire-tees/ Edogiawerie, K. (n.d.). The influence of graphic design in our world. Retrieved from http:// kingsed.wordpress.com/lectures/273-2/ Everts, S. (2012, August 2). How advertisers convinced Americans they smelled bad. Smithsonian Magazine. Retrieved from http://www.smithsonianmag.com/history/howadvertisers-convinced-americans-they-smelled-bad-12552404/?all&no-ist Gomez-Palacio, B., & Vit, A. (2012). Graphic design referenced. Beverly, MA: Rockport Publishers. Heller, S. (2010). Pop: how graphic design shapes popular culture. New York, NY: Allworth Press Heller, S. (2011, February 17). Hitler’s poster handbook. Retrieved from http://designobserver. com/feature/hitlers-poster-handbook/24898
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Daichendt, J. (2013). Shepard Fairey inc. Petaluma, CA: Cameron + Company.
Novin, G. (2010, February). Chapter 29 – Propaganda posters. Retrieved from http://guitynovin.blogspot.com/2010/05/chapter-29-propaganda-posters.html Novin, G. (2010, February). Chapter 1 - Birth of graphic design -- Egypt. Retrieved from http://guity-novin.blogspot.com/2010/02/history-of-graphic-design-writing.html
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http://guitynovin.blogspot.com/2010/02/history-of-graphic-design-writing.html http://guitynovin.blogspot.com/2010/02/history-of-graphic-design-writing.html http://www.smithsonianmag.com/ist/?next=/history/how-advertisers-convincedamericans-they-smelled-bad-12552404/?all http://novascotia.ca/archives/images/WarPosters/201406121.jpg http://guity-novin.blogspot.com/2010/05/chapter-29-propaganda-posters.html http://designobserver.com/feature/hitlers-poster-handbook/24898 http://en.wikipedia.org/wiki/Barack_Obama_%22Hope%22_poster http://designigniteschange.org/projects/317-i-need-a-sidewalk http://www.aiga.org/wild-fire-tees/ http://www.aiga.org/medalist-john-bielenberg/ WHEELER JUELL
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T H E P OW E R O F GRAPHIC DESIGN
By Wheeler Juell General Education Capstone
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2014