Bradbury Thompson

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Bradbury

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LIFE + Early life + Education + Yale

Work + Mademoiselle + Westvaco + Influences

Techniques + USA / Victory + Postage Stanps + Technologies

Observation + Personal Observations + Process + Exploration + Communication

5 TABLE OF CONTENTS

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LIFE + Early life + Education + Yale

7 LIFE

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INTRODUCTION The 20th century was a period of transformation for the world, society, and especially for artist. Many predominate artist arose from this shift and lead the way with innovation and creativity. Bradbury Thompson was a graphic designer who flourished during this time, modernizing and developing typography, publications, stamps, and design. Thompson’s work displayed great skill and talent, provoking the boundaries of modern design.

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EARLY LIFE J. Bradbury Thompson was born in Topeka Kansas in 1911. Early on Thompson demonstrated an interest in graphic design and art. In an interview with Todd Hays from Step-by-Step Graphics, Thompson stated,

“The thing that added as much to my involvement in graphic design was magazines. There was a drug store right in the neighborhood and in high school all the kids would hang out there. I can remember poring over all these wonderful magazines like Vanity Fair, Vogue, and Bazaar. While my friends were sitting at the counter having a Coke, I sat over by the magazine stand�

Magazines later become a major aspect in his life and design work. By looking at all these creative magazines a spark of inspiration was made and a newly found passion for design and art opened up for Thompson.

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BAZAAR 1954 Cover

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Vouge 1917 Cover (Left) BAZAAR 1937 Cover (Top left) Vanity Fair 1914 Cover (Top right)

15 LIFE/ Early Life

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During this time, few educational programs existed for graphic designers so many had

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education

“I was just as involved in the process during high school and college as I am now. I was sort of a Jack-of-all-trades� (Hays 135).

relied on experience, to which Thompson was no exception.

Thompson worked with new typography, illustration, editing, drafting, and layout design, giving him a better understanding of design. Thompson attended Washburn College in Kansas, and graduated in 1934 with an art degree.

17 LIFE / Education

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During this time, few educational programs existed for graphic designers so many had

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education

“I was just as involved in the process during high school and college as I am now. I was sort of a Jack-of-all-trades� (Hays 135).

relied on experience, to which Thompson was no exception.

Thompson worked with new typography, illustration, editing, drafting, and layout design, giving him a better understanding of design. Thompson attended Washburn College in Kansas, and graduated in 1934 with an art degree.

19 LIFE / Education

New York In 1938, he leaves Kansas and heads off to New York City to live and experience the design world. In New York, he polished his skills as an artist and embraced every opportunity he received in order to expand his talent and knowledge.

Thompson landed a job as art director for Mademoiselle magazine and consulted and designed for Westvaco Corporation.

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Yale During Thompson’s time spent as a graphic designer, he also spent time at Yale teaching students and future designers. While working at Westvaco and Mademoiselle, Alvin Eisenman the head of the graphic design program at Yale University, visited his studio in New York. Eisenman offered Thompson an invitation to teach a graduate course in his program (Thompson 145). Thompson worked and taught alongside many famous graphic designers like Paul Rand, and Ladislav Sutnar.

He frequently taught and visited Yale for many years from 1956 until becoming ill and forcing him to discontinue his work there in 1995, and later that year passed away. Thompson’s students often went on to become art directors for well-known magazines, newspapers, and corporations. Lawrence Van Gelder, a reporter for The New York Times said, “His strong sense of design, coupled with his belief in the power of the printed word, characterized his teaching to four decades of students at Yale”.

Thompson advised future designers,

“it is important to instill the idea that graphic design is the fusion of word and image. The graphic designer needs to experience the varied intricacies of both and be able to join them in one statement”

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- Hays (142)

This belief is seen in all of Thompsons works and is the reason why he has become one of the 20th century’s most influential graphic designers.

23 LIFE / Yale

Yale During Thompson’s time spent as a graphic designer, he also spent time at Yale teaching students and future designers. While working at Westvaco and Mademoiselle, Alvin Eisenman the head of the graphic design program at Yale University, visited his studio in New York. Eisenman offered Thompson an invitation to teach a graduate course in his program (Thompson 145). Thompson worked and taught alongside many famous graphic designers like Paul Rand, and Ladislav Sutnar.

He frequently taught and visited Yale for many years from 1956 until becoming ill and forcing him to discontinue his work there in 1995, and later that year passed away. Thompson’s students often went on to become art directors for well-known magazines, newspapers, and corporations. Lawrence Van Gelder, a reporter for The New York Times said, “His strong sense of design, coupled with his belief in the power of the printed word, characterized his teaching to four decades of students at Yale”.

Thompson advised future designers,

“it is important to instill the idea that graphic design is the fusion of word and image. The graphic designer needs to experience the varied intricacies of both and be able to join them in one statement”

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- Hays (142)

This belief is seen in all of Thompsons works and is the reason why he has become one of the 20th century’s most influential graphic designers.

25 LIFE / Yale

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WORK + Mademoiselle + Westvaco + Influences

27 WORK

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MADEMOISELLE Mademoiselle magazine’s style was the very thing he would stand and read at the drug store growing up. Thompson was highly influenced by fashion magazines use of European and American art, and newer trends of typography (Hayes 137).

Mademoiselle magazine was very similar to this Euro-American design style. It was a magazine that served as a way to display fashion but also articles and literature for women, by women.

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MADEMOISELLE Mademoiselle magazine’s style was the very thing he would stand and read at the drug store growing up. Thompson was highly influenced by fashion magazines use of European and American art, and newer trends of typography (Hayes 137).

Mademoiselle magazine was very similar to this Euro-American design style. It was a magazine that served as a way to display fashion but also articles and literature for women, by women.

Mademoiselle 1952 Cover

Mademoiselle 1950 Cover

“It was a fashion magazine, yes, but it also published short stories by serious writers, stories that often won the annual O. Henry Awards�

-Julia keller

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that the magazine treated women as if they had brains, but who also want to have fun. Thompson was able to use European – American fashion imagery while also

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Julia Keller, a reporter also goes on to say

“Mademoiselle is an important example of how he steered this magazine for young women into the calm waters of economical typography,

working with modern typography in each

while emphasizing smart visuals”.

publication, pushing the design boundaries

This was the start of Thompson’s career which would

of that time. The magazine was a unique and inventive tool for women who were looking for smart but fun reading material,

lead him to design and redesign over 35 magazines in his lifetime.

and the design captured that essence.

Steven Heller, a writer for Print Magazine stated that,

35 WORK / Mademoiselle

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INFLUENCES Modernism, Dadaism, Constructivism and Bauhaus really began to expand and lead the world of design. Many believe modernist designs started growing and developing due to World War I and World War II. During these periods, many Europeans had to flee to other countries to avoid war. Many of which came to America seeking a new home, but also bring their design styles.

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INFLUENCES Modernism, Dadaism, Constructivism and Bauhaus really began to expand and lead the world of design. Many believe modernist designs started growing and developing due to World War I and World War II. During these periods, many Europeans had to flee to other countries to avoid war. Many of which came to America seeking a new home, but also bring their design styles.

“During and after World War I, flowery Victorian language was

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blown apart and replaced by more sinewy and R-rated prose styles. In visual art, Surrealists and Expressionists devised wobbly, chopped-up perspectives and nightmarish visions of fractured human bodies and splintered societies slouching toward moral chaos�

-Johnson

43 WORK / Influences

“During and after World War I, flowery Victorian language was

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blown apart and replaced by more sinewy and R-rated prose styles. In visual art, Surrealists and Expressionists devised wobbly, chopped-up perspectives and nightmarish visions of fractured human bodies and splintered societies slouching toward moral chaos�

-Johnson

45 WORK / Influences

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Alexander Rodchenko 1925 Poster (Left) Lenin and Electfification 1925 (Top left) National Bauhaus Exhibition 1923 (Top right)

47 WORK / Influences

Propaganda was used more, requiring a bolder and more impacting statement visually and conceptually.

Designers looked to more modernist approaches and began to create various styles developing bolder and stronger design trends. They were art forms that used more of collage imagery along with bold and modern typefaces. Colors were simplified to primaries or CMYK, and images incorporated three basic shapes: circles, squares, and triangles. Thompson was also influenced by these trends because of their unique typography and color. He was very fond of type and finding new ways to communicate through type.

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“Beat the whites with the Red Wedge” by El Lissitzky 1920 (Left) Herbert Bayer Postcard for the 1923 Exhibition (Right)

49 WORK / Influences

Thompson invented the Alphabet 26 font to simplify representation of the English alphabet. He noticed the problem after,

“his own son experience difficulty recognizing the similarity between "Run" and "run" (Bennett).

Thompson created this font face to make the letters more fluent and easier to read to prevent slowing the reader and reducing the communication between reader and design. Thompson stated,

Bradbury Thompson Alphabet 26 (Top) Herbert Bayer Universal Font (Bottom)

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"The art of typography, like architecture, is concerned with beauty and utility in contemporary terms... the typographic designer must present the arts and sciences of past centuries as well as those of today... And although he works with the graphics of past centuries, he must create in the spirit of his own time, showing in his designs an essential understanding rather than a labored copying of past masters" (qtd. In RIT Libraries).

Thompsons passion for type and this style are seen in many of his works however, his work for Westvaco Corporations are the most predominate.

51 Chapter / Section

Thompson invented the Alphabet 26 font to simplify representation of the English alphabet. He noticed the problem after,

“his own son experience difficulty recognizing the similarity between "Run" and "run" (Bennett).

Thompson created this font face to make the letters more fluent and easier to read to prevent slowing the reader and reducing the communication between reader and design. Thompson stated,

Bradbury Thompson Alphabet 26 (Top) Herbert Bayer Universal Font (Bottom)

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"The art of typography, like architecture, is concerned with beauty and utility in contemporary terms... the typographic designer must present the arts and sciences of past centuries as well as those of today... And although he works with the graphics of past centuries, he must create in the spirit of his own time, showing in his designs an essential understanding rather than a labored copying of past masters" (qtd. In RIT Libraries).

Thompsons passion for type and this style are seen in many of his works however, his work for Westvaco Corporations are the most predominate.

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WESTVACO Westvaco Corporation was a paper manufacturing company that produced many high-quality papers for designers and printers. The Westvaco Inspirations magazines were created to help display their paper products while also demonstrating printing techniques, type, and design. Thompson consulted and designed over 60 issues of the Westvaco magazine. Westvaco Magazine blended typefaces with illustrations in a modernist design style and layout.

“Mr. Thompson’s bold experiments with typography, photographic reproduction and color combined the best of traditional design and modernism� (Gelder).

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57 Chapter / Section

Thompson used the basic 4-color process of CMYK (cyan, magenta, yellow, black) to make the magazine very bold and graphic with color but also very cheap for the company. Materials and images very costly expenses for companies. He would work with the same picture on designs to keep cost down, and used type in dynamic ways to further communicate bold ideas.

Images were simple or repeated in the CMYK colors, giving designs variety and motion.

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Looking at the design for the Westvaco spread Liberty Thompson used the same image of the liberty bell in multiple panels. The right side has four images of the bell at varying angles with low opacity CMYK giving the look of the bell swaying. The opposite side also utilizes the bell in illustration form combine text into the page.

Another famous example of this technique was his Rock and Roll spread.

61 WORK / Westvaco

“Liberty” Westvaco

“Rock and Roll” Westvaco

Typography was completely utilized in his work, and would also be used as a form of illustration. By placing various letters in different positioning Thompson could create imagery with type. Some of his type designs would contort or wraps with the page forcing readers to interact or play with the material, and another had readers lift the page up to the light to illuminate the full text. Thompson stated in his book The Art of Graphic Design,

“Type can be a tool, a toy, and a teacher; in can provide a means of livelihood, a hobby for relaxation, and intellectual stimulant – and a spiritual satisfaction” (Thompson x).

Many of Thompson’s designs are seen with similar likeness in creative and varying ways which pioneered modern design.

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TECHNIQUES + USA / Victory + Postage Stanps + Technologies

89 TECHNIQUES

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When World War II started Thompson was an avid supporter of American pride and nationality, and designed magazines for the U.S. government. Victory and USA were

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patriotism

“The primary objective was to show our country in a positive light and reinforce the idea that Americas are hard-working, interesting people, just like the people behind enemy lines” (Hays 140).

both publications that would be dropped

The magazines were bold in imagery and type and applied them in every

in to enemy occupied lands promoting the

aspect. Since television wasn’t invented yet most visual references of image

U.S. and showing how great of a nation we

had to come from magazine. The pages had full sized images to really

were and being a source of propaganda.

visually represent the U.S. as a place that’s big and bold to the readers.

This may seem like very pretentious and

Another issue that arose to these magazines was the fact that the countries

unsympathetic thing for America to do but,

receiving the publications spoke and wrote in different languages.

Thompson had to solve unusual typographical problems and find ways to make them multilingual, making them readable to everyone.

91 TECHNIQUES / Patriotism

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When World War II started Thompson was an avid supporter of American pride and nationality, and designed magazines for the U.S. government. Victory and USA were

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patriotism

“The primary objective was to show our country in a positive light and reinforce the idea that Americas are hard-working, interesting people, just like the people behind enemy lines” (Hays 140).

both publications that would be dropped

The magazines were bold in imagery and type and applied them in every

in to enemy occupied lands promoting the

aspect. Since television wasn’t invented yet most visual references of image

U.S. and showing how great of a nation we

had to come from magazine. The pages had full sized images to really

were and being a source of propaganda.

visually represent the U.S. as a place that’s big and bold to the readers.

This may seem like very pretentious and

Another issue that arose to these magazines was the fact that the countries

unsympathetic thing for America to do but,

receiving the publications spoke and wrote in different languages.

Thompson had to solve unusual typographical problems and find ways to make them multilingual, making them readable to everyone.

93 TECHNIQUES / Patriotism

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“To Arms” Westvaco 1942 (Pg.75) “America At War” Westvaco 1942 (Top Left) “Halt” Westvaco 1942(Bottom Left) “America” Westvaco 1953 (Right)

97 TECHNIQUES / Patriotism

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“To Arms” Westvaco 1942 (Pg.75) “America At War” Westvaco 1942 (Top Left) “Halt” Westvaco 1942(Bottom Left) “America” Westvaco 1953 (Right)

99 TECHNIQUES / Patriotism

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STamps While working with the U.S. Government, Thompson also designed regularly for the U.S. Postal Service. Email and messaging wasn’t a form of communication during the mid 1900’s yet so people relied on hand written letters to communicate. Stamps were a very important aspect of addressing letters and were required for mailing.

Designers were needed to help create and produce stamps for the U.S. Postal Service and Thompson had a strong part in this.

103 TECHNIQUES / Stamps

“Thompson is a prolific stamp designer with more than 100 to his credit�

(Hays 138).

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part of his greater influence in postage stamps. Thompson also guided the work of other artists on stamps since 1969 (Thompson163).

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The designing only reflects a small

“Thompson designed the formats for the American Architecture and the State Birds and Flowers stamps as well as for a number of others” (Thompson 163).

One of the most popular stamps he created was the Love stamp in 1984. It featured stacked words of “Love” and bright colorful hearts in each of the “V” shapes. In 1963 Thompson was “invited to compete with Josef Albers, Buckminster Fuller, Herbert Bayer, and Antonio Frasconie for a science stamp design” (Thompson166). His design was selected as the “unquestionable” winner, but due to the constraints of printing technology it was unfeasible to print. He was an important asset to the Advisory Committee and the postal officials and was appointed on the Advisory Committee to oversee stamp design. Thompsons work was utilized in every aspect of the print world; magazines, typography, stamps, books, posters, etc.

107 TECHNIQUES / Stamps

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part of his greater influence in postage stamps. Thompson also guided the work of other artists on stamps since 1969 (Thompson163).

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The designing only reflects a small

“Thompson designed the formats for the American Architecture and the State Birds and Flowers stamps as well as for a number of others” (Thompson 163).

One of the most popular stamps he created was the Love stamp in 1984. It featured stacked words of “Love” and bright colorful hearts in each of the “V” shapes. In 1963 Thompson was “invited to compete with Josef Albers, Buckminster Fuller, Herbert Bayer, and Antonio Frasconie for a science stamp design” (Thompson166). His design was selected as the “unquestionable” winner, but due to the constraints of printing technology it was unfeasible to print. He was an important asset to the Advisory Committee and the postal officials and was appointed on the Advisory Committee to oversee stamp design. Thompsons work was utilized in every aspect of the print world; magazines, typography, stamps, books, posters, etc.

109 TECHNIQUES / Stamps

“Few people who loved the stamps knew or cared about type, but Thompson’s choice of faces and use of type as a handsome frame helped turn a colorful design into an immensely popular one, offering a lesson on the importance of typography in stamp design” - Thompson (163)

TEchnologies The techniques used for Thompsons work were traditional 4-color process printing. At this period color printing was the main form of mediums used along with woodblock printing.

This process is very recognizable and iconic with Thompsons work since he strictly working in the CMYK colors. Until the Macintosh and computer technology progressed further in the late 20th century allowed digital artwork and programs to be made. Todd Hays asked Thompson about the advancement in technology and what impact they might have on the graphic design community.

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“Computers can certainly produce some new designs and new ways of creating. But in the end, I feel it’s still the idea. Isn’t it? What you have in mind when you want to make your statement is what’s important” (Hays 142).

113 TECHNIQUES / Technologies

TEchnologies The techniques used for Thompsons work were traditional 4-color process printing. At this period color printing was the main form of mediums used along with woodblock printing.

This process is very recognizable and iconic with Thompsons work since he strictly working in the CMYK colors. Until the Macintosh and computer technology progressed further in the late 20th century allowed digital artwork and programs to be made. Todd Hays asked Thompson about the advancement in technology and what impact they might have on the graphic design community.

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“Computers can certainly produce some new designs and new ways of creating. But in the end, I feel it’s still the idea. Isn’t it? What you have in mind when you want to make your statement is what’s important” (Hays 142).

115 TECHNIQUES / Technologies

BB t t Thompson views technology as a good progression however,

the dangers in computer lies in typography. There are wide range of fonts and typefaces available with the computer that

are easily added and made. Designers could start using too

many typefaces in designs that delude the artwork and doesn’t achieve the purpose to communicate and teach.

“There is such a temptation when you have five typefaces, to use five typefaces. By so doing, you lose the integrity, clarity and beauty of using just one typeface well� (Hays 142).

BBBB Being able to create a design using one typeface that successfully communicates a message is far more important than having a variety of fonts with different massages and meanings. Communication for Thompson is probably the most important aspect of a design. Referring to Alphabet 26, he created a font in order to improve the readability and learning the English language. “His mark is upon us, too, in his respect for the reader and the reader’s intelligence—good manners in art direction and design” (ADC).

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OBSERVATION + Personal Observations + Process + Exploration + Communication

119 OBSERVATION

Personal observation Bradbury Thompson has a very strong influential design style that was developed from his creativity and play as an artist. He modernized Bauhaus trends and aesthetics working with print or publications. Design should be fun to create and to look at or play with the viewer but also should convey the artist ideas and message. Clarity and integrity of communication is Thompsons key viewpoints on design and can be viewed in all his works.

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Bradbury Thompson had a unique and stylized design technique, which sets him apart from other designers during the mid 1900’s. He blended clean readable type, simple geometric shapes, and artistic imagery in his works. His style has a modern take on design, which significantly references trends from Europe and the Bauhaus. Bauhaus utilizes the basic shapes and color just as Thompson does. Thompson grew up during the World War eras when many Europeans were fleeing Germany. He became influenced by the art that those European artists created. This made a big impact on Thompson’s life and eventually his design style because he was exposed to European art and artistic style early on, like Bauhaus.

121 OBSERVATION / Personal Observation

His magazines created at Mademoiselle reflected European fashion, mixed with type and modern fonts like the magazines he read growing up. This style is visible in his choice of shapes and use of color. Primarily squares, circles, triangles, and a limited color pallet were prevalent. Bauhaus colors used RGB, however Thompson switched to CMYK, which was used for printing technologies. He also used many sans serif fonts but with less decoration, flourishes, and focused more on the geometry as well as the font itself being the artwork.

Process The processes and technologies Thompson had at his disposal were very limited. Mostly all his work was made for print. Materials and supplies were costly and were not readily available to artists at that time so Thompson had to make do with his limited budget. Colors were limited to the CMYK color pallet, which did not stop Thompson.

He utilized every aspect of CMYK colors in all his designs, not just overlaying them to make an image, but also utilizing the uniqueness of each color individually.

Thompson’s designs used singular images, repeating patterns and placements. By moving the position and color, he made a simple single photograph become much more substantial. The designs progress across the page visually with motion along with type and color.

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Designs like Rock and Roll, Liberty, and Bombardier show this motion in use. Rock and Roll visually represents a rock, which is sturdy and hard, as the solid black and white image of the man who is playing a saxophone. Whereas, the Roll section is filled with overlaying variances in color and is spinning the man around. This signifies the smooth, entertaining, and rhythmic properties of rock and roll. Liberty also features this technique of overlaying color and imagery making the bell appear to be swaying. Similarly, Bombardier shows the motion of the man and the rock falling to the ground. Thompson mastered printing to the point that he achieved movement on a 2D plane by creating imagery that reflects the meaning or idea of the design by using color, placement, and imagery.

125 OBSERVATION / Process

Process The processes and technologies Thompson had at his disposal were very limited. Mostly all his work was made for print. Materials and supplies were costly and were not readily available to artists at that time so Thompson had to make do with his limited budget. Colors were limited to the CMYK color pallet, which did not stop Thompson.

He utilized every aspect of CMYK colors in all his designs, not just overlaying them to make an image, but also utilizing the uniqueness of each color individually.

Thompson’s designs used singular images, repeating patterns and placements. By moving the position and color, he made a simple single photograph become much more substantial. The designs progress across the page visually with motion along with type and color.

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Designs like Rock and Roll, Liberty, and Bombardier show this motion in use. Rock and Roll visually represents a rock, which is sturdy and hard, as the solid black and white image of the man who is playing a saxophone. Whereas, the Roll section is filled with overlaying variances in color and is spinning the man around. This signifies the smooth, entertaining, and rhythmic properties of rock and roll. Liberty also features this technique of overlaying color and imagery making the bell appear to be swaying. Similarly, Bombardier shows the motion of the man and the rock falling to the ground. Thompson mastered printing to the point that he achieved movement on a 2D plane by creating imagery that reflects the meaning or idea of the design by using color, placement, and imagery.

127 OBSERVATION / Process

Exploration Thompson was expressing that an artist needs to have fun. Even if there are restrictions on budgets, images, or colors, an artist’s needs to make it fun by playing with design.

Westvaco magazines is where Thompson played the most by twisting shapes and type, overlaying colors in patterns or on different pages, and using every aspect of the printing process. Westvaco showed how Thompson explored and experimented with techniques or processes. In one issue, a block of text is missing letters and the text is reversed making the sentence unreadable. However, on the next page, the gaps are filled and only when you hold the page to the light does the text on the opposite side appear to be making the message. In another area text slowly spirals in a box to the center, which forces the reader to turn the book around in different directions to read.

In this way, Thompson also has managed to engage art viewers by having them play through his design choices. When we interact and have fun with a design, it becomes influential, memorable, and has the greatest impact.

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Thompson also was inspired by primitive cave paintings and children’s artwork.

One Westvaco cover was inspired by a girl’s drawing of a face, which Thompson then recreated using type, symbols, and color.

Thompson was connecting a childhood to creativity and art with exploration of new ideas.

131 OBSERVATION / Exploration

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Thompson also was inspired by primitive cave paintings and children’s artwork.

One Westvaco cover was inspired by a girl’s drawing of a face, which Thompson then recreated using type, symbols, and color.

Thompson was connecting a childhood to creativity and art with exploration of new ideas.

133 OBSERVATION / Exploration

communication Bradbury Thompson had a pronounced emphasis on communication and that design should communicate the artist intent. He believed that the most important aspect of artwork is the thought or idea an artist has, and his designs clearly express this idea.

Design should be clear and legible to pass the intent behind it correctly to the viewers.

Imagery is a great tool for designers for proving visual context, style, and mood.

However, type cannot fully communicate a message without any split opinions or feelings. Working with publications, Thompson had to work with significant amounts of type and had to come up with the best way to communicate a message. Most of his layouts are clear, simple, easy to read, and the text is not covered or distorted to the point it becomes unreadable.

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Thompson strongly believed in communication and he built the Alphabet 26 font to better converse the English language. He noticed the change in design of characters when translated between caps or lowercase, and could see how it confused people.

He wanted to help people better understand English and read text without an issue.

When working for the U.S.A. magazine he made them multilingual to reach more of an audience and help people collectively understand the magazines ideas. Mostly all of Thompson’s uses of fonts are simplistic, sans serif, little decoration, or sometimes only one font. I think Thompson never used flourishes or ornate fonts because it became too confusing and could slow the reader down from receiving the message. As an example, the same effect can occur while reading cursive. Most people find it difficult to read large text blocks of information in cursive. Sticking to bold sans-serif fonts keeps text in his work basic and known to everyone.

135 OBSERVATION / Communication

Bradbury Thompsons work is reminiscent of a modern Bauhaus style that he could make his own, applying simple shapes, imagery, and text in a cohesive design. He utilized the technologies of his time, with a limited budget, and through creativity, perfected printing. Achieving motion, movement within 2D art, unique formats, and grids allows for greater interaction with viewers and artist. Thompson focuses on the fun of creating art, the play of interacting or viewing art, as well as expressing the artist’s ideas or concepts, through clear and thoughtful communication.

Bradbury Thompsons work is reminiscent of a modern Bauhaus style that he could make his own, applying simple shapes, imagery, and text in a cohesive design. He utilized the technologies of his time, with a limited budget, and through creativity, perfected printing. Achieving motion, movement within 2D art, unique formats, and grids allows for greater interaction with viewers and artist. Thompson focuses on the fun of creating art, the play of interacting or viewing art, as well as expressing the artist’s ideas or concepts, through clear and thoughtful communication.

bibliography ADC. “Bradbury Thompson” ADC. 1977. Web. 4 Mar. 2017.

Bennett, Audrey, and Bridget Rice. “Bradbury Thompson’s Alphabet 26: A Font System for Early Readers?” AIGA. AIGA, 20 Dec. 2005. Web. 2 Mar. 2017.

Gelder, Lawrence Van. “J. Bradbury Thompson Dies; Designer and Art Director, 84.” The New York Times. The New York Times, 03 Nov. 1995. Web. 28 Feb. 2017.

Hays, Todd. “Bradbury Thompson: Graphic Design as Artform.” Step-by-Step Graphics (1990): 134-42. Web. 4 Mar. 2017.

Heller, Steven. “Bradbury Thompson’s Ga Ga Moment.” Print Magazine. F+W, 11 Mar. 2014.

Web. 3 Mar. 2017.

Johnson, Reed. “Art Forever Changed by World War I.” Los Angeles Times. Los Angeles Times, 21 July 2012. Web. 1 Mar. 2017.

Keller, Julia. “To a Generation, Mademoiselle Was Stuff of Literary Dreams.” Chicago Tribune.

Chicago Tribune, 05 Oct. 2001. Web. 2 Mar. 2017.

RIT Libraries. “Bradbury Thompson 1911- 1995” Graphic Design Archive. Rochester Institute of Technology, 01 Jan. 1968. Web. 1 Mar. 2017.

Thompson, Bradbury. The Art of Graphic Design. Yale University Press, 1988. Print.

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