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15-1. David and Vladimir Burliuk, pages from Vladimir Mayakovski: A Tragedy, 1914.

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15-1. David and Vladimir Burliuk, pages from Vladimir Mayakovski: A Tragedy, 1914.

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Book description

In an effort to relate visual form to meaning, Russian futurist graphic design mixed type weights, sizes, and styles. This proved to be a harbinger of Russian constructivism.

Why is this important?

The dissonant futuristic style began a model for works by others, including Ilja Zdanevich.

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15-6. Kasimir Malevich, Suprematist Composition, 1915.

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15-6. Kasimir Malevich, Suprematist Composition, 1915.

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Book description

A symphonic arrangement of elemental shapes of luminous color on a white field becomes an expression of pure feeling.

Why is this important?

Malevich founded a painting style of basic forms and pure color that he called "suprematism." He created an elemental geometric abstraction that was new and entirely nonobjective. See Fig 15-6.

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Book description

Lissitzky developed visual ideals about balance, space, and form in his paintings, which became the basis for his graphic design and architecture.

Why is this important?

PROUNS pointed the way to the application of modern painting concepts of form and space to applied design.

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15–10. El Lissitzky, cover for Veshch, 1922.

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15–10. El Lissitzky, cover for Veshch, 1922.

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Book description

Mechanical drawing instruments were used to construct geometric letterforms in a different style for each title; small typeset type was pasted in for plating.

Why is this important?

The Soviet government offered official encouragement to the new Russian art and even sought to publicize it through an international journal, called Veshch (Russian). Ilya Ehrenberg joined Lissitzky in the creation of the trilingual journal.

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15–17. El Lissitzky, book cover for The Isms of Art, 1924.

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15–17. El Lissitzky, book cover for The Isms of Art, 1924.

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Book description

Complex typographic information is organized into a cohesive whole by the construction of structural relationships.

Why is this important?

The Isms of Art was one of the most influential book designs of the 1920s. Lissitzky’s format for this book was an important step toward the creation of a visual program for organizing information.

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15–25. Alexander Rodchenko, cover for Novyi lef, no. 1, 1923.

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15–25. Alexander Rodchenko, cover for Novyi lef, no. 1, 1923.

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Book description

The logo is printed in tight registration, with the top half of the letterforms red and the bottom half black.

Why is this important?

Overprinting, precise registration, and photomontage were regularly employed in Novyi lef. Rodchenko's interest in photomontage was a conscious effort to innovate an illustration technique appropriate to the twentieth century.

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15–35. Gustav Klutsis, “Everyone Must Vote in the Election of Soviets” series, poster, 1930.

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15–35. Gustav Klutsis, “Everyone Must Vote in the Election of Soviets” series, poster, 1930.

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Book description

This same montage was used for various campaigns.

Why is this important?

Klutsis was a master of propaganda photomontage. He used the poster as a means for extolling Soviet accomplishments.

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15–39. Vladimir Vasilevich Lebedev, book spread, Tsirk (Circus), 1928.

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15–39. Vladimir Vasilevich Lebedev, book spread, Tsirk (Circus), 1928.

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No book description.

Why is this important?

Lebedev's work proved to be an excellent preparation for designing picture books for children. It was him, more than anyone else, who brought the picture book up to date.

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5–41. Théo van Doesburg and Laszlo Moholy-Nagy, book cover, 1925.

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5–41. Théo van Doesburg and Laszlo Moholy-Nagy, book cover, 1925.

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Book description

The essence of De Stijl is conveyed.

Why is this important?

This image shows the direct application of De Stijl's vocabulary in graphic design.

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15-49. Théo van Doesburg and Kurt Schwitters, “Kleine Dada Soirée,” poster, 1922.

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15-49. Théo van Doesburg and Kurt Schwitters, “Kleine Dada Soirée,” poster, 1922.

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Book description

This poster illustrates the Dada side of Van Doesburg’s artistic personality.

Why is this important?

Van Doesburg comprehended the potential of Dada, collaborating with Kurt Schwitters on typographic design projects.

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15–60. Henryk Berlewi, exhibition poster, 1925.

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15–60. Henryk Berlewi, exhibition poster, 1925.

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Book description

This early application of Mechano-faktura principles to graphic design is for an exhibition held in a Warsaw automobile showroom.

Why is this important?

Berlewi believed that modern art was filled with illusionistic pitfalls. He mechanized painting and graphic design into a constructed abstraction that abolished any illusion of three dimensions.