<?xml version="1.0"?>
<rss version="2.0">
   <channel>
      <title>Chapter 15: A New Language of Form: 1910-1944 by </title>
      <link>https://padlet.com/jrath1_2/l5kzdo6dg729tqsv</link>
      <description></description>
      <language>en-us</language>
      <pubDate>2025-03-13 13:50:20 UTC</pubDate>
      <lastBuildDate>2025-03-13 15:12:02 UTC</lastBuildDate>
      <webMaster>hello@padlet.com</webMaster>
      <image>
         <url></url>
      </image>
      <item>
         <title>15-1. David and Vladimir Burliuk, pages from Vladimir Mayakovski: A Tragedy, 1914.</title>
         <author>jrath1_2</author>
         <link>https://padlet.com/jrath1_2/l5kzdo6dg729tqsv/wish/3364801879</link>
         <description><![CDATA[<p><strong>Book description</strong></p><p><br/></p><p>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.</p><p><br/></p><p><strong>Why is this important?</strong></p><p><br/></p><p>The dissonant futuristic style began a model for works by others, including Ilja Zdanevich. </p><p><br/></p><p><br/></p>]]></description>
         <enclosure url="https://padlet-uploads.storage.googleapis.com/3497588222/18969e64975c3e71b53edeb344eeb088/15_1.jpg" />
         <pubDate>2025-03-13 14:12:00 UTC</pubDate>
         <guid>https://padlet.com/jrath1_2/l5kzdo6dg729tqsv/wish/3364801879</guid>
      </item>
      <item>
         <title>15-6. Kasimir Malevich, Suprematist Composition, 1915.</title>
         <author>jrath1_2</author>
         <link>https://padlet.com/jrath1_2/l5kzdo6dg729tqsv/wish/3364822686</link>
         <description><![CDATA[<p><strong>Book description</strong></p><p><br></p><p>A symphonic arrangement of elemental shapes of luminous color on a white field becomes an expression of pure feeling.</p><p><br></p><p><strong>Why is this important?</strong></p><p><br></p><p>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.<br></p><p><br></p><p><br></p><p><br></p>]]></description>
         <enclosure url="https://padlet-uploads.storage.googleapis.com/3497588222/cf77955395d4af8245d6f61ad2fec142/15_6.jpg" />
         <pubDate>2025-03-13 14:22:54 UTC</pubDate>
         <guid>https://padlet.com/jrath1_2/l5kzdo6dg729tqsv/wish/3364822686</guid>
      </item>
      <item>
         <title>15–8. El Lissitzky, PROUN 23, no. 6, 1919. </title>
         <author>jrath1_2</author>
         <link>https://padlet.com/jrath1_2/l5kzdo6dg729tqsv/wish/3364830228</link>
         <description><![CDATA[<p><strong>Book description</strong></p><p><br/></p><p>Lissitzky developed visual ideals about balance, space, and form in his paintings, which became the basis for his graphic design and architecture.</p><p><br/></p><p><strong>Why is this important?</strong></p><p><br/></p><p>PROUNS pointed the way to the application of modern painting concepts of form and space to applied design.<br></p>]]></description>
         <enclosure url="https://padlet-uploads.storage.googleapis.com/3497588222/56e95b582025e93525bd3a207de8e5ad/15_8.jpg" />
         <pubDate>2025-03-13 14:27:11 UTC</pubDate>
         <guid>https://padlet.com/jrath1_2/l5kzdo6dg729tqsv/wish/3364830228</guid>
      </item>
      <item>
         <title>15–10. El Lissitzky, cover for Veshch, 1922.</title>
         <author>jrath1_2</author>
         <link>https://padlet.com/jrath1_2/l5kzdo6dg729tqsv/wish/3364843683</link>
         <description><![CDATA[<p><strong>Book description</strong></p><p><br/></p><p>Mechanical drawing instruments were used to construct geometric letterforms in a different style for each title; small typeset type was pasted in for plating.</p><p><br/></p><p><strong>Why is this important?</strong></p><p><br/></p><p>The Soviet government offered official encouragement to the new Russian art and even sought to publicize it through an international journal, called <em>Veshch </em>(Russian). Ilya Ehrenberg joined Lissitzky in the creation of the trilingual journal.<br></p>]]></description>
         <enclosure url="https://padlet-uploads.storage.googleapis.com/3497588222/9c69b08334d551f220e789f5f239639f/15_10.jpg" />
         <pubDate>2025-03-13 14:35:18 UTC</pubDate>
         <guid>https://padlet.com/jrath1_2/l5kzdo6dg729tqsv/wish/3364843683</guid>
      </item>
      <item>
         <title>15–17. El Lissitzky, book cover for The Isms of Art, 1924.</title>
         <author>jrath1_2</author>
         <link>https://padlet.com/jrath1_2/l5kzdo6dg729tqsv/wish/3364850903</link>
         <description><![CDATA[<p><strong>Book description</strong></p><p><br/></p><p>Complex typographic information is organized into a cohesive whole by the construction of structural relationships.</p><p><br/></p><p><strong>Why is this important?</strong></p><p><br/></p><p><em>The Isms of Art </em>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.<br></p><p><br/></p>]]></description>
         <enclosure url="https://padlet-uploads.storage.googleapis.com/3497588222/9085d872a4f5e8fbcaf4c9166f3c2055/15_17.jpg" />
         <pubDate>2025-03-13 14:39:25 UTC</pubDate>
         <guid>https://padlet.com/jrath1_2/l5kzdo6dg729tqsv/wish/3364850903</guid>
      </item>
      <item>
         <title>
15–25. Alexander Rodchenko, cover for Novyi lef, no. 1, 1923.</title>
         <author>jrath1_2</author>
         <link>https://padlet.com/jrath1_2/l5kzdo6dg729tqsv/wish/3364862902</link>
         <description><![CDATA[<p><strong>Book description</strong></p><p><br></p><p>The logo is printed in tight registration, with the top half of the letterforms red and the bottom half black.</p><p><br></p><p><strong>Why is this important?</strong></p><p><br></p><p>Overprinting, precise registration, and photomontage were regularly employed in <em>Novyi lef</em>. Rodchenko's interest in photomontage was a conscious effort to innovate an illustration technique appropriate to the twentieth century. <br></p>]]></description>
         <enclosure url="https://padlet-uploads.storage.googleapis.com/3497588222/ffced780b0f3774b1eb26c5d1bc15784/15_25.jpg" />
         <pubDate>2025-03-13 14:46:43 UTC</pubDate>
         <guid>https://padlet.com/jrath1_2/l5kzdo6dg729tqsv/wish/3364862902</guid>
      </item>
      <item>
         <title>15–35. Gustav Klutsis, “Everyone Must Vote in the Election of Soviets” series, poster, 1930.</title>
         <author>jrath1_2</author>
         <link>https://padlet.com/jrath1_2/l5kzdo6dg729tqsv/wish/3364873389</link>
         <description><![CDATA[<p><strong>Book description</strong></p><p><br/></p><p>This same montage was used for various campaigns. </p><p><br/></p><p><strong>Why is this important?</strong></p><p><br/></p><p>Klutsis was a master of propaganda photomontage. He used the poster as a means for extolling Soviet accomplishments. </p><p><br/></p>]]></description>
         <enclosure url="https://padlet-uploads.storage.googleapis.com/3497588222/dbc1e0fcf48e7fa6be8bd83c9118d29d/15_35.jpg" />
         <pubDate>2025-03-13 14:52:15 UTC</pubDate>
         <guid>https://padlet.com/jrath1_2/l5kzdo6dg729tqsv/wish/3364873389</guid>
      </item>
      <item>
         <title>15–39. Vladimir Vasilevich Lebedev, book spread, Tsirk (Circus), 1928.
</title>
         <author>jrath1_2</author>
         <link>https://padlet.com/jrath1_2/l5kzdo6dg729tqsv/wish/3364882379</link>
         <description><![CDATA[<p><strong>No book description. </strong></p><p><br/></p><p><strong>Why is this important?</strong></p><p><br/></p><p>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.<br><br></p>]]></description>
         <enclosure url="https://padlet-uploads.storage.googleapis.com/3497588222/50634f7f4647fab832f3715964ebd57f/15_39.jpg" />
         <pubDate>2025-03-13 14:57:53 UTC</pubDate>
         <guid>https://padlet.com/jrath1_2/l5kzdo6dg729tqsv/wish/3364882379</guid>
      </item>
      <item>
         <title>5–41. Théo van Doesburg and Laszlo Moholy-Nagy, book cover, 1925.</title>
         <author>jrath1_2</author>
         <link>https://padlet.com/jrath1_2/l5kzdo6dg729tqsv/wish/3364890235</link>
         <description><![CDATA[<p><strong>Book description</strong></p><p><br/></p><p>The essence of De Stijl is conveyed.</p><p><br/></p><p><strong>Why is this important?</strong></p><p><br/></p><p>This image shows the direct application of De Stijl's vocabulary in graphic design. </p><p><br/></p>]]></description>
         <enclosure url="https://padlet-uploads.storage.googleapis.com/3497588222/ebea707f6114eea2201bf673e279ae4a/15_41.jpg" />
         <pubDate>2025-03-13 15:02:55 UTC</pubDate>
         <guid>https://padlet.com/jrath1_2/l5kzdo6dg729tqsv/wish/3364890235</guid>
      </item>
      <item>
         <title>15-49. Théo van Doesburg and Kurt Schwitters, “Kleine Dada Soirée,” poster, 1922.</title>
         <author>jrath1_2</author>
         <link>https://padlet.com/jrath1_2/l5kzdo6dg729tqsv/wish/3364896862</link>
         <description><![CDATA[<p><strong>Book description</strong></p><p><br></p><p>This poster illustrates the Dada side of Van Doesburg’s artistic personality. </p><p><br></p><p><strong>Why is this important?</strong></p><p><br></p><p>Van Doesburg comprehended the potential of Dada, collaborating with Kurt Schwitters on typographic design projects. </p><p><br></p>]]></description>
         <enclosure url="https://padlet-uploads.storage.googleapis.com/3497588222/cf0a6fcd14f2b505e0cb289d7be1363c/15_49.jpg" />
         <pubDate>2025-03-13 15:07:26 UTC</pubDate>
         <guid>https://padlet.com/jrath1_2/l5kzdo6dg729tqsv/wish/3364896862</guid>
      </item>
      <item>
         <title>15–60. Henryk Berlewi, exhibition poster, 1925.</title>
         <author>jrath1_2</author>
         <link>https://padlet.com/jrath1_2/l5kzdo6dg729tqsv/wish/3364903639</link>
         <description><![CDATA[<p><strong>Book description</strong></p><p><br/></p><p>This early application of Mechano-faktura principles to graphic design is for an exhibition held in a Warsaw automobile showroom.</p><p><br/></p><p><strong>Why is this important?</strong></p><p><br/></p><p>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.</p><p><br/></p>]]></description>
         <enclosure url="https://padlet-uploads.storage.googleapis.com/3497588222/f59327cae65427bb59bd179aece70bdd/15_60.jpg" />
         <pubDate>2025-03-13 15:12:01 UTC</pubDate>
         <guid>https://padlet.com/jrath1_2/l5kzdo6dg729tqsv/wish/3364903639</guid>
      </item>
   </channel>
</rss>
