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PROUN 23, no. 6, 1919. Lissitzky developed visual ideals about balance, space, and form in his paintings, which became the basis for his graphic design and architecture.
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“Beat the Whites with the Red Wedge,” 1919. The Bolshevik army emblem, a red wedge, slashes diagonally into a white sphere signifying Aleksandr Kerensky’s “white” forces. The slogan’s four words are placed to reinforce the dynamic movement.
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El Lissitzky, cover for Veshch, 1922. Mechanical drawing instruments were used to construct geometric letterforms in a different style for each title; small typeset type was pasted in for plating.
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El Lissitzky, title page for Veshch, 1922. Lissitzky searched for a geometric organizational system relating type, geometric elements, and photographs as elements in a whole. These goals were achieved by 1924.
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El Lissitzky, layout for a Broom cover, vol. 5, no. 3, 1922. Isometric perspective letterforms are upside down and backward in the second title presentation, achieving a subtle vitality in a rigorously symmetrical design.
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El Lissitzky, poster for Pelikan ink, 1924. This photogram was produced in the darkroom by placing objects directly on the photographic paper and then making the exposure by flashing a light held to the left.