Constructivism And Typography

Constructivism and Typography

Since the early 20th century, the avant-garde has emerged in many parts of Europe. In the early years, artists favored an aesthetic avant-garde that was separate from the role of society. Later, however, under the influence of social change, an artistic and social avant-garde emerged that took into account the role of society in contrast to the aesthetic avant-garde. Constructivism belongs to the artistic and social avant-garde. Constructivism began in Russia, and one can generally consider the origins of Russian Constructivism to have begun with the last Futurist exhibition, 0.10, held in Petrograd (now St. Petersburg) in 1915. ...This exhibition is notable in that it was the first time that Malevich and Tatlin, two artists who represented a new generation at the time, both exhibited works that later had the basic characteristics of Constructivism.(International Constructivism: Central European Modernism Reconsidered, p. 9) Malevich's Black Square is a work that represents elements in a purifying form, excluding vertical and horizontal positioning and unified perspective, and Tatlin's Counter Relief is a composition that uses wire to free itself from gravity and assemble the productive elements. appear to establish the trend of the most basic plastic ideals about constructivism. Constructivism and neoformism, absolutism, define figuration anew as a movement deeply connected to each other. In this regard, Moholy-Nagy stated the following By approaching all aspects of life more fully, neoformalism, absolutism, and constructivism attempted to clearly understand and organize their materials. They totally eliminated the traditional desire to mirror nature. ...They sought to use visual means of expression for the projection of order and harmony. This innovative work is a new appreciation of color, its visual energy, visual illusions and afterimages. It is also a new means of expressing the dynamic of time-space. (The New Vision, p. 83) A clear understanding of the material leads to a deeper understanding of the nature of natural forms and frees the artist from the traditional copying of likenesses. This is a prerequisite for the formation of new forms. The emergence of constructivism has drastically changed the perception of form and has had a profound impact on the development of graphic design and typography. 　El Lissitzky said that innovation in art requires a close connection between the artistic aspect and the technical aspect. The integration of the artistic aspect and the technical aspect is at the core of the Constructivist philosophy of form. Similarly, these two aspects are essential to the development of typography. Herbert Beyer has said the following about typography: The typographic revolution is not an isolated event. The typographic revolution was not an isolated event, but was inextricably linked to a new social and political consciousness, and thus to the construction of a new cultural infrastructure. The acceptance of machines by artists as tools of mass production has had an impact on aesthetic concepts. (Theories of Graphic Designers, On Typography, p. 89) As technology developed, the possibilities for expression became more abundant and elicited a desire to explore more possibilities. In addition, with the advancement of technology, society had an increasing number of demands appropriate to the development of the times. This situation changed people's aesthetic concepts, which in turn changed the style of graphic design and typography. 　The constructivist philosophy of design can be found in the typography of the time. Philippe Albinus, one of the leading representatives of modern typography in Frankfurt, wrote about modern typography in his book Foundations of the New Typography, published in 1929 and abridged by the Educational Society of Frankfurt, Germany: The sense of a new form is a socially constructed idea. The new sense of form has its initial cause and inevitability in social and technological change. Above all, the current moment of movement, speed, and tempo demand a new harmony. Evolutionarily, he needs a simplified language of form, for faster and wider reception, beyond the lazy contemplation of complex forms in the new era. ...For him, architecture, which develops new forms from materials, plays a guiding function. Tension and movement are the hallmarks of new form creation. And it is not only the unadorned form of the cube that constitutes the new reflection, but also the emphasis on the contour effects of constructive tension and movement. (Alles Neu 100 Jahre Neue Typografie und Neue Grafik in Frankfurt am main, p. 28) Albinus treats letters and strings of letters as elements and seeks forms in which tension and movement are felt. This requires a new order and harmony about the elements. With harmony in mind, he arranges them and explores new positions and relationships to form new forms. Order and harmony is a very constructive way of thinking. The forms that develop according to this constructive thinking include objective, functional, and aesthetic qualities. 　Joseph Müller-Brockmann describes constructivist design as follows Constructivist design, which can be analyzed and reproduced, can influence and enhance society's aesthetic sense and the way society understands form and color. Design that is objective, contributes to public well-being, is well-constructed, and sophisticated is the basis for democratic action. Systematic work, done according to strict formal principles, requires directness, clarity, and the integration of all the elements essential in sociopolitical life. (Theories of Graphic Designers, Grid and Design Philosophy, p 104) The objective qualities of constructivism are represented by analysis and reproduction. Reproduction requires the integration of elements. Refined design leads to increased clarity. In fact, the refinement and clarity necessary for constructivist design is equally demanding of typography between the two opposites.

Constructivism

— Qiuyu Li

CITATION : "Qiuyu Li. 'Constructivism and Typography.' Design+Encyclopedia. https://design-encyclopedia.com/define/constructivism-and-typography?E=127 (Accessed on October 14, 2026)"