El Lissitzky & the Constructivist Perspective

Page 1

IHGFEDCB ronIZYXWV htruoyetaci lnoevahuoy fsnoitnibmo nirtsdnaslo korbnunanir


ABCDEFGHIJ UVWXYZInord nicateyourtho gyouhaveonly combintionsfr bolsandstring erinanunbroke


JKLNOPQRST dertocommu oughtsinwritin ytoformcertain romthesesymgthemtogethenchain. but


SRQPONLK ummocotre nitirwnisthgu iatrecmrofot mysesehtmo -htegotmeht tub .niahcn


IHGFEDCB ronIZYXWV h t r u o y e t a c i taht ereh ees UOY ntoonenvacath elb hgu uoo hy t m yb yllacinahcem fresttn o i t n i b m o el xis-ytnewt fo nirtsdnaslo korbnunanir


YOU see here that t thought cannot be r mechanically by ma of twenty-six letters


the pattern of represented aking combinations s of the alphabet.


fo nrettap eh detneserpe snoitanibmoc gnik .tebahpla eht fo


si egaugnaL na tsuj naht oitom evaw snaem erem ecnerefsnart


Language is than just an a wave motion mere means transference.


more acoustic n, and the of thought .


erom citsuoc eht dna , thguoht fo


t yaw emas eht nI citpo na tsuj naht prup emas eht rof citra-non ,evissap seog eno nrettap rettap detalucitra


In the same way ty than just an optica for the same purpo passive, non-articu pattern one goes o articulated pattern


ypography is more al wave motion ose. From the ulated lettering over to the active, n.


erom si yhpargop noitom evaw l eht morF .es gnirettel detal ,evitca eht ot rev .


erutseg ehT si egaugnal .tnuocca


The gesture o language is t account.


of the living taken into


gnivil eht f otni neka


Y


YO


OU


U

yad eht pu .sruoh ru ruoh rehton noisuffe tn


Y

edivid evah f-ytnewt otni ton si erehT gavartxe rof .sgnileef fo


have divided into twenty-f There is not a for extravage of feelings.


d up the day four hours. another hour ent effusion


yad eht pu .sruoh ruo ruoh rehton noisuffe tn


nrettap ehT ni semoceb eht ,esicnoc rpmi ylprahs


The pattern o becomes inc concise, the sharply impri


of speech creasingly gesture inted.


hceeps f ylgnisaer erutseg .detn


tsuj si tI pyt htiw


It is just t with typo


the same ography.


emas eh .yhparg


einapmocca era UOY p detnirp yb sdrawno fi ot deniart ylbrepus ,ylkciuq dlefi cfiiceps .yaw sti gnisol


YOU are accompanied onwards by printed pa superbly trained to fin specific field quickly, p losing its way.


d from your first day aper, and your eye is nd its way about in this precisely, and without


yad tsrfi ruoy morf si eye ruoy dna ,rep siht ni tuoba yaw sti tuohtiw dna ,ylesicer


uoy tsac uoY of eseht otni t htiw repap ecnedfinoc ht nailartsuA aremoob sih


You cast your into these for paper with th confidence a Australian thr his boomeran


r glances rests of he same as the rows ng.


secnalg fo stse emas e eht s swo .g


p raelc rof ksa UOY o nac esohT .seye nialp morf rehtegot


YOU ask for clear pa eyes. Those can on together from plain


atterns for your nly be pieced elements.


ruoy rof snrett deceip eb yl .stnemele


t fo stnemele ehT — latnoziroh eht alucidneprep eht / lanogaid eht C evruc eht


The elements of th

the horizontal — the perpendicular the diagonal / the curve C


he letters are:

r|


:era srettel e |


t era esehT itcerid-enil s nialp eht itanibmoC ziroh eht ni eprep dna .snoitcerid udorp senil uougibma( lp eb nac tI tnemngila ht fo segde sah ti neht )tser( tceffe decalp eb sah ti neht tiga( tceffe t era esehT argopyt fo


These are th line-directio the plain su Combinatio in the horizo and perpen directions. T lines produc (ambiguous It can be pla alignment w edges of the then it has a effect (rest). be placed d then it has a effect (agita These are th of typograp


he basic ons on urface. ons occur ontal ndicular These two ce the right s) angle. aced in with the e surface, a static . It can diagonally, a dynamic ation). he axioms phy.


cisab e no sn .ecafr rucco sn latn ralucid owt eseh thgir eht e .elgna ) ni dec eht hti ,ecafrus citats nac tI ,yllanogai cimanyd .)noit smoixa e .yh


erla era UOY gnimocrevo rager hcihw -sserprettel rup sa )epyt sserpretteL .tsap eht


YOU are alrea overcoming t which regard letterpress-p type) as pure Letterpress b the past.


ady the prejudice ds only printing (from e typography. belongs to


yd ecidujerp eh ylno s morf( gnitnir .yhpargopyt ot sgnole


hp ot sgnoleb erutuf ehT p lacinahcemotohp lla ot si gnitniap-ocserf remrof


The future belongs to pho to all photomechanical pr former fresco-painting is


otogravure printing and rocesses. In this way the cut off from typography.


dna gnitnirp eruvargot eht yaw siht nI .sesseco .yhpargopyt morf ffo tuc


bo evah UOY p cinagro na tibihxe stecaf inu larutcurts


YOU have obs an organic pa facets exhibit structural unit


served that in attern all the the same ty.


ni taht devre eht lla nrett emas eht .y


redoM rgopyt ivorpmi utcurts


Modern typogra improvin structur


n aphy is ng its ral unity.


si yhp sti g .ytinu la


taht si ti woh ees nac UOY ap-hceeps dna -thguoht ot igiro sngised lacihpargopyt :era


YOU can see how it is that w to thought- and speech-pat typographical designs origin are:


where new areas are up tterns, there you find new nating organically. These


pu era saera wen ereh wen dnfi uoy ereht ,snret esehT .yllacinagro gnita


taht si ti woh ees nac UOY ap-hceeps dna -thguoht ot igiro sngised lacihpargopyt :era

vda nredom eop nredom


modern adve modern poet


ertising and try.


dna gnisitr .yr


dluohs UOY ht retirw eht hw stneserp aer saedi sih eht hguorht eht hguorht


YOU should d the writer tha presents wha his ideas reac through the e through the e


demand of at he really at he writes; ch you eye and not ear.


fo dname yllaer eh t ;setirw eh t uoy h ton dna ey .ra


pargopyt eroferehT scitpo fo snaem yb etirw eht fo erutseg .saedi


Therefore typograph by means of optics w gesture of the writer ideas.


hical form should do what the voice and r does to convey his


dluohs mrof lacih eht tahw scit seod retirw eht fo .s


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