Art into life. The revolution of form.
Soviet avant-garde 1913-1930s
Bold, uncompromising colors that demand attention. Red dominates as the color of revolution, balanced by stark black and industrial tones.
Dark Red
#990000
Cream
#E8E4DC
Steel
#6B6B6B
Concrete
#8C8C8C
Heavy condensed typefaces command attention. Text breaks free from horizontal constraints, angled for dynamic energy and urgency.
Text at dramatic angles creates dynamic tension and visual urgency.
An 8px base unit creates rhythmic consistency. Generous spacing allows bold elements room to command attention.
Angular, bold, unapologetic. Buttons are calls to action that demand response. The skewed form suggests forward motion and urgency.
Inputs are functional tools. Bold borders and skewed forms maintain the angular aesthetic while ensuring usability.
Content containers with diagonal compositions and bold visual hierarchies. Each card is a poster demanding attention.
Industrial methods applied to art. Mass production for the masses.
Buildings as monuments to progress. Steel, glass, and concrete.
Visual communication for social transformation. Art as weapon.
Art and labor are one. The artist is a worker, the worker an artist. Together we build the future.
All creative work serves the collective. Individual expression through universal forms.
PriorityConstructivist compositions combine geometric forms in dynamic arrangements.
Information organized with clarity and purpose. Bold headers, clean data, and status indicators for rapid comprehension.
| Artist | Discipline | Period | Status | Works |
|---|---|---|---|---|
| Vladimir Tatlin | Architecture / Sculpture | 1915-1953 | Pioneer | 47 |
| Alexander Rodchenko | Graphic Design / Photography | 1914-1956 | Active | 312 |
| El Lissitzky | Typography / Architecture | 1919-1941 | Active | 89 |
| Varvara Stepanova | Textile / Graphic Design | 1920-1958 | Production | 156 |
| Lyubov Popova | Painting / Textile | 1916-1924 | Archive | 78 |
Compact markers for status, category, and priority. Angular forms maintain visual consistency with the system.
The revolutionary foundations of Constructivist design. Art must serve society, not decorate it.
Reject art for art's sake. All creative work must serve practical, social purposes. The easel painting is dead; long live industrial design.
Pure geometric forms - lines, circles, rectangles - are the vocabulary of modern design. Reject naturalism for the clarity of abstract form.
Diagonals create tension and movement. Static symmetry is bourgeois; asymmetric balance propels the eye forward. Every layout should suggest motion.
Embrace steel, glass, concrete, and photomontage. Modern materials for a modern society. Technology is the artist's tool.
Words are visual elements. Text can shout, whisper, or march across the page. Mixed sizes, bold weights, and dramatic angles make type speak.
Design serves the collective, not the individual. Universal forms over personal expression. Reproducible, accessible, democratic.