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El Lissitzky: pages from a Majakowskivolume, 1929

Wladyslaw Strzeminsky: page from a volumeof poetry, 1926

Wladyslaw Strzeminsky: page from a volumeof poetry, 1926

The Constructivists

Not only at the Bauhaus did groups of artists join together to developworks which fit neither the Expressionist nor the Surrealistic artmovements. In the 1920s, every European center had artist colonieswhich actively confronted the historic romance and glorification of artwith a new clarity and directness.

Throughout recorded time, there have been artistic styles containingConstructivist elements, for example those of the Renaissance orJugendstil. In the time between the two world wars, however,geometry appeared as the dominant design technique, a pure form tocommunicate the new content of art.

The PioneersThe point of departure for this new Constructivist era can be found in1910 in pre-Revolutionary Russia. Kasimir Malewitsch was working onthe "Icons of the 20th Century" as an abstract, geometric work: ablack square on a white background (1913), a black circle on a whitebackground, and in 1918 a white square against a white background.

Such pioneering efforts were (and are) criticized by some, ecstaticallywelcomed by others. Among the supporters were the artists ElLissitzky, Naum Gabo, and Antoine Pevsner. Artistic groups formed,split, and formed splinter groups. In the turbulence of the years1917–1919, Rodschenko and Tatlin declared Constructivism in supportof the revolution, production of art for the people. This resulted in anabundance of experiments in the areas of theater, architecture,product design, representational graphics and typography.

The success of the October Revolution quickly spread Constructivistideas to other countries, where there was often a pre-existing basisof similar thought.

The first Constructivist exhibition opened in Poland in 1923: HenrykStazewski, Wladislaw Strzeminski, Myeczyslaw Szczuka and HenrykBerlewi were the leading artists, dealing with issues of advertisementand typography.

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Take a look at a selection of typefaces with an constructivist origin, offered by the Linotype Library:

ITC Avant Garde Gothic® Font Family(Linotype Library) - consisting of 20 font weightsCharacter set features: Available Format / Platform:

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Avenir™ Font Family (Linotype Library) - consisting of 12 font weightsCharacter set features: Available Format / Platform:


Futura® Font Family (Linotype Library) - consisting of 33 font weights , 1 Value Pack , 1 CDCharacter set features: Available Format / Platform:

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Constructivistic Fonts from Linotype

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Industria™ Font Family (Linotype Library) - consisting of 4 font weightsCharacter set features: Available Format / Platform:


Insignia™ Font Family (Linotype Library) - consisting of 2 font weightsCharacter set features: Available Format / Platform:


ITC Kabel™ Font Family (Linotype Library) - consisting of 5 font weightsCharacter set features: Available Format / Platform:


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Henryk Berlewi: page from brochure"Mechano Advertising", 1924

Wladyslaw Strzeminsky: alphabet"Komunikat", 1930

Wladyslaw Strzeminsky: magazine title(BLOK), 1924

The Constructivists

The BauhausIn Germany, the most important center of Constructivism was theBauhaus of Dessau and Weimar, which included artists like Kandinski,Klee, Schlemmer, Albers, Moholy-Nagy, as well as architects like WalterGropius and Hannes Meyer and graphic designers like Joost Schmidt andHerbert Bayer. This school of thought intended to extinguish themetaphysical waste of the past from the everyday life of the present,and for that, the constructive-rational process of designing an artificialenvironment was perfect.

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Joost Schmidt: sans serif, 1927

L. Moholy-Nagy: pages from book "Painting,Photography, Film", 1925

The Constructivists

The NeighborsThe Netherlands were also the home of a strong Constructivist group.Effective and influential in other countries, the group "de Stijl" wasfounded in 1917. Important members included Piet Mondrian and Theovan Doesburg.

In France, geometrical art found little welcome in the 1920s and someartists, like Mondrian and van Doesburg, worked many years in Pariswith little success. Not until 1926 could Sophie and Hans Arp form the"Aubette" in Strasbourg, working with van Doesburg to establishConstructivist principles. Important French Constructivists were AugusteHerbin, André Heurtaux, Marcelle Cahn, Jean Gorin and Jean Helion. Thereason for the lack of interest in France lies in the enthusiasm forSurrealism, whose manifest was published by Anré Breton in 1924.

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Kurt Schwitters: advertisement, 1927

Josef Albers: stencil type

Herbert Bayer: universal alphabet, 1925

The Constructivists

New AlphabetsConstructivism affected typography in the area of alphabet design aswell as in the practice of layout and typesetting.

Just as the historical content of art was being questioned and replacedby new ideas, the Constructivist typeface concept was an experimentalrethinking of Latin letter forms. The alphabets of Strzeminski, Albers,Schwitters, Tschichold or Bayer consisted of horizontal and verticalstrokes, the two diagonals and the circle, and renounced decoration asunnecessary. No trace of personal handwriting or influence shouldcome through in the forms. And so the 1920s prepared the way forthe machine-readable typefaces of the 1960s as well as the evenmore modern screen types.

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Herbert Bayer: basic alphabet, 1958

Jan Tschichold: phonetic text in a singlealphabet, 1929

Dexel: invitation card, 1924

The Constructivists

FormalismThe typographic design process displayed many formalisticinfluences: flush setting, text spacing, linocut words. White spacesand diagonal text blocks and lines were consciously integrated. Linesof capital letters emphasized the constructed forms. This oftenresulted in a self-contained text structure whose individual partscorresponded and connected with one another in orderlycompositional lines. Many artists worked this typographic style intothe ever-growing field of advertisement: Walter Dexel, KurtSchwitters, Erich Buchholz, Max Burchartz and others. Their workprepared the way for the functional typography of the next decadesas well as that of the present.

Jan Tschichold documented the international spread of thismovement. After he had already published "Elementary Typography"and the journal "Typographic Notes" ("Typografische Mitteilungen")in 1925, he brought out "The New Typography" in 1928, which wasto become a standard work in the field. Here he made clear thatthe sans serif linear antiqua was the "natural" typeface ofConstructivist typography. The typeface Futura of Paul Renneradvanced beyond experiment to become a popular text typeface.

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Gerd Arntz: from "Twelve Houses of Today",1927

Gerd Arntz: graphic from "The ColorfulWorld", 1928

Tschichold: poster, 1927

The Constructivists

IllustrationConstructivist principles also influenced and expanded the field ofobjective illustration. Oskar Schlemmer remained true to objectivitywhile effecting drastic reductions in his painting. The influence of GerdArntz can still be seen today in series of pictograms. Arntz belonged tothe Constructivist "Group of Progressive Artists" of Cologne whichworked with political themes. Other members of this group wereHeinrich Hoerle, Franz W. Seiwert, Augustin Tschinkel and GottfriedBrockmann.

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Walter Dexel: Lenin, 1933

Johannes Molzahl: advertising postcard, 1926

Walter Dexel: poster

The Constructivists

ContinuityAfter the progressive arts were forbidden in the Soviet Union as"deviating" and persecuted as "cultural Bolschewism" by the Fascists in1933, the course of their development was interrupted in manycountries. Many artists emigrated to Switzerland and the USA tocontinue to expand upon their constructivist-rational principles. And soregardless of the resurgence of Expressionist and Surrealist art, theConstructivism of the 1920s was able to continue to develop in the1940s through the "concrete art" of Max Bill, Richard P. Lohse, AntonStankowski and others. New heights were reached in the 1960s through"Op-Art", finally proving that Constructivism was no passing trend,rather, perhaps one of the most important design movements of the20th century.

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The Constructivists

Constructivist fonts of the Linotype Library

If this article has sparked your interest and you would like to see examplesof typefaces with an constructivist origin, take a look at a selection offeredby the Linotype Library.

ITC Avant Garde Gothic® Book

Avenir™ 55 Roman

Futura® Light Oblique

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