El Lissitzky: Constructor

I love El Lissitzky's work and what it stands for. In design, there must always be some thought and meaning in it. Why do we look at our past masters and study them? Our work tells a story of the present time. Sometimes we get ideas from the past and juxtapose them into the present. Creating and discovering something new.

This is a drawing from my iPhone:

This is my campaign that was influence by El Lissitzky:

 And there is more coming.. like a poster about branding. Later...

A little write up on my master, El Lissistzky




















Lazar Markovich Lissitzky (help·info) (Russian: Ла́зарь Ма́ркович Лиси́цкий) (November 23 [O.S. November 11] 1890 – December 30, 1941), better known as El Lissitzky (Russian: Эль Лиси́цкий, Yiddish: על ליסיצקי), was a Russian artist, designer, photographer, typographer, polemicist and architect. He was an important figure of the Russian avant garde, helping develop suprematism with his mentor, Kazimir Malevich, and designing numerous exhibition displays and propaganda works for the former Soviet Union. His work greatly influenced the Bauhaus and constructivist movements, and he experimented with production techniques and stylistic devices that would go on to dominate 20th-century graphic design.[1]

El Lissitzky's entire career was laced with the belief that the artist could be an agent for change, later summarized with his edict, "das zielbewußte Schaffen" (goal-oriented creation).[2] Lissitzky, of Jewish faith, began his career illustrating Yiddish children's books in an effort to promote Jewish culture in Russia, a country that was undergoing massive change at the time and that had just repealed its antisemitic laws. At the age of 15 he started teaching; a duty he would stay with for most of his life.

 Over the years, he taught in a variety of positions, schools, and artistic media, spreading and exchanging ideas. He took this ethic with him when he worked with Malevich in heading the suprematist art group UNOVIS. There, he developed a variant suprematist series of his own, Proun, and further still in 1921, when he took up a job as the Russian cultural ambassador to Weimar, Germany. Working with and influencing important figures of the Bauhaus and De Stijl movements during his stay.

In his remaining years he brought significant innovation and change to typography, exhibition design, photomontage, and book design, producing critically respected works and winning international acclaim for his exhibition design. This continued until his deathbed, where in 1941 he produced one of his last works – a Soviet propaganda poster rallying the people to construct more tanks for the fight against Nazi Germany.