Azamat Guirey Graphic Design and Media As a constantly evolving practice, design usually parallels the contemporary political context. According to Author Ruben Pater, the variation of design is attributed to individual perspective and motivations, producing an expression of what we consider to be ‘natural.’ Design possibilities are infinite, and in terms of political propaganda, graphics and deliberate colours have been used to create easily recognisable slogans. During the advancement of communism over Russia in the early 20th century, the potential for design as a way of influencing the masses was quickly recognised by the Bolsheviks. The designer’s ‘natural’ at this time, was the pledge for socialism. Despite this inspiration fading with the collapse of the Soviet Union, the imagery and graphics produced as a result of the Russian Revolution remain blueprints for design, and were the main influence behind some of my own work. The central constructivist artists, being Kazimir Malevich and his contemporaries, known for their ‘Agitprop’ designs were responsible for producing the most recognisable ‘Revolutionary’ graphics. These dynamic young artists, like Alexander Rodchenko, El Lissitzky and Sofia Dymshits-Tolstaya, used their work to propagandise revolutionary virtues, implementing the distinct geometric forms founded by Malevich. In line with the Marxist doctrine, ‘Agitprop’ rejected the art produced in pre-Revolutionary society, replacing a desire for realism with abstraction. Alexander Malevich founded Suprematism; a style which began as completely non-representational yet later bled into agitprop, which employed non-objectivity for political propaganda. Beat the Whites with the Red Wedge, 1919 by El Lissitzky (Image 1), was made in encouragement of the Bolsheviks on overcoming the anti-communist White Russians. This work seamlessly allows form to follow the function, with few words and simple graphics expressing a clear message. In order for the communist message to spread, it was integral to consider the Russian peasant class, many of whom were illiterate. In this poster, the words align with the diagonal path of the red triangle, creating fluidity between the shapes and phrases. Piercing the white circle, the ‘red wedge’ frees itself from the surrounding darkness. Another and likely better known example of Agitprop is Rodchenko’s poster of a woman who calls out , “Books (Please)! In All Branches of Knowledge.” Maintaining the striking black and red colour scheme, this piece by Rodchenko combines photography with clear-cut shapes and little text. Easily comprehendible in spite of their simplicity, Beat the Whites with the Red Wedge and Rodchenko’s “Books (Please)! In All Branches of Knowledge” were a source of inspiration for my West Way series. Soviet propaganda posters have reproduced and altered in examples of contemporary design; Rodchenko’s poster inspired the 2005 album cover by Scottish band Franz Ferdinand, and later the 2014 version by artist David Redon which featured Beyoncé yelling “GIRLS.” Regarding my own work, I wanted to implement the same basic, geometric style into my own ‘natural.’ My choice of subject being the West Way, the elevated Brutalist motorway that runs over West London is also a nod to Russian influence. Soviet constructivist architecture (despite falling out of favour in the 1930s), held similarities with Brutalism, as both styles had the goal of creating a better and more egalitarian world. Emulating the minimal detail of the Soviet posters, I wanted to create a striking and instantly recognisable portrayal of the West Way, whilst highlighting its architectural integrity. Using a printing method was integral. As communist propaganda needed to be spread to regions in rural Russia, prints were produced in mass, with the ability to travel and be distributed by trains. My process began by laser engraving my designs onto wood and then transferring it through a letter press machine, printing my images in black. By referencing graphics that were founded with acknowledgement at their forefront, I was able to explore the notions of recognition and the power of simplistic graphics. I wanted to create works that referenced my own experience within the realm of contemporary design, as it has evolved to carry information on a global scale, not just through a single nation. References:
https://www.royalacademy.org.uk/article/art-and-the-russian-revolution#:~:text=%E2%80%9CI'm%20no%20good%20at,useless:%20snip,%20snip!%E2%80%9D https://www.royalacademy.org.uk/article/five-things-graphic-designers-owe-to-russia https://www.seattletimes.com/entertainment/visual-arts/the-revolution-will-be-posted-soviet-street-art-at-the-frye-museum/#:~:text=One%20of%20the%20most%20recognizable,In%20All%20Branches%20of%20Knowledge.%E2%80%9D
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