Printing and typography in the Russian Revolution. Radicalism aimless o experience the future

Abstract

Picasso begins avant-garde with Cubism, the beginning of what will be called modernity, in art. The other pillar of the art revolution is Kandinsky, as a pioneer and theoretician of Abstract Art, the great Russian contribution to art in the twentieth century. The letter sans serif was imposed by the vanguards as a reaction to the culture, the printing and the tradition, represented by the roman typefacee. Stanley Morrison, printer and typographer, said that the functional component of the letter had been acquiring an aesthetic component in the vanguard. The letter itself, built along lines and basic forms, in structures that transcended all established rules of organization and space, was a reflection of the Futurist aesthetic that emerged in Italy and was adopted by Russian Constructivism. For El Lissitzky, innovation in printing depends on a technological change, which conceives the page as a graphic space and its reading as a simultaneous interpretation of image and text. Until the Futura (1928) of Renner there is no typography sans serif without cutting ends to the serif ones, but still without the study of significant basic forms, and the optical laws of the perception.