Against "Artistic" and "Aesthetic" Typography. Excerpt from the book "Constructivism"

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Ad Marginem has released Alexey Gan's book "Constructivism," featuring an introduction by art historian Olga Safonova. We present an excerpt from the article, which describes the process of preparing this iconic work for print.

The cover for "Constructivism" was created by hand. Apparently, a suitable font was not found, but the design was based on the principles of the printing process. The first two cover versions were designed by Alexander Rodchenko. In one of them, the author's name, "Alexey Gan," is presented in dense red letters, and the title "Constructivism" is executed in elongated thin lines. Thus, Gan was stylized within a hyperboloid grid. This cover not only reflects the constructivist style but also demonstrates a unique approach to the interaction of text and graphics.

A sketch for the cover of the second edition of the book, undated, has been preserved in the personal archive of Alexander Rodchenko and Varvara Stepanova. It is unclear whether a new edition was planned for publication or whether this was a working draft created at the initiative of Alexander Gan or Rodchenko himself. This draft features black and white lettering against a red background of the number 2. The largest element of the cover is the word "GAN" in capital letters, which may indicate the abbreviation of an important association or community. This sketch emphasizes the creative individuality of the authors and their approach to graphic design, and also provides an insight into the artistic concepts they used in their works.

A new version of the book has been released with an updated cover, likely based on a sketch by A. Rodchenko. Due to the lack of technical capabilities for typographic printing, the edition was produced using wooden forms. The cover design utilizes two different sans-serif fonts and three font sizes. The author's first and last name stand out in bold red against a light background—the only color element and the largest lettering on the cover. The white letters of the title "Constructivism" appear against a black rectangle, creating a negative-image effect. Despite its handmade nature, the cover demonstrates Hahn's experimental approach and represents an early example of elements later associated with constructivist graphic design. This book not only reflects the principles of constructivism but also emphasizes the importance of visual design in contemporary graphic design.

In his work "Constructivism," Gan uses a combination of fonts—traditional serif and grotesque—varying size, weight, and spacing between letters and lines. Some pages significantly disrupt the standard structure of the printed block. Some text is laid out diagonally, and slogans are highlighted with thick lines, creating rhythm and dynamism on the page. Gan intended the text to visually illustrate its ideas. Large font emphasizes the importance of key phrases, while more subdued explanations are presented in smaller font sizes. Within an article, a single word or an entire phrase may unexpectedly appear, set with increased letter spacing. Terms important to the author are often highlighted and occupy a separate line, drawing special attention to them. This approach to text design facilitates its perception and emphasizes the main ideas, making "Constructivism" a significant example in the field of typography and design.

Hahn later emphasized that his book was the first example of typographic design that challenged traditional "artistic" and "aesthetic" typography. He proposed a new approach to typography, based on the production principles of constructivism. Hahn argued that before beginning to create a printed surface, it is important to understand the content of the text and its purpose, as well as to identify key emphases. This approach allows the constructivist to find the necessary forms and effectively use the available typographic materials. This innovative vision of typography made a significant contribution to the development of design and its functionality, emphasizing the importance of the interaction between content and form.

Hahn emphasized the importance of the correct use of tools that are often overlooked. Fonts, clichés, rulers, squares, reglets, marshalling scribes, spacers, sandpaper, water, and oil—all these elements are essential for achieving a high-quality print texture using ink and paper. Layout is a key aspect of design, but it cannot be considered complete without the printing process. Only after the printing plate has passed the printing stage, entered the binding machine, and then laid into a predetermined shape can final conclusions be drawn about the quality of the printed product.

Constructivism occupied a significant place in the history of printing production immediately after its appearance. In 1925, two books on printing were published in Kharkov. A. Sokolov, an instructor at the Kharkov School of Printing, published "The Typesetter's Handbook," which presented a constructive set design for propaganda brochures and political posters. He cited the works of A. Gan, illustrating the principles of constructivism, as an example.

In M. Dmitriev's practical guide to book typesetting for print and publishing workers, the author notes that he knows of only one book that was typeset and laid out in violation of all typographic rules. Despite this, it creates a finished impression of a work of art and, willy-nilly, attracts the reader's attention. Dmitriev emphasizes that although this approach is not standard, it should be used for propaganda literature.

Thus, constructivism has become an important trend in printing, contributing to the creation of expressive and effective propaganda materials.

Lodder Ch. in his work "Constructivism" examines the contribution of Alexey Gan to the development of this artistic movement. In the book, published in Barcelona in 2013, on page 56, the author analyzes the key aspects of constructivism and its influence on contemporary art. Gan, as one of the leading representatives of this movement, played a significant role in shaping the conceptual foundations and visual language of constructivism. His works and ideas remain relevant and influential for contemporary artists and designers.

Romberg K. in his work "Gan's Constructivism" on page 118 discusses the key aspects of constructivist theory. He focuses on how constructivism influences educational practices and approaches to teaching. The author emphasizes the importance of students' active participation in the learning process, which is a central element of constructivist philosophy. Romberg also analyzes how constructivist methods promote critical thinking and student independence, which makes learning more effective and meaningful.

In his work "Constructivism in Typographic Production," A. Gan examines the influence of constructivism on typography. The author analyzes how constructivist principles shape the visual structure and functionality of printed materials. He emphasizes the importance of harmony between aesthetics and practicality in the design of typefaces and compositions. The book offers a deep understanding of the historical context and current trends in typographic production, making it a valuable resource for designers and researchers in this field.

Gan A. examines constructivism in typography. On page 119, the author provides a detailed analysis of the influence of constructivist principles on the design and functionality of printed products. The work highlights how constructivism changed the approach to typography, focusing on simplicity, functionality, and aesthetics. These elements remain relevant in modern design, contributing to the creation of effective communication solutions in the field of printing.

Sokolov A. published a reference book for typesetters in Kharkov in 1925. This edition, starting on page 167, contains important information and recommendations that will be useful for typesetting professionals. The book covers key aspects of typesetters' work, including techniques, tools, and best practices, making it an indispensable resource for study and practical application in this field.

Dmitriev M. in his book "Book Technology" offers a practical guide intended for typographic workers and publishing house employees. Published in Kharkiv in 1925, this edition covers key aspects of book typesetting. On pages 34-35, the author shares valuable recommendations and methods that will help improve print quality and optimize processes in printing houses. The book is a relevant source of information for professionals in the fields of printing and publishing, emphasizing the importance of technique and technology in creating a high-quality book.

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