VC 161 FINAL

NOT Pieter Brattinga

A provocateur who pushed for maximum freedom of expression and thought, Dutch graphic designer and photographer _____________ sought unconventional solutions to visual communications assignments. Many of his works, like the 1979 theater poster for Leonce and Lena, contain jolting ambiguities and erotic overtones. His typographic oeuvre is unrestrained, from handwritten titles jotted onto photographs to eloquent classical typography—and sometimes both combined.

Annual report?

A publication that federal law requires all public companies to provide to their stockholders?

Douglas C. Engelbart?

A scientist at the federal government's Augmentation Research Center in the 1960s, this person invented the first mouse, a small wooden box on steel wheels?

Logotype?

A system of visual elements used in a comprehensive program to project a consistent image of the company?

Helvetica

Another new sans-serif was released as Neue Haas Grotesk by Edouard Hoffman and Max Miedinger. When this design was produced in Germany by the now-defunct D. Stempel AG in 1961, the face was renamed with the traditional Latin name for Switzerland.

Push Pin Almanack

As photography stole illustration's traditional function, a new approach to illustration emerged. This more conceptual approach to illustration began with a group of young New York graphic artists: Seymour Chwast, Milton Glaser, Reynolds Ruffins, and Edward Sorel banded together and shared a loft studio. Freelance assignments were solicited through a joint publication called the _____________. Published bimonthly, it featured interesting editorial material from old almanacs illustrated by the group.

Weimar, Germany

Located in _____________ from 1919-1924, the Bauhaus was the German design school where ideas from all the advanced art and design movements were explored, combined, and applied to problems of functional design and machine production.

Paul Rand

More than any other designer, ____________ initiated the American approach to modern design. He had an ability to manipulate visual form (i.e., shape, color, space, line, and value), and to skillfully analyze communications content, reducing it to a symbolic essence without making it sterile or dull. Visual contrasts marked his work: he played red against green, organic shape against geometric shape, photographic tone against flat color, cut or torn edges against sharp forms, and the textural pattern of type against white margins. The cover design for Direction magazine shows the important role of visual and symbolic contrast in his designs. His 1946 book Thoughts on Design inspired a generation of designers. His collaborations with copywriter Bill Bernbach became a prototype for the now ubiquitous art/copy team at advertising agencies. The emphasis of his later work was on trademark and corporate design for such clients as IBM.

Joseph Binder

On the eve of WWII, world events forced the US to cast aside its neutrality, traditionalism, and provincialism; the new embrace of modernist design was part of this process. This 1939 poster for the New York World's Fair by _______ signifies America's embrace of modernism, technology, and global power. This designer's strong cubist beginnings yielded to a stylized realism, and his technique became more refined, in part because he used an airbrush to achieve highly finished forms.

NOT Takenobu Igarashi

Plane and shape are the nucleus of _____________'s work. His work is influenced by traditional Japanese motifs and incorporates grid structures and vibrant planes of color that explore warm/cool contrast, close-valued color, and analogous color ranges. His 1981 Nihon Buyo poster for the Asian Performing Arts Institute uses planes of color on a twelve-unit grid to define the abstracted and expressive portrait.

Neville Brody

Postmodernism heralded a spirit of liberation that allowed designers to respond positively to vernacular and historic forms and to incorporate them into their work. An atmosphere of inclusion and expanding possibilities encouraged designers to experiment. The English designer _____________ wondered, "Why can't you take a painterly approach within the print medium?" His work evolves from an effort to discover an intuitive yet logical approach to design, expressing a personal vision that could have meaning to his audience. His typographic configurations project an emblematic authority that evokes heraldry and military emblems.

Rosmarie Tissi

Siegfried Odermatt and ____________ sought logical and effective solutions to design problems through a playful sense of form, the unexpected manipulation of space, and designs with strong graphic impact. They achieved typographic vitality by overlapping and combining letterforms in the presentation folder for the printing firm Anton Schöb. Placing typography on geometric shapes whose configuration was generated by the line lengths of the text itself was a technique they frequently used during the 1980s.

Emil Ruder

Siegfried Odermatt played an important role in applying the International Typographic Style to the communications of business and industry. He combined a succinct, efficient presentation of information with a dynamic visual quality, using straightforward photography with drama and impact. Ordinary images were turned into convincing and engaging photographs through the careful use of cropping, scale, and lighting, with attention to shape and texture as qualities that cause an image to emerge from the page. In the early 1960s, _____________ joined Odermatt. They loosened the boundaries of the International Typographic Style and introduced elements of chance, the development of surprising and inventive forms, and intuitive visual organization into the vocabulary of graphic design. This phase of the studio's development marked the beginning of a break with the traditions of Swiss design.

Chermayeff & Geismar

The Chase Manhattan Bank of New York logo was composed of four geometric wedges rotating around a central square to form an external octagon. It was an abstract form unto itself, free from alphabetic, pictographic, or figurative connotations. Although it had overtones of security or protection because four elements confined the square, it proved a completely abstract form could successfully function as a large organization's visual identifier. Who was the designer?

Pierre Bezier?

The French mathematician who invented mathematically generated, nonuniform curves (in contrast to curves with uniform curvatures, called arcs) defined by four control points, which are particularl?

Henryk Berlewi

The Polish designer ____________ evolved his mechano-faktura theory while working in Germany in 1922 and 1923. He believed that modern art was filled with illusionistic pitfalls, so he mechanized painting and graphic design into a constructed abstraction that abolished any illusions of three dimensions, as on page 6 of the 1925 Plutos Chocolates brochure.

Anthon Beeke

The Provo youth movement, which emphasized individual freedom and rejected social conformity, inspired a new expressionism in Dutch graphic design, which increased dramatically during the 1970s and 1980s. Late twentieth-century designers, such as ______________, and groups such as Studio Dumbar, Hard Werken, and Wild Plakken, pushed beyond the traditional values of harmony, unity, and order in their quests for individual meaning and subjective expression.

Golden mean

The _____________has a three-to-five ratio. A rectangle with this ratio was considered by the ancient Greeks to be the most beautifully proportioned rectangle.

El Lissitzky

The constructivist ideal was best exemplified by ____________, who was influenced by Kasimir Malevich and applied suprematist theory to constructivism, as evident in the 1919 poster "Beat the Whites with the Red Wedge", in which he transformed suprematist design elements into political symbolism for communication purposes.

Theo van Doesburg

The de Stijl movement's founder and guiding spirit ____________ was de Stijl, so it is understandable that de Stijl as an organized movement did not survive his death at age forty-seven in 1931.

Entropy

The disintegration of form from repeated copying

Univers

The emerging Swiss design gained its alphabetical expression in several sans serif type families designed in the 1950s. The geometric sans-serif styles, mathematically constructed with drafting instruments during the 1920s and 1930s, were rejected in favor of new designs inspired by nineteenth-century Akzidenz Grotesk fonts. One of the new typefaces designed during this period was _____________, which was created as a palette of twenty-one visually related fonts. All twenty-one have the same x-height and baseline, and all ascenders and descenders are the same length. Numbers replaced conventional nomenclature.

Plakastil

The modern-art movements and the communication needs of world war affected the approach to poster design. The shift from naturalism, which began with Henri Toulouse-Lautrec, continued with the work of James Pryde and William Nicholson during their brief advertising career. But it was Lucian Bernhard who inspired the design approach that emerged in Germany early in the twentieth century known as _____________.

William Addison Dwiggins

The modernist approach slowly gained ground in America on several fronts. Among the transitional designers in America was ________. He experimented with uncommon title page layouts, two-column book formats, and collage-like stenciled ornaments that reflected the influence of cubism, as seen in this image. Identify the designer.

Posters promoted radio programs that kept listeners informed about the conditions of the war.

The poster reached the zenith of its importance as a communications medium during World War I (1914-18). Which of the following communications goals does NOT belong to the role of the poster during this period?

NOT Ettore Sottsass

The postmodernist architect _____________ used an energetic, high-spirited geometry of decorative surfaces and tactile repetitive patterns. His visual motifs are expressed in a poster designed by Philadelphia graphic designer William Longhauser for an exhibition of the architect's works.

Armando Testa

The strength of a bull elephant is bestowed on the tire by the surrealist technique of image combination. The poster is for Pirelli tires. Who was the designer?

Vernacular

The term ______________ design refers to artistic and technical expression broadly characteristic of a locale or historical period.

Victor Moscoso

The vibrant contrasting colors and Vienna Secession lettering inside of the sunglasses implies the drug culture of the period in this 1967 poster for the Chambers Brothers. Who is the designer?

Man Ray

The visual analogy between trademark and planet permits an unexpected application of surrealist dislocation to visual communications. Who made this London Underground poster in 1932?

Trademarks

The visual identification systems during the 1950s went beyond_____________ , which had been in use since the medieval guilds, to produce consistent design systems that projected a cohesive image for corporations with expanding national and multinational presences.

Lester Beall

The work of __________ broke with traditional advertising layout. He understood Jan Tschichold's new typography and the Dada movement's random organization, the intuitive placement of elements and role of chance in the creative process. He often combined flat planes of color and elementary signs, such as arrows with photography. He admired the strong character and form of nineteenth-century American wood types and incorporated them into his work. He sought visual contrast and a rich level of information content. In his posters for the Rural Electrification Administration, a Federal agency charged with bringing electricity to less densely populated areas of the United States, the benefits of electricity are presented through signs understandable to illiterate and semiliterate audiences.

Fernand Leger

This monumental composition of pure, flat planes signifying the geometry, color, and energy of the modern city led its creator to say that "it was advertising that first drew the consequences" from it. Who is the artist?

Paul Brainerd?

This person worked in the Apple Computer design department and designed early bit-mapped fonts that were then released by Apple?

Filippo Marinetti

This poem "depicts" the artists journey, which included the war front. Who is this artist?

Joseph Binder

This recruiting poster for the US Navy, c. 1954. Echoes of Cassandra's steamship posters remain, but the strength expressed is more powerful and forbidding. Match the image with the name of its designer.

Susan Kare?

This thirty-six-year-old former newspaper editor formed a company called Aldus (after the fifteenth-century printer Aldus Manutius) to develop software for the Macintosh so newspapers could produce advertisements more efficiently. In 1985, Aldus introduced PageMaker software?

NOT Steff Geissbuhler

Through his instruction at the Basel School of Design and his personal projects, ____________ consciously sought to breathe a new spirit into the typography of order and neatness by questioning the premises, rules, and surface appearances that were hardening the innovations of the Swiss masters into an academic style in the hands of their followers. In the mid-1970s, he experimented with offset printing and film systems. The printer's camera was used to alter images, and the unique properties of the film were explored. He began to move away from purely typographic form and embraced collage as a medium for visual communication, as shown in the 1974 announcement from Typographische Monatsblätter magazine.

Kern

To increase or decrease the space between pairs of letters

Kathe Kollwitz

A Die Brücke artist, ____________ had great empathy for the suffering of women and children. Her figurative paintings and woodblock prints were forged with thick, raw strokes, often becoming bold statements about alienation, anxiety, and despair.

Typogram

A brief, visual typographic form in which concept and visual form are merged into a oneness.

Corporate identity?

A company brand mark consisting of only letterforms?

Corporate identity manual?

A firm's book of guidelines and standards for implementing its corporate identity program?

Total Design

A group known as ______________, which included graphic designer Wim Crouwel, product designer Frisco Kramer, and graphic and architectural designer Benno Wissing, was a comprehensive design firm whose goal was to conceive and implement "ideas on design in all fields, in order whenever possible to achieve a unity of thought...in these fields." During the 1960s and 1970s, this firm played a dominant role in Dutch design. Projects included visual-identity programs, such as the ones for the PAM petroleum company and Furness Holding, and for museum exhibitions with related graphics, book design, signage, and environments.

Em

A horizontal measurement equivalent to the width of the letter m

Seymour Chwast

A mundane advertising slogan, "End Bad Breath," gained new life when it was combined with a blue woodcut and offset-printed green and red areas in this 1968 poster protesting the American bombing of Hanoi. Who is its designer?

Concept

Bernhard's approach, and the subsequent style that he inspired, was characterized by three of the following. Which does NOT belong? ___________

Seymour Chwast and Milton Glaser

Both ____________ and _____________ developed a number of novelty display typefaces. Often these began as lettering for assignments that were then developed into full alphabets.

Vladimir Tatlin and Alexander Rodchenko

By 1920, a deep ideological split developed in Russia concerning the role of the artist in the new communist state. Some artists argued that art should remain an essentially spiritual activity apart from the utilitarian needs of society. They rejected a social or political role, believing the sole aim of art to be realizing perceptions of the world by inventing forms in space and time. Others renounced "art for art's sake" to devote themselves to industrial design, visual communications, and applied arts serving the new communist society. For example, _____________ turned from sculpture to the design of a stove that would provide maximum heat from minimum fuel, and ____________ gave up painting for graphic design and photojournalism.

NOT New wave

By the 1970s, many believed the modern era was drawing to a close in art, design, politics, and literature. The social, economic, and environmental awareness of the period caused many to believe the modern aesthetic was no longer relevant in an emerging postindustrial society. People in many fields, including architects, economists, feminists, and even theologians, embraced the term postmodernism to express a climate of cultural change. Maddeningly vague and overused, this term became a byword in the last quarter of the twentieth century. Late modernism and _____________ are proffered as alternative terms for late twentieth-century design.

NOT Berlin

Just as Paris had been receptive to new ideas and images during the late nineteenth and early twentieth centuries, ____________ assumed that role during the middle of the twentieth century.

Hannah Hoch

Dada artists claim to have invented photomontage, the technique of manipulating found photographic images to create jarring juxtapositions and chance associations. ____________ created outstanding work in the medium.

True

Dada writers and artists were concerned with shock, protest, and nonsense.

Illustrative

During World War I, posters of the Central Powers countries (led by Germany and Austria_Hungary) differed from those of the Allied Powers countries (led by France and Great Britain and joined by the USA in 1917). Posters from the USA, for example, tended to be more ________ than those from Germany.

Cipe Pineles

During the 1940s, only a moderate number of American magazines were designed well. These included Fortune, Harper's Bazaar, and Vogue. An art director's assistant at Vogue during the 1930s, ____________ made a major contribution to editorial design during the 1940s and 1950s, first as the art director at Glamour, then at Seventeen, Charm, and Mademoiselle. Her publication designs were characterized by a lyrical appreciation of color, pattern, and form. She became the first woman admitted to membership in the New York Art Director's Club. On a cover for Seventeen she designed in 1949, stripe patterns and a mirror-image reflection achieved a graphic vitality.

International Typographic Style

During the 1950s, a design movement emerged in Switzerland and Germany that has been called Swiss design, or, more appropriately, the __________ . The visual characteristics of this design movement include visual unity of design achieved through the asymmetrical organization of the design elements on a mathematically constructed grid.

Herbert Bayer

During the period from 1925-1932, the typography workshop at the Bauhaus taught by _____________ solicited printing orders from local businesses and made typographic design innovations along functional and constructivist lines. Sans-serif type was used almost exclusively. This professor experimented with flush-left, ragged-right typesetting; established visual hierarchy after careful analysis of content; and explored open composition on an implied grid and a system of sizes for type, rules, and pictorial images. He designed a universal type that reduced the alphabet to clear, simple, and rationally constructed forms. He argued that we print and write with two alphabets (capital and lowercase) that are incompatible in design and that two totally different signs represent the same spoken sound.

Pieter Brattinga

Dutch designer ______________ learned all aspects of printing by working at his father's printing company, De Jong & Co., near Amsterdam. He curated small exhibitions intended to introduce advanced art and graphic design to a wider audience. These exhibitions were held in a small gallery at the printing firm. He designed posters for these exhibitions, which were constructed on a grid of fifteen squares. One or more of these modules always appeared as an element in the design, such as the 1960 exhibition poster for "De Man Achter due Vormgeving van de PTT" (The Man Behind the Design for the Dutch Post Service). He also edited a square-format journal called Kwadraatblad (Quadrate), which was printed at De Jong and showcased the work of leading artists and designers while demonstrating printing capabilities. And he designed posters and publications for the well-known Kröller-Müller Museum in Otterlo.

NOT Anthon Beeke

Dutch designer ______________'s design philosophy was less emphatic about universal form and standardized formats than that of other Dutch designers. He emphasized the designer as an objective problem solver who finds solutions through research and analysis, simplifying the message and the means for conveying it to an audience. He believed the flood of typographic messages in contemporary society demanded clarity and simplicity.

Poet

Futurism was launched when the Italian ____________ Filippo Marinetti published his "Manifesto of Futurism" in the Paris newspaper Le Figaro on February 20, 1909. His stirring words established futurism as a revolutionary movement through which all artists could test their ideas and forms against the new realities of a scientific and industrial society.

Calligrammes

Guillaume Apollinaire's unique contribution to graphic design was the 1918 publication of a book entitled _____________, poems in which the letterforms are arranged to form a visual design, figure, or pictograph, such as the poem entitled "Il Pleut."

Herb Lubalin

Hailed as the typographic genius of his time (1918-1981), ____________'s achievements included advertising and editorial design, trademark and typeface design, posters, and packaging. He abandoned traditional typographic rules and practice and looked at the characters of the alphabet as both visual forms and a means of communication. Words and letters could become images; images could become a word or a letter. He practiced design as a means of giving visual form to a concept or message, as in the proposed logo for Mother and Child magazine, in which the ampersand enfolds and protects the "child" in a visual metaphor for motherly love. Among his typeface designs is Avant Garde. He was also the design director for International Typeface Corporation's tabloid-size journal known as U&lc.

Laszlo Moholy-Nagy

In 1921, the Hungarian ____________ moved to Berlin, where El Lissitzky, Kurt Schwitters, and Théo van Doesburg were frequent visitors to his studio. He saw type as form and texture, to be composed with a rectangle, lines, and spatial intervals in order to achieve dynamic equilibrium through which clarity of communication and harmony of form could be achieved, as in his design for Arthur Lehning's avant-garde publication. This is one of the purest examples of de Stijl principles applied to typography.

Color

In 1924, Austin Cooper made an interesting foray into the use of pure geometric shape and ____________ to solve a communications problem for the London Underground, in which he symbolized the temperature changes as one leaves the cold street in winter or the hot street in summer for the greater comfort of the underground railway.

Federal Art Project

In 1935, as part of President Franklin Delano Roosevelt's New Deal, the federal government created the Works Progress Administration (WPA), which provided job opportunities for the unemployed. The WPA's _____________ enabled actors, musicians, visual artists, and writers to continue their professional careers.

Jean Carlu

In 1941, as America's entry into the global conflict became more obviously inevitable, the federal government began to develop propaganda posters to promote production. The famous poster, created by _____________ for the Office of Emergency Management, is one of the finest designs of his career. Known as the "America's answer! Production" poster, visual and verbal elements are inseparably interlocked into an intense symbol of productivity and work. Over 100,000 of these posters were distributed throughout the country and the designer was recognized with a top award by the New York Art Director's Club Exhibition.

Semiotics

In 1950, Max Bill became involved in developing the graphic design program at the Institute of Design Institute in Ulm, Germany, which attempted to establish a center for research and training to address the design problems of the era. Otl Aicher, one of the Ulm cofounders, played an important role in establishing the graphic design program, and Anthony Froshaug set up the typography workshop. The curriculum included a study of __________: the general philosophical theory of signs and symbols.

Sachplakat

In Switzerland, even after modern production procedures such as offset printing began to be used for most poster production, traditional lithographic crafts were retained in what was known as Basel realism. The works of Niklaus Stoecklin, Otto Baumberger, and Herbert Leupin, which were characterized by a simple, laconic, and sometimes hyperrealistic approach, were called _____________ because they featured individual objects as the main subject.

Figurative typography

In the 1950s and 1960s, a playful direction called ____________ emerged among New York graphic designers. Letterforms became objects; objects became letterforms. Gene Federico was one of the first graphic designers who delighted in using letterforms as images, as shown in this 1953 double-page advertisement from the New Yorker magazine, in which the perfectly round Os of Futura form bicycle wheels.

A. M. Cassandre

In the quintessential art deco display type Bifur, the eye is able to fill in the missing parts and read the characters. Who is attributed to designing this typeface in 1929?

Synthetic cubism

Which form of cubism depicted the essence of an object rather than a representation of the subject matter based on its outward appearance?

Universal Alphabet

Which typeface is associated with Herbert Bayer?

Futura

Which typeface is associated with Paul Renner?

Leichte Kabel

Which typeface is associated with Rudolph Koch?

Times New Roman

Which typeface is associated with Stanley Morison, the typographic advisor to the British Monotype Corporation, who supervised the design of a major twentieth-century typeface that was introduced on October 3, 1932?

Herbert Matter

Who designed the New York, New Haven, and Hartford Railroad trademark in 1954? The design included a geometric slab-serif capital N above an H, and a red, black, and white color scheme.

All of the above

William Golden designed one of the most successful trademarks of the twentieth century for ____________. Two circles and two arcs form a pictographic eye. When the pictographic eye first appeared, it was superimposed over a cloud-filled sky and projected an almost surreal sense of an eye in a sky. The effectiveness of the symbol demonstrated to the larger management community how a contemporary graphic mark could compete successfully with more traditional illustrative or alphabetic trademarks.

Vladimir Vasilevich Lebedev

With the growth of the Soviet children's book industry under Vladimir Lenin's New Economic Policy of the 1920s, ______________ became the father of the twentieth-century Russian picture book. He cultivated "infantilism" in his work by borrowing the spontaneous and naēve techniques of children's art. In his picture books, he illustrated Marxist parables on the superiority of the Soviet system to capitalism.

Ladislav Sutnar

Working closely with Sweet's research director Knut Lönberg-Holm, ____________ developed a philosophy for structuring information in a logical and consistent manner. In two landmark books, Catalog Design and Catalog Design Progress, they documented and explained their approach. Informational design is defined as a synthesis of function, flow, and form. Function is utilitarian need with a definite purpose: to make information easy to find, read, comprehend, and recall. Flow means the logical sequence of information. Form refers to the arrangement of information. As he approached problems of form, static and uniform arrangements of information gave way to dynamic information patterns and clear, rational organization.

Milton Glaser

_______ 's 1967 image of the popular folk-rock singer Bob Dylan is presented as a black silhouette with brightly colored hair patterns inspired by art nouveau sources. Nearly six million copies of the poster were produced for inclusion in a best-selling record album. It became a graphic icon in the collective American experience.

Alexey Brodovitch

________ became art director of Harper's Bazaar in 1934 and remained in this position until 1958. He saw contrast as a dominant tool in editorial design and paid close attention to the individual page, the spread, and the graphic movement through the editorial pages of each issue.

Adrian Frutiger

__________ was the designer of the typeface mentioned in the preceding question, which was created as a palette of twenty-one visually-related fonts that all have the same x-height and baseline and whose ascenders and descenders are the same length.

Saul Bass

___________ brought the sensibilities of the New York School to Los Angeles in 1950. He frequently reduced his graphic designs to a single dominant image, often centered in the space. The simplicity and directness of his work allowed the viewer to interpret the content immediately. He had a remarkable ability to identify the nucleus of a design problem and to express it with images that became glyphs, or elemental pictorial signs, which exerted great graphic power. The 1955 design program for Otto Preminger's film The Man with the Golden Arm was the first comprehensive design program unifying both print and media graphics for a movie. In addition to his film work, he created numerous corporateidentity programs, such as AT&T's, the Girl Scouts', and United Airlines'.

Laszlo Moholy-Nagy

____________'s passion for typography and photography inspired a Bauhaus interest in visual communications and led to important experiments in the unification of these two arts. He saw graphic design, particularly the poster, as evolving toward the "typophoto." He called this objective integration of word and image to communicate a message with immediacy "the new visual literature." The 1923 "Pneumatik" poster is an experimental typophoto. He also believed that the photogram, because it allowed an artist to capture a patterned interplay of light and dark on a sheet of light-sensitive paper without a camera, represented the essence of photography.

Willem Sandberg

_____________ was the director of the Stedelijk Museum in Amsterdam from 1945 until 1963. While hiding and working for the Resistance during World War II, he created his Experimenta Typographica, a series of probing typographic experiments in form and space that was published in the mid-1950s. He was fascinated by serendipity, such as the unexpected relationship that occurred when the rough edges of torn paper were juxtaposed with crisp edges of type.

Seymour Chwast

_____________'s vision is very personal, yet communicates on a universal level. In his work, an absolute flatness is usually maintained. He has a love of Victorian and figurative letterforms; the ability to integrate figurative and alphabetic information has enabled him to produce unexpected design solutions. His album cover for The Threepenny Opera demonstrates his ability to synthesize diverse resources—the German expressionist woodcut, surreal spatial dislocations, and dynamic color found in primitive art—into an appropriate expression of the subject. From antiwar protest to food packaging and magazine covers, he has reformulated earlier art and graphics to express new concepts in new contexts.

Gustav Klutsis

______________, the master of propaganda photomontage, referred to the medium as "the art construction for socialism." He used the poster as a means of extolling Soviet accomplishments, as in the 1931 poster "Building Socialism Under the Banner of Lenin." His work has been compared to John Heartfield's powerful political posters.