Stylogeny combining Russian Constructivism × Suprematism

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Style combination · Pairs well

Russian Constructivism × Suprematism

Add photomontage and heavy grotesque slogans to Suprematist floating planes to turn pure form into a message.

From the research on Suprematism

Mix them and make something Russian Constructivism Suprematism

Large, tilted lettering reads “NEW HORIZONS” in black and red on an off-white background. A large red circle, a sweeping yellow wedge, thick diagonal black bars, and smaller geometric accents overlap across the cover.
AI-generated by Stylogeny from the recipe below, and checked against it: the type from Russian Constructivism, the form from Suprematism, the composition from Russian Constructivism. Not a real or historical work.

01

What each style brings

Each part of the design comes from the style with the stronger say in it, and each style gives at least two.

Russian Constructivism Suprematism

Type from Russian Constructivism
Colour from Suprematism
Form from Suprematism
Composition from Russian Constructivism
Surface from Russian Constructivism

02

The type

Open fonts standing in for each style’s own type, which is often hand-drawn or commercial.

Display · Russian Constructivism

Rise

Archivo Black, standing in for Soviet heavy grotesques (rubleny shrift)

Text · Suprematism

Kazimir Malevich's non-objective art, unveiled with the Black Square at the 0.10 exhibition in Petrograd in 1915, reduced painting to pure geometric planes floating in white, infinite space. Through the UNOVIS collective in Vitebsk and El Lissitzky's books it became a graphic language of squares, bars and circles tilted on dynamic diagonals, the seedbed of Constructivist layout.

Hanken Grotesk; Suprematism used Russian grotesques (rubleny shrift) as set by Lissitzky and Hand-drawn lithographic lettering of UNOVIS publications

03

The colours

The ground and leading colours come from Suprematism, with a counter-accent from Russian Constructivism. The ink reads on the ground at 4.5:1 or more.

Russian Constructivism Suprematism

  • #f4f1e8 ground · 36%
  • #121212 ink · 14%
  • #e9b824 accent · 18%
  • #d1261c accent · 14%
  • #c9b28a accent · 10%
  • #2a4d8f accent · 8%

As CSS

:root {
  --ground: #f4f1e8;
  --ink: #121212;
  --accent-1: #e9b824;
  --accent-2: #d1261c;
  --accent-3: #c9b28a;
  --accent-4: #2a4d8f;
  --font-display: "Archivo Black", sans-serif;
  --font-text: "Hanken Grotesk", sans-serif;
}

04

The two styles

1917–1934 · Eastern Europe Russian Constructivism Constructivism rejected art for art's sake in favour of the artist-engineer building useful things for the new Soviet society. In posters, books, film publicity and state advertising it fused bold grotesque type, heavy bars, photomontage and diagonal axes into an urgent, utilitarian language of agitation that shaped modern graphic design worldwide. An off-white cover features a large red circle crossed by a thick diagonal black bar, with a red square, blue triangle, yellow bar, and small green circle. The black uppercase word “DRIFT” angles upward across the upper portion. 1915–1925 · Eastern Europe Suprematism Kazimir Malevich's non-objective art, unveiled with the Black Square at the 0.10 exhibition in Petrograd in 1915, reduced painting to pure geometric planes floating in white, infinite space. Through the UNOVIS collective in Vitebsk and El Lissitzky's books it became a graphic language of squares, bars and circles tilted on dynamic diagonals, the seedbed of Constructivist layout.

05

More combinations

With Russian Constructivism

All 21 combinations with Russian Constructivism

With Suprematism

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