How did El Lissitzky use geometric forms and typography in Dlya golosa?

In his 1923 book design for Vladimir Mayakovsky’s Dlya golosa (For the Voice), El Lissitzky utilized a Modernist approach characterized by the construction of simple geometric forms and elemental color.1

Lissitzky treated the page layout as a dynamic visual composition, moving away from conventional norms to emphasize structural clarity and symbolic meaning. Key aspects of his design in this work include:1

• Geometric Symbolism: Lissitzky integrated geometric elements to represent themes within the poetry. For instance, he used a large red circle on one title page to signify the sun, which was the subject of the corresponding poem.1
• Structural Layout: The title spread for each poem was organized through geometric alignments and asymmetrical compositions, rejecting traditional ornamentation in favor of a functional, clean aesthetic.1
• Typography: He developed a design program that utilized consistent type elements and placements, ensuring that the typography functioned as a cohesive part of the overall visual structure.1

By applying these principles of Suprematism and Constructivism, Lissitzky transformed the book into a seminal work of graphic design that prioritized the essential formal elements of the medium.1