Stylistically it was important to look at how shapes, text and image can interpret sound. When thinking of the radiation of sound, shapes such as circles and triangles spring to mind. With a circle its presumed the source of the sound is in the middle and the sound wave is traveling outwards. An isosceles triangle on the other hand represents sound in a more directional manner as the source is at the longest tip and sound in moving away, spreading as it goes. This explanation might not be scientifically correct but it is used in a lot in graphic design with one of the most prolific movements being Constructivism.
Constructivists believed art should directly reflect the modern industrial world. Vladimir Tatlin was crucially influenced by Pablo Picasso’s cubist constructions, in 1913, from which he began to make his own but they were completely abstract and made of industrial materials. The harsh, block colour, geometric forms came to represent the movement and were replicated often in posters, particularly reflecting the Soviet Russian era. Their dynamic, directional nature can be used to represent the radiation of sound and light. However its worth noting that due to their purpose the hard-line shapes are rarely emotional or humanist, meaning a balance had to be struck as Levin’s concert work on more of a personal level.
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