A 1923 Constructivist magazine cover by El Lissitzky featuring experimental typography and geometric forms. This work represents the New Typography movement of the early twentieth century.

El Lissitzky designed this cover for the February 1923 issue of Broom, an international magazine of the arts. The composition follows the principles of Constructivism, where typography functions as a structural component. Lissitzky used a palette of black and white with grey tones on a tan background to create a sense of spatial depth on a flat surface. The letters of the title are fragmented. The 'B' is split into two parts, while the 'ROOM' section is placed inside a black rectangular block. A large, thin 'N' for 'Number' dominates the lower half of the page, intersected by a horizontal line. The number '3' contains the word 'FEBRUARY' in a circular arrangement. This demonstrates Lissitzky's interest in non-linear reading paths and dynamic layouts. Lissitzky developed a series of works he called 'Proun,' an acronym for 'Project for the Affirmation of the New.' These works existed in the space between painting and architecture. The Broom cover applies these theories to the printed page. He treats the white rectangle behind the word 'ROOM' as a window or a floating plane. This creates a layered effect that defies the two-dimensional nature of paper. Broom was founded by Harold Loeb and Alfred Kreymborg to introduce European modernism to an American audience. Lissitzky produced this work during his time in Berlin. He acted as a link between the Russian avant-garde and Western movements such as De Stijl and the Bauhaus. This cover is a primary example of his 'New Typography.' This approach sought to modernise visual communication through clarity and industrial methods. The design avoids traditional ornamentation. Instead, it relies on the weight and placement of letterforms to create visual interest. The use of negative space and overlapping shapes suggests an architectural logic. This print captures a moment when graphic design moved away from illustration toward a more abstract, functional aesthetic.