Soviet graphic design of the 1920s: a diagonal axis, wedges and circles, heavy sans lettering, a photographic cut-out set against flat geometry. Rodchenko and Mayakovsky called themselves advertising constructors; Lissitzky's red wedge beat the whites in 1919.
Red and black dominated not for taste but for printing: two cheap inks on cream paper was what Soviet presses could afford, and the diagonal was a refusal of decorative stylisation. Lettering was meant to function emotionally, to create a reaction, which is why it shouts.
Flat discs and bands on a diagonal, a rotated grotesque headline in a web font the plate waits for, the figure cut out by its union outline with a margin, and a halftone photograph laid per face so the body reads as a pasted print. The whole rig rotates through ninety degrees on its jump.