Abstract
The article shows the formation of the style of posters “Rosta windows (Okna Rosta)” in the notebooks and rough sketches of V.V. Mayakovsky in 1920, revealing the poet’s creative laboratory and allowing to characterize his creative process, based on the poster “The Story about Bagels and a Woman Who does not Recognize the Republic” and the poem “The Story about how the Godmother Interpreted about Wrangel without Any Mind,” which was probably also intended for a multi-part “Window.” The article considers the movement from text to image, the variety and effectiveness of communication techniques of the poet-agitator and the perceiving viewer-listener. The author of the article explains the stages of the appearance and formation of a particular image from the initial notes to the verbal-visual unity of the poster. A detailed comparative analysis of the communicative techniques that the poet used in both works was carried out. The author of the article concludes the connection between the plot and the propaganda potential of the texts intended for illustration.
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