In 1928, Nikolai Andreevich Dolgorukov moved from his native Ekaterinburg to Moscow in order to attend VKhUTEIN (Higher State Artistic and Technical Institute). After that organization dissolved in 1930, Dolgorukov continued his studies at the Moscow Polygraphic Institute under the tutelage of artists Lev Bruni and Dimitri Moor. Dolgorukov's training was in illustrated political satire as well as in poster design and each of these areas became the main focus of his long career. After graduation, he collaborated with fellow poster artist Viktor Deni. The duo went on to design a host of iconic Soviet posters during the 1930s and 1940s. Dolgorukov also created illustrations for a number of prominent newspapers: Krasnaia Zvezda [Red Star] (1933), Pravda [Truth], (1934), Izvestia [News] (1949), and for numerous journals including Proektor [Projector] (1932-1935), Sovetskii Soldat [Soviet Soldier] (1941) and Iskra [Spark] (1942). He produced a variety of popular posters, such as Under the Banner of Lenin toward the Formation of a Classless Society (1932) and Five-Year Plan (1933; co-authored with Deni). During World War II, he remained active as a graphic designer and a cartoonist producing a myriad of posters including, We'll Sweep Away the Fascist Barbarians (1941) and The Enemy Will Not Have Mercy! He contributed two poster designs to the Soviet telegraph TASS Studio between the autumn of 1942 and the autumn of 1943.
The 1st Exemplary Typography Workshop was named in honor of Andrei Alexandrovich Zhdanov (1896-1948), a Soviet military leader and a senior member of the Politburo who died in 1948. Reportedly, Andrei Zhdanov controlled the atomic espionage division of the USSR and he was Josef Stalin's closest confidant.
Sovetskii Khudozhnik (Soviet Artist) was a publishing house that chiefly served the Artists’ Union of the USSR. The house was founded in Moscow in 1963 during a period of reorganization within the state publishing sector. Sovetskii Khudozhnik turned out albums, art reproductions, postcards and art books, catalogs, brochures and, posters. It also produced illustrated monographs on contemporary artists and collections. In the early 1990s, it was renamed Galart Publishing House.