The authors in the readings seem to have different visions of their futures, but they all have innovative ambitions that start their debate in graphic design. They believe technology will play an important role in shaping the near-term future. The future of technology is always realized with the help of engineering work, and the author’s background most helps them participate in the arts. Technology help solve book design’s problems. Because of the high standards of German technology, they have succeeded in realizing some of our book ideas in 1920. Art used to have a system of inventions that were considered special and important at the time, but over time it was seen as an exhausting subject before future improvements. These artists expect that art and design will come out in creative ways, as most artists make montages, that is, they piece together photos and inscriptions that belong to them and then reproduce them with photos. These authors share a common outlook on life that no longer makes sense in their minds but makes sense in their books. They have theories that commonplace others don’t exactly make, they look at matters and think of what would make it better. They may disagree with work that is described as fotopis (painting with photos) and consists entirely of images from other photographers, it’s not just art, it’s photography. Elements of these texts are relevant for the present are people are satisfied with a piece of work, some may not be interested and may express it on their face, and some may be quite the opposite. For example, “the Vortex Group published its work at war, large and basic, almost entirely in block letters; today”(El Lissitzky , page 28), this person characterizes all modern international print. The element in question has to do with politics. His problems manifested in the exhibition design. With Lissitzky’s problem in marrying a political to an avant-garde art vividly recollects a similar difficulty among the Neo-lmpressionists. Paul Signac, in rejoinder to this crisis, theorized:“The subject does not matter, or at least is only one of the parts of the work of art, not more important than the other elements, colors, drawing, composition. When the eye of the proletariat is educated, the people will see in the paintings something else besides the subject.” (cite)

References

https://www.artforum.com/print/197207/el-lissitzky-the-avant-garde-and-the-russian-revolution-37496. (n.d.). essay.

El Lissitzky, Our Book (1926)

Aleksandr Rodchenko, Varvara Stepanova, Aleksei Gan, Who We Are: Manifesto of the Constructivist Group (c. 1922)

Filippo Tommaso Marinetti, The Founding and Manifesto of Futurism (1909)