These authors lived in the same time as industrialized cultures so they have different views on how technology can be a part of their future. El Lissitsy however thinks technology helps take the first big step, but it is not what evolves design. Working intently in his self-designed leather workman’s “production suit,” Rodchenko utilized new technology and mass production in an attempt to give form not just to revolutionary concepts of functionalism and economy but to ideal Soviet citizens as well. He embraced, redefined, and elevated graphic design as an essential force in society. Rodchenko and his wife, Varvara Stepanova, repositioned artists as agents of social change standing at the center of a brave new world. His work  “Technology is—the mortal enemy of art. technology. . . . We—are your first fighting and punitive force. We are also your last slave-workers. We are not dreamers from art who build in the imagination: With the start of the reconstruction period about 1922, book production” also increases rapidly. Our best artists take up the problem of book design of 1920, is also printed, and also the Mayakovsky book, where the booking form itself is given a functional shape in keeping with its specific purpose. The cinema and the illustrated weekly magazine have triumphed. We rejoice at the new media that technology has placed at our disposal. Lissitzky believed that once something was developed, it would never progress into a higher art form again unless society became tired of it and desired something new. While on another side, Rodchenko and Marinetti have a more positive on their outlook on technology and it influences their methods of design.