The brothers were at their prime during the revolutionary period of politics and artistic experimentation in Russia, centered in Moscow. There was a shift from the illustrator-as-creator to the constructor-as-creator or nonlinear-narrator-as-creator. In the visual language of the constructor or Constructivist, the Stenbergs and other graphic designers and artists assembled images, such as portions of photographs and preprinted paper, that had been created by others. Thus, the Stenbergs and others realized wholly new images (or compositions) which were no longer about realism. Hence, graphic design as a modern expression eschewing traditional fine art was born in the form of the printed reproductions of collage or assemblage. One of the causes of the avant-garde artists in the new Russia, who considered fine art to be useless, was served when the Stenbergs and others as constructors-as-creators produced posters that had a use, particularly to serve the state. (In fact, painter Nadezhda Udaltsova resigned from the UNKhUK in protest against the replacement of easel painting by use-intended industrial art.)