The Grosvenor School was a hotbed of creative energy under the tutelage of Flight; he encouraged his students, including Cyril Power and Lill Tschudi, to embrace modernity within their works. With bold colours and graphic lines, their vibrant prints captured the optimism and movement of the modern world. Flight's belief in the accessibility of linocuts helped break down any barriers between high and low art and fed into the broader cultural movement that was trying to democratise both art and design. Linocuts lent themselves to the same criteria of simplicity and reproducibility that fostered wide dissemination, thus making them an ideal fit for a society increasingly shaped by mass production and media. Many linocuts depicted scenes of urban life—from the speeding car or train to the bustling market—that captured the movement and progress of the machine age. This interest in speed and motion was also influenced by several of the other art movements in Europe at the time, particularly Futurism, which celebrated industrial and technological progress.

The influence of the Grosvenor School, therefore, was not confined to the art world but rather reflects cultural changes in the 1920s and 1930s. With mass culture taking off through cinema, radio, and advertising, bold, energetic prints by the group embodied the spirit of modern, fast-changing Britain.