Imre Gábor: … I appreciate the text when the typeface is invisible, it does not strike the eyes – it might sound strange – but preferably unnoticeable. I cannot stand if the emphasis is on the typeface, when it acts as harsh, pushy and as an undue component of the page – the typesetting, the text should remain as it is: pure text. Nothing more and nothing less. Though I can fully understand the opposite approach as well – when the text becomes a visual object losing its primary function namely. conveying thoughts through letters – the path followed by many of my esteemed colleagues in their own professional practice and their methodology of teaching. Being able to create quality work needs tireless practice and self-discipline, not to mention exquisite taste and the acquisition of general learning and cultural knowledge. In this specific case – copy-paste – I would highlight the positive side of it. Throughout the history of art this method was the fundament, the base of artistic evolution. One can say that copyright is an innovation of the modern times…
András Gosztom: … the task of the typographer has become more complex in the chaotic time of digital devices as opposed to the well-known practice of the Gutenberg galaxy. The typographical point more often alternates to a pixel, the rigid grid system changes to be responsive. The medium effects its creator and vice versa, but the dilemma remains the same: how can we successfully find the healthy balance between the aim of the creator and the applied technique…
Zoltán Halasi: … The thorough knowledge of the classical typesetting methods, rules and regulations is the key to improve ourselves as typographers. It also contributes to the proper and clear articulation of the visual message we aim to convey. My approach in my teaching practice follows this set-up. To pick the proper and suitable ‘copy’-s will ensure the right ‘paste’ to result new, high quality artworks…
Gyula Július: … In the beginning of times there was the spoken word what turned images into notes. Then the number of our symbols – based on the understanding of the real world – increased exponentially, and became ‚imageless’ compositions of strokes, phonograms, whilst we notice and admire the image of the rippling water in our capital M (the meaning of the Phoenician letter Mem is water)… this explains why applying type and typesetting as image is so natural to us. The orientation columns of our visual cortex receptive to strokes different in weight, direction and intensity. Therefore our way of writing has accommodated itself to its basic function of visual perception: we have shaped and designed our writing systems to perceive as smoothly as possible for our brain. This is the reason why the humankind quickly picks up the method of reading and writing. The aim in our teaching practice at METU is to interdisciplinary cover the different fields of classical typography, calligraphy, lettering, letterpress and experimental typography. The copy+paste method is the evolution itself, and the metaphor of culture. During this process the most important factor/actor is the mistake of copying the unique, this is the Demiurge itself…