The communication of our time has shifted towards visuality both in quantity and intensity. Never have so many visual elements and communication strategies been involved in the mediation of the message. Typography, which translates messages to visuality, has been transformed by the need for ever-accelerating communication and information explosion. At the same time, it has been freed from the stylistic order of classical typography and its limitations have been eliminated. All this has been generated by changes in technology and attitude. The text itself - as it adapts to the new situation – appears more as an image. As a result, beside the ability to read text, we also need to acquire the ability to read images for effective, up-to-date communication.
But this moving away from objectivity and expediency does not provide the experience of absolute liberation, not even in the practice of typography. A proliferation of exuberance in terms of form and method is created, which brings into existence a meta-language in which an infinite number of participants can communicate with one another at the same time in evidently effortless ways. In exchange, however, we have become parts of a certain uniformity, which can be called fashion, trend or zeitgeist, but least of all freedom.
In this one-hundred-faceted uniformity, however, we need to find and show the potential of creative autonomy. We need to reconcile our willingness to innovate and the courage to experiment with professional integrity. Alongside these principles, the tutors’ community of the Media and Design Department in Eger seeks to arouse and maintain in their students the eternal curiosity that is the premise of reception and of the quest for new approaches. At the same time, we always acknowledge the need for responsibly pursued independence in one’s work, but also the joy resulting from it, let it be typography, different genres of graphic art, or any form of visual expression