Hallgatói portré - NT Nguyen
NT Nguyen Trong Nghia
EZ26FN
Graphic Design MA
1. What was the path that led to the OTDK award? Could you tell us about how
your path led you here, and what projects you are currently participating in?
The trip began with a personal interest in Eastern aesthetics, specifically Japanese
minimalism and the idea that "emptiness" may have meaning. During my MA studies in
graphic design, I came across the term “MA” concept, which refers to the pause or inbetween area not just in physical terms, but also in time, emotion and perception. This
prompted me to investigate negative space as a way of thinking rather than just a
compositional technique. For OTDK, I focused solely on theoretical and cultural aspects of
the subject. I concentrated entirely on MA as a conceptual and visual foundation for OTDK,
despite the fact that this research influenced my diploma project (Spillcha - Then and Now).
2. How did you find the topic of your research/creation? Could you introduce us to
this project of yours?
I got the idea after reading Shoukei Matsumoto's A Monk's Guide to a Clean House and
Mind. It's a simple yet profound book that emphasises how physical cleaning may help purify
the mind, a practice with strong roots in Zen Buddhism. What intrigued me was not the task
of cleaning, but the space provided by attention and emptiness. This lead me to discover the
Japanese idea of MA, which refers to the space between two objects, sounds or actions and
how it shapes experience.
As my research progressed, I realised that MA is more than just a physical idea, it is also
cultural and philosophical, defining timing, silence and presence. I became interested in how
this principle could be applied to visual design, particularly the utilisation of negative space.
My study evolved into a theoretical exploration of MA, reinforced by visual case studies and
personal experiments. I adapted the concept to product poster design, emphasising how
emptiness and deliberate spacing may suggest tranquilly, narrative tension or emotional
depth. Instead of approaching space as a backdrop, I approached it as an active
communicator.
3. Did you participate in the work and programs of the art student circle (trainings,
competitions, study trips, professional presentations)? How did you develop?
Yes, I participated in a number of events hosted by the student circle, such as exhibitions,
workshops, and speeches. One of these is my friends and I host the exhibition by ourself at
Manyiv Kultura at Budapest, 2024 under the name “Banh Trang Tron”
(www.ntorientstudio.art/banh-trang-trong-exhibition). These programs gave me excellent
forums for exchanging ideas and honing them through criticism. My ability to concisely
convey complicated thoughts and organise theoretical arguments has improved as a result of
presenting such an abstract notion as MA. My attitude to academic study was undoubtedly
influenced by these conversations.
4. What does it mean to you to have successfully participated in the national final?
For me, competing in the OTDK national final was a significant accomplishment on both a
professional and academic level. I was able to define a distinct design philosophy through my
investigation of the MA concept and its relationships to visual quiet, space and cultural
aesthetics. I was most shocked by how this research ultimately led to new opportunities: as a
result of my diploma project (Spillcha – Then & Now, which is a branch of MA) and my
OTDK work, I was offered a teaching position at the University of Economics in Ho Chi
Minh City, where I will start lecturing in August. My topic is a fantastic fit for the course I'll
be teaching in the Multimedia Communication deparment, specifically in the "Asian Art and
Culture Projects" course. More than just acknowledgement, OTDK provided me with
visibility, self-assurance and genuine chances to influence the upcoming generation of
designers.
5. What experiences and impressions did you gain at the OTDK in Eger?
In addition to being emotionally fulfilling, the OTDK event in Eger was academically
stimulating. The variety of study topics motivated me, and I valued the opportunity to discuss
my work with experts in other domains. The comments I got made it clearer to me how MA
may serve as a link between different disciplines, cultures and design philosophies. Seeing
how theory can spark insightful conversations in a creative setting was really inspiring. In
addition, I had the opportunity to visit around Eger and make new friends from over Hungary
who shared the same passion their ideas and projects.
6. What are your future plans? Is there another area you would like to explore?
My diploma project, Spillcha – Then & Now, was born out of my desire to use the MA
concept more practically and emotionally after doing my OTDK study. Using tea containers,
it explores space, memory and time while being rooted in MA philosophy. In the future, I
hope to keep working at the nexus of theory and practice, particularly where design,
emotional experience and cultural philosophy converge. A PhD on Asian aesthetic systems
and their impact on modern visual culture is something else I'm thinking about pursuing.
