STEWARDS OF THE TYPOGRAPHIC LANDSCAPE: A MODEL FOR EDUCATION - PART 3 OF 3
Based on a paper presented at the AIGA FutureHistory Conference, Chicago, Illinois (October 2004), this three-part article outlines some possibilities for increasing the focus on typography in design education.
In the final part of this series, Jan Conradi examines the educator's role in fostering cultural sensitivity, social awareness, and intellectual stimulation.

Section Four: Planning
Focus: Clarifying
Examining
typography and design through scientific, social, psychological,
cultural and other perspectives. Considering the impact and
ramifications of design decisions in a larger context.
It
has been said that bad typography never killed anyone, but are we sure
of that? Intuition has its place, but educators must constantly
reinforce the notion that coming to a problem from a knowledgeable
standpoint offers the greatest potential for diverse ideas and unique
and appropriate final solutions. Emphasizing the ephemeral or esoteric
without considering appropriateness and meaning is counter-productive.
Education
should emphasize reading, thinking, and testing visual solutions from
multiple vantage points. It is not difficult to locate examples where
design and typography have been objectively and scientifically
investigated. Students could investigate James Montalbano's work in
developing the Clearview type family, which increases the legibility of
highway signage. Tests indicated that use of this type could provide up
to a 24% increase in the amount of time a driver would have to read a
sign when traveling at 70 mph. The nighttime legibility distance could
be increased by 70 feet.[5] Montalbano's careful research and
thoughtful design decisions may actually save lives. Recently the
Federal Highway Administration granted approval for Clearview to be
used as an alternate to the current Standard Highway Alphabet: the
first new typographic decision the administration has made in half a
century.
Students could examine specific uses of
typography: in signage, on packaging, through film or digital display.
They might look for research studies investigating how age and changing
vision affect older people's ability to read. Color - its physiological
and psychological impact on clarity and message - is another fertile
area of study.
There are varied levels of research and even
informal questioning can be a legitimate avenue for gathering
information. Design students often forget their preferences and
abilities are not universal. How might someone from another culture,
age group, educational background, primary language, or gender
interpret an idea?
Section Five: The Future
Focus: Integrating
Promoting
intellectual rigour, attention to detail, and lifelong learning.
Raising expectations for professionals to interact with educational
programs in support of both students and faculty.
Creative
director Stephen Doyle juried a design exhibit a few years ago and was
critical of many of the entries for the prestigious competition. He
said "Designers, it appears, cower behind a camouflage of complexity,
taking refuge in confounding rather than clarification. We always want
to push design forward, but we never ask where."
We must
advocate fundamental typographic standards and an increased emphasis on
typographic content within educational programs. Our profession and our
educational institutions are too complacent and too accepting of
mediocrity. We must make typographic education an issue by promoting
those people - educators and practicing professionals - who uphold
standards of excellence. We should not hesitate to be publicly critical
of those who do not.
Who is accountable? It is the
educator's responsibility to make sure that students ask - and have the
ability to answer - questions defining the typographic landscape. It is
irresponsible to perpetuate ignorance and disregard for basic
typographic information. Stewardship acknowledges programmatic
individuality, encourages depth and breadth of learning, and does not
limit typographic diversity.
It is the student's
responsibility to absorb classroom experiences and to seek enrichment
opportunities beyond academic requirements. Building a reference
library, attending conferences or presentations, participating in
workshops or summer travel programs are important. Students can
interview design professionals for their typographic opinions, gripes,
successes and concerns. Face-to-face contact with local professionals
is valuable, but emails, phone calls and letters to designers outside
the area also offer legitimate learning experiences. These activities
can have an additional benefit of easing a student's transition from
school to work.
The design professionals have a
responsibility as well. They should be aware of what is happening in
education. They must reinforce high standards by providing a positive
role model as a life-long learner. Contacting a professor or talking to
a student only to fill hiring needs is not enough. Some designers
"adopt" a local program and visit schools as a part of their
professional commitment. It is good for educators and students to know
that practising designers are concerned and are watching what happens
in the schools. Designers can provide portfolio critiques, which are an
obvious opportunity to point out typographic weakness in a student's
work. They must realize that students listen to them - sometimes more
intently than to their professors, unfortunately - so their comments
reaffirm material that is being emphasized in class.
Despite
time constraints and an ever growing list of content to cover, a design
education must always focus upon quality. Too many programs do not,
seeking novelty at the expense of substance. Too many so-called
professionals encourage this. Gordon Salchow, professor at the
University of Cincinnati, is blunt in his assessment of this issue:
"Few schools expose students to a genuine understanding of, and
appreciation for, real excellence. Americans are fascinated by variety
and often interpret this as complexity rather than recognizing that
true complexity involves the depth of our understanding."[6]
The
language of typography is a living language, and the resources of
people, time and opportunity are too valuable to waste. We must
carefully educate upcoming generations of designers to be skilled and
articulate in using typographic language. Promoting ideas and expanding
possibilities for the world's people through typography and design is a
serious responsibility.
Notes
[5] - Clearview type is trademarked by Meeker
& Associates. The statistics also take into consideration signage
fabrication techniques that enhance visibility under different weather
and lighting conditions. Studies are available on-line from www-ce.uta.edu/faculty/Clearview.pdf; and tti.tamu.edu/documents/4049-S.pdf; accessed 16 July 2004.
[6]
- Gordon Salchow, "Two Myths about Design Education," Looking Closer:
Critical Writings on Graphic Design, edited by Michael Bierut, William
Drenttel, Steven Heller, and DK Holland. (New York: Allworth Press,
1994)
About Jan Conradi
Jan Conradi teaches graphic design, typography and design history at the State University of New York at Fredonia (Fredonia, New York, United States) She has written numerous articles and book reviews on topics related to design education. She is currently writing a book about Unimark International and is also developing an introductory textbook for graphic design.