In conjunction with TypeCon2011, SOTA is excited to present its sixth annual Type & Design Education Forum, a day of special programming devoted to addressing the pressing needs of design educators.

This information is subject to change.

Thursday, July 7th


  • Welcome & Announcements


  • Video Games on the Brain
    — Dr. Kayanna Pace, Instructor Graphic Design, The Art Institute of Atlanta-Decatur
    Ever wonder what your students were thinking? How they got there from here? This digital immigrant wonders if digital natives have been so influenced by playing video games for years that they now solve design problems the way they solve video game problems. Results of a study examining the relationship between video game playing and the thinking styles of design students will be shared.


  • Assignment: Advanced Typography: Tim’s Chair & Joe’s War
    — Nancy Rorabaugh, Instructor Graphic Design, The Art Institute of Atlanta-Decatur
    One advanced typography class assignment, two very different solutions. Shown will be the construction process for the Ampersand chair and a 3 minute moving type piece.


  • Assignment: Ligature Poetics
    — Sharon Oiga, Assistant Professor, Graphic Design, University of Illinois at Chicago
    — Guy Villa, Adjunct Instructor, Design & Typography, Columbia College
    There is a full-proof procedure for searing onto the brain the common set of 5 ligatures via a painless, quite enjoyable experience. First, a single sentence is written with words that employ each of the 5 ligatures. Then posters are created on the basis of this sentence. That’s it! Imagine the visual possibilities of such a sentence as ‘The staff goes fly fishing after shuffleboard at the office’ and many more.


  • Coffee Break


  • Video with live Skype Q & A: A New Master’s Program in Typeface Design for Educators
    — Gerry Leonidas, Senior Lecturer, University of Reading
    Increasingly part-time and full-time educators are required to hold higher level qualifications in order to teach, and for career progression. Furthermore, gradually the requirements for appointments of design educators specify evidence of research skills and relevant outputs (e.g. for tenure promotion portfolios). These conditions point to a need for design educators, and professionals transitioning to education, to enhance their theoretical and research skills. Recognising that such people in general cannot take time off to attend a full-time residential MA course, we developed a model for studying part-time with a mix of online distance-learning and residential periods.


  • Teaching Typography Online
    — Anitra Nottingham, Online Director, School of Graphic Design, Academy of Art University
    A look at the process of teaching typography online at Academy of Art University, San Francisco: the tools and syllabi; how the student body challenges our expectations about digital natives and immigrants and how they behave, inhabit, and learn in online spaces; how we communicate ideas and build online teacher presence; how online typography teaching does (and surprisingly doesn’t) differ from onsite typography teaching.


  • Assignment: Pencil to Pixel
    — John Paul Dowling, Senior Lecturer in Graphic Design, University of the West of England
    A type design project delivered yearly to Level 1 students on the ‘Communicating with Words’ module BA (Hons) Graphic Design course at the University of the West of England (UWE), Bristol, UK. The module utilises traditional craft based type design methods where the end results are produced using FontShop’s online digital type design application FontStruct. The presentation explains how we embraced this new technology without hindering our existing approaches to type design.


  • Lunch Break


  • Immovable Type(s):Space, Text and Blackness in America
    — John Jennings, Associate Professor of Visual Studies, State University of New York
    This presentation will be focused on the connections between typography, text, and black identity in America. It will examine the complex aesthetics and contextual cues concerning how type designates racial difference, connotes expressions of agency, creates and executes spatial narratives, and generates meaning regarding race in the public sphere. It will also examine how African American artists and designers utilize typography coupled with African American literary practices for visual communications regarding self-realization, social justice, and the performance of identity as regulated by printed ephemera.


  • Assignment: Film Title Design: Type, Image and Storytelling
    — David Peacock, Designer & Adjunct Instructor, Seattle Pacific University
    Film Title Design is the final project for Motion Graphics, a senior-level course that introduces students to the basic principles and practices of time-based design. Through the development of a film titlle sequence, students integrate typography, imagery, sound, motion and narrative structure.


  • One Semester of Letterform Design
    — Mark Jamra, Type Designer & Associate Professor, Maine College of Art
    A concise walk-through of the various components, both academic and studio, of Advanced Letterform Design course at Maine College of Art. Included in the presentation will be a break-down of assignments with process images and final results, along with thoughts about teaching the design of letters,wordmarks and fonts to today’s students.


  • Coffee Break


  • Assignment: Differentiation: A Content-driven Approach
    — Will Hill, Senior Lecturer Graphic Design, Anglia Ruskin University
    The assignment is designed to introduce Level 1 typography students to the meaningful use of typographic differentiation. Students are presented with a ‘raw’ text file which contaiins totally unformatted copy. The students then apply typographic decisions in order to visually differentiate different types of information, and to exploit the functionality of different typefaces and type families.


  • Nonorthodox Type 101
    — Juliet Shen, Type Designer & Instructor Typography, School of Visual Concepts
    Week-by-week course outline of a level one typography class focusing on teaching students to see like typographers and discover their own “rules,” rather than indoctrinating them with orthodoxies. This approach enables one to cover important fundamental principles as well as more advanced digital typesetting skills within a short time, so that students exit with an overall sense of what it takes to become a good typographer.


  • Get Your Sidebearings! The Typographic Carousel Project
    — Carol Fillip, Assistant Professor, School of Design, RIT
    — Lorrie Frear, Assistant Professor, School of Design, RIT
    Jump on the Typographic Carousel and learn how we have found ways to immerse today’s digitally native apprentices and students into the world of pre-digital media. Watch as we demonstrate how these rookies move in groups to six different terminals, each with a pre-digital typographically-related activity. These activities are ideal for any student population, as well as for team-building exercises for professional groups and organizations, to acquire an understanding, appreciation and greater sensitivity to typography.


  • Closing Remarks


  • Educator’s Social: Cocktails & Networking