Reflections on the Teaching of Typography

In very recent times—especially when compared to the centuries required for the evolution of writing—art and design academies have begun to experiment with and develop programs for teaching typography as part of their academic offerings. Pedagogy, like any scientific discipline, is dynamic in nature: it is constantly evolving and is often influenced by ideological positions and educational policies.

Typography most likely emerged from the need to expand the production of books that were previously created by hand by scribes, thus enabling broader access to knowledge for a larger number of people. Undoubtedly, this shift gave rise to a new profession that initially combined the roles of editor, designer, typographer, printer, and merchant. Printed publications at the end of the Middle Ages and the beginning of the Renaissance transformed society and stimulated cultural development.

As this cultural revolution advanced over the following centuries, it would be possible to trace a map of Western Europe showing how new typefaces emerged as a torrent of creative energy from meticulous draftsmen, goldsmiths, and bold printers—always driven by the same goal: improving legibility. From Venice to England, passing through France and the Low Countries, and later establishing itself in North America, typography experienced renewed momentum in the twentieth century in Germany and Switzerland.

Over time, objectives shifted—from the pursuit of legibility, visual impact, and reading speed to concerns related to production economy. At that point, it was possible to speak of regional “styles” or to associate certain letterforms with the aesthetic trends of a given period. However, new digital technologies—with ultra-fast microprocessors and instantaneous global communication that provide an overwhelming array of images and information—seem to dissolve these distinctions into diversity.

Ideally, this tendency toward the loss of identity should give way to a pluralistic culture that is more tolerant and open to the integration of diverse ethnicities and religions, and above all to the social inclusion of vast segments of the world’s population that continue to live in marginalized conditions. Nevertheless, human beings have a genuine need to identify with a set of familiar symbols that allow them to feel part of a social collective.

A parallel can be drawn between the innovations of Gutenberg and his Venetian contemporaries and the emergence of personal computers and the creation of the Internet. In both cases, a rupture in existing models of work and communication occurred. Naturally, specialized software for graphic and typographic design dramatically transformed the profession, though not the design process itself; rather, new challenges simply demand new solutions.

Driven by profound technological and social change, new design schools have emerged worldwide over the past two decades, and many prestigious universities have incorporated graphic design programs into their curricula. As a result, new study plans have been developed, along with the training of educators specialized in typography.

One of the most important aspects to consider in the pedagogical process is communication between teacher and student—the kinetic energy generated through mutual exchange, in which both have something to give and something to receive. Teachers also learn from their students and refine their teaching methods based on the creative and innovative actions students propose. On this basis, it can be affirmed that every student possesses an innate capacity for learning and a sense of admiration for what remains to be discovered. Learning is reinforced by positive outcomes; initial success encourages further success.

The study of typography is particularly complex. It requires an understanding of the relationship between form and function, knowledge of signs—their structure and shape, their relationships in pairs and as a whole, and their spatial arrangement. It also involves familiarity with constantly evolving technologies and, as previously noted, an awareness of their connection to economic and social contexts.

While the concept of “writing” refers to any form capable of being read, the form–function relationship establishes clear distinctions. In recent years, we have witnessed the emergence of numerous new typeface designs. Some of them, brilliantly executed, respond effectively to new challenges of legibility; many others, merely decorative and insignificant, contribute to confusion and visual chaos in urban environments.

The development achieved by typography as a discipline and its inclusion in academic curricula as part of the education of graphic designers and visual communicators is highly positive. However, the creation of new typefaces requires a profound understanding of signs, as well as perceptual, linguistic, and technological phenomena. For this reason, type design would be more appropriately offered as a postgraduate option or area of specialization within design schools.