Introduction

Delve into how experimental typography allows ‘type’ to be more than a literal element in our daily lives. When we look around in our daily lives, every word that we see and read is tightly related to the art of typography. To expand one’s creativity and incorporate a method of self-expression, this workshop on “Experimental Typography: Type Designs” provides students an opportunity to explore beyond the literal, conventional element of type and explore its visual element through various mediums, methods, and styles. For about ten weeks, students had hands-on experience with various mediums, methods, and styles to find their favorite that can reflect their personal interests, identity, and self-expression.  

History & Distinction

To effectively communicate written words, the first typeface of Blackletter was invented by Johannes Gutenberg in 1440 to mimic the calligraphy, handwriting-styled which was broadly used among the monks to hand-transcribe manuscripts (Chapman). With the spark of the new invention, the production of various typefaces and the way to express typography has been evolving from the first movable-type printing press to modern, digital typeface. The rise of the digital type and technology emerged heavily when the first digital typeface was developed with a vector outline of type. One of the earliest forms of digital typeface was “Digi Grotesque, designed by Rudolf Hell in 1968”(Kirilov). To reflect on the constantly evolving methodology of expressing type, I decided to lead a workshop that focuses on how expressive types can help students, as a form of self-expression. The scholarly journal by Hakan Ertep “Typography as a Form of Cultural Representation” highlights how typography is not only a medium to express visually and literally at the same time but also a method of expressing one’s culture or identity. Relating to the central theme of self-expression, typography can be a tool for the visual representation or expression of an individual, depending on the medium, style, or method they wish to convey. 

Methods

As a graphic design major, I used my knowledge in design as a stem of this workshop. Because I wanted this workshop to be a ‘tool’ for students to express themselves through art, also providing basic knowledge of design was crucial. Learning such basic knowledge and terminology helped many of them to utilize and expand their scope of knowledge and methods by adding more things to it with their creativity and critical thinking. Using this concept, I had a brief introduction or lecture beginning of each class that would provide an overview of the activity each week. As mentioned before, hands-on experience with each material and method was important, so the majority of the class time was dedicated to students creating their projects under each theme of the week. We went through various types of discussion methods and towards the end of each class, the remaining time would be used to reflect on their work and peers’ works. This opportunity allowed students to reflect on their problem-solving and critical thinking skills, as well as the execution of their project compared to the initial sketch they had at the beginning of the class. Giving constructive criticisms during this time also allows individuals to learn about seeing different approaches and perspectives, acknowledging the scope of various interpretations through artworks.   

Audience & Impact

While the main audience of this project and workshop was the students in the College Park Art Scholars program, I also worked on creating with workshop as if the audience had little to no knowledge of typography and design, providing concrete basic knowledge and skills from the beginning. I thought having a beginner-friendly environment for students to learn design and typography materials was essential to this workshop and encouraging pair/small group discussion was used for the majority of the classes to promote community building and collaboration.

This opportunity also helped me to grow as a design student and as an individual. My students also gave me an insight into and new approach to design, which is the most mesmerizing thing I gained from teaching this course. The raw and genuine ideas, inspirations, and artworks that I can see through this workshop helped me to expand my creativity and approach as well. Teaching this workshop also allowed me to gain communication skills and responsibilities that follow the role of a leader. 

References

Chapman, Cameron. “A Typeface History .” Toptal, Toptal, 13 May 2020, www.toptal.com/designers/ui/typeface-history#:~:text=The%20first%20typeface%20was%20a,invention%20of%20the%20printing%20press. 

Ertep, Hakan. “Typography as a Form of Cultural Representation.” International Journal of the Arts in Society, vol. 6, no. 3, June 2012, pp. 45–56. EBSCOhost, search.ebscohost.com/login.aspx?direct=true&db=aft&AN=91821550&site=eds-live.

Kirilov, Konstantin. “Rise of the Digital Fonts .” Fontfabric, 9 Oct. 2023, www.fontfabric.com/blog/rise-of-the-digital-fonts/. 

Acknowledgments

First of all, I would like to thank the Arts Faculty members— Heather, Harold, and Alex— for their guidance and support. This was the first instructor role that I have taken in my life so far, and without their guidance, I wouldn’t have made it to this point. I would also like to thank my TA Laurin, who was there for me whenever I had questions, concerns, or doubts about my workshop! Last but not least, I would like to thank all my workshop participants(in alphabetical order)— Ozioma, Katherine, Dinelka, Val, Natalie, Nivi, Kaylin, Jesus, Zeina, Queen, and Rachel—who joined me throughout this semester and supported me all the way. It was so nice getting to know each one of you through my workshop, and I surely think I got very lucky with getting the best people.