 Hello, good afternoon. I'm Dave Peacock Hello, I'm also Dave Peacock, but I was supposed to be Dave Peacock. Well, that's right. I'm Silas for the next 20 minutes Let's see. So today we will talk about hands on again off again and And talk a little bit about our experience teaching in a low residency graphic design program Temporographic pedagogy makes a lot of assumptions One of those assumptions is about the learning environment We often assume a physical space for where type is taught or best taught Now it's very clear well into the 21st century Temporographic learning occurs in a spectrum of space between the physical and the digital With a third condition in the gray area that we're calling hybrid for our presentation Brick and mortar is what we're most most familiar with the typical typographic program in a university art or design school So then on the other end of that spectrum is online only learning so that would encompass things like online tutorials that you might find on lynda.com or YouTube as well as Coursework that's based entirely online. So what you might find on Coursera or EDX or Skillshare or something like that in the hybrid space we find terms like distance learning flip classrooms Maybe even workshops. I think you could even make the argument that all learning spaces are hybrid Even brick-and-mortar classrooms with our screens and technology everywhere, but for our presentation We're going to focus on the work of Vermont College of Fine Arts Which is a low residency program in graphic design? so low residency is a fairly new model for design education and Silas will talk about that a little more detail in this next slide But we are basically an immersive two-year program and just to speak to our overall approach Briefly is that we see ourselves as student-centered and we really try to craft an Individualized education experience for each student based around their interests their values and their goals So I wanted to talk a little bit about the facts that sort of distinguish Full residency program with a low residency program. You probably are familiar with a lot of these details I think the low residency term is maybe one people are less familiar with in a full residency program faculty and students both Live near campus or on campus full-time the meetings are in person, you know the typical semester or quarter Calendar and then I think this is really key The classroom is driven by syllabus that faculty write and give to the students to say this is we're gonna be we're gonna Be learning in this term on the other hand in the hybrid environment in a low residency program Faculty and students usually do not live on campus or anywhere near the campus instead. They meet twice a year for a seven-day Intensive residency residency in some programs. This can be a few days longer In addition to those residencies were which are quite intensive that lasts, you know from 8 in the morning until 8 in the evening There are also five additional Virtual meetings that happen once monthly and the student ratio is much smaller So one faculty member will advise anywhere between five to three students and Then our calendar is by annual so a semester lasts for six months And then I think this last part is pretty key Which actually kind of echoes some of the things that Tyler and Rebecca were talking about Instead of a syllabus the student crafts their own semester study plan Over the course of the residency that's guided and supported by other faculty and then Approved and signed off by the student and their faculty advisor So while students are on campus, they're doing a range of activities So that includes anything from lectures by faculty and guests workshops breakout sessions one-on-one meetings with faculty Just a few examples here on the left is faculty a Nikki you and she's doing a book binding workshop And then we have Ellen Leptan who is a guest speaker last year And then this next section here So it really kind of a small breakout critique format. This is a recent grad Michael Scarridge Founding faculty Matthew Monk and of course Silas's head and then during the off again portion of the study when they're not on campus students are staying in very close contact with Their faculty advisor for that semester. So the main mechanism for that connection is the monthly packet and monthly meeting So students will gather Basically what they've been working on with their writing their research the design work they're doing and they shared out with you through PDF and other documentation and then of course you get together and have a one-on-one Video conference usually through Skype or Google Hangouts So that's a chance for really the faculty and students have a really focused in-depth conversation about the students work and then in between all of that students are Conducting experiential learning. So they're doing things like workshops such as this one that Lauren Saito went to To learn letterpress or they're doing software Skill building or they're going to conferences and galleries and things like that So it's really a pretty full experience when you add all these things together As Dave was describing this sort of creates a quite a different classroom than your typical Typography class undergrad or grad comparisons aside And yet the existing pedagogical models to teach type are often being crafted into this into this new context At least we were bringing that when we first started teaching And we just wanted to give you like a razor thin slice of six models Since the 20th century that type educators tend to use Across these kinds of teaching environments so For example Emma Reuter put forth the idea that type can be taught through the lens of the art historical picture plane right that Contrast is the ideal barometer of what good type is Joseph Mueller Brockman proposed the logic of the grid Was overarching it could make for good typography So Catherine McCoy at Cranbrook introduced this idea that we Read type as text, but we also see type as image and Through typography we can really challenge some of our basic assumptions around language and meaning And then of course with ringhurst is this idea that you can codify typography into a set of rules and if you You know understand those rules if you understand taste and historical tradition That you can become a successful typographer More contemporary models of type education from Alan Lupton built on these earlier models and So the type education is for everyone who's a thinker that can be Scaffolded from the micro to the macro to learn type or Denise Gonzalez Chris who merges the systems thinking of Mueller Brockman with the cultural dynamics of McCoy to say that type is a set of overlapping systems So these are all really influential models and all very useful and successful models But what we wanted to do is try to develop our own model that complemented these other Existing models and something that really helps address the unique opportunity that's available to a student who's in a self-directed graduate program our model addresses the unique opportunity available to graduate students in a self-directed program and It begins with the importance of developing self-awareness in relation to typography We help students define who they are and what they believe as designers and as people Our model has also been furthered by the pioneering work of the students themselves So as students nurture their own perspective and expand their critical ability Their typographic voice as a designer emerges more fully They begin to understand their work in relation to design discourse and the broader culture Through a practice of application in community. They develop a sense of agency in their typographic expression This gives them the ability to adapt and develop a point of view lead their own projects and own their own roles with others This has an impact on a personal level and also on the broader zeitgeist We call this the type geist And then guiding the students through this process is these two rails What we think of these two rails as skill building and typographic expression so, you know, it's important to develop both of those areas and some students need a little more development and Perhaps skill building while others are fairly far along and and they can move into the typographic Expression sooner so they do deepen and extend in both of these areas as they continue through the program And then now we'll look at a few examples of student work that we think really addresses our core ideas with the model we're showing We start first with the work of a type specimen by Laura Rossi Garcia called Fritz Fritz Which is used in the headlines of this presentation is a monospace face that was created as part of Laura's MFA thesis on Expanded practice named for a champion typist Fritz subverts the implied patriarchal structure of a set with font With hyperbole swashes that defy expectations of gender norms and type in what is men's or women's work This is another type design project by Laura Irene is an idiosyncratic book face inspired by the graphic art of Irene Delano a Puerto Rican printmaker illustrator and graphic designer who reached her peak activity in the late 1940s as an art director of DeVedco a New deal inspired literacy program aimed at Puerto Ricans rural population Laura's own Puerto Rican experience prompted research largely ignored or Explored or sorry largely ignored or that is unexplored in existing typographic pedagogy So this is a related project. It's called almanac. It's a collaborative research project about Puerto Rican design and culture This was written and designed by Laura Rossi Garcia and Jason Alejandro What's also interesting is that they work on this collaboratively and remotely and Jason's in New Jersey and and Laura's in Texas This let's see this project gave Laura and Jason an opportunity to explore their heritage from a design based perspective and Situate Puerto Rican visual culture within a larger history of graphic design As part of her graduate work Farah Rizvi Doyle explored what she termed hybrid cultural identity a Reference to her experience as a Pakistani immigrant living in North America since the age of 13 There was series of 8 feet by 2 feet tall banners We're showing you four of the final six here a fair combined fragments of memories Personal history and abstract or due typography to create a visual narrative that represents where she is from and who she is now another student that connected with her cultural Heritage and really found her voice to typography during her graduate studies. It is y'all Campbell She's a native of Israel now living in the United States She explored the similarities and differences between Hebrew and Latin letter forms and Related then to her personal history through the creation of immersive and reflective environments This is a still from the video work a hair story by Alex Moya a graphic designer Who was exploring his own body image as a man who just happens to be queer and of Mexican descent a Hair story is a typographic narrative in motion made out of Alex's own body hair Here's a fragment from the piece Through his typographic exploration. He is offering a post-colonial critique of both typography and typographic education aka what is good taste and The channels and medium of expression of what is expected for typographic communication This work asks the question What is a typographic body of knowledge in both a fig figurative in quite literal material sense? Next we have the work of Rachel Hatley creator of the litter letter project Which is a 3d messaging system made of six foot tall letters Formed a chicken wire and rebar that are then filled with litter and waste collected with communities on highways and roads What started with the self-awareness of her own anger to the litter on her property in rural Louisiana Became a half foot tall prototype that beget conversations with parish officials Co-creation with incarcerated communities and has since impacted many other neighborhoods through installations in seven states and One activation in the continent of Australia This is a project titled haunts city of ghosts by Aaron Winters is a physical and digital publication that explores the effects of Gentrification in his longtime home of Sacramento The thriving pedestrian streets music venues and bars of the early 2000s are now mundane office spaces and condominiums The publication serves as a guidebook sending the user to different locations throughout the city Readers then use an app to access the colorful history behind each haunt location With this project Aaron was able to create work that is highly personal But also reflects an emerging agency and the desire to comment on the world through design These are some examples from a project titled analog alphabets by Bill Kaminsky This project explored letterforms through reflection displacement and other phenomena that capture the interplay of light and form As a designer with extensive software based knowledge Projects like this helped Bill reconnect with typography through experimentation and engagement with the materiality of letterforms Ultimately this work rejuvenated his outlook on typography And he took that enthusiasm back to the classroom at my add where he teaches in the graphic design department This next project is called hammer punch by Ryan Glenn James He created a series of specialized hammers featuring a screwed a type that put a utilitarian and absurd Almost fluxes twist on the historical idea of a counter punch of type Hammer punch is part of a larger suite of tools that make type that Ryan conceptualized from a drawing to a full-scale working prototype Not content to leave them as unactivated artifacts Ryan engaged students faculty and staff at his university Taylor University Where Ryan teaches in the design program, they were invited to use the hammers to make a series of marks And on wood beams the wood beams that were then constructed into a set of pergolas on the campus as Part of Human Rights Week at Taylor the project highlighted the issue of forced labor around the world Each mark word or phrase made with the punches represents thousands of people who have no voice of their own Hammer punch creates impact on the physical community and type guys levels Next is some work from Troy Patterson Troy was interested in becoming skilled in letterpress and creating a teaching press at York College where he is a faculty member He became interested in an idea of creating his own vernacular type by reclaiming letterforms from the auto scrap yard He then took that one step further and turn his automobile into a press and use that to create a participatory Experience for his students and we have a short video to show you here as we stand now three slides away from lunch If you remember nothing else from today Fuck fear might be the perfect encapsulation of typographic pedagogy at VCFA And just to quickly summarize our approach We believe that learning is an active process of mutual engagement rather than simply the transference of knowledge from teacher to student It's important for students to learn the rules of good typography But we also stress the value of typography to serve as an entry point for students to investigate their interests Establish a sense of agency and make an impact on the world Chin channelling pedagogy from scholars such as John Dewey Bell Hooks Paulo Freire and Typographic educators from Emma Ruder to Robert bring hers to Denise Gonzalez Crisp and beyond We believe the study of typography can be in service to self actualization of both student and faculty member regardless of place technology or ideology Thank you