 I'm Oscar Fernandez. And I'm Renee Seward. So the University of Cincinnati has a 50-year rich history and typography instruction. So we asked ourselves, why are we concerned with aesthetic bias? Well, we looked at the definition of aesthetic bias, and it's this inclination to prioritize the way things look over satisfying user needs. And like all bias, aesthetics are learned culturally since you were a baby. For the novice student, this is what they want to jump into really quickly without understanding the context. They make decisions based off of whimsy. Readability and legibility become low priority if they've read the content at all. The focus is on display type. The external issues around aesthetic bias deal with 80% to 85% of our perception is based off of our vision. And society teaches us visual arts were about self-expression. And social media's vast imagery has conquered overriding. If we look at our schools in the classroom, the recruiting material only emphasize this focus on aesthetics. In the foundation courses, it solely is about aesthetic principles. And the teachers are eager to jump into these aesthetic exercises. We're all guilty of it. We want to have fun with type, but we are overlooking the pragmatic features to readability and legibility. And in regards to how schools present themselves and to our respected colleagues at RISD, but we found this website here. And here's the graphic design website. There's no typography. There's no other type of imagery. School literature, for the most part, and we've gone through many, rarely do you ever see people users. They're absent and design the messages seems to be saying it's about aesthetics. Unintentionally, teachers do not provide context for cited historic typographic examples. And what is reference simply become picture books or style catalogs. And contextually, our typographic classroom is really not the real situation. This is what we teach it, usually. But it's not correct. This is the correct context. And then when we show one of our most treasured examples in inspiring design, like Beingart's famous series of student work, a young student unaware will just marvel at the use of typography, these very intriguing shapes. But rarely will they know that this really is all about an important European rail line at what time the trans-Europe express, how that train traveled through the Alpine countryside. Unguided referencing occurs. How would a student know that Jan Cichold on the right was influenced by El Azitzky, who was a friend? Would the student even read the captions in Beingart's book explaining what these pages are? And as I said, we are guilty. This is what I used to assign years ago to start typography, introduction to typography. Letter segments, doing it in nine square composition. We're all very experienced. We're all very knowledgeable. We all share a love for letter forms and type. We know that by themselves they're very beautiful. But we also know that when you apply a system, a set of rules, the magic occurs. There is sound. There is meaning. Helicopter. But we also know it's part of a very sophisticated writing system. And yet, the incoming student, they still see it in this way. Yes, as they enter the classroom about design and typography, it's a lot about how things look and the beautification of things, the cool display type. Only the cultural objects are seen as worthy, let alone the scientific or medical instruction that have such value are overlooked. We're always seeking the expressive opportunity, being oblivious to the user. They say things like, my cool typography will be compromised if I do this, or my creativity will be stifled and left with boring results. And this one I get a lot. Can't read it, Oscar. Oh, they'll work through it. Trust me. What do you do for a living, Mr. Bingnelli? This is what a UC student asked him when he visited our school. And he simply said, I organize information. I'm a typographer. This would set the stage for an assignment that we developed some years back that we call the hat rack assignment. And we look at things unconventionally that usually you don't see at the start. Content analysis, studying semantics. This is day one of typography for us. It begins with card sorting exercise. We take teams of students made up of four, and we ask each one, OK, generate 50 index cards with each a term or a word related to the kitchen theme. And we provide them an organization theory by Richard Saul Werman, this famous slouch, that there's only finite ways to organize information, location, alphabetical, time, category, and hierarchy. As they generate close to 100, 200 cards, then they're asked to now organize it under one of those categories, those means. They create their own studies. The hat rack assignment is in six phases. The second, they document and finally write about their findings. The third is information hierarchy. The third and fourth is about composition studies and visual semantics. And then last six is typographic narratives. So they document their findings together. And at this stage that we finally start introducing typographic basics, principles, about how we read letter spacing, line spacing. And we make them aware of the heritage that they're going to take on, about type history and type families. And then we have them produce an information hierarchy study. We give them a five column grid that they're going to work with in these next phases. We ask them then, without rearranging the words, can you show relationships with the groups just by layout and positioning, commonality, and those that are not connected? And then challenge them even further. Can you show connections again without moving words and just utilize the fonts of the type base and begin typographic coding? For instance, everything you see there in yellow is making a sandwich, 14-point regular type, lowercase, type letter spacing, line spacing, making dessert. And then we have them select two of their categories and create some layout compositions and visual semantics. Every aesthetic decision made, typographic decision, is supporting the content of the words and their arrangement, the length of their organization. Here are two students that were on the same team, and they reinterpreted very differently their groups. Then the last phase, we attach a narrative to it. So it's still about sorting that information, but now it's about what did I think, what actually happened, and what are the categories to organize it? And in the later classes, we see evidence. So in this class, it's a poster series, and if we zoom in one, we can still see how they're sorting content, the text, and the stuff that was set around the girls' phase versus the practical information set in the column. And then even later in the more advanced complex problems, a timetable, everything from the color decisions, all go to support the content. And a later book that is sorting the information that allows someone to accurately navigate a city. So how to check bias. Begin studies with semantics. Remind them of the purpose of messages. Show them the thresholds. Cover type history. Share not only the experimental, but also the effective ones. Make students become content-driven. Show the thresholds. And of course, we're always going to share the inspiring works, but show it in a balance. Show it with instructional typography. Instill pride. Make students become conservators. And make it relevant in the class. In the classroom, we put them in the shoes of someone who isn't them to have them look at their designs to see how well it functions. And we use Maslow's Hierarchy of Needs as a good metric. And I'm going to jump here, because I know we've run out of time. But this is our basic intent, that originality and beautiful aesthetics has to be a consequence of good typography work based on satisfying content and people's needs. Thanks, guys. Thank you.