Like any institution with a communication major, the Strasbourg art school strongly emphasises typography, focusing on three areas:
— Groundwork and basic knowledge
— Exercises, hands-on work, projects
— Experimentation and creation
Typography is at the core of instruction in graphic design workshops (graphic communication and visual training), and is also used as a driver in other disciplines (books, illustration, art, etc.)
— First-year introductory training, with the "Drôles de types" course, which introduces outstanding figures from the world of typography.
— Strong presence of both typography and the sign in graphic design and layout courses (years 2, 3 and 4).
— In the fourth year, typographic teaching introduces a timeline, historical/social perspectives and analysis of forms. At the same time, the "Point typographique" module focuses on a methodical assembly of the graphic designer/typographer's "toolbox" in the digital age.
Student research can lead to in-depth work, such as "Garamond & Co." a survey conducted by Alexandre Brand (visual training, 2009), or to diplomas having to do with the relationship between signs, letters and texts.
— Fontzéro examined the relationship between language, writing and typography (Vivien Philizot, Raphaël Tardif, 2000)
— With Prototyp-o, Yannick Mathey designed a typographic concept generator in processing language (class of 2010)
— Sandrine Nugue examined readability and cinema subtitling, which she illustrated with Stanislas, a typeface with "supersigns" for fast, intuitive reading (class of 2011).
Student research can lead to in-depth work, such as "Garamond & Co." a survey conducted by Alexandre Brand (visual training, 2009).
Type design is encouraged and supported, and is present during assessements of student work and diploma projects:
— izeau sans: digital typeface for signage in the metro (Sébastien Delobel, 1997)
— Mademoiselle Berthe: the first digital face designed in the school (Sandra Chamaret, 1997)
— Modulo: an elegant typeface incorporating abstract symbols, published by Linotype (Olivier Umecker, 1997-1998)
— Cut and Space, Vincent Menu (1997 and 1998)
— Aldine, upright italics, Mathieu Mermillon (2007)
— Jizel, inspired by Adolphe Rusch, Strasbourg-based printer at "R bizarre", Charles Mazé (class of 2008)
— Hachures, or how to cut up telephone directories (Maud Guerche, 2009)
— Voyageurs, Julien Laureau (visual training, 2011) — Voyageurs, Julien Laureau (visual training, 2011)
These projects have sometimes led students to specialised training courses (La Haye, Reading, École Estienne etc.).
• Type design workshop with Evert Bloemsma, Luc(as) de Groot and Joachim Müller-Lancé
• Annual lead type workshop led by Bettina Muller (Lycée Gutenberg, Illkirch)
• ADT (typographic cut-out workshop): in 1998, a group of students spontaneously decided on a project involving copyright-free typefaces
• "Typo, design des lettres", traveling show for high school students from the Académie Nancy-Metz, designed and created in 2005 by fourth-year "Com’ Graph’" students—
• ARC (research and creation workshop) "Écrire en grand" led by Pierre di Sciullo (1996–2009)
• "L'Ours", a workshop focused on print production, led by Pauline Pierson, often gives pride of place to typography, as in the books by Dominique Bothereau-Meyer (Plein et Vide, 2003) or Annabel Schenk (Tchik Jroulns, 2009).