Weingart said, "my teaching approach... is all about the process of learning." He did not teach formulas but helped students develop their own principles of type and problem-solving that they could apply to any future project. He referred to this as the "typographic backpack system." This system remains flexible as students add to their visual vocabulary.

Weingart wanted to avoid giving students too much freedom, which he believed led to poor design; or too little freedom which he felt caused students to merely imitate the teacher. The ideal situation would be for students to master basic principles while learning to be independent in thinking and "self-expression."

Weingart believed in the importance of experimentation within the school context, where students could develop confidence and independence before they were subjected to the constraints of the working world. School should be a place where students are guided in individual directions rather than forced into a standard method or way of thinking. Some of the "experiments" performed by Weingart's students resembled scientific research in method and appearance. Other experiments were completely free and expressive and were referred to as "typographic paintings." Weingart retained a balance in his teaching between this formal, rational approach and the more intuitive exploration of emotional qualities.

Weingart was the exception to the Basel tradition of perpetuating the classic Swiss Typography without much change. For the most part at Basel, teachers are former students and for this reason innovation has been somewhat limited. Weingart was not different from the Basel teachers in that he taught the basics just as they did. The difference in his philosophy was that he went beyond the accepted solution of simply and elegantly solving the problem, into richness and self-expression.

The student experience at Basel during the time of Weingart began with intensive exercises in basic design principles. This was very regimented and was not conducive to personal creativity. Then at a certain point, students were released into a completely free arena of defining their own projects and experiments. During each phase the teachers were constantly present, with emphasis on studio practice and evolution rather than theory or formal critque. Students learned through the process and through constant interaction with each other and the teacher.

The Basel approach isn't so much about formal methods as problem-solving. Students are able to develop their own way to generate limitless ideas and variations. The beginning two basic exercises for Weingart's students were: First, to make "visually balanced and lively" flush left/ragged right type compositions. Next, to optically space capital letterforms evenly. Weingart felt these excercises built "visual sensitivity" which would serve the student well for the rest of their career. In early exercises, students were limited to one typeface and size for the given text, and were encouraged to explore all possible configurations. Gradually more variety was introduced, with emphasis still placed on exploration.

Weingart believed in the importance of a good teacher who must be passionate and stimulating in their guidance of the students. Weingart was an enthusiastic and dedicated teacher. His publishing efforts were largely composed of student work. He mischeivously gave a different, sometimes unflattering, nickname to each student.