Art 2201 Digital Lab 1: Publishing: Seattle Pacific University
Overview and exploration of digital media as it relates to the design production of visual communications.
Art 4209 Visual Communications 5: Experience Design: Seattle Pacific University
Explores spatial information environments and experience design. Investigates way finding, navigation, exhibition, and/or signage.
Introduction to User Experience Design: School of Visual Concepts
This course covers the principles and practices at the core of the user experience discipline: research, design, and evaluation methodologies and the processes that yield success. The course provides hands-on experience of an iterative design process, exploring research and analysis, ideation and concept exploration, and prototyping and evaluation.
Data Visualization, Bringing Data to Life: School of Visual Concepts
This course covers the combination of art and science to create beautiful and meaningful of data visualization. Focusing on a specialized subset of UX and graphic design, it involves bringing form and function together to communicate scientific and business information graphically.
MySkillz4Afrika, a volunteer role that is a combination of education and actual design and research. I facilitated a series of design workshops to educate a team of young artists who have produced and distributed over 33M free comic books and 10,000 syndicated radio shows, becoming a household name and a leading youth brand in Kenya. The exercises from the workshops laid the foundation for beginning to establish user experience principles and an agile design process the Kenya and Tanzania team will adopt moving forward. Once we began to identify the brand’s voice and applied the new design principles and guidelines to the product, we worked together to create plans to test and iterate the new design on the local Kenyan youth.
Design 573, Fundamentals of Multimedia Design: The Ohio State University
This course is structured to provide experience in the area of interactive visual communication and technical web planning, design and presentation. Students apply course principles by creating an interactive web site that integrates theory and practices of web design.
Design 320, Electronic Media for the Designer: The Ohio State University
This course is structured to provide experience in the creation of content for print media and electronic media. Students learn the fundamentals of Adobe Photoshop, Illustrator, and InDesign. Engaging assignments facilitate the students’ understanding by exploring the functionality of these programs and their applications to real-world design problems.
Design 310, Color Theory and Communication: The Ohio State University
This course enables students begin to grow in their knowledge and understanding of color theory as it relates to design. The aim of this course is to foster sensitivity, awareness and knowledge of color through fundamental principles of color interaction for design and communication.
Design 674, Interactive Media Design for Web Enabled Television: The Ohio State University
with Professor R. Brian Stone
This is a loosely structured studio course for junior and senior students who wish to explore design solutions for interactive televisions and large screen platforms. Students design and develop a prototype that can be tested on users and create a pitch for potential investors.
Graphic Design for Print and Web: The Wexner Center for the Arts
Instructed teenage students the basics of Graphic Design through a series of projects using elements of graphic composition, typography, branding, logotype theory, and software skills. The students were able to practice using Adobe Photoshop, InDesign, and Illustrator and visit a working design studio during a field trip to the Wexner Center’s design department.
Design Foundations: The National University of Singapore
with Professor R. Brian Stone
Assisted in developing the structure for visual communication foundational courses in the School of Environment and Design. A curriculum that was centered around industrial design, we added exercises centered around color, typography and basic design principals to deepen their design education and strengthen their visual communication skills.
Learning is a lifelong process, which takes place in a variety of environments. In a classroom setting, learning involves challenging, motivating, and inspiring students to think, examine, and explore their understanding of a topic in an active and stimulating manner. To that end, effective teaching involves a great deal more than standing in front of students and communicating to them the “facts” of a discipline. For me, teaching is a collective and reflective endeavor in which teachers and students (at all levels) learn from each other and each other’s experiences in a respectful and thoughtful environment.
Specifically, my role as a teacher is to (a) encourage students to continually ask questions about why and how we know something, (b) help students develop the skills needed to answer their questions, (c) awaken students’ passions to become life-long learners, (d) help students appreciate and respect varying perspectives.
In the design and visual communication professions, the focus of creating uniquely creative solutions is no longer structured around the aesthetic of the form as it was in the past. A comprehensive approach to the creation of design must be based on the needs of and experience for the user, resources available, sustainability and the ability to use the affordances of new technologies effectively and efficiently. Given the constant change and growth of technology and social media being used in design practice today, it is necessary to reexamine the content and context of “graphic design education”.
Design education should no longer focus only on preparing students for their careers in design, but rather provide an opportunity to explore design thinking and utilize design research, in order to become better acquainted with the problem-solving strategies and visual language associated with communicating visually. In addition, solving design problems is no longer about communication to the user exclusively through aesthetics, students should be encouraged to consider all ﬁve senses during the conceptual phase, as most innovative designs today consider more than the end user’s sense of sight.
Looking at the future of the design profession, it is imperative to move away from solely teaching traditional hand skills and producing technicians, but to address four corresponding areas of consideration in design courses and curricula: professional skills (specialized training in hand skills and technological tools), design methodology (competence in issues related to design process and design theory), user experience (trying to create a certain type of experience through design) and general knowledge (general education in the liberal arts and sciences). Design curricula should incorporate theory, methodology, research, history, and liberal studies intended to provide students with intellectual skills for a lifetime of learning, adaptation and conceptual growth.
Based on this belief, it is the purpose of each course structure and design issue presentation to initiate concern in culture and society – to help students see the role of design in personal, social and global situations. I strongly believe that if instruction is to be successful, the content and objective of a design project should not only be aesthetically pleasing, but also the function and meaning behind the content should raise awareness and ignite students to design for a cause. The design solution they envision and create has the ability to impact their personal lives as well as the lives of others. Students should see themselves as a vehicle of change, vehicles equipped with more than just tools to apply color and typography to bring order to a group of objects. In my classrooms and in my curriculum design work, I strive to develop a rich learning environment that supports students in examining their own understanding and creation so that they can work collaboratively as they work through the project from the beginning of a rough idea to the end of a polished and successful deliverable. To do this, I encourage a safe, respectful environment in which students can share their ideas and challenge others’ concepts and assumptions.
As an educator, I remember that trust, shared respect, a positive outlook and an inquisitive perspective create an environment in which students are more willing to participate, learn, and most of all, think. I am deeply committed to undergraduate and graduate level teaching and am dedicated to contribute to the development and progress of a department that seeks to provide its students with opportunities to thrive.