Teaching Philosophy

Before students make anything, they learn to see. They slow down in front of an image, a typeface, a building, or a cereal box and ask what it's actually doing. That's where every course I teach begins, and it's the foundation on which everything else is built.

​

Design fundamentally revolves around solving problems. A liberal arts education adds is a harder question of which problems are worth solving, and for whom. Technical skills—such as typography, composition, color, and software—are tools that support a broader purpose: recognizing authentic needs, understanding their context, and responding thoughtfully. My goal is to assist students in cultivating both this craftsmanship and the critical judgment that guides it.

​

Design functions as a visual language that must be learned and applied, much like spoken language. Many students are surrounded by images but lack the skills to see, interpret, or fully comprehend them. This involves understanding semiotics, design history, the ethics of visual communication, and how a designer relates to society — long before they start using tools like Illustrator, InDesign, or Photoshop. Our visual language didn't develop in isolation, nor does any designer's voice. Studying history helps students see how visual meanings are created, borrowed, challenged, and changed over time.

​

My coursework progresses from basic observation to the development of an independent voice. Early lessons focus on questions like: What do you notice? How does this image create meaning? What does a mark convey before you decide its message? As students advance, they confront more complex questions: What is your true message? Who is your design's audience, and what responsibilities do you have towards them? By the time students reach Advanced Graphic Design and Capstone, the aim is to create space for each individual to discover their unique identity as a designer.

​

In my classroom, the focus is on the process rather than the final outcome. All courses follow an analog-first approach: students start by brainstorming in sketchbooks, creating paper prototypes, and exploring ideas manually before using digital screens. The tactile knowledge gained from hands-on work cannot be fully replicated by digital tools, and students who begin with physical making tend to produce better digital results. Thumbnails are created before digital designs, and iteration is prioritized over instant perfection. Critique is seen as a dialogue rather than criticism. I encourage students to view their initial solutions as rarely the best and design courses that reinforce this idea, where revisiting a problem is a sign of depth. I also spend quality one-on-one time with each student, believing that meaningful design stems from personal commitment, which I cannot foster without understanding who they are.

​

In my courses, assessment emphasizes growth over compliance. I implement an ungrading model in which students propose their own final grades, supported by Process Books and grade conferences. This method encourages students to be truthful about their efforts, learning, and omissions. Such honesty is more challenging than simply following a rubric and is ultimately more meaningful.