Teaching Statement.

For the last seven years, I have been teaching graphic design at George Mason University's School of Art + Design, having developed and delivered a variety of courses throughout the curriculum, such as Typography, Publication Design, Professional Practices, Advertising Design, Digital Design Studio, Brand Identity, and the Senior Design Project, and developed a new course in Exhibition Design. The wide range of courses I have taught has enabled me to guide students at all stages of their studies—from the basic design principles to advanced research, portfolio development, and professional practice.

I base my teaching philosophy on the idea that graphic design is a field involving inquiry, communication, and social impact. I aim to set up a studio atmosphere that combines conceptual thinking with a high standard of technical skill, and I want to inspire my students to become curious, critical, and actively engaged designers. By means of discussion, working together, giving and receiving criticism, and going through successive stages of creation, the students gain the confidence to express their ideas, deal with complicated visual problems, and come to see design as a process, not just as the making of finished products.

Since I am both an educator and a designer who is actively involved in practice, I include real-world projects and the demands of the profession in my teaching. In my courses, I place a strong emphasis on research, the design process, craftsmanship, and presentation, and at the same time assist students in developing portfolios that will enable them to enter design careers. I advise my students to start with ideas rather than with software, keeping in mind that technology should be seen as a tool to aid thoughtful design rather than one that determines it. Through linking the material taught with current professional practice, I enable students to come to understand the changing cultural, technological, and professional environments in which designers operate.

I think that students perform their best when they are genuinely interested in what they are working on. Wherever possible, I ask them to choose topics that are in line with their personal interests, identities, and passions, to increase their sense of ownership, stimulate their creativity, and promote greater engagement. I also ask students to look at both historical and modern design, taking inspiration from a wide variety of visual cultures while at the same time critically considering which stories have been kept and which have been left out, as well as how design history keeps on developing. Since I have carried out my own research, I tell students to treat archives, ephemera, and everyday visual culture as valuable types of design evidence that help to expand our understanding of the subject and give a greater voice to those who have been historically marginalized.