During my first semester of teaching, in class one day I was waxing poetic to my students on how I approach a graphic design problem. I modified a quote from an improvisation class I took in college and amended it to work in this context: to “design to the top of your intelligence.” 

This concept invites students to approach their graphic design assignments with rigor, curiosity, and depth. To cast a wide net of ideas and references in order to capture conceptually sound and evocative design solutions. 

A great day in the classroom is when my students are understanding the deeper mechanics of design and I witness the excitement develop on their faces with the realization that they too can access these skills to make great work.

Teaching Methods

In the classroom, I believe in leading by example and transparency. I regularly introduce students to the work of prolific designers, unpacking the processes—research, ideation, iteration, and execution—that shape successful design outcomes. By breaking down case studies step-by-step, aiming to demystify the creative process and show students that strong conceptual design is not accidental but deliberate and disciplined.

This is when my lecture ends and the students take over, asking them questions like: 

• Why does this piece resonate? 

• Is it a successful design solution? Why? 

• Does the work fall short? Why?

• How does this piece make you feel? Why?

• What design elements has the designer used in order to communicate?

Through critique and guided discussion, I encourage students to articulate their reactions, connect design mechanics to emotional impact, and develop a personal, reflective design voice. Students are then given space to explore these methodologies themselves, discovering their own approaches as they engage in moodboarding, sketching, iterating, and presenting work.

My teaching style mirrors the structure of “real world” design agency practices. I organize assignments using the same processes I followed in my career as a creative director and graphic designer in the global design center of the world, New York City. Understanding the brief, ideation, internal and external critique, presentation, and revision are some steps students take throughout a design assignment. I share real client presentation decks to provide transparency into industry expectations and to emphasize that design is not only what we create, but how we communicate its value.

I also emphasize an important yet sometimes overlooked aspect of graphic design: the power of presentation. What I often describe as the “showbiz” aspect of design; presentation is an important skill for students to cultivate in order to humanize their ideas and build trust and confidence in their clients.

Assessment

My assessment methods align with my goals of prioritizing conceptual clarity, iterative process, and the ability to articulate design reasoning. Students are evaluated not only on the final deliverable but also on research depth, ideation breadth, engagement in critique, and improvement over time. Written reflections, process documentation, and critique participation allow me to see how students are thinking, not just what they are producing. This reinforces the idea that mastering design requires both craft and critical thought.

Inclusivity and Adaptability

I am committed to fostering an inclusive classroom where students of diverse backgrounds and abilities respectfully share their perspectives with peers and through their design work. Being a CODA (Child of Deaf Adults) is a part of my identity and I have had the privilege of being around Deaf Culture my entire life. Living with Deaf parents, and witnessing the challenges of being Deaf in a hearing world gave me an awareness and empathy for people that have been historically underrepresented or subject to discrimination striving to participate within a culture that does not acknowledge them or allow access easily. 

Because each student enters with different strengths, cultural references, and communication styles, I adapt my teaching to meet them where they are. Some students thrive through verbal critique, others through written reflection or visual exploration. I offer multiple modes of engagement, ensuring all students can contribute meaningfully to discussions and critiques. My goal is to cultivate a studio culture where all students feel respected, supported, and challenged to evolve as designers and thinkers.

Future Development

I view my teaching practice as iterative, much like design itself. As I continue to develop professionally, I plan to integrate emerging technologies (like Framer, Figma Make, and Webflow), update course materials to reflect current industry shifts (hello AI), and strengthen opportunities for interdisciplinary collaboration (make friends with Illustration, Animation and Photography majors). 

I am also committed to refining my assessment methods, to account not just for assignment completion, but quality, industry-standard design work, as well as expanding classroom opportunities that foster inclusivity and belonging. Ultimately, I aim to practice what I preach by modeling the curiosity, adaptability, and conceptual rigor I expect from my students.